Cereal Box Chic, Ready-to-Wear, and Couture

Abstract

Luis Estévez, a prominent fashion designer whose work spanned from the 1950s to the 1990s, made an enduring impact on the industry. His clientele included notable public figures like former First Lady Betty Ford. His career, marked by both successes and challenges, demonstrated his adaptability. While he primarily focused on high-end elegant and understated fashions, he also ventured into accessible markets, providing stylish paper patterns for home sewers. Born in Cuba, his Latin heritage and the influential women in his life served as inspiration for his designs, infusing his creations with cultural and personal depth. Estévez stood out as one of the few celebrity-status fashion designers of his era who openly discussed his LGBTQ+ identity as early as the 1970s. As a designer navigating a complex web of privileged and marginalized identities, Estévez adeptly negotiated these intersecting facets in both his personal and professional life.

Keywords:

• brand
• Cuban
• dress
• entrepreneur
• industry
• queer
• style

associated with contemporaries like Oscar de la Renta, Bill Blass, and Rudi Gernreich and a founding member of the Council of Fashion Designers of America, Luis Estévez (1928–2014)¹ was a prolific fashion designer from the 1950s to the 1990s, known for designing for high-profile figures such as former First Lady of the United States Betty Ford.² He created simple, sensual, dramatic designs that were disseminated at various price points, from clothing patterns that were free with the purchase of cereal (Figure 1), dress patterns where home sewers could make their own Estévez look, to custom designs for high-profile public figures.³ One of a few highly successful Latin American designers working in the United States at the time, he created designs that largely followed fashion trends of the time, yet was unique in that he infused inspiration from his ethnicity in varied ways. Despite the complicated environment for LGBTQ+ community members in the 1970s, he openly discussed his attraction to both sexes in fashion trade publications, an identity that most of his contemporaries hid at the time, due to its career-ending possibilities. In this article, we draw upon extant garments, clothing patterns, advertisements, press photographs, newspapers, magazines, and illustrations to analyze Estévez’s life and career, to bring attention to his varying identities (attracted to both sexes, Latin, white-appearing, male, and economically well-off) as they were entangled with his role in and contributions to the fashion industry.

Figure 1 Luis Estévez, apron pattern envelope with pattern sheet inside, ca. 1960. Iowa State University (ISU) Textiles and Clothing Museum, 2022.7.6a-b. Photograph by the authors. <https://tcm.catalogaccess.com/objects/11342>

In analyzing Estévez’s legacy, we acknowledge the importance of studying diverse and marginalized identities in history. That is, when diverse designers are studied and celebrated, it promotes justice and representation so that people from different backgrounds can see themselves reflected in the fashion industry. Seeing oneself represented in these successful roles can serve as a form of inspiration. Additionally, it can promote a deeper understanding and appreciation for different cultural aesthetics and traditions, leading to more informed cross-cultural exchanges. Examining Estévez’s life and career thus allows us to unpack the complex and nuanced intersections of identity, creativity, and the social context that shaped his journey as an American fashion designer.

Education and Early Years

Luis Robert Estévez de Gálvez was born on December 5, 1928 in Havana, Cuba.⁴ Born into an economically well-off family in the Cuban sugar industry, he described his childhood as being centered around the Catholic church. He went to an elementary school in England and then attended Sanford Prep in Wilmington, Delaware in the United States.⁵ Estévez’s initial interest in fashion began when he was young, sketching clothing that he saw people wearing during parties at his home. His father dismissed this interest in fashion and pressured him to attend school to study architecture, and thus Estévez attended architecture school at the University of Havana.⁶ During a summer break from his schooling in the late 1940s, he took a job as a window merchandiser at Lord & Taylor in New York, offered to him by Henry Callahan, a vice president at the company. Estévez’s supervisors took interest in him and noted his talent; after merchandising a window having “cooked up these fabulous frames just floating in air with models floating in air through them,” he met with Dorothy Shaver, Lord & Taylor’s president, who encouraged him to pursue a fashion career.⁷

This success led him to drop out of architecture school around 1949–50 and enroll at the Traphagen School of Fashion in New York in their costume design program.⁸ Traphagen was one of the original schools focused on fashion industry professionals’ education in New York City and was known for employing curriculum rooted in experimentation and adaptation.⁹ Following studies at Traphagen, which ended around 1951, Estévez was employed by a fashion manufacturer in New York.¹⁰ Then, from about 1953 to 1955, he lived and worked in Paris as a design assistant to Jean Patou’s couture fashion house.¹¹

Nineteen fifty-three was also a noteworthy year for Estévez as he married Betty Dew Menzies, whom he met during his childhood in the Bahamas (Figure 2).¹² Estévez and Betty lived together in Paris when they first got married, but when Estévez returned to the United States in 1955, Betty decided to remain in Paris, with the two living apart but remaining married for many years and meeting up a few times a year.¹³

Figure 2 Wedding of Luis Estévez and Betty Dew Menzies, press photograph, May 9, 1953. ISU Textiles and Clothing Museum, non-accessioned reference material.

