LA LUNA

 

Fashion Whistles

ALL CLEAR

The Invisible Pullover 

"street-length,boldly delineated in black vinyl at the deep v-neck, slit hem and sleeves. Short white silk dress, adding lines of its own in black across the yolk,down the skirt and the three-quarter sleeves."

Harper's Bazaar June 1965

Photography: Avedon

Model: Donyale Luna

Design: Edie Gladstone

...eyes on the sixties at devodotcom

FASHION ARCHITECTURE - CHIC PROPORTIONS '65

 

John Moore

Cropped bristol blue linen , a tunic alive with shaping arches near the figure in front, frees to a plumb line in back; stopping just above crisp knee shorts. 

Tiffeau and Busch

Short Stop: A curve of azelea pink Moygashel linen pivots with diagonal seaming, abruptly skips the knees, allowing the leggiest shoes around. Hat by Halston

Larry Aldrich

Long pull over the torso settles into a white tunic tied lazily over the merest skirt - both outlined with bias piping.

Nat Kaplan

Lengthened jacket, a crackle of white shining with brass buttons quickened with brief sleeves and diminishing skirt in nutmeg brown, cropped to a new abreviation. A scarf-tied blouse matches the skirt.

Malcolm Starr

Miniature dress, a curve of grenadine Moygashel linen moves with on-the-bias shaping to a dropped waist, then springs out to apple roundness skimming the knees high. Hat by Halston

Christian Dior - New York

Tiny and ruffled, a ripple of violet blue silk moire slides in a slim shimmer to the shorter-than-short skirt. Cascading hat by Christian Dior - New York.

Donyale Luna

The FIRST - First Black Cover Model

Chic Proportions '65

Harper's Bazaar January 1965

Illustrations: Katharina Denzinger

  Known for the bold, poster-like quality of her  illustrative art, Katharina Denzinger has been a leading fashion illustrator since arriving in America from Germany is 1962.  As a young woman, she studied at the Academy of Fine Arts in Berlin learning fashion design and illustration while simultaneously modelling at the fashion house of Lindenstaedt and Brettschneider where she became Assistant Fashion Designer. The design element of her studies lent her the benefit of understanding the  structure and flow of the garments she would go on to illustrate. 

  Ultimately drawn to New York, the centre of fashion magazine publication, Denzinger initially found work as a designer for a Seventh Avenue manufacturer and spent her lunch hours drumming up illustration assignments. In short time she was working exclusively as a freelance fashion illustrator.

  It was at Harper's Bazaar, under the tutelage of art director, Marvin Israel, that Denzinger flourished and established a reputation  as one of the most recognized fashion illustrators of the sixties.

  The January 1965 cover illustration of the model, Donyale Luna, was the first time an African American model graced the cover of an American fashion magazine. It also marked the first time in twenty years Harper's Bazaar used an illustration rather than a photographic image on its cover. Below is one of Denzinger's works from the September issue of the same year. Her assignment was to join Jean Shrimpton and Richard Avedon at the Paris Collections and create the fall collection report. More from that issue can be seen at the devodotcom blog post for April 8. 2011.

Katerina Denzinger Harper's Bazaar September 1965
Blog Archive: Richard Avedon - Pop Art  April 8 2011
admin girl @ devodotcom

THE 60'S - THE EYES THE THING

the eyes have it...

Ostrich-flutter lashes from Antonio de Paris Vogue MARCH 1966

Linde-created emeralds from "The Quintessa Collection"

eye creation by Giorgio Sant'Angelo

January 1968

a sweep of green extends the eye framed with white striping...the bottom lash... a dotted line Vogue March 1966

more stripes create a zebra eye-frame...the new 'banana' line starts the frame in the crease of the eye. Vogue March 1966

samantha jones Vogue October 1968

'falsies' false eyelashes are attached individually...or painted on with eyeliner below the bottom lash - these are called 'Twiggy's' after the first supermodel, Twiggy.

