What has happened, that even in New York City, when Diane wears a black ’30′s cocktail dress with a cocktail hat, people are yelling at her, “it isn’t Halloween?” It does makes you question why we are so dulled out as a society from caring about our appearance and expressing our uniqueness. And why do we need Halloween to let loose or to care about how we leave the house? “It was really strange to me that the place that is supposed to be the pinnacle of style, glamour and indivduality, that someone in 2010 would find it really weird to see someone dressed in evening attire with accessories to match.” Hopefully, we are moving toward and back to a more forgiving and authentic world where blending in and dummying down is not God. Diane attributes a newly found appreciation of her own idiosyncratic beauty, meaning definitely beautiful but not in the all too prevailing, Jennifer Anniston kind of way, to blog culture and its exposure to all different types of physical attractiveness. “I thought my nose looked like a witch and I would never want my photo taken.” The rest speaks for itself, Diane is an inspiration in the confidence with which she wears her ’40′s bathing suit, her “bitchy, Joan Crawford” fox and her ’30′s and ’40′s dresses for their reverence of curves. Diane’s signature pageboy, bob haircut is modeled after her idol, Louise Brooks, the Follies dancer, who became a rebel actress, (she loathed and bucked Hollywood in the ’20′s.) A testament to Diane’s attraction to individuality and a willingness to stand alone, Louise is a relatively obscure (for today), but eminently worthy heroine. She was fiery, independent and talented, possessing the ingredients to become an icon, but most of all, for her value of integrity above success.

If you like Diane, you may also enjoy Lux Leekley and Kimme Aaberg.