Pristine perfection evening cape falling like a handkerchief in front, crosses at the back and wraps around a long linear column dress that is slit on one side. In Staron crepe. Chignon shaoed like a bow by Alexandre of Paris.
SIMONETTA AND FABIANI
Shining black organza satin, high on front, plunging into a deep U in the back. the slightly lifted waist is looped with a sash of scarlet satin. In Lesage silk. The headdress, inspired by the eighteenth-century Peking dynasty is by Alexandre of Paris.
Fragile white organdie transparent evening covering over a two-part organdie dress densely worked with bas-relief white broderie. In Brivet Organdie.
The Alexandre of Paris hair creation here, and throughout this editorial, was an integral part of the couture fashion of the sixties. His work was the finishing touch to the formal evening ensemble - and as fashionable as the fashions themselves.
Counterpoint sleeve. Elegant jumper dress with the new wide shoulder casually scarved and just skimming the body. The fuller-sleeved shirt underneath is deeply cuffed.
The ruffle - two rows in in pitch black organza fanning high front and back on a whisper of mousseline. Light and utterly feminine, eased into the natural waist by a soft tie sash. In Chatillon-Mouly-Roussel silk.
A waist-deep cowl of white crepe drops to new depths of provocation and balances a black rose on a thread. The skirt, black and clinging. In Lajoinie crepe. Coiffure; Alexandre of Paris.
The Breton, young yet worldly. The brim of white straw so sheer the light shines through. The crown shaped like a baby's cap and the chin strap of pitch black shantung. The dress - important to the silhouette at Dior: the sculptured shoulders.
Harper's Bazaar March 1963
Photography: Melvin Sokolsky
|... eye on the sixties at devodotcom|