Establishing His Fashion Career in New York City

In 1955, after returning to New York City from Paris, Estévez formed the firm Grenelle-Estevez Ltd., located at 550 Seventh Avenue, with several partners. Sources conflict as to whether Estévez co-founded Grenelle-Estevez or joined the existing company Grenelle, but what is clear is that Estévez enjoyed immediate success with the company, achieving three million dollars in revenue the first year.¹⁴ The clothing prices averaged between forty to fifty dollars.¹⁵ In 1956, he earned the prestigious Coty American Fashion Critics’ Awards, which applauds and champions American fashion, making him the youngest designer to be recognized by this accolade.¹⁶ That same year, one journalist wrote, “the Estevez fashion philosophy is this: to design for the masses, giving them style and quality at a reasonable price.”¹⁷ Certainly, his pricing strategy made some luxury fashions accessible beyond the elite, yet his prices were largely out of reach for working- or middle-class women. During this quick rise to fame, Life magazine referred to him in 1956 as “a one-year wonder,” highlighting his early recognition in the fashion industry.¹⁸

Early descriptions of Estévez’s designs focused on simple, clean aesthetics. For example, in 1956, a New York Times journalist wrote that he “keeps his lines clear and uncluttered” and that his “clothes are simple yet sophisticated.”¹⁹ Estévez confirmed this aesthetic in a 1956 article in which he stated “no buttons and extras, unless they are purely utilitarian. And I don’t like belts.”²⁰ This might have stemmed from the preferences of his wife, Betty, who, he said, “was for many years the greatest influence in my life” and “likes her dresses to be of simple, sharp lines, uncluttered with details and in good taste for every possible occasion.”²¹ Similarly, Estévez was quoted in Life saying, “She likes her dresses to have sharp lines and to be as sexy as possible within the boundaries of good taste.”²²

The black cocktail dress showcased in Figure 3 exemplifies the simple yet elegant design elements he used during this time. One of the notable characteristics of this dress is its unadorned front. Estévez opted for a sleek and streamlined approach, allowing the dress to make a statement through its simplicity. By minimizing embellishments and focusing on clean lines, the dress exudes a sense of sophistication and modernity. Additionally, the seams of the dress are thoughtfully designed to be unobtrusive and not visually prominent. This subtle craftsmanship adds to the overall clean aesthetic, ensuring that the focus remains on the silhouette of the dress rather than any distracting elements. The back of the dress also displays a minimalist approach to decoration. The back features a straight drape of fabric, cascading down the wearer’s figure. To add a touch of subtle visual interest to the back, a single delicate bow is incorporated.

Figure 3 Luis Estévez, Front and back views of a black cocktail dress, 1955–59. Fabric and metal. ISU Textiles and Clothing Museum, 2022.7.2. Photograph by authors. <https://tcm.catalogaccess.com/objects/11338>

The sexiness, or sensuality, that Estévez described in relation to his wife Betty was also an important characteristic of his design work. As one 1958 article stated, “Luis Estevez, honored by the world of fashion for his svelte, femme-fatale creations.”²³ Estévez thought that “the idea of combining sex with taste is something that never goes out of style. I want the women I dress to be chic, secure and elegant in a way that has nothing to do with money.”²⁴ This notion continued throughout his career, as in 1965 a New York Times writer stated that Estévez was “known for his sexy but ladylike afternoon and evening clothes.”²⁵ This was accompanied by an image of a backless evening dress, a common design feature Estévez employed.²⁶ Further, a journalist in a 1964 article stated that Estévez was “known for siren dressing.”²⁷

Another prominent component of his designs was the centering of Latin American inspiration. For example, in November 1957 he showed a collection of spring and resort wear with “the dresses and costumes [being] named for popular Latin American songs such as Siboney, Amapola and Begin the Beguine.”²⁸ The dress in the press photograph in Figure 4 is potentially one of the three dresses named after the songs or from the same collection. The influence of Estévez’s ethnicity on his designs can also be read as an example of biculturalism, or the presence of two cultures within one space. Biculturalism has been identified as a strategy used by members of the Cuban diaspora to reduce anxiety associated with immigration to places that are culturally different from Cuba, and to partially address issues surrounding acculturation.²⁹

Figure 4 Luis Estévez, day dress, December 30, 1957. Press photograph. ISU Textiles and Clothing Museum, 2022.7.7. <https://tcm.catalogaccess.com/objects/11334>

Estévez certainly drew upon this Latin American background for some inspiration, but he was also noted for utilizing a variety of other cultures as sources of inspiration. For example, in 1959 he created an “ethnic-African inspired collection … featuring oversize tiger and zebra stripe prints.”³⁰ His use of African-inspired aesthetics is certainly complicated by his family’s distant connection to the Atlantic slave trade, whereby Spanish colonizers forced hundreds of thousands of enslaved Africans to work in the sugar industry in Cuba. In particular, Estévez’s use of African-inspired aesthetics becomes entangled in this long history of enslaved labor and exploitation, highlighting questions of cultural appropriation, cultural appreciation, economic disparity, and the wider implications of social privilege.³¹ Certainly, Estévez was not alone in his use of African-inspired fashions in the late 1950s, as many artists and designers of that era sought inspiration from diverse cultures and traditions.³² However, his connection to a prominent family in the Cuban sugar industry, as well as the juxtaposition of his many privileges (e.g. a White-appearing male) against the backdrop of historical injustice, adds an additional layer to the discussion, shedding light on the complex power dynamics inherent in his adoption of these aesthetics.

Estévez exhibited great pride in being “Latin,” and like many marginalized groups, he and others often marked his ethnicity. Fashion studies scholars Susan Kaiser and Denise Nicole Green highlight that people of color are more often marked with their race and ethnicity, whereas individuals occupying white ethnicities or those of European descent are assumed to be the default or unmarked.³³ Of note is that while Estévez was white presenting, which entangles him in much privilege, his Cuban heritage marked him as a person of color. Overall, this marking is evident in how journalists described Estévez’s work. For example, a Philadelphia Inquirer reporter remarked that in Estévez’s summer 1956 collection “the Latin motif will predominate,” and that he “comes by the Latin theme naturally. Estévez was born in Cuba of Spanish parents.” Additionally, in discussing this summer collection, she stated that “it is in his evening designs, especially, that the Spanish influence is delineated,” with some designs referred to as “the Flamenco look.”³⁴ In this example, Estévez’s Cuban background is racialized, hence, marking him and his work. Another example of such marking can be seen in a 1956 Los Angeles Times article where fashion editor Fay Hammond discusses his latest collection, entitled La Espanola (the Spanish), by stating that “true to his heritage, he likes black, too, and keeps it somber and unadorned for the most part.”³⁵ The use of the phrase “true to his heritage” underscores the common tendency to emphasize the ethnicity of people of color, a practice that can have dual implications: on one hand, it celebrates their cultural heritage, but on the other hand, it can inadvertently reinforce stereotypes, making this a multifaceted and intricate issue.

