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As fashion designer to London’s elite, she had an eye for detail and a flare for the dramatic. But there’s nothing stylish about her cold-blooded murder. With the social season just around the corner, the women in Cleo’s family are having new outfits made by the most sought-after designer in the city. Madame Poitiers is bold, self-absorbed and not French, despite her claims. When Cleo stumbles on her dead body in the salon, she is in a unique position to gather clues and speak to witnesses. But she doesn’t expect to find Harry Armitage’s business card in Madame’s possession. What is the alluring private detective’s connection to the victim? And why is he avoiding Cleo? As she peeks behind the veil of lies, Cleo uncovers the secrets Madame Poitiers tried to hide. But which secret led to her murder? And which one of the suspects turned the fashion icon into a fashion victim?
As fashion designer to London's elite, she had an eye for detail and a flare for the dramatic. But there's nothing stylish about her cold-blooded murder. With the social season just around the corner, the women in Cleo's family are having new outfits made by the most sought-after designer in the city. Madame Poitiers is bold, self-absorbed and not French, despite her claims. When Cleo stumbles on her dead body in the salon, she is in a unique position to gather clues and speak to witnesses. But she doesn't expect to find Harry Armitage's business card in Madame's possession. What is the alluring private detective's connection to the victim? And why is he avoiding Cleo? As she peeks behind the veil of lies, Cleo uncovers the secrets Madame Poitiers tried to hide. But which secret led to her murder? And which one of the suspects turned the fashion icon into a fashion victim?
As fashion designer to London's elite, she had an eye for detail and a flare for the dramatic. But there's nothing stylish about her cold-blooded murder.With the social season just around the corner, the women in Cleo's family are having new outfits made by the most sought-after designer in the city. Madame Poitiers is bold, self-absorbed and not French, despite her claims.When Cleo stumbles on her dead body in the salon, she is in a unique position to gather clues and speak to witnesses. But she doesn't expect to find Harry Armitage's business card in Madame's possession. What is the alluring private detective's connection to the victim? And why is he avoiding Cleo?As she peeks behind the veil of lies, Cleo uncovers the secrets Madame Poitiers tried to hide. But which secret led to her murder? And which one of the suspects turned the fashion icon into a fashion victim?
A powerful chronicle of the women who used their sewing skills to survive the Holocaust, stitching beautiful clothes at an extraordinary fashion workshop created within one of the most notorious WWII death camps. At the height of the Holocaust twenty-five young inmates of the infamous Auschwitz-Birkenau concentration camp—mainly Jewish women and girls—were selected to design, cut, and sew beautiful fashions for elite Nazi women in a dedicated salon. It was work that they hoped would spare them from the gas chambers. This fashion workshop—called the Upper Tailoring Studio—was established by Hedwig Höss, the camp commandant’s wife, and patronized by the wives of SS guards and officers. Here, the dressmakers produced high-quality garments for SS social functions in Auschwitz, and for ladies from Nazi Berlin’s upper crust. Drawing on diverse sources—including interviews with the last surviving seamstress—The Dressmakers of Auschwitz follows the fates of these brave women. Their bonds of family and friendship not only helped them endure persecution, but also to play their part in camp resistance. Weaving the dressmakers’ remarkable experiences within the context of Nazi policies for plunder and exploitation, historian Lucy Adlington exposes the greed, cruelty, and hypocrisy of the Third Reich and offers a fresh look at a little-known chapter of World War II and the Holocaust.
It was the most fashionable place to stay in London, until murder made a reservation. Solve the puzzle in this new cozy historical mystery from USA Today bestselling author of the Glass and Steele series. December 1899. After the death of her beloved grandmother, Cleopatra Fox moves into the luxury hotel owned by her estranged uncle in the hopes of putting hardship and loneliness behind her. But the poisoning of a guest on Christmas eve throws her new life, and the hotel, into chaos. Cleo quickly realizes no one can be trusted, not Scotland Yard and especially not the hotel’s charming assistant manager. With the New Year’s Eve ball approaching fast and the hotel’s reputation hanging by a thread, Cleo must find the killer before the ball, and the hotel itself, are ruined. But catching a murderer proves just as difficult as navigating the hotel’s hierarchy and the peculiarities of her family. Can Cleo find the killer before the new century begins? Or will someone get away with murder?
She was admired by women and desired by men, until jealousy and past secrets took center stage. Help Cleo and her friends solve the murder of one of London's leading actresses. When a hotel guest's mistress is found dead in the stalls of the Piccadilly Playhouse, a verdict of suicide is given. Convinced his lover didn't kill herself, Lord Rumford wants the truth uncovered. Against his better judgement, he hires Cleo Fox to find the murderer. Cleo needs to solve this case if she wants to make a living from being a private detective. But she quickly learns that the truth is buried beneath years of secrets; secrets that powerful people want desperately to keep. With the help of her friends from the Mayfair Hotel, Cleo exposes the bitter rivalry and jealousy of London's West End. But can she find the killer before the final curtain closes on the Playhouse?
Shining a light on a little-known aspect of the Holocaust, Lucy Adlington weaves an unforgettable story of strength, survival, and a friendship that can endure anything. Three weeks after being detained on her way home from school, fourteen-year-old Ella finds herself in the Upper Tailoring Studio, a sewing workshop inside a Nazi concentration camp. There, two dozen skeletal women toil over stolen sewing machines. They are the seamstresses of Birchwood, stitching couture dresses for a perilous client list: wives of the camp’s Nazi overseers and the female SS officers who make prisoners’ lives miserable. It is a workshop where stylish designs or careless stitches can mean life or death. And it is where Ella meets Rose. As thoughtful and resilient as the dressmakers themselves, Rose and Ella’s story is one of courage, desperation, and hope — hope as delicate and as strong as silk, as vibrant as a red ribbon in a sea of gray.
A haunting tribute to the heroic pioneers who shaped the American Midwest This powerful novel by Willa Cather is considered to be one of her finest works and placed Cather in the forefront of women novelists. It tells the stories of several immigrant families who start new lives in America in rural Nebraska. This powerful tribute to the quiet heroism of those whose struggles and triumphs shaped the American Midwest highlights the role of women pioneers, in particular. Written in the style of a memoir penned by Antonia’s tutor and friend, the book depicts one of the most memorable heroines in American literature, the spirited eldest daughter of a Czech immigrant family, whose calm, quite strength and robust spirit helped her survive the hardships and loneliness of life on the Nebraska prairie. The two form an enduring bond and through his chronicle, we watch Antonia shape the land while dealing with poverty, treachery, and tragedy. “No romantic novel ever written in America...is one half so beautiful as My Ántonia.” -H. L. Mencken Willa Cather (1873–1947) was an American writer best known for her novels of the Plains and for One of Ours, a novel set in World War I, for which she was awarded the Pulitzer Prize in 1923. She was elected a fellow of the American Academy of Arts and Sciences in 1943 and received the gold medal for fiction from the National Institute of Arts and Letters in 1944, an award given once a decade for an author's total accomplishments. By the time of her death she had written twelve novels, five books of short stories, and a collection of poetry.