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On Madison is constantly inspired by the stories of those iconic individuals that seem to possess an inner compass that constantly points them in the direction that is true to their passions (see Diana Vreeland blogpost and that of Tony Duquette).

Helena Rubenstein is the subject of a new exhibit, “Beauty is Power”, at the Jewish Museum in New York, which brings together art and objects from Rubenstein’s vast collection. The title of the exhibition derives from Rubenstein’s determination to transform herself by force of will into a paragon of good taste and high style, all the while building a worldwide cosmetics brand and empire which afforded her to collect that which she loved.

For the design of her stores, Rubenstein turned to the some of the 20th Century’s most legendary designers. Louis Sue designed her Paris apartment. Emilio Terry designed her store in the Faubourg Saint-Honore. Donald Deskey and later David Hicks all collaborated on Rubenstein projects.

As a collector, Rubenstein ventured far afield, often recognizing objects decades before others would appreciate their merits. Her New York bedroom was furnished with a lucite sleigh bed illuminated with concealed fluorescent tubes. “I like my own taste, good or bad,” she would say. She bought what she liked, without benefit of consultation, and learned as she went along.

Marie Laurencin, Portrait of Helena Rubinstein, 1934.

Decades before post modernism would emerge, Rubenstein would pair art and objects from disparate periods, with nothing to unify them except her razor sharp eye.

Pablo Picasso, Portrait of Helena Rubinstein XIX 27-11-1955, 1955.

Ahead of her time, Rubenstein was not only the first “self-made woman magnate of modern times,” but understood the power of what is now commonly referred to as “building a brand.” Her wardrobe, her homes, her collections became advertisements and sent a message to all women that you could invent yourself and be anything you wanted to be.

Hers is a message to everyone, women especially, that self-confidence is the ultimate power trip.

The term “true original” can sometimes be overused but if there were ever someone for whom that description was obvious it would have to be Diana Vreeland. There was certainly no one like Ms. Vreeland before her time and many imitators after her.

“Red is the great clarifier – bright and revealing. I can’t imagine becoming bored with red- it would be like becoming bored with the person you love.”– Diana Vreeland

Born into a privileged family, Diana Vreeland, was not considered beautiful and in fact was overshadowed in her youth by her younger sister. But Diana was determined to grab attention and did so by re-inventing herself through fashion. Always dramatic, Diana began a love affair with Paris couture, adding her own avant garde flourishes and quickly gained a reputation within New York society as a clothes horse and tastemaker. This eventually led to a position with Harper’s Bazaar in the 1940’s.

While at Harper’s, Diana, began to write a feature column called “Why Don’t You?” in which she dispensed fashion tips and advice. It became wildly popular and Ms. Vreeland continued to exert ever more influence at Harper’s and the fashion world. This eventually led to her ascension as editor-in-chief of Vogue Magazine. Always able to spot talent and trends, Diana helped bring photographer Richard Avedon’s work to the covers of Vogue. She spotted Verushka and Lauren Hutton in the 1960’s and made them the first supermodels. Diana styled many of the photo shoots herself which are now icons within the Vogue archives.

Diana Vreeland adored red. Red lizard boots, red nails and lips, blue/black hair pulled tight, Diana held court in her legendary all red living room on Park Avenue. Here is our homage to red in honor of Ms. Vreeland, along with some of her famous “Vreelanisms” on the subject.

“I wanted it to look like a garden. A garden in Hell.”- Diana Vreeland

Red Chippendale Chairs, Diana Vreeland by Eleanor Dwight, Red Crocodile Clutch (available at On Madison), Nars “Jungle Red” Lipstick, James Mont Style Red Lacquered Coffee Table

“All my life I’ve pursued the perfect red. I can never get painters to mix it for me. It’s exactly as if I’d said, ‘I want Rococo with a spot of Gothic in it and a bit of Buddhist temple’.”

Paint sources: Farrow & Ball “Rectory Red”, Benjamin Moore”Strawberry Red”, Benjamin Moore “Watermelon Red”, Benjamin Moore “Million Dollar Red”

photos via DianaVreeland.com

When it comes right down to it, isn’t that what being an original is all about, the confidence to fly in the face of convention, fearlessly expressing one’s creativity and daring to be different.