Estévez himself participated in marking his ethnicity, one form of self-definition which is important for marginalized communities. For instance, he demonstrated pride in his ethnic heritage, frequently identifying as “Latin” in the media, such as in a 1979 Los Angeles Times interview, saying, “being a Latin, I work to live, not live to work,” and “I’m a hot-blooded Latin who blunders all the time.”³⁶ He also highlighted how his upbringing and particularly the women he was surrounded by during childhood served as sources of design inspiration. In a Women’s Wear Daily interview, Estévez stated that “I associate fashion with the reality of the people I know that wear fashion, and where and how they wear it.”³⁷ In the same article, Estévez noted,

my two grandmothers, different as they were, jointly had all the things I admire in a woman: beauty, glamor, position, gentleness, strength and reckless individuality. My mother was all of that plus … she was, and is, more of a friend than a mother.³⁸

Estévez’s act of self-marking and embracing of his ethnic heritage alongside his acknowledgment of the influential women in his life brings forth complex notions of ambivalence. There is a sense of pride and celebration in identifying with one’s cultural and personal history, especially since much of the fashion industry is dominated by white designers and creative professionals. However, there are also tensions surrounding marking marginalized identities. That is, while these markings can celebrate diverse narratives and identities, they can simultaneously work to other, or exoticize, these same individuals.

Estévez left Grenelle-Estevez around 1959 to start his own house named Estévez, Inc. (also known as “Luis Estévez, Inc.” and simply “Estévez”).³⁹ He continued expanding the scope of his design work, creating collections that were “all Estevez as he design[ed] jewelry, hats, shoes, even fabrics in addition to the clothes.”⁴⁰ He continued to state preferences for uncomplicated designs, devoid of overuse of elements like belts, bows, buttons, or embroidery, presenting a clean and unbroken aesthetic: “A dress should be as simple, uncomplicated and as unmarred by the torturing of fabric as a girl should be when she is getting married … nothing to break it up—not a belt, or bow, or buttons, or embroidery.”⁴¹

In the 1960s, he began experimenting with how he presented his collections at fashion shows. For example, he featured the Broadway cast of Hello Dolly in his 1964 collection. Estévez also presented his 1965 Fly Me to the Moon collection in the Great Hall of the Metropolitan Museum of Art.⁴² While he primarily focused on womenswear, Estévez designed some menswear, such as in 1967 when “his horizontally tucked evening shirt for men made a splash.”⁴³ In 1969, he released a collection of interchangeable menswear pieces made exclusively of knitted fabrics, citing freedom, movement, and comfort as the reason for the fabric choice.⁴⁴

While designing under Estévez, Inc. he created the unique 1960s blue and white sundress in Figure 5, which is convertible to two different hem lengths and skirt styles, reflecting his interest in dressing the masses. The two hem lengths offer the wearer an opportunity to use the same dress for different occasions. The longer hem length, which has a white lace trim, lends itself well to more casual affairs, providing evidence that Estévez sometimes swayed away from his simplistic aesthetic. The dress also allows the hem to be buttoned up, creating a different style with a bubble effect. The buttons here reflect Estévez’s interest in only using buttons for utilitarian purposes. This shorter hem length offers a more sophisticated and elegant appearance, making it a suitable choice for cocktail events or other more formal occasions. The wearer has the power to choose how they want to style the dress based on their individual preferences and the specific event they are attending. This approach encourages personal expression and ensures that the same garment can be adapted to different contexts, effectively maximizing its utility and versatility.

Figure 5 Luis Estévez, blue and white sundress, Estévez, Inc., gingham, lace, and metal, ca. 1960–65. ISU Textiles and Clothing Museum, 2022.7.1. Photograph by authors. <https://tcm.catalogaccess.com/objects/11337>

While not the first or only designer to do so, Estévez began designing evening jumpsuits in the late 1960s (and continued into the 1970s), which was inventive at the time and reflected his educational roots at the Traphagen School, an environment which placed emphasis on design experimentation (Figure 6). He also started doing contract design work for other companies during this period, which he continued to do in various capacities throughout the remainder of his career. Some firms Estévez designed in partnership with in the 1960s included Radley Furs and swimwear for Sea Darlings.⁴⁵

Figure 6 Luis Estévez, yellow evening jumpsuit, full front view, fabric, lace, and metal, ca. 1975, ISU Textiles and Clothing Museum, 2022.7.10. Photograph by authors. <https://tcm.catalogaccess.com/objects/11344>

Moving to Los Angeles

Estévez moved to Los Angeles in 1968, which despite being a fashion center since the 1930s, was not viewed as a substantial fashion city as compared to prominent locales like Paris and New York.⁴⁶ Sarah Williams and Elizabeth Currid-Halkett analyze Los Angeles’ rise to fashion prominence over the period of 1986 to 2007, stating that “in the past 20 years, Los Angeles has developed a substantive fashion industry where previously it did not exist.”⁴⁷ Estévez was aware of this relative lack of an industry prior to the 1980s, commenting in a 1976 interview, “California may not be as exciting as the fashion scene in New York and Paris, but I have found inner peace here.”⁴⁸ Eventually, both Estévez and fashion historians retrospectively viewed this move as having a negative impact on his career. In a 1985 interview, Estévez discussed his 1968 move to Los Angeles, saying, “at the height of my career … I wanted the Havana of my youth, and I found it in Los Angeles … It didn’t occur to me that it might hurt my career.”⁴⁹ Caroline Rennolds Milbank in her book New York Fashion: The Evolution of American Style discusses how despite scaling back his design endeavors in comparison to the 1960s, Estévez maintained a reputation for his couture creations throughout the rest of his career, solidifying his presence in the fashion industry as a designer renowned for his exceptional craftsmanship and attention to detail.⁵⁰

