mortem

THE FASHION BOOK

Phaidon Press Limited
Regent's Wharf
All Saints Street
London N1 9PA

Phaidon Press Inc

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www.phaidon.com

First published in 1998

©1998 Phaidon Press Limited

ISBN 978 0 7148 4859 4

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is available from the British Library.

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Printed in China

Abbreviations

ALG = Algeria HK = Hong Kong SA = South Africa

ARG = Argentina HUN = Hungary SING = Singapore
ASL = Australia IRE = Ireland SO = Somalia
AUS = Austria IT = Italy SP = Spain
BEL = Belgium JAM = Jamaica SKB = Serbia
BR = Brazil JAP = Japan SW = Switzerland
CAN = Canada KEN = Kenya SWE = Sweden
CHN = China KOR = Korea SYR = Syria
Cl = Canary Islands LUX = Luxembourg TUN = Tunisia
CRO = Croatia MAL = Malaysia TUR = Turkey
CU = Cuba EX = Mexico UK = United Kingdom
CYP = Cyprus ON = Monaco USA = United States of America
CZE = Czech Republic MOR = Morocco YUG = former Yugoslavia
DOM = Dominican Republic L = Netherlands
DK = Denmark PER = Peru
EG = Egypt POL = Poland
FR = France PR = Puerto Rico
GER = Germany ROM = Romania
GR = Greece RUS = Russia
THE FASHION BOOK takes a fresh look at the fashion world
and the people who created and inspired it. Spanning 150
years, the whole industry is represented; from pioneering
designers including Coco Chanel and Issey Miyake to influential
photographers such as Richard Avedon and Helmut Newton
and the people they photographed. Easy to use and filled
with inspirational images, it is an A-Z guide to 500 clothes
and accessory designers, photographers, models and those
iconic individuals who instigated or symbolize a whole
fashion movement. It cuts through the usual classifications
and creates juxtapositions that make fascinating and unlikely
partnerships: Rene Lacoste sits opposite Christian Lacroix
while Kate Moss rubs shoulders with Thierry Mugler. Each
entry is illustrated with a photograph or drawing which shows
a quintessential aspect of their work. An accompanying text
describes where they fit into the fashion story and includes
essential biographical information about the creator. In
addition, THE FASHION BOOK uses a comprehensive cross-
referencing system and glossary which explain the many
collaborations and techniques used in fashion, that singular
business which lives somewhere between art and commerce.
The fashion 500 page 4 Glossary of movements, genres and technical terms page 504 Directory of museums and galleries page 510
 NOE jane Photographer
James Abbe's choice of a simple, uncluttered backdrop her eyes turned away from the lens. Taken in Paris in for American Vogue represented what Alexander
and soft use of lighting accentuates the seductiveness 1924, the photograph seizes the essence of mid-1920s Liberman called ‘...an underlying dream of a world
of Gilda Gray, a dancer in Ziegfeld Follies and other eveningwear — a plumb line dress, possibly by Lanvin where people act and behave in a civilized manner.
Broadway revues. Like many fashion photographs or Patou, in filmy, sensuous fabric trimmed with fringed
of its time, it promotes a feeling that we are privy to tiers. In the early twentieth century, American
something intimate — as if Gray has been captured photographer James Abbe favoured taking portraits
unawares, dreamily caught up in her own thoughts with of stage and screen actresses. His well-mannered work @ Lanvin, Liberman, Patou

yy

ore

EttatAt
CUS
id,
+

James Abbe. b Alfred, ME (USA), 1883. d San Francisco, CA (USA), 1973. Gilda Gray, Paris. 1924.
Abb OU d Joseph Designer
A Mao jacket cut from rough linen is worn over textures. In the 1960s Abboud collected Turkish kilims about design. In 1986 Abboud launched his own label
a hand-+knitted waistcoat and collarless shirt. The buttons and these have inspired his natural palette and the and found a niche for his understated clothes with their
on each garment have a natural, artisanal quality which stylized symbols that recur in his work. He began his rich colours
and unusually crafted textures
defies the urban slant used by most American designers. career as a buyer and in 1981 joined Ralph Lauren, later
Of Lebanese descent, Joseph Abboud makes clothes to become associate director of menswear design
for men and women which are an unusual combination He emerged four years later with a similar philosophy to
of American sportswear and North African colours and Lauren: that clothing is as much about lifestyle as it is © Alfaro, Armani, Lauren, Ozbek

we nein

wy,
mer 1995. Photograph by Randall Mesden
Joseph Abboud. b Boston, MA (USA), 1950. Linen menswear. Spring/sum
 Adolfo Designer
This impromptu snap of society figures Mr and Mrs Wyatt at Chanel and Balenciaga, before setting up his New York worn Adolfo's clothes for two decades. She, perhaps
Cooper is one of Adolfo's favourite pictures, and not just salon. There, Adolfo provided his famous knitted suits, more than anyone, embodied his assertion that, ‘An
because both are wearing his refined clothes. He says, one of which is worn here by Gloria Cooper (aka Gloria Adolfo lady should look simple, classic and comfortable’
‘Getting dressed and going out is fun only because Vanderbilt). Inspired by Coco Chanel’s jersey sportswear
we don't do it often — it's good to feel glamorous once in and famous suits, they were bought by New York's
a while! But his glamour never strays into the realms of old society. When his salon closed in 1993 his clientele
vulgarity. Adolfo worked first as a milliner, then trained were distraught, not least Nancy Reagan, who had * Balenciaga, Chanel, Galanos, Vanderbilt

oo Pete eA
Oeate ;

Adolfo (Adolfo Sardinia). b Havana (CU), 1933. Mr and Mrs Wyatt Cooper. Photograph by B
ill Cunningham, American Vogue, 1972.
Ad a d 1a Gilbert Designer
Joan Crawford wears Adrian's famed ‘coat hanger look’: in 1947, ‘American women's clothes should be audience for his work and became an influential fashion
a suit with padded shoulders and slim skirt which streamlined in the daytime: He is also known for long, designer. In 1942 he retired as a costume designer
produces an ‘inverted triangle’ silhouette that has since elegantly draped dinner gowns, like those he designed to open his own fashion house, continuing to create his
intermittently returned to fashion - not least in the for Joan Crawford in Grand Hotel, and for his silver satin trademark suits and gowns
1980s. Here, that shape is exaggerated further by bias-cut dresses for starlet Jean Harlow. As a costume
triangular lapels which reach over the shoulders and designer at Metro-Goldwyn-Mayer in the 1930s and
taper, pointing at the waist. As Adrian told Life magazine 1940s, Adrian — born Adolphus Greenburg - found a vast + Garbo, Irene, Orry-Kelly, Platt Lynes

1903 d Los Angeles, CA (USA), 1959. Joan Crawford. c1940

Gilbert Adrian (Adolphus Greenburg). b Naugatuck, CT (USA),
Agn eS Madame Milliner
During the 1930s, hats were literally the pinnacle of salon in 1917 on the rue du Faubourg Saint-Honore of birds. The feathery touch and lightness of flight
fashion, and a lady would no sooner go out without her in Paris among all the great couturiers. She worked in which represent Madame Agnés's interpretation
hat than she would without her dress. In France millinery the same understated manner and combined this of the movement is put into an eveningwear context
was an exclusively female occupation and Madame discrimination with an awareness of art and of the with a jacket by Maggy Rouff.
Agnes was the most popular milliner, famous for cutting artistic trends of the 1930s, especially Surrealism.
her elegant brims while her clients were wearing them. In particular, Madame Agnés brought a Surrealistic
Trained under Caroline Reboux, she established her own touch to that traditional millinery trim: the plumage * Hoyningen-Huene, Reboux, Rouff, Talbot

Madame Agnes. b (FR), late 1800s. d (FR). (Active 1910s-1940s.) Hat of blue paradise plumes. Photograph by George Hoyningen-Huen
e, Harper's Bazaar, 1935.
Al 1d azzedine Designer
Amazonian models in skintight dresses and high-heeled expert manipulator of the female form, having studied dresses and bodysuits, constructed from thick knitted
shoes embody the slick sex appeal of the dress-to-kill sculpture when he was younger. He moved to Paris and panels, came
to define the Lycra revolution
1980s. Each wears an outfit from Azzedine Alaia's 1987 worked briefly for Dior and Guy Laroche, and by the end
spring/summer collection. ‘The base of all beauty is the of the 1960s had his own couture business on the Left
body; says Alaia, who was inspired by Madeleine Vionnet. | Bank. Alaia went on to produce the prototype for Yves
‘There is nothing more beautiful than a healthy body Saint Laurent's famous Mondrian dress and worked
dressed in wonderful clothes! The ‘King of Cling’ is an for Thierry Mugler. In the early 1980s, his own stretchy = Audibet, Bettina, Coddington, Léger, Vionnet

by Arthur Elgort, British Vogue, 1987

Azzedine Alaia. b (TUN), c1940. Paris presentation. Photograph
 Designer
Albini ee obviated any tomorrows, but Albini's exuberant,
Striking disco poses, two women wear the Walter Albini as bright tartans, were employed on the jackets, skirts
hallmarks: fast, glamorous clothes which recall shapes and other basic silhouettes. As much as any 1970s aggressive and youthful sportswear was a significant
from the 1930s. Albini started his luxury sportswear designer, Albini energized anti-establishment hippie contribution to the 1970s.
business in 1965 and became known for his fundamental layering and ethnicity and mixed it with the
allegiance to the early styles of Chanel and Patou, which sophistication of the urbane sportswear pedigree.
were counterpointed by the global influences of the Albini's motto was ‘Enjoy today and leave unpleasant
1970s. Bold colours from Asian and African art, as well things for tomorrow: Ironically, premature death @ Barnett, Bates, Chanel, Ozbek, Patou

Walter Albini. b Busto Arsizio (IT), 1941. d Milan (IT), 1983. B lack crepe outfits. Photograph by Chris von Wangenheim,
Italian Vogue, 1971
Alexandre Hairdresser
\lexandre de Paris, or ‘Monsieur Alexandre’, as he likes and let him pursue his ambit pprer
to be knewr , attends to Elizabeth Taylor's hair in 1962 Antoine, the Parisiar
Many legends surround the hairdresser, whose clients Alexandre took on his mantle
included the Duchess of Windsor, Coco Chanel and Grace of the European social set. Hi
Kelly. His parents, it is said, had wanted him to study designed for him by Jean Cox
medicine, but after a fortune-teller predicted that ‘the perm which restored to t
wife of a king will do everything for you’, they relented In 1997, Jean-Paul Gaultier pe = Antoine, Cocteau, Gaultier, Windsor, Winston

(FR), 1922 Alexandre de Paris with Elizabeth Taylor. P

Alexandre (Louis Alexandre Raimon). b St Tropez
 Al ia TO Victor Designer
Victor Alfaro's first collection, launched in 1991, was which vulgarity is proscribed, leaving room for bare sportswear tradition of evening clothes that quietly
dubbed by Cosmopolitan magazine ‘a series of heat- simplicity skilfully counterbalanced by sexy, luxurious forgo decoration for practical statements, even on
seeking glamour missiles: Reputedly the heir to Oscar silk. The combination of a ball skirt and strapless top a ball gown.
de la Renta and Bill Blass, Alfaro has never sought to is typical of Alfaro's use of separates for cocktail
philosophize through his offerings; on the contrary, his - and eveningwear, acquired while working for American
mission is as simple as making the wearer look beautiful. ready-to-wear designer Joseph Abboud. He uses slub
This image shows a quintessential Alfaro creation in silk as others use cotton, in keeping with the American @ Abboud, Blass, de la Renta, Tyler

Victor Alfaro. b Chihuahua (MEX), 1965. Silk bustier and evening skirt. Spring/s
ummer 1996. Photograph by Chris Moore.
Amies Sir Hardy Designer
Her Majesty the Queen is photographed during the Silver As well as being lieutenant-colonel in charge of ‘Aman should look as if he bought his clothes with
Jubilee celebrations in 1977. She wears an eye-catching special forces in Belgium, he designed clothes under the intelligence, put them on with care, then forgot all about
pink silk crepe dress, coat and stole by Sir Hardy Amies, Utility rationing scheme. In 1946 he founded his own them; defines the Englishman's approach to fashion
dressmaker to Her Majesty since 1955 and the architect dressmaking business, designing for Princess Elizabeth
of her vivid, feminine and simple style. Sir Hardy, and eventually holding the royal warrant. In 1950, Sir
knighted in 1989, was designer and manager at Lachasse, Hardy started ladies’ ready-to-wear and in 1961 be gan
a traditional British couture house, from 1934 to 1939 working with menswear chain Hepworths. His remark, + Clements & Ribeiro, Hartnell, Morton, Rayne, Stiebel

(UK), 2003. izabe II wears

Her Majesty Queen Elizabeth ‘ar pink Royal Jubilee-e outfi
outfit. 1977
Sir Hardy Amies. b London (UK), 1909. d Langford, Oxfordshire
 Antoine Hairdresser
Josephine Baker was one of Antoine's many famous he would coif for decades. On his return to Paris, shorter to suit the increasingly sporty lifestyle enjoyed
clients — she wore his wigs like skullcaps for her stage Antoine set up his own salon, selling his own haircare and by women of that era. The peak of Antoine's career was
performances. Born in Russian Poland, Antoine moved cosmetics range - the first to do so. Although he is famed the coronation of George VI, when he supervised 400
to work in the Parisian salon of hairdresser Monsieur for his ‘Eton crop’, he always maintained he could coiffures in one night.
Decoux. He acquired a following and, cannily, Decoux not claim it as his own. At the time he said he was simply
took his star stylist to the fashionable seaside town of carrying out the orders of a client who returned three
Deauville; there Antoine was introduced to the society times to have her short bobbed hair cut progressively # Alexandre, G. Jones, Kenneth, de Meyer, Talbot

Antoine (Antak Cierplikowski). b Sieradz (POL), 1884. d (POL) , 1977. Josephine Baker. Photograph by Baron de Meyer, c1925.
Antonio Illustrator
Antonio's watercolour model embraces a deconstructed Despite this visual play, Antonio worked from life, with a clique of international models and high-profile
mannequin for Italian Voguein 1981. This surreal building sets as a photographer would. Antonio was friends who converged on Paris in the 1970s. Tina Chow,
element, a tradition created by Dali, Cocteau and Bérard inspired by the drawings of Boldini and Ingres, which Grace Jones and Paloma Picasso were regular sitters
in the 1930s, was a theme used by Antonio throughout becomes clear when looking at the fine finish on his
his career. Texan Jerry Hall was painted with Lone Star pencil drawings. His work dominated fashion illustration
emblems and cacti growing from her stetson and for a decade, encouraging a discipline that had
Pat Cleveland was metamorphosed into a stiletto boot. diminished throughout the 1950s. Antonio worked * Chow, G. Jones, Khanh, Versace

Versace editorial. Italian Vogue, 1981

Antonio (Antonio Lopez). b (PR), 1943. d (PR), 1987. Gianni
 Aral Junichi Textile designer
Junichi Arai has been described as the ‘truly enfant born in Kiryu, a historic centre for textiles. He initially to magic into a representative fabric by using his
terrible of Japanese textiles...a naughty boy playing worked with his father on kimono and obi cloths, which idiosyncratic weaving techniques.
with high-tech toys’ His favoured toys are the jacquard he developed, eventually acquiring three dozen patents
loom and digital computer. The fabric illustrated here is for new fabrics. From 1970 Arai worked experimentally
typical of his work, which commonly uses metallic fibres and began long-standing collaborations with Rei
and turns them into exquisite works of art destined only Kawakubo and Issey Miyake, who would suggest phrases
to be admired. The son and nephew of weavers, Arai was such as ‘like clouds’, ‘like stone’ or ‘driving rain’ for Arai *@ Hishinuma, lsogawa, Jinteok, Kawakubo, Miyake

Junichi Arai. b Kiryu VAP), 1932. Crush-pleated fabric. Spring/summer 1990. Photograph tyy Masanao Arai.
Ard CN] Elizabeth Cosmetics creator
In one of Baron de Meyer's famous advertisements a beauty treatment girl for Eleanor Adair in New York and was later used by women when they were out
for Elizabeth Arden, a model resembling a figure from where, in 1910, she opened her own salon on Fifth dancing. In 1935 she launched the legendary Eight Hour
a Modigliani painting wears the Arden face. The name Avenue with her signature red door. One of the first Cream, which remains to this day a cult beauty product.
behind one of the century's greatest cosmetic houses beauty gurus to encourage exercise, she opened a spa
was inspired by Tennyson's poem Enoch Arden and health retreat in Maine in 1934, and was passionate
and a love of the name Elizabeth. Her real name was about horses. Arden developed a range of make-up
Florence Nightingale Graham and she worked as for Hollywood which would not melt under the lights |= C. James, de Meyer, Morris, de la Renta, Revson

1966. Advertising campaign. Photograph by Baron de Meyer, c1927.

Elizabeth Arden. b Woodbridge, ONT (CAN), 1878. d New York (USA),
 Armani Giorgio Designer
A man and woman wear the hallmarks of a great stiffness out of the suit, he made the laid-back style of me or the jacket?’ A good question. Giorgio Armani's
modernist: tailoring that trades stiff formality for southern Europe coveted around the world. Armani was fashion shows never use famous models, the designer
assured relaxation. Giorgio Armani laid the groundwork assistant to Nino Cerruti before starting his own business preferring that his clothes receive the audience's
for the easy, minimalist working uniform of emancipated in 1973. His name came to the fore in 1980 when he unclouded attention.
1980s women and blazed the trail for designers such as dressed Richard Gere for the film American Gigolo. Every
Calvin Klein, Donna Karan and Jil Sander. His menswear scene was choreographed to work for Armani's clothes,
was equally mould-breaking: taking the stuffing and prompting Gere to ask, ‘Who's acting in this scene, * Abboud, Cerruti, Dominguez, Etro

Giorgio Armani. b Piacenza (IT), 1934. Unstructured tailoring. Spring/summer 1995. Photograph by Peter Lindbergh.
Amold sx Photographer
Eve Arnold's camera picks up the gold beaded skullcap, to take advantage of the variables. It might be the smile, Monroe produced some of her best-known image:
glossed lips and lacquered nails of a model backstage the gesture, the light. Noneof which you can predict But Arnold's work covers a broad spectrun i
ata Lanvin show in 1977. Arnold rarely uses studios, She took pictures of black women modelling in Harlem from serious disaster to Hollywood hoop-la
relying instead on natural light and she is dependent fashion shows in 1948 and continued the project for two
on her hand-held Nikon. Her work is always respectful years, until Picture Post published her story. As a result
and sympathetic to its subject, background details are she was offered a job as the first female stringer for the
never an afterthought, and Arnold insists, ‘You have Magnum Photos agency. A long friendship with Marilyr = Lanvin, Lapidus, L. Miller, Stern

“ft Tt
me yie

Mappins, Paris. French Vogue, 1977

Eve Arnold. b Philadelphia, PA (USA), 1913. Lanvin model at
 ASCher 20
In the long tradition of artists turning fabric designers,
Textile designer
in mind. His innovative approach to fabrics large-scale floral prints were used by Dior and
such as Dufy and Cocteau, the unmistakable sketches revolutionized fashion from the 1940s. He started his Schiaparelli, and in 1957 his shaggy mohair inspired
of Henry Moore are applied to silk by Zika Ascher. This own production company and silk-screen print works Castillo to create huge enveloping coats.
design, which combines screen printing with batik in London in 1942. In 1948 he approached artists such as
painting, was selected for use by Nina Ricci. When Vogue Moore and Henri Matisse to design prints. His own
asked in 1962, ‘Which comes first, the chicken or the inventive approach to textiles acted as a catalyst for
egg? The fabric or the fashion?’ it could have had Ascher fashion designers of that time: in 1952 his highly original = Castillo, Etro, Pucci, Ricci, Schiaparelli

Zika Ascher. b Prague (CZE), 1910. Fabric designed by Henry Moore, 1945 (detail). Photograph by Daniel McGrath.
/ Sal ey Laura Designer
A Victorian-inspired, white cotton dress worn under and high collars to make romantic references t workshopin Pimlico, making ta
1 floral pmaafore sums up the mood of romantic rural i pastoral lifestyle which in real al arad In 1968 they opened
their first hor t
idyll which made Laura Ashley a household name for most. In a way that only fashion can, the Laura Ashley dress for €5. By the 1970
She once said that she designed for women who wanted look reinvented history and enabled women to dre a symbol! of femininity
to look ‘sweet’: 'l sensed that most people wanted to raise for a role It precipitated a movement known as
families, have gardens and live as nicely as they can: She ‘milkmaidism’ In 1953, Ashley and husband Bernard
used puffed sleeves, sprig prints, pin-tucking, lace trims began silk-screen printing textile ind n a © Ettedgui, Fratini, Kenzo

1985. Dress with pinafore. c1970

Laura Ashley. b Merthyr Tydfil (UK), 1926. d Coventry (UK),
 Audibet mar Designer
This design is entirely about ‘stretch: There are no hooks, Emanuel Ungaro and then as a designer for Pierre stretch fabrics made from DuPont's ‘Lycra’ - the most
no eyes, no buttons and no zippers. It is a seamless, Balmain, Mme Gres and Nino Cerruti. An admirer of the important development in fashion in the 1980s.
asymmetrical creation that clings to the body, following work of Mme Vionnet and Claire McCardell, Audibet
the lines of the model's figure. Audibet is both a fashion believes that fashion is a matter of anatomy and that
designer and an industrial designer, and is celebrated innovation starts with fabrics. In 1987 he became textile
in the fashion world for his research into stretch fabrics. adviser to the fabric and fibre company DuPont and
His expertise was acquired working as an assistant for together they created and launched single- and two-way * Alaia, Bruce, Godley, Grés, Ungaro, Zoran

Mare Audibet. b Boulogne-sur-Seine (FR), 1958. Stretch column. Photograph by Tyen, American Elle,
1987
Aved On Richard Photographer
Penelope Tree is suspended in space, frozen in a joyful Influenced by photographer Martin Munkacsi, who ubcultures, Avedon became a photographer
leapby Riehard Avedon. It is an image that epitomizes explored the principle of the fashion figure in motion, to a vision larger than fashion per s¢
the motion and emotion Avedon introduced into fashion — Avedon established his images of dancing and swinging
photography, resisting the prevailing tradition of static frenzy which have retained their freshness to this day
poses. Instead he preferred the mood of street reality; Avedon joined Harper's Bazaar in 1945, moving to
a woman glimpsed on a busy pavement or the Vogue in 1965. He never deserted fashion but, through
unexpectednessof his famous ‘Dovima With Elephants: his keen political convictions and intense interests in © Brodovitch, Dovima, Moss, Parker, Tree, Ungaro

>

id
id
-

Penelope Tree in Ungaro suit. Paris studio, 1968

b New York (USA), 1923. d San Antonio, TX (USA), 2004.
Richard Avedon.
 Ba 1|Cy David Photographer
Jean Shrimpton, the face of the early 1960s, shares and model. Bailey, who was regarded as a bad boy, used simply clothes hangers or his pictures moments
a confidence with Cecil Beaton, photographer, illustrator, few models and developed long working relationships of fashion. He photographs women wearing clothes:
costume designer and writer, whose influence on fashion with them. His reluctance to be categorized as a fashion
spanned forty years. The photograph is by David Bailey. photographer is justified by time: those fashion shots
His shots of Jean Shrimpton, who he first met in 1960 now stand as legendary portraits in themselves. As Marie
and with whom he had a relationship for four years, let Helvin, model and former wife, put it, ‘...the very essence
the world into an intimate bond between photographer of Bailey's style is his refusal to allow his models to be * Beaton, French, Horvat, Shrimpton, Twiggy

