u/Lop229

From Madeleine Vionnet’s revolutionary bias cut to John Galliano’s sensual cowl neck-bias cut dresses. The bias cut has never just been a technique—it’s a movement. Draping, fluidity, and freedom, cut into fashion history.

Taken from the Carolyn Bessette Kennedy book: A Life in Fashion 2023

Traditional fabric cutting is made on the grain, which is the vertical-running fiber known as the vertical warp and the horizontal-running fiber, the weft. French designer Madeleine Vionnet discovered that cutting on the bias of the fabric, which is at a forty-five-degree angle, would allow it to fall at a diagonal.

The effect of this cut accentuates the lines and curves of a woman's frame because no darting or fastenings are required.

Bias cutting is the epitome of luxury because it needs more fabric and leads to more wastage than regular cutting.

The downside is, if cut incorrectly, it can lead to puckering, uneven seams, and haphazard tugging on an overstretched dress.

The bias silhouette originated from the slip dress. It's a reflection of lingerie or nightwear, light and slinky, and depending on the fabric choice-silk, crepe de chine, silk georgette, or silk chiffon-can resemble a second skin.

Dr. Valerie Steele explains that in bias-cut fashion history, we can't go directly from Vionnet to John Galliano.

In the 1970’s, Halston had a hand in it too, and so did Azzedine Alaïa.

According to Dr. Valerie Steele,
"Vionnet would shoo away clients who didn't have the perfect body for her dresses,"knowing that only a certain figure could hold such a formidable cut. She further explains that "in the eighties you had the underwear as outerwear, like corsets from Vivienne Westwood and pointed brassieres from Jean Paul Gaultier. 

In the nineties, there was a shift from these hard foundation garments to the soft slip dress, and with it came a different attitude to underwear as outerwear. It epitomized the eroticism of lingerie and brought out to the open a more liberated mood."

John Galliano happened upon the bias-cut technique while experimenting with draping for his Les Incroyables collection, presented at his final show as a student of Central Saint Martins in 1984! . He mastered every bias-cut parameter that came his way and often spoke of his work like a relationship. It was only when he was appointed at Givenchy that he could afford the luxury of making the dress for ready-to wear; factories would close at his request over the weekend to explore the stretch and behavior of each fabric when cut. The haute couture ladies who shopped in Paris would share their secrets on how they wore their own dresses—with suspenders clipped on the inside of the dress!

Excerpt taken from CBK A LIFE IN FASHION BY Sunita K. Nair

How it all changed ! Read below for additional details!

Historical Roots and Galliano’s Innovation

Madeleine Vionnet: The legendary 1920s French couturier originally invented and popularized the bias-cut for architectural draping.

Galliano’s Modern Spin:

Galliano revived the technique in his 1994 collections—most famously his Spring/Summer 1994 "Princess Lucretia" line—serving as a romantic, hyper-feminine antidote to the rigid, austere grunge movement dominating early-90s fashion. He later carried this signature into his iconic eras at Christian Dior and his own label.

Redefining Eveningwear:

Galliano’s fluid silk slip dresses and bias-cut gowns changed what women wore at night, making high fashion feel as effortless and easy to slip on as a T-shirt while remaining radically seductive.

Shifting 90s Minimalism:

While mainstream 90s minimalism often leaned toward stiff or clinical simplicity, Galliano infused minimalism with theatricality, lingerie-inspired delicacy, and romantic historical references.

The Style Shift:

Vionnet's dresses leaned toward classical Grecian elegance, purity, and geometric drape. Galliano took her mathematical foundation and made it overtly sexual, rock-and-roll, and slick, turning it into the 1990s slip dress.

Abstracting the Cut:

As Galliano explained in a later British Vogue podcast discussing his design evolution, he eventually pushed the bias cut to new abstract extremes—such as engineering a bias dress down to a single center-back seam or slicing lace on the bias to completely break down and transform the behavior of the fibers.

Galliano Actively Resurrecting Her Name!

Even though he didn't namecheck her for every single garment, the fashion industry heavily credits Galliano with pulling Vionnet out of historical obscurity. After closing her house in 1939, Vionnet was largely forgotten by the general public.

When Galliano revived her signature 45-degree angle cutting technique in his 1989 and on collections, he actively championing her mastery, effectively reintroducing her genius to the modern fashion lexicon.

Side by side dresses of Vionnet and Galliano bias cut dresses. At the end of the day Carolyn wanted a Galliano bias cut dress but went to her friend Narciso to remake the dress for her wedding.

*John Galliano is known for designing bias cut dresses as early as 1988 - 1st slide.

2nd slide : John Galliano bias cut dresses and Narciso’s copy side-by-side.

Rosemarie: JFK JR intimate oral bio: 2024

“Carolyn had an idea of what she wanted for her dress. There was a meeting with Narciso Rodriguez, who was her close friend, at Cerruti. Gordon designed John's dark navy-blue suit. It was perfect. Gordon had a friend who was a tailor and they worked together to make it. The circle was kept very tight.

Carolyn flew to Paris to meet with Narciso. Her dress was a combination of things that she liked. I think she had seen a bias-cut dress of John Galliano-she wanted something definitely bias-cut. Carolyn was always about simplicity. Something that wouldn't look dated. She didn't like a lot of adornments. And when you look like that, you don't need it.”

Gordon Henderson interview with WWD 2026

“In 1996, I wasn’t in my own design studio. Carolyn told me she was going to marry John, but I already knew that was going to happen. Then she showed me a one-of-a-kind bias dress, from John Galliano that she wanted me to remake. I said, “That will have to be done by someone else.” This is where Narciso comes in and I was then asked to handle John’s wedding suit and his special keepsake for the wedding.”

