Reproduction Vintage Fashion Is In

It is undoubtedly clear that fashion’s purpose, when looked at as an art form, is to be a reflection of the state of the world affairs and also an artistic response to it. Fashion can be whimsical, satirical, raunchy, or can push societal boundaries. At the end of the day, the most up to date fashion is not necessarily something that has to resonate with you. I am starting to see that the market for the way in which clothes were made in the 1940’s, 1950’s, and 1960’s is exemplary of how style is subjective and that anything can come back… Enter the industry of reproduction vintage fashion, and how the key word “reproduction” is especially worth noting. Perhaps it’s been unfair to fashion of years past, to ascribe thrift store shopping as something less palatable than to pursue the latest trends. However, I think the reproduction vintage industry is proving just how incredibly palatable vintage style really is! If you want to remake something old as new, then the something old is quite valuable! In my opinion, the art of reproduction vintage clothes, and also the interest of purchasing vintage items in mint condition is worth deep respect.

In addition, the commitment you make to curating your own sense of genuine style helps sustainability at scale. “Fast fashion” while at its prolific height right now is nothing close to environmentally sustainable. If you are able to spend time to thoughtfully choose a few pieces in your wardrobe that you take good care of and keep for years, you are making an environmental decision as well.

I have curated a list of stores which provide a range of reproduction vintage fashion from any decade which speaks to you. At the end of the day, investing time in curating your own sense of style is also investing in a deeper sense of self confidence. Perhaps you’ll also spend less time worrying in the morning about picking your outfit, since you love the outfits you are going to choose from already!

TopVintage Retro Boutique

Vixen by Micheline Pitt

Voodoo Vixen

Zoe Vine

Unique Vintage

RetroStage

My Modern Marilyn Monroe Makeup


To quote Marilyn Monroe:

“Beauty and femininity are ageless and can’t be contrived, and glamour, although the manufacturers won’t like this, cannot be manufactured. Not real glamour; it’s based on femininity.”


There may not be a more iconic image of beauty than Marilyn Monroe. Her makeup style is one that appears highly sophisticated in its aesthetic, yet it is more simple to achieve than most of the makeup routines that dominate the world today. Marilyn did not wear layers of different shades of foundation, she applied color to her face in strategic ways. For example, the offset of the creamy white eyeshadow she was known for was dramatically offset by her black winged eyeliner. Much of her makeup aesthetic was based in dramatic offset. The same goes for her signature red lip. The red shade offset her black eyeliner. The 1950’s makeup looks were informed by a Vogue magazine cover which came out in January 1950.

Nowadays, there are ways to achieve this glamorous look in subtler ways. For example, I am not wearing heavy winged eyeliner. I prefer not to combine bright red lipstick and classic winged liner often. The makeup and style you have exists within a context. Achieving your most glamorous, confident look is realizing how you can style yourself best within the context you are in. There are three essential parts to the routine that helped me achieve the look I have done in the image above.

  • Skincare and the right concealer – the lighter your base is, the better. The skincare aesthetic you are working to achieve is a natural, clean shine. Marilyn was known for using Erno Laszlo’s skincare regimen which you can read about it here, Nivea creme, Pond’s cold cream, and Vaseline. She used Vaseline on her cheeks and on top of her eyeshadow sometimes to add additional shine. In the film studio, she also was known for wearing Vaseline under her foundation for adding moisture to her foundation look. This might be a bit too intense for everyday depending on your skin type, so I think opting for a subtle shine on cheeks or eyelids is a great option! Wearing Vaseline to highlight features is essentially the 1950’s version of a sparkly highlighter which I think is a very smart to wear today
  • Finding a light brown eyeshadow to use in the crease of your eyelid for contouring the eyelid and adding dimension to your eyes. Marilyn was known for her dramatic eyeliner which I am not wearing here, but she did have the eyeliner applied over a cream or white eyeshadow base and a light brown eyeshadow or bronzer to contour the eyelid crease. I think the dramatic eyeliner is optional
  • Finding the right shade of red lipstick to compliment your skin tone and applying it well. Finding the right shade of “Parisian red” for you and applying red lipstick can be an art. The texture of the lipstick formula is important, too. I generally prefer creme textured lipsticks compared to matte lipsticks. The creme texture keeps your lips moisturized and maintains natural shine without having lip gloss on over it. Though, Marilyn was known for using lip gloss over her lipstick as well. One of my favorites is an authentic reproduction of the red that Marilyn wore by Besame Cosmetics. Besame Cosmetics is one of my favorite makeup brands.

