My Day at Dior: A Liaison Between Desire and Jouy

The champagne may have been joyful with bubbles, but it was I who was bursting with effervescence. 

It happened on December 30, 2018. I bought my first piece of Dior. A bag, of course. Specifically, the Dior book tote in canvas embroidered with a burgundy Toile de Jouy motif. Happy New Year to me!

I’d been thinking about that Dior book tote for days. To be honest, the book tote in general had been on my mind since it premiered as part of the Spring/Summer 2018 collection: a new bag with style to spare using a vintage pattern--the Oblique--culled from the House of Dior’s archives and reintroduced by current creative director, Maria Grazia Chiuri, for a new generation. I was enamored. So were a lot of other people. The Dior Oblique book tote was immediately sold out with a waiting list on which I did not wish to put my name. 

Fast forward to late fall and the release of the Dior Cruise 2019 collection. Once again the archives of the House had been culled. But this time inspiration was found in a toile that had originally been created for the walls of Monsieur Dior’s boutique in 1947. 

For those who don’t know, toile can refer to the fabric or the pattern on the fabric. A toile pattern is usually a pastoral scene repeated over and over. But Maria Grazia Chiuri updated this toile with lions, snakes, monkeys, tigers, giraffes. Those quiet pastoral scenes are now dotted with danger and the allurement of adventure.  

The Toile de Jouy book tote--which takes its name from the French town of Jouy-en-Josas, where toile has been produced since 1759--arrived just before Christmas. I couldn’t get it out of my mind. The pattern and the color had woven themselves together so completely in my brain that no matter how I tried I could not release myself from their grip. I checked dior.com almost daily to see if the availability at the 57th Street boutique in New York City had changed from “in stock” to “limited stock” or worse, the dreaded “out of stock.” 

I was a man obsessed. I even dreamt about it…twice. I woke from that first dream remembering the joy I felt from owning it. Every person I encountered as I walked down that dream street admired its beauty. Even awake, I could still feel the joy in my chest. Upon waking from the second dream I was left with no memories just a feeling of happiness.

A Dior bag does not come cheap. And it was an expense that I could not expend blindly. It's an investment. I mulled it over. I weighed my options. I talked to friends. I longed. I obsessed. I annoyed myself. 

In 1946, mere weeks shy of turning 42, Monsieur Dior founded his famed, and fabled, fashion house. He wasn’t a man in the midst of youth. He was a man 41 years wise and determined. World War II had ended. It was his time. He’d spent many years honing his skills in the French fashion Houses of Robert Piguet and Lucien Lelong. He even turned down an offer to breathe new life into the waning House of Philippe et Gaston. He knew what he wanted: his own House, his own name, his own rules, his own designs. 

Christian Dior is synonymous with glamour, beauty, style, strength, courage, and fearlessness.

I have long admired the man that I became aware of through my love of his gorgeously realized creative imagination. And the fact that he was 42 years old when he launched his first line only strengthens my admiration. It has long given me hope that anything is possible at any age. I’m 47, and while some see me as courageous, I’ve let fear get the better of me for more years than I care to think about. In Christian Dior, I see a man possessed with courage to start something new and a fearlessness that boldly transformed fashion. 

It was my time to engage with the glamour, beauty, and style. I was determined if not fearless.

As I walked east on 57th Street toward 5th Avenue, the awning, lighted in brilliant white illuminating the bold black name Dior, came into view. My pulse quickened. I was excited. I was nervous. I knew I didn’t have to buy the bag in order to step inside the boutique and see it. But I also knew I wanted the bag. My love affair with Dior goes way back.

As I stepped in front of the display window to the left of the entrance, I found myself relieved to see the mannequin I had seen on Christmas Eve still gracefully clutching the curved handles of the burgundy Toile de Jouy book tote. I felt an immediate sense of relief, as if I knew there would be a bag waiting for me inside, and that I would have no remorse in purchasing it. I walked through the glass doors.

Into the gleaming brightness I stepped, and there, past the towering red toile-covered giraffe, I saw the object of my desire. There were four of them beautifully displayed on a rack. I made a beeline. I asked the nearest sales associate if I could take one from the rack and was given permission. It was the first time I had admired its beauty up close. I already knew that each tote required more than 1,600,000 stitches and took over 42 hours to create, but as I held it in my hands I could see the artistry, and it was spectacular. 

