Balenciaga Evening Gown - 1963

Hi-low hemlines....they've been around for years and years.  For spring of 1963, Balenciaga created this gorgeous gown.  The hemline exposes the ankle in front and lengthens to form a train in back.  Note how the designer echoes that line at the hip where the skirt attaches to the bodice.  What you can't see here is that he also echoes it at the neckline, which is high in front but dips to a low U in the back. 

The dress shown in this picture was not made in the Balenciaga workrooms, however.  It is an authorized copy made in the US by Nanty and sold at such high end retailers as Bergdorf Goodman, Stanley Korshak and Nan Duskin.  Jewelry by Vendome.

Photo by Irving Penn for Vogue magazine, 1963.

Diana Vreeland Puts St. Laurent on the Cover of Vogue - 1963

April, 1963.  Diana Vreeland is making her influence known at Vogue magazine, where she was hired the previous year.  Sometime during 1963, Vreeland took over as Editor-in-Chief from Jessica Daves, though her name would not show up on the masthead as such until sometime in the spring of 1964.  Until March or April of 1964, Daves is listed on the masthead as Editorial Advisor and Vreeland's name is not listed at all.  But I digress.

Diana Vreeland was an early champion of the work of Yves St. Laurent, after he opened his own couture house in 1962.  In her efforts to bring a more youthful vibe to the pages of Vogue magazine, she featured St. Laurent's fresh take on fashion frequently.

For the cover of the April 15, 1963 issue of Vogue, Jean Shrimpton wears Yves St. Laurent's polka dotted silk evening gown with separate beaded top.

In the same issue, St. Laurent is given a full page color image of another of his evening looks in the editorial spread, "Paris - When it Shimmers."  Vreeland calls the two piece evening dress "ravishing."  And she features St. Laurent's look one page ahead of Dior's linen daytime dress.  Oh la la!

Both images by William Klein for Vogue, April 1963.

Weekend Eye Candy - Christian Dior Suit, 1963

Melon.....yum.  The perfect color to take you from summer into fall.  Suit by Christian Dior, 1963.

Emilio Pucci - 1963

I don't think I've ever seen a beaded piece by Emilio Pucci, but there they are.  It was Stanley Marcus who encouraged Pucci to begin using his prints for clothing in the 1950s.  His print blouses were paired with solid color silk pants, and they were an instant hit here in the US.  The sets shown above are from 1963. The printed silk blouses are covered in beads, sequins and embroidery. The blouses are paired with silk pants on the left and a long silk wrap skirt on the right.

Mainbocher Evening Gown - 1963

This Mainbocher couture evening gown is from the spring of 1963.  White silk crepe is printed with a black geometric pattern.  I adore the mix of a casual print with a formal dress. The gown has a high neckline and short train in the back.  Made to order only in Mainbocher's couture salon in New York.

Ermine Fur Jacket - 1963

While you normally think of ermine fur as being white, the ermine's coat actually changes with the seasons.  It is a soft beige with a white belly in summer and pure white in winter.  In 1963, Sarmi designed this summer ermine fur jacket that has a decided casual feel to wear for day or evening.  Big buttons and a herringbone cut to the pelts give this jacket it's sporty look.

Suits Illustrated - 1963

Department stores often used illustrations instead of photographs in high fashion magazines and newspapers as it was less expensive to hire an artist than it was to hire a fashion photographer, a model and a studio.  Some illustrators were on staff at the stores, come worked for the advertising agency, and some were self employed with contracts to provide drawings for the store. Only well known artists were allowed to add their signature to the drawing.  These illustrations are all from one magazine in August of 1963. 

I. Magnin & Co.  "A look of elegance, a look of opulence...three-piece costume of Anglo's lacy-textured wool tweed with natural Canadian lynx 300.00...from our Manor-Bourne Collection designed exclusively for I. Magnin".  (about $2221.00 in today's dollar.)

Bonwit Teller, illustration by Kenneth Paul Block.  "From Ben Barrack, magnum houndstooth checks in a costume of brushed mohair and wool.  Unexpected tour de force: the opulent peau de soie bodice.  Pink, amber or white-checked with black, bodice and scarf in black.  $145.00."  (About $1074.00 in today's dollar.)

Best & Co.  "Bardley blends the perfect ensemble....of imported wools.  Well-bred wools are a Bardley byword and as you can see here they know just how to mix texture and color and line ot a connoisseur's taste.  Both in cranberry, pebble beige, loden green or French blue.  Coat with set-away collar of thick, airy, silky wool tweed.  $125.00.  Suit of needlepoint wool.  $90.00."  (About $925 and $665 in today's dollar.)