Whether you are dressing up for a night out or dressing for the day you have ahead of you, you can style yourself glamorously. As Marilyn said, glamour cannot be manufactured.

The Tale of Peter Rabbit: An Emblem of Easter

The Easter Bunny is a symbol of Spring, a symbol of new life and rejuvenation of spirit. For Easter tidings, it’s of particular significance to focus on rejuvenated spirit because Christ’s renewed life by his crucifixion is the central idea of the Christian faith. I think Peter Rabbit is a lovely depiction of the “Easter Bunny” and is symbolic of the season. Peter Rabbit’s story is fascinating. Beatrix Potter was an English writer, illustrator, natural scientist and conservationist who lived during the Victorian era. She had numerous pets and loved flora and fauna. Beatrix Potter was an example of the good that it does to a person when they are closer to nature. The landscape that she enjoyed was in Scotland and the Lake District in England. She was born in London in 1866 and was avidly interested in all sciences except astronomy. One could perhaps assume that she felt a particular affinity for being “of the earth.”

Potter wrote The Tale of Peter Rabbit in 1902. It is a quintessentially Victorian book, and its appeal has lasted through the decades. Peter Rabbit is a mischievous and disobedient rabbit who gets chased around the garden by Mr. McGregor, a horticulturist who is trying to keep rabbits out of his vegetable garden. The character has been used in toys, dishes, clothing etc., because Beatrix Potter patented a Peter Rabbit doll and board game in 1903. The characters are Peter Rabbit, Flopsy, Mopsy, Cotton-Tail, and Mr. McGregor. They are a family of rabbits with different personalities… it’s all very adorable.

Walt Disney had attempted to turn the tale of Peter Rabbit into a Disney film, but Beatrix Potter refused. Disney had likely seen a correlation between the charm of the woodland creatures in his wildly successful adaptation of Snow White and the Seven Dwarfs (1937). In any event, Bambi was likely the successor of a woodland creature story, which was released in 1942. Numerous films have been made about Peter Rabbit, though. He may not have become a Disney icon, but interestingly, has maintained a type of icon status in his own right!

I am most intrigued about how Beatrix wrote a tale about rabbits which humanized an animal to some degree. I believe Beatrix meant this to be charming, memorable, and teaches early on how we are part of nature just as much as our fellow animals are. Having an appreciation for nature and respecting the earth early on is essential. Now, when climate change threatens our fundamental conception of survival, it may be more than fitting to re-introduce Peter Rabbit. From being a friendly reminder of the joys of nature, to a symbol of the Easter season… take a leap down the rabbit role this Easter and appreciate Peter Rabbit’s tales for all of its charms and seasonal joys.

Mary Magdalene: An Example of Easter Devotion

Mary Magdalene represents a devotion to Christ which is deeply inspiring and represents the Easter season to me. She has been depicted in art throughout the centuries. In 1640, she was painted by Georges de la Tour, a Catholic Baroque painter, his piece part of a series depicting her. The most famous painting of the series is entitled “Magdalene with the Smoking Flame.” Today, the painting is housed at the Louvre. In 1989, Disney’s The Little Mermaid included the painting in Ariel’s grotto.

The glimpse of the painting in the film is likely intended to represent a devotion to becoming human (which Ariel’s grotto is a religious temple of sorts to becoming human), a congruent allegory to Mary Magdalene’s deep devotion to Christ. The devotion Ariel has to the spiritual transformation of becoming human is similar to the transfiguration of Christ.

According to the Musée du Louvre, “During the 17th century, great devotion was shown to Mary Magdalene in all Catholic countries. She was the perfect lover of Christ, her beauty was made more appealing because of her repentance, which had a special attraction for a period so passionately interested in problems of mysticism, quietism and asceticism. The theme of the repentance of sinners and trials sent by God is illustrated in subjects such as the Repentance of St. Peter, Mary Magdalene, and Job. The number of written works give evidence to the cult of Magdalene and this cult became widespread since Provence contained two great sanctuaries dedicated to her: the grotto of La Sainte-Baume, and the Saintes-Maries-de-la-Mer.”

Mary Magdalene represents the spiritual devotion that I seek this Easter.

American Classics Across Lifestyle Categories

On March 24, 2022, the epic American film, The Godfather, will turn 50 years old. The film written in collaboration between Francis Ford Coppola and Mario Puzo is likely the most recognizable film of our time. In recognition of how The Godfather became an immediate classic, I am interested in considering how “classics” in American culture have shaped the entire consumer market. Personally, I prefer most classics (in all aspects of life), and especially the idea of nostalgia in some form will never lose its appeal. The impact of a 1972 film on Hollywood is remarkable.

