Richmond Fashion Designer had an Unlikely Start

Moving from Richmond to Paris in the 1960s, Sara Shelburne (1944-2018) quickly caught the attention of fashion journalists with her self-made clothing, which led to design opportunities. Her work was eventually featured in Vogue and The New York Times, and her innovative designs earned a place in prestigious fashion collections, including the Museum at the Fashion Institute of Technology in New York and the Valentine in Richmond. Shelburne’s designs helped define a unique blend of American style and European sophistication. 

Born in Richmond, Virginia, Shelburne’s entry into the world of fashion wasn’t planned.  After studying political science at the Richmond Professional Institute, now Virginia Commonwealth University, she moved to Paris in 1964 to study international law. There, Shelburne caught the attention of fashion journalists and designers alike. Her self-made dresses, worn while conducting research for her doctorate, began to draw attention. As she told The Richmond News Leader, “before I knew it, I had offers to design. I hired a seamstress. And that’s how it started.” 

By 1969, Shelburne had opened her own atelier, Tanagra, in Paris. This boutique, above the Rue du Cygne, became a hub of creative energy. With a small but dedicated team of eight women, she brought to life garments that blended the European sophistication and Parisian fashion with the practical elegance of American design.  

Shelburne’s jewel-toned, statement pieces—like smock-style coats, pleated dresses, and puffed-top sleeves—transformed her into an icon. Her creations were n’ot just clothing, they were a reflection of her philosophy: style should not only be beautiful but also functional.  

The fashion world took note. Shelburne’s designs earned a place in the collections of top fashion museums, including the Museum at FIT in New York and here at the Valentine in her hometown. Her clothing wasn’t just worn; it was celebrated as a symbol of American innovation abroad. She was one of the few American designers working in Paris during the 1970.  As she explained, Parisians would often stop her on the streets to ask where she had bought her clothes. Her response was always the same: “I’ve always made my own clothes.” 

This DIY spirit defined Shelburne’s career. She didn’t just follow trends—she set them. Her designs brought the practicality that American women valued into the sometimes-stuffy world of French couture. Shelburne made garments that were not only stunning but also comfortable and versatile, incorporating details like pockets or separates that could be mixed and matched, allowing women to feel at ease in their clothes no matter the occasion. For Shelburne, clothing was about more than appearance; it was about empowering women to be confident in their daily lives. 

Her signature pieces, including deep pleated dresses, dramatic puffed sleeves, and intricate color and fabric combinations, helped define a unique brand of American style that resonated in Paris. Shelburne’s work wasn’t just about looking good; it was about feeling good. She famously designed dresses with puffed sleeves to make a woman’s shoulders appear smaller while allowing for freedom of movement—an innovation born from practicality but elevated to pure style. 

Take, for example, a piece from the Valentine collection—a black velvet and rayon draped ensemble with a velvet tie-belt versus a red satin dress made of silk, featuring a single strap. These pieces encapsulate Shelburne’s mastery of form and function, using contrasting materials to create an elegant and wearable piece of art. 

From Richmond to Paris, Shelburne carved out a space for American designers on the international stage, leaving a legacy of innovation that continues to inspire designers today.