I made my way to a woman standing at a display case behind me to inquire about some things of which I had questions.

There’s a certain expectation of bonhomie that comes with shopping in a high-end boutique like Christian Dior. But I never take that for granted. Probably because I don’t feel like I deserve it. I’m still a bit stuck in that stale mindset. However, I do deserve it as much as anyone else who desires that experience. So I proceeded, believing, if hesitantly, that I belonged.

That woman was Lauren, and it was serendipitous that she be my sales associate. You see, I had called the boutique the previous Friday to inquire about the bag. It was Lauren who had answered my questions. It was meant to be. 

Lauren was kind and so easy to talk to that she heard more about me than she probably wanted to hear. But she never let on that it was an imposition, choosing instead to participate with her own stories. She was generous with her time and attention. I felt like a queen. Say what you will about this being the sales associates job, I know when someone connects with me. I felt that she and I existed in our own little Dior world most of the time while I was there. 

A major desire of mine is to own my own “Bar” jacket. Introduced in Dior's inaugural collection of 1947, the “Bar” has been updated throughout the years by various creative directors during their tenure. It remains an iconic staple of the House. I felt comfortable enough with Lauren to ask her if she would help me figure out my size and fit. 

Up the stairs we went, past walls in motion with the Cruise 2019 fashion show. I took the bag with me. I barely put it down. Limited quantities and fear of loss can make one ridiculously possessive. 

Lauren indulged me in all things “Bar,” knowing that I wasn’t planning to buy the jacket, without a flicker of irritation. I’ve experienced that reaction before in an upscale boutique. It’s so disheartening. But on this day, the stars aligned to create for me the most exciting Dior experience I’ve had since my first trip to Paris when I stepped inside the Dior boutique at 30 Avenue Montaigne and breathed the air.

While my bag was being placed in its box--a piece of art itself--Lauren asked me if I wanted anything to drink: water, champagne? For a split second I thought “No.” I was feeling unworthy and undeserving; a waste of time. I quickly realized it, and that negative thought, of which I am so prone to default, was replaced with, “You’re in Dior! Have the champagne!” Lauren basically voiced that sentiment aloud.

Jouy directly translates to joy, and the liaison between my desire and the Jouy brought me nothing but. 

With my head swimming in champagne, I stepped into the chilled December air of a New York City evening and took my bag home.

Le reste c'est la beauté.

The Shallow Travails of a Bourgie Debutante

I love fashion. I am an acolyte of the Houses that pique my interest—Dior, Louis Vuitton, Chanel, Fendi, Hermès—and can often be found stepping through their gleaming glass doors to see in person what I first see between the covers of Vogue or Harper’s Bazaar—shoes, bags, jewelry, scarves.

There’s glamour to be found reflected back in the dressing room mirror (Dior); style that is unmistakable (Chanel); and an exclusivity that one might easily feel elevates his status (Hermès) I love it! I have arrived at a moment in my life where I am enjoying the exploration and expression of my style more than ever before. My confidence has grown, even if at times it is still lacking in fearless self-assurance. Of course, being harder on myself than anyone else could possibly be I like to berate and deride myself—not seeing the growth—only seeing how much progress I still need to make. It’s a glass half full, glass half empty kind of thing and I’ve never been an easy optimist.

I’m not afraid to walk through the door as a handsome man in a perfectly fitted black suit opens it for me. If fact, I believe in that moment that I belong there, deserve to be there. I carry myself with an air of confidence: my shoulders back, my chin up, my chest thrust forward, sun glasses firmly in place, resting bitch face perfectly expressionless. My God, I’m Emily Gilmore. But honestly, I feel more and more that my confidence is #FakeConfidence. For you see, the moment a sales person starts to be nice to me (e.g. offering me water or champagne or showing me what I’ve come into the boutique to see) I begin to feel my old familiar feelings of worthlessness and low-self esteem creep in.

I’ve lived, changed, developed, grown, and survived in New York City for 20 years yet the wispy remnants of my small town self continue to tug at me. My previously mentioned lack of self-assurance has me often asking myself the question, “Who do you think you are?” It's classic Imposter Syndrome.

On a recent shopping spree that took me from Fifth Avenue to Madison Avenue then back along the glittering designer boutique-dotted 57th Street, I experienced a wave of good ol’ Imposter Syndrome. 

