Success came quickly, and her business grew

the French fashion designer called

Sonia Rykiel, a beloved French designer synonymous with striped sweaters and Left Bank insouciance, died Thursday in Paris after years living with Parkinson’s disease and osteoporosis. She was high quality replica handbags china 86.

Jean Marc Loubier, president and chief executive of First Heritage Brands, the holding company for Sonia Rykiel and Delvaux, confirmed her death to WWD.

A sign of her zesty personality, she did not consider pants a way for women to be equal with men but to afford equality to women who might not have beautiful legs, he noted.

“She had this tremendous seduction: Her eyes, voice, attitudes, words high quality designer replica handbags wholesale ,” said Christian Lacroix. “She epitomizes a certain brand of ‘French ness’ and Paris since the Sixties free and elegant girls, with French style, French attitude and French freedom, both erotic and intellectual.

“She was the link in between Vionnet, Schiaparelli, Chanel and her generation of women designers, with a modern, feminist, optimistic and free approach to fashion, the world and the times.”

Lacroix associates her name with “a very precise, sinuous silhouette, knitwear forever, stripes, sequins, fedoras, Twenties makeup, black and beige.”

“Sonia Rykiel was a revolutionary designer. I have great admiration for the work that she has done on liberating women and their fashion. And she gave the inspiration and the style to all of us,” Jean Paul Gaultier told WWD.

Rykiel had long since passed the design reins to a series of young designers. Julie de Libran, an alum of Louis Vuitton and Miu Miu, is the current creative director.

Famous for her triangle of red hair and saucy personality, Rykiel won fans with her feminine, witty sweaters, often striped, sequined or imprinted with words though she never learned to knit herself.

Born in the Paris suburb of Neuilly, the eldest of five daughters of a Russian mother and a Romanian father, Rykiel fake louis bag , nee Flis, never aspired to be a designer.

“I was supposed to be a mother like my mother , who didn’t work,” she said. “My husband [Sam Rykiel, whom she married in 1953] had a boutique called Laura.”

When she became pregnant, “I wanted a maternity dress, but I couldn’t find anything I liked. Everything was abominable. So I made one. Then I made a pullover. Elle put it on the cover. Then WWD elected me the Queen of Knitwear.”

Her shrunken 1962 “poor boy” sweater, with its fine ribbing, which she prevailed upon the Laura knitters in Italy to make, became a landmark design of the early Sixties.

A Laura boutique opened in Galeries Lafayette in 1964. Rykiel, who had her daughter Nathalie in 1956 and her son Jean Philippe in 1961, divorced her husband in 1968 and opened her first self named shop in May of that year on the Rue de Grenelle in the heart of the arty Saint Germain des Prs area.

The neighborhood, rocked by student protests at the time, was right for a designer like her although she had to close her shop the day after she first opened it because of unrest in the streets. Success came quickly, and her business grew. In 1969, she opened an in store shop at Galeries Lafayette, and her clothes were picked up by Bloomingdale’s and Henri Bendel in New York.

Looking back on those years for WWD in 2008, Rykiel said, “Since I didn’t know anything, I did everything I wanted. I didn’t listen to anyone. People loved me or hated me. Those who loved me, loved me a lot. The others, I didn’t bother with them very much.”

Rykiel kept the company in the family, one of the last French houses to remain that way, until 80 percent of it was purchased by Fung Brands a luxury company owned by two Hong Kong billionaires, Victor Fung and William Fung, and headed by Loubier in February 2012. The family retained a 20 percent stake.

Nathalie Rykiel, who had begun working at the house by modeling for it in 1975, became its managing and artistic replica designer handbags director in 1995, its creative director the next year, and expanded the fashion house into children’s wear, a diffusion line now called Sonia by Sonia Rykiel and introduced shoes and accessories. The Rykiel Homme collection, first designed by Tomas Maier, was produced from 1990 to 2009.

Sonia Rykiel was also known for 1:1 replica handbags her long, slim shapes, often in jersey; knits that were either cropped or oversized, and fur chubby jackets in shades such as bright pink and blue. Red, white and black were important elements in her signature palette.

In 2002, the company tried something new by launching Rykiel Woman, a lingerie and erotica shop on the Rue de Grenelle, which sold sex toys. Nathalie Rykiel said of this, “It worked out, aaa replica designer handbags because my mother strove to liberate women. [Forty] years ago, she told them to ditch high quality designer replica handbags wholesale their bras under her little poor boy sweaters. She told them to embrace liberty. Now we are being provocative in another way.” Nathalie did a clothing collection for La Redoute in 1995 and a lingerie line for H in 2009, with an accessories and knitwear collection for that firm launched the next year.

For Sonia Rykiel, in fact, being provocative was as important as the sweaters that became her trademarks. Her first slogan sweater in 1971 broadcast “Sensuous,” a term that WWD had used to describe her and. It became a bestseller. She often spoke of the importance of lovers in a woman’s life.

Rykiel created clothes that were unpretentious and woman friendly at a time when French feminism was being revived by the youthful rebellion of 1968. Her Seventies heyday reflected the cheap replica handbags freedom in the fashion air; her styles were most commonly described as eccentric, whimsical and oh so French. “Nineteen sixty eight was the beginning of the hippie movement in fashion,” she told W magazine in 1997. “That movement made fashion fake louis bag change completely. It was not necessary to be always dressed up. You could be dressed the way you wanted it was absolute freedom.”

She went on to state matter of factly, “I invented everything in the Seventies. Sweaters without shoulders; quilted jackets; showing inside seams outside.”

Regarding the unchanging nature of some of her designs, she quoted Jean Cocteau, who said that “he always made the same portrait. The trick is to cheap replica handbags last, and to last while not always doing the same thing, but not doing something entirely different. It’s important in fashion to stay who you are, but to always be in the mood and the replica louis vuitton bags air du temps [italics].”

Rykiel believed women should define Fake Louis Vuitton Replica Bags their own fashion, not the other way around. In the late Seventies, in fact, she began to say that fashion itself was “demode,” and in 1978 she showed a collection which replica louis vuitton mixed her clothes with those of other designers on the runway, the way they’re worn in real life. She expressed these views in her first of her many books, which were often done with photographer Dominique Issermann, a novel in diary form, “Et Je la Voudrais Nue” [“And I Would Like Her Nude”] in 1979.

She published an erotic novel, “The Red Lips,” in 1996. She said it was about a “love triangle between a man, a woman and a sweater.” In describing her early design process, she said, “I made clothes spontaneously. When it rained, for example, I designed a trenchcoat. When it was cold, I did a coat. I followed my instincts.”

Rykiel also had a hand in decorating some of Paris’s most luxurious hotels. She was asked to help revamp the interior design of the Hotel de Crillon in 1982, and she worked on the redesign of the Hotel Lutetia and its brasserie in 1985. Andy Warhol painted his four famous portraits of the designer that year.

In 1994, Rykiel was even featured in Malcolm McLaren’s album “Paris,” singing in a song called “Who the Hell is Sonia Rykiel?” Robert Altman was inspired to make his 1994 film “Pret a Porter” after he and his wife attended a Rykiel fashion show.

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