Sometimes collecting has a moment in real time.

I’m heading to the DIVA exhibit at the Denver Art Museum, and I brought out something I’ve never worn: a bag from 1969 along with a Brooks LTD dress design.

The backstory

In 1969 I lived down the hall from Peter Max’s CMO, and he was incredibly generous with promotional gifts. This limited edition bag was a keeper. It came filled with psychedelic printed tights, and somehow a silk scarf found its way to me too. I’ve cherished it ever since, but never carried it. Until now. I couldn’t think of a better place to finally wear it than a celebration of DIVA.

The magazine I saved

I was enthralled with Peter Max the artist, so I also kept a copy of Life magazine from that year, intuitively I knew it would be worth something someday. Scroll down to 1969 in his bio  or here and you’ll see the very same issue.

Letting go and going with the flow

While reading his memoirs, one line stopped me:

“…Swami Satchidananda, the renowned Yoga master, who taught me the art of letting go and being in the flow.” Peter Max

I can relate. COVID, and the teachings of a master draper and designer, changed my direction too. It’s funny how one chapter flows into the next. I’m grateful for the yoga in my life as well.

Some things never change. What I wore.

Thank you for the memories, Peter Max. What I wore and I’m happy to channel them at the Denver Art Museum’s DIVA exhibit, on view through January 2027.  Thank you to Karla Raines for being my date for the evening you look fabulous in my one-of-a-kind bejeweled neckline Japanese coat.

Up close at DIVA

I was enthralled by this exhibit. Instead of snapping dozens of photos, I picked a few favorites to share with you.

Carmen Miranda’s fruit-and-flowers showstopper at DIVA.

Mannequin in a pink-and-white striped ruffled top, fruit-and-flower hat, and pink and green fringed skirt.

Elton John’s Louis XIV-inspired costume from his 1997 50th birthday party, designed by Sandy Powell, complete with a feathered train and a silver ship on the wig.
Mannequin in a white feathered cape, crystal-studded dress, curly white wig and tall silver ship headpiece in front of a stage-light backdrop.

Want to see the whole show? Visit the Denver Art Museum’s DIVA page for the professional photos. Getting up close to these over-the-top costumes and learning the history of divas was a delight, and I’ll be going back more than once.

If you’re in Denver the show goes through January 2027, it’s a must see.

 An inspirational quote

“There is such a thing as a creative reservoir within;

the more you work, the more you have access to it.”  

Peter Max, via petermax.com

Your turn: What’s the oldest treasure in your closet that you’ve been saving for the right moment? Tell me in the comments. I’d love to hear it.

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The DAM’s Florence Müller and fashion editor Georgia Benjou in intimate conversation for their Denver Fashion Week workshop

Seven years ago, Florence was first introduced to Denver as an independent curator from France, bringing the acclaimed Yves Saint Laurent exhibit to the DAM (which was, in fact, the exclusive US venue for this show).  The show was an overwhelming success.  Florence attributed that success to the wide range of people, coming from all walks of life in Denver and the greater Rocky Mountain area, who came to see and learn about fashion.  It was clear that fashion sparked an interest in the public here – an indication that the exhibit was on the right track.  In 2015, Florence was bought on in an official, permanent capacity as the DAM’s Avenir Foundation Curator of Textile Art and Fashion.

The Shock Wave exhibit at the Denver Art Museum. Photo by McKenzie Coyle for 303 Magazine.

Shock Wave was the first exhibit that Florence curated from her new DAM curatorial position – a stunning retrospective of groundbreaking Japanese fashion from the 1980s and 90s.  She explained how she reached out to local retail proprietress Cathy Covell from Lawrence Covell to acquire pieces for the show, as Cathy’s store was one of the first in the country to carry several of the designers featured in the exhibit.  Florence and her team sought to integrate their work within the local community, also calling upon fashion-forward boutique Goldyn to host a private opening reception and fashion show in conjunction with the exhibit.

A favorite look from the Dior show at the Denver Art Museum

Since these first two (frankly out-of-the-ballpark) exhibits, Florence has hardly taken a break.  She’s been hard at work bringing more top-tier programming to the museum, including The Dior show last year.  During the talk, I learned that there are four more exhibits scheduled in the next few years – the first of which is slated for Sept 2020, yet to be announced.  We will all wait anxiously in anticipation!

Denver designer Mona Lucero and I with new fashion friend Kate Nelson, eagerly awaiting Georgia and Florence’s talk for Denver Fashion Week.  Photo courtesy of Kate Nelson.

I had the opportunity to chat one-on-one with Florence after her conversation with Georgia that evening.  Knowing her background working with the likes of Chanel, Dior, Gucci and Celine, I was curious to hear about the quality of designer dresses walking the runway in a show.  As a couture designer, I know that whipping up a dress for a runway show can be very trying, requiring many last minute adjustments, as compared to coming up with a custom piece for a client.  I was curious about her knowledge of what the inside of one of these runway confections looked like.  She had a long explanation that spoke to her expertise: essentially that each situation is different, but for the most part, the insides are not completed like a normal couture gown.  Just as I suspected!  There’s an interesting twist however; For this reason, these runway pieces can actually be much more expensive than a finished garment.  Why, you may ask?  Because it is a ‘true’ original gown.  A collector’s piece if you will.  A work of art in-progress where the creator adds last minute touches before it goes down the runway.  Creative freedom by the designer.  Music to my ears!  

Mona Lucero and I, post talk.  Photo courtesy of Kate Nelson.

Florence also spoke about the 1980s as being a period of designers’ creative freedom, versus the 1990s where big companies began to rule the destiny of major fashion houses.  Of course, in order to succeed, a design house must make money on their products.  However, as Florence stated, designers were less ruled by the owners of the larger holding companies in the 80s – more free to create their art – whereas now creativity is only part of the big picture.  

I could relate to a lot of what she was talking about.  Even though I am a small independent designer, where I am lucky to have creative control over everything, I still need to consider the end result: selling my work.  It’s always a fine line between art and commerce.  This past weekend, I had a related realization while chatting with some CSU students (more on that later), where I said, “I should just try making clothes that I want to wear, as a total experiment to see if they are desirable.”  I’ll be the first to admit I can overthink what I do in order to please the public.  Maybe I’m onto a new direction?  Stay tuned.

Couture by Brooks LTD

Couture fashion is a rare commodity these days.  I’m lucky to have made a career out of it for over 45 years in my beloved City of Denver.  If your next holiday party, wedding or other special occasion calls for standing out in a one-of-a-kind dress, please think of Brooks LTD.  Visit the Contact page of my website and we can schedule a time to sit down and discuss your needs.

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