The shopping experience started out perfectly. I stumbled upon a 60% off sale at Saks Fifth Avenue and met the fabulous Shaniece. Say what you will about sales people in high end stores trying to made a commission. I can tell when those sales people couldn’t care less about me. Shaniece was not one them. She was a riot: funny, catty, honest. Whether she had her eye on a possible commission or not, she made me feel like nothing less than a man who happened to be shopping on a Monday in Saks Fifth Avenue.

From there I made a beeline to Hermès on Madison Avenue. I’d recently become obsessed with owning an Hermès scarf. I needed one. I had a bag that was crying out for one. And it seemed that that Monday was the day. Through the doors with confidence I stepped and gayly forward I strode to the cases where the scarves were displayed in all their colorful silkiness under glass. I was quickly joined by the gracious and gallant Luke, who proceeded to pull out every scarf I had the desire to see even though the first one he showed me was The One. He treated me like I assume he treats any other person in the boutique. He was kind and attentive, knowledgable and generous. I knew that I wanted to spend money in Hermès that day so I didn’t feel as if I was wasting Luke’s time. My confidence was completely connected to the fact that I wasn’t planning to leave without a scarf.

To browse—perchance to buy…or not. There’s the rub. If I know I just want to browse in a luxury boutique I try and make myself invisible. I love attention and yet in a “just looking” situation I try not to attract attention. I hate this about myself. I am trying to cultivate the life that I want in New York City and that includes being able to buy designer pieces from time to time.

As I turned the corner onto 57th Street from Madison Avenue I saw the Fendi boutique. I remembered the fabulous boots from Spring/Summer 2017 that I’d seen Gigi Hadid wear in photographs in Harper’s Bazaar. I wanted to see those boots. I was flying high from my experience at both Saks and Hermès. It seemed like the perfect moment to take my first step inside Fendi and see the beauty in person.

I was shocked to see Maria, the former manager of Maison Margiela, standing in the store. Turns out she now works for Fendi. Having had several conversations with her at Margiela over the past 10 months I felt comfortable enough to proceed with the browsing. But as she took me under her wing, I could feel my “Who Do You Think You Are?”-ness kick in. It was a physical feeling: self-conscious, embarrassed. Maria, and her co-worker, Iris, were being so nice to me. I didn’t feel I deserved it. We were taking about the boots that I had come inside to see and before I knew it I had a glass of champagne and the boots were on my feet. Now let me be honest, that kind of customer service is something that I want even if at times it makes me uncomfortable. It is decadent and evocative of the life that I see in my fantasies. On the other hand, I knew I wasn’t going to buy those boots so I felt as if all the attention being bestowed upon me was actually taking away from the attention that could be paid to other customers. I felt as if I was wasting their time. This was my own doing. Neither Maria nor Iris ever made me feel that way. And Maria, knowing me from a previous boutique, was just being Maria. I spoke with her about how I was feeling. She told me that I should get over that, let it go. If the only way to get better at doing something is to continue to do it then I guess there will have to be more browsing in my future. 

I was walking around Fendi in a pair of boots that mere moments before I had no intention of trying on. And I loved having them on. I was enjoying a glass of champagne. I was living the life I wanted. But I was so concerned with being seen as a fake that I couldn’t fully enjoy my moment of playing dress up. My previous feeling of pure bliss got a mental take down by my feeling of inferiority. I let my low self-esteem and low self-worth sabotage my joy.

Ruts change from time to time. They can fluctuate from deep to shallow to somewhere in between, then back to deep again. That’s what happens to me. I must have been in a shallower portion of my Imposter Syndrome rut while in Hermès because I was happy and unconcerned about the amount of time Luke was spending with me. I didn’t feel as if I was wasting his time. However, I all but fell backwards into the deepest trench of my rut while I was inside Fendi. 

I am no longer living in Population 325 KY. I am no longer the child being chided by his father, “I hope you get a good job when you grow up because you have expensive taste.” I have a good job. I’m conservative with my money until I’m extravagant. But because of my monetarily conservative nature, I’ve figured out how to afford the extravagance. I am Michael Rohrer. I have lived in and created a life for myself in New York City for 20 years. I am not getting “above my raising.” I have bettered myself. Why then do I keep asking myself, “Who do you think you are?” I am aware of my Imposter Syndrome. But I seem to be unaware of how to get past it. I’m betting it will always be there, if maybe just a little less persuasive the more authentically confident I become.