Los Angeles presented Estévez with new opportunities, however. He designed costumes for Universal Studios from 1969 into the 1980s, which reflects his early interest in studying costume design at Traphagen.⁵¹ Some of his credits included the television shows It Takes a Thief and The Survivors, which starred Lana Turner who was a recurring client of his over the years.⁵² In 1974, Eva Gabor International, located at 122 East 7th Street in Los Angeles, acquired Estévez, Inc. and created an “Estevez division.”⁵³ As part of this arrangement, Estévez oversaw three collections, “including a new Anytime daytime apparel line … the Estevez Collection, and the Eva Gabor Look by Estevez.” However, less than three years later, in 1976, the contractual arrangement between Eva Gabor International and Luis Estevez was terminated via mutual agreement.⁵⁴ Estévez later vaguely commented on the reasoning behind this separation in 1979, citing an unnamed individual who aimed to “control … my creativity. Other designers may be able to function under tight control, but not me. I can only be creative when I’m free from interference. The bottom line was that I broke off with the conglomerate.”⁵⁵

In 1976, Estévez was quoted in a Women’s Wear Daily interview saying, “I’m attracted to both sexes. It’s a matter of chemistry. And it’s a matter of where you’re at and where your head is at.”⁵⁶ The fact that he openly acknowledged his attraction to both sexes in a major fashion trade publication challenged traditional norms and demonstrated a degree of courage and an early example of visibility advocacy. This statement was remarkably bold and progressive, especially considering the social climate of the mid-1970s in the United States. During that era, open discussions about queer identities were relatively rare, as LGBTQ+ communities still faced discrimination and prejudice. Years later, journalists reported he claimed numerous affairs with individuals such as fashion designer Roy Halston, yet these claims were not confirmed by either Halston or Estévez.⁵⁷ Unlike his Latin identity, Estévez’s sexuality did not appear to have much or any overt salience on his designs or design aesthetics. For individuals occupying multiple marginalized identities, scholars explain that one identity may often be more salient in certain contexts than others.⁵⁸ In this case, when analyzing Estévez’s fashion contributions, there is a clear overt connection to his Cuban heritage, yet embodiments of queerness lacked manifestation in his designs.

Discussions of Estévez’s “Latinness” continued in the press while he was living in Los Angeles and came in other forms, such as being applied to his manner of speaking. In a 1976 interview with Women’s Wear Daily’s West Coast fashion editor Dale Kern, the journalist commented on Estévez’s mannerism when discussing his work: “‘What I am talking about here is my fashion, and my theory. I know that it’s not ‘in’ with the very hip crowd of people,’ he says with Latin fire, ‘but I don’t really give a damn.’”⁵⁹ Kern’s use of the phrase “Latin fire” can be interpreted in multiple ways. For instance, Estévez used the term Latin to describe himself. Kern’s description of him speaking with “Latin fire” may have been a reference to a label he ascribed to himself. The use of the word fire may also be employed here by Kern as a synonym for passionate, attempting to convey a more descriptive picture of Estévez’s mannerisms Kern picked up on while interviewing him. Another interpretation of Kern’s description of Estévez’s way of speaking is that Latina/o/x individuals speak in a passionate, direct, and/or possibly off-putting manner. The use of “Latin fire” marked Estévez as someone whose Cuban heritage influenced his speech pattern in ways not seen in the portrayal of individuals from dominant backgrounds. That is, it is highly unlikely to encounter descriptions suggesting that a designer speaks with “French passion” or “white flair.” This reinforces how “Latinness” is often marked and manifests in subtle ways.

Despite designing for high-profile figures including Betty Ford, Faye Dunaway, Eva Gabor, and Merle Oberon, Estévez continued to remind the public that high prices did not equate to style. For example, in a 1976 interview he stated that “I don’t believe in expensive clothes, and I don’t think that good taste has to be expensive.” He went on to condemn clothing priced over 400 dollars, with his apparel being sold from 100 to 400 dollars.⁶⁰ This point was reiterated several years later in 1979, in which the retail prices of his clothing went “up to $400 but he prefers to aim at a market between $150 and $250.” Estévez was also quoted in the same interview saying that “I dine with the classes but I also dress the masses” and that he “decided to make a career of designing high fashion clothes at reasonable prices, to dress the masses in garments every bit as exciting as the haute couture.”⁶¹

While his lower price range went to about 100 dollars, in the 1970s this certainly would not necessarily have been readily accessible to most individuals occupying working and middle socio-economic class statuses.⁶² Therefore, it might be an overstretch to say he dressed the masses, as the median annual income for all families in 1970 was about 9,870 dollars and about 50 percent of the population made 10,000 dollars or more.⁶³ It is possible that his upbringing, which indicated a certain level of affluence and privilege, influenced his contradictory stance on expensive clothes. While he priced them at 100 dollars, he claimed not to believe in high-priced apparel. His socio-economic background might have granted him access to superior quality clothing that was beyond the means of most Americans during the 1970s. However, despite his privileged upbringing, his statement suggests that he did not prioritize or endorse the notion of expensive clothing.

Like previous decades, much of his designs at this time continued to embody the dramatic aesthetic. A Women’s Wear Daily journalist proclaimed in 1970 that “Luis Estevez is still a master at the theatrical, dramatic presentations.”⁶⁴ For example, a white evening gown with a plunging neckline and gathers that accentuates the bust showcases the sensuality frequently featured in Estévez’s designs (Figure 7). The dress is made of nylon, providing a smooth and soft fabric hand. The halter neckline virtually reveals all of the upper chest, upper back, and arms, lending to the dress’ sensuality and utilizing the erogenous nature of exposed skin.

