VREELAND'S VOGUE

"On the beam, - a shiny fake-silver star hitched to a hank of hair."
Necklace-pendant by Clark for William de Lillo.

Scassi

"Look what beautiful things Scassi has done with sari cloth - made a little gypsy, left, in gauzy white with red print. And matching red print for a gypsy scarf, wrapped tight to the head, the ends streaming. Right, his wide deep decolletage in orangey-red sari cloth with short, tight sleeves, flashed of gold...plus fringy tassels to wrap up the arm."

Saint Laurent

Y is the first letter of Yes

And of Young.

And of Yves.

And of You?

Mocuhe in Mainbocher

"Black crepe one-shouldered tunic curving like petals over knife-pleated black chiffon with a flutter of jeweled butterflies by Sonia Younis of Tiffany."

Mainbocher's white silk crepe shirtdress, diamante buttons, pale blue at the waist belted with diamante buckle.

Amber and brown over a long flow of white wool challis, crossed at the neck, worn with a choker of giant angelskin coral, from Tiffany.

Veronica Hamel

in 

Galanos

Pintucked white wool jersey, deep slash from neck to midriff.

"A shining paradox, smothered with gold Victorian roses and new as the coming decade an adorable little lace chemise tumbling over its sash of braided chain."

"Nine-tenths coat tossed over streamer-sashed pants. Silvery white -lace flowers misted over a jewel-blazed top." MacCarthy lace.

"Flung long as a Persian tunic and open from bosom to hem - a pleat at the side of each leg adds a flash of width to the gunmetal lame pants." Lame threaded with Lurex."

Vogue November 15, 1969

Editor-in-chief: Diana Vreeland

Photography: Avedon

... eyes on the sixties at devodotcom

CAPS AND GOWNS 1962

the lean coat

Mohair, plaided in purple and smoke gray, stand-up collar and close, slender sleeves. La Vigna.

Robin's-egg blue double-face wool double-breasted narrow topcoat. Originala.

Cardin for Zelinka Matlick                      Stanley Nelson

Navy blue wool overcoat, cut straight and narrow by Jack Sarnoff.

Currently, The Lean Coat

Photography: Saul Leiter

Long black crepe, narrow, screened with tiers of fringe at the low back decolletage and at the hem. By Jerry Silverman.

Rosy red wool crepe, sheer as chiffon, marking the midriff and capped with the smallest of sleeves. By Helga.

Cowl-throated white crepe slightly bloused, beautifully unembelished by Dorothy O'Hara. 

Broad belt embroidered in gold, beautiful boundary for the bolero-like top and drape-tucked skirt in green matelasse crepe by Lee Claire.

Black-Tie Crepes

Photography: Martin Munkacsi

Galanos, a new winged silhouette in soot black heavy brocade, gathered sleeves jut out like wings from the straight, slashed bateau neckline. Accentuating the widened shoulder, a long, smooth narrowness of tunic, ending just below the hip. Black tulle dome hat by Galanos.

A blaze of deep blue sequined embroidery on a net bodice of a short blue satin evening dress by Paul Parnes.

Drop rhinestones adorn the chiffon top of a long white satin evening dress by Mr. Blackwell.

Jewelled bolero made of velvet encrusted with golden bugle beads and pearls over a great-skirted faille dress the colour of parchment. Curved velvet jewelled waistband matches the bolero. By Branell.

A jewelled sweater of golden net embroidered with crystal beads under the smooth small jacket of a candlelight-colored evening suit by Harvey Berin.

Joseph Mazer twig pin crests a Monti coiffure. On the forehead, a rhinestone earring tikka by Trifari. The ballgown, by Scassi. Lotus blossom pin on the Viola Weinberger glove, by Vendome. A cluster of pineapple-shaped brooches by Trifari adorns the bodice. At the wrist, a rondelle necklace and flower clip.

Jewels at the Top

Photography: Hiro Wakabayashi

The Great Shapes

Harper's Bazaar October 1962

Photography:

Saul Leiter

Martin Munkacsi

Hiro Wakabayashi

... eyes on the sixties at devodotcom

THE LOOK 1960

The Great Greatcoat - The Great Look

Carmen Dell'Orefice gloved, turbaned and wrapped in natural Cabana Marrone nutria, pelts set on the horizontal, by Bernhardt. Hat, Mr. John. Joseph Mazer necklace. Trefousse leather gloves. Handbag, Koret. 

