SOKOLSKY'S SPECTACULAR STILLS

 The Bold Chick of Black and White
Cristian Dior - New York

The Frosted Coolness of White

Gustave Tassell

Double The Splendour

Larry Aldrich

 simply beautiful early 60's fashion ...

eye on the sixties at devodotcom
Photography: Melvin Sokolsky
Harper's Bazaar June 1962

CAPUCCI - COMING DOWN TO EARTH

CAPUCCI

White coming down to earth... white cotton matelasse embellished with jewelled buttons like bright covered paving stones that echo the fabrics weave. Slightly shaped and softly skimming into a minimal a-line. In Hurel cotton.

Melvin Sokolsky experienced a recurring dream in which he floated  within a bubble across exotic landscapes. This was the origin of his "bubble series" presenting the Paris spring collections of 1963.

Photographed by Melvin Sokolsky

Model: Simone D'Aillencourt

Harper's Bazaar March 1963

VENET - TRAVELER'S CHECKS

S

VENET

Traveler's Checks

Black and white double-breasted suit with the new narrower, longer jacket - collarless, with a white wool crepe hood tucked in and casually covered with a black silk raincoat. Dumas Maury fabric.

"The morning we shot on the Seine,the bubble was lowered overzealously into the water, flooding it up to Simone's ankles, and in turn ruining an important pair of designer shoes." 

Melvin Sokolsky

Photographed by Melvin Sokolsky

Model: Simone D'Aillencourt

Harper's Bazaar March 1963

EVENINGS IN PARIS 1963

GRES

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.

SAINT-LAURENT

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.

SAINT-LAURENT

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. 

CARDIN

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.

CARDIN

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.

DIOR

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.

Paris Says:

Harper's Bazaar March 1963

Photography: Melvin Sokolsky

... eye on the sixties at devodotcom

HAVE A NICE WEEKEND!

Lanvin: Yellow Circles, Orange Pants

Harper's Bazaar March 1963

Blowing into Town

Photography: Melvin Sokolsky

1961 FALL FASHION FIZZ

Standout: The Black Glove-Leather Ruff 

Colony Accessories

Renaissance Cap by Emme 

Great Chic: 

Coral-Colored Kidskin Jacket Trimmed in Curly South American Lamb

Bonnie Cashin for Sills

Hand-Knit Wool 12-Button Length Gloves by American Astral

White-Streaked Beige Handbag by Lesco Lona

Fall Fashion Fizz: Champagne Clothes For Sparkling Days

Black Cashmere Belted Over Wrap-Around Skirt by Pendleton

New Tops And Widening Skirts

Turtleneck Frames A Narrow Ruffle-Edged Plaid Jacket.

 Suit -  Tudor Square

Wool Ruffles: Up and Away

Photography: Melvin Sokolsky

Nasturtium Red Fleece by Frank Gallant - Curved Coat in Deeper Nasturtium by Tiffeau and Busch

The Carved Coat
Three Shapes, Three Shades

Loop Fringe Hemline 

 Nipped-Off Jacket by Buddy Bates

 Loop-Fringe Welted Plastron Fronted Suit by David Crystal

The Fringe On Suits
Photography: Melvin Sokolsky

Slink: The Vest

Slither of Black Mock Alligator by Samuel Robert

The Look of Leather: Bright Gleam In Fashion's Eye

Art Nouveau Necklace of Petaled Flowers Fashioned of Jet Beads

Atelier Nina

Fashion Fizz, Night and Day
Photography: Hiro Wakabayashi

Black and Gold Sequin Loose-Slung Jacket, Black Faille Overblouse, Short Skirt  By Guy D.

Young Perfectionist: The Midas Touch
Photography: Hiro Wakabayashi

Nasturtium Cashmere by Downen

Four-gore Suede Skirt by Leathermode

Robert Sloan

Miriam Haskell Earrings

Capezio Shoes

Fresh Young Color Fizz

Photography: Gleb Derujinsky

George Kaplan on Carmen Dell'Orefice

Smoky Shades of Persian Lamb

Photography: Melvin Sokolsky

The Flounce in Leaf Green by Abe Schrader

The Flounce,

The Fringe,

The Flare

Photography: Melvin Sokolsky

Greatest Look Around

Cobblestone Knit Cardigan by Lee Herman

Ramos Green Suede Pants

Gaucho Hat - Mr. John

British Brevitts Boots

Photography: Melvin Sokolsky

Harper's Bazaar August 1961

Fall Fashion Fizz

Photography: Melvin Sokolsky

             Gleb Derujinsky

             Hiro Wakabayashi

...eye on the sixties at devodotcom

REMEMBERING CHRISTMAS PAST - 1964

Eyes - Pablo Manzoni

Photography: Melvin Sokolsky

My mother bore me in the southern wild,

And I am black, but O! my soul is white;

White as an angel is the English child

But I am black, as if bereav'd of light.

My mother taught me underneath a tree,

And sitting down before the heat of day, 

She took me on her lap and kissed me,

And pointing to the east, began to say:

"Look on the rising sun: there God does live

And gives his light, and gives his heat away;

And flowers and trees and beasts and man receive

Comfort in morning, joy in the noonday,

"And we are put on earth a little space,

That we may learn to bear the beams of love;

And these black bodies and this sunburnt face

Is but a cloud, and like a shady grove.

"For when our souls have learn'd that heat to bear,

The cloud will vanish; we shall hear his voice,

Saying: 'Come out from the grove, my love & care,

And round my golden tent like lambs rejoice.'"

This did my mother say, and kissed me;

And thus I say to little English boy:

When I from black and he from white cloud free,

And round the tent of God like lambs we joy,

I'll shade him from the heat, 'till he can bear

To live in joy upon our father's knee;

And then I'll stand and stroke his silver hair,

And be like him, and he will then love me.

The Little Black Boy

by William Blake

(1757-1827)

Photography: James Moore

Harper's Bazaar December 1964

LOOKS LIKE CHRISTMAS

EARRINGS CHARLES ELKAIM

PHOTOGRAPHY MELVIN SOKOLSKY

Harper's Bazaar December 1965

TURN DOWN THESE VOICES INSIDE MY HEAD

Photography: Don Snyder

The Art of Love
Photography: Melvin Sokolsky
Harper's Bazaar April 1964

1960

WELCOME

Teal Traina

seamless and lace stockings - stained glass nails

Saul Leiter 

 Balenciaga

Richard Avedon

 Brilliantly Givenchy

 Richard Avedon

 Drama By Day - The New Persian Lambs

Photographer: Melvin Sokolsky

 Evening Furs: Small, Precious

 and Sokolsky

Carmen Del'Orifice

and Sokolsky

Suzy Parker

Mainbocher

Richard Avedon

 Lingerie

Lillian Bassman

 Carmen Del'Orifice in Mr. Blackwell

Lillian Bassman

 Carmen Del'Orifice in Goldworm

Lillian Bassman

Sophie

Melvin Sokolsky

 Gustave Tassell

Ben Reig

Norman Norell

Melvin Sokolsky

Sarmi

 Sequined roses by Rappi

Francesco Scavullo

Mauve Lame by Mr. Mort Sportswear

Francesco Scavullo

 Early Evening Excitement by Galanos

Saul Leiter

Carmen Del'Orifice in Edward Abbott

Tarquin Ebker

Saul Leiter

Highlights of the New York Theatre

Anthony Quinn in Becket

Hans Namuth

Harper's Bazaar November 1960