‘eat
-
ones,

cereertures

E92
3

we

fies
CC ea

David Bailey. b London (UK), 1938. Jean Shrimpton and Cecil Beaton. British Vogue, 1965He)
Ba lly Christiane Designer
Christiane Bailly was part of the prét-d-porter 1957. Her interest in fashion developed and she
revolution of the 1960s. Her radical methods included design, working on more approachable
experimenting with synthetic fabrics such as silver plastic those she had been modelling at the grand co
and ‘cigarette paper. She took the stiff interlinings out houses. In 1961 she started designing for Ch oC
of jackets for a more supple silhouette, and cut close- two years, moved on to work with Michéle Rosi
fitting clothes from black ciré in 1962. Bailly began her 1962 Bailly formed
a company with Emn
career as a model for Balenciaga, Chanel and Dior in and both were assisted by a yound Paco Rabanr

Christiane
 B d kst Leon Illustrator and designer
The overall effect of this costume is both classical and which came to Paris in 1909. As its artistic director, had an extraordinary impact on Parisian fashion houses
oriental. It reflects the current fashionable silhouette Bakst designed the vibrantly coloured and exotic such as Worth and Paquin, who used his designs
in its long, columnar shape. However, this severe line costumes. It was his designs for Schéhérazade which from 1912 to 1915. Bakst, like Erté, was a designer and
is softened by the lavish surface decoration, reminiscent caused a sensation when it was performed in Paris an illustrator.
of the East. Leon Bakst's contribution to the history of in 1910. Orientalism in haute couture had already been
fashion came through the theatre. He collaborated with successfully promoted by Paul Poiret. It was given
Sergei Diaghilev in the creation of the Ballets Russes further impetus by Bakst's sensual costumes, which * Barbier, Brunelleschi, Doeuillet, Erté, lribe, Poiret

26

Léon Bakst. b St Petersburg (RUS), 1866. d Paris (FR), 1924. Design for Paquin. Illustration, 1912.
Balenciaga cisteva Designer
Layeredbells form the sleevesof this cape , worn over ‘No woman cann IKE TE ¢ ! ¢

1 matching dres . They exemplify the shapely simplicity herself; said Balenciaga. His Spanish sever | (
that made Cristobal Balenciaga a great couturier with the light femininity of French desiar vit
His genius lay in cut. The sack dress, the balloon dress, favourite fabric was silk gazar, diaphar
the kimono-sleeve coat and a collar cut to elongate which satisfied his instinct for the sculpt
the neck were a few of his fashion innovations, as 1938, Balenciaga’s modern visior j
although his clothes also came with a disclaimer explained by Harper's Baz * Chow, Penn, Pertegaz, Rabanne, Snow, Thimister

and sape Autumn/

cape. imn/winter 1964. Photograph by Kubiir
Cristébal
: Balenciaga. b Guetaria (SP),
: 89f d Valencia
1895. /alencia (SP),(SP), 1972.
1972 Dress
“S i
 Ball d SIE Soe Designer
Although flat on the surface, this suit fuses movement, his interests from the canvas to his environment, in this colours and juxtaposed forms that opposed tradition
line and colour in a representation of the excitement case exploring the subject of dress as a medium for and convention. ‘The past | so fiercely reject} he said,
of speed. Intrinsically forceful, the jagged strokes expressing his Futurist ideas. Focusing more on embracing the industrial dynamics of modern art in
on the jacket, like storm-strewn palm leaves, mark high male clothing, he stated the tenets of modernity in his his perception of fashion.
velocity and transmit energy. It gives us an image of ‘Manifesto of Anti-Neutral Clothing’, which aimed
an experimentalist at work. Balla, like fellow Futurists to bring disorder to the logic and communication of
Severini and Boccioni, felt a positive need to extend clothing. His ideas were based on asymmetry, clashing * Delaunay, Exter, Warhol

BALA 1914
Giacomo Balla. b Turin (IT), 1871. d Rome (IT), 1958. Sketch for men's suit, 1914. Photograph by Giuseppe Schiavinotto,
Rome.
Bally Carl Franz Shoe designer
The continuity of fashion is illustrated by two examples ribbon weaver, Franz had taken over the
ne fafamily business, and in the 1920s its Sw qua
of Bally's Mary Jane shoes, which are separated by fifty expanding the company to include an elastic tape that player in the burgeoning read
years. The delicacy of red suede, gold leather trim was used by shoemakers. While visiting one of his clients
and diamond button was replaced by serviceable leather in Paris, he saw the inspirational shoes and bought
for the 1990s. Carl Franz Bally decided to mass-produce the entire stock. ‘Papa Bally’ continued buying such shoes
high-quality footwear after falling in love with a pair for his wife and later started to manufacture his own
of shoes he found for his wife in Paris. The son of a silk collections in his factory. The Bally style is a classic one + Chéruit, Steiger, Vivier

brown leather reinterpretation, 1998.

Carl Franz Bally. b Schonenwerd (SW), 1821. d Schonenwerd (SW), 1898. Scarlet evening shoe, 1 930, and
 Balmain Pierre Designer
Mlle Laure de Noailles wears her debutante gown, with movement! In 1931 he was appointed junior designer part of the new postwar luxury. His dresses were always
foaming tulle skirt, by Pierre Balmain. Vogue declared at Molyneux. He sold sketches to Robert Piguet, then carefully constructed. Signature details included
that ‘eventful skirts’ were his speciality; they were often worked at Lucien Lelong where he was joined by drapery or a bow across the shoulders and fur hoods,
embellished with embroidered motifs such as leaves, Christian Dior; they collaborated for four years. The muffs or trims.
cherries or scrolls. Trained as an architect, Balmain pair nearly went into partnership together, but in 1945
believed that both professions worked to beautify Balmain left to establish his own house. Like Dior's
the world, declaring couture to be ‘the architecture of New Look of 1947, Balmain's full-skirted silhouette was *@ Cavanagh, Colonna, Dior, Lelong, Molyneux, Piguet

30

Pierre Balmain. b St-Jean-de-Maurienne (FR), 1914. d Paris (FR), 1 982. Mile Laure de Noailles. Photograph by Cecil Beaton,
American Vogue, 1945.
Bandy way Make-up artist
Model Gia wears the perfect work of Way Bandy flawlessness he worked for. Blending was also very the full, traditional kabuki face. As afr ier d remembere
Her light, translucent make-up was delivered with very important to his work and Bandy named his dog Smudqe He loved beauty and from those little bottles
few products. Usually working with liquid cosmetics, after his refining technique. He was always perfectly come perfection in the form of lightness or tne
Bandy would mix his colours at home and tie them up in made-up himself, turning up for fashion shoots wearing
two small Japanese baskets. He was visionary in the inconspicuous base and powder. For one night
formulations he used: his foundations were blended with however, Bandy demonstrated his skill by arriving at
eye drops that would tighten the pores, promoting the a Halloween party thrown by his friend Halston wearing * Halston, Saint Laurent, Uemura

d (USA), 1986. Gia. Photograph by Arthur Elgort, 1978

Way Bandy. b Birmingham, AL (USA), c1941.
 B d Nn to N) Travis Designer
Travis Banton's costume for Marlene Dietrich is from the and fish-scale paillettes reserved for Schiaparelli. In Carole Lombard. One of his signatures was dressing
film Shanghai Express (1932). He disguised her asa black reparation, he sent her enough trim to complete her line women in men's clothes. He continued to run his
swan ina costume of feathers, veiled and hung with for the season. Banton worked in couture in New York; successful couture business alongside costume designing.
ropes of crystal beads. Her handbag and gloves were his break came when he designed the costumes for
specially made for her by Hermes; the hat was a John P. Paramount's The Dressmaker from Paris in 1925, after
John creation. Banton regularly visited Paris; on one which he became Paramount's designer-in-chief. He
occasion, he bought up an entire stock of bugle beads designed for Dietrich, Mae West, Claudette Colbert and * Carnegie, Hermes, John, Schiaparelli, Trigere

Travis Banton. b Waco, TX (USA), 1894. d Los Angeles, CA (USA), 1958. Marlene Dietrich. Still from Shanghai Express. 1932. aT
B d rbi eT Georc je illustrator
This fashion illustration shows two of Paul I»,oiret's b yy Edwi ird§steichen and ippeared |
models in a setting that represents one of his fashion in April ] 11 required f ¢
houses. The evening coat on the right has a long train the coat and equally exotic dre
which falls from the shoulders and drops back at reminiscent of the Directoire
the sides like huge wings. It has an intricate design century France) w
representing a stylized tree. A similar coat designed surmount ed by \
by Paul Poiret and called Battick was photographed simple classic al line nitl the bold colours * Bakst, Drian, lribe, Lepape > Poiret, Steichen

res

=<
Sy

Modes
 Barbi er Gian Paolo Photographer
A woman in full, glamorous make-up wears the uniform the work of the sixteenth-century painter Holbein. For such as Valentino, Armani, Versace and Yves Saint
of a meat market trader. It could be a reference to Barbieri this was more than fashion work. It was Laurent. In 1978 the German magazine Stern named
the model's work, but in a practical sense it is advertising the creation of a filmic tableau which indulged all his him as one of the fourteen most important image-
a mesh vest which parodies the string version worn by passions: proportion, minute detail and a desire to seal makers of the time.
working men. It is a typically dramatic example of Gian the moment. In 1965 Barbieri photographed the first
Paolo Barbieri's work. In 1997, he directed Vivienne cover of Italian Vogue. His work for that magazine and
Westwood's first-ever campaign which was based on others opened doors to advertising work for designers * Bourdin, Valentino, Westwood

34

Gian Paolo Barbieri. b Milan (IT), 1938. Meat Market. 1985.

Bard ot Brigitte Icon
Actress Brigitte Bardot sits under a tree, smoking ‘sex kitten’ was invented to describe her. Her narrow Jeanne Moreau wrote that Bard I
moodily, her deshabille hair and au naturel appearance trousers and tight black sweater reflect the nonchalant revolutionary character for womer
the epitome of amoral French sensuality. British Vogue beat style. She also popularized flat ballet pumps and
called her ‘the sensuous idol, a potent mixture of set a trend for not wearing socks in her film And
the sexy and the babyish, a seething milky bosom below God Created Woman (1956), for ruffles and ringlets
a childish pout. She was known simply as BB (the French petticoats and prettiness in Les Grandes Manoeuvres
pronounced it ‘bébé ' — French for baby’), and the phrase (1955), and for Edwardian dress in Viva Maria (1965) + Bouquin, Esterel, Féraud, Frizon, Heim
 Barn eu Sheridan Designer
A cool bride is transported to the church on a Harley function and purity of line at a time when all around a pair of wedge sandals, that clean, masculine theme
Davidson. Her wedding outfit is by Sheridan Barnett, him were making additions —- with embroidery, printing comes through in a jacket which is modelled on a classic,
who graced the 1970s with lean, uncontrived fashion. and appliqué fighting for space on dresses everywhere. double-breasted blazer.
Her cream jacket and skirt are spare of any detail other Because function is more commonly found on menswear,
than Perspex buttons to fasten her jacket and patch Barnett often used it as a central theme. Although the
pockets to carry her handkerchief. Barnett was almost bride's cloche hat is trimmed with net, a black pussy-cat
architectural in his approach to clothes, demanding bow is tied at her neck and her stockinged legs end in * Albini, Bates, Wainwright

36

Sheridan Barnett. b Bradford (UK), 1951. Cream blazer and skirt. Photograph by Peter Knapp, British Vogue, 1971
B d ron Fabien Creative director
Fabien Baron's clean, clear layouts, allowing tangled He worked for eighteen months at /nterview before The frosted vodka-bottle shape for Calvin k
graphics te float luxuriantly in vast areas of space, recall being appointed creative director at Brodovitch's old CK One perfume was also his creation.
the power of Alexey Brodovitch's work and have set home, Harper's Bazaar, of which he said, ‘this was the on the same wavelenath, except Fabien got
new standards in modern design. The son of a graphic only magazine left to do! His style has been widely my capabilitiesof aestheticisn
designer, Baron started his career at New York Woman influential and Baron acknowledges, ‘the look doesn't
in 1982 and moved quickly to Italian Vogue. His belong to me any more’ He directed Madonna's Erotic
first issue, September 1988, is now a collector's item video and designed her metal-covered book, Sex * Brodovitch, C. Klein, Madonna

BAZAN
Enter
Shter thethe |tra

Bazaar, Interview and Italian Voc Ju¢ 1998

Baron. b Antony (FR), 1959. Collage of spreads.S From Harper's
ii “ « flan \
Fabien
1a ; f
 Barrett. sim Jewellery designer
In this swathe of chain links by Slim Barrett, jewellery themes — he helped Karl Lagerfeld by developing of plated body armour, waistcoats and skullcaps
becomes a garment with a piece which suggests both silver wire so fine that it could be knitted - and, as vehicles for Barrett's work.
a draped necklace and a hood. Pierre Cardin and in the 1990s, Barrett was responsible for the tiara’s rise
Paco Rabanne both used this theme by expanding dresses in popularity (particularly among brides). In his quest
to become hybrids of fashion and jewellery, and here to extend the realm of costume jewellery, other catwalk
Barrett has done the same from his perspective as a collaborations (including those for Chanel, Versace,
jewellery designer. He returns intermittently to medieval Montana and Ungaro), have resulted in the creation @ Lagerfeld, Morris, Rabanne

Slim Barrett. b Galway (IRE), 1960. Chain mail torso in sterling silver. Photograph by Philip Newton, British Elle, 1990.
Barth Gt Jean Milliner
Ina cafe scene from 1955, two women wear feminized embellished his creatic
boatersbyJean Barthet. They are coquettish
yet formal his own imagination, in thi 1S¢ {¢
ecessories for tailored suits worn with gloves and pearls; — ribbons and bo B ( owt ( ( it (
a very proper combination for the period. While he in 1949 and rose be r
designed
in the traditional
manner of the great French in Paris, dressing the heads of Sophia |
hat makers such as Caroline Reboux, who placed Catherine Deneuve. His succe (
the emphasis on purity of line and structure, he also membership
of the Chambre Syndicale de la Couturt = Deneuve, Hirata, Reboux

(FR), 1930. d 2000 ‘Café Hats’. La Donna, 1955

Jean Barthet. b The Pyrénées
 Bartlett son Designer
A shirt is laid open at the throat and left untucked in the sportswear. He began his menswear collections in 1992, the words, ‘Imagine a world where Forrest Gump
style of the 1950s. John Bartlett's aesthetic is a relaxed adding womenswear five years later when he told People, is directed by Otto Fassbinder...
one. He thinks about clothing pictorially and his fashion ‘My mission is to make women look sexy, just as it is
shows have profound themes and narratives, often for men. He is said to be the American version of Thierry
becoming essays in style. Bartlett trained at Willi Smith, Mugler in sexy stories, but Bartlett adds something
a label historically known for its democratic attitude extra with his relish for the rhetoric of fashion,
towards fashion, and he has developed a natural feel for introducing his menswear collection for 1998 with * Matsushima, Mugler, Presley, W. Smith

40

Rag

John Bartlett. b Cincinnati, OH (USA), 1963. White open-neck shirt. Photc ograph by Enrique Badulescu, Arena, 1997.
Bassm GDN titian Photographer
‘lL almost always focus on a long, elegant neck; said areas to give results that resembled charcoal drawings, resemble butterfly wings, saying, You are not here t
Bassman of this photograph featured in Harper's Bazaar. recalling Bassman’s early career as a fashion illustrator make art, you are here to photograph buttons and bow
Her shadowy, sensual pictures are known for their gentle before being apprenticed to Alexey Brodovitch — a landmark in the debate about the purpose of
intimacy: ‘Women didn't have to seduce me the way they Bassman’'s work is more evocative of moods than subjects fashion photography
did male photographers. There was a kind of inner calm and has not always been understood. Carmel! Snow,
between the model and myself! Her images were created former editor of Harper's Bazaar, once berated Bassman
by innovative printing techniques such as bleaching for photographing a diaphanous Piguet gown to * Brodovitch, Parker, Piguet, Snow

c1950.
Lillian Bassman. b New York (USA), 1917. Barbara Mullen. Harper's Bazaar,
 Bates jon Designer
John Bates is photographed with two dramatic outfits joined with transparent netting. These squared-off His wide range of eveningwear, much of it ethnically
from a 1979 collection. They both use silk cut away to shoulders minimize the hips and spaghetti ties are used inspired in the 1970s, was skilfully made and had
reveal the torso - a charismatic theme based on shapes as suggestively available fastenings. Decorative cocktail a sophisticated youthfulness.
from the 1930s and 1940s. The black dress uses a hats finish both outfits and lend them the highly
geometrically bared midriff in a modern take on Carmen co-ordinated, polished look of the 1930s. In the 1960s,
Miranda's trademark - a feature Bates had used in 1965 Bates created ‘the smallest dress in the world’ and the
with his ‘bikini dress’, the two halves of which were black leather wardrobe for The Avengers television series. © Albini, Barnett, Burrows, N. Miller, Wainwright

John Bates. b Ponteland (UK), 1938. John Bates with models. Spring/summer 1979. Photograph by Chris Moore
The Beatles Icons
The Beatles are credited with marketing the ‘youthquake' been experimenting with round collars. | did a sketch The Beatles hit the USA the following year and the
look aroune. the world. In 1962, while touring Germany, of one, showed it to Brian, and that was that. I've never girlfriends were credited with introducing America
Stuart Sutcliffe's photographer girlfriend Astrid Kirchherr claimed to have entirely “invented” it, | just came up with to che miniskirt
gave the group a co-ordinated image: matching the suggestion: In fact, the neat, collarless, high-neck
‘moptop’ haircuts like her own beatnik-style gamine cut. grey jackets with black trim had been inspired by
The following year, the Beatles’ manager Brian Epstein Pierre Cardin. They became a trademark for the Beatles
contacted Soho tailor Dougie Millings, who recalled, ‘I'd worn with whip ties and pointed chelsea boots * Cardin, Leonard, McCartney, Sassoon, Vivier

pare avira iverpool ( (UK), 1940

d New York (USA), 1980; Ringo Starr (Richard Starkey). b |
A > . &
The Beatles. John Lennon. b Liverpool (UK), 1940.
1
Harrison. b Liverpool (UK), 1943. d Los
les
Angeles (
(USA), U S A ) , 2001.
200 The
The B e
Beatlesa t l e s , 1963. 5
Paul McCartney. b Liverpool (UK), 1942; George
 Beaton Sir Cecil
Eight models in a spectacular neoclassical interior are and James were lifelong friends. Beaton - photographer, He was as much a part of Swinging London as they
wearing ball gowns by Charles James in this 1948 illustrator, designer, writer, diarist and aesthete - were. ‘Fashion was his cocaine. He could make it happen.
American Vogue editorial by Cecil Beaton. Its mood of captured the nuances of fashion and the fashionable He sought the eternal in fashion; wrote a friend after
elegant grandeur captures the spirit of Dior's New Look, from the 1920s until his death. In 1928 he began a long his death.
which revolutionized fashion with its feminine relationship with Vogue. Always in touch with the
romanticism and state-of-the-art construction. Dior Zeitgeist, he developed accordingly, photographing the
claimed James had inspired the New Look and Beaton Rolling Stones, Penelope Tree and Twiggy in the 1960s. * Campbell-Walters, Coward, Ferre, Garbo, C. James

44

Sir Cecil Beaton. b London (UK), 1904. d Broadchalke (UK), 1980. Dresses by Charles James, 1948.
Beene Geoffrey Designer
Geoffrey Beene is pictured with
an outfit from 1975. seen as the American version of couture, Beene was including cotton piqué and sweatshirt fleece. Beene
His ivory shirt lies flat against the throat. The pleated ultimately a designer with a sportswear sensibility with freely borrowedfrom menswear - collections included
trousers are ‘not too wide, not too narrow’ and the a focus on comfort. Comfort was paramount and had vests and fanciful
ties -whilst the West met the East in
perfect coat to throw over it isa ‘trench coat in beige been since his label was launchedin 1963. His first his use of quilting,
obi belts and layering
cotton. With their soft wrapping and pared-down collections used an easy fit for clothes designed for
functionality, Beene’s creations were the epitome active women. Combining the simplicity of Vionnet with
of simple elegance. While his dresses were sometimes whimsy, he often worked with humble materials, * Blass, Miyake, Mizrahi, Vionnet

Geoffrey Beene with model wearing stone mac and silk trousers. Photograph by De irbeville, Ame
Geoffrey Beene. b Haynesville LA (USA), 1927. d New York (USA), 2004.
 Ben etton Luciano, Giuliana, Gilberto and Carlo Retailers
Unusually for fashion advertising, the clothes in this communication is a product in itself! Such Luciano Benetton, the family-run company's founder,
photograph can barely be seen and are not the central advertisements were an iconoclastic method of selling admits these 1990s images contrast with its design
focus of the picture. Two people of different races fashion. In the early 1980s Benetton's adverts had philosophy: ‘It is true our clothes are not at all extreme
are handcuffed together but it is not clear who featured smiling young people of all nationalities, the or controversial
is handcuffed to whom, and why. ‘| am not asked by ‘United Colors of Benetton’ catchline referring to both
Benetton to sell clothes’ claims the photographer and the cosmopolitan customers of their worldwide stores
former creative director Oliviero Toscani, ‘The and the rainbow spectrum of knitwear and clothing. @ Fiorucci, Fischer, Strauss

Benetton. Luciano. b Treviso (IT), 1935; Giuliana. b Treviso (IT), 1937; Gilberto. b Treviso (IT), 1941; C arlo. b Treviso
(IT), 1943. Handcuffed. Photograph by Oliviero Toscani, 1985.
Benito Illustrator
Benito, one of the masters of fashion illustration of the of the Cubist paintings of Picasso and the sculptures of Along with Lepape, his illustrations for Vogue r tecter
Art Deco period, captured through his simple, Brancusi and Modigliani. Benito was also noted for his the haut mondeof the Jazz Aqe
supple strokes the statuesque women in their extravagant inventive vignettes. The close links between fashion and
yowns who epitomized the 1920s. His outstanding interior decoration are shown with perfect clarity and
characteristic was the extreme elongation of the figure create an Art Deco harmony of design, colour and line
to emphasize the elegance of the silhouette. His style was Born in Spain, Benito went to Paris at the age of
reminiscent of sixteenth-century Mannerist painting and nineteen, where he established himself as a fashion artist * Bouche, Lepape, Patou, Poiret

‘
dress by Paul >t. Drawing
Poiret. Drawing from |La Gaz é tte du Bor
from
d Paris (FR), 1953. Afternoon
Benito (Eduardo Garcia Benito). b Valladolid (SP), 1892.
 B era rd Christian Illustrator
As his painted caption reports, Bérard's subject in this illustration, becoming associated with Schiaparelli and style, enhanced by his vision of fashion as a kind of
rich watercolour sketch wears the train of her ruby velvet Surrealism in fashion. His drawings appeared in Vogue theatre, that he brought to his graphic work for Vogue.
gown draped over a medieval chain slung around her for the first time in 1935. They were so well received It was defined as romantic expressionism.
hips. Like his close friend, Cocteau, Bérard was a master that he worked for Vogue until his death in 1949. Also
of many artistic media. He designed the stage-sets and like Cocteau, Bérard's draughtsmanship is immediately
costumes for several of Cocteau's plays. During the 1930s recognizable by its very stumpy, spidery line that
he turned his artistry to designing fabrics and to fashion is liberally imbued with vivid colours. It was this lush @ Bouché, Cocteau, Creed, Dali, Rochas, Schiaparelli