To me, The Godfather is situated between Casablanca (1942) and Titanic (1997) in terms of “epic films,” which is an interesting way of understanding how Hollywood has peaked in many ways. I was five years old when Titanic was released and I distinctly remember watching the Oscars and thinking how amazing all of that was, including the amount of Academy Awards it was nominated for (14 nominations and 11 wins) and its general mass market appeal. This fervor of an epic film had to have been the same for The Godfather in the 70’s (11 Academy Award nominations and 9 wins). I do not think there will be films in the future that will reach the same level of epic status. Perhaps, but likely not.

Let’s explore my take on “American classics” across all lifestyle categories and why they still carry their weight in appeal! If you are in a pinch trying to decide which film to watch sometime this month, watching The Godfather again is a great idea. Perhaps this is also a good reminder to pick up a classic American novel, listen to some classic music, or play a classic board game! We may not be in “lockdown mode” anymore, but we can certainly still live into classic lifestyles. You can’t go wrong with a classic of any kind!

Classic Films

Classic Music

Classic Books

Classic Board Games

Classic Toys

Original Barbie (1959); Hot Wheels (1968); “Molly McIntire” by American Girl (1986)

Classic Candy

Classic Office Supplies

Classic Casual Women’s Clothes

Classic Cosmetics

Maybelline New York Red Lipstick (1915); Revlon Red Nail Polish (1932); Airspun Loose Face Powder (1935)

Dorothy Draper: American Visionary

In honor of Women’s History Month, I am highlighting Dorothy Draper, the first interior designer in the United States. The aesthetic she developed as a designer has defined perceptions of “classic Americana” and you can still find her designs at hotels such as The Beverly Hills Hotel, The Fairmont San Francisco, The Grand Hotel in Michigan (Mackinac Island), and The Greenbrier in West Virginia. Her interior design company Dorothy Draper & Co. is still in business to this day, led by Carleton Varney, Draper’s mentee.

One of the most enjoyable parts of her aesthetic is a direct and loud I am here and look at me aesthetic that embodies what being American is all about. Her aesthetic is both complicated and uncomplicated all at once, there are distinct patterns and colors she leaned into as a constant in all of her rooms: (pink!), thick stripes, distinct florals, blue ceilings etc. I don’t think there could be a more fitting national style to embody America. You simply cannot ignore Draper’s design, just like you cannot ignore America. Something uniquely American about this particular style is that it’s replicable at home for some rooms and Dorothy Draper wrote books about decorating, she was sharing her vision for you to adapt as your own!

Dorothy Draper was an anti-minimalist and the elements of her design are now considered definitive of Hollywood Regency interior design. She was born in New York in 1889 to an upper class family in one of the first gated communities in the country. Her family owned three homes at the time, one in Manhattan, one in Tuxedo Park (upstate New York), and another in Newport, Rhode Island. Her great-grandfather, Oliver Wolcott, signed the United States Declaration of Independence. Her upbringing enabled her to shape her interior vision because she was exposed to both history and design, as well as the upper class contacts that would become her client list. Draper’s designs have been a major influence on several modern interior designers, including Jonathan Adler. It is wonderful to learn about how American interior design has evolved through the years, but it’s evident that Draper played a major role in shaping it. Dorothy Draper set a standard for American style which has stayed contemporary despite all of the years in between. Dorothy Draper will always be America’s designer.

Carleton Varney, the leader of Dorothy Draper & Co., a mentee of Ms. Draper.

Villa Rosa & Villa Virginia, Positano

Every so often we hear of or see places that we know are just incredibly special. For myself (and like many others), I think Italy is a very special place. Because of the Amalfi Coast’s tourism popularity, there are definitely “hidden gems” among the places that you can choose to visit. Positano is one of the most visited tourist destinations in Italy. When you go, you can certainly find hidden gems to enjoy it to the fullest and make the most of your stay. The Villa Rosa and Villa Virginia in Positano are two of those hidden-in-the-sea-cliffs gems. The views are breathtaking and these properties are at the heart of Positano.