(Gordon being a designer probably knew it was in poor taste to copy a Galliano dress for Carolyn that would be a knock off. That is “fashion 101” you DON’T DO in the industry. Everyone in the fashion world knew who John Galliano is, especially since he was the creative director for his own RTW fashion line and later the creative director for Givenchy 1995-1996 then Dior 1996-2011 while still producing the bias cut dresses.)

Town & Country interview 2025 Gordon Henderson

“Moments before the wedding, Henderson paused to check on Carolyn Bessette while the groomsmen were getting prepared and found her very upset, being consoled by those in her party because no one could remedy the feat of helping put on her dress with her hair done and face already made. Henderson saved the day by placing a handkerchief on her head to preserve her makeup and hair and slipped the silk crepe bias-cut gown over her head with ease. “When a friend is getting married, you do all that you can to make sure the couple feels satisfied and happy,” he says.

Rosemarie JFK JR intimate oral bio: 2024

“The neckline was too tight to get over her head, so Narciso had to open it and then re-close it. She had gone for two fittings. But I think the dress wasn't fully made yet and then when they put the finishing touches on, Carolyn was thinking, "It'll be fine." She wasn't going to fly back to Paris for another fitting. But that's what took so long. And then when she got dressed that day, they put a scarf over her head to slip the dress on. To not mess up her hair and not get makeup on the dress.”

(Since Carolyn had a hard time putting on the bias cut gown that tells me that the dress wasn’t cut right. This wouldn’t have been a problem if Carolyn had gone back to Paris for her final fitting for her dress to slip on perfectly.)

OR 

Was Narciso not equipped to pull off the bias cut dress that John Galliano had MASTERED in ALL his collections and throughout his career? 

Narciso not an experienced couture designer had to go to Azzedine Alaïa for help on the bias cut dress. 

Narciso went to Azzedine Alaïa (fashion designer) in Paris for help while working on Carolyn’s dress. Nacico asked Alaïa how to work on the tailoring and the draping on the neckline and body to try to perfect the bias cut dress. 

In the end, do you think the dress wasn’t cut right due to the complications when getting the dress over Carolyn’s head? 

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The code of conduct when it comes to copying another designers work. 

Direct Copying vs. Transformation

The Tacky Zone: If a designer copies the exact silhouette, fabric behavior, unique strap placement, or custom textile print from a specific runway show, it is considered plagiarism.

Directly replicating an exact design from another couture designer’s 1990s ready-to-wear collection is widely considered tacky, unethical, and lazy within the fashion community. 

Copying an exact bias-cut dress, line-for-line, and explicitly claiming it as your own original design and style is one of the most egregious ethical violations a modern designer can commit. 

It strips away the artistic credibility of the copyist, especially given the technical complexity required by the technique.

The Lie of "Signature Style"

Because bias-cut construction requires calculating how fabric grains hang, stretch, and drop under gravity, copying someone else's structural solution and calling it your own original "vision" or "signature style" is seen as intellectual fraud.

(This is why Narciso did not reproduce this dress for the Cerruti runway collection in 1996. The signature style of cutting a bias cut dress is very difficult as to why Narciso went to Alaia for help while making Carolyn’s dress in 1996. Narciso is not a couture designer.) 

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The fashion industry knows the history of bias cut dress from The master couturier Madeleine Vionnet pioneered the full-body bias cut in the 1920s.

To date people will know John Galliano and his bias cut dresses on the runway and off. They are still the most expensive and beautiful dresses to ever be worn by women in Hollywood and in the fashion industry. It’s seen on models and actresses to date. Galliano was inspired Madeleine Vionnet and her technique. He did put his own flare on his dresses.

Why would Narciso knock off a famous designer like John Galliano who is famously known for his bias cut dresses? 

Why wouldn’t Carolyn go to John Galliano himself to give her the most romantic custom made bias cut Galliano gown for her wedding day???

Did Narciso do the dress for FAME because in Carolyn Bessette’s words : We’re going to you famous! 

Carolyn knew that whoever she chose to make her wedding dress would become an overnight success. 

I think Carole Radziwill nailed it calling Jessel Taank a dingbat. Jessel should know a trend when she sees one.

A woman wearing a black dress, jeans and a white shirt, or other minimalist ’90s staples isn’t automatically giving “Carolyn Bessette aesthetic.”

That look was everywhere in the ’90s—and it’s still everywhere today.

Carolyn wore the look well, but she didn’t invent it. Let’s not rewrite fashion history.

What are your thought?

In this photo:

• The runway version (upper-left hand- is a silver -beaded dress (w no slip).
• Carolyn is wearing the creme colored custom-made version where you can see the difference in the straps of the dress – Narciso included a slip (unattached). It’s a cowl neck slip dress.
• Hailey’s version is a RTW version of Carolyn’s dress (not CBK’s actual dress she wore at the rehearsal dinner – note below confirmed).

Rodriguez’s spring 1997 Cerruti show, but nothing resembling Carolyn’s iconic dress. “There would only ever be ONE of those, Narciso Rodriguez said.  I worked on Carolyn’s wedding dress in Paris and I showed [my third Cerruti collection] right after Carolyn’s wedding, and I think everybody expected to see her wedding dress as evening dresses. But you know what? I did sportswear.”