Twiggy's 'Twiggy's' Vogue August 1967

Julie Driscoll's take on the 'Twiggy'and the 'banana'line March 1969

More Driscoll 'Twiggy's'and 'banana' line

Vogue August 1968

Camp Vamp By Name false eyelashes from Hair Hunters Los Angeles

Vogue April 1969

coloured contact lenses -  Donyale Luna from Satyricon

Vogue April 1969

Ungaro's painted eyes Vogue September 1969

Individual'Falsies' Marisa Berenson

British Vogue Cover September 1968

THE NEW LAWS OF FASHION 1969

LUNA

GO GO BOOTS

Antonio Marano

CORDING

TOSCANI

BAILEY

BAILEY

HEAD SCARVES

BAILEY

BAILEY

LEATHER WEAR

TOSCANI

LEATHER HOT PANTS

ELISABETTA CATALANO

THE RICH HIPPIE

ELISABETTA CATALANO

PATENT LEATHER - GOLD CHAINS

CHAIN BELTS

INDIAN INFLUENCE

THE RICH COSSACK

VINYL

Irene Galitzine

BELLBOTTOMS - FUR

BIJOUX

WATCHES

TERENCE STAMP - MANAGER REX TILT

BARBRA STREISAND - JASON GOULD

Le Nuove Leggi Della Moda 1969

Vogue Italia

HAPER'S BAZAAR APRIL 1965 THE MOST MODERN ISSUE EVER PUBLISHED

SUFJAN STEVENS - CHICAGO

Jean Shrimpton

"Dick Avedon, at the time the most influential photographer on earth, suggested I work as his editorial assistant on the April 1965 issue of Harper's Bazaar. He had been asked to guest edit the magazine, the first time this idea had been put forward. He had agreed, provided there would be absolutely no control or direction from Nancy White - the editor of Bazaar since Diana Vreeland's departure to Vogue."

Nicholas Haslam

Redeeming Features

The Man of the Moment

Paul McCartney

Cosmic, yes, yes, yes, sends the faithful into orbit with the Mersey beat and Mersey sound of the music he writes for fellow-Beatles, John, George and Ringo.

Harper's Bazaar April 1965

The Mercury Blonde

We were given carte blanche to do what we wanted, and Dick said it unquestionably had to be the most modern issue of a fashion magazine ever published.

Nicholas Haslam

Redeeming Features

op and pop fashion

Venet's point d'esprit brides coiffure

Donyale Luna in Galanos

"In a bar in Chicago, Dick discovered the exquisite, long-limbed Donyale Luna, who would become the first instance ever of a black model being used in a "white" magazine. We photographed her wearing the collection of the American couturier James Galanos. The chief cutter at Galanos, herself a black woman, told James - and us - that she would quit if Donyale appeared in the magazine wearing clothes she had made. Furious, Dick had to capitulate, cropping the pictures so that no telling features above Donyale's long slender neck were visible. On publication, hundreds of readers in the South wrote to Nancy White cancelling their subscriptions."

Nicholas Haslam

Redeeming Features

Norell of New York

"Faced with the first black model, a James Galanos studio employee, herself a black woman, announced that she would leave if Donyale Luna appeared in the magazine wearing Galanos's clothes. As the story was later told, advertisers with southern accounts pulled there ads from the issue; still later, subscribers were said to have canceled their subscriptions, while William Randolph Hearst, Jr., whose family company owned Harper's Bazaar, relayed his displeasure to the editors."

David Michaelis

Vanity Fair December 2009

There appears to be a case of time altering facts upon the recollections above. The issue demonstrates that it is the American couturier Norman Norell's designs that have the infamous cropped heads and the 'Luna in Galanos' display Donyale Luna in full beautiful stature.

Luna in Galanos

Luna in Galanos
Harper's Bazaar April 1965

Night Birds

China Machado in Galitzine

"The exquisite Eurasian model China Machado, "a capuchin monkey in the lap of Genghis Kahn," as Diana Vreeland described her."