48

tt Patou Op ening
Vstsck drapedPe
i eee

Christian Bérard. b Paris (FR), 1902. d Paris (FR), 1949. Dress by Patou. American Vogue, 1938.
Bera rd Antonio Designer
aren Elson wears a crepe dress smattered with astral (on his fourth attempt). Berardi’s Italian roots manifest pieces are intendedto be flirtatious rather than vulgar
mbroidery. “ts fluted, bias-cut skirt dips to the right to themselves in his love of traditionally crafted leather He describes his style as ‘sensual, sexy and thought
nd in an asymmetric drape. Berardi's cutting techniques and hand-worked lace and macramé. Berardi's stunning provoking - and intrinsically feminine
nd decorative detailing have led him to be compared leather piecesare decorated with embroidery and
0 John Galliano, with whom he trained for three years pierced with cutwork, specialist tec hniques that were
efore finally being accepted asa student at Central reintroduced at a time when simplicity was being
aint Martin's College of Art and Design in London championed elsewhere. His light-as-air, lingerie-style * Chalayan, McDean, Pear!

s
avy Fal

s. Photograph Italian Vogue, 1997

>2 ale > crepe by Craig McDean,
(UK), 1968.¢ Karen Elson wears pale blue, crepe dress
>
Antonio Berardi.H b Grantham
 Beretta Anne-Marie Designer
In an abstract, graphic, red, white and black scheme, thereby minimizing the widths of the models’ hips. by the time she was eighteen she was designing for
two leather coats are trimmed with Bs to signify the Beretta has used these techniques for many different Jacques Esterel and Antonio Castillo. In 1974 she
work of Anne-Marie Beretta. Her trademark is a play on collections, including ski-wear, but when she opened established her own label.
proportions, from wide-collared coats to mid-calf-length her own boutique in 1975 it was with business-
trousers and asymmetrical lines, used here to break the like tailoring, similar in style to those collections she has
conformity of these coats. The upper part of each letter since designed for the Italian label, MaxMara. Beretta
is larger, throwing the emphasis onto the shoulders and wanted to pursue a career in fashion from an early age - * Castillo, Esterel, Maramotti

Anne-Marie Beretta. b Béziers (FR), 1937. Leather ‘B' coats. L'Officiel, 1980
Bergene tc Designer
Ihese spare wrap dresses represent the self-assured work the American sportswear sensibility. He has said, ‘I like jackets to be like cardiqar
of Eric Berg®re. Briefly apprenticed to Thierry Mugler, the work of Americans, like Anne Klein...very simple ighter — the finishings, the
he arrived at Hermes aged just seventeen. It was Bergére clothes, very elegant! and he keeps detail to a minimum but they must still have a de
who gave modernity to Hermes’ luxury, using the then using a thin tie belt or a tiny bow on a knitted camisole
passe snaffle and H logo to add wit. In doing so, top. His first collection under the Bergére label was
he famously created a camp, mink jogging suit Bergere tightly edited: twelve pieces of knitwear in three col irs
blends European humour and respect for tradition with and one jacket in three different lengths. ‘| want the = Evangelista, von Furstenberg, Hermes, A. Klein

' oe

—e
Photograph by Mario Testino, V sionaire, 1997
Eric Bergére. b Troyes (FR) 1960. Shalom Harlow and Linda Evangelista wear black dresses.
 Bernard Augusta (Augustabernard) Designer
During the 1930s there was a revival of interest in first half of the 1930s. A neoclassical evening gown she By cutting the fabric of the dress on the cross-grain, she
classical art and an evening gown was an especially designed in 1932 was chosen by Vogue as the most achieved a fluidity which gave the evening gown great
suitable garment for re-creating the flowing movement beautiful dress of that year. Augusta Bernard belonged elasticity and a refined, draping quality.
of the draperies of Ancient Greek statues. It is this to that eminent band of couturieres between the two
sculptural form and the long, floating line billowing out World Wars which included Chanel, Vionnet, Schiaparelli,
at the bottom that Man Ray captures in his photograph. Louiseboulanger and the Callot Sceurs. Like Vionnet,
Augusta Bernard enjoyed a successful career during the she was a technician with a mastery of the bias cut. © Boulanger, Callot, Chanel, Schiaparelli, Vionnet

Augusta Bernard. b Provence (FR). (Active 1930s.) Bias-cut dress. Photograph by Man Ray, Harper's Bazaar, 1934
Berth OU d Francois Illustrator
Francois Berthoud's startling illustration presents drama to the simplest garment. Berthoud studied
a woman ina stovepipe hat, her demonic eyes watching illustration in Lausanne and, after receiving his diploma quarterly Visionaire
from the shadows. Berthoud uses linocuts and woodcuts in 1982, moved straight to Milan where he worked
for his melodramatic work. They are brave and unusual for Condé Nast. He later became heavily involved in the
methods for fashion illustration, which usually demands visual appearance of Vanity magazine, a publicatior
flowing lines. But these approaches suit the sharp that showcased illustration, designing many
contours of contemporary fashion, lending strength and of their covers. In the 1990s Berthoud's enduring * Delhomme, Eric, S . Jones

b Lausanne (SW),j 1961. 2

Woman i
with 4
hat. lanc icut,
Woo Mondi.
Mondi, 1 1993
Francois Berthoud.
 Bettina Model
Wearing a sharply constructed black dress by Christian model and assistant. When the house closed, she moved Century Fox offered her a seven-year contract which
Dior, the French model gives a pose of polished froideur. to Lucien Lelong, employer of Christian Dior, who then she declined. In 1955 she left modelling, returning three
Bettina's gamine beauty is unique in having inspired invited her to join him in his own house. She refused, decades later as muse (and best friend) of Azzedine Alaia
three designers over two generations. Born in Brittany, choosing to work for Jacques Fath instead. He renamed
the daughter of a railway worker, Simone Bodin dreamed her Bettina and made her ‘the face’ of his scent Canasta,
of becoming a fashion designer. She took her drawings which was launched in 1950. Her fame took her to
to the couturier Jacques Costet, who took her on as his America where Vogue loved her ‘Gigi’ looks, and 20th © Alaia, Dior, Fath, Lelong

Bettina (Simone Bodin). b Laval (FR), 1925. Christian Dior cocktail dress. Autumn/winter 19 52. Photograph by Frances McLaughlin-Gill
Biagiotti Laura Designer
The fluid spirit of Italy's ‘Queen of Cashmere’ is illustrated — partner Gianni Cigna. It manufactured and ¢ xported fF exceptional quality, especially cashmere in the m
by René Gruau in 1976. His easy lines imitate the clothing for the eminent Italian fashion designer subtle colours - a blueprint later used by Rebecca Mose
composes! chic for which Laura Biagiotti is known: the Roberto Capucci and Emilio Schuberth. As the company
sweater worn with lean tailoring and an open-necked grew, so did Biagiotti’s aspiration to design herself. She
shirt. Biagiotti read archaeology at university in Rome presented a small but successful womenswear collection
and worked in her mother's small clothing company after for the first time in 1972. Designing with comfort as a
graduation. In 1965 she founded her company, with priority, Biagiotti became known for working with fabrics © Capucci, Gruau, Moses, Schuberth, Tarlazzi

=~

*\

Daywear. IIlustration by René Gruau, 1976

Laura Biagiotti. b Rome (IT), 1943.

eee e
 Bikkembergs win Designer
‘A classic suit which a businessman wears has nothing Demeulemeester and Martin Margiela, Bikkembergs wrapping up pretentious nerds in sophisticated
to do with fashion. For me, fashion should not be about started out as a shoe designer in 1985. He made his cashmere; and his visual references often include
business, says Dirk Bikkembergs, whose own suits use name with a sturdy boot which has no eyelets and whose macho stereotypes.
unconventional cut and fastenings. This jacket has an laces are threaded through the sole. The Bikkembergs
asymmetric cut fastened with two distant buttons which — aesthetic uses dark colours and heavy fabrics for his solid
suggests both militaristic and workwear themes. Having silhouettes, which lend them an urban appeal. He says,
graduated with avant-garde contemporaries Ann ‘| design strong clothes for strong individuals rather than * Demeulemeester, Fonticoli, Margiela, Van Noten

Dirk Bikkembergs. b Bonn (GER), 1959. Suit. Photograph by Michel Comte, 1997
Birtwell Celia Textile designer
Actress Jane Asher sits amidst the jumble of accessories stylized, sometimes psychedelic, florals with striped expression of the wealthy, young Chelsea society around
and kooky paraphernalia of a London boutique in 1966 borders were also used for flowing fabrics resurrected her, which was exploring the trail to Goa at the same
She wears’a printed paper minidress by Ossie Clark, from the 1930s, such as crepe and satin. Her lavish, time as inheriting the English countryside
another variation of which hangs on the wall behind her two-dimensional style, which suited the fantastical
The print is by Celia Birtwell, who decorated the fabric and semi-historical fashion of the late 1960s and early
used by her husband Clark, and the ‘paper’ is a prototype 1970s, was part of a print explosion. Birtwell's bohemian
of that used by Johnson & Johnson for J-cloths. Birtwell’s — mixture of Indian and traditional English themes was an * Clark, Gibb, Pollock

: ‘we : 1 by Brian Duffy, 1966

Jane Asher wears screen-printed paper minidress. Photograph by Brian Dut
Celia Birtwell. b Bury (UK), 1941.
 Blahnik
d ] Manolo Shoe designer
Rude and nude, but executed with as much refinement into vulgarity, thereby upsetting Blahnik's careful blend are, for many fashion designers such as John Galliano,
as a queen's coronation slipper, Manolo Blahnik's sexy of beauty, style and function. He left the Canary Islands the sole choice for catwalk collections.
sandal is made out of black leather. The transforming to study literature at the University of Geneva and art at
powers of Blahnik's shoes have become legendary. They the Ecole du Louvre in Paris. During a trip to New York
are said to lengthen the leg from the hip all the waydown in 1973, an appointment with famous American Vogue
to the toe cleavage. The secret lies in balance and taste; editor Diana Vreeland inspired him to settle in London
neither proportion nor degree of fashionability ever stray and open his first shop. Blahnik's influential shoe designs *@ Coddington, Galliano, Tran, Vreeland

58

Manolo Blahnik. b Santa Cruz (Cl), 1 942. ‘Lara’. Autumn/winter collection 1997. Illustration by Manolo Blahnik
Bl air Alistair Designer
With deftness, Alistair Blair turns satin and velvet into and glamour of continental couture. Of his first own edited designs. Since 1995 he has designed tor
a gracious evening outfit. The jacket rolls outward with label collection in March 1989, Blair said, ‘The designing Louis Féraud, claiming Today women W int more thar
the help o1 quilted facings and is cleverly cut to follow was absolutely the easiest part — it's what | enjoy’ adoration from a designer they want insight
the waist inwards. Blair trained with Mare Bohan He provided grown-up glamour during the eccentric
at Christian Dior, before moving on to assist Hubert streetwear boom of the 1980s. His use of luxurious
de Givenchy and Karl Lagerfeld at Chloe. After six years fabrics such as cashmere, duchesse satin, grey flannel and
in Paris, his ready-to-wear had taken on the quality kid leather brought a nostalgic quality to his carefully @ Bohan, Cox, Feraud, Tran

jacket. Photograph
hot by lann Thomas,
on Harpers
Wp & et
Queer
Alistair Blair. b Helensburgh (UK), 1956. Quilted satini evening
i j
 Blass sir Designer
Three distinctly American graces capture the essence of Carnegie in providing smart, simplified sophistication designers consistently delivering classic good taste,
Blass's high-style sportswear. Urbane and Europe-aware, for American women. Sweater dressing, even for evening filtering fashion's fluctuations through a fine sieve.
but definitely easy to wear and pared-down in ornament, gowns, was a Blass signature; layering and the harmony
Blass's separates for day and evening, and his dresses of rich materials, from silk to cashmere, are favoured.
for what used to be called the cocktail hour captured Witty references to menswear or vernacular dress were
the American spirit in functional, elegant clothing. Blass also frequent in Blass. Often referred to as the ‘dean
perpetuated the traditions of Norman Norell and Hattie of American designers’, Blass was one of the last of the @ Alfaro, Beene, Roehm, Sieff, Underwood

60.

Bill Blass. b Fort Wayne, IN (USA), 1922. d New Preston, CT (USA), 2 002. Heavy, white, silk crepe dresses with bugle
beads. Spring/summer 1984. Photograph by Gideon Lewin.
Blumenfeld twin Photographer
Legs are wrapped in damp muslin; this is not a fashion body. In between, in a series of photographs in Vogue Blumenfeld came to fashion at the age of forty-one
image but a beauty one. This photograph by Erwin and Harper's Bazaar in the 1930s through to the 1960s, He was an experimenter who reserved his admiration
Blumenfelu is reminiscent of his first art success, a suite he addressed fashion, but often subjected icons of and film, for the work of great designers such as
of collages and altered images in the style of Berlin Dada. — beauty to his own obscurities and emendations. He Balenciaga and Charles James
His late work in New York was equally cryptic, often allowed body parts to stand for the whole (most
obscuring the nude with smoke, mirrors and shadows, famously in a cover image of lips and eye for Vogue in
and implying spiritual forms through reference to the January 1950), rendering fashion misty and mystical + Dali, Hoyningen-Huene

Erwin Blumenfeld. b Berlin (GER), 1897. d Rome (IT), 1969. Solarized Legs. Paris, ¢1937
 Boh dn Mate Designer
In the preamble to Mare Bohan’'s show for Christian Dior, He was of his time, however, and was able to communicate fashion houses of Piguet, Molyneux and Patou. Having
the designer and his model, wearing a slim cardigan a youthful spirit. His collection for winter 1966, left Dior in 1989, he moved to London where he was
jacket over a belted dress, pose for American Vogue. influenced by the film Doctor Zhivago, started the craze enlisted in an attempt to revive the house
Bohan won plaudits for restoring haute couture to for fur-trimmed, belted tweed coats worn with long, of Norman Hartnell.
the tradition set by the grand couturiers, when he was black boots. Mare Bohan gained valuable practical
appointed chief designer and artistic director of the experience in fashion from his mother, who was
house of Dior in succession to Yves Saint Laurent in 1960. a milliner. Between 1945 and 1958 he worked for the © Blair, Dior, Hartnell, Molyneux, Patou, Piguet

Mare Bohan. b Paris (FR), 1926. Mare Bohan and model. Photograph by Deborah Turbeville, American Vogue, 1975
 ,

B @) 10 ch e Rene Illustrator
Vorking
tn pen and ink, Bouche was
a mast 1SiC } waway style but forr \ Ny jue
blending fashion and society. Two attenuated figures are virtuosity of B é fashior trat
silhouettea against an empty background like a tableau
vivant. They are linked by their large, fur muffs. Witt nis p ure. Bo ¢ |
vivacious and witty line, Bouché has revealed these the 1940s, 195
fashionable women and their elegant clothes and has flair for comr iting the re
expressed their character, their manner and a sense of and weare tk urat ye of * Balmain, Benito, Bérard, Eric, Gruau

trated in American Vogue, 1945

René Bouché. b (FR), 1906. d (UK), 1963. Two suits by Pierre Balmain. Illustrated in American vogue
 B Oue Sylvie and Jeanne (Boué Sceurs) Designers
A delicate lace and embroidered lawn tea gown is caught War the Boue Sceurs moved to New York, where John fabrics such as paper taffetas and silk organdies and were
up on the hips with a threaded silk sash. Roses decorate Redfern and Lucile had already opened branches of their — ornately decorated.
the shoulders and, as was customary, the hem dips either — businesses. The Boué Sceurs, who contributed much to
side to create the impression of swags. The Paris couture the city's high fashion, were renowned for their romantic
house of the Boué Sceurs flourished at the beginning of designs which often borrowed details from costume
the twentieth century, together with those of Paul Poiret, found in historical paintings. Their garments, sometimes
the Callot Sceurs and Mme Paquin. During the First World — reminiscent of underwear as here, were made in luscious * Callot, Duff Gordon, de Meyer, Paquin, Redfern

64

Sylvie Boué. b (FR), 1880; Jeanne. b (FR), 1881. (Active 1910s-1930s.) (Boué Sceurs,) Tea dress. c1920.
Boul qn Ger Louise (Louiseboulanger) Designer
Lace and tulle is projected as the backdrop for a dress launching graceful evening gowns that had skirts which first and last names. With her svelte figure, she was
whose bodice Is so fine that it appears almost gaseous. were knee-length in front and reaching to the ankles a couturiere in the manner
of Coco Chanel
Louise Boulanger was very much influenced by the work at the back. Another of her trademarks was elegantly
of her contemporary, Madeleine Vionnet. She imitated tailored suits worn with hats designed by Caroline Reboux
with finesse Madame Vionnet's use of the bias, Louise Boulanger learned her craft as a thirteen-year-old
cutting diagonally across the grain of the fabric to achieve — apprentice with Madame Chéruit. In 1923 she opened her
a seamless, flowing movement. She was noted for own fashion house, whose name was an amalgam of her * Bernard, Cheruit, Reboux, Vionnet

apl by » Cecil
Cecil be
Beaton, British Vogue
d c1950. (Louiseboulanger.) Black tulle and corded> silk dress.
i > Photograph
-ho
Louise Boulanger. b Paris (FR), 1878
 Bouquin “Jean Designer
‘Hippie deluxe’ is the phrase which will forever be linked hippie life wearing a luxurious interpretation of the continued his theme of relaxed ‘non-dressing: He retired
with Jean Bouquin's clothes and lifestyle. Although he nonconformist's uniform, all sold in Bouquin's boutique. from the fashion business in 1971 to enjoy his social life.
dabbled in fashion for just seven years, Bouquin captured Her printed panne velvet minidress uses drawstrings,
the bohemian spirit of St Tropez's jet-set society at the borrowed from Indian pyjamas, at the cuffs, and ends
end of the 1960s. This photograph from French Vogue just shy of the bikini bottoms she might have worn
epitomizes Bouquin's vision: a natural woman, underneath it. After his success in St Tropez, Bouquin
draped with beads, who lives an ironically privileged opened a second shop in Paris called Mayfair, which @ Bardot, Hendrix, Hulanicki, Porter, Veruschka

66

Jean Bouquin. b Paris (FR), 1936. Panne velvet dress with beads. Photograph by Henry Clarke,
French Vogue, 1970.
Bourdin ay Photographer
An exercise of self-satisfaction, stimulated by the looks Bourdin's times. A Pop-Surrealist, he began to work for a glass table for six hours while searching around Paris
of John Travolta, mirrors the 1970s obsession with sex, French Vogue in 1960, recommended by photographer for the right shade of rose petals to match her skin
individuality and status. The glamour of sheer fabrics and Man Ray and couturier Jacques Fath. He concentrated on
flashing make-up serves as a canvas for Guy Bourdin's editorial work for this publication alongside advertising
cold yet unmistakably sexual vision. Daringly showing campaigns for Charles Jourdan shoes and Bloomingdales
the symbiosis between sawy disco decadence and lingerie range. An obsessive master colourist, Bourdin is
stardom, this image is finely in tune with the psyche of said to have left actress Ursula Andress lying naked on © Barbieri, Fath, Jourdan, Man Ray

Advertising campaign for Charles Jourdan. 1979

Guy Bourdin. b Paris (FR), 1928. d Paris (FR), 1991
 B OU iaes Alexandre Napoléon Cosmetics creator
The fashionably blanched face of the 1920s is given soon he was the official supplier to the Imperial theatres. it was ‘Women will Vote. One of the original colours,
colour by one of the first cosmetics companies, Bourjois, Fashionable Parisiennes, taking their cue from actresses Cendre de Roses Brune, is still a bestseller, and the
which was launched in Paris in 1863. Alexandre Napoleon and courtesans, began to use his cosmetics. Bourjois distinctive rose-water scent remains unchanged.
Bourjois originally created his powders with the theatre repackaged his rice powder, Fard Pastels, in little card
in mind, and he sold them from a barrow. The dusty pots stamped with the legend ‘Fabrique Speciale pour la
texture of his Rouge Fin de Theatre was completely Beaute des Dames’ Bourjois set a precedent for printing
different from the greasepaint available at the time, and phrases and quotes on the boxes and, famously, in 1947 @ Brown, Factor, Uemura

68

Alexandre Napoléon Bourjois. b Tours (FR), 1845. d Paris (FR), 1893. Pastel face. Illustration, 1927.
Bou SQ U et Jean (Cacharel) Designer
In a bizarre scene created by photographer Sarah Moon, such, Bousquet was part of the new ready-to-wear scene contemporary colourways. Cacharel became knowr
a plaid pinafore by Cacharel is worn by a doll-like figure in Paris along with Christiane Bailly and Michéle Rosier for semi-casual, matching separates which captured the
who lies om a vast sewing machine. The designer of the Emmanuelle Khanh, who went on to succeed in her own Zeitgeist by bringing relaxed styles into broader use
pinafore was Jean Bousquet, who named his company right, styled for Cacharel. In 1961 the company produced
Cacharel after a species of wild duck. The company’s aim a blouse constructed without bust darts. The result was
was to represent a wild, free image which rejected the a best-selling fitted shirt. In 1965 Bousquet signed an
formality of clothing favoured by older generations. As agreement with Liberty to use its floral designs in his own © Bailly, Khanh, Liberty, Moon, Rosier, Trouble

show iinvitation, spring/summ era 1982. Photograph

pT b by Sar if Mc

Jean Bousquet. b Nimes (FR), 1932. (Cacharel.) Plaid dress. Fashion

i i ->hotog
i
 Bowery Leigh Icon
Leigh Bowery approached dressing as a creative, artistic Bowery arrived in London in 1980 during the New although posterity will remember him as a sitter for the
act, although whether his ‘Redbeard with Aerosol Tops' Romantic era. He dressed up for the first time at an painter Lucian Freud.
from winter 1987 is ‘art’ or not is a matter of opinion. Alternative Miss World contest, and was delighted
Part voodoo, part clown, Bowery's surreal and to find himself the centre of attention. Later he hosted
often disturbing costumes were always highly creative. the gay nightclub Taboo, continually reinventing himself
‘Lam in this odd area between fashion and art; he said. and always trying to ‘improve’ on his previous outfit.
He described his work as ‘both serious and very funny’ An expert tailor, Bowery collaborated with Rifat Ozbek, @ N. Knight, Ozbek, Van Beirendonck

Leigh Bowery. b Melbourne (ASL), 1962. d London (UK), 1994. Leigh Bowery. Photograph by Nick Knight,
i-D magazine, 1987.
Bowl e David Icon

Wearing a glittering knitted unitard, David Bowie plays is that | don’t have to drag up. | want to go on like this
Aladdin Sane. He used clothes as costumes for his stage long after the fashion has finished...I've alw ays worn my
personae, each one representing a phase and an album own style of clothes. | design them. | don't wear dresses
from Ziggy Stardust’s tight metallic spacesuits and wild all the time either. | change every day. I'm not outrageous
plastic quilted bodysuits by Kansai Yamamoto to a sleek I'm David Bowie! At times he was a sexually ambiquous
suit and tie for his ‘plastic soul’ disco album, Young figure, using make-up and hair dye to achieve these
Americans. He said of his inventions, ‘The important fact characters and in doing so inspiring the New Romantic *@ Boy George, lman, McQueen, K. Yamamoto

David Bowie (David Jones). b London (UK), 1947. David Bowie. Photograph by Bill Orchard, 1973
 Boy George Icon

Boy George holds a home-made George doll given to him necessity. Students and the unemployed spent their days inspired by the androgynous costumes of David Bowie.
by a Japanese fan. Like him, it wears a theatrical outfit making ever-more exotic outfits to wear at night. The He styled himself ‘Boy George’ to clear the confusion his
from 1984. With his Hasidic Jew's hat, dreadlocks, face clubs, such as Taboo, had rigorous door policies — issuing dresses created amongst the wider public.
of a geisha, loose-fitting Islamic-style shirt, checked humiliating rejections for those who had not made the
trousers and hip hop shoes by Adidas, George represented effort - and they became a Spawning ground for
an eclectic, home-styled approach invented in the squats designers such as Body Map, John Galliano and John
and clubs around London. It was a fashion born of Flett. George, who was a central character, had been * Bowie, Dassler, Flett, Forbes, Stewart, Treacy

Boy George (George O'Dowd). b Bexleyheath (UK), 1961 Boy George wears Dexter Wong. Photograph by Brian Aris, 1984
Bro d OVI tch Alexey Art director
Two cotton dresses are made exciting by placing them to 1958), brought life to fashion photography. By creating a few of his favoured photographers and his Design
against a speeding foreground and background, like complementary typographic images to put next to Laboratory in Philadelphia was a workshop ‘for studying
lambs playing amongst the rush-hour traffic. Alexey a picture, producing two-page spreads and using multiple new materials, new ideas...in order to establish new
Brodovitch, who commissioned and laid out these images (a single woman photographed several times devices for the future
pictures, brought a new informality and spontaneity to running across the page), Brodovitch invented the
magazine design. Based on European graphic modernism, modern lexicon of art directors. His credo was ‘Astonish
his years as art director of Harper's Bazaar (from 1934 me!’ Richard Avedon, Hiro and Lillian Bassman were * Avedon, Baron, Bassman, Hiro, Snow

Fashion spread. Design for Harper's Bazaar 1955

Alexey Brodovitch. b (RUS), 1898. d Le Thor (FR), 1971.
 Bro oks Daniel, John, Elisha and Edward (Brooks Brothers) Retailers
From Wall Street to Capitol Hill, the oldest retail clothing Bermuda-length shorts and the classic pink shirt first hit mother-of-pearl buttons and a full belt. Ralph Lauren's
company in America has been catering to the Establish- the American shores through their stores. Brooks also early work experience for Brooks Brothers was a crucial
ment since 1818. Brooks Brothers pioneered men's brought over the button-down shirt collars worn by polo influence in shaping his own label's style.
ready-to-wear, with an emphasis on soft construction players in England, instituted madras fabric for shirts
and ease. Its unmistakable air of traditionalism has not (originally designed for British officers in India), and
prevented Brooks Brothers from introducing some of introduced the Brooks Shetland sweater and their
the principal innovations in American men's clothing. trademark Polo coat in white, camel or grey with @ Burberry, Hilfiger, Lauren

74

Brooks. Daniel. b New York (USA), 1809. d (USA), 1884; John. b New York (USA), 1813. d (USA), 1899;
Elisha. b New York (USA), 1815. d (USA), 1876;
Edward. b New York (USA), 1821. d (USA), 1875. (Brooks Brothers.) Button-down collars. Spring/summer 1998.
Brown pooni Cosmetics creator
In the early 1990s, Bobbi Brown provided an antidote to which accentuates rather than masks natural colour. radically altered, Brown remains true to her plain-
the exotic colours used throughout fashion. From beige Brown is simple, straightforward and basic. ‘Make-up spoken philosophy.
to bitter checolate, her earthy colours reflect natural is not rocket science; she says, downplaying the hype
beauty. They are achieved through a whole range of of make-up as an art form. With her degree in theatrical
cosmetic products, without camouflaging ethnicity, age make-up and extensive catwalk and editorial work,
or skin tone. It isa method that looks to the skin for Brown started on a small scale with ten neutral-toned
its lead: eye shadow that does exactly that and lipstick lipsticks. While the beauty colourscape has * Bourjois, Lauder, Page

75

by Walter Chin, 1995.

