The Disappearance of Astrid Bricard exemplifies the best of historical fiction, seamlessly blending real events and people with fictional characters whose lives intersect. It combines a family saga, the mystery surrounding both Astrid’s disappearance and the identity of her father, and an exposé on the misogynistic toxicity of the fashion industry.
In the author’s note, Lester mentions that Mizza Bricard, Astrid’s biological mother, was a real person, knowledge which led me down a Google rabbit hole. Fictional Mizza was the first generation of Bricard women who gave birth out of wedlock (what an archaic term), thus passing on the common surname, but that’s not where the commonalities end. Beautiful MIzza, who began her fashion career almost by accident, grew up fast in the salons of Paris on the eve of World War I, rubbing elbows with everyone from Coco Chanel to Pablo Picasso. Despite her incredible design talent, she was relegated to being a “muse” to Christian Dior with a sordid reputation thanks to the misogynists with fragile egos who rule the world of haute couture, both then and now. As Lester mentions, “I believe the truth is more likely to be found in the accounts of those who knew her, rather than men reporting on her thirty or forty years after her death who’ve decided that the racier the anecdote, the more chance they have of being published.” If you’d like to read more about Mizza, I’ve included a link at the bottom of this review to an article written by Lester for the Sydney Morning Herald.
Mizza’s fictional daughter Astrid, who was raised by her adoptive parents, enrolled in Parsons School of Design in NYC in 1970 at age 24, and, despite not being raised by Mizza, she suffered a similar fate by virtue of association. Hawk Jones was a wunderkind who started his own design house right out of school. From the moment they met in the Parsons Archives, the pull between them was undeniable and unavoidable. Although Astrid’s designs inspired Hawk and he was adamant about giving her credit, the toxic and petty fashion patriarchy persisted in undermining her talent and painting her as a muse as well. Like her mother, whose famous, somewhat scandalous photograph sealed her fate, Astrid was captured wearing a silver lamé dress and nothing else while dancing at a disco. As months passed, she and Hawk pumped out hot-selling pieces while rubbing elbows with the likes of Mick Jagger, and ultimately fell in love. When it all came to a head at the Battle of Versailles in 1973 (an actual event that had the established and favored French designers competing against the upstart, risk-taking American designers), Astrid disappeared, and no one knew if she was dead or in hiding for the next 40 years.
Mizza Bricard at age 55, photographed by Louise Dahl-Wolfe
Blythe Bricard, daughter of Astrid and Hawk and divorced from fashion mogul Jake Black, is at the tipping point of her fashion career. Like her parents, she and Jake met in design school and vowed to support each other’s dreams. However, the pressure and fickle nature of the industry has led her to the point that she must decide if she will continue designing costumes for film (which would mean giving up her dream) or revive her mother’s fashion brand, Mizza, either with Jake’s competitor, with Jake’s company if they can first overcome their personal differences, or by taking the reins herself with investments from other women. In a world heavily populated by female customers, workers, and talent but still run mostly by men, it’s a point of pride and ownership she craves. And, of course, she wants to be the first in her family’s line to get credit for her work and shed the heavy mantle of “muse.”
Although this isn’t a romance, the relationships each woman had are intrinsic to the plot and it’s impossible not to root for both Astrid and Blythe to find some happiness. However, the over-reaching theme is the damage caused by generational trauma and parental neglect and abandonment as well as the repeated messaging that talented women in fashion, especially ones who are trying to be innovative (like Astrid with her mix-and-match separates for ‘working women’, modeled after Anne Klein, the actual female designer at Versailles) will be suppressed, rejected and ridiculed by both petty journalists (like real-life Women’s Wear Daily’s John Fairchild) and most male designers.
“Dior didn’t know Mizza would be reduced in later years. And she was his muse. But she was a designer too. History forgot the second half because it’s a man’s name on the awning. History kept the first half because that’s the way stories of male creators working with women are written.” (Blythe's niece Coco in response to her question about why Dior allowed the press to slander Mizza)
Lester has written characters so compelling and well-rounded and settings so alive with imagery that you can’t help but put yourself in their place. As the mother of a fashion model, I was also affected by the knowledge of how men treated female designers because they were threatened by their talent. I really appreciate Lester’s extended author note, showing readers the depth of her research and findings.
The only slight criticism I have is that the multiple timelines got a bit confusing at times, and I personally would have preferred a first-person point of view from each of the Bricard women. It’s a minor quibble that doesn’t negate the power and appeal of this story. Highly recommended.
For more information on Mizza Bricard, read
She was known as Christian Dior’s muse, but Mizza Bricard was so much more than that.
https://www.smh.com.au/lifestyle/life-and-relationships/she-was-known-as-christian-dior-s-muse-but-mizza-bricard-was-so-much-more-than-that-20230914-p5e4ro.html
I received a complimentary ARC of this book from Forever Publishing through NetGalley in exchange for an honest review. Opinions expressed are completely my own.
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