A sumptuous novel based on the fascinating true story of La Belle Époque icon Lucy, Lady Duff Gordon, who shattered the boundaries of fashion with her magnificently sensual and enchantingly unique design from the USA Today bestselling author of In Royal Service to the Queen. Lucy Duff Gordon knows she is talented. She sees color, light, and texture in ways few people can begin to imagine. But is the male dominated world of haute couture, who would use her art for their own gain, ready for her? When she is deserted by her wealthy husband, Lucy is left penniless with an aging mother and her five-year-old daughter to support. Desperate to survive, Lucy turns to her one true talent to make a living. As a little girl, the dresses she made for her dolls were the envy of her group of playmates. Now, she uses her creative designs and her remarkable eye for color to take her place in the fashion world—failure is not an option. Then, on a frigid night in 1912, Lucy’s life changes once more, when she becomes one of 706 people to survive the sinking of the Titanic. She could never have imagined the effects the disaster would have on her fashion label Lucile, her marriage to her second husband, and her legacy. But no matter what life throws at her, Lucy will live on as a trailblazing and innovative fashion icon, never letting go of what she worked so hard to earn. This is her story.

Even as a child, Suzanne Berne understood the source of her father’s terrible melancholy: he’d lost his mother when he was a little boy. Decades later, with her father now elderly and ailing, she decides to try to uncover the woman who continues to haunt him. Every family has a missing person, someone who died young or disappeared, leaving a legacy of loss. Aided by vintage photographs and a box of old keepsakes, Berne sets out to fill in her grandmother’s silhouette and along the way uncovers her own foothold in American history. Lucile Berne, née Kroger, was a daughter of Bernard Henry Kroger, the archetypal American self-made man, who at twenty-three established what is today’s $76 billion grocery enterprise. From her turn-of-the-century Cincinnati childhood to her college years at Wellesley, her tenure as treasurer of her father’s huge company, her stint as a relief worker in devastated France, her marriage to a professional singer, and the elusive, unhappy wealthy young matron she became, Lucile both illustrates and contradicts her times. In the process of creating this portrait, Berne discovers the function of family history: “to explain what is essentially inexplicable—how we came to be ourselves.”

Tess, an aspiring seamstress, thinks she’s had an incredibly lucky break when she is hired by famous designer Lady Lucile Duff Gordon to be her personal maid on the Titanic. Once on board, Tess catches the eye of two men—a kind sailor and an enigmatic Chicago businessman—who offer differing views of what lies ahead for her in America. But on the fourth night, disaster strikes, and amidst the chaos, Tess is one of the last people allowed on a lifeboat. The survivors are rescued and taken to New York, but when rumors begin to circulate about the choices they made, Tess is forced to confront a serious question. Did Lady Duff Gordon save herself at the expense of others? Torn between loyalty to Lucile and her growing suspicion that the media’s charges might be true, Tess must decide whether to stay quiet and keep her fiery mentor’s good will or face what might be true and forever change her future.

“A funny, heartwrenching, and soulful” debut novel about family, friends, and first love from the acclaimed author of Mayhem and But Then I Came Back (Bustle). Lucille Bennett is pushed into adulthood after her mom decides to take a break from parenting, from responsibility, from Lucille and her little sister, Wren. Left to cover for her absentee parents, Lucille thinks, “Wren and Lucille. Lucille and Wren. I will do whatever I have to. No one will pull us apart.” Now is not the time for level-headed Lucille to fall in love. But love—messy, inconvenient love—is what she’s about to experience when she falls for Digby Jones, her best friend’s brother. With blazing longing that builds to a fever pitch, Estelle Laure’s soulful debut will keep readers hooked and hoping until the very last page. “I loved this book. I was torn between wanting to devour it in one breathless read and needing to stop and savor each gorgeous turn of phrase. This is a remarkable debut.”—Morgan Matson, New York Times-bestselling author of The Unexpected Everything “Estelle Laure’s This Raging Light might be YA, but it’s got plenty of grown-up appeal.”—Entertainment Weekly “A funny, poetic, big-hearted reminder that life can—and will—take us all by surprise.”—Jennifer E. Smith, bestselling author of Field Notes on Love “Lucille may not take down a beast or assassinate any super bads, but she’s what heroines look like and love like in real life.”—Justine Magazine “Heartbreakingly hopeful, lyrically told.”—Kirkus Reviews

Over 80 years ago, Heather Firbank packed away her extensive collection of fine clothes, bought from London's very best dressmakers and tailors. These treasures lay undiscovered for the next 30 years, until after her death, they were given to the V&A, laying the foundations for the Museum's world-famous collection. Firbank was an enthusiastic shopper and bought her clothes from the world's leading couture houses, including Lucile, Redfern and Mascotte, as well as private dressmakers and department stores. Her collection forms an invaluable record of fashionable Edwardian taste over a period of some 15 years. Beautifully illustrated with new photography of finely crafted evening gowns, tailored suits and glamorous hats, the book also features contemporary photographs and pages from Heather's own albums of fashion cuttings. It vividly maps out the London couture scene of Edwardian Britain, and charts changes in fashion through the tumultuous first decades of the twentieth century. Through the story of Heather's own life, both joyous and troubled, this book celebrates the central role of clothing in creating a single woman's identity.

By the early 1940s, when Ukrainian-born Irène Némirovsky began working on what would become Suite Française—the first two parts of a planned five-part novel—she was already a highly successful writer living in Paris. But she was also a Jew, and in 1942 she was arrested and deported to Auschwitz: a month later she was dead at the age of thirty-nine. Two years earlier, living in a small village in central France—where she, her husband, and their two small daughters had fled in a vain attempt to elude the Nazis—she’d begun her novel, a luminous portrayal of a human drama in which she herself would become a victim. When she was arrested, she had completed two parts of the epic, the handwritten manuscripts of which were hidden in a suitcase that her daughters would take with them into hiding and eventually into freedom. Sixty-four years later, at long last, we can read Némirovsky’s literary masterpiece The first part, “A Storm in June,” opens in the chaos of the massive 1940 exodus from Paris on the eve of the Nazi invasion during which several families and individuals are thrown together under circumstances beyond their control. They share nothing but the harsh demands of survival—some trying to maintain lives of privilege, others struggling simply to preserve their lives—but soon, all together, they will be forced to face the awful exigencies of physical and emotional displacement, and the annihilation of the world they know. In the second part, “Dolce,” we enter the increasingly complex life of a German-occupied provincial village. Coexisting uneasily with the soldiers billeted among them, the villagers—from aristocrats to shopkeepers to peasants—cope as best they can. Some choose resistance, others collaboration, and as their community is transformed by these acts, the lives of these these men and women reveal nothing less than the very essence of humanity. Suite Française is a singularly piercing evocation—at once subtle and severe, deeply compassionate and fiercely ironic—of life and death in occupied France, and a brilliant, profoundly moving work of art.

Annie Holt identifies the roots of contemporary Euro-American practices of costume design, in which costumes are an integrated part of the dramaturgy rather than a reflection of an individual performer’s taste or status. She argues that in the period 1820–1920, as part of the larger project of modernism across the artistic and cultural field, the functions of "clothing" and "costume" diverged. Onstage apparel took on a more specific semiotic task, acting as a fresh channel for the flow of information between the performer, the literary text, and the spectator. Modernizing Costume Design traces how five kinds of artists – directors, performers, writers, couturiers, and painters – made key contributions to this new model of costume design. Holt shows that by 1920, costume design shifted in status from craft to art.