Here’s the actual note from the vintage dealer where Hailey’s stylist purchased the dress from: ***“***Please note this is not the same exact dress Carolyn wore herself but rather a ready to wear version that is 'one in the same.”

 Cost of dress: $4995 euros

Hailey’s stylist Dani Michelle should correct comment by saying this is NOT CBK’s actual dress. It’s RTW version.

Here’s where Vogue gets people confused – some people think Hailey’s dress was actually worn by CBK , IT WASN'T.

British Vogue:  For a party at the private Harry’s Bar in Mayfair last night, to celebrate the arrival of Michael Ratner’s entertainment company OBB in London, Hailey outdid herself in a Cerruti by Narciso Rodriguez spring/summer 1997 dress sourced from My Runway Archive (IG). The champagne-colored, bias-cut, crystal-embellished slip was confirmed to be “one and the same” as that worn by CBK to her wedding rehearsal dinner in 1996. Famously, Rodriguez and a pre-Kennedy Bessette met in 1990 when they worked together at Calvin Klein. It was CBK’s decision to work with Rodriguez on her wedding dress that helped put the then relatively unknown designer on the map. As well as the ivory slip he designed for her big day, Rodriguez made another dress in the same silhouette for the rehearsal dinner.

 

Carole Radziwill: What Remains

Ed made a toast and he said, "Politics plus fashion equals passion." He had a T-shirt made that said that on it and he showed it to everyone. Carolyn's mom also gave a toast at the rehearsal dinner and it was sort of a cautionary tale. Something like, I hope my daughter has the strength to handle all
of this.

Robert Littell: The Men We Became

There was a rehearsal dinner on the veranda Friday night. It was boisterous and lighthearted, for the most part, except for a toast made by Carolyn's mother, Ann Freeman. I don't remember her exact words, but she implied that she was worried for her daughter, unsure if this union was in her best interest. In hindsight, it's chill-ing. At the time, I was surprised at her bluntness and felt bad for John, who was visibly stung by the remarks. But the emotional ripple was absorbed by the crowd, most of whom had no such wor-ries, and after dinner we all piled out to the beach, where a bonfire blazed and a bar had been set up under a big tent in the dunes.

Billy Noonan: Forever Young

The dinner would be the formal beginning of the weekend's events, and there was some anxiety on Carolyn's part, naturally so, we waited. And waited. More scallops and drinks. Finally she arrived, and we headed up to the huge veranda we'd sat on the night before; now it was arranged with large tables that sat ten, glowing with candlelight in the soft Georgia night. The tables were jammed with flowers and party favors from the talented hand of Gordon.

I was seated next to Carolyn at her table of friends. Barlow sat on her other side. This was a mistake, as Barlow was really on the far side of stable by this point. The idea in mixing us up like this was for everyone to get to know each other a little. But this rotation of personalities, which included Carolyn's sisters, was making her nervous—I could feel it. Also the little nothing that Narciso had designed for her to wear to this evening's event was too revealing for anyone but her physician. "I'm a bit self-conscious about this dress," Carolyn admitted to me. So I gave her my blazer, which was a pity, because she was absolutely radiant, and in the tropical heat she hardly needed it. But she gladly wrapped it around her bare shoulders.

"What do you think Mummy" Jackie-"would think?" Carolyn kept whispering to me. "Would she approve of this? Do you think it's okay?"

Carolyn had become obsessed with Jackie.

The rehearsal dinner, of course, is generally the responsibility of the groom's parents, and even (or especially) with John's parents gone, it was clear this was preying on Carolyn's mind. I assured her that Mrs. Onassis— as I always called her—would have loved the setting, this wonderful leap they'd taken, to get married in this exotic place. Jackie was nothing it not her own woman, and she would have wanted John to have his own wedding in his own way. Though at the moment I didn't, of course, say all that.
I couldn't anyway, because Barlow had just pushed things too far.
We'd been talking about honor. Somebody had asked what the definition of honor is—I don't remember why. Then Barlow, looking at Carolyn's twin sisters, made an off-color remark about their attractiveness that reflected on his own honor and seemed to shock everyone.

Carolyn was mortified. The sisters simply looked stunned— was this some sort of rude Kennedy gamesmanship? For some reason one caught the eye of Ed Schlossberg, who was also sitting with us. Ed is a very dignified, careful, decent man. At this moment he had the decency to pretend he hadn't heard a word Barlow said. But something had to be done. It would not help, of course, to tell Barlow that he had been a rude, stupid shit. I got up, went to John's table, whispered, "We better switch seats right now.

Barlow is scaring the hell out of Carolyn." So John and I traded places.Order was restored just by his presence; I could see her, leaning a little toward her fiancé, still wearing my blazer. Lord, she looked so tiny, so ethereal. And radiant.

Anyway, in the weird seating arrangements, I found myself, happily, sitting next to my wife, a good distance from the epicenter for the after-dinner toasts. Senator Kennedy began them. Through his years as a cam-paigner, debater, and legislator, he really has developed a great ability to strike the right notes at important events. I marvel at Teddy: We all know the tragedies he's been through and there's a lot more crap that no one, including me, knows about, though I've seen a few things-but the thing about him is, not only did he assume leadership of the family when he was very young, too young, but Teddy has always come through. There is not a whiff of cynicism in Teddy at these moments certainly not this one. Standing up there, he was a patriarch in his element. 

He read a childhood poem by Caroline about John and his annoying manners that was sweet but not too sentimental. He thanked Gogo and Dave for all that they'd done setting this up and the beauty of Cumberland Island and how much Jack and Jackie would have enjoyed it. (I checked on Carolyn; she was smiling—a real smile-clearly relaxing into the moment.) "There is one thing we know today about the Kennedys," Teddy said. "The Kennedys can keep a secret." It was not too much-just the right touch.

