THE LIGHT STORY OF TZAIMS LUKSUS
THE LIGHT STORY
OF
TZAIMS LUKSUS
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There isn't any dark story about
Tzaims Luksus
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In fact, to be fair to any and all other fashion designers and haute couturiers, none of them have a dark story
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The dark stories are created by the business management and fashion press. The business management financiers cut out the designer, making him an employee with a salary when he negotiates for financial backing
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They create a contract and a new corporation under the designer's name and logo and market under it themselves. In the contract the designer bas unwittingly sold the rights to his name and is often removed unable to design or market using his name under the contract
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Pierre Berge did this in a very cunning way with Yves Saint Laurent and Halston did this more directly wanting both a large sum of money for himself plus still own his name but be financed by the man who gave him the large sum.
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In Halston's case the buyer was The California laywer Nirton Simon.
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Who sold it to
●BEATRICE FOODS
Halston's dark story is now well reported on YouTube videos as is the dark story of Pierre Berge
, the business partner-lover of Yves Saint Laurent who took up Yves from a mental military hospital, sold his name to an American financier, pocketed the money and used it to finance Yves.
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In this case the business manager of Yves Saint Laurent and Yves didn't own the name or the company but both became employees with salaries.
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Yves had nothing other than what Berge gave him. The American gave Yves nothing and produced everything including his perfume with Yves having no input of it
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The fashion press contributed to this theft n
by praising the business manager and not revealing the facts but actually making the public believe that the designer still controled his name, logo and company when he didn't
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In some cases, never revealed, the designer is dismissed having signed away his rights to design or use his name commercially again and often change their name and go into anonymity as with Louis Vuitton in the 1880s and Jummy Choo weeks after he started
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TZAIMS LUKSUS
NEVER SOLD OUT
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When Tzaims was unable to get factors to loan him money against bonafied orders he accepted backing but he maintained 51% and the backers 49% in his first corporatecstructure in Bennington. Now his backers made it clear that they would only support Tzaims until the company broke even and made gentleman's agreements whichbthey broke,. Then Tzaims could buy them out for only what they actually put in.
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Of course they lied to him
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After 3 years when Tzaims broke even they had arranged to sell his company to a textile company that took away 31% of his promised shares, ownership percentage
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They presented the new reorganized corporatate set up without including him then sprung their demand with no warning and demanded he sign the new contract immediatly as a board meetingbin the McCullough mansion, or they would not pay salaries to workers or buy new supplies
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Tzaims managed to delay their action in order to decide what to do. After 3 years Tzaims knew exactly how these men and women behaved and was all ready to sever businss with them. They gave him an easy way out, debt free, not knowing what they were doing
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Tzaims turned their method of busness against them
Earlier, Hamilton Shields, one of his backers hinted, as if in a threat, if Tzaims held 100& then he held 100% of nothing
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So Tzaims arranged through his lawyer to give them 100% of everything but also of nothing, by not allowing them to trade under his name and logo, not even market what existed as designed by Tzaims Luksus
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This wiped them out of any fashion or fabric industry
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The real power and success was in his name and logo
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When presented to them at a recorded board meeting for this last time it was at Tzaims' mansion and they jumped for it and signed it enthusiastically. They had exactly what they wanted but not knowing what they needed
😀
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Being recorded they mostly stayed silent so as to not be held liable for making any threatening insults or demands as they were inclined to do in order to boggle Tzaims' mind
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They had full condidence the textile company buyer wanted the mill for mass production and tbat they had been elevated ib high fashion from backing Tzaims so they could market their own new fashion company in New York by introducing unknown young wanabe designers
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They called themselves a new conglomerate of new fadhion designers
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A long
CNFYD
The Co-op of New Fashion Young Designers
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A long, twisted politically correct but unfashionable shingle.
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No one in the fashion industry liked it
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The textile company buyer pulled out immediately clainm that without Tzaims' name they had nothing to offer. He didn't want the mill. He wanted access to Tzaims- secret design operation to copy what Tzaims had planned on three years agead of any public showing
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Their fashion operation lasted 6 months, sold nothing and went bandrupt as dis the textile mill
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Without Tzaims they had nothing
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Tzaims now was free to design in any way he chose and decided to stay out of business for one year.