Bobbi Brown. b Chicago, IL (USA), 1957. Bridget Hall. Photograph
 Bruce Liza Designer
Lisa Lyon, bodybuilding champion of 1979 and inspiration found their way onto the high street. Initially a swimwear conspicuously dominating the design of everything from
for Liza Bruce, braces herself in a strongwoman pose. designer, she made a thick lustre crepe, designed by textile cycling shorts in the 1980s to an evening dress in 1998.
Stretched across her muscular body is ‘Liza’, a black Lycra specialist Rosemary Moore, her signature material. They
bikini which uses futuristic, graphic shapes to section later developed a ‘crinkle’ crepe fabric which was widely
her body. From the outset, Bruce determined to make copied throughout the swimwear business. Bruce is also
experimentation a central theme of her work and her credited with introducing leggings in the 1980s. Sport
career has been punctuated by innovations which have has been an enduring theme for Bruce, with function * Audibet, Godley, di Sant’ Angelo

Liza Bruce. b New York (USA), 1955. Lisa Lyon wears ‘Liza’ bikini. Photograph by Robert Mapplethorpe, 1984
Brunelleschi Umberto Illustrator
Around the time of this drawing,
a Paris critic wrote theatre, where the effe
of Brunelleschi, ‘His art has nothing realistic aboutit. He Bakst and Poiret were stil very mucl (
would not xnow how to evoke modern life with its huge of a Brunelleschi theatri«
factories
and streets full of people. But the world of clear, strong, calligray
fiction,which isso much more beautiful than the world trainingat the Accademia di Be
of men, that he makes real’ Parisian by adoption, brilliant, jewel-like colours that bring a fairy-tale
Brunelleschi worked as a costume and set designer in the to life,
the influence of Bakst and Poir ke B @ Bakst,
Erté, Poiret

990
d Paris (FR), 1949. ‘Danseuse Orientale’. cl
Umberto Brunelleschi. b Mc sntemerio (IT), 1879.
 Bruyere Marie-Louise Designer
The model wears a windbreaker coat from the Bruyeére The window has been strafed with bullets and temporarily concept of civilized life has been maintained: Bruyeére
salon in the place Venddme. It has a more feminine look mended with brown paper, a detail that places trained with the Callot Sceurs and worked as an
than the simple, tailored styles seen in London in 1944. this photograph between fashion photography and apprentice with Jeanne Lanvin.
The shoulders have a softened, draped line, the waist wartime reportage. Lee Miller, the photographer and
is narrow, the sleeves are full, as is the hemline which journalist, was one of the first people to arrive in Paris
has a swing to it. She is photographed outside the salon, on the liberation of the city in August 1944. Recording
opened in 1937 and decorated by Bruyeére herself. her impressions in Vogue, she wrote that, ‘The French @ Callot, Drecoll, French, Lanvin, L. Miller

78

Marie-Louise Bruyere. b (FR). (Active 1920s-1950s.) Bruyére windbreaker coat. Photograph by Lee Miller,
1944.
Bul Qa T1 Sotirio Jewellery designer
A Bulgari collar and earrings modelled by Tatjana Sotirio Bulgari. His sons, Constantino and Giorgio, Precious jewellery was thus placed in the domain
Patitz makes a statement worthy of a Medici, developed the jewel and precious stone side of of young, fashionable society
although tie jewellery is a blend of traditional the business in the early twentieth century. In
Italian forms and contemporary style. Andy Warhol the 1970s, Bulgari drew on their Art Deco themes,
once called the Bulgari store on Rome's via in particular the rectangle-cut baguette work,
Condotti ‘the best gallery of contemporary art’. to develop modern, graphically spare jewellery
The company was founded in Rome by silversmith that put diamonds in geometric settings * Cartier, Lalique, Warhol

79

= - : ; aon ; ri, 1989

198
Photograph by Fabrizio Ferri,
Sotirio Bulgari. b (IT). (Active 1880s-1930s.) Tatjana Patitz wears a diamond collar and earrings.
 Bu tb SIN OY Thomas Designer
A geometric layout illustrates all the features that have War and was dubbed the ‘trench coat. Many of the Given new life by the Japanese Burberry-fever of the
made the Burberry check as British as the Liberty print original features, from epaulettes and storm flaps to the 1980s, it has since been applied to everything from
or Scottish tartan. Thomas Burberry, a country draper, metal D-rings, still appear on the coat today. The coat's umbrellas to silk underwear.
developed a water- and wind-proof fabric which he shape slowly evolves to keep pace with broad fashion
called gabardine; his first raincoat went on sale in the movements. Humphrey Bogart and other Hollywood stars
1890s. Originally designed for field sports, the garment later invested it with an aura of glamour. The distinctive
was used by officers in the trenches in the First World beige and red check lining was first used in the 1920s. * Brooks, Creed, Jaeger

Thomas Burberry. b Dorking (UK), 1835. d Hook (UK), 1926. Classic trench coat. 1995.
Bu TrOWS Stephen Designer
A matte jersey dress by Stephen Burrows is decorated Customers who visited his store-within-a-store, Stephen of Burrows’ favourite cuts is the asymmetric (where the
with his trademark ‘lettuce’ edging. Deliberately created Burrows’ World at Henri Bendel, in the 1970s, came for hem is cut on the diagonal), about which he said, ‘There's
by closely spaced zig-zag stitching on raw seams, it is simple jersey and chiffon outfits which then defined New something nice about something wrong’
an example of how Burrows sparingly used machine York style. In 1971, Halston told Interview magazine that
techniques to decorate his fluid, sexy vision of modern Burrows was ‘one of the unrecognized geniuses of
femininity. The full cut of this dress will have produced the fashion world...Stephen gives the most original cut
a wake of rippling fabric, giving it sinuous movement. in America today. And the thing is really the cut! One = Bates, Halston, Munkaesi, Torimaru

[=

wrap and matching pants. Photograph by Oliviero Tosce

ani, American Vogue, 1974
Stephen Burrows. b Newark, NJ (USA), 1943. Electric blue jersey
 Butl eT Nicky and Wilson Simon (Butler & Wilson) Jewellery designers
A face is framed by glittering diamante jewellery, one eye themselves. Their eponymous period-inspired and often Wales, who often wore their bejewelled designs for
obscured by an amusing lizard. Recognizing the potential witty creations raised the profile of costume jewellery. formal evening occasions.
for antique costume jewellery in the late 1960s, antique The change in conventional attitudes towards genuine
dealers Nicky Butler and Simon Wilson started selling Art fakes, however, was never more conspicuous than in the
Deco and Art Nouveau treasures at London's most opulently ornamental 1980s, when glamorous
fashionable markets. By the time they opened their first ambassadors of Butler & Wilson's style included Jerry
shop in 1972, Butler and Wilson had started designing Hall, Marie Helvin, Lauren Hutton and the Princess
of *@ Diana, Hutton, Lane

82

Nicky Butler. b (UK), c1950; Simon Wilson. b Glasgow (UK), 1950. (Butler & Wilson.) Twenty-first birthday celebratory cover
for Rough Diamonds: The Butler & Wilson Collection.
Photograph by John Swanell, 1989.
Call ot Marie, Marthe, Regina and Joséphine (Callot Sceurs) Designers
This panniered taffeta evening dress, supported by lace, rubberized gabardine and Chinese silks, wit! Madeleine Vionnet said of her training at ( t Sa
a hoop, represents the exotic workof the Callot Sceurs Orientalismea favourite theme. They are remembered Without the example of the Callot Sceur would
Its sheer vest is wrapped over a taffeta bodice and caught for introducing
the fashion
for the gold and silver lamé cont ed to make Fords. It ts bec eof them tt
into a rose on the hip. The petalled
skirt, inspired by an evening dresses which were popular in the 1910s and | have bee to make Re yc
eighteenth-century dress, is appliqued with green billows 1920s. The Callots were influentialinto the 1920s wher
reminiscent of designs painted by Erté. The sisters worked Mme Marie Callot Gerber, the eldest sister, was referred
with exquisite and unusual materials, including antique to as the backbone of the fashion world of Europe @ Bernard, Boué, Bruyére, Dinnigan, Duff Gordon, Erte

) .)‘ shartreuse
Ivoryry and chartreuse 19:
eveningdress.
evening
Regina, Joséphine. (Callot Sceurs.) (Active 1890s-1920s
Callot. Maric, Marthe,
 Campbell naom Model
Herb Ritts casts Naomi Campbell as Pan, representing attending stage school in London, and has rarely been and blonde, blue-eyed girls are what sells’
eternal spring. Her athletic body is regarded as being out of the news since she was hailed as a supermodel. However, Naomi Campbell's success has coincided
as near perfect as it is possible for a body to be - Known for her diva-like qualities, she has a demanding, with, and contributed to, a broader conception
even in the fashion industry, a demanding audience. star-like ability to dominate a picture or catwalk. She of the feminine ideal.
Azzedine Alaia realized her potential early and dressed was dubbed ‘the black Bardot’ for her full lips and sexy
Campbell in his clothes, which are as equally demanding demeanour, although she claims to have encountered
of perfection. She sought stardom from an early age, racial prejudice, saying, ‘This is a business about selling — + Clements & Ribeiro, Jacobs, Kamali, Keogh

Naomi Campbell. b London (UK), 1970. Norma Kamali bikini bottoms. Photograph by Herb Ritts, British Vogue,
1990.
Campbell-Walter tion: Model
Fiona Campbell-Walter wears the duchesse satin ball and soon became a Vogue regular, chosen for her 1952 was to feature on the front coy
gown, stole and gloves of an aristocrat, the society she aristocratic looks. She was also Cecil Beaton's favourite a surprising Dut understandabie §
represented in the 1950s. Born the daughter of an Always in the gossip columns, Campbell-Walter married fashion models, given its intellectu
admiral in the Royal Navy, she was encouraged by her Baron Hans Heinrich Thyssen-Bornemisza, an
mother to become a model at eighteen, and was industrialist. Together they were prolific art collectors
photographed by Henry Clarke, John French, Richard living mainly in Switzerland. They had two children but
Avedon and David Bailey. She attended modelling school divorced in 1964. A high point of the Baroness's care © Beaton, Clarke, McLaughlin-Gill

<

Photographby Frances WecLaughiin G

Fiona Campbell-Walter. b (UK), c1932. Duchesse satin ball gown. Salle des
Jes Glaces, Versailles.
 Capasa Ennio (Costume National) Designer
Described as a ‘mix of couture and the street’, Ennio matt and shine. The fabrics are where you really with a sexier, more close-fitting silhouette influenced
Capasa's dress uses cutaway armholes to reveal the experiment in fashion: He trained with Yohji Yamamoto by street hion — a 1990s impere ive epitomized
shoulders ar imple tie at the neck. These are its only in Japan in the early 1980s, where the practice was by Helmut Lang and Ann Demeulemeester
details. Its focus is the fabric: shimmering Lurex which pare details away from a design and to take inspiration
highlights the curves of the body. Capasa's work is from traditional cutting techniques. On his return
ictated by material. 'l always start designing a collection to Milan in 1987, Capa 1 started his own label, Costume
from the fabrics; he says. ‘I love the interplay between National. It combines his perception of Japanese purism = Demeulemeester, Lang, Y. Yamamoto

Ennio Capasa. b Lecce (IT), 1960. (Costume National.) Lurex dress. Spring/summer 1997. Photograph by Nathaniel ( joldberg
Capu CGI Roberto Designer
wo immense ball gowns are assembled from an acre we never meet: Such is the extravagance of some wouldbe conducted in silence and he ret
yf pleated rainbow taffeta. The backs are constructed experiments that the wearer becomes secondary to an outfit, so that any woman buying from |
n such a way that they appear to be shoulder-to-floor the gown. For ten years Capucci showed in Rome before have to do so from the show collecti
OWS. They are an example of engineering from Roberto decamping for six years to Paris in 1962, and showing
‘apucci who, in 1957, was called the 'Givenchy of Rome’ alongside fashion's other architect, Cristobal Balenciaga
yy fashion writer Alison Adburgham. She continued, with whom he is often compared. The purity of Capucci's
He designs as though for an abstract woman, the woman — work extended to his selling technique. His fashion shows © Biagiotti, Exter, Givenchy, W. Klein

Pleated gowns. 1985. Photograph by Fiorenzo Niccoli

Roberto Capucci. b Rome (IT), 1929
 Cardin Pierre Designer
In what could be a still from Star Trek, men, women and steel belts and buckles brought couture into the space that would rigidly hold his geometric shapes, and
even a boy, strike poses to accentuate their tomorrow's age. Cardin’s training had been a traditional one — at the experimenting with metals to produce dresses. In later
wardrobe. In the mid-1960s Pierre Cardin spun off into houses of Paquin, Schiaparelli and Dior - but his mind years, Cardin put his name to everything from pens to
deep space with Courreges and Paco Rabanne. He offered was on the future. In 1959 he was the first couturier to frying pans.
utopian clothes to a new generation. Graphic symbols design ready-to-wear and was expelled from the
were cut from his jersey tunics; men’s jackets were given Chambre Syndicale. Cardin became fashion’'s scientist,
military epaulettes. The silver shine of asymmetric zips, developing his own material, Cardine, a bonded fibre + Beatles, de Castelbajac, Courréges, Rabanne, Schon

Pierre Cardin. b Sant'Andrea di Barbarana (IT), 1922. ‘Space’ collection. Autumn/winter 1967/8. Photograph by Yoshi Takata.
CamMegle tate Retailer
C.Z. Guest, an American social figure, wears a simple employed designers of the calibre of Norman Norell, to be the ‘undisputed leader’ of American fashion, with
gown by Hattie Carnegie. Although she has a reputation Travis Banton, Jean Louis and Claire McCardell: more than one hundred stores selling her product and
as a revered Gesigner, Carnegie never actually made the ‘Carnegie look’ was a sophisticated simplification of her imprimatur the keenest sign of prestige in
a dress. She was a retailer who delivered a current look, European design that was favoured by American society American clothing
such as this strapless, wasp-waisted silhouette derived and high-profile clients such as the Duchess of Windsor
from Dior, a shape that formed the hourglass figure In 1947, Life declared Carnegie (née Kanengeiser, but
of the 1950s. Carnegie's reputation was legendary. She she took the name of the richest American of the time) + Banton, Daché, Louis, Norell, Trigére, Windsor

:
;
i

, |
-
: : 89

Hit

1956. C.Z. Guest. Photograph by Cecil Beaton, 1952.

Hattie Carnegie. b Vienna (AUS), 1889. d New York (USA),
 Ce rti eT Louis Francois Jewellery designer
This brooch, designed as a flamingo in characteristic Cartier. This jewel was designed for the Duchess avant-garde many years after their design and were
pose, has plumage set with calibré-cut emeralds, rubies of Windsor, who owned one of the finest jewellery the precursors of a new vocabulary in bijouterie after
and sapphires. Cabochon citrine and sapphire are used collections of the 1940s. It was chosen for her by the the Second World War.
for the beak, a sapphire for the eye, with the head, neck, Duke of Windsor, who spent a great deal of time
body and legs pave-set with brilliant-cut diamonds. It choosing jewels to adorn her clothes, often designed
was created in 1940 by Jeanne Toussaint for the jewellery as a setting for a particular gem. Pieces such as this one
firm Cartier, founded in Paris in 1847 by Louis Francois (resold in 1987 for $470,000) were still considered * Bulgari, Tiffany, Windsor

90

Louis Francois Cartier. b (FR), 1819. d Paris (FR), 1904. Flamingo brooch created for the Duchess of
Windsor, 1940. Photograph b y Louis Tirilly.
Pa shin Bonnie Designer
capacious, grey cashmere poncho trimmed in leather but always remained faithful to the pragmatic and practical faster ngs for her bagsand leather
pifies Bonnie Cashin's distinctive contribution to contemporary woman. Separates were versatile and wools. Cashin is regardec { slong with Claire
merican sportswear. Attuned to dancers and their luxurious; SIZING WaS e€asy, given that most tops, dresses is the mother of America ! sportswt
1

otion, the variable weather and outdoor life of skirts and trousers wrapped or tied, allowing for
alifornia, and to Hollywood and the movies (she was accommodation for many body types. Cashin used
designer for 20th Century Fox), Cashin created layering before it became an accepted and expected part
genious sportswear. She often used global references of women's lives. Toggles and luggage hardware became @# A. Klein, McCardell, Schon

1915. d New York (USA), 2000. Cashmere shawl. |) hotograph byy Francesco Scavulli
avullo, 1966
Jonnie Cashin. b Oakland, CA (USA),
 Ce ssini Oleg Designer
In the 1960s, Cassini was the American designer most secretly helped Mrs Kennedy to continue to acquire semi-fitted top over a slim skirt corresponded to Parisian
identified with Jacqueline Kennedy as First Lady, clothes by Gres, Chanel and Givenchy, Cassini's sleek designs. Cassini respected Mrs Kennedy's demureness,
an evening dress for whom is illustrated here. Stung by minimalism supplemented that elite wardrobe and the while letting each garment stand out in a manner
criticism of her costly wardrobe (largely from Balenciaga American designer was publicly acclaimed. By the appropriate for a First Lady.
and Givenchy), even before her husband was elected conspicuous association with Kennedy, Cassini became
president, Mrs Kennedy chose to consider Cassini her a powerful figure in 1960s style, offering youthful,
official designer. Although her mother-in-law and aides smooth modernity; his A-line dresses and suits of a © Givenchy, Gres, Kennedy

Oleg Cassini. b Paris (FR), 1913. d Manhasset, NY (USA), 2006. Evening dress for Jacqueline Kennedy. 1961.
 De Castelbajac Jean-Charles Designer
he deadpan expression on the model's face contradicts cloth. Thick, felt-like fabrics have preoccupie
ean-Charlesde Castelbajac's joke: a square-cut dress he was at boarding school, where he «
hat imitates the front-opening of a huge pair of blue out of a blanket. He Nas one of France's new
eans. De Castelbajac uses a deceptively childlike sense ready-to-wear designers in the 1960s and ha
yf form in this way — bearing in mind Cervantes’ phrase, with Pop Art themes
Iways hold the hand of the child you once were can, hich he printed onto a cylindrical d
His simple, enveloping clothes remain true to the uncut Inspired by the work of Paco * Cardin, Ettedgui, Farhi, Rabanne, Warhol

DS.
iN |

EEE
SG,

VEVC TOES
1, ae
ted feeri
 Ca still O Antonio Designer
The risqué potential of the black lace used in Castillo's Castillo's designs - his training was as accessory designer seemingly classic looks, which resulted in a quiet,
A-line dress is at once removed by its stately aura. A black for Chanel and as designer at the distinguished fashion exceedingly tidy style.
hat, moulded into the shape of a mantilla comb, lends houses Piguet and Lanvin. Castillo left Spain for France
grace, while the model maintains an imperial pose, in 1936 at the onset of the Spanish Civil War. He was
turning her back to the camera as if to shake hands with no Courreges, indulging in avant-garde couture for the
foreign heads of state. Born of a noble Spanish family, younger generation of customers in the 1960s; instead,
regality and dignity surround every one of Antonio he subtly instilled a sense of innovation into mature, * Ascher, Beretta, Lanvin, Piguet, G. Smith

Antonio Castillo. b Madrid (SP), 1908. d c1984. Lace Cage. Photograph by Seeberger Brothers, 1965
 Cava nN d gh John Designer
John Cavanagh is photographed with a model wearing Cavanagh opened his own couture j n Lor r 1 1 engulfed by {
his full, yet immaculately
tailored coat. Its black cuffs, making clothes with international appeal. He note
plain collar and geometric configuration of buttons ‘A couturier worth his name must design in the world ' iv-to-we
ire its only details
beyond top-stitched, princess-lin stream of design change, but direct it to the r
seams into which the pockets disappear. His was his clients that make this business exist! ( naal
an international training, firstly with Molyneux on his at the centre of Londor mall made-to-measure society
return from Paris and then at Pierre Balmain. In 1952 which continued
to dress the English season, despite = Balmain, Molyneux, Morton

. Pho
ty
John Cavanagh
Tai
and model wearing
“res
cream wool coat.
| John Cavanagh. b (IRE) 1914.
 Cerru tl Nino Designer
Jack Nicholson wears loose linen separates by Cerruti in over the family textile business in northern Italy. His while it was designed by Narciso Rodriguez, who
the film The Witches of Eastwick. ‘Fashion, ultimately, is launch of a menswear range, Hitman, in 1957 was the introduced contemporary themes such as transparent,
a way of describing the world we live in; says Cerruti, start of the company's transformation into a luxury label. embroidered fabrics worn with precise tailoring.
a philosophy that applies itself not only to the world of A women's ready-to-wear collection followed in 1977.
fashion but also to film - Cerruti has designed costumes Epitomizing the aspirational dressing of the 1980s, the
for over sixty movies. Cerruti initially studied philosophy Cerruti label was used in films such as Wal/ Street. In the
and had wanted to become a writer, but in 1950 he took 1990s, Cerruti's womenswear enjoyed a period of success = Armani, von Etzdorf, Rodriguez

