Son wins back rare posters Nazis stole

The Washington Times Daily - - Life - BY DAVID RIS­ING

ABER­LIN Ber­lin mu­seum must re­turn thou­sands of rare posters to an Amer­i­can, part of his Jewish fa­ther’s unique col­lec­tion that had been seized by the Nazis, Ger­many’s top fed­eral ap­peals court ruled Fri­day.

The Fed­eral Court of Jus­tice in Karl­sruhe con­firmed Peter Sachs, 74, is the right­ful owner of the posters col­lected by his fa­ther, Hans, and ruled he is en­ti­tled to re­ceive their re­turn from the Ger­man His­tor­i­cal Mu­seum.

The rul­ing ended seven years of le­gal bat­tles over a vast col­lec­tion dat­ing back to the late 19th cen­tury that is now be­lieved to be worth be­tween $6 mil­lion and $21 mil­lion.

The court said if the mu­seum kept the posters it would be akin to per­pet­u­at­ing the crimes of the Nazis.

“I can’t de­scribe what this means to me

hub of change with girls wear­ing dun­ga­rees.

Sally, he said, is “a rebel in the mak­ing.”

That was the norm for ado­les­cents and teens, who adopted Lyn­don B. John­son’s daugh­ters as their style role mod­els in a way that Jackie Kennedy had been for their moth­ers.

“They were hip­per,” Mr. Stod­dart ex­plained. “They were part­ing their hair in the mid­dle.”

Don Draper prob­a­bly won’t like that one bit on Sally, Mr. Stod­dart ob­served, be­cause for all his smok­ing, drink­ing and wom­an­iz­ing, he’s more con­ser­va­tive than one would think. He notes an ear­lier episode in the se­ries where Don wasn’t pleased at all to see wife Betty in a bikini.

“If you look at the whole decade, from 1960 to 1970, you still have some peo­ple who weren’t chang­ing, but the younger peo­ple were push­ing fash­ion in a to­tally dif­fer­ent di­rec­tion,” agreed Janie Bryant, the show’s cos­tume de­signer.

The char­ac­ter is es­sen­tial to the cos­tume, Ms. Bryant said. The retro mo­ment largely cred­ited to “Mad Men” — and bring­ing back styles she per­son­ally loves — is ic­ing on the cake.

“It’s amaz­ing to me how the fash­ion has been this huge ex­plo­sion,” she said. “I’m telling the story of the char­ac­ters through the clothes, but it’s not about a ‘fash­ion show,’ and I think that’s why peo­ple are so ex­cited.”

Peggy, who works her way up to her own of­fice at the ad agency, is def­i­nitely some­one to watch, Ms. Bryant said, be­cause she un­der­stands her wardrobe is an ex­pres­sion of her­self. The oth­ers also ex­press them­selves through their clothes, but don’t al­ways re­al­ize it, she said.

“Betty Draper Fran­cis — her roots are grow­ing up in the 1950s, so she’s al­ways a lit­tle bit up­dated ’50s, and that says a lot. . . . She cares about ap­pear­ances more than she does fash­ion. She likes the ap­pear­ance of per­fec­tion.”

And Joan, who al­ways liked the tighter cut any­way, could start show­ing an ap­pre­ci­a­tion for the richer, more lux­u­ri­ous fab­rics that were be­com­ing pop­u­lar.

Men’s of­fice at­tire was fairly con­sis­tent through the ’60s, although they broke out some col­ored shirts, FIT’S Mr. Stod­dart said. For them, the big­ger change was the “silly wide tie” that came in the ’70s. Still, he said, some of the ad world’s younger ex­ec­u­tives might start wear­ing high-col­lar Nehru jack­ets and there will be more side­burns and beards. “You will see flick­ers of change,” he pre­dicted.

The pol­ish that comes with the “Mad Men” look res­onates with con­sumers right now, said Ba­nana Repub­lic creative di­rec­tor Si­mon Kneen, who has col­lab­o­rated with Ms. Bryant on “Mad Men”-themed col­lec­tions. The sec­ond batch of styles is in stores now.

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