Figure 7 Luis Estévez, cream-colored, floor-length evening gown, full front view, nylon and metal, ca. 1975. ISU Textiles and Clothing Museum, 2022.7.3. Photograph by authors. <https://tcm.catalogaccess.com/objects/11339>

Another example of Estévez’s simplicity of line from this decade is a red evening ensemble that features minimal, uncluttered adornment and sharp lines, printed in a July 4, 1976, Woodward and Lothrop advertisement in the Washington Post.⁶⁵ The ensemble features a neckline that gathers to one side and a hemline that slopes from the thigh to just below the knee on the other. The floor-length pants have a simple wide-leg silhouette without any additional details. Notably, in this 1976 image, the ensemble is worn by a model who appears to be a person of color, potentially challenging the prevailing normative standards of that era while engaging in exoticization. On the one hand, this representation can be seen as a form of resistance against the systemic marginalization and objectification of people of color that was prolific in print media during this time. Showcasing someone who appears to be a person of color in an elevated and non-stereotypical manner disrupts the dominant narratives that often reduce people of color to mere exotic props or tokens of diversity.⁶⁶ However, on the other hand, by featuring someone who appears to be a person of color, the image also potentially reinforces a fascination with otherness or perceived so-called “exotic” qualities, which, as previously described, is evident in the marking of Estévez’s Latin heritage by both himself and others. This duality highlights the nuanced nature of such representations, and how they can simultaneously challenge and perpetuate certain societal perceptions, making it an important subject of critical analysis and discussion within the broader social and cultural context of the time.

Designing for First Lady Betty Ford

Another notable part of Estévez’s history as a designer during the mid-1970s was his work for one of his most prominent clients, First Lady Betty Ford (Figures 8 a, b and 9). Ford wanted to be on the forefront of fashion, but she also wanted to seem relatable to the average American, who did not wear couture. As Estévez recalled, when Ford first met with him,

Figure 8a and b a: Luis Estévez, full front view of a beige and cream-colored, knee-length day dress, fabric and metal, 1974–75. ISU Textiles and Clothing Museum, 2022.7.4. Photograph by authors. <https://tcm.catalogaccess.com/objects/11340>

b: First Lady Betty Ford wearing the same dress during her CBS 60 Minutes interview with Morley Safer in the White House Solarium, July 21, 1975. Courtesy Gerald R. Ford Presidential Library. <https://www.fordlibrarymuseum.gov/images/avproj/pop-ups/a5611-34a.html>

Figure 9 First Lady Betty Ford with Estévez in the White House, October 11, 1975. Gerald R. Ford White House Photographs. Courtesy Gerald R. Ford Presidential Library. <https://catalog.archives.gov/id/23869189>

she said she wanted clothes right out of the collection, not custom clothes. I felt that since she was the First Lady there should be a special fashion message. And so we came to a settlement: Everything I designed for her would go right into the line.⁶⁷

Further, price was central to Ford since the country was amid an economic recession and she did not want to be seen wearing excessively expensive designer clothing. Discussing Ford and price point, Estévez stated that

She insists that anything I design for her must become a part of my regular ready-to-wear collection (priced from $100–$250). She’s very adamant about that. All her clothes must be available to the American public. She won’t wear anything that only she can get.⁶⁸

Estévez’s custom work for Ford included evening gowns for state dinners (Figure 10), discussed in a personal letter he wrote to her in the mid-1970s:

Figure 10 Estévez for Betty Ford, front and back hand-drawn sketch of a long-sleeve, teal floor-length evening gown, 1974–77. Courtesy Gerald R. Ford Presidential Museum.

Dear Mrs. Ford

Enclosed sketches & swatches of three dresses in work.

The teal you will have for next Thursday Nov. 1^st. The others will be ready before Nov 15^th.

I have written in pencil as per your request what they will cost

I hope you like them and that I’ll have the pleasure of fitting you.

The other two will also be ready Thursday

Look forward to seeing you

Much love

Luis⁶⁹

Another potential influence on Ford’s choice of wearing Estévez’s designs could be an attempt to contribute to the normalization of US relations with Cuba. During the Ford administration, which spanned from 1974 to 1977, the United States was engaged in complex diplomacy with Cuba.⁷⁰ By donning designs by Estévez, a prominent Cuban American designer, Ford’s fashion choices might have served as a symbolic gesture, signaling the administration’s willingness to engage with Cuban culture and potentially facilitate future diplomatic negotiations, using fashion as a subtle tool for international diplomacy.

Luis Estévez Enterprises, Bankruptcy, and Leisure Lifestyles

In 1977, during the latter part of Estevez’s career, he founded Estévez Enterprises “to concentrate on the couture market.”⁷¹ But by the mid-1980s, he attempted to reenter the mass market. A 1985 Women’s Wear Daily article outlined how Estévez had started a new venture, called Luis Estévez Enterprises, with several business partners.⁷² The same article stated that “Estevez … claims he will own a majority of the shares so that he will always control the company.” Further, the article quoted Estévez commenting that “it’ll be set up in such a way that I can never lose control. I will never have to be shaken up again. If anybody isn’t happy in it, the company’s still mine,” alluding to issues in past business ventures.⁷³

The gown showcased in the press photograph in Figure 11 demonstrates how Estévez’s sensual design aesthetic was still evident into the 1980s. The dress is a two-tone strapless gown that captivates with its allure. The gown features a dramatic and plunging sweetheart neckline. The stark contrast between the black and white fabrics adds to the gown’s visual impact. The model wearing the gown reveals a significant portion of her upper chest, back, and arms, enhancing the overall sensuality of the ensemble. The strategic exposure of these areas adds an element of allure and emphasizes the design’s seductive nature.