Both properties provide stunning views of the Amalfi Coast. In my personal opinion, they are the ultimate views of Positano, the true “postcard” view. If you are planning a glamorous getaway or even a wedding, both of these destinations are ready to serve you. There truly may not be many places on the planet that are as stunning as these two properties, and that is saying a lot. While the hype of Positano’s popularity is real, these destinations are the true gems of the Amalfi Coast, combining the stunning seaside imagery and true Italian charm. As the world starts to re-open more broadly and it is becoming more normal again and you may be thinking about planning some summer travels, consider giving Italy some extra love… XOXO

Esther Howland: The Origins of American Valentine’s Day Cards

Esther Howland is considered the “Mother of the American Valentine.” Her company, started at the ripe age of 19, was conceived when she “received a fancy English valentine from an admirer in 1847, and she was inspired to start the first American valentine company. She hired friends to help make the valentines around her parents’ dining room table. Esther designed the cards… Soon, Esther’s New England Valentine Company was making thousands of dollars a year.” (Samantha’s Friendship Fun, 2002). Born in Worcester, Massachusetts and daughter of Esther Howland Allen, author of The New England Economical Housekeeper, a cookbook including original recipes of New England clam chowder, salt cod, and Boston pudding. Her mother adopted a famous phrase from Thomas Jefferson, “Never buy what you do not want because it is cheap.” This philosophy of living likely inspired Esther Howland to focus on what was truly special to her, which was designing beautiful Valentine’s Day cards.

The house that Esther lived at in Worcester, MA.

Since Valentine’s Day cards were not considered affordable to Americans yet, Esther was determined to create economical and beautiful designs to democratize access to Valentines! This was a highly innovative concept for the time and Esther’s commitment and passion to seeing her company thrive has made her the “mother” of American valentines. She made a dozen samples of her cards and her brother, who was a salesman, took them with him on his sales trip. Expecting $200 in orders, she received $5,000 in orders. She knew this would be a success. A guest bedroom in her family home was used for the operations and she hired women where she spread the work to be “light and pleasant,” as all of the cards were handmade. She was the first to create the commercialization process for Valentine’s Day cards. She imported materials for her cards from Germany and she also thought of using silk and embossing cards. Eventually, she sparked competition! The original New England Valentine Company is America’s first ever valentine’s card producer. Thank you, Esther!

A Literary Legend: Zora Neale Hurston

When I was a student at UC Davis, I took a course on American Literature. This was the first time I was introduced to Their Eyes Were Watching God, a book written by Zora Neale Hurston which was published in 1937. Hurston’s literary impact is enormous. In honor of Black History Month, I am featuring her because she has had impact on me and many others. Hurston was born in Alabama in 1891 as the fifth of eight children and Hurston grew up in Florida. Her father was mayor of the town that she grew up in, Eatonville, which was one of the first all-Black towns in the United States. Later, her father served as minister to the town’s largest church. She was formally educated and she attended Howard University, Barnard College, and Columbia University. She was a central figure of the Harlem Renaissance and she wrote about contemporary issues in the Black community. Hurston often used Eatonville as a setting for her stories.

Hurston’s writings reflect a deeply anthropological lens and this is not by chance. She was educated with this lens and one of her main goals was to prove similarities between ethnicities. In 1920, she was one of the first initiates to Zeta Phi Beta, a sorority for all Black women. Hurston was married three times. Her first husband in 1927, a jazz musician, Herbert Sheen, who later became a physician. Their marriage ended in 1931. In 1939, she married Albert Price, but their marriage ended after a few months. In 1944, she married James Howell Pitts. Again, this marriage also lasted less than a year. Hurston has no children and she traveled extensively in the Caribbean and was immersed in local practices – a true anthropologist. Much of her work’s focus was around preserving cultural practices and she was also a documentary filmmaker. Hurston’s legacy lives on to this day.

Rosy Conversation with Deborah Brand

Deborah Brand is a British fashion designer who specializes in corsetry design. Deborah’s bespoke pieces have been worn by many celebrities, including Amal Clooney, Salma Hayek Pinault, Kim Kardashian, and Adriana Lima. She is based in London and has a studio in Notting Hill that is by appointment only. Linked here is an Instagram video of a woman putting on one of her corsets in under a minute. Please follow her on Instagram @deborahbrand.

Our Conversation

Bianca: How long have you been a fashion designer? 

Deborah: I have always been a designer.  I started when I was 20 and if you look at the index on the anthology on my website, I started with sexy stretch dresses in my twenties and eventually leading up to corsetry.  Lifelong obsession with design!  I was born a fashion designer! 

Bianca: Your corsetry design is bespoke.  Was there a juncture in your design career when you realized, “I really want to get into corsets now.”

