And who buys couture?

asks the Sunday Times?

They are a new fashion type, these rich and pampered couture shoppers. Although their lifestyles are European (and specifically London), their cultures span the world — Korea, China, Venezuela. And what are they here for? Excess — in colour, proportion and, above all, decoration.

Yet there was little innovation. Like the husbands who pay the bills — anything from £50,000 to £150,000 for an elaborately jewelled creation — these women don’t give tuppence for the avant-garde. They want a waist where God intended; they don’t want flashes in embarrassing places and are bemused by garments with three sleeves. They want everything just as it always has been — at least, since the 1950s. And Paris couture survives by meeting their needs.

They have other demands, too, such as quality of the standard even the best ready-to-wear labels cannot provide. They also want exclusivity, so most couture houses have an unwritten policy of limiting sales of any £100,00-plus garment to one per continent, with first choice going to the most loyal customer. As one vendeuse told me: “There are no ceilings now — they have all been broken. These women have closets to die for. And they all pay cash.”

She sums up the market forces by confessing: “We can’t get enough crocodile bags, even though they sell for £20,000. Kurdistani millionaires’ wives buy them in every colour, which often means 10 identical bags.”

More or less

Unsuprisingly, the Sunday Times reports today that the fashion retail sector which is experiencing an upsurge is the middle market. Buyers are trading down from Harvey Nicks and trading up from M&S and Primart.

Many of the brands in this not-too-expensive, not-too-cheap niche are small compared with the retail giants. What sets them apart is a focus on quality, design and a commitment to producing fashion you might want to keep. In a tough economic climate, these values chime with the way we want to live now, and they are good for business. Jigsaw reported a substantial sales rise this year and is about to launch an e-commerce site. Banana Republic isn’t having a summer sale — because there is no left-over stock. Reiss and All Saints are expanding rapidly, and Jaeger posted a profit of £82m last year.

One of the most exciting fashion relaunches will also be in the middle market. I’ve had a sneak peek at the first collection by the former Topshop guru Jane Shepherdson for Whistles, and it is full of grown-up, gorgeous, covetable clothes.

A black jacket I bought at Whistles two and a half years ago for £175 has several years more life in it, in terms of both quality and style. I was looking in L.K. Bennett the other day, and the small number of pieces they have started to get in for Autumn look very promising, as do the shoes.

Death of a model

Dorian Leigh has died at the age of 91.

She was born in San Antonio, Texas, the plainest of four Parker sisters, her features too pronounced for the preference for plucked brows and rococo lips that prevailed through the 1930s. She married at college and had two children before her divorce in 1937. Her parents took her and the children back into their home in Queens, New York City, and her chemist father encouraged her in education. She studied calculus at New York University and went on an engineers' training programme. She worked first as a draughtsman for the navy and then on wings for the eastern aircraft division of General Motors, but quit, she claimed, because her suggested design improvements were rejected.

She then took a job as an advertising copywriter in New York. In need of extra money, she went to a model agency run by Harry Conover, who recognised her face as suddenly suited to the times. Leigh's age - 27 - was problematic, so he instructed her to tell Diana Vreeland, fashion editor at Harper's Bazaar, that she was 19. Vreeland ordered Leigh to leave the eyebrows alone and report back the next day to model a hat for the photographer Louise Dahl-Wolfe, leading to her appearance on the cover for June. The movie Cover Girl, a montage of newsstand displays starring Rita Hayworth, was the fashion fantasy of 1944, and Leigh - the Parker was dropped out of courtesy to her family - was the sophisticated edition of Hayworth.

Leigh's real career as the zeitgeist began the next year. Charles Revson had added matching lipsticks to his Revlon nail enamels in 1940, and soon US wartime prosperity, which increased the purchasing power of working women, allowed him to advertise his lips and nails combos in full colour. For 1945's Poison Apple campaign, "the most tempting colour since Eve winked at Adam", Revlon hired Leigh as the face that lost paradise. She became the Revlon fantasy dame, starring regularly in its promotions, including the 1952 campaign for Fire and Ice, a Madison Avenue legend. Avedon shot her in faux-Balenciaga scarlet cape, and a dress with its front spangled with silver rhinestones. The questions on the spread suggested Leigh's unconventional character ("Do you sometimes feel that other women resent you?" "Do sables excite you, even on other women?") A senior advertising executive who hated it said Leigh looked like "a little tootsie whom the Aga Khan spotted on the Riviera". But Vogue thought her classy, and ran it big. Leigh had introduced sister Suzy to the Eileen and Jerry Ford agency, and she succeeded Leigh as Revlon goddess.

People were more interesting in the olden days.