Saks Fifth Avenue  "Our own Sophie's town suit prophecy in French wool tweed - the attenuated jacket jersey-framed at the neckline to match the shell beneath, $395.00."  (About $2924.00 in today's dollar.)
 

Lord & Taylor, illustration by Dorothy Hood.  "High casual - new turnabout of suit with buttons up the back, scarf all around - the easy mood of Monte-Sano and Pruzan, in black and white windowpane wool from France.  $290.00."  ($2147.00 in today's dollar.)

Skinny Pants - 1963

Today we call them skinny jeans, leggings, tights, what have you.  But narrowly cut pants are nothing new.  Neither are leggings.  With the advent of the new "miracle" knit fabrics in the early 60s, knit stretch and stirrup pants were all the rage with young women.  Make note, though, that pants like these were strictly for casual wear and would not have been worn to work, to a meeting with a professional or to a restaurant.  Many women wouldn't even wear them for shopping or to class.  Today's photos are from 1963.

Above at left:  Davenshire rayon/nylon stirrup pants came in 8 colors and were offered in short, medium and tall lengths.  At right:  Davenshire wool worsted plaid skinny pants, fully lined of course.

Tiger brand pants and coordinating blouses.  Left:  Black wool flannel pants (fully lined) worn with a printed acetate blouse.  At right:  Wool/nylon stretch pants with stirrups worn with a cotton blend blouse.

Koret of California introduced jacquard textured skinny pants in Permathal cotton knit.  Supposedly, the pants were tough enough to be tackled by football players!

 What did one wear with skinny pants and leggings?  Flats and only flats!  Shoes with heels would have been considered too "trashy".  Cute flat shoes and ankle boots were called for and the style choices were plentiful.  Above, 9 styles of flat shoes and booties, all by Sandler of Boston.

Three menswear style boots, all in leather.  At the top, Pappagallo buckle boot.  In the center, a laced bootie by Sandler of Boston.  At the bottom, A loafer extended into a boot by Trampeze.

Adele Simpson's Turkish Delight Collection, 1963

Designer Adele Simpson, shown above, was age 60 when she designed her Turkish Delight Collection for spring, 1963.  Having just returned from world-wide travels, Simpson designed the collection around her time spent in Istanbul.

The collection included prints and embroideries inspired by treasures the designer purchased while in Turkey.

Fine silks, cottons, linens, and wools were used and evening gowns were elaborately beaded.

But all was not exotic.  Simpson was also inspired by her travels to create a collection of basic pieces that could be mixed-and-matched and worn for more than one occasion.  Above, a short tan coat of Moygashel linen is worn with a matching wrap skirt over a black silk matte jersey dress.  The dress is worn here as a shell, but can emerge from under the coat and skirt and be worn for cocktails or dinner later in the day.

Here, a 3-piece travel suit by Simpson in Barbacane, a newly introduced fabric from Staron that was a blend of silk and cotton woven to look like linen without the wrinkles.

Easter 1963

When I was a child, my mother would dress me and my sisters all alike on Easter.  We would always make a big impression at church, especially after we had had our fill of chocolate eggs and jelly beans.  Here I am with 3 of my sisters (the youngest wasn't born yet) in 1963 or 64.  I'm the tall one in the back.  The dresses were blue gingham with white lace around the skirt.  We had to wear them with itchy scratchy crinoline slips.  And of course, we all had matching white patent shoes and ankle socks.  I think mom let us each choose a different white patent purse that year.

Happy Easter to you all, especially to my family!  Ah, the memories.

Teal Traina - 1963

I love these ads from Bergdorf Goodman. Whoever was writing their copy at the time (1963) had a wonderful way with words. "The Quick Black Costume....It says "news" almost before you can blink. It dashes its way into summer free of sleeves, and full of the brio a costume must have this season. The crisp Swiss-cotton ottoman was clipped and carved for us by Teal Traina with a back-flashing jacket that swings on over the easy, camisoled dress. In brisk black, frosted mocha, and a very newsy white." Perfection.

Teal Traina was Anthony Traina's nephew. Anthony Traina was Norman Norell's financial partner. Geoffrey Beene was a designer at Teal Traina from 1958-63, so it is likely this delightful outfit was his. I have a similar Teal Traina ensemble in cream silk that is currently at the cleaners. Coming soon to Couture Allure! BTW, this outfit sold for $145 in 1963 (about $1033 in today's dollar.)