Nino Cerruti. b Biella (IT), 1930. Jack Nicholson. Still from The Witches of Eastwick. 1987
Chalayan Hussein Designer

inno
ollection wa

had buried with tron filingsin |

|
ct Cnalayan i
Ist
ite beading, glit ! ested ir ( W M * Berardi, Clements Ribeiro, Dell'Acqua, lsoqawa

b N Y ‘Lands Without’. Spring/summer 1997

Hussein Chalayan.
 Ch an el Gabrielle (Coco) Designer
Coco Chanel is strolling in the Tuileries in Paris, a short Liberman with her right arm manifests one of her was rooted in a masculine model of power, a direction
distance from the rue Cambon where she lived and had fixations — a comfortable arm movement. She would rip that has dominated twentieth-century fashion.
her maison de couture, which she closed in 1939 and off the sleeves of her suit time and again to get a perfect
re-opened in 1954. She is wearing all the hallmarks fit. The basic idea for her suits came from the concept
of her signature style: suit, blouse, pearl jewellery, scarf, of military uniforms. As the mistress of the Duke
hat, gloves and handbag with gilt chains. She was of Westminster, she had taken many trips on his yacht
a perfectionist, and the way she gestures to Alexander where the crew wore uniforms. The essence of her style * Cocteau, Dali, Lagerfeld, Liberman, Parker, Verdure

98

Gabrielle (Coco) Chanel. b Saumur (FR), 1883. d Paris (FR), 1971. Coco Chanel wearing
Chanel suit. Photograph by Alexander Liberman, 1951.
Ch arl cS Caroline Designer
In an early design, Caroline Charles uses a chequerboard recalls wanting to be a dress designer from an early age it has been her knack of creating very British clothe
pattern jacket, worn with long socks. During the 1960s, After graduating from Swindon Art School, she headed and, latterly, accessories and interiors that has allowed
Charles also worked as a broadcaster and journalist but to London, which was in full 1960s swing. Following her career to span three decades
she stayed with fashion. ‘Does it fit? Is it useful? a spell at Mary Quant, she launched her own collection
Does it create the feeling that someone wants to get in 1963. Charles's occasion- and eveningwear were an
close to you?’ These practical questions are considered instant hit with the entertainment trendsettersof the
for every piece of Caroline Charles clothing. Charles day, including Cilla Black and Barbra Streisand. However, * Courréges, Foale & Tuffin, Quant

i
wool jacket i
ac wool skirt.
and black ler, 1964
Tatler, 19¢
.
Caroline Charles. b Cairo (EG), 1942. Check weave
 Ch eTu it Madeleine Designer
Monochromes forge a vintage ambience, illuminated Chéruit was a Parisian designer who, like Lelong and fashions in the 1920s, her opulent taste lost appeal.
by porcelain skin set against dazzling sequins under Louise Boulanger, transformed high fashion into the She retired in 1923, but her design house continued until
transparent organza. Marion Morehouse wears a deep reality of ready-to-wear. She refined the excessiveness 1935 when Schiaparelli famously took over her premises.
V neckline, then considered risque, that runs down of couture for her aristocratic Parisian clientele, who
to a beltless waist, indicating the move away from favoured her richly ornamented dresses. Fascinated
the curvaceous prewar silhouette to a relaxed contour. by the effect of light on fabric, she worked with taffeta,
Trained in the 1880s at the couture house Raudnitz, lamé and gauze. With Chanel's move towards simple @ Bally, Boulanger, Lelong, Morehouse

100

Madeleine Chéruit. b (FR). (Active 1900s-1930s.) Marion Morehouse. Photograph by Edward Steichen,
1927
Ch O O Jimmy Shoe designer
A powder, blue suede sandal is trimmed with feathers, in elegance to the designer clothes they are usually worn _ for eveningwear and to co-ordinate with her day suits.
an example of the dainty, seductive work of Jimmy Choo, — with. He attended London's Cordwainer's Technica! Choo's Malaysian roots account for his signature palette
who was born into a family of shoemakers and made College with a fresh generation of cobblers, including a range of crystalline colours which includes aqua blue,
his first pair aged eleven. Previously all Choo shoes were Patrick Cox and Emma Hope. Of his style, Choo says, fuchsia pink and bright orange.
handmade; he has recently adapted his perfectionist ‘There is an elegance, a femininity, maybe a sexiness:
craftsmanship for an additional ready-to-wear It was one that came to be favoured by the Princess
line. They are never overtly fashionable, yet are equal of Wales, who would buy one style in several colours © Cox, Diana, Hope

NOGNOY
Ss

.
te OOHO
ANNI
101

a i
1997. RE
Photographeaeby Simon dice Be nanan
Archer, £.S. magazine, cASOe:
Jimmy Choo. b Penang (MAL), 1961. Feathered sandal. Spring/summer
 Ch OW Tina Icon
Tina Chow strikes an elegant, demure pose. A supreme clothing, Chow's practised eye is still regarded as the capes and mantles were a syncretist interpretation
model in the 1970s, she went on to become one of the paradigm of collecting and connoisseurship. Chow of East and West.
great fashion connoisseur-collectors of the twentieth knew the great designers of her time, but demonstrated
century. An Asian-American, Chow represented the her interest in the past by choosing works by
new diversity and universalism of modern beauty, but Madeleine Vionnet, Cristobal Balenciaga and Christian
her fashion intelligence was even greater than her Dior for her astute collection. Her initial collecting
beauty. One of the most important collectors of couture interest was Mariano Fortuny, whose ‘Delphos’ dresses, # Antonio, Balenciaga, Fortuny, Vionnet

102

Tina Chow. b Cleveland, OH (USA), 1950. d New York (USA), 1992. Tina Chow. Photograph by Arthur Elgort, 1982
C| d rk Ossie Designer
In this wild scene photographed at London's Chelsea by his wife, textile designer Celia Birtwe he couple Faithfull and Anita Pallenbera, then the girlfrier
Town Hall in 1970, Ossie Clark shows his clothes under were immortalizedin a portrait entitled Mr and M f the Rolling Stones quitarist Keith Richards, share
the name Quorum, a company set up by Alice Pollock Clark and Percy by their friend, painter
David Hockney n ‘Ossie’ snakeskin suit. now one of the most pre
It was, said Vogue, ‘more a spring dance than a show’ who can be seen on the far right of this picture n eminders of the
The spaced-out models wear Clark's chiffon dresses master cutter. It's all in my brain and fingers’ Clark |
(each with a secret pocket into which a key and said, and that talent became one of the most soug
a £5 note would fit — his trademark),
both printed after in the late 1960s
and early 1970s. Singer Marianne * Birtwell, Fratini, Hulanicki, Pollock, Sarne

Ossie Clark. b Liverpool (UK), 1942. d London (UK). 1996. Printed chiffon dresses. Photogra ph by Annette Gree
 Clarke tien Photographer
The citrus colours of summer are given a fresh, literal between the formal, almost statuesque, dress of the the flamboyant and ethnographic clothes come alive
interpretation. Photographer Henry Clarke was first epoch and the casual effect of snapshot instantaneity. in the context of Mayan archaeological sites and various
drawn to fashion photography by watching Cecil Beaton Artful and artless at the same time, Clarke's photographs settings in India, Sicily and around the world.
photograph Dorian Leigh. He created animated benefited from the licence given him by Diana Vreeland
photographs, but Clarke was also naturally inclined at Vogue and the exotic locations they used for photo
to elegance, and his images of French fashion in the shoots. Skilfully moving from 1950s high style to
1950s, in particular, exemplify the balance he sought the dazzling colours and layering of the 1960s, he made * Campbell-Walters, Goalen, Pertegaz, Vreeland

104

Henry Clarke. b Los Angeles, CA (USA), 1918. d Le Cannet (FR), 1996. Fruit sweaters. French Vogue, 1957.
Clem ents Suzanne and Ribeiro Inacio (Clements Ribeiro) Designers
Clements Pibeiro's graphically patterned cashmere has tartans and windowpane checks to bohemian paisleys Martin's College of Art and Design, n ed moved
become its trademark: from bold rainbow stripes to this and mottled florals. Luxurious materials are used for to Brazil after graduating. They designed their first
striking Union Jack insignia, which symbolized the 1990s daywear — dusty-coloured suedes, cashmere, silk taffeta collection in London in 199
upswing in British fashion fortunes known as ‘Cool and sequins. Clements Ribeiro favour neat separates
Britannia’ Ribeiro has said, ‘We do simple cuts with and simple styling. Their collections are inspired by an
strong fabrics; we call it clumsy couture! Bright prints ever-changing female role model: punk, gypsy, suburban
define the themesof each collection; from traditional housewife or mermaid. They met at Central Saint * Amies, Campbell, Chalayan

sweater. Autumn/winter 1997

3R) 1963.
1963. (Clements
(Clements Ribei Jack c ashmere
Ribeiro.) ) UUnion Ja
(UK), i
1969; Inacio Ribeiro. 4
b Sao Paulo (BR),
Suzanne Clements. b London
 Cobain Kurt Icon
Cobain was to grunge what Johnny Rotten was to punk. a generation of disaffecteds known as Generation X, but, That partner, Courtney Love, came to personify
His greasy, bleached hair, pale waify body and thrift-shop predictably, was ‘cleaned up’ to become a mainstream a feminized version of the look which inspired Mare
clothes created the image of a strung-out, moody movement known as ‘Heroin Chic’: an affected Jacobs to create his ‘grunge’ collection of 1993.
adolescent. The garments of grunge bands such representation of an addict's wardrobe. Rebelling against
as Cobain's Nirvana, Pearl Jam and Alice in Chains were his upbringing among homophobic lumberjacks in his
cheap and casual; washed-out jeans and rock T-shirts. home town, he would sometimes try harder by wearing
It started as an anti-fashion formula that dressed his partner's flowery dress and painting his nails red. * Dell'Acqua, Jacobs, Rotten

106

Kurt Cobain. b Hoquaim, WA (USA), 1967. d Seattle, WA (USA), 1994. Kurt Cobain and daughter, Frances Bean. Photograph
by Stephen Sweet, 1994.
Cocteau ten Illustrator
The legend &n this fashion drawing reads, ‘Paris 1937. met Diaghilev when the Ballets Russes came to Paris of outline drawing with its sharp line and elegant
Schiaparelli made this tapering sheath dress for dining in 1910 and he designed posters for him. Some of simplicity. Cocteau was also closely associated with
and dancing. Jean Cocteau drew it for the readers of Cocteau's most important work for the theatre and Surrealism and fashion. For Schiaparelli he designed
Harper's Bazaar. Cocteau was a writer, film-maker, fashion included his collaborations with Chanel. Between fabrics, embroideries and jewellery
painter, print-maker, stage-, fabric- and jewellery- 1922 and 1937 she designed costumes for a whole cycle
designer and fashion illustrator. His entrée into the of his plays, including Le Train Bleu of 1924. He often
world of fashion came through the theatre. Cocteau sketched her and her fashions in his characteristic form © Bérard, Chanel, Dessés, Horst, Rochas, Schiaparelli

107

Schiaparelli dress. Illustrated in Harper's Bazac

wr, 1937
Jean Cocteau. b Paris (FR), 1889. d Paris (FR), 1963
 Coddington croc
‘Grace Coddington is the eye - the eye...| never saw distinctive red hair from a chunky Vidal Sassoon bob to
Editor
moved to American Vogue in 1987. She said of her time
a wrong dress she chose...Grace was without a doubt a halo of frizzy curls — a formula that would later be used there, ‘You're either having dinner with 300 people
the fashion editor! says Manolo Blahnik. Coddington by Linda Evangelista. In 1968 she moved to British Vogue, or grovelling on the floor with pins in your mouth:
has influenced fashion in many different ways. In 1959 taking Calvin Klein's modern aesthetic to a 1970s
‘The Cod’, photographed here wearing all-over prints European audience. Her style inspired designers such
by Jacques Heim, was spotted by Norman Parkinson. as Kenzo and Pablo & Delia and she later championed
She constantly reinvented her image by changing her the talents of Azzedine Alaia and Zoran. Coddington @ Alaia, Blahnik, Heim, C. Klein, Sassoon, Zoran

108

Grace Coddington. b Holyhead (UK), 1941. Grace Coddington wears Jacques Heim. Photograph by John French, 1965.
Coffin Clifford Photographer
For the June 1949 issue of American Vogue, Clifford creating an indistinct shadow. A technique which ‘blasts’ British and French Vogues secured his own position
Coffin photographs four models wearing swimsuits light onto the subject, highlighting shiny fabric and in that society and he was described as ‘the first
as polka-dots on a sand dune in a customarily strong make-up, it was widely used in tandem with a wind photographer to actually think fashion, sometimes
composition. Coffin's main contribution to fashion machine in the 1970s and 1990s. Coffin was a fashion more than fashion editors:
photography in the 1950s was his use of ring-flash personality whose early ambition was to be a dancer
lighting — a circular bulb which wraps around the lens He was also an ‘out’ homosexual, who was close to
and casts a directional light onto the model, thereby society writer Truman Capote. His work for American, © Gattinoni, Gernreich, Goalen

109

Swimsuits. American Vogue, 1949

Clifford Coffin. b IL (USA), 1913. d Pasadena, CA (USA), 1972.
 Colonna sear Designer
Imagine the dark backstreets of Paris, a flashing neon during the ‘deconstruction’ trend of the early 1990s, before launching his own label in 1985. Colonna's
sign and a hidden door opening to an underground world upsetting the establishment by creating clothes philosophy has always been that ‘a piece of clothing
inhabited by women who sleep during the day and dress that people could actually afford. The manufacturing must be simple - to make, to sell and to wear’
for the night in leopard prints, stretchy sheer lace, skimpy methods that allowed him to do this included overlocked
skirts and little else. This is the world of French designer hems and edges, doing away with the need for finishing.
Jean Colonna, whose fashion shows conjure up the world He also used unashamedly cheap fabrics such as PVC.
of the Pigalle district after dark. He came to prominence Colonna trained in Paris and spent two years at Balmain, © Balmain, Dolce & Gabbana, Topolino

110

Jean Colonna. b Oran (ALG), 1955. Backstage. Spring/summer 1998. Photograph by Thierry Lede
Conn olly Sybil Designer
Photogra in her Dublin home,
phed Sybil Connolly wears which she hand-pleatedfor delicate blouses and dresses jesign direct
a dress made from her famous pleated linen. The tailored Like her American contemporary, Claire McCarde } 1 to launct rown couture
shawl covers a simple bodice and typically understated was a pioneer in the creation of smart shape
skirt. The doyenne of Irish fashion
in the 1950s, Connolly informal fabries and a relaxed attitude during the 1950s
specialized in adapting traditional Irish fabrics for and 1960s. Connolly
moved to Lond to learn dre
modern,
easy dressing. Her forward-thinking designs design, but returned to Ireland upon the outbreak of the
transformed thick mohair, Donegal tweed and linen, Second World War. At the age of twenty-two she became *@ Leser, McCardell, Maltezos

Sybil Connolly. b Swansea (UK), 1921. d Dublin (IRE), 1 998. Sybil Connolly at home, Merrion Square, Dublin.
 Con Td Nn | HE Os Designer
In an exercise in contrast, a scarlet poppy hat, designed a graphic sculpture beneath an organic one. Having Conran's work is also wearable. Some garments, such
by Jasper Conran and made by Philip Treacy for a studied at Parson's School of Design in New York, Conran as a fitted leather jacket reminiscent of Marlon Brando's
production of My Fair Lady, explodes above an unadorned set up his own label at the age of nineteen. He relies ‘biker’ jacket, have remained in his collection for ten years
black dress from Conran's mainline collection. Jasper on a monochrome palette interspersed with stimulating because of their flattering shapes.
Conran regarded Jean Muir as his mentor and his own bursts of striped fabric or salvos of colour: bold orange,
work carries her hallmarks of modern sophistication. Lit cerise or cobalt blue. He likes his clothes to have ‘speed @ Muir, Treacy
from behind, his dark dress comes to life as a silhouette, and life... For me it's always about the cut and the shape!

Jasper Conran. b London (UK), 1959. ‘Poppy’. Hat designed for My Fair Lady stage production. Photograph by Tessa Traeger, 1992.
COUTTEGES anere Designer
A former civil engineer, André Courreges placed the decoration and established geometry and new materials dresses and bare body parts, was the youthful daisy
meticulous cut of fashion he had practised for fashion. ‘I think the women of the future, Unisex was another Courréges theme. He predicted
in Balenciaga’s atelier in the 1950s in the service morphologically speaking, will have a young body; that womenswear would become at least as practical
of the 1960s idealism of youth and the future. Along said Courréges at the time. His miniskirts were stiff and as menswear

with Pierre Cardin and Paco Rabanne, Courreges square and advocated a minimum of body coverage,
led the cult of visionary fashion design in Paris. It was enjoying those ‘young’ bodies that became visible in the
a movement that cut away superfluous material, banned 1960s. His most characteristic symbol, often covering his * Cardin, Charles, Frizon, Quant, Rabanne, Schon

by William Klein, 1964.

André Courréges. b Pau (FR), 1923. Space-age designs. Photograph
 Coward Noel Icon
The playwright and entertainer Noel Coward strikes a of enhanced degeneracy. | indulged in silk shirts, pyjamas groomed; observed Cecil Beaton. Cary Grant was one
classic pose in this photograph by Horst. A flawless Prince and underclothes...coloured turtleneck jerseys...and of them, remarking that he based his own urbane style
of Wales check, accessorized with polka-dot silk and started a fashion! It was the look for the glamorous, on, ‘a combination of Jack Buchanan and Noel Coward’
woven checks, epitomizes his peerless sophistication. brittle 1920s aesthete. For the first time since Oscar
After his first theatrical success in 1924, Coward Wilde, a writer's appearance seemed as important
remarked, ‘| was unwise enough to be photographed as what he wrote. ‘All sorts of men suddenly wanted
in bed wearing a Chinese dressing gown as an expression to look like Coward - sleek and satiny, clipped and well = Beaton, Horst, Wilde

114

——#
Noel Coward. b London (UK), 1899. d Blue Harbour JAM), 1973. Noel Coward. Paris, 1934.
Photograph by Horst P. Horst.
Cox -atrick Shoe designer
A model wears
the python-skin Wannabe
shoe that rangein 1993, Cox acknowledged
his debt to the white College. His first success wasa customizedDr Marter
became an icon and raised the average male spend on loafers worn by the American comedian Pee Wee shoe in 1984, and he went on to work th a long
footwear. In 1993 Patrick Cox realized that his collection Herman. An indispensable accessory of the rave culture of designers
needed a lightweight summer shoe. His answer was the the Wannabe is one half of Cox's shoe business — the
Wannabe, a moceasin-constructed loafer. In 1995 his other comprises a collection of styles that develops
Chelsea shop was besieged by customers wanting a pair, with fashion trends. Born in Canada, Patrick Cox moved
some of whom attempted bribery. When he launched the to London in 1983 to study at Cordwainer's Technical * Blair, Choo, Flett, R. James, Marteans, Westwood

‘Python’ Wannabe loafer. Autumn/winter 1995. F -hotograph by Francois Rotge

Patrick Cox. b Edmonton, AB (CAN), 1963.
 Gialitaly aes ence Designer
Jules-Francois Crahay poses with Jane Birkin who wears was féted for his refined eveningwear, Crahay was also lightweight materials which produced the light, feminine
a matte jersey dress pulled into a lazy handkerchief one of the leading fashion designers to promote the style for which Crahay is remembered. He characterized
knot at the shoulder. Crahay learned the techniques peasant and gypsy styles which dominated fashion his own work by saying that he wanted to have fun
of dressmaking at his mother's shop in Liege and at the end of the 1960s. As early as 1959, his collections making his dresses.
at the fashion house of Jane Regny in Paris. After these contained full, flounced skirts worn with low-cut,
apprenticeships he became a designer at Nina Ricci elasticated blouses and scarves worn around the head,
in 1952, then at the house of Lanvin in 1963. While he neck and waist. All were made in vividly coloured, @ Lanvin, Pipart, Ricci

116

Jules-Francois Crahay. b Liége (BEL), 1917. d Monte Carlo (MON), 1988. Jul es-Francois Crahay
and Jane Birkin. Photograph by Jacques-Henri Lartique, French Vogue,
1976.
Crawford cing Model
Cindy Crawford workson her multi-million-dollar body, business strategy: ‘| wanted to reach a different iWenates nobody. Crawford remains a praqma
{

the marketing of which is still controlled by its owner, audience...let's face it, most college guys don't buy in example of the new model bre ed thath
who says, ‘| see myself as a president of a company that Vogue: While conservative in the fashion sense (she kept to separate fact from fantas
owns a product that everybody wants: Her defined the same hairstyle for ten years), Crawford was
physique, honed in the fitness market, welded the a commercial supermodel. Her popularity is attributable
connection between health and beauty for a generation to her clean sex appeal and ‘multicultural’ appearance
of women. A shoot for Playboy was also part of the It adds up to the perfect cover face: a beauty that += P. Knight, Lindbergh, Schiffer

Body Workout video. Phot at yh by Tim Rooke

Cindy Crawford. b De Kalb, IL (USA), 1966. Cindy Crawford. Still from Shape your
 Cree d Charles Designer
This outfit is typical of the 1930s. The suit has a boxy- of tailors who were known for their understated fashion house in London in 1946 and enjoyed success
style jacket with a broad shoulder line and wide lapels, tweeds, popular in nineteenth-century Paris. The family in America where his restrained English tailoring found
while the skirt is straight and the hemline stays well established a tailoring firm in London in 1710 and in Paris a ready market.
below the knees. It foreshadows the masculine, military in 1850, launching womenswear in the early 1890s.
style of the Second World War, but details such as the During the Second World War, Creed designed women's
buttons and the hat anchor the outfit firmly in the suits and coats while on leave from the army and was
prewar era. Charles Creed belonged to an English family also involved in the Utility scheme. He set up his own @ Berard, Burberry, Jaeger, Morton

118

Charles Creed. b Paris (FR), 1906. d London (UK), 1966. Travel coat. Illustration by Christian Bérard, 1935.
TOA scott Designer
Using rich cslours, opulent brocade and blooming prints, for John Galliano and Chanel, suggests the ecstasy Crolla’s work was instrumental in encouraging men
Scott Crolla's early work was an historical fantasy. Crolla of an eighteenth-century poet - a scene that epitomizes and women to wear ruffled shirts and brocade trousers
trained in art and sculpture, but grew bored of the Crolla's fanciful work. Brocade trousers worn with silk
discipline, moving to fashion because it is ‘the honest stockings and tail coats dominated a time when fashion
side of the whole artistic discourse’ In 1981 he formed became costume and men rediscovered the vain pleasure
a partnership with fellow artist Georgina Godley. This of peacockery — a historical tendency that puts this outfit
tableau, styled by Amanda Harlech, who went on to work into context. Despite its fancy-dress connotations, = Godley, Hope, Wilde

Photograph by Andrew Macpherson, The Face, 1984

Scott Crolla. b Edinburgh (UK), 1955. Ruffled shirt.
 Dache ia
Lilly Daché decorates a half-hat with feathers, autumnal
Milliner
like Hattie Carnegie before her, an assistant in the as Carmen Miranda. Her most outstanding discovery was
berries and dried flowers for American Vogue. Towering millinery department at Macy's. Two years later she set Halston, who designed pillbox hats for Jacqueline
turbans, draped toques and snoods, and knitted or up her own establishment in New York and became one Kennedy before moving into fashion.
openwork nets which enclosed the hair at the back of of the most eminent milliners in America, challenging
the head were other millinery confections characteristic Paris for the title of millinery capital. She adorned
of Daché. Trained at Caroline Reboux's atelier in Paris, the heads of New York high society and of Hollywood
she emigrated to the United States and in 1924 became, stars such as Betty Grable and Marlene Dietrich — as well * Carnegie, Kennedy, Sieff, Talbot

