Jacqueline de Ribes, 1955, Courtesy of The Metropolitan Museum of Art, Photograph by Richard Avedon, ©The Richard Avedon Foundation

Dubbed the "Last Queen of Paris" in a 2010 Vanity Fair style profile, the elegant Countess Jacqueline de Ribes truly deserves the aristocratic mantle. But the French femme with the swanlike neck transcended her social class with her many interests. Even while her wealth afforded her the finest couture of her time, she anonymously penned a budget fashion column for France's Marie-Claire. Her seemingly delicate grace concealed an athletic constitution: Throughout most of her life she was an avid skier (both on snow and water) and frequently rowed a boat in Paris's Bois de Boulogne public park.

Someone with authentic style takes an article of clothing and makes it her own, and this is exactly what the Countess does. Not only is she frequently accredited with being among the first to mix designers but she often altered their work to her own whims-taking scissors to sleeves or stitching together several haute couture creations to make a composite dress for a masquerade ball. Countess de Ribes inspired and worked with Oleg Cassini, Emilio Pucci, Yves Sant Laurent and Valentino Garavani. Finally, in 1983, de Ribes debuted her own collection. The fashion house was a success until 1995, when de Ribes retired it.

Jacqueline de Ribes in Christian Dior, 1959,
Courtesy of The Metropolitan Museum of Art,
Photograph by Roloff Beny, Roloff Beny Estate

Tomorrow the Costume Institute at the Metropolitan Museum of Art opens its exhibition dedicated to de Ribes's fantastic closet. Jacqueline de Ribes: The Art of Style contains both designs from her label, those featuring her very personal alterations and those created by her famous friends; these 60 pieces from her archive span from the 60s to the present day.

Jacqueline de Ribes in Yves Saint Laurent, 1962, Courtesy of The Metropolitan Museum of Art, Photograph by Richard Avedon, ©The Richard Avedon Foundation

The 86-year-old Countess de Ribes cancelled her appearance at the opening due to the Paris attacks. Having lived through the Occupation, de Ribes must recall experiencing similar terror on her home terroir. The Art of Style features this woman of substance and compassionate tact.

-Britt Olson