Deborah: Yes, there was actually a big event.  I have always designed sexy bodycon clothing, I have always used the female form as a canvas.  In the early 90’s, I did a corset dress that was sold exclusively to Harrods, but never did an actual corset. About 15 years ago, I had a horse riding accident and I broke my back. I was out for nearly a year.  When I came out of the accident, I had to learn to walk again and my body had completely changed shape.  I didn’t have a waist anymore.  Part of the design of the corsetry focus was getting my femininity back. 

I was blessed with a very curvaceous figure my entire life and like everything, you take things for granted and you probably may not even like so much… but when it’s gone, you think “oh no, I really miss that!”  I had no waist, I didn’t mind being larger, but I really minded having a stomach.  In order for me to design, it was a crossover of two things at the same time…  I was resculpting on the dress form and wondered, “how could I design something for myself where I could look curvaceous?” 

I basically developed the corset, initially, to wear myself to feel sexy.  Once I got into the world of corsetry, there was no going back.  It’s incredible what you can do.  It is a real art, fashion design is fun and wonderful, but corsetry is really artwork.  It’s an art form.  I took three years out of my life to master it all.  I can make women look photoshopped!  It’s so great seeing their faces when they put on my designs.  I love making women look and feel fantastic.  I absolutely love what I do. 

Deborah’s Swarovski corset, detailed with 15,000 hand placed multi-faceted Swarovski crystals

Bianca: Wow, you have so much meaning and purpose connected to your designs!  That is so inspiring.  When I came across your designs, I was really awestruck.  There is something to say about the bespoke aspect. For example, mainstream shapewear is now a norm.  Do you see that your product is a differentiation of that?  Where do you find inspiration? 

Deborah:  I love being in the sun… I am in Arizona right now because my business partner lives over here.  The shapewear question can go down a hundred routes.  I still do womenswear, eveningwear, but my focus is now on corsetry.  I am a womenswear designer, but now see myself more as a corsetier.  When I started crossing over around 2008, the way that the world was back then about corsetry, I had massive pushback.  People were saying I was disempowering women… People thought I was taking women back a hundred years… I was saying, “It’s not so deep, I want to make women look sexy and feel great, it’s for that special time when you want to be seen.”  When you wear a corset, you’re seen.  It’s the most feminine feeling to wear a corset. I wrote 10 years ago, women will want to wear corsets again.  I had been swimming against the tides, but now it’s not so, last year was the year it hit… I predicted it.  Women want to wear corsets again.  

I don’t take your waist in 16 inches like the antique corsetry, I’m going to take your waist in a couple of inches maximum.  If you take a woman in a couple of inches, you are putting something on that is giving a shape and you can choose if you want to go tighter.  It makes you sit up straight, it makes you more conscious of yourself.  It helps you focus on your alignment.  It’s like wearing makeup, having high heels, having your nails done, it’s another accessory!  It’s not rocket science, we are just trying to have fun here.  All of my friends’ children who have grown up knowing me are all fans now.  The Gen Z’s are all about it because they don’t know the story of corsetry.  They just know it makes you look great. 

Bianca: I do think you have been on the right road with this for a long time. How have you felt watching this newfound popularity unfold? 

Deborah: The next generation is really understanding it.  Now I’m seeing it everywhere.  It’s so funny, even two and three years ago, my friends were saying what are you doing?  Now, that’s  changed.  The impact of Billie Eilish wearing a corset for the June 2021 British Vogue cover for example…  I think she single handedly changed the industry with that cover.  She recently broke down all the corsetry barriers and now there are no barriers! 

Bianca: That’s amazing. I was reading on your website about the boning structure of your corsets more specifically.  All of your corsets are exquisite, is there anything that makes your designs specifically so unique? 

Deborah: Yes, they are like no one else’s.  I spent 3 years developing my corsets.  They have 40 bones (the rigid parts of the corset) in my design.  I also knew if it was not easy to get on or comfortable, a woman wouldn’t wear it.  So, I made the corset when you actually put it on, it’s both beautiful and comfortable.  It was a lot of working coming up with the right bone structure, the interlinings, what fabric to use… the pattern… things like that.  It took a lot of time to get it right. 