Lilly Dacheé. b Beégles (FR), 1907. d Louveciennes (FR), 1989. ‘Autumnal Berry’ hat. Photograph by Edward Steichen, American Vogue, 1946.
D ahl -\V e) fe Louise Photographer
Beneath the Cairo sun, model Nathalie shades herself modern fashion. Her most frequent editor-stylist portraiture and in landscape. Even in the
ina cotton robe by Alix Gres. Louise Dahl-Wolfe, the was Diana Vreeland. The unpretent
photographer, often cast her images in bright sunlight. and the extravagant
Vreeland were an o¢ {
Beaches, deserts and sunny plains were her natural in style,
but together they became collaborator ind idiosyncrasy
domain, first for compositions
in black and white adventurers
in seeking out an ambient naturalism for
and later for someof the most sumptuous photographs the modern woman. Vreeland’s flamboyance and artifice
ever taken of swimwear, playsuits
and the exoticism of were sweetly tempered by Dahl-Wolfe's interest in © Grés, Maxwell, McCardell, Revillon, Snow, Vreeland

Louise Dahl-Wolfe. b San Francisco, CA (USA), 1895. d New York l (USA),

A) 1992
1989. Grésbs coat,
COZ Egypt. 1950
 D ali Salvador Illustrator
In this dream sequence by Salvador Dali, the spectator's During the 1930s, with economic and political pressures with Schiaparelli in the design of fabrics and accessories,
attention is fixed on the figure wearing a bold red dress mounting, fashion and fashion illustration took an to make ‘photo-paintings’, presenting fashion's
very fashionably cut on the bias, the fabric falling escapist route, venturing into Surrealism, the dominant relationship with Surrealism.
in smooth, vertical folds from the hips. Dali described his art movement of the decade. Cecil Beaton, Erwin
pictures as ‘hand-painted dream photographs’ and his Blumenfeld and George Hoyningen-Huene captured
juxtaposition of the real and unreal presented fashion Surrealism's bizarre elements in their work. Vogue also
ina new way, bringing out its elegance and seduction. commissioned artists such as Dali, who collaborated @ Bérard, Blumenfeld, Cocteau, Man Ray, L. Miller

122

Salvador Dali. b Figueres (SP), 1904. d Figueres (SP), 1989. | Dream About an Evening Dress. Illustration for American Vogue, 1937.
Dassler aai (aciaas Designer
Sport met fashion and music in 1986 when hip hop fashion statement worn with jeans, but in the def n the market for high- f ance att
group Run DMC recorded its devotion to streetwear label-aware 1980s branding took over and an in 1920 and the tarted to bulla What Ww
on the track ‘My Adidas: Sweatshirts, track pants and unsuspecting sportswear company found itself at i labelas important
to street fashion isi
as it w to spor
trainers were appropriated by a generation of men the heart of a fashion movement. At the 1936 Olympic
and women who threw away the laces and decorated Jesse Owens,
a black American runner won four gold
themselves with heavyweight gold jewellery. In the medals wearing a pair of trainers made by cobbler Ad
1970s, Adidas trainers had been an anti-establishment Dassler and his brother, Rudolf. They had seen a gap * Boy George, Hechter, Hilfiger, P. Knight, Lacoste

(Adidas.)
(Adie Run! perstar’’
DMC rEin ‘Superstar shoes.!
she
(GER), 1900. d Herzogenaurach (GI R),
2), 1978.
Adi (Adolf) Dassler. b Herzogenaurach
 D ay Some Photographer
In this picture, from the series that introduced Kate Moss cheap nylon knickers amidst squat-like squalor. Her Day is credited with starting the trend for pre-
to the world, photographer Corinne Day aims to capture anti-fashion attitude exemplifies the mood of the 1990s. pubescent-looking waifs. Vogue editor Alexandra
‘a teenage sexuality which | love. | want to make Herself an ex-model, Day discovers her subjects in the Shulman, however, defended her work as ‘a celebration
my images as documentary as possible, an image of life street, preferring ‘cocky English girls with a strong of vulnerability and joyousness:
that is real! Day's style rejects everything that fashion identity. She launched the career of Kate Moss
photography has traditionally stood for - glamour, by photographing her aged fifteen for The Face, shown
sexiness, sophistication — by shooting skinny girls in here. The best known of the ‘grunge’ photographers, ‘* Moss, Page, Sims

Corinne Day. b (UK), 1950. (Active 1980s-1990s.) Kate Moss. 1990.

D Cd a James Icon
ames Dean, *he original teenage rebel, leans against short-lived career he made only three films: Fast of Eden The basics that Dean wore are still popular today a tne

| wall smoking. Dean was the role model for generations (1955), Rebel Without a Cause (1955) and Giant (1956) uniform of youth: Levi's jeans white ] snirt and zip Af
yf disaffected youth who immediately related to his Dean said, ‘Being a good actor isn't easy; being a mar bomber jacket
ortrayal of lost adolescence and emulated his wardrobe is even harder. | want to do both before I'm done
yecause of it. Andy Warhol called him ‘the damaged But, tragically, he was killed at the age of twenty-four
ut beautiful soul of our time! His status as a handsome crashing his Porsche Spyder on the way to a race
novie star far outshone his acting talents, and in his meeting. He is now suspended forever in adolescence * Presley, Strauss, Warhol

ho
a Cause publicity
James Dean. b Fairmount, IN (USA), 1931. d Route 466 CA (USA), 1955. Bomber jacket and Levi's. Rebel | Without
 Delaunay Sonia Designer
Brilliantly coloured and sharply patterned geometric simultanés, combining geometric forms with bright, colours remained intact. Her new concept of fabric
designs are lavishly displayed on this ‘simultaneous’ prismatic hues. This work was based on the theory pattern, whereby the cut and decoration of the garment
coat. Sonia Delaunay, a leading Parisian artist of Orphism, of the simultaneous contrast of colours of the were created at the same time, perfectly complemented
a movement which developed out of Cubism and which nineteenth-century chemist Michel-Eugene Chevreul. the unstructured clothes of the 1920s.
made colour the primary means of artistic expression, Her simultaneous fashions had their origins in these
has here merged art with fashion. In 1912 she began paintings, since she moulded the fabric to the shape
a series of non-figurative paintings called Contrastes of the garment to ensure that the application of the @ Balla, P. Ellis, Exter, Heim

126

Sonia Delaunay. b Odessa (RUS), 1884. d Paris (FR), 1979. Embroidered ‘simultaneous’
coat created for Gloria Swanson. 1923
) elh omm e Jean-Philippe Illustrator
e supermodel, the hairstylist, the photographer and in this industry. This bright, hand-painted gouache, real world: Delhomme's highly stylized and spontaneous
e assistant interact in a familiar scene from the fashion which belongs to Delhomme's own one-page column caricatures recall the work of Marcel Vertés who, in the
orld. Such familiarity, however, becomes a novelty published monthly in French Glamour since 1988, 1930s, fondly satirized the foibles of fashionable society
hen painted in the form of a comic-style strip. reveals a knowing artist. While drawing inspiration from
1 accessory to Jean-Philippe Delhomme's wit, fashions his friends in the fashion trade, he claims to operate in,
e blurred in favour of visually comforting satires of ‘a décalage, a kind of jet lag, that appears between life
ie affectations of those who lead their everyday lives written up in magazines and what's happening in the | Berthoud, Vertes

for Glamour, 1993

ean-Philippe Delhomme. b Nanterre (FR), 1959. Modes de Vie. Illustrated
 D el] ‘Acq ud Alessandro Designer
How to make something delicate and romantic appear shadow lend edge to what would otherwise be a dainty Dell'Acqua specialized in knitwear and he worked with
hard-edged and punky: this dilemma is at the centre shirt. Dell'Acqua claims rock star Courtney Love, widow a small group of artisans in Bologna. His collections carry
of Alessandro Dell’'Acqua’s work. While his clothes have of Kurt Cobain, as his heroine and her own style reflects remindersof this period through fragile knitsof delicate,
a softness and sensuality defined by materials such his blend of aggressive femininity. His mix-and-match, lacy mohair.
as chiffon, shown here on a T-shirt with fluted, bias-cut layered pieces are modern in their versatility and
sleeves, his outfits are often styled with aggression. wearability. His signature palette is contrasting colours
Long leather gloves and broad sweeps of violet eye (nude and black being two of his favourites). Initially #@ Cobain, Chalayan, Sarne

Alessandro Dell’'Acqua. b Naples (IT), 1963. Silk chiffon T-shirt. Autumn/winter 1997/8. Photograph by Chris Moore
DelVOHO iouis Designer
Jogtooth check and black leather is a blend of fashion Klein's death in 1974. Dell'Olio said of the « xperience, up to the ears the jackets hide i multitude of sins
ind function, sass and shrewdness by Louis Dell'Olio, ‘We didn't know enough to be terrified’ but together the pants have a fabulous fit, the ciotnes ire clean
‘alled ‘the designer for everywoman: The fitted, single- they forged a style that suited the working women
yreasted jacket follows a body-conscious line without of America. In 1984 Karan left to set up her own label
ilienating his conservative clientele. This outfit and Dell’Olio continued what they had started until
vas created under Anne Klein's label which he had taken Richard Tyler took over the company in 1993. One fan
ver with Donna Karan, a friend from college, after of Dell'Olio's work told Vogue, ‘I don't want to be gussied * Karan, A. Klein, Tyler

aS
Pa
ee
Se: +i
See len:
eke rt

sai
ae
oeeS
Seae
Ss

at
i

Dogtooth check and black leather for Anne Klein. Phe

ytograph by ‘
Louis Dell’Olio. b New York (USA), 1948.
 Demarchelier patrick Photographer
Patrick Demarchelier catches Nadja Auermann mid-spin, Glamour and Mademoiselle. In 1992 he joined Harper's to look really beautiful, Demarchelier has become the
her aigrette adding to an aura of costume history. Bazaar, recruited by Liz Tilberis, for his clear, graphic photographer of choice, perhaps the most sought-after
Though relentlessly modern, Demarchelier's work also has photographs. It was the perfect material for the spreads shooter of the 1990s’
a grand quality usually associated with the great couture designed by creative director Fabien Baron. Though
photographers of the 1950s. He left Paris for New York in dealing largely with the vicissitudes of fashion,
1975 and started a long relationship with America's Demarchelier's work has also explored other territories.
magazines, in particular the Condé Nast titles Vogue, Harper's Bazaar said of his work, ‘For people who want * Baron, Chanel, Lagerfeld, Wainwright

130

i}
|
t
)

Patrick Demarchelier. b Le Havre (FR), 1943. Nadja Auermann wears haute couture by Karl Lagerfeld
for Ch anel. Harper's Bazaar, 1994.
Demeulemeester ans ee
It could be a music videoor a science fiction film: the that meant
subject's hard-edged image, punk make-up and black stay V
leather dress alienate her from the natural environment cobweb kr
she inhabits. Belgian designer Ann Demeulemeester's Demeulemees
1970s rock star-style tailoring and leatherwear dra are worn back t
inspiration from strong female iconsof music, such as are oversize
Patti Smith, Janis Joplin and Chrissie Hynde. ‘The things shrugged off the st r. In tk yme wav t Helmut + Bikkembergs, Capasa, Kerrigan, Thimister, Van Noten

draped
ape tunic : dress and jersey
srsey shirt.P
Ann Demeulemeester. b Cou L),
(BEL), 1954.
1954 Black leather;
 D en euve Catherine Icon

Catherine Deneuve leaps for Francesco Scavullo's camera, As French Vogue's most featured cover face, Deneuve by actresses in modern films, Deneuve outlines her
a consummate model as well as an icon of French elegance, represents the legendary chic femininity of French own style, ‘Superficially, it may appear that the women
froideur and sensibility. Deneuve is also a long-term muse womanhood and as such was also the face of Chanel now are stronger, but they are not stronger, only
to Yves Saint Laurent, whom she met when he dressed No.5. Here, she wears a suit made of calfskin printed with more masculine!
her for Belle de Jour. Saint Laurent says of her, ‘She cheetah spots and trimmed with mink, a powerful
isa woman who makes me dream... As a friend she is the combination brought together by Arnold Scaasi.
most delightful, warmest, sweetest and most protective: When she talks about the de-feminized roles played @ Barthet, Chanel, Saint Laurent, Scaasi, Scavullo

ie)

Catherine Deneuve. b Paris (FR), 1943. Calfskin and mink cheetah print suit by Arnold
Scaasi. Photograph by Francesco Scavullo, 1970.
 A

Desses Jean Designer

he roses
at the hem of this chiffon dress were only in the form of fitted jackets in plain colour: couture int ( est (
isually exposed
as the wearer walked. They are with voluminous skirt in a contrasting patterned print of wire. They were placed in sets depicting scene
) charming addition to a classically inspired
gown. The He established his own maison de couture in Paris it f Par life designed by artists tr
ashions of Dessés were inspired by his Greek heritage 1937. Dessés participated in the Théatre de la Mode, the I Cocteau and Bérar¢
ind Egyptian place of birth. He was a master of draped fashion doll exhibition organized by the Chambre
‘hiffon and muslin evening dresses that were derived Syndicalede la Couture Parisienne under its president
rom ancient robes. He was also noted for dresses made Lucien Lelong. Some forty couturiers designed haute * Cocteau, Laroche, Lelong, McLaughlin-Gill, Valentino

na
Ar
*
oh

in

ress with |pink silk roses on underskir

ce “rsh t

Jean Dessés.
' b Alexandria
A (EG), 11904. 4 d Athens
A (GR),2) 1970.
197( Black
ac chiffon dres
 Diana Princess of Wales. Icon
‘Clothes are now not as essential to my work as they used concept. Here she wears an artfully uncomplicated navy was given to her hair, sleeked and simplified in the 1990s
to be; Diana, Princess of Wales, told Vogue in 1997. It lace dress by Catherine Walker for a charity film premiere by Sam McKnight.
was a confident statement from a woman who had come in 1997. From the day Lady Diana Spencer was first
to realize that a pair of jeans wouldn't compromise caught on film in the early 1980s wearing archetypal
her effectiveness. And it showed. Towards the end of her British upper-class clothing, the ensuing developments in
life, Diana's wardrobe finally took a back seat to the her wardrobe and the colour of lipstick she chose were
person she was and the work she did; an utterly modern closely watched and widely copied. Particular attention * Choo, Emanuel, Fratini, Oldfield, G. Smith, Testino

Diana, Princess of Wales. b Sandringham (UK), 1961. d Paris (FR) 1997. Catherine Walker dress. Photograph
by Kelvin Bruce, 1997.
) Nnnigan Colette Designer
olette Dinni@an’s dress has the charm of an antique in 1992, and begin designing a ready-to-
wn, yet possesses a modern sensuality, suspended Her use of womanly fabrics and attention to the femal
it is from two spaghetti straps. Its lace tiers and train form resulted in clinging slip dre a av
elong to the romantic, early twentieth-century sophistication to the trend for wearing underwear
esigners such as Paquin, Lucile and Deeuillet. Dinnigan outerwear. The preciousness
of her de signs Is reminiscent
1unched her career designing and selling lace and of haute couture detailing and sa contrast to
niffon lingerie. Her success allowed her to open a shop the prevailing use of undecorated fabrics cu to = Deeuillet, Duff Gordon, Moon, Oudejans, Paquin

Photograph by Ge rald Je
olette Dinnigan. b Durban ), 1965. Satin dress overlaid with lac
 Di OT christian Designer
Reading the faces of this salon audience, it is possible and deep yearning. At a time of postwar austerity, the women with gentle shoulders and generous bosoms, with
to gauge the breadth of reaction which greeted Christian | New Look tempted women back into the nostalgic tiny waists like stems and skirts belling out like petals:
Dior's first collection, which was dubbed the ‘New Look’ femininity of corsets and, most controversially, flowing
after this show by Carmel Snow, editor of Harper's skirts that would use up to fifty yards of material. Dior,
Bazaar. As they gaze at an hourglass jacket of cream who had wanted to be an architect but turned to fashion,
tussore over a skirt constructed from a decadent yardage — working for Piguet, Lelong and Balmain, said that it was
of black wool, the audience registers shock, disapproval one of the happiest moments of his life: 'l created flower # Bohan, Ferre, Galliano, Molyneux, Saint Laurent

Christian Dior. b Granville (FR), 1905. d Montecatini (IT), 1957. New Look parade. 1947, Photograph by Bellini
) ceulll ei Georges Designer
ie fashion pletes of André Marty have a very evocative of fashion illustration, a combination of luxurious design of the most opulent ¢ lothesof the early yearsof the
jality. Fastidiously stylish, Marty has created a pictorial and texture with artistic excellence that captured the twentieth century. It merged with the salon of Jacques
itticism to depict the character of the dress. He has spirit of the times. The exquisitely intricate workmanship Doucet on his death in 1929
xtaposed the delicacy and fragility of the robe de of this immaculate dress came from the Paris couture
ngerie against the foreboding figure of Cupid and the house of Doeuillet, which was founded in 1900. Noted for
irk, sinister landscape. It isan example of haute couture its use of magnificent fabrics, Doeuillet was a prestigious
‘oviding a stimulating atmosphere for the rejuvenation fashion house that provided the bon ton with some * Bakst, Dinnigan, Doucet, Poiret

BAC el Pet, val

9 AOR, GN
uw
oe
Peoboocegea?®

i boudoir dress. IIlustrat Andre M

istrationion by by André arty, La Gazette du bon
itorges Deeuillet. d (FR), 1929, (Active 1890s-1920s.) Broderie anglaise
 Dolce Domenico and Gabbana Stefano (Dolce & Gabbana) Designers:
This photograph of Italian actress/model Isabella suits and rosary beads) and various Italian stereotypes, imagery is strong, it is glamorized almost to the point
Rossellini could almost be a still from one of her father, from Mafioso machismo (pinstripe suits and trilbys) of pastiche, from sequined icons to rosary beads worn
Roberto Rossellini's, black-and-white films of the 1940s. to the simplicity ofSicilian widows (little black dresses, as Jewelled necklaces.
This cinematic sensuality is typical of Dolce & Gabbana's headscarves, fishing village baskets). But beneath this
style. Their idealistic vision of Italy revolves around puritanical patriotism there are also hints of subversion:
specific themes: 1940s screen sirens (leopard prints and cross-dressing and suits cut with integral corsetry
corsetry d /a Sophia Loren), Catholicism (Sunday best or lace panels are favourites. Although the religious @ Colonna, McGrath, Matsushima, Meisel, Nars

138

Domenico Dolce. b Palermo (IT), 1958; Stefano Gabbana. b Mila n (IT), 1962. (Dolce & Gabbana.) Isabella
Rossellini wears leopard-print coat. Autumn/winter il
1994. Photograph by Michel Comte iI
]
DOMINGUEZ aoito Designer
A bodice is formed from a swathe of iridescent fabric, for his tailored
but unpressed, crinkled
the only decoration being the shine picked out by the Like Armani,he is known for '
light
on its folds. As with the work of Mitsuhiro Matsuda, work and lend themselves to a simpler
the material dictates the shape and creates
a garment visual preoccupationscome from the fact that he
somewhere
between shawl and jacket. Adolfo a traditionally
trained fashion designer. Don }
Dominguez is the Spanish answer to Giorgio Armani. In studied cinematography and aesthet
the 1980s he was famously called ‘King of the Wrinklies' returning
to his father's drapery shop in Orens« rtherr # Armani, Matsuda,
del Pozo

Adolfo Dominguez. b Orense (SP), 1950. Metallic shawl jacket. Photograph by Manuel Magarnas
 D OU cet Jacques Designer
Doucet's gown is beautifully illustrated by Magnin for La avant-garde painting Les Demoiselles d'Avignon, or chinchilla, Doucet's style epitomized the opulent
Gazette du Bon Ton in 1914. The illustration reflects not installing it at the head of a crystal staircase in a specially femininity of the be//e Epoque.
only the high-waisted style in vogue before the First built wing of his house. The grandson of a lace merchant,
World War but also the way Doucet worked with artists. Doucet expanded the family business by opening
Together with his contemporary Poiret, he helped revive a couture department in 1871. With his gowns of rare
the art of fashion illustration in France. He was also gros-point de Venise, bodices of paper-thin ivory
a patron of the fine arts and in 1909 bought Picasso's chamois and opera capes lined with swans' down ® Deeuillet, lribe, Poiret

Jacques Doucet. b Paris (FR), 1853. d Paris (FR) , 1932. Afternoon dress. Illustrated by J. Magnin
for La Gazette du Bon Ton, 1914.
D Model
Dovima, made up with the painted kohl lids and
expressive pencilled brows of the 1950s, strikes an artful is soon
pose from behind white tulle. She and Richard Avedon him her name
broke new ground in fashion photography. Modelling name

with elephantsor in front of the pyramids, they

took fashion out of the \ shitey sheds idio and into the
real’ world for the first time Dovima was talent spotted

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 Von Drecoll Baron Christoff Designer
The house of Drecoll spanned the years from 1905 to comparable outfits from other couture houses. In the in Paris in 1905 under the ownership of M and Mme
1929 and shows two distinct styles. In the belle époque 1920s the house was known for chic, short, low-waisted de Wagner, a Belgian couple, who also supported
period, Drecoll specialized in promenade gowns and gowns teamed with the cloche, a tight-fitting hat shaped Marie-Louise Bruyere.
evening dresses with boned bodices, tight waists and full like a bell and pulled low over the forehead. These flapper
skirts, which produced the S-shaped figure of the period. _ outfits were illustrated in luxury fashion magazines
Photographs in Les Modes show that Drecoll ensembles such as Art, Godt and Beauté. The house of Drecoll was
were fussier and trimmed with more confection than founded by Christoff von Drecoll in Vienna. It opened © Bruyére, Gibson, Poiret, Redfern, Rouff

142

Baron Christoff von Drecoll. (Active 1890s-1920s.) Afternoon dress. Les Modes, 1914.
Dri d 1a Etienne Illustrator
‘Evening dress 'n moon-blue sequined silk’ is the caption fashion plates. His graphic style was brisk and clear, with Barbier and Georges Lepape. Drian was also well known
accompanying this watercolour illustration by Drian. the bon ton depicted in fluid movement in anecdotal in the 1920s and 1930s for his sanguine portrait
His loose and simple technique successfully conveys settings which give a picture of contemporary drawings and for his decorative murals
the soft and fluid texture of silk. Drian was an artist who life. He was very adept at bringing out the intricate
worked in Paris for the illustrated fashion magazine La workmanship of the haute couture of the period,
Gazette du Bon Ton, from its foundation in 1912 until its in the fashions, for example, of Paul Poiret. Among his
closure in 1925. He illustrated articles and also produced contemporaries at La Gazette du Bon Ton were Georges | Barbier, Lepape, Poiret, Sumurun

Parisiens, 1914
d Paris (FR), 1961. Evening dress in moon-blue sequined silk. Costumes
+ Etienne Drian (Etienne Adrien). b Bulgneville (FR), 1885.
 Designer
Lucile, who started out in 1890 by dressmaking for her lace. Her speciality was picturesque tea gowns in pastel designing costumes which became popular fashion,
friends, opened her own fashion house in 1891. Her shades worn with mild corsetry, the fitting of which such as those for Lily Elsie, star of the The Merry Widow.
marriage to Sir Cosmo Duff Gordon in 1900 catapulted is being conducted here. Like her countryman Worth, Her other clients included the dancer Irene Castle
her into designing for the upper echelons she held fashion shows for her clients. Like Poiret, she and actress Sarah Bernhardt.
of international society, with branches in New York was an innovator, designing clothes which were startling
(1909), Chicago (1911) and Paris (1911). Like the Callot for the time - such as draped skirts which revealed the
Sceurs, she designed romantic dresses made of silk and legs. She was also involved in the entertainment world, * Boué, Callot, Dinnigan, Molyneux, Poiret, Worth

TEE.

y}
.

