Emanuel Ungaro, 86, whose merging of attention-getting colors and patterns with sleek lines made him one of the most talked-about fashion designers in Paris beginning in the 1960s and served as the foundation for the fashion house that still bears his name, died Saturday in Paris.

Ungaro, who came from a family of tailors, established his fashion house in 1965 after working under designer ­Cristóbal Balenciaga.

Celebrity journalist James Brady, in a "Brady's Bits" column in 1987, wrote that Ungaro, whom he had known since the 1960s, financed his first show with a loan that used a girlfriend's Porsche as collateral. The event, Brady wrote, was held in a small apartment. People sat on the balcony and peered in through windows to see the clothes.

Within a few years Ungaro's creations were being worn by A-listers like Jacqueline Kennedy Onassis and being seen in films on Catherine Deneuve (in "Le Sauvage," 1975), Gena Rowlands ("Gloria," 1980) and other actresses.

His ever-changing signatures over the years included stand-up collars, abundant use of suede, wrap dresses, mixed prints and more. He might pair a paisley blouse with a plaid suit, or prescribe a colorful shawl for a distinctive look, or go all in on polka dots.

"I hate boring clothes," he told the Washington Post in 1977. "I hate seeing women dressed in a sad way."

Ungaro explained his approach to design in 1994, when he opened a boutique in New York City.

"If you want to exist in fashion, and in any other manifestation of art, you have to disturb people," he told the New York Times. "Provocation, in my mouth, means disturbing to the eye. Not disturb just to disturb, but disturb by showing something unexpected."

Emanuel Ungaro was born Feb. 13, 1933, in Aix-en-Provence, in southern France. His father, Cosimo, was a tailor who had fled fascist Italy.

"My father is like a god to me," Ungaro told the Boston Globe in 1965. "He taught me to respect line and quality, and to take pains with every stitch."

After working for three years in his father's tailoring business, determined to make a career in fashion but needing a bigger stage on which to do it, he left his hometown for Paris when he was 21.

"I arrived in Paris with two pairs of pants, three shirts and not one cent in my pocket," he told an interviewer in 1992.

He spent two years as a stylist for Maison Camps tailors, then in 1958 took a job with Balenciaga's fashion house. He spent six years there, absorbing Balenciaga's ideas on line and color and how to drape the body.

Beginning in 1964 he spent about a year working with André Courrèges, who shook up the fashion scene in Paris that year with his mod "Space Age" collection. The next year, Ungaro established his own company.

Johanna Lindsey, 67, a romance novelist whose bestselling paperbacks ranged through the centuries, chronicling passionate and independent women in pirate ships, Viking forts, medieval castles, the American West and on a distant planet, died Oct. 27 at a hospital in Nashua, N.H.

Her death was first reported Sunday by the New York Times, which said "the family was too devastated by her death to announce it earlier."

She had stage 4 lung cancer.

Lindsey was one of the most popular romance authors of her era, selling more than 60 million copies in at least 12 languages. She was also a pioneer of the modern historical romance novel, which originated with the work of Kathleen Woodiwiss and Rosemary Rogers, only a few years before Lindsey made her debut at 25 with "Captive Bride" (1977).

"She's one of the foundations of the genre," romance novelist Beverly Jenkins said in a phone interview. "Most stories in mass-market fiction were male-centered. With Woodiwiss and Rogers and Lindsey, you had these female-centered stories with women who were bound and determined to set their own pace, to define love, to fracture what people associated women with."

Her novels were frequently described as fairy tales, happy-ending stories of heroines who travel halfway around the world and end up finding love, and sexual satisfaction to boot. Filled with witty banter and one-liners, many of her novels also featured arranged marriages, mistaken identities, kidnappings, abductions, overbearing family members and abusive lovers, with some scenes of outright rape.

Johanna Helen Howard (some sources reverse her first and middle names) was born March 10, 1952, in Frankfurt, Germany, where her father served in the Army.

She worked in data processing before marrying Ralph Lindsey in 1970 and soon became engrossed in historical romances, sometimes reading one a night. After the birth of her second son, with her husband working nights and weekends, she began writing "Captive Bride."

Her later novels included "Gentle Rogue" (1990), a pirate yarn; "Warrior's Woman" (1990), a science-fiction romance set on Kystran in 2139; and the 12-book Malory-Anderson Saga, which opened with "Love Only Once" (1985), about a "hot-tempered" Englishwoman abducted by a rogue. The series concluded in 2017 with "Beautiful Tempest," involving a kidnapped debutante and Caribbean pirates.

In 1990, Lindsey inked a 10-book contract with Avon, she was writing two books a year, and each of her previous 19 novels had sold at least 700,000 copies.

Dalton Baldwin, 87, an American pianist and recording artist who was acclaimed for nearly six decades as a recital accompanist to major singers, including Elly Ameling, Jessye Norman and especially the French baritone Gérard Souzay, died on Dec. 12 in the Yunnan Province of China.

Baldwin had recently completed three weeks of performances and coaching sessions with students in Japan and was returning from a short trip to Myanmar to visit Buddhist temples when he collapsed on a flight to Tokyo. The plane made an emergency landing in Kunming, where he was taken to a hospital and died.

He had performed on five continents and made more than 100 recordings over his career.

Critics affirmed that he was no mere accompanist. While consistently praising the refinement, sensitivity and technical command of his playing, they routinely described him as an equal partner to the singers he performed with.

In a review of a 1978 recital by Ameling at Alice Tully Hall, John Rockwell of the New York Times wrote that Baldwin "was worthy of a review all his own." This was "piano playing of a lyrical and dramatic sympathy and a rhythmic energy that superbly partnered the singer," Rockwell concluded.

Baldwin was 22 when he met and first worked with Souzay, who was 13 years older and already an admired interpreter of song. Their professional relationship grew into a personal one, though they remained discrete about it; they built a home together in Antibes, on the Riviera, where Souzay died in 2004 at 85.

Baldwin was drawn to music early. As a high school student, he attended a recital in Morristown, N.J., by the great English contralto Kathleen Ferrier that proved pivotal. "You know immediately when a singer has a personal message," he said in a 1996 interview. Ferrier "had lovely rosy cheeks and an enchanting way, and there again was a message, introducing me to the world of song."

After studying at the Juilliard School, he attended the Oberlin Conservatory of Music in Ohio, where he received a bachelor of music degree. In Paris, he studied with the renowned pedagogue Nadia Boulanger, began his association with Souzay and was coached by several composers, including Poulenc and Frank Martin.

The illustrious singers he worked with also included Marilyn Horne, Nicolai Gedda, Jennie Tourel, Frederica von Stade and José van Dam. He began his long association with Ameling in 1970 and, a few years later, began working with Norman (who died in September).

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