Though well-known in New York fashion circles, it wasn’t until an early fall day in 1996 that Carolyn Bessette and John F. Kennedy Jr.’s wedding photo was released, and the world discovered a new, eternal fashion icon. Bessette Kennedy’s silk crepe slip dress, cut on the bias and created by her close friend Narciso Rodriguez, completely upended bridal traditions with modernity elegance, and the right amount of restraint. America hadn’t been seen anything like it since sophisticated Jacqueline Kennedy Onassis and always-chic Lee Radziwill.

The moment marked the beginning of a worldwide fascination with Bessette Kennedy and the way she expressed herself through her clothes. From gala benefits to street style moments, she played on all-American style codes but delivered these with her own unique take, from the white T with jeans to separates – say, a simple top with a pencil skirt – teamed with a perfect coat – often finished with a perfect pair of Manolo Blahnik shoes.. Even when she wore Yohji Yamamoto, as she regularly did, she made the look her own.

Now, “CBK: Carolyn Bessette Kennedy; A Life in Fashion” – penned by Sunita Kumar Nair and published by Abrams – is the first book devoted Bessette Kennedy’s style during her short life in the spotlight (she, her husband, and sister Lauren died in a plane crash in 1999).  With a foreword by Gabriela Hearst and a preface by Edward Enninful, OBE, the book showcases how Bessette Kennedy captivated the public and became a muse to designers. The point is made in photos taken by, among others, Sally Mann, Mark Borthwick, Glen Luchford, and Peter Lindbergh, art by Jack Pierson, Hugo Guinness, Anna Weyant, and Mark Tennant, and interviews with designers and fashion people like Mario Sorrenti, Fabien Baron, and Tory Burch.

As CFDA CEO Steven Kolb put it in the book, “She may have been in, say, Prada, but she did it with minimal makeup, simple slicked-back hair, and New York cool in abundance. There was an effortless elegance and ease to her style, and what’s more American than that.”

A fashion creative director and writer, author Kumar Nair has worked with W magazine, WWD, and Sunday Times Style. We caught up with her to discuss the book, Bessette Kennedy’s style and what she learned working on the book.

How would you define CBK’s style?

A tailored, curated look which she managed to add with an ease and accessibility to it. You never felt like you couldn’t wear what she had on, and I think that is the magic of her style. She was also a master of separates, which is a very American approach to fashion.

During your research, what did you learn about CBK and her style that surprised you?

That she bought items she liked three to four times over. It’s a smart way to approach your wardrobe; if you like it and it works, then why not? I loved hearing that she would often shop at What goes Around Comes Around because some of her jeans or corduroys had a particular wear about them, so I knew they weren’t newly purchased. When I found out that she would scour that store, it was like finding a missing piece to the puzzle!

If she were alive today, how do you think her style would have evolved?

I think it would have stayed the same. She wore similar capsule pieces even in her college days – the white shirt, the slip dress – but she would have had more choice now as there are more designers who appeal to the same aesthetic that Carolyn loved so much.

What do you hope are the main takeaways for readers?

I hope there is something for everyone. It’s a beautiful, well-curated photography art book. It’s a look at 90s fashion and Carolyn’s working world. To others, it’s a chance to see why she still is prevalent in our world today and a muse. There is a simple but brief study on why certain pieces evolved as major players to a minimal wardrobe and were the foundation of Carolyn’s look – like a great coat, or jeans, or shirt. Then, finally, it’s a chance to see the side of Carolyn that she felt happy to share to the public – her fashion.