144

Lady Duff Gordon (Lucy Sutherland; Lucile). b London (UK), 1862. d London (UK) , 1935.
Lucile with client and mannequin at a fitting. 1912
 DUTY tao
This lush silk% decorated with silver lamé work. The
oriental motifs in sky blue, royal blue and rose reflect
Textile designer
for an evening dress he displayed at the Exposition des
Arts Décoratifs in Paris in 1925. It was produced by the
collaborated with Poiret in establishing the Petite
Usine for fabric-printing. Even though it closed at
the imagery of the woodcuts Dufy executed for textile company Bianchini Férier, with whom Dufy the end of 1911, it had a great impact on Dufy’s career
Guillaume Apollinaire's Le Bestiaire of 1911. had an exclusive contract from 1912 to 1928. His use as a fashion artist
Rose-coloured horses frolic amongst waves, scallops, of colour came from his association with the Fauves
dolphins and froth, all spectacularly taking on silver (a group of artists who developed a new style of painting
highlights in the light. This fabric was chosen by Poiret characterized by a bold handling of vivid colours). Dufy * Patou, Poiret, Rubinstein

a wo

F : a : 5 (fabric detai
Raoul Dufy. b Le Havre (FR), 1877. d Forcalquier (FR), 1953. ‘Shells and Marine Horses’, produced by Bianchini Ferier, 1925 Fabric etary
 Eisen Mark _ Designer - :
Model Jodie Kidd is picked out in a catwalk line-up streamlined, no-nonsense dressing that stresses former New York Times journalist Amy Spindler called
at the end of Mark Eisen's show. She is wearing a mix contemporary materials. Eisen's flirtatious, but simple ‘driven by the spirit of techno music, repetitive, strong
of animal skin, wholesome wool and shiny silk. Born silhouettes and intense materials are relaxed versions and stripped down’ Eisen provides the clothes for the
in South Africa, Eisen studied at the University of of contentious European fashion, giving wearability to spirit of ‘California dreamin’
Southern California, where he not only learned business otherwise challenging schemes. Even natural materials
and achieved fame by designing a football helmet get coated so that they literally shine. He has shown
for ‘Trojans’ fans, but also gained the sensibility for ‘couture denim’ and other signs of the street in a style * Kors, Oldham, Rocha

146

Mark Eisen. b Cape Town (SA), 1960. Catwalk line-up. Autumn/winter 1998. Photograph by Chris Moore.
Ellis Perry Designer
Ellis, who launched
his own label in 1978, created summer
linen trousers and skirts were ofte
a strong brand of American sportswear by emphasizing with cotton sweaters or blouses. Sweaters
colour, often in stripes and blocks, and by using the a staple for Ellis throughout the year i
texturesof natural fibres. Here, linen is used for a T-shirt were luxurious and, like all the clothes, cud
and skirt, joined in the middle by an outsize belt. His and easy to wear. Ellis beganin fast
inspirations included Sonia Delaunay, Patou and Chanel was conceptual and often devoted t
in the 1920s and contemporary culture. Capacious that readily translated to the consumer: tl

Blue linen dress with scarlet belt. Spring 1983. P!

Perry Ellis. b VA (USA), 1940. d New York (USA), 1986.
 EIS. sean Photographer
In a fashion shoot for The Face, Sean Ellis re-creates to see himself as she would. The red dye which stains techniques around sex and death themes in the 1970s.
a fantasy based on a supernatural storyline about her snowy chiffon top signifies blood. Such stories put Ellis explains his narrative pictures as ‘not necessarily
voyeurism and death. It gives meaning to the phrase fashion into an anomalous context rather than simply fashion pictures - they just happen to be fashionable’
‘fashion story’, which is used by magazines to explain showcasing clothes. It is a challenging method of fashion
a theme which runs through a multi-page shoot. In photography which has come to the fore in the 1990s,
this case, the angelic character's eyes are made luminous although other photographers such as Guy Bourdin and
to signify contact lenses which allow her tormentor Helmut Newton developed sophisticated story-telling @ Macdonald, Pearl, Tennant

148

Sean Ellis. b Brighton (UK), 1970. ‘White Dragon’ shirt by Tristan Webber. The Face, 1998.
Emanuel David and [‘lizabeth Designers
A spontaneoms moment is snapped on 31 July, 1981 fairy princess. David and Elizabeth Emanuel, who
The Princess of Wales is dressed in the romantic designed the dress for the Princess, had created a popular Bianca Jagger among the
counterpoint to her husband's uniform. The flashlight movement in womenswear which reflected the moment Nd QUuIXOTIC VISIONS OT Te
throws into relief the yards of silk taffeta ruffles at her it was designed for - one that reached a record tele VISION
neck and the delicate, specially made Nottingham audience around the world. The married couple originally
lace cuffs at her wrist. Unseen is the eight-metre train met at the Royal College of Art. They graduated in 1978
decorated with pearls. It was called ‘a dress for a real the year they also launched their Mayfair boutique. They © Diana, Fratini, Tappe

we dding day. 1 181

b London (UK) 19 3. The Prince and Princess of Wales on their
Emanuel. David. b Bridgend (UK), 1952; Elizabeth.
 Eric Illustrator
Using the broad mirror of a powder room, Eric is able fidelity to detail was all-important. Born in America of to America), he provided Vogue with fashion illustrations
to describe the jewelled details of Jean Patou's evening Swedish parents, Carl Erickson studied at the Academy on the modes and manners of the Parisian beau monde
dress from both front and rear. He had a deft, calligraphic of Fine Arts in Chicago, where he acquired the training right up to the mid-1950s.
style whereby the model and the clothes she was wearing and discipline required for working with the figure.
were minutely examined. To get such accuracy of His first fashion illustrations for Vogue appeared in 1916.
observation, Eric drew from life and insisted the models By 1925 he was settled in France, and, apart from the
remain static in their settings for long periods. To him, period during the Occupation of Paris (when he returned @ Antonio, Berthoud, Bouché, Patou

Eric (Carl Erickson). b Joliet, IL (USA), 1891. d Senlis (FR), 1958. Dress by Jean Patou. American Vogue,
1933. |
Erte Illustrator
This illustration was accompanied by the provocative not follow its trends but that from his creations each which came from his native and adopted countries
words, ‘Nature changes her costume each season, woman could select something that suited her without Léon Bakst and the Ballets Russes and Paul Poiret, for
but quite without cost, whereas with the fairer sex...’ Erté strictly adhering to the mode. His love of accessories, whom he worked on fashionable and theatrical dress
had a highly personal concept of women and fashion. especially jewellery, is displayed here, in a picture which
He portrayed the female form ina very stylized manner. exemplifies his mastery of precise detail and lavish
Women were exotic goddesses for whom money ornamentation, hallmarks for which he became known
was no object. As for fashion, he himself said that he did as the father of Art Deco. Erté had two major influences, * Bakst, Brunelleschi, Callot, Poiret

Nature’ Design
( for( Harpe azac
arper'’s Bazaar cove 1920.
1892. d Paris (FR), 1990 | La Toilette
i de laa Nature’.
éErté (Romain de Tirtoff).
: b St Petersburg (RUS),
(
 Esterel Jacques = Designer
Seen here during her 1959 wedding to Jacques Charrier, It was also the start of an association that led the training forced him to employ two of Féraud's
Brigitte Bardot looks both demure and sensual in her multimillionaire Jean-Baptiste Doumeng to rename salespeople before he finally launched his label
pink-and-white, Vichy check linen dress, edged in the house Benoit Bartherotte on the designer's death in in Paris in 1958.
broderie anglaise lace and designed by Jacques Esterel. 1974. Esterel was an unlikely fashion convert: previously
The first celebrity endorsement for Esterel, the dress was he presided over a foundry and was an exporter-importer
the source of worldwide gossip following the secret visits of machine tools. A visit to Louis Feraud's Cannes house
he made to Bardot's Parisian hotel prior to the wedding. persuaded him to try fashion in 1950, but lack of formal * Bardot, Beretta, Féraud, Gaultier

Jacques Esterel. b Bourne-Argental (FR), 1917. d Paris (FR), 1974. Brigitte Bardot and Jacques Charrier on their
wedding day. Photograph by Garofalo, 1959.
Etro Gimmo Textile designer
This family group of outfitted wildlife illustrates the travels laden with fabrics from the Far £
haute bohemian
spirit of the Italian
label Etro. Capturing Africa,
he replicated these designsor imptuou
its hallmark jewel colours and rich textiles, this portrait, cashmere, silk and linen. These he supplied to top ci
entitled ‘Animen’, portrays curious hybrids of man and houses and designers Armani, Mugler and L
animal that remind us of our communion with the earning himself the title of ‘Grand ad !
greater circle of nature. The family-run company was set Joined by his offspring, he launched his menswe
up by patriarch Gimmo Etro in 1968. Returning from his collection in the 1980s, deploying his signature paisle * Armani, Ascher, Lacroix

Autumn/winter 1997/8. Photograph by Christopher ‘

Gimmo (Gerolamo) Etro. b Milan (IT), 1940. ‘Animen’
 Etted gui Joseph ; Designer
A knitted column and scarf are a conceptual notion of the designers he stocked. This interest developed expanded to include tailoring. Men and women of the
of menswear. The Joseph Ettedgui style is a moveable into a modernistic theme for his boutiques. Designed same mindset use Joseph's basic wardrobe ofstretch
one, but the basic tenets of an urban designer lifestyle by architects Eva Jiricna and David Chipperfield, they use trousers and jackets as the building blocks of their style.
have remained since he opened his first boutique, steel, white and concrete colours as the background
selling Kenzo, Emmanuelle Khanh and Jean-Charles to contemporary collections. In 1983, Joseph introduced
de Castelbajac. Antipathetic to the chintz world his own label, Joseph Tricot, with a sloppy Joe sweater
of Laura Ashley, Ettedgui admired the young vision that has sold in various guises since. In 1984, the concept ‘© de Castelbajac, Kenzo, Khanh, M. Roberts, Stewart

154

Joseph Ettedgui. b Casablanca (MOR), 1936. ‘Red Indians’, Joseph Tricot. Photograph by Michael Roberts, 1986.
Von Etzd orf Georgina Textile designer
Colour and texture meet on an outfit by the textile design entered into a partnership with two art school especially for scarves. Velvet and silk is pri
partnership, Georgina von Etzdorf. Golden sunbursts are contemporaries, Martin Simcock and Jonathan Docherty abstract snatts
and bIOCcK f colour, ther
embroidered onto a woollen gauze vest and devoré velvet The hand-printing method they developed involves a wearable piece of conceptual textile d
is used to give a shadowy, raised pattern to a bias-cut screen-printing supplemented by hand-applied paint
skirt. Foliage and flower motifs, evoking the atmosphere strokes, a process which lends ind viduality to eact
of rural England, typify the work of a company that is garment. Georgina von Etzdorf's contribution to fashion
inspired by natural imagery. In 1981 Georgina von Etzdorf has been to stimulate the use of handmade fabric * Cerruti, Lloyd, Mazzilli, Williamson

& ’

‘ i

few
‘ ,
f }
; .

ski
& skirt. \\ ter>r
Autumn/win 1 1998. Photograph by
i camisole :
and velvet> devoré
Georgina von Etzdorf. b Lima (PER), 1955 Hand-embroidered
 Eula Joe Illustrator
Free, vivid colour captures a woman mid-step in a sketch Herald Tribune, then worked for The Sunday Times in and assisted Diana Vreeland, who was then head of
that typifies the art of modern fashion illustration. London. Back in New York in the 1960s, he worked on the Costume Institute at the Metropolitan Museum
Eula was a keeper of the graphic tradition of fashion at fashion stories for Life and designed sets and costumes of Art in New York.
a time when photography dominated. His fashion for the New York City Ballet under George Balanchine.
illustrations for Italian and French Harper's Bazaar, from He diversified into television, directing ‘fashion specials’
1979, used impressionistic watercolour. Eula began his for movie stars such as Lauren Bacall. In the 1970s he
career in the 1950s on the fashion and social pages of the also worked with Halston, illustrated fashion for Vogue ® Halston, Missoni, Vreeland

156

Joe Eula. b Norwalk, CT (USA), 1925. d Kingston, NY (USA), 2004. Knitwear by Missoni. Spring/summer
1985. Illustration for Harper's Bazaar.
Evangelista tina: Model
Linda's haircut transformed a model into not just versatility, so she continued to change her haircut and equalled by the 1990s beauty cult — that of Stella
a supermodel, but the supermodel. In October 1988 colour every couple of months - and fashion followed Tennant and Kate Moss - Evangelista’s fame gave her
Vogue photographer Peter Lindbergh persuaded her Evangelista’s professionalism put her at the top and she the longevity she was looking for
to have her hair cut short. Evangelista cried throughout, became famous for her audacious statements. ‘\We don't
but the crop made her career. Over the following Vogue - we are Vogue; was surpassed by a comment
six months, she appeared on the covers of every edition that defined the supermodel era: ‘We don't wake up for
of Vogue. Linda knew that the key to longevity was less than $10,000! While the ‘supers’ were inevitably + Bergére, Garren, Lindbergh, Moss, Twiggy

75

inte hotogranh
1997. Photogra by Rocco Laspat
Linda Evangelista. b St Katherine, ONT (CAN), 1965 Velvet tank by Kenar. Autumn/winter
 Exter Alexandra Designer
Alexandra Exter, an artist/fashion designer, brings Cubism and Futurism among the Russian avant-garde. patterns analogous to the work of her friend, Sonia
the two disciplines together with Dama al Ballo, By 1916 she was working in theatrical costume design in Delaunay. In the traditions of haute couture, she made
the painting of a dress which lives somewhere between Moscow and in 1921 she became a teacher at the Higher sumptuously embroidered dresses inspired by peasant art.
both. After studying art in Kiev, she went to Paris where Artistic and Technical Workshops there. She promoted
she met Pablo Picasso, Georges Braque and Filippo the idea that art and fashion could enhance everyday
Martinetti. From 1900 to 1914 she travelled between life and began working in fashion design. She designed
Paris, Moscow and Kiev, spreading the doctrines of proletarian dresses in brightly coloured geometric * Balla, Capucci, Delaunay

158

Alexandra Exter. b Kiev (RUS), 1882. d Paris (FR), 1949. ‘Dama al Ballo’. Cost ume design for
a Russian production of the ballet Romeo and Juliet, 1921,
HA ctor Max Cosmetics creator
nown as ‘Holl; wood's make-up wizard’, Max Factor as films were transf ( (
versaw Jean Harlow's maquillage — he created a star ( ( eat
nd started
a beauty revolution
when he dyed her mov P
air platinum blonde. Harlow's heavy scheme of oily, products they were
lackened lids and lips was typical of that used for public clamoured for ther
lack-and-white films which required strong contrasts withan acceptance
ancake make-up base was created to even out skin tone The studios se their t | * Bourjois, Lauder, Revson, Uemura

Ang
naele CA (USA 938.38. M
Max actor
Fact with Jean Harlow.
/lax Factor. b Lov PO, 18772. dl
 Fa rhi Nicole Designer
Easy, wearable, comfortable linen is the fabric most always bearing the wearer in mind. Farhi described Connection chain. In 1989 she introduced menswear
associated with the work of Nicole Farhi. When she herself in the Guardian as ‘a feminist in a soft way’, and to the Farhi label, blending British tailoring and her
launched her own label in 1983, Farhi's clothes became her clothes appeal to women who are looking for European unstructured style.
the epitome of understated fashion for women — all approachable tailoring and casual clothes which have
based on the kind she likes to wear. They are not intended — Farhi's own dressed-up European attitude. Farhi studied
to make major fashion statements. Instead, they drift fashion in Paris and freelanced for de Castelbajac before
with the differing times, staying in touch with them but moving to Britain in 1973 to design for the French © de Castelbajac, Kerrigan

160

—
Nicole Farhi. b Nice (FR), 1946. Elasticized linen dress. Spring/summe
r 1998. Photogr aph by Kelly Klein.
Fath Jacques Designer
\ negative imege accentuates a perfect hourglass figure movie stars. TI
reated on a soft line with
a curving, structured shape Bettir nar
[his evening dress evokes the heady exuberance extremely creative atr
ind gaiety
of the early 1950s,
when Jacques Fath, called tar (
the ‘couturier's couturier’, was in the same haute couture is Guy Laroche
firmament
as Christian Dior. He was famed
for his n tandem with the mod (
feminine evening dresses, whipped
up for royalty and ynto her body © Bettina, Bourdin, Head, Maltézos, Perugia, Pipart

Jacques Fath. b Ma te (FR), 1912. d f 54. Cocktail dress

 Fendi Adele and Eduardo Couture house
Fendi’s great achievement was to update fur's traditional —_board level, although Karl Lagerfeld has designed the tech developments - tiny perforations that make the
image by giving it a fashion edge. Fox is seen here collections since 1965. He has used fur for casualwear, coats lighter to wear, speckled colouring techniques for
fashioned into a punky coat. Adele Casagrande founded creating mink-trimmed denim jackets and fur-lined a more intense shade and unusual furs such as squirrel
the company in 1918, changing its name when she sporty raincoats. In 1969 he introduced a leather and and ferret.
married Eduardo Fendi in 1925. Since then Fendi has accessories line, which features the family's double-F
remained a family-run business, now managed by Adele's motif. Lagerfeld continues to make innovations in fur
five daughters and directed by her granddaughter at today, combining his high fashion aesthetic with high- @ Lagerfeld, Léger, Revillon

162

Fendi. Adele. b Rome (IT), 1897. d Rome (IT), 1978; Eduardo. b Rome (IT). (Active
1920s- 1950s.) d Rome (IT), 1954. ‘Feather fox’ coat. 5 Autumn/winter 1997/8. .
Photogra
Photograph erome
by ie Esch.
Esch
Feraud tous Designer
Sunny, heavilyembroidered clothes are Louis Féraud’s sold and Féraud's success was established. Grace Kelly, graphic detailing; Twiggy modelled the collections and
métier. The designer says of his work, ‘I live in the joy of Ingrid Bergman and Christian Lacroix's mother were also —_‘Feraud designed the costumes for the cult television
being surrounded by women, of somehow directing their customers. He opened a boutique in Paris where he began _ serial The Prisoner.
destiny, in so far as their destiny depends on a note of to produce couture alongside prét-a-porter, and he and
excess. In 1955, Feraud opened a boutique in Cannes. He his wife were dubbed ‘The Gypsies’ because of their
had dressed the young star Brigitte Bardot in an off-the- bright, Midi-inspired look. In the 1960s, Féraud's work
shoulder, white piqué frock; 600 copies of this dress were was characterized by simple, architectural shapes with | Bardot, Blair, Esterel, Ley

163

=)

1997. Photograph by Sylvie Lancrenon.

iLouis Féraud. b Arles (FR), 1920. d Paris (FR), 1999. ‘Golden Sun’ dress. Haute couture. Spring/summer

*
 Ferra gam O Salvatore Shoe designer
This shoe, which marries glamour with imagination, and wood. Amongst his other cobbling innovations were ‘shoemaker to the stars’ by decorating the feet of two
is made of gilded glass mosaic, satin and kid leather. wedge heels, platform soles and the steel shaft that Hollywood generations, stretching from Gloria Swanson
Salvatore Ferragamo was a shoemaker of great stabilizes spike heels. Ferragamo's heyday was after in the 1920s to Audrey Hepburn in the 1950s.
originality whose choice of materials made him unique. the War, when Italian fashion was recovering and film
When leather was in short supply during the Second production was booming. Film stars, rich tourists and
World War, he experimented with cellophane for socialites such as the Duchess of Windsor flocked to his
the body of his shoes. For soles he revived the use of cork Florence shop. He also earned himself the soubriquet #@ Gucci, Levine, Louboutin, Pfister, Windsor

164

Salvatore Ferragamo. b Naples (IT), 1898. d Flumetto (IT), 1960. Golden ‘orthopaedic wedge’ shoe. Gilded g|ass mosaic, satin and kid leather. 1935.
Ferre Gianfranco Designer
UC f ly ON proportions exaggerated sleeve designer, befor

ind cuffs and carefully structured corset if this white Milan in 1978.
Ir 8
taffeta shirt link fashion with Gianfranco
Ferre's training t Christian Dio
as an architect. ‘| use the same approach
to clothes Beaton's black-and-white co ne Asis
as | did when | designed buildings;he says. ‘It is basic Ferre prefer ne
geometry: you take a flat form and revolve it in space! his signature brig!
Ferre originally worked as a jewellery and accessories skill is shown in his prec n tailoring, w * Beaton, Dior, Turlington

(IT), 1944. Taffeta shirt. Spring/summer 1994. Phi

Gianfranco Ferre. b Leqnano
 Ferretti Alberta Designer
Two women recline on a chaise longue in ethereal a particularly delicate one. Ferretti developed a special in Italy, manufacturing not only her own collections
chiffon dresses. The overall effect is one of old-fashioned appreciation of textiles, especially daintily beaded or but those of Narciso Rodriguez and Jean-Paul Gaultier.
prettiness, yet their gaze and pose are self-assured, embroidered chiffons and sari silks, through watching
undermining any sense of passivity that prettiness might her couturiére mother at work. A young entrepreneur,
imply. '‘l like to think | design feminine clothes, says she opened her own designer clothes shop at the age
Ferretti. ‘Everything is created by a woman for women, of seventeen. At the end of the twentieth century,
understanding what they want: That vision is Ferretti was one of the most powerful businesswomen © Rodriguez, Roversi

Alberta Ferretti. b Riccione (IT), 1950. Chiffon dresses. Autumn/winter 1997/8. Photograph
by Pz 1010 Roversi.
FIOTUCCLT Baio Designer
Oliviero Tosca..i's colourful, sexy images for Fiorucci a theme taken up by Gloria Vanderbilt, Calvin Klein sunglasses. He made his name in 1962 with
defined the disco era of the 1970s and early 1980s. and virtually every label-aware designer since. Fiorucci rainbow-coloured Wellington boots. This was Fiorucci’s
The label's skintight Buffalo ‘70 jeans, worn here by refused to design for women above a size 10, claiming forte: turning function into fashion without losing
Manhattan modelling queen Donna Jordan, were popular his clothes suited these sizes better. Fiorucci also set out a senseof fun
with New York's clubbing crowd. Jackie Kennedy, Diana to make fashion fun, creating glittery Plexiglas jewellery
Ross and Bianca Jagger were all fans. Elio Fiorucci is and strawberry-scented carrier bags. His cheeky graphics
credited with inventing the concept of designer denim, included Vargas-style pin-ups and cherubs wearing | Benetton, Fischer, Kennedy, T. Roberts

167

Ae . fiero ioscan!
loscani, 1973
'70' advertising campaign. Photograph by Oliviero
Flio Fiorucci. b Milan (IT), 1935. Donna Jordan in ‘Buffalo
 Fisch CT Donald and Doris (Gap) Retailers
Born in 1969 during the disillusioned post-hippie era, of basic, modest merchandise in an extensive array and women's lines and thus pioneering the 1990s
Gap offered a reactionary-chic approach to the cultural of colours and sizes. Serving the homogeneous American concept of ‘androgynous chic:
phenomenon of the time. Immaculate, harmonious and masses with its brand of clean, white modernism cast
unpretentious, it bridged societal fissures, notably in neatly piled, prismatic shades, Gap has become
the generation gap from which it drew its name. Founded a widely copied retail phenomenon. In recent decades,
by Donald and Doris Fischer, the company initially sold it has developed the idea of gender integration, selling
Levi jeans and records before creating their own label wardrobe basics with few differences between the men's @ Benetton, Fiorucci, Strauss

