I really wanted to like this book. It seemed so in my wheelhouse: I love the era, and fashion, and the premise was intriguing. Unfortunately, that interesting premise was buried underneath a lot of nonsense: the main character's tiresome and fanciful love life, a cliched blackmail plot, and a 30-year-old murder mystery so uninteresting even she didn't really care about it. The characters are nothing new--the rebellious aristocrat, the kindly mentor, the high-society bitch, the jealous prima-donna model, the thuggish nightclub owner--and they tend to disappear for long periods of time. One character (one who's presented as important but could have been cut from the story alltogether) was gone for so long I actually kind of forgot about him. And it's not because I'm incapable of keeping track of large casts of characters.
This needed a much stronger editorial hand. It's far too long: lots of things could have and should have been cut. There are also pacing issues: parts of the book drag while other bits feel oddly rushed. And important questions needed to be put to the author, because there are times when the characters behave so ridiculously you can't possibly believe what they're doing. For instance: If you were secretly behind the theft of a collection of clothes that had not been shown, would you then wear one of the outfits to a meeting with the designer they'd been taken from? If you knew your ex-boyfriend had actually disfigured his previous girlfriend, would you get back together with the guy expressly for the purpose of pressuring him to confess to that assault (just to you, mind, not the authorities or anything!)? If you have any sense whatsoever, the answer to both of those questions would be, 'no'. And yet, they happen. Along with several other ridiculous things that no reasonable person would ever do.
If you're hoping, at least, for the story of a strong woman navigating tricky waters, you'll probably be disappointed there as well. Alix seems (mostly) well-meaning, but she's a tease and can't seem to get anything done without a man to either kick things off or assist her. Usually both. And while, yes, men were more highly rated in the 1930s and therefore wielded more power, let's not forget that there were loads of extremely influential female designers working in Paris at this time (Coco Chanel, Elsa Schiaparelli, Jeanne Lanvin, to reel just three off the top of my head), so obviously women could get things done and command attention and respect on their own. I'd like to point out that these women barely warrant a mention, though you'd think they should be all over a book about 1930s couture. Sigh. So many missed opportunities.
I will say, though, that the descriptions of Paris are quite lovely, and it's clear Evans adores the city. And the glimpses into the inner workings of a couture house were interesting. So, there's that. But story-wise? Just not my cup of tea, I'm afraid.