Let me know your thoughts on Ann Freeman’s speech?

Was it a warning for her daughter (Carolyn) ?

It seemed like Carolyn ignored her mom’s instinct yet again marrying into the Kennedy family and all that comes with it.

More of CBK's items come up for auction - what do you guys & gals think?

A Calvin Klein Collection fall 1993 collection sample, black velvet coat belonging to Carolyn Bessette-Kennedy.

The minimalist design is composed of a black velvet, double-breasted closure, features a peak lapel with buttonholes at the notch, fitted bodice, hip pockets cut on the diagonal, flared A-line skirt, and is fully lined with black silk. The interior lining is hand finished.

There is a Calvin Klein label sewn on the interior lining, on the tag reads sample number with a line, no number present. There is no garment composition tag.

Elsa Klensch who interviewed the designer for CNN Style spoke on the material with Klein saying, “all kinds of variations of velvet looks just so right this season.”

Carolyn Bessette began working for Calvin Klein in 1988 and grew in her role from salesperson at the Chestnut Hill Mall. When she moved to New York, she grew in her role, managed VIP sales to a junior role of director of PR.  Working at Calvin Klein, she developed an eye for simple, timeless pieces that felt polished without being overdone.

This coat was gifted to the consignor by Carolyn Bessette-Kennedy.

Provenance given from consignor:

This coat was given to me by Carolyn Bessette in early fall 1997 shortly after my cousin and friend Chris Harty got engaged. Carolyn decided to host a dinner for the couple. Chris put Carolyn and me in touch, and she and I agreed that I would make dinner at her place for a small group. Dinner was a success, and afterwards Carolyn took me aside and said she had “some things to share” and would I like to see them? She showed me this amazing velvet coat along with several pairs of shoes. “I can’t wear these anymore” she said, “And we’re the same size, so please...take them.” They were beautiful, fun, dramatic pieces so I thought she might mean they brought unwanted attention. I took the coat and shoes then, and over the next months whenever I saw her she seemed to have something else for me: 2 more coats, more shoes. She was the most intuitive, generous person I’ve ever known.

Provenance: Gifted from Carolyn Bessette Kennedy to the consignor.

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A pair of Bottega Veneta brown lizard strappy sandals belonging to Carolyn Bessette Kennedy.

The shoes feature a court heel with ankle straps and strappy vamps. Both in and outer soles are leather lined and marked a size 9.5.

Bottega Veneta is an Italian luxury house known for its “quiet luxury” approach, translating to “Venetian artisanal shop.” The brand is defined by its signature woven leather, expert craftsmanship, and absence of visible logos, creating an understated yet instantly recognizable aesthetic.

Provenance given from consignor:

Given to me by Carolyn Bessette in early fall 1997 shortly after my cousin and friend Chris Harty got engaged. Carolyn decided to host a dinner for the couple. Chris put Carolyn and me in touch, and she and I agreed that I would make dinner at her place for a small group. Dinner was a success, and afterwards Carolyn took me aside and said she had “some things to share” and would I like to see them? She showed me this amazing velvet coat along with several pairs of shoes. “I can’t wear these anymore” she said, “And we’re the same size, so please...take them.” They were beautiful, fun, dramatic pieces so I thought she might mean they brought unwanted attention. I took the coat and shoes then, and over the next months whenever I saw her she seemed to have something else for me: 2 more coats, more shoes. She was the most intuitive, generous person I’ve ever known.

Provenance: Gifted from Carolyn Bessette Kennedy to the consignor.

****

A pair of Stephane Kélian wedges with link leather straps belonging to Carolyn Bessette-Kennedy.

The design features wooden wedges with leather insoles with linked leather straps below the ankle and above the toes, composed of vegetal leather. The designer and country of manufactures is embossed on the insoles.

Provenance given from consignor: Given to me by Carolyn Bessette in early fall 1997 shortly after my cousin and friend Chris Harty got engaged. Carolyn decided to host a dinner for the couple. Chris put Carolyn and me in touch, and she and I agreed that I would make dinner at her place for a small group. Dinner was a success, and afterwards Carolyn took me aside and said she had “some things to share” and would I like to see them? She showed me this amazing velvet coat along with several pairs of shoes. “I can’t wear these anymore” she said, “And we’re the same size, so please...take them.” They were beautiful, fun, dramatic pieces so I thought she might mean they brought unwanted attention. I took the coat and shoes then, and over the next months whenever I saw her she seemed to have something else for me: 2 more coats, more shoes. She was the most intuitive, generous person I’ve ever known.

Provenance: Gifted from Carolyn Bessette Kennedy to the consignor.

 https://www.juliensauctions.com/en/search?query=carolyn%20bessette%20kennedy

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In May 1994: John’s mother, Jackie had just passed away. John and Daryl’s relationship was a little rocky at this time and he was in a fragile state of grief and was looking forward to being with his close friends for comfort and support. 
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Were there red flags in John’s behavior when it came to moving on and dating? Was it too soon for John to move on from Daryl to Carolyn? 
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Daryl and John dated a total of 5 years. During this time, they seemed to be on and off, from 1991-1993. Daryl would go back and forth between Jackson Browne & John. John would also go back and forth between Carolyn, Julie Baker and Daryl. 
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John was rebounding too much , overlapping seemed to be a routine with him.
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Some red flags Carolyn may have overlooked (or simply didn’t care about):
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Red flag 🚩 The Rebound Trap: He jumps into dating immediately without spending any time alone, using women to numb the pain or avoid processing the loss of his ex or family member. 

