Sybil Connolly joined
the fashion house of Richard Alan, which was owned by Jack Clark,
in the early 1940’s after returning from London where she had
studied dress making at Bradley & Co. She was employed initially
as manager rather than designer. When their designer, Gaston Mallet
left the company in 1952, Sybil was offered the job of designing the
next season's collection. She did so with great success. The textiles
she used such as tweed, crochet and lace in striking, vibrant colours,
were produced in new weaves and weights making them particularly attractive
to the American market. Her trademark fabric was pleated handkerchief
linen. It took nine yards of this very fine linen to produce one yard
of the finished cloth.
In July 1953, Carmel
Snow, Editor of American Harpers Bazaar, brought a group of
fashion press and buyers to Ireland. They were entertained by
Lady Sheila Dunsany who was one of the first to spot and encourage
Sybil. These events launched Sybil’s international career.
It was about this time she was introduced to Eleanor Lambert,
New York’s doyenne of fashion. She and Sybil became life-long friends. Both she and Carmel Snow promoted Sybil in any
way they could. While her character was unquestionably tough,
she had great charm. American department store executives were
charmed by Sybil’s smiling hazel eyes but found themselves
dealing with an astute businesswoman. |
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She knew how to keep her name in the news and featured regularly in
gossip columns. Some of her high profile clients included Jacqueline
Kennedy and members of the Rockerfellers, Mellon and Dupont families,
Merle Oberon, Elizabeth Taylor, Rosalind Russell, Dana Wynter and
Julie Andrews. March 1957 saw Sybil’s departure from Richard
Alan and the opening of her own fashion house, at 71 Merrion Square;
this was also to become her home.
During the sixties
fashion changed, but Sybil was unwilling to change her style.
In 1970 her comment, "I never liked the mini and I always
remember what Dior once said to me in Paris" "A woman
should show her curves not her joints" and this was so
true, she said. She continued to produce her classic designs
through out her life for her dedicated clientele. |
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