It takes under a minute to put on one of my corsets.  I have a video on my Instagram where we show a video of a woman pop it over her head and pull the strings by herself in under a minute.  Back when corsetry was a big thing, you had a maid to put you in.  All you have to do now is just pull the side strings.  Craftsmanship is a big part of my designs.  The most ornate one is my Swarovski corset that is covered in Swarovski crystals!  The fabric we use is the fabric that is specifically made for corsets (the same used for the making of corsets in the 19th century).  There is a real art that goes into it.  A lot of work goes into it! 

One of Deborah’s masterpiece designs

Bianca: It is clear that the art of this has not changed, but you have modernized and made a classic piece contemporary, which I absolutely love. What else about the history of corsetry do you know? 

Deborah: Corsets started to lose favor around Chanel entering fashion and WWI.  Women had to go into the workplace and they designed a sports corset so that women could work in the fields.  They had to give up the wires of their original corsets to aid the war effort and they donated enough corsetry bones to make two steel battleships.  Corsetry started to lose favor around 1920.  Later, in 1945, the brassiere was invented.  It’s funny to think there wasn’t a bra up until then.  I have a couple corset designs with actual bra cups, such as my Swarovski design.  The original corset does not have bra cups because they weren’t invented.  Another modern aspect is about not being laced in so tight… it doesn’t look good actually.  There is a mathematical equation to a beautiful silhouette.  Your waist should be 4 inches smaller than your underbust.  If you take it in more than that, you start to look contrived.  Some people like that, but we are just talking about taking your waist in by a couple of inches. 

There are some women who are apple shaped, they are very beautiful, but no matter what they do in life, they won’t have a small waist.  They could be size 6, but they won’t have a waist.  Some of my clients are now given a waist with the corset and it’s completely changed their wardrobe!  You can have so much fun with it.  I am 53 now and I wear my corset under my eveningwear. 

Salma Hayek Pinault wearing Deborah’s design in the Martha Fiennes moving image artwork, Yugen, first premiering at the Venice Film Festival in 2018.

Bianca: What were some of the challenges you faced when starting into corsetry? 

Deborah: I think a big challenge was the niche culture of corsetry that is not necessarily healthy.  I believe in everything in moderation and being healthy.  Wearing a corset can work your muscles.  Women in corsets can be healthy and look great.  I hope that one day every woman will have a corset. 

Bianca: We have been delving in a lot about your design work.  I would love to learn more about you!  Are you originally from England? 

Deborah: I am British, I was born in Britain, but my parents came from a South American country called Guyana.  It’s next to Venezuela.  I was born and raised in London. 

Bianca: It looks like you have a studio in Notting Hill, correct? 

Deborah: Yes, we have a studio by appointment only. Corsetry is complex, we need to give it the time it deserves.  When somebody contacts us to have something made bespoke, we have a number of conversations with the individual first.  We discuss their vision, what they are trying to achieve, what the event is for…  We want to get an understanding of the client first.  Sometimes we drop a few sketches to them. Then they have their first appointment where we will take their measurements. A dressform is built to their exact measurements and then we start building their dream. Our customers get to see every part of the process. Once the corset is built, the customer is invited in for their first fitting where the shape is decided and proportions are agreed.  We want to get the right amount of depreciation of the corset which fits you best. 

A lot of our clients will want it as tight as possible on the red carpet and then loosen it once they’ve had their close up, so we add a large modesty panel at the back. This allows for a 5 inch difference on the depreciation. We can build the corset of our customers dreams. The only limit is their imagination. We are currently designing Ursula’s costume for The Little Mermaid.  I want to do a very contemporary version of Ursula, i.e. Ursula meets The Met Gala.  I am very good at what I do, I will make sure this looks couture.  

Bianca: Do whatever you believe is the most beautiful! 

Deborah: Absolutely, I will make a beautiful, very sexy version of Ursula. 

Bianca: Many celebrities have worn your designs, how do they find you? 

Deborah: I am a corsetiere, they seek me out because there are so few of us.  I am yet to meet another corsetiere, it’s a niche market.  My best corset design is called the Mila.  The Mila corset is, in our opinion, the ultimate in corset luxury and the best ready-to-wear under bust corset on the market today. Designed with ease of wear in mind, our corset glides effortlessly on in under 60 seconds, is elegant and contemporary in design, and surprisingly comfortable to wear. This corset can be worn under and over clothing and will give you an enviable hour glass silhouette. The Mila is a fantastic under bust starter corset for women who have not worn it before.  I wear mine all the time. My wish is for everyone to own a corset and for that corset to bear my name. 

A model wearing Deborah’s design

Thank you, Deborah, for your unique stance on the corset and for sharing all of your experiences with Rosy BVM! ~Bianca