Suzy Parker in Mainbocher

Norman Norell's culottes dress in a vivid souffle of pink flowers.

Catching The light: This Season's Brilliants

Carmen dressed up casual in an elongated black wool knit overblouse, a chainmail of pinkish beige and black sequins in a leopard-spotted pattern. A new look worn in combination with a straight wool knit skirt. By Goldworm.

More Brilliants: dusty mauve and navy blue seamless stockings, crystal-coloured jacquard lace hose are interwoven with sparkling nylon for a shimmering effect.

The shiny nails are complements of Juliette Marglen's new Stained Glass Collection.

Blue silk matelasse three-quarter-sleeved evening coat by Originala

Bow-fastened blue satin stole riding over a strapless dress with swan-shaped skirt. The hem is lifted ankle-high, rising gently to a point in front. dipping deep back. By Sarmi. Albert Weiss earrings, Christian Dior pumps.

Carmen wears Norman Norell. Cafe au lait and white velour decoupe, the cuffs, circles of Russian Sable.

Bravo Balenciaga

Draping sweeps the shoulder and - with the first step - cascades into a floating panel that reveals the knee. In deep purple satin chiffon by Balenciaga.

Black organzine encrusted with glittering jet and midnight blue embroidery enveloping the figure in Givenchy opulence.

Givenchy Greatness

Chinese pink cloque wraps the body asymetrically in a diagonal swath the stops in a huge bowed-sash.

Crushed black silk jersey with the simplicity of no more than a deep neckline. By Galanos.

Jet-embroidered black lace on white satin atop a loosley gathered bow-graced waist. By Edward Abbott.

White jersey column-shaped ballgown classically draped by Tarquin Ebker. Albert Weiss earrings.

Sequined pink roses on a waterfall of white sequins by Rappi. Necklace and earring by de Firenze.

Mauve lame ensemble of a side-tied top and long skirt by Mr. Mort Sportswear. Marcel Boucher bracelets.

Sequins go casual. The jeweled polo shirt, crew-necked, lightly sashed, and extending to the ankles in stripes of crimson sequins on white crepe. By Kasper for Arnold and Fox.

New Fashion Drama

Harper's Bazaar November 1960

Photography:

Richard Avedon

Lillian Bassman

Saul Leiter

Melvin Sokolsky

Francesco Scavullo

...eyes on the sixties at devodotcom

STEPPIN' OUT

The Crystalline Blonde

Blondeness as a goddess might wear it sitting in a nightclub. The Hair - moonlit, the color pale and cool, luminous as crystal, with a fine cabochon finish. Called "Champagne Beige" by Clairol. The silk dress by Galanos. Van Cleef & Arpels diamonds.

Tapered Bangs

On Suzy Parker, planned for a young face and a beautiful evening. Bangs are curved over one brow in loose and artful wisps, almost as long as a pony's bangs. The rest of the hair is combed back and turned softly under at the nape of the neck. Hair by John Bernard Haute Coiffure. Sequined dress by Traina-Norell.

The Amber Blonde

A warmhearted kind of gold, flickering out amber rays by nightlight, as radiant as the midnight sun. Roux's "Golden Blonde." Flowering chiffon dress by Galanos. Diamonds and gold bibelots by Van Cleef & Arpels.

Head in a Cloud

A new kind of evening dress for the hair - an arrangement of large, free-form waves that form a floating cloud around the face. By Guy of Madison Avenue.

Suzy Parker in Patou

Silvery gray Hurel Satin long supple dress blousing at the back low at the waistline marked with a bow. Another bow perches at the decolletage. Earrings by Miriam Haskell.

Guy Laroche

Carmen Dell'Orefice in Pink roses brocaded on turquoise silk 

Lanvin-Castillo

Carmen wears a short bouffant evening dress in Staron's long-stemmed lilies cut in velvet on a silk satin background.

Desses

Carmen Dell-Orefice steps out in wind-swept chiffon closely fitting the waist, crushing the front of the skirt from the knee to the ankle, then set afloat at the sides and in back.

Nightlights

The Crystalline Blonde

The Amber Blonde

Paris Lights Up

Harper's Bazaar October 1957

Photography: Richard Avedon

...eyes on the fifties at devodotcom