Was Carolyn the rebound girl after Daryl ? Did she care that she was the rebound girl? 

Red flag 🚩 The Slot-In Replacement: He expects you to immediately adopt the exact routines, social circles, or domestic spaces he shared with his former partner rather than building an authentic, independent connection with you.

In this case John took his love interests to his safe place, Hyannis Port. A place he held so dearly to his heart but also a second home to get away from the loud city and paparazzi. 
* *
John dated Christina for five years. She introduced him to Cumberland Island and Big Sur. Both loved theatre, and lived together in Venica, CA . When John broke up with Christina, he immediately got-together with Daryl, they traveled on several adventurous trips and shared an interest in sports, both knew how to deal with the paparazzi. John and Daryl seemed great together as they had more in common than he had with any other girlfriend. 
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John met Julie Baker in Palm Springs in 1989. John courted Julie, took her skiing in Utah and later to Aspen. He took Julie to Hyannis Port and introducedher to his grandmother Rose and uncle Ted. 
* *
When John met Carolyn around 1991, he was on/off with Daryl Hannah.  During a break John and Carolyn went to Seasong for a weekend. There she meets Anthony Radziwill and his girlfriend at the time Carole DiFalco. After that one weekend, John broke the news to Carolyn that he was going to give his relationship with Daryl another chance.
* *
I’m sure this upset Carolyn, but this wouldn’t be the last time she would see John. Even though John was warming up to Carolyn in 1991, she made it her goal to insert herself into John’s world from 1992-94. With several run-ins at CK events.
* *
Why didn’t John ever court Carolyn like he did with Christina Haag, Daryl Hannah and Julie Baker? Or did John think he was courting Carolyn when he was still in a relationship with Daryl?
* *
Red flag 🚩 Rushing intimacy: He pushes for rapid milestones, intense bonding, or future promises early on because he is chasing the comfort of his old relationship rather than getting to know you.

1993, John was in serious relationship with Daryl and while she was away filming John is first pictured with Carolyn in November watching the NYC Marathon. Carolyn was dating Michael Bergin (and possibly pregnant as MB mentioned in his book).  She was supposed to be home and under the weather which made her take a rain check for a weekend getaway to Michael’s family’s house. Carolyn in “Carolyn fashion” kept reassuring Michael that John was “just a friend” and it’s nothing to fuss about. 
* *
IMO: Didn’t Carolyn think it would look bad for her to be pictured with John even though he was still dating Daryl Hannah? 
* *
As a woman, wouldn’t Carolyn have higher standards for herself instead of being the “side chick” during 1993? Also, why would John think this would be ok, at this point he was losing respect for Daryl. 
* *
Red flag 🚩 5 Vagueness about boundaries:  He treats you like a partner in private but keeps you hidden from his friends or family, claiming it is "too soon" for them to know.
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This a perfect example of John’s patterns when it came to dating / overlapping. He would date someone for a long period of time and then slowly lose interest and secretly start looking for a new partner. John did this to Christina with Daryl and Julie. Then John did this with Daryl while secretly meeting up with Carolyn(and possibly Julie).
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They both had a messy situation-ship before it became a relationship.  Also, John only introduced Carolyn to Anthony & Carole first back in 1991. The rest of his friends and family met her in 1994-95 . I’m sure Jackie knew about Carolyn when John was pictured with her on the curb back 1993 (and he never introduced them – why?)
* *
Sasha may have known of Carolyn as far back as1992/93 but officially got to know her in 1995 in Hyannis. Billy and Rob met Carolyn in 1994. 
* *
After Jackie passed, John and Daryl broke up for goodJuly-1994, and John slowly rekindled his relationship with Carolyn around August/September 1994 (the boat pictures).
* *
It seemed like he couldn’t be alone or more like single, he wanted someone there by his side even it was girl as a friend like Julie Baker or Carolyn Bessette in 1994. 
* *
This doesn’t sound like a love story. Sounds like any other rebound relationship. Why do you think people play up John and Carolyn’s relationship up so much?

Would she have stayed if John wasn’t famous—but still came from a powerful, well-respected family with old money and social status?

Sometimes the question isn’t -Did Carolyn love John?

It’s “Would Carolyn have tolerated the same behavior if the name, money, and legacy weren’t attached to it?”

Fame can make red flags look like romance.

Power can make incompatibility look like something you’re supposed to “work through.”

So… if he were just John—no Kennedy name, no spotlight, no mythology—would Carolyn have stayed? 🚩

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The New York colorist helped define the blondes of the 1990s, working with Carolyn Bessette Kennedy, Christy Turlington and Kate Moss, among others.

Brad Johns, the influential New York hair colorist whose dimensional blondes and signature “chunking” technique helped define the look of the 1990s, died Thursday at his home in West Hollywood, Calif. He was 70.

Johns had been battling prostate cancer for several years, according to close friends.
*** ***
Over a career spanning more than four decades, Johns became one of the beauty industry’s best-known colorists, working with Christy Turlington, Carolyn Bessette Kennedy, Kate Moss, Johnny Depp, Natasha Richardson, Vanessa Redgrave, Lucille Ball, Matthew Modine and Cindy Sherman, among others.
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“He will truly be missed,” Sherman, the American artist, said in a statement. “His smile, his sense of humor, his wisdom and grace. Oh, it’s such sad news.” The two met at the Museum of Modern Art in 1997 during an exhibition of Sherman’s work and became friends.

