Jacki Lyden

While we may always be concerned with the lives of the rich and famous, the rich and famous don't always deserve that concern. Even in the hands of the legendary biographer Mary Lovell, I wondered if the denizens of The Riviera Set would sustain our interest five decades on, for the book ends in 1960 — and ostentatious wealth is now on a nasty bender.

Beginning Friday, the New York branch of the Smithsonian's National Museum of the American Indian will host the exhibit Native Fashion Now, a traveling show from the Peabody-Essex Museum in Salem, Mass. It highlights a dazzling array of contemporary fashion made by dozens of Native American designers.

Recently, on a hot summer morning with cumulus clouds towering overhead, black cattle grazed in South Florida fields, dotting the horizon along with clumps of palm trees. At the Big Cypress Reservation, Moses Jumper is a tribal elder and owner of nearly 300 head — and a fourth-generation cattleman.

The Seams, an occasional NPR series on clothing as culture, has been reporting a series about Florida Seminole Indian patchwork and its heritage and use in tribal life. Read the first installment in this series, "Osceola At The Fifty Yard Line."

Seminole patchwork is not well-known outside the state of Florida. The Seams looks at culture through clothing — and within this hand-sewn and folded patchwork is the story of the Seminole Tribe of Florida.

Elsa Schiaparelli, known as the Queen of Fashion, was the supreme innovator of dress design in the first half of the 20th century. Based in Paris, she seemed to know what women wanted before anyone else, says author Meryle Secrest. But Secrest's new Elsa Schiaparelli: A Biography begins with the designer's emotionally starved, lonely childhood in a vast palazzo in Rome.

It can be hard to talk about clothes in an intelligent way. Fashion critic Kennedy Fraser once wrote in The New Yorker that the act of donning a garment can seem almost furtive or trivial, something beneath debate or intellectual content. The editors of Women in Clothes would agree that it's a challenge. The book collects essays, conversations, pictures and testimonials from more than 600 women talking about how clothes shape or reflect them as human beings.

In a small shed in Tenancingo, Mexico, partly open to the sky, about a half-dozen men stand behind huge wooden looms. They pedal side-by-side, their churning feet making a beautiful harmony as they craft handmade rebozos.

Rebozos, long rectangular shawls that came into style in Mexico in the 16th century, and the huipil, a woven and embroidered blouse or dress of pre-Columbian origin, are the main elements of Mexican traditional dress.

Thursday in New York, the Metropolitan Museum of Art officially reopens its fashion galleries after a $40 million, two-year renovation.

Named for Vogue magazine's editor, the Anna Wintour Costume Center features an inaugural exhibit of the work of Charles James, a flamboyant designer considered America's first couturier. This caps days of glamorous events at the Met, including the Costume Institute's benefit gala, presided over by Wintour — with Hollywood stars.

In the mid-1960s, society was changing; shaking off old ideas and trying on new ones for size. There were changes on the political front, like the civil rights movement and the looming war in Vietnam, as well as on the cultural front, with new celebrities popping up on TV every night.

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