If you noticed in an earlier paragraph I mentioned the word “status.” For me, my ability to afford luxury items denotes an arrival; a step up the rung on the social ladder. This is all preposterous, I know. I’m aware of my own bullshit. I’m kidding no one other than myself. There is no social ladder that I’m climbing. I may be climbing a ladder but it’s the ladder of Delusions of Grandeur. The ability to purchase luxury items—designer labels—doesn’t make me anything more than a man who owns that item. My struggle to belong has somehow led me to believe that my ability to purchase these things makes me a more prominent person. It doesn’t. They’re just things. 

In the April 1965 issue of Harper’s Bazaar, Tom Wolfe wrote a piece entitled “Pariah Styles: The New Chic.” In it he writes of the new aristocracy in New York Society after World War II. How aristocracy is no longer denoted by the owning of property or lineage. He writes of the new aristocracy that they use one trick attributed to the old aristocracy and that is confidence. This confidence is what sets them apart from the “bourgeois striver.”

I’m a bourgeois striver: firmly middle class striving for an upper class guise but often lacking the confidence to maintain the façade. I wasn’t born into the aristocracy of old New York. Hell, I wasn’t born a Blue Blood of old Kentucky. I will never debut. I will never be part of that world. I will never know what it feels like for an Hermès scarf to just be a scarf instead of the scarf. I feel as if I will always remain on the outside, a Bourgie Debutante with his nose pressed up against the glass even as he wears a white ball gown by Dior. I know that in reality buying luxury items means nothing more than I have spent my money on something that cost me a lot of it. The happiness of the purchase stays with me briefly before the little voice in my head starts whispering, “Who do you think you are?” Then the smile on my face fades and my joy dissipates like ash from burned paper floating off into nothingness.

I know I am impeding my confidence and happiness. I know I am preventing myself from achieving and retaining the joy in any given experience. I know I am stopping my excitement in its high heeled tracks. But that sense of “Who Do You Think You Are?” is deeply rooted in my psyche. I know it’s just a glass of champagne. I know it’s just a moment of human interaction where a sales person takes the time to try and build a relationship with a possible client. I know I am not a waste of time. I know I’m good enough to be inside the boutique. I know I am deserving enough to have the things I desire. I know that those things don’t make me who I am. I also know that no matter how many times I tell you what “I know” it doesn’t mean that I believe it. Some days I do. Most I don’t. 

So I’m a bourgeois striver. So what? My father was right, I do have expensive taste. So what? My life is mine. My desires are mine. My dreams are mine. My goals are mine. To have what I want, I know I have to get past my insecurities and live confidently. That’s easier said than done but being aware is the first step toward change, right.

Now, if you’ll excuse me, I’ve gotten my heel stuck in a rung on this ladder and I can’t reach that glass of champagne until I get it unstuck. 

Fashion Forward: Le Musée des Arts Décoratifs

Fashion. I love it. Some might say I'm a slave to it. While I like to wear what's "in," I'm also a sucker for something classic; or vintage. So I don't think I'm exactly a slave to fashion. Others might call me a label whore. I can accept this title. There are brands that I like (Louis Vuitton, YSL, Hermès) and brands that I find look good on me (Michael Kors, Marc Jacobs, Vivienne Westwood). If I can afford to buy the label, I'm going to buy the label. I've even been referred to as a fashion victim. Well, I have to say that while I have been known to buy the brand because of the label (LV, Hermès), I'm not one that's willing to shell out the money to buy the label just because it's the label, especially if it doesn't look good on me (or the bag doesn't fit my needs). The point is, everyone buys clothes. We're all drawn to certain things. I enjoy cultivating my style in the garden of designer labels when I can. I haven't always been able to do that. And I don't consider my desire to wear labels or my ability to afford them (Gucci platforms, YSL mini bag) a negative attribute. I work. I save. I purchase. Sometimes I have buyers remorse even if I've finally purchased the very item I've been saving for. Money is tangible. Joy from the purchase is not. Ultimately, I find the joy and have no regrets for spending the money.

