These garments were ordered to be worn just as you see them here. The Cozette Skirt was also chosen to be worn with other garments like the Hambledon Duster Coat, Truitt Jacket, Holkham Hall Vest, and Amorette Shirt Jacket to name a few. This is a great example of a “starter set” in Ivey Abitz where you can easily expand your wardrobe with just one ensemble. Mixing and matching possibilities are plentiful.
The Addy in plaid, as well as our other frocks, have been the go-to frock of the season. Here’s another ensemble that was just made for a client, combining our Foggy Cotton Velvet Corduroy with our Foggy/Black Soft Plaid Cotton. A Baedeker Scarf in our Signature Black Ribbed Weave is as comfortable and versatile as it is lovely draped around the neck. The bias cut pleating in our Mathilda designs feature the variegated cording in the cotton velvet, making a striking addition to the ensemble.
This is the kind of ensemble that you have to force yourself not to wear everyday. Our indispensable Elliot Jacket makes a perfect pairing over the Addy Frock. The Addy is particularly stunning in plaid with its bias cut insets, pockets, and waistband. It’s relevant for casual everyday wear, for going out, and for special occasions. Best of all, it’s comfortable AND elegant — a signature Ivey Abitz combination.
This recent ensemble order from a client shows a variation on a theme from our ensembles in our Look Book. The Truitt Jacket in our new plaid scrim truly shows its versatility for the wearer. The Truitt and Fennefleur together can go in so many different directions, just by buttoning or unbuttoning the jacket and changing the accessories.
Here are just a few ideas of why these work so well together and how they can be worn in different ways:
— a unique look for work attire by wearing understated, yet elegant, shoes and jewelry
— a casual look for everyday wear by wearing the jacket unbuttoned and wearing ensemble with vintage sneakers or ballet-like slip-on shoes
— an evening out by wearing heels, a silk Clotaire Sash around the neck, and an antique brooch on the collar
Versatility is the hallmark of Ivey Abitz designs, and of the Truitt and Fennefleur together.
How would you wear these two designs together? We’ll create them for you, and you can find out for yourself! Best of all, right now the Truitt and Fennefleur have very special pricing when made in our plaid and signature fabrics. A savings of up to 45% off while the fabric choices are still available.
Ivey Abitz is known for the handwritten word by our patrons. They receive a handwritten note of thanks from Cynthia in her incredible handwritten script every single time they receive a shipment. It is something she’s done for years as a sincere token of gratitude to those that appreciate Ivey Abitz garments.
When this very special european linen was presented to us, complete with notes and logos from the late 1800’s in beautiful handwriting, we knew it had to be a featured fabric in the Fall/Winter Collection.
A natural all-season linen base, the handwriting is finely printed across the linen, creating a design feast for the eyes.
This is the kind of fabric that we think our clients will love for a few mixing and matching garments — frocks, shirts, an everyday jacket, neckties… What are your favourites?
100 percent linen. So easy to care for by either washing cold by hand or in washer, then tumble drying low to keep the washed look as shown in the Look Book.
This is the artist statement for Summer 2013 collection by Ivey Abitz. Written by designer Cynthia Ivey Abitz. View the 2013 summer look book.
It was charming and modest, the little green lake cottage I admired as a child.
Overgrown with vines, stone chimney cracked from neglect, hidden by leaning pines that, at any moment, could snap and cave in the roof.
The cottage was blind to the views of the sunrise and shore and sky and sand and snakeroot. It got to live there every day, right on the shore that I only got to visit every summer, but it couldn’t see anything.
The cottage owners had gotten old and tired and couldn’t travel to take care of it anymore. There the little green lake cottage sat alone, drawing me to it every time I looked at it.
I used to sit on a hill of beach grass when I visited the lake shore, right in front of the cottage, just so I could be close to it.
When I felt daring, I would peek in through the windows, knowing it hadn’t been inhabited in decades, but wishing I could see people inside playing Masterpiece around the table or playing piano on the sun porch. Some form of a happy existence. Any sign of life.
But I never did. I only saw signs of former lives when I peeked in through the windows. Hazy glimpses of knotty pine walls. Plaid linen. Stripes. Knit cardigans.
They won a Rustic Cottage Award — the owners. Back in the day when they had the energy to design it and build it and live in it. But they didn’t have the energy anymore.
As their lives faded away, the cottage dutifully followed them, until the day the owners let go and gave the cottage a second life. That was the day my parents bought it.
For the first time in twenty years, I got to go inside the little green lake cottage and look out of the windows instead of looking into them. The dead trees and vines were pulled away from its walls so it could see the sunrise and shore and sky and sand and snakeroot for the first time in years.
At that moment, the little green lake cottage became an immortal part of me, and I of it.