Figure 11 Luis Estévez, gown with white charmeuse swirl, Fall 1985. ISU Textiles and Clothing Museum, 2022.7.8b. <https://tcm.catalogaccess.com/objects/11336>

The black-and-white polka dot coatdress from the 1980s in Figure 12 leans more into the theatrical dramatic design characteristics, as it is a very eye-catching, over-the-top garment with inspiration potentially stemming from his earlier education in costume design. The black and white colors provide stark contrast and the pattern of varying-sized polka dots gives visual interest in a straightforward way. Polka dots, with their round and symmetrical shape, have a playful and whimsical quality. Additionally, the use of different-sized dots creates a visually interesting texture and adds depth to the design. It allows the eye to wander across the garment, creating a sense of movement and intrigue.

Figure 12 Luis Estévez, coatdress, fabric, metal, ca. 1985. ISU Textiles and Clothing Museum, 2022.7.5. Photograph by authors. <https://tcm.catalogaccess.com/objects/11341>

Unfortunately, his new endeavor did not prove successful as three years later, in 1988, Luis Estévez Enterprises filed and was approved for bankruptcy.⁷⁴ However, failure is not all that surprising as the fashion industry is known for its competitive nature, and many factors contribute to the success or failure of fashion businesses. Some common challenges include intense competition, changing consumer preferences, high production costs, inventory management, and marketing strategies.⁷⁵ Additionally, Estévez’s statement that “being a Latin, I work to live, not live to work,” highlights his agency in defining his own values and rejecting societal pressures that equate success solely with career advancement.⁷⁶ Following his bankruptcy, Estévez’s continued focus on individual couture work showcases his expertise and the deep respect he garnered from longtime clients.⁷⁷

Estévez’s Final Years

In 1990, Estévez was honored with the Hispanic Designers, Inc. Lifetime Achievement Award.⁷⁸ Subsequently, in 1997, he ventured into mass-market design once more with the introduction of his inaugural bridge line LEG (named after his initials, Luis Estévez de Gálvez) which debuted in both New York and Los Angeles.⁷⁹ Later that year, he retired.⁸⁰ Estévez passed away on November 28, 2014, just short of his eighty-sixth birthday.⁸¹ The legacy of his aesthetic continues to live on, however, with some citing the influence of his work as being evident in the designs of Michael Kors and Zac Posen.⁸² After Estévez died, the media continued to highlight his Cuban background. In his New York Times obituary, Stan Herman, a former president of the Council of Fashion Designers of America and a fashion designer known for designing uniforms for large corporations, commented that “he did the cha-cha-cha long before Oscar [de la Renta].”⁸³ This method of highlighting Estévez’s ethnicity, using the phrase “cha-cha-cha” rather than simply acknowledging his Cuban background, plays upon ethnic stereotypes and centers whiteness as the default. Moreover, the comment serves as a form of essentializing ethnic and racial identities. It implies a parallel between being from Cuba (Estévez’s origin) and being from the Dominican Republic (de la Renta’s origin), despite these two countries having distinct histories and cultural differences.

Conclusion

Estévez’s prominent career, spanning from the 1950s to the 1990s, left an indelible mark on the industry. Part of his legacy is defined by his ability to create elegant and understated designs, attracting a clientele that included notable figures such as former First Lady Betty Ford and Hollywood stars like Lana Turner and Faye Dunaway. Estévez’s career was a blend of triumphs and setbacks, showcasing his versatility as a designer as he relocated to numerous fashion hubs in the United States and abroad. His ability to seamlessly incorporate contemporary fashion trends of his time with his Latin American heritage set him apart in the fashion industry. His designs were not only stylish but also culturally significant, reflecting the diversity of his identity and the era in which he lived. What makes Estévez’s story particularly compelling is his ability to navigate the complex intersection of privileged and oppressed identities. As a Latin American designer working in the United States during a time when diversity was not as widely embraced as it is today, Estévez faced unique challenges. Despite these challenges, he adeptly maneuvered through his personal and professional life, demonstrating resilience and creativity.

His experiences offer valuable insights into how diverse identities shape an individual’s life journey and business practices. Estévez’s story is a testament to the power of embracing one’s heritage while adapting to the ever-changing landscape of the fashion world. Studying his life and work provides a rich understanding of the ways in which fashion, culture, and identity intersect, making him a significant figure in American fashion history. His contributions deserve thorough study and documentation to preserve his legacy for future generations.

Acknowledgments

The authors would like to thank Jennifer Farley Gordon, whose dress history research methods course provided a starting point for this research. The authors would also like to thank Ginger Stanciel and Kyra G. Streck for their support of the project.

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Additional information

Notes on contributors

Joshua D. Simon

Joshua D. Simon is the Assistant Curator of Exhibits at the Tri-Cities Historical Museum in Grand Haven, Michigan, and an independent researcher. His research has examined a variety of subjects, including a revival of the Gibson Girl look in the mid-twentieth century, the fashion of former First Lady Betty Ford, World War II-era uniforms of the Coast Guard Women’s Reserve (SPARS), and sartorial aspects of depictions of Saint Sebastian.

Kelly L. Reddy-Best

Kelly L. Reddy-Best is a professor in Apparel, Merchandising, and Design at Iowa State University and the chief curator and director of ISU’s Textiles and Clothing Museum. In her research she examines the interrelationships of dress, identity, consumption, regulation, and the fashion system. All her work is rooted in a social justice lens. She has taught courses across the apparel curriculum in design, product development, merchandising, culture, and history.

Notes

1 Throughout this paper, the use of the acute accent over the second e in Estévez will be inconsistent. This is intentional, as it reflects the source material; many sources documenting Estévez’s early career dropped the accent. To preserve the originality of the sources, we have included quotations and citations as they appear. However, sources documenting his later career started to include the accent more frequently. Additionally, Estévez included the acute accent when starting his own firm, Estévez, Inc., after leaving Grenelle-Estevez. Therefore, we chose to include the accent in our discussion of him, but preserved the originality of sources that did not, leading to inconsistency.