Fashion trends are dictated by the designers (or Anna Wintour). We're all aware at some point in a season of that one item on everyone's Must List. Maybe it's a bag. Maybe it's a shoe. Maybe it a certain leg width for denim. For spring, I read that the bomber jacket was a must have. After reading that bit of information, wouldn't you know I saw bomber jackets everywhere. It made me wonder what underground syndicate tells every fashion house We want bomber jackets to be the It thing for spring so make one. 

Fashion changes. Sometimes gradually; sometimes from season to season. (Christian Dior used to change his silhouette with every season effectively outdating what was in a woman's closet every few months.) It can be based on the shifting mood of the times. Or can shift the mood of the times by creating something altogether new. 

Style is what you do with that fashion. I prefer to buy things that are on trend with a bent toward the classic. That's my style. I don't want my clothes to be dated by the next season. Something that is in the center of the fashion zeitgeist this season might need only the right accessory to keep the look fresh year after year. 

I do like to find out what has been deemed the hot color of the season. Again, does that syndicate tell everyone This fall we wants lots of cordovan but for spring we want emerald? I incorporate the color either in nail polish or a piece of jewelry or a shirt that has that color in it. Something that allows me to participate without going overboard. And let's be honest, a shirt with cordovan in the print is still going to work for autumn no matter the autumn of what year. Deep red is an autumn/winter color. It's a classic. Emerald will always work for spring/summer. Be smart about what you buy. Have fun, but be smart.

This fashion lesson was brought to you in honor of my visit to the Musée des Arts Décoratifs today. The museum is celebrating its 30th anniversary with a panorama of fashion spanning three centuries. I was in heaven. It's a shame you can't see my halo and wings. I didn't take a selfie. Sorry. 

According to their website there are "300 items of men's, women's and children's fashion from the 18th century to today." I saw them all. Corsets, panniers, breeches, waistcoats, vests, bustles, trains. From Charles-Frederick Worth (consisered by many as the first couturier) to Jacques Doucet, Paul Poiret, Jeanne Lanvin and Madeleine Vionnet. And what French fashion exhibit would be complete without Coco Chanel, Elsa Schiaparelli, Christian Dior and Yves Saint Laurent? 

I was mildly intrigued by the gowns and menswear of the early 18th century. They're beautiful. There's no denying it. Especially when viewing the details. It's easy to imagine Marie Antoinette and the ladies and gentlemen of the period wearing those clothes. We've seen the images a hundred and two times. We can't imagine how long it took to dress with all those layers. Forget about doing it alone. And forget about a quickie in the antechamber. Beautiful to admire, but yawn. 

Then there was the room filled with dresses I would expect to see in Scarlett O'Hara's closet...although not in her window. 

The changing of the silhouette becomes extremely interesting when you can view it all at once. The corseting and bustles to no bustles to finally no corset--women had to, and still do, go through much more than men when it comes to fashion. Although women have so many more choices than men when it comes to decorating their bodies with the beauty of clothes.

It was upon entering the room showcasing designs from around 1903 and forward that I came alive. These were dresses designed by names I recognized.

1. A selection. This is where my halo started forming

2. Elsa Schiaparelli (she loved shocking pink). To your right is a gown by American designer Mainbocher

3. An Elsa Schiaparelli pink jacket, again in shocking pink. To the right, a blue haute couture gown by her rival, Coco Chanel

4. The room where I got my wings 

5. The "New Look" by Christian Dior

6. Yet another gorgeous Dior

7. This Pierre Balmain is reminiscent of a few gowns I saw in photos from this year's Met Gala--Manus x Machina

8. Hubert de Givenchy coat

9. Again with Dior. The gold outfit to the left belongs to Chanel

10. Cristóbal Balenciaga

11. Both of these pieces are from the mind of Paco Rabanne

12. Both purple and yellow selections are Yves Saint Laurent

13. A Christian Lacroix that might have felt at home in one of the previous rooms

14. That ensemble on the right is the creation of Vivienne Westwood

15. A Raf Simmons dress for the House of Dior

16. The back view of the Dior on the left. The gown on the right is Riccardo Tisci for the House of Givenchy

Regardless of where you spend your money on your clothes, find your style. Figure out what you like, what makes you happy. Pick up a Vogue magazine once in a while and check things out. See what's in your closet already that looks like something you saw in its pages. Have a good time. Fashion should be fun.

Fashion is fantasy. Style is how you express the fantasy. Find your fantasy. Be yourself...confidently. I dare you!

Mon voyage se poursuit. Au Revoir