Nicholas Haslam

Redeeming Features

Frug That Fat Away

The Death of the Diet

Verushka and Donyale Luna in Rudi Gernreich

Jasper Johns

I persuaded the leading pop artists Roy Lichtenstein, George Segal, and Claes Oldenburg to make huge backdrops and sets for Marella Agnelli, Naty Abascal, and Dolores Furstenberg, the great beauties of the day, to be photographed against, wearing "Space age" clothes by the young Pierre Cardin and Paco Rabanne.

Nicholas Haslam

Redeeming Features

Signora Gianni Agnelli

Agostini Sculpture

Marella Agnelli-The way it's going to be. Ineffable elegance, an aristocracy of being that transcends the illusory in fashion, simply, unselfconsciously exists. In wildly flowered tights, shining vinyl jacket and boots, Signora Agnelli leans on an Agostini sculpture, establishing, by example, the direction of fashion to come.

George Segal

"Women Washing Her Feet"

"The sittings with Shrimpton began on January 2,1965. That morning, in a Trenton, New Jersey, chicken coop, Avedon had shot Pop artist George Segal's white plaster sculpture Woman Washing Her Feet, knowing at this point only that the practitioners of this movement - Lichtenstein, Claes Oldenburg, Stan VanDerBeck, physicist George Oster - might be the issue's '"most interesting contributors,"' alongside commentary by Renata Adler and Tom Wolfe, poems by Lane Dunlop and Ree Dragonette, excerpts from novel s in progress by Alfred Duhrssen and Marvin Cohen, and his own portraits of a laughing Jasper Johns, a clean-cut Rauschenberg. Ruth Ansel, puzzling over the place for shoes to appear - the shoe page was a Bazaar institution - had sent off for a pair of heeled chrome-yellow sandals, which she tossed under the white porcelain face bowl: a touch of Andy Warhol color in Segal's foreboding scene."  

David Michaelis

Vanity Fair December 2009

"I arrived early, along with Dick Avedon and China Machado, an editor of the magazine. A few other people were there also, including Tony Jones. The equipment got set up, Dick did the fashion shots, and then Paul McCartney and Ringo Starr arrived. Everything went smoothly and the guys were fun to work with.

After the photo session was over, only Ringo Starr, Avedon, China and myself remained in the studio. Then Ringo decided to challenge Avedon to a drinking contest.

Now, Dick was not much of a drinker, but he was game, and so they started downing vast amounts of whisky. This could only end in disaster. Or two passed out bodies, which it did. I took a few pictures of the results, which resurfaced recently and which I played with in PopArt Plus to give it a real Sixties feel. Yes, I know — this style is way past its use-by date.

A short time later, as I was packing up, both Ringo and Avedon were laying on the floor — one in the 

bathroom and the other in the kitchen — oblivious to the world. What to do? To make matters worse, a group of Beatles fans were at the street entrance, waiting for Ringo. China made some calls, and arranged to have a private car go to the service entrance on Gough Street, out of sight of the fans. To get Ringo there, I had to carry him across the rooftop, and take him down the goods lift (freight elevator), depositing him in the waiting car."

From Earl Steinbicker's Life's Little Adventures - The Avedon Years, Part XII

Bob Dylan

The teenagers' troubadour came out of the West to wander restlessly through the country, playing and singing his own folk tunes, like "Blowin' in the wind." More of a words man than a musician, he sets his verbal flashes of insight to simple melodies that hush his audience. Now, five years later, his restless wanderings include brief but profitable stops at Columbia's recording studio which is releasing his latest L.P., Bringing It All Back Home.

 The Contemporary Art of Temporary Life

Dali's Discovery Adil

The awakening young faun is also the model for his latest painting, Hermes, which combines pop and op art techniques with a new three-dimensional process, on view this month at the Spanish Pavilion of the New York World's Fair. One name is an anagram of the other; so in a surrealist sense, Adil is Dali....The cool sea nymph appears in an imported maillot of rib-knitted cotton, unlined and white as whitest foam, By Lydia of Roma.

to be continued...