2 Dale Kern, “Luis Estevez: Havana to Hollywood,” Women’s Wear Daily, July 12, 1976, 4–5; Patrick McCarthy, “Viva Luis!” Women’s Wear Daily, April 4, 1985, 4–5; “Membership Information,” Council of Fashion Designers of America, <https://cfda.com/members/membership-information>

3 Luis Estévez, paper evening gown pattern, ca. ​​November 29, 1977, Iowa State University (ISU) Textiles and Clothing Museum, 2022.7.9a-I, <https://tcm.catalogaccess.com/objects/11343>; Kern, “Havana to Hollywood,” 5; Caroline Rennolds Milbank, New York Fashion: The Evolution of American Style (New York: Harry N. Abrams Inc., 1989), 187.

4 Alexandra Jacobs, “A Fashion Name Worth Remembering: Luis Estévez Was Master of the Silhouette,” New York Times, May 28, 2015, D11; Lorna Koski, “Designer Luis Estevez Dies at 85,” Women’s Wear Daily, December 3, 2014, 12; Kevin Almond, Janette Goff Dixon, and Sydonie Benét, “Estévez, Luis,” in Contemporary Fashion, ed. Taryn Benbow-Pfalzgraf and Richard Martin (Farmington Hills, MI: St. James Press, 2002), 206–8; “Estevez, Luis,” Draft Registration Card, Serial Number W1551-A, Hockessin, Delaware, United States, 1946, retrieved from Ancestry.com, <https://www.ancestry.com/discoveryui-content/view/6339755:2238?tid=&pid=&queryId=814282aa943360bfe8bf87f7248a810e&_phsrc=oBj12&_phstart=successSource>; “Estevez, Luis,” Passenger and Crew List, New York State, 1959, retrieved from Ancestry.com, <https://www.ancestry.com/discoveryui-content/view/5063622:1277?tid=&pid=&queryId=814282aa943360bfe8bf87f7248a810e&_phsrc=JHb1&_phstart=successSource>

5 Marshall Berges, “Home Q&A: Luis Estévez,” Los Angeles Times, August 19, 1979, 35; Koski, “Designer Luis Estevez Dies at 85,” 12.

6 Kasey Vannett, “He Likes Black Velvet,” Hispanic (January/February 1991), 69, 72.

7 Vannett, “He Likes Black Velvet,” 69, 72.

8 Callie O’Connor, email message to author, March 8, 2023.

9 The Traphagen School: Fostering American Fashion, Museum at FIT, March 5–March 30, 2019, <https://exhibitions.fitnyc.edu/traphagen-school/traphagen-alumni/>

10 Milbank, New York Fashion, 187.

11 Kern, “Havana to Hollywood,” 4–5; Berges, “Home Q&A,” 35; Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206–8.

12 Hildy Crawford, “Estevez Still Out Front,” Desert Sun, November 12, 1959, 7; Kern, “Havana to Hollywood,” 4–5; Koski, “Estevez Dies at 85,” 12.

13 Kern, “Havana to Hollywood,” 4–5.

14 “A Success Story in Necklines,” Life, April 2, 1956, 57–58, 60; “Cuba, Mexico Making Estevez Designed Clothes,” Women’s Wear Daily, January 30, 1957, 44; “Estévez,” Women’s Wear Daily, October 10, 1956, 41; “Luis Estevez Says: Imports Hurt U. S. Fashion Industries,” Philadelphia Inquirer, March 20, 1961; “Nashville Group Here to View Spring Fashions,” New York Times, November 8, 1957, 43.

15 Milbank, New York Fashion, 187.

16 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206; “Luis Estevez Says: Clothes for Jet Age Need ‘Now’ Element,” Philadelphia Inquirer, August 15, 1960.

17 Cynthia Cabot, “Designer’s Star Rises: Youthful Stylist Is Hailed,” Philadelphia Inquirer, February 10, 1956, 13.

18 “A Success Story in Necklines,” 57–58, 60.

19 “Cuban Stylist’s Flair Wins Following Here,” New York Times, October 16, 1956, 53.

20 Cynthia Cabot, “Latin Styles Unveiled,” Philadelphia Inquirer, April 22, 1956.

21 Kern, “Havana to Hollywood,” 4; Cabot, “Designer’s Star Rises,” 13.

22 “A Success Story in Necklines,” 57.

23 “Famed Designer Joins Stars of Fashion Show,” Albany Times Union, August 24, 1958, D1.

24 Berges, “Home Q&A,” 35.

25 Virginia Lee Warren, “And Along 7th Avenue, The Look is Hollywood,” New York Times, November 6, 1965, 16.

26 Arthur Elgort, “The Looks American Women Love Best,” Vogue, September 1, 1975, 274; Warren, “Along 7th Avenue,” 16.

27 Berta Mohr, “The Soft, Feminine Look: Decolletages, Ruffles, Pleats,” Daily News (Tarrytown, NY), January 15, 1964, 6.

28 “Nashville Group Here to View Spring Fashions,” 43.

29 Elsa A. Rivera-Sinclair, “Acculturation/Biculturalism and its Relationship to Adjustment in Cuban-Americans,” International Journal of Intercultural Relations 21, no. 3 (1997): 385. <https://doi.org/10.1016/S0147-1767(96)00040-5>

30 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206–8.

31 Dale Tomich, “World Slavery and Caribbean Capitalism: The Cuban Sugar Industry, 1760–1868,” Theory and Society 20, no. 3 (1991): 297–319.

32 Van Dyk Lewis, “Dilemmas in African Diaspora Fashion,” Fashion Theory 7, no. 2 (2003): 163–90.

33 Susan Kaiser and Denise Nicole Green, Fashion and Cultural Studies (London: Bloomsbury, 2021), 18.

34 Cabot, “Latin Styles Unveiled.”

35 Fay Hammond, “Fashions Provide Sparkle: Estevez Designs Called Lively as Fandango,” Los Angeles Times, September 14, 1956, D1.