Born in Pittsburgh in 1955, Johns grew up in Ohio View Acres and moved to New York in the 1970s to study acting at NYU’s Tisch School of the Arts through the Stella Adler Studio of Acting. He later chronicled his life and career in “Dye: A Memoir of Art, Music, Faith, Family and Hair Color,” cowritten with Marianne Dougherty, a longtime friend and former American Salon editor and publisher.

But it was hair that became his calling. He had already been experimenting with color, doing classmates’ hair in the dorms, and eventually left acting to attend the Robert Fiance Hair Design Institute.

According to his memoir, Johns began his professional career at Cinandre, where Salvador Dalí was among his early clients, and later worked with Joni Mitchell. He went on to serve as color director at Clive Summers Salon, Jean Louis David at Henri Bendel and Oribe at Elizabeth Arden.

It was during his years at Oribe that Johns became especially known for his work with blonde and for “chunking,” a technique that used larger, strategically placed sections of lighter color to create dimension, including face-framing pieces, as an alternative to the more traditional frosting-cap highlights of the time.
Frosting is for cakes, not hair,” Johns would playfully say, according to Dougherty.

“He loved a certain color — gold, buttery, beautiful. The golder, the better,” said Maria Choukairi, known as Ivy, a hair colorist at Mia Wagner Salon and Johns’ longtime protégé, who worked with him for more than two decades. “If you wanted gold, bright, buttery, sun-kissed hair, he was the man to go to.”

A turning point came with Turlington. Johns credited the supermodel with helping establish the technique after creating subtle caramel highlights around her face. His work with Bessette Kennedy became another defining chapter. Johns began coloring her hair while she was working at Calvin Klein, gradually taking her darker hair to the golden blonde that became an enduring part of her image. He also colored her hair ahead of her 1996 wedding to John F. Kennedy Jr.

At Oribe, Johns worked with Moss, which led to an introduction to her then-boyfriend Depp. He darkened Depp’s naturally light brown hair to chestnut for his role in “Donnie Brasco” and worked with him on “Fear and Loathing in Las Vegas.”

In 1997, Johns opened the Brad Johns Salon on Fifth Avenue in Manhattan, and after it closed, he worked with Avon, Saks Fifth Avenue and, later, Riccardo Maggiore Salon.

Johns retired from hair in 2019 and moved to L.A., where he turned increasingly to visual art, said his friends. He had long painted, made jewelry and studied metalsmithing, including at Parsons School of Design, according to Dougherty. In L.A., he took up fused glass at the Makery, an artist-run space downtown, eventually creating work under Brad Johns Glass.
*** ***
Brad was a creative genius, generous to a fault, funny as hell, and my biggest fan,” Dougherty said. “His unwavering support meant everything to me.”

“Brad brought beauty to everyone who sat in his chair and in his life,” said Jennifer Wolinetz, his friend and former publicist, who now works as an interior designer. “His gift was making you feel seen, celebrated and beautiful. He loved fiercely and gave generously, but his legacy was making sure you saw the beauty in yourself. He loved love and wanted the world to be filled with art and love and beauty and happiness.”

FROM WWD

Collage edited by mod.
New picture courtesy of Brad Johns /WWD
NOT AI!

A look at Carolyn Bessette as a teenager — school days, friends, and ordinary moments from a time when her life was still largely private.

These photographs show a much younger Carolyn in everyday moments, surrounded by classmates, friends, and the people who knew her at that stage of her life. There’s something special about seeing old photos like these because they capture people before they were widely known — simply growing up, making memories, and going through the ordinary moments of being young.

Carolyn’s school photographs offer a small window into that time in her life, from her expressions and style to the people and places around her. They’re a reminder that behind the later photographs and public attention was a person who, like everyone else, had a childhood and teenage years filled with everyday experiences.

Collage edited by me. Not AI.

This spread is from a French celebrity and gossip magazine.

I translated from French to English. Pleased read below!

The tabloids mentions : “John John Kennedy”

The sexiest of American singles took his German shepherd and his new blonde gf to Central Park.

Post edited my me. Tabloid clipping is original.

The tabloid clipping: 1994

I've listed below a breakdown of the perfume oil, along with other options that come close to it that you can purchase today!

There is something unforgettable about a person's perfume that never announces itself. Clean yet deeply sensual, soft yet quietly magnetic, this perfume oil, "Egyptian Musk," lingers on your warm skin like a whispered secret. It doesn't overwhelm the room, but it draws you closer. Mysterious, elegant, and effortlessly intimate. It captures the kind of beauty that feels natural rather than perfected. This perfume oil, "Egyptian Musk," leaves an impression long after it's disappeared.

In the 90's, Carolyn chose this Egyptian Musk perfume oil as her signature scent. The first people to remember this perfume oil on her was her friend, Gordon Henderson, Michael Bergin (ex bf), and Carole Radziwill (family friend). Michael refers to this in his book in 2004, along with Carole's book in 2006. Gordon mentioned her perfume oil in a 1999 British magazine, quoted as saying, "She used to wear this distinctive oriental scent that she'd bought from a street vendor." Carole Radziwill mentioned that she used an "Egyptian Musk" perfume oil which smelled soft and subtle, and it complemented her elegant style. Later on, Carole would soon add this same perfume to her perfume collection as well. Michael Bergin, Carolyn's ex-boyfriend, remembers her "Egyptian Musk" perfume oil on his bed sheets. When someone leaves their perfume on your bed sheets, their absence somehow feels even closer. The perfume oil lingers softly against the fabric, like a quiet reminder of their warmth, their presence, and the intimacy they left behind. Long after they've gone, you can still breathe them in.

