Carrie Donovan's Legacy Lives On

Mao Mines Fashion History

New York’s designers, models, editors and drug dealers are eagerly awaiting Fashion Week.

Starting next Wednesday our fair city will become an estimate 4345% more attractive. We’ll get a look at what we’ll be wearing next spring. We’ll glimpse people far more wealthy and connected. For one week, New York will become a glittering mess of forward thinking fashion. Rest assured Mao magazine will be in the thick of it.

The glossy’s kicking the festivities off right with the release of their fall issue. As always, the pages are a cornucopia of cultural movers and shakers, including interviews with Diane Von Furstenberg, Joan Rivers, Elsa Peretti and Vogue‘s living large Editor-at-Large, Andre Leon Tally.

Though its nice to get insight from so many current insiders, the magazine also turns its back to the past with pieces on The Palladium, Halston and the NY Times‘ famed, late style editor Carrie Donovan.

During her tenure at The Times – and Vogue and Harper’s Bazaar – Donovan charted a new direction for fashion. And left a quite a legacy.

Charles Churhward recalls for Mao:

The fact is that Carrie was there really at the beginning of Versace, Armani, Montana and Mugler, and of course in this country Perry Ellis, Donna Karan and Calvin Klein. They were all really started by her. She was close to all of them, and she brought them all out, and made ssure the public learned about them and what they could do.

Donovan’s fashion wasn’t about the elite. The sartorial culture should be shared. Ideas should be exchanged.
These days, fashion week’s become a money-drive survival of the fittest. We’ve got our all star editors fighting for designers, yes, but no matter what a garment’s color, there’s always a hue with green. Not for Donovan. Julie Britt notes, “Carrie just absolutely adored what she was doing. She was not money-driven in any way.”

How things have changed.

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