Color In A Black White Film by ChelseaKnights

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Color In A Black & White Film

11/29/2007 08:57 PM

The Paillette Gowns

I had the sensation that I was actress Joan Crawford entering the high-society world that surrounded her role as socialite Crystal Allen in the 1930’s film, The Women, as I approached Lloyd Klein’s Couture Laboratory. This gorgeous building at 7415 Beverly Boulevard was designed in 1928 by Anthony Heinsbergen, architect of the Los Angeles City Hall. His vision was a grand facade in the art deco gothic style using bricks from the original L.A. City Hall. The resulting structure is all that and more, complete with a pond for koi fish and turtles, reminiscent of the moats that surround grandiose castles. But when I rang the doorbell for my appointment with Lloyd Klein himself, I realized that all the grandeur of the building could not prepare anyone for the beauty of the interior that meets its visitors.

I was engrossed in the fantasy women-only world of glamour created in The Women as the luxurious gray suede walls gave the illusion of a black and white film. There was an amazing ambiance produced by the new mirrors and lighting, along with the wood roof ceiling and medieval-esque frescoes of the original building. But the dashes of color in the clothing that stood out against this black and white background were the most impressive element of this very intimate atmosphere. The colors that currently populate Klein’s clothing are mostly black, chocolate, and royal blue. I admired the four paillette evening gowns worn by the mannequins situated in the main show room. The dragon that wrapped around the silhouette’s side was hand embroidered and the paillettes were hand sewn. The incredible attention to detail in these gowns makes them worth about $17,000 each. Every room; the main showroom, couture lounge, merchandising rooms, archives, and design studio, displays Lloyd Klein’s impeccable design talent.

Lloyd Klein initially studied architecture, until he discovered that it was too static for his taste, and fashion gave him the mobility he desired. But by no means did his architectural background go to waste. Lloyd Klein believes that “construction is important in all creation”. This attitude towards design explains why suiting is his forte. His signature is his masculine, precisely tailored sleeve, that extends in length and narrows to a point; a shape which Klein says was inspired by his LK logo. His suits also have an epaulette detail that creates a strong but not too exaggerated shoulder. His beautiful suits exude confidence and strength alongside elements of femininity.

Lloyd Klein’s design genius does not end with suiting; he is also a master of draping. He began draping in 1995 when he became head designer for the Paris-based couture house Maison Mme. Gres. Having majored in architecture, he was never trained in fashion design. Rather, he gathered his skills by a combination of industry experience and natural instinct for design. For inspiration in draping he looked to Greek statues, studying the shadows and folds of the sculpted garments. Lloyd Klein commented that his approach is “to let the fabric express itself”, and when I saw his draped gowns of silk jersey I knew it successful.

Lloyd Klein maintains offices in Paris, Milan, and New York, but has selected Los Angeles as the location for his headquarters. The design aspect of his business is done here in L.A., while the technical construction is done in Paris so that all garments are of the highest quality. Both ready-to-wear apparel and couture made specifically to your measurements are sold. Lloyd Klein summed up the interview and said goodbye with a “Voila” in his very debonaire French accent. And now I invite you to step into character as a glamorous socialite of The Women (perhaps Norma Shearner, Rosaline Russell, or Joan Crawford) and enter this black and white film to discover new color in Lloyd Klein’s majestic suits and gowns.

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