36 Berges, “Home Q&A,” 35, 37.

37 Kern, “Havana to Hollywood,” 5.

38 Kern, “Havana to Hollywood,” 4.

39 “Luis Estevez Says: Clothes for Jet Age Need ‘Now’ Element”; “Name Gamberdine at Luis Estevez,” Women’s Wear Daily, December 10, 1964, 46; Warren, “And Along 7th Avenue,” 16.

40 “Luis Estevez Says: Imports Hurt U. S.”; “Luis Estevez says: Fashion ‘Look’ Needs 10 Years to Mature,” Philadelphia Inquirer, September 18, 1961.

41 “Ideas of 10 Top Couturiers: Top Designers on Wedding Dresses,” Daily News (Tarrytown, NY), May 3, 1962, 18.

42 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 207.

43 Milbank, New York Fashion, 222.

44 Bernadine Morris, “Estevez Turns to Knitwear for Men’s Clothes,” New York Times, September 12, 1969, 48.

45 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206–8; Milbank, New York Fashion, 222.

46 Milbank, New York Fashion, 222.

47 Sarah Williams and Elizabeth Currid-Halkett, “The Emergence of Los Angeles as a Fashion Hub: A Comparative Spatial Analysis of the New York and Los Angeles Fashion Industries,” Urban Studies 48, no. 14 (November 2011): 3051. <https://doi.org/10.1177/0042098010392080>

48 Kern, “Havana to Hollywood,” 5.

49 McCarthy, “Viva Luis!” 5.

50 Milbank, New York Fashion.

51 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206–8.

52 “Luis Estevez,” IMDB.com, <https://www.imdb.com/name/nm0261725/?ref_=nv_sr_srsg_7>

53 “Ford, Betty–Fashion–Designers–Estevez, Luis,” 1974–77, box 38, Sheila R. Weidenfeld Files, Gerald R. Ford Presidential Library, Ann Arbor, MI. <https://www.fordlibrarymuseum.gov/library/document/0126/1489756.pdf>; “Gabor Acquires Estevez Apparel,” Women’s Wear Daily, May 3, 1974, 12.

54 “Estevez, Gabor Intl. to Terminate Pact,” Women’s Wear Daily, November 18, 1976, 5.

55 Berges, “Home Q&A,” 37.

56 Kern, “Havana to Hollywood,” 4.

57 Alexandra Jacobs, “Luis Estévez, a CFDA Loss,” New York Times, May 27, 2015. <https://www.nytimes.com/2015/05/28/fashion/luis-estevez-a-cfda-loss.html>

58 For discussion of identity salience see: Susan B. Kaiser, The Social Psychology of Clothing (New York: MacMillan Publishing Company, 1990), 303. For an example of salience and marginalized identities see: Donnesha A. Blake, “‘It Ain’t He, It Ain’t She, It’s We’: The Politics of Self-Definition and Self Valuation in the Androgynous Model Web Series,” Dress 45, no. 1 (2019): 13. <https://doi.org/10.1080/03612112.2019.1559529>

59 Kern, “Havana to Hollywood,” 5.

60 Kern, “Havana to Hollywood,” 5.

61 Berges, “Home Q&A,” 34.

62 100 dollars in the 1970s is worth about 550 dollars in 2023. United States Bureau of Labor Statistics inflation calculator, <https://data.bls.gov/cgi-bin/cpicalc.pl>

63 Emmett F. Spiers, John F. Coder, and Robert W. Cleveland, “Income in 1970 of Families and Persons in the United States,” United States Census Bureau, October 4, 1971, <https://www.census.gov/library/publications/1971/demo/p60-80.html>

64 J. L., “The Estevez Stroke,” Women’s Wear Daily, July 9, 1970, 21.

65 “Luis Estévez Ensemble in a Woodward and Lothrop Advertisement,” Washington Post, July 4, 1976, colored paper, 22 x 28 cm, ISU Textiles and Clothing Museum, 2022.7.11, <https://tcm.catalogaccess.com/objects/11345>

66 Richard Delgado and Jean Stefancic, Critical Race Theory: An Introduction (New York: New York University Press, 2017), 8–11; Kaiser and Green, Fashion and Cultural Studies, 91; Noël Siqi Duan, “Black Women’s Bodies and Blackface in Fashion Magazines,” Critical Studies in Fashion & Beauty 8, no. 1 (2017): 65–99.

67 Kern, “Havana to Hollywood,” 5.

68 “On Fashion: Luis Estevez in Chinese Setting,” Los Angeles Times, December 5, 1975, H19.

69 Letter written by Estévez to Betty Ford regarding his design work for her, Gerald R. Ford Presidential Museum.

70 Håkan Karlsson and Tomás Diez Acosta, The Policy of the Ford Administration Toward Cuba: Carrot and Stick (New York: Routledge, 2022).

71 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 207.

72 McCarthy, “Viva Luis!” 4–5.

73 McCarthy, “Viva Luis!” 4.

74 “Luis Estevez Gets Approval from Court for Ch. 11 Plan,” Women’s Wear Daily, August 22, 1988, 8.

75 Ranjit Thind, Strategic Fashion Management: Concepts, Models and Strategies for Competitive Advantage (New York, New York, 2018).

76 Berges, “Home Q&A,” 35.

77 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 207.

78 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 206–8.

79 Louise Farr, “LEG Man,” Women’s Wear Daily, July 8, 1997, 4.

80 Almond, Goff Dixon, and Benét, “Estévez, Luis,” 207.

81 Koski, “Estevez Dies at 85,” 12.

82 Jacobs, “A Fashion Name Worth Remembering,” D11.

83 “Uniformity: Interview with Stan Herman,” 2016, Archive on Demand, Fashion Institute of Technology, <https://archiveondemand.fitnyc.edu/items/show/741>; Jacobs, “A Fashion Name Worth Remembering,” D11.