It is intriguing to note the pains to which Jonathan van Meter goes in his profile of Georgina to confirm how deeply unfashionable Marchesa’s designs are. “[T]here is nothing even remotely edgy about what she does,” he writes, noting that Georgina herself “has no illusions of being avant-garde”. Which begs the question: Why did Anna consistently put them in the pages of Vogue? And why is the rehabilitation of Marchesa now a priority?

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