The first picture (near Carolyn) is the "Egyptian Musk" perfume oil by Abdul Kareem Egyptian Musk Oil. Before the series "Love Story" aired, people were buying this perfume oil on Ebay for $25-40. Apparently, this is the "Egyptian Musk" perfume oil she wore.

Mind you, Egyptian Musk has been very popular long before the series or when people even knew about Carolyn Bessette Kennedy. If you were a hippie/bohemian or someone who liked natural perfume oils, you would go to your local farmers market or street vendors in NYC, LA, and San Francisco to purchase.

Today, you can purchase this perfume oil on their website!

Abdul Kareem Egyptian Musk™ — ABDUL KAREEM ESSENTIAL OILS™

* Now here's my honest review of the perfume oil when I first purchased it Ebay. It was very watered down; it had a weird yellowish color that, over the weeks, turned greenish. The scent reminded me of something that came close to "China Rain" perfume oil, which is my go-to. Since it turned this yellowish color, I threw it away because I didn't want to risk it causing me a rash. Then, when I found their website, I purchased a bottle. When I received the perfume, it was almost the same. It was watery; it had no ingredient listing of what the top, middle, or base notes were. These scent notes provide the perfume oils that come together to give this "Egyptian Musk" scent. I was concerned, like I was before when I first purchased the same Abdul Kareem "Egyptian Musk" perfume oil, so I just gave it away.

+++++

Last year, I made a post about Carolyn's perfume oil, along with some other alternative perfume oils, and people seemed very pleased. I've decided to give you some more options that come really close to an "Egyptian Musk" perfume oil. BUT please remember, people have different (Skin chemistry, which allows fragrances to evolve on skin. Test on your wrist and let the scent go through its dry-down. Iris and powdery notes may brighten on some skin types; citrus top notes can evaporate quickly on others.

Perfume Smells Different on EVERYONE!

++++++++

Here's a list of options that come close to the "Egyptian Musk" perfume oil!

Water Goddess | Kuumba Made

Top notes: Musk, Watery Nuances
Middle notes: Muguet, Tonka Bean
Base notes: Cedarwood, Sandalwood

A divine blend with fresh water, soft spice, and grounding sandalwood.

$12.49

&

Egyptian Musk | Kuumba Made

Top notes: Powdery Nuances, Watery Nuances
Middle notes: Muguet, Cumin, Ylang Ylang
Base notes: Sandalwood, Cinnamon

Light and sensual, this timeless scent soothes the soul with notes of fresh water and sanctifying sandalwood. 

$12.49

&

Vanilla Musk Perfume Oil | Nemat

Vanilla Musk opens with the warm comfort of classic vanilla, rich, smooth, and instantly inviting. A soft, baked sweetness adds depth without becoming cloying, giving it a gourmand feel that remains refined.

As it settles into the skin, a gentle musk lingers close to the skin, bringing a quiet sensuality that softens the sweetness into something more balanced and grown.

It wears like a second layer of warmth, familiar, effortless, and hard to forget.

(Family of Musk) Fragrance oil, Simmondsia Chinensis (Jojoba) Seed Oil.

Formulated Without: Parabens, Phthalates, Alcohol, Glycols

Certified Cruelty Free & Vegan

$20.99

&

Auric Blends

Egyptian Goddess Roll-on Perfume Oil | 0.33 fl oz & Special Edition

Top Notes: Delicate Florals

Heart Notes: Powdery, Heliotrope, Iris

Base Notes: Warm Musk

When applied cold, the scent may be subtle or faint.

$14.95

(this one is my all-time favorite, it's longlasting scent stays on all day!)

Twenty-seven years have passed since John and Carolyn have been gone, yet time has never quite erased the space they left behind.

The world has changed in countless ways. Children who weren’t even born then are now adults with families of their own. Technology has transformed how we live, cities have grown, and history has continued to march forward. But some moments remain frozen, untouched by the years.

For those who knew them or simply admired them, they are remembered not only for who they were, but for the lives they were trying to build together.

John carried the weight of an extraordinary name with quiet determination, always searching for a life that felt as normal as possible despite the attention that followed him.

Carolyn never asked for that life. A private woman by nature, she found herself married into one of the most recognizable families in America, where every outing, every photograph, and every rumor became public conversation. By many accounts, that constant scrutiny placed enormous strain on her and on their marriage. She wasn’t trying to be an icon; she was trying to be a wife while living a life as a “Kennedy wife”.

When they were lost, the news rippled across the world. It was one of those moments when people could remember exactly where they were when they heard. The disbelief slowly gave way to grief, and grief eventually settled into remembrance.

Twenty-seven years later, their story is no longer just about how they died. It is about how they lived. It is found in old photographs that still bring smiles, in stories shared by friends and family, and in the memories that continue to be passed from one generation to the next.

Time has a way of softening pain, but it also has a way of preserving love. While the years continue to add distance from that heartbreaking day, they have not diminished the impact John and Carolyn had on those around them.

Some lives are measured by their length. Others are measured by the memories they leave behind.

John and Carolyn are still remembered, not because the calendar tells us to remember them, but because their lives continue to remind us how precious, unpredictable, and meaningful every moment can be.

Gone for twenty-seven years, but never truly forgotten.

Video & Collage edited by me, please leave respectful comments.