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He took two short teaching jobs. A summer course for the Haystack Mountain School of Art operated by a Vanderbilt and a consulting position at the Fashion Institute of Technology in New York Cjty for one semester in the fall term of 1967
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Realizing he didn't want to teach but to do, hands on
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When FIT wanted him to teach weaving he withdrew but placed his textile technicion, Miriam Kellogg Fredenthal, in that, bis, position. She remained there for 20 years then retired
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Tzaims then decided he needed to work in couture seriously again
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Of all his contacts over more then 3 years and knowing everyone and everything in both the fabric and clothing industries the only releable person for him to contact was Rebekka Barkness
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Like Tzaims, Rebekka was dedicated to supporting tbe arts no matter what that art might be
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She already had almost every art supported by supporting the individual artist, not any company
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The two that she hadn't yet supported was a fine art painter/sculptor or fashion designer
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She did commission Salvadore Dali to design jewelry but he needed no support so when Tzaims called her at home she immidately agreed and had them meet the next morning in her private rooms at Harkbess House
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In 1966 when Tzaims proved himself as a top fashion designer both industries, fabric and clothing, those giants in the industries were trying to find ways to take control of his two corporations since now he had unlimited power in high fashion with no restrictions not only in the US but in Europe and Asia
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He wasn't about to ever give this up even if they shut him out. zThey actually shutvthemselves out and Tzaims went freely as he chose and he chose to travel the world still designing fabric and haute couture
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DuPont and Allied Chemical were creating man made fibres so they could destroy natural fiber industries but high fashion designers and French couturier would not use them
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They offered Tzaims millions of dollars to endorse and weave them into his couture fabrics but Tzaims refused, turning down millions
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The fashion press thought he was insane and called him MAD as they did Charles James when Charles rsfused things similar
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After Fzaims won both the Coty and Neiman Marcus awards in 1965, Diana Vreeland who gave Tzaims unlimited colour editorial photos in Vogue felt left out of presenting awards
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Diana decided to create the first Vogue Award for American Fabric Designers specifically for Tzaims and passed out word of mouth on this for gossip colonists writing in Fashion cum sociery
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Tzaims was informed of this to be presented to him in 1967
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Due to the disruption of Tzaims' textile and fashion companies in December 1966 the Vogue Fabric Award was delayed ubtil 1968
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After February of 1968 and both showings of Tzaims' haute couture collection held in Paris and Harkness House, Tzaims walked out of fashion designing again and went back to design fabrics to be woven and printed in France, Italy, New York and Switzerland until he could find his own fabric mill in the US to operate again as he did in Bennington
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The Bennington grouP had by then demolished his fabric mill turning it into a parking lot for Union Carbide battery operation
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He had contacts searching for an old mill still operating as his previously Tiffany mill did in Bennington with Mule spinning and carding, A vertical textile operation
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Without his own fabrics be couldn't properly design clothes again and his European contract, temporarily, prevented him making clothes but was only controlljng him to his satisfaction and now earning real money for one year but with auto renewal if Tzajms decided not to withdraw
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The Vogue Fabric Award was held in limbo and after Paris and Tzaims producing in Europe, Vreeland announced that Fzaims was no longer an American fabric designer and was not elegible for their new award
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Amusingly there were no other fabric designers in America like Tzaims to give it to but Vague had to somehow follow through to save face
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They decided to give the award to Julian Tomkins who was not specificalky a fabric designer but an artistic director for Onondaga Silk Company in NYC
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They produced thousands of yards of printed silk for $1,00 a yard and designers, if getting a colour way exclusivly bouhht them for dresses to be sold for not more than $2t5,00 retail each. The top designerscdidn't by from them since they required exclusive limiypted production fabrics. Neither did European designers buy them
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The money made was not from or for the fabriv but for the clothes
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Julian accepted the award but the award was in the name
Onondaga Silk Company
and not for Julian who was omly an employee. There never were or even now no known fabric designers except Tzaims in fashion. Just the company
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At the award ceremony presentation at the Metropolitan Museum of Art, Julien announced.
"Although I accept this first Vogue Fabric Award for Onondage it actually belongs to Tzaims Luksus
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Vogue never offered the award again and Diana Vreeland resigned in 1971 from Vogue leaving the big question-
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WAS TZAIMS LUKSUS NO LONGER AN AMERICAN FABRIC DESIGNER AFTERC1966?
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No one ever answered that until now and here
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NO AND YES!
Tzaims has always been an American fasbric and fashion designer, even now in Rangoon, Burma/ Yangon, Myanmar
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What Diana Vreeland fauled to understand was what made him an American and how and how he continued to be an American designer no matter where he worked or operated or where the fabric he used came from. The US hardly had any couture fsbric weavers or printers. Only Liberty silk print from England was available every where in the US before Tzaims
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Vreeland also failed to understand that Tzaims printed fine silks woven in China, India, France, Italy and Switzerland that she published in Vogue almost exclusicly through 1966 so why stop? Well she did when Tzaims designed for Pierre Godard
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Now let this sink in
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Luksus woven wool fabrics in Bennington were blended wools imported in bales from Australia, England, Iran, Kazakstan, Astrakan, Turkey, Ireland and America
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The reverse side showing the double layer of pure white wool.
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So from the beginning Tzaims was an American fabric designer working with fabrics from countries internationally
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Making this claim Diana Vreeland of Vogue Magazine appeared as a total fool by denying Tzaims their first Vogue Fabric Award that they actually created especifically for him!
Now Anna Wintour follows Diana's example of ignorance but in Anna's case she suffers from Acute Narcissusm causing her blindness!
😀
His woven wool fabrics were woven in his mill in Vermont but he hadn't yet started weaving all silk fabric. He did weave silk and wool together but his mill in Vermont closed before they could be used in anything and were never seen
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They were at his mansion collection in Old Bennington at Buckthorne Hall
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This only sample of double woven wool with two warps, one of natural silk and one of finest wool was woven in Bennington, Vermont, designed, engineered and invented by Tzaims Luksus
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Another new construction was plain fine threaded wool woven as a wool satin as fine as sil satin inbevery range of colours
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What the Bennington financiers were looking at or weren't looking at they weren't seeing. They only saw getting rich quick.
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After 3 years operating his own mill Tzaims was finally createing, inventing and engineering the most remarkably constructed fabrics in the world all on and in an old Industtial Revolutionary era woolen mill though having limited function Tzaims could have it turning out fabrics not yet known in and seriously challenging Europe Europe and Asia
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This was the greatest loss to America and the world when the Bennington investors stupidly ended it and the US Fashion Press destroyed the credibility of Tzaims Luksus
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Yet they all made him an indestructable legend and immortal
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Finally making him an unsolveca mystery!
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One cannor help laughing at these cannible-vultures in the Fashion Industry today
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😇
To be continued?
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