Some stories leave an imprint on history not only because of who they were, but because of the lives they lived and the love they shared.

July 1999, John F. Kennedy Jr., Carolyn Bessette Kennedy, and Lauren Bessette lost their lives in a tragic plane crash off the coast near Martha’s Vineyard. Their passing was a heartbreaking, reminder of how fragile life can be, and it brought an untimely end to three lives filled with promise, love, and cherished memories.

Today, we remember them with compassion and respect—not for the tragedy that claimed them, but for the kindness, grace, and legacy they left behind. May they forever rest in peace, and may their memories continue to live on in the hearts of those who loved them and those who still remember them. 🤍🕊️

Today Kelly Klein shared an intimate IG post of Carolyn Bessette. Left hand corner is Carolyn Bessette in Paris inspo-shopping, and the lower right hand corner is another great Polaroid photo of Carolyn and Kelly trying on sample dresses. Circa 1995.

Here’s what she said:

“I didn't know today would have been the last day I saw you! If you only knew what was going on down here! You have influenced so many of our young generation in only the most positive ways!
Simple elegant minimal style! Just you and your natural being. Rest in peace Carolyn!
You are greatly missed! The first photo is a trip to Paris and the second was a fitting we were doing for ck!” - Kelly Klein

****

It’s been so lovely to see more photographs of Carolyn Bessette before the world knew her as Carolyn Bessette Kennedy.

Before the headlines, before the flashbulbs, there was simply a young woman building a life of her own. She worked at Calvin Klein during one of fashion’s most exciting eras, surrounded by creativity, simplicity, and a quiet confidence that would become her signature style. She learned everything from working at Calvin Klein. She learned clean lines, simplicity, minimalism, and what we call know “quiet luxury”.

From working in the fashion industry, we all pick up and learn new ways how to mix and match high and low fashion pieces.

This is exactly what Carolyn learned from working at Calvin Klein and seeing what the women in the office were wearing in the design department and what Zack Carr was inspired by. Zack Carr was inspired by many women from the 50s and 60s when sketching & designing his fashion collections. It was through the design department that Carolyn Bessette heard about Yohji Yamamoto.

But Carolyn Bessette also grew close to Kelly Klein (Calvin’s wife/muse). Kelly came from Ralph Lauren and already had a great eye for vintage and modern fashion pieces. Of course Carolyn picked up on how to shop for vintage and how to dress very minimal and to keep a no-makeup look when she was at the office. All that was learned from working at Calvin Klein.

The Calvin Klein office employees was a playground of beautiful natural women that hardly ever wore makeup. They were all beautiful in their own way.

***
collage edited by me. photos are original and unedited from Kelly Klein’s IG.
Not AI!

A candid glimpse into the Bessette sisters’ early years: Carolyn and Lisa Bessette lounge at their aunt Dorothy Bessette De Somma’s home in Woodbury, Connecticut, circa 1982.

Preserved as a quiet family moment, the photograph captures the sisters at ease, offering a timeless window into their shared childhood and close family ties.

In this photograph, Carolyn Bessette was 16 years old and her sister, Lisa Bessette, was 18. Captured during their teenage years, the image preserves a quiet moment between two sisters, reflecting the closeness, familiarity, and effortless connection that often define lifelong family bonds.

Collage edited by me. The picture is real and it’s not AI!

Carolyn Bessette in her hometown of Greenwich, Connecticut, taken in 1982 by her friend Deena Manion.

The girls were pretty close growing up in Greenwich when they were young.

In the pictures above, Carolyn was 16 years old. Looking more like herself with her natural hair color, and fuller eyebrows.

Photo collage edited by me. These are not AI pictures.

Carolyn Bessette and her college
roommate Naomi Hogarty enjoying spaghetti dinner in 1986.

Carolyn was simply making memories with her friend Naomi, sharing laughs over pasta, and embracing the everyday moments that make college years so unforgettable.

A few friends, a couple of drinks, and a young Carolyn Bessette keeping it low-key.

Back then we all use to enjoy a laid-back night with friends before smartphones turned every night out into a photoshoot.

All we needed was good friends, good drinks, and good vibes.

Photo above is probably from 1987.
Collage edited my me. Not AI..

A glimpse into Carolyn Bessette’s life beyond the public eye — a heartfelt family moment shared with her mother, Ann Freeman, and step-father, Richard Freeman. This photograph captures a more personal side of Carolyn, surrounded by the people who knew her best and were part of her journey.

Moments like this remind us that behind every well-known figure is a person with deep family connections, memories, and loved ones who shaped their life.

A simple photograph can hold so much meaning, preserving the love and bond shared between family members through the years.

When we see a photo like the one above, Why do you think none of Dr. Richard Freeman’s children ever spoke up about Carolyn in the media after she had passed?

Photo above collage edited my me. NOT AI.

A photo of a young Carolyn Bessette from her pre-John years.

Unfortunately, the photographer remains unidentified, and the exact date has yet to be confirmed, though it was likely taken sometime between 1991-93.

I always find these early photos interesting because they show a period of her life before the chapter that most people associate her with. It’s nice to come across lesser-seen images like this and place them within the broader timeline of her story.

What comes to mind when you see early photos like this one above?

FYI: the photo above is not AI. So please don’t leave comments such as “this is fake or this is AI”, because as of lately I’ve seen so many accts on IG make a lot of altered images of John and Carolyn changing their original clothing and faces which is ruining the original photo taken by the original photographer.

The only thing that is added in the photo above is the Polaroid frame, but the picture itself is real.