Fischer. Donald. b San Francisco, CA (USA). Doris. b San Francisco, CA (USA) (Active 1 960s-) (Gap.) ‘Khaki’ campaign. Spring/summer 1998. Photograph by Walter Chin
Fish Michael (Mr Fish) Designer
Matching shirt, tie and waistcoat exemplify the work of opened his men's boutique, Mr Fish, in London's Clifford dress to conform to any given image: said Fish. ‘They
Michael Fish. He was Swinging London's fey fashion boy Street near the heartlandof tailoring, Savile Row. The dress as they do because they're confident in themselves
and image-maker, whose camp, Outrageous
style defined clothing
ranged from outfits cut from voile, sequins and They're blowing their minds
‘flower power. In 1965 he dressed the actor Terence brocade to flower-printed hats and 'mini-shirts' (as
Stamp in matching Liberty prints for the cult movie famously worn by Mick Jagger for the Rolling Stones
Modesty Blaise. One-inch ties were fashionable; Fish Hyde Park concert). Other clients included Lord Snowdon
made Stamp's four inches wide. The following year he and the Duke of Bedford. ‘The people in my shop don't + Gilbey, Liberty, Nutter, Snowdon, Stephen

/}
Li )

rl
i nw
 Fl Sl John Designer
A wide-shouldered business jacket, sliced at the chest, scene in London, where he partied with other designers Paris and then at Enrico Coveri in Milan, but died
is worn over a shirt and gauze skirt and the shoes are of the time including his former boyfriend John Galliano. of a heart attack, aged twenty-seven, before his promise
turned inside-out. John Flett's clothes were known for They both created theatrical fashion which challenged could be fulfilled
their complexity of cut: circular seams, abundant drapes the status quo but which matured into distinctive,
and cavalier shapes which made theatrical figures of directional styles. Flett started his own label in 1988
those who wore them. Widely respected and admired but closed it down a year later to go freelance. He moved
for his work, Flett was a central figure in the 1980s club to Europe to work with Claude Montana at Lanvin in * Boy George, Cox, Galliano, Montana

170

John Flett. b London (UK), 1964. d Florence (IT), 1991. Tailored jacket and gauze trousers. Photograph by Jill Furmanowsky,
The Face, 1985
Foale Marion and Tu ffin Sally (Foale
Cc
C
t Tuffin) Designers
Wearing a miniskirt, the uniformof the time, Twiggy
swings her fringed sleeves for Cecil Beaton in 1967. ‘We to work |
nade Swinging Sixties clothes; says Marion Foale of the skirts and top hey w
fashion company she set
up in 1961 with Sally Tuffin which had just estab
The pair were taught
at the Royal College of Artby Janey ind David Baile
lronside, who was an influential
force in British fashion for Vogue just
as Londc
After graduating in 1961 and deciding that they didn't hold. They opened @ Bailey, Charles, Betsey Johnson, Quant, Twiggy

Marion Foale. b London (UK), 1939; Sally Tuffin. b London (UK) 1938. (Foale & Tuffin.) Twiggy wears a white minidress. PI
 FonssagriveS is: Model
Photographed by her husband Irving Penn, Lisa Fonssagrives, who took some pictures of her to Vogue. most sought-after models in Paris in the 1930s and
Fonssagrives wears a ‘harlequin’ opera outfit from 1950. She was immediately sent to see Horst; his assistant, 1940s and in New York in the 1950s
Once described as ‘the highest paid, highest praised, Scavullo, later recalled, ‘She had a marvellous profile
high fashion model in the business’, Fonssagrives used and moved like a dream! Fonssagrives was famous for her
to call herself simply ‘the clothes hanger’ In the 1930s grace and poise, learnt from her ballet background. She
she moved to Paris from Sweden to train for the ballet. called modelling ‘still-dancing' and referred to her poses
Here she met and married another dancer, Fernand as ‘arrested dance movements: She became one of the @ Horst, Penn, Scavullo

Lisa Fonssagrives. b Gothenburg (SWE), 1911. d New York (USA), 1992. Harlequin dress. Photograph by Irving Penn,
1950
Fontana Zoe, Micol and Giovanna (Sorelle Fontana) — Designers
A
\ monkishly simple, white satin dress, with half-sleeves, gowt
boat neck and gently belled skirt, is decorated with
embroidery formed from cord. It playson the cotton
dresses worn by gamines such as Audrey Hepburn and
Brigitte Bardot
but the Fontana sisters were alway was the
associated with the aristocracy and society figure Ss sucl hat and bl
1s Jackie Kennedy, for whom they provide d evening @ Galitzine, W. Klein, Schuberth, Watanabe

NN
RR
ITO
SLES
aes
neek
eae

' ens Game | 15.d sore

Fontana. Zoe. b Parma (IT), 1911. d Rome (IT), 1978; Micol. b Parma (IT), 1913 Giovanna. 6 R {
Dorothy McGowan wears Fontana, Rome. Photograp! y VV ar
 Fonticoli Nazareno and Savini Gaetano (Brioni) Tailors
This 1971 high-waisted, double-breasted dinner suit, couture. Its colourful silks and metallic threads, rarely first ever men's catwalk show in 1952, Brioni inaugurated
together with a car coat, describes the progressive seen since the eighteenth century, heralded the ‘male prét-couture six years later, resolving flow production
tailoring of Rome's extrovert menswear house, Brioni. peacock revolution’ in the late 1950s. Even though the methods within a made-to-measure system.
From the 1954 futuristic space-age suit to the Maharajah use of tunics, bolero jackets, lace and macramé clearly
styles, which were popular in mid-1960s London, and contrasts with the Anglo-Saxon tradition, a Brioni blazer
the elegant tailoring devised for Pierce Brosnan’s role epitomized elegance and flaunted wealth in preppie,
as James Bond, Brioni left no avenue unexplored in men's early 1980s California. Having been responsible for the * Bikkembergs, Gilbey, Nutter, Versace

Nazareno Fonticoli. b Penne (IT), 1906. d Penne (IT), 1981; Gaetano Savini. b Rome (IT), 1910.
d Rome (IT), 1987. (Brioni.) Evening suit and car coat, 1971.
 orbes Simon Hairdresser
This stark, androgynous
image of hair fashion
is the work technique which allowed
greater creativity for stylists by the urban street style of Rastafarians, were sported
of Simon Forbes, the salon
owner of Antenna, famous to do this. Synthetic
hair was grafted
onto real hair to by musicians such as Boy George and Annie Lennox
for developing hair extensions. The picture represents give it instant and dramatic length. It was often dyed wit
hair as sculpture and created a cutting-edge, ‘anti vivid colours and wrapped with rags. With this and his
beauty’ statement which followed on from the punk and electric clippering and precision razoring, Forbes became
new wave proclivity for making hair an intrinsic part of the directional hairdresser of the early 1980s and his salon
the costume. Forbes invented the Monofibre Extensions became a fashion venue. Extensions, which were inspired + Boy George, Ettedgui, Stewart, Van Noten

7 2 E mma Photograph
for Antenna. byby Mike Owen, 1982
Simon Forbes. b London (UK), 1950. Fibre dreadlocks
 Ford tom
Pinstripes for aman and woman, a gilt-trimmed clutch
Designer
shoes that shine brightly for six months but become in Europe with the...eagerness to be different for
bag, body-conscious shirts and, most telling of all, redundant through their high-fashion visibility. Ford's novelty's sake...they could be better style leaders than
a golden 'G' shining from her waistband. These are success is rooted in his American blend of sexy, market- anyone: In 2004 Ford left Gucci and, with his colleague
all the elements which go to make up Tom Ford's image aware commercialism married with Italian craftsmanship. Domenico de Sole, launched a new company
for Gucci. As creative director he took styling from the As John Fairchild, owner of the fashion trade paper eponymously called Tom Ford.
1970s, when Gucci represented flashy European style, Women's Wear Daily, wrote in 1989, the year before
and created a culture of seasonal icons: handbags and Ford joined Gucci, ‘lf American designers were working @ Gucci, Halston, Testino

&

176

Tom Ford. b Austin, TX (USA), 1962. Evening outfits for Gucci. Autumn/winter 1996/7. Photograph by Mario Testino.
Fortuny Mariano Designer
The Delphos was constructed from four to five widths theatre. However, what made Fort [ nique was Dor " yact n
of silk that were sewn into a tubular shape and secured was its pleating, a secret process which he patented Isad Duncan. Trained
at the shoulder, as Lillian Gish demonstrates. The cord in 1909. Named after the Ancient Greek sanctuar t
around her neckline added finish to the gown and also of Delphi, Fortuny's garment derived fr
served to adjust the fit. Fortuny started to design a tunic worn by Classical Greek charioteers whict
his Delphos around 1907 when a nostalgia for Classical focused on the natur al shape of the body. Sir
Greece was beginning to be felt in fashion, art and [Jelphos emphasized the female form in movement * Chow, Lester, McFadden, Poiret

(IT), 1949. Lillian Gish wears a Delphos dress. ¢1920

Mariano Fortuny. b Granada (SP), 1871 d Venice
 fara tim Gina Designer
The range of Byronic details used on this gown to that charm. For this reason her wedding dresses were closed, Fratini designed lingerie with Ossie Clark as well
distinguishes it as the work of Gina Fratini. Unafraid particularly popular. Fratini's romanticism came to the as collections for Norman Hartnell and for private clients,
of romantic themes, she trimmed cuffs with rosebuds fore in 1971 when Norman Parkinson delivered samples including the Princess of Wales.
and edged frills with lace on her chiffon, lawn and silk of her work to Princess Anne in preparation for her
gauze dresses. Historical references, such as off-the- twenty-first-birthday portrait. She chose a classic Fratini
shoulder ‘Winterhalter’ necklines and pin-tucked gown with a lace-trimmed ruff which co-ordinated with
bodices usually seen on Victorian nightgowns, added her pretty, tawny pink make-up. After her own business © Ashley, Clark, Diana, Emanuel, Hartnell, Parkinson

178

Gina Fratini. b Kobe VAP), 1934. Cream chiffon dress. Photograph by Norman Parkinson, British Vogue,
1973.
Fren ea John Photographer
A formal velvet coat is given a surreal treatment by John impromptu style contrasted with the posed formality of airectS¢ ' ohti ig
} and model, then tell
French. Originally a graphic designer, he believed, ‘You fashion photography in the early 1950s. One of Britain's {at times David Bailey yr Terence Donov
have to compose a picture in the view-finder exactly as first model talent-spotters, he encouraged Barbara the photograph
if it were an artist's picture on the canvas! His black-and Goalen and others to develop their own personalities
white portraits were always perfectly arranged. ‘Fill in front of the lens. The hand intruding at the bottom
in the space. The space round the subject is as important of the picture doesn't belong to French. He never actually
as the subject itself} he would say. French's apparently released the camera shutter himself: instead he would * Bailey, Bruyere, Goalen, Morton

sh
(Ne
ee
 Photographer
II's fashion photographs of the 1930s through crisp tennis outfits. Frissell loved the outdoor setting and recorded a charmed life in every way, including radiant
to the 1950s captured the idyllic sense of the rich at play. — sunlight's play at least as much as the clothes or model, photographs of the 1953 wedding of John F. Kennedy
Here, a model swims in her gown to illustrate its flowing and let that casual naturalism meate photographs and Jacqueline Bouvier.
material. With the innate nonchalance of an aristocrat, for Vogue and Harper's Bazaar I's images <
Frissell documented her world of wealthy playgrounds. effortless, whether of dogs, children, fox-hunting,
Some of her vivid fashion images were of the beach, war or fashion. She mingled the snapshot's vitality and
featuring playful swimwear and recreation dresses, and compassion with traditional composition. Frissell @ Kennedy, McLaughlin-Gill, Vallhonrat

Toni Frissell. b New York (USA), 1907. d New York (USA), 1988. Weeki Wachee
Spring, Florida. Harper's Bazaar, 1947
Frizon Maud Shoe designer
Maud Frizon is known for her shoes with cone-shaped said Frizon, who gained thi
heels, a black suede pair of which are the only garments Courreége
worn in this picture. The role of the man is to decided to desiqr
communicate the sexual intention of Frizon's k styles to go with the aed
‘A shoe has to make you look beautiful. You can assignments (in the 1960
be wearing a simple dress, but if you have something provide their own shoes
exquisite on your feet,itbecomes a perfect look, collection of * Bardot, Courreges, Kélian, Patou, Ricci

Maud Frizon (N
Von Furstenberg ian Designer
Diane von Furstenberg wears her own fashion clock, travels across the world and fits all a woman's contrasted with the unisex trouser suits of the time
phenomenon for the cover of Newsweek. The real appeal priorities: An ex-model, von Fuirstenberg partied at and the swing tickets attached made this point with
of her wrap dress was its wearable shape and endless Studio 54, dated Warren Beatty and was briefly married the words, ‘Feel like a woman. Wear a dress:
versatility. Smart yet sexy, it looked as good at the disco to Fiat heir Prince Egon von Furstenberg. The glamorous
as it did at the office. The designer called it, ‘Simple divorcee's jet-set lifestyle contributed to the cachet
one-step dressing. Chic, comfortable and sexy. It won't of her dresses (which prominently bore her signature).
become dated after one season. It works around the Originally launched in 1972, the DVF wrap dresses + Bergere, de Ribes, Vanderbilt

AY,
NY |
Tae

!
i if | i

4\ WALT
——

Hy) i \
EMM Wi | / ra a
aap

Diane von Fiirstenberg. b Brussels (BEL), 1946. Wrap dress. Photograph by Francesco Scavullo, Newsweek cover, 1976.
Galanos James Designer
With this perfectly plain, wool dress, Galanos displays the was deceptive
and he used couture-standard n Los Anaeles in 1951. His de wv
reason why he was dubbed ‘America's couturier! ‘| never dressmaking techniques which made his pieces 3 senior buyer at Neiman Mar
deviated
from what was most important,
which was expensive.
Galanos worked in Hollywood with John foun ( ) designer f for
quality; said Galanos, who actually produced the highest Louis, head of costume design at Columbia, who soon set the world on fire
class of ready-to-wear. Nancy Reagan claimed, ‘You can found his fledgling designer's clothes were as popular
take one of Jimmy's dresses and just wear it inside out, with the stars as his own. Having later trained with
they're so beautifully made! The simplicity of his designs Robert Piguet in Paris, Galanos opened a small shop = Adolfo, Louis, Piguet, Simpson

James Galanos. b Philadelphia, PA (USA), 1925. Black wool dress. Photograph

>}, by" Kourken
ur Pakcnanian,
a nanian, Americ
American \Vogue,
 Galitzi NE trene Designer
William Klein arranges a party of variously uniformed French at the Sorbonne. Galitzine finished her broad Her draped sari-style tunics could be worn for day or
men as accessories for Irene Galitzine’s evening trouser education as an assistant to the Fontana sisters in Rome. evening, and were favoured by Elizabeth Taylor, Greta
outfits. They are variations of her famous wide-leg Her own collection, first designed in 1959, suggested Garbo and Sophia Loren.
trouser suits which were dubbed ‘palazzo pyjamas’ an international, yet easy way of dressing. It blurred
by Diana Vreeland, then at Harper's Bazaar. Galitzine's the distinction between day- and eveningwear and made
aristocratic Russian family fled the Revolution in 1918. a relaxed alternative to formal cocktail dresses. It was a
She studied art in Rome, English at Cambridge and look that immediately appealed to the Italian aristocracy. * Fontana, Garbo, W. Klein, Pulitzer, Vreeland

184

Irene Galitzine. b Tiflis (RUS), 1916. d Rome (IT), 2006. ‘Palazzo pyjamas’. Photograph
by William Klein, 1962.
 alliano John Designer
John Galliano has chosen this picture of his ‘seamless’ a complicated technique has been used outside haute inequalled master of the t t, Vior I pe ty
dress, worn by Carla Bruni during his autumn/winter couture, It leaves an apparently seamless dre A rocky but high-profile career w rowned by I
1995/6 ready-to-wear collection in Paris. It is a luxurious, almost mythical item. Throughout his career ippointmentin 199k jesiqner, at Givenchy and
representative
of his work, even though it looks simpler Galliano
has looked to the work of great couturiers such then at Christian Dior
than most of his designs. In truth, the structure is as Madeleine Vionnet and Paul Poiret to resurrect spec
anything but. The seams and darts have been banished techniques which have been neglected in the rush
into the outline of the black flowers, the first time such of mass-manufacture. In particular, he has become the * Dior, Givenchy, LaChapelle, Poiret, Vallhonrat, Vionnet

——EE

hotograph
ytogral by y (
John Galliano. b Gibraltar (SP), 1960. ‘Seamless dress. Pink and black silk crepe
 G arbo Greta Icon
Called the ‘greatest star of all’, Greta Garbo wears is concerned with her individual self! Garbo arrived a wall of repression about myself and lived behind it!
a masculine jacket, cut with sexual ambiguity, in in Hollywood aged nineteen in the entourage of Mauritz The director George Cukor said that she reserved
a portrait by Cecil Beaton. Beaton wrote of his subject, Stilla from Sweden. Signed up by Metro-Goldwyn-Mayer, ‘her real sensuousness for the camera’
‘Perhaps no other person has had such an influence she went on to star in Queen Christina, Camille and
on the appearance of a whole generation...the secret Anna Karenina, dressed by Adrian. Famed as a recluse,
of her appeal seems to lie in an elusive and haunting she said in 1932, ‘lam awkward, shy, afraid, nervous
sensitivity...Garbo has created a style in fashion which and self-conscious about my English. That is why | built * Adrian, Beaton, Galitzine, Sui

‘
. >
;
“a »

4, *.
ihee :
ba

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& i
pe .S
is
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Se
o

186

Greta Garbo. b Stockholm (SWE), 1905. d New York (USA), 1990. Greta Garbo. Photograph by Cecil Beaton, 1946. : : 7 : 5
Garren Hairdresser
From the strawberry-red, Sophia Loren bouffant to the n the 1 cker
boyish, platinesm, Andy Warhol
bob, Garren has been the style se f
irchitect behind all of supermodel Linda Evangelista’ softer, more feminine gamir ; e wake
publicized, chameleon-like hairstyle changes. His waif look. His extreme v
directional approach has been witnessed not only in the catwalk fo r(
hiah-glam look he achieved in collaboration with the salon where |
photographer Steven Meisel in the late 1980s, but also @ Evangelista, Jacobs, Meisel, Sui, Warhol

1970s-.) Garren with Linda Evangelista. Photograph |

Garren. (Active
 G d ttin onl Fernanda Designer
The serene allure of Gattinoni's brilliant green, likes of Audrey Hepburn, Ingrid Bergman and Anna offered indulgent escapism — twenty-five full-time
brocade evening coat is captured by Clifford Coffin Magnani - film-star clients renowned for their highly embroiderers were employed to decorate wedding
in a photograph for American Vogue in 1947. Hinting photogenic mix of thoroughbred grace and soft dresses - for a clientele weary of postwar realities.
at Imperial Chinese influences, its Zen-like dignity femininity. In the 1950s, with the great success of films
anticipates the refined ethnicity of Romeo Gigli. such as Roman Holiday, Rome became synonymous with
Gattinoni trained at the Rome fashion house Ventura, the glamour of cinema and Gattinoni came to epitomize
before opening her own atelier. Here she attracted the cultured European sophistication and romance. She also © Coffin, Gigli, Molyneux

188

Fernanda Gattinoni. b Cocquio (IT), 1907. d Rome (IT), 2002. Brocade evening coat. Photograph by Clifford Coffin, American
Vogue, 1947
Gault eT Jean-Paul Designer
Aman and woman mirror one another in near-identical he startedhis label in 1978, Gaultier has been influenced 1970s, using camp clichés that included mache
outfits from Jean-Paul Gaultier's 1994 women's by global costume, both old and new, such asthat wort bodybuilders and butch sailors. Like these outfit
collection, ‘The Big Journey: That he is wearing her by London's punks. Sexual ambiguity has also been Gaultier's whole style is a humorous, eclectic challenge
clothes comes as little surprise, since Gaultier has been an enduring theme. While
his men have worn skirts and to the French establishment
dressing men in skirts since 1985. On this occasion, even tutus, pipe-smoking women have trodden his
their rich, quilted satin coats, long hems and geisha-style catwalk in pinstriped business suits. His menswear was
platforms suggest a trip through the Far East. Since influenced by the wave of gay men coming out in the * Alexandre, Madonna, Margiela, Pita, Van Beirendonck

>» [ hotograph
Photograph tby Jean-Marie Périer, Frenct
Jean-Paul Gaultier. b Arcueil (FR), 1952. ‘The Big Journey’ collection. Autumn/winter 1994/5.
 Germ reich Rudi Designer
The topless bathing suit, worn here by Peggy Mo ffit, based clothes of the 1960s and 1970s reflected the social comfort; Rudi joined several modern dance companies
Rudi Gernreich's favourite model, was developed tomeet — revolution of women's liberation and his early designs and became fascinated by the leotards and tights
the trend for topless bathing. It was also intended to be provided unprecedented freedom of movement. In the of the dancers.
something of a feminist statement, as was his no -bra bra 1950s he produced knitted swimwear without the usual
of 1964, which was the first to allow the natural shape boning and underpinning and he developed the concept
of a woman's breasts. Gernreich also invented th e high- into tube dresses. It was Gernreich's early influences that
cut, buttock-baring, thong bathing suit. His radical body- helped to develop our relationship between stretch and * Coffin, Heim, Rabanne, Sassoon

190

Rudi Gernreich. b Vienna (AUS), 1922. d Los Angeles, CA (USA), 1985 Peggy Moffit wears a topless swimsuit, 1964. Photograph by William Claxton.
 Gibb »
‘Miles of untouched forest hand-printed onto silk..
Designer
‘the tailored thing’ and his grand vision was an into his collection by collaborating with Missoni and
the Bill Gibb environment, rich fabrics with richer alternative to the lean trouser suits of the 1970s. Gibb knitting specialist Kaffe Fassett, saying, ‘What women
decorations - marbled, hand-painted, feathered, came from a farming family, but was encouraged want to wear in the daytime is beautiful knits:
piped...flower-faced beauty. As it is, the words that by his grandmother, a painter, to enjoy his hobby of
accompanied this editorial picture left out a few copying pictures of historical costume, especially that
of the techniques used on Gibb’s lavish, layered and of the Renaissance era. This influence has affected his
fantastical dress. He claimed to have an aversion to most spectacular work. He often incorporated knitwear | Birtwell, Mesejean, Missoni, Porter

191

\ -
:
by Penati, British Vogue, 1972
: Bill Gibb. b Fraserburgh (UK), 1943. d London (UK), 1988. ‘Forest’ dress. Photograph
 Gibson Charles Dania Illustrator
Before television and movies, Gibson identified an new woman. Her face varied slightly, but she was the that required illustrations for news and stories, but
essential character as deftly and as unforgettably icon of twentieth-century fashion embodied in an active ultimately he invented his own story of the fashionable,
as any novelist. His ‘Gibson Girl’ was the personification life in such Gibson books on the middle and upper- independent woman of the twentieth century.
of America's modern woman. Probably seen wearing middle classes as The Education of Mr Pipp (1899), The
the fashionable shirtwaist (a masculine-styled blouse Americans (1900) and The Social Ladder (1902). Gibson
of the early twentieth century), her S-curve figure and had studied at the Art Students’ League in New York
loosely constructed mound of hair gave shape to the and worked for late nineteenth-century magazines * Drecoll, Paquin, Redfern

he

na TI
=
aeyyasinenil
payy
Miv LE
peel,

Charles Dana Gibson. b Roxbury, MA (USA), 1867. d (USA), 1944. Gibson Girls on the
beach, 1901.
GI g|1 Romeo Designer
Benedetta Barzini is photographed enjoying Romeo he plays with clothes from history and non-f uropean that enveloped
the figure in luxury. The impression was
Gigli's extravagant coat. Gold flowers and embroidered cultures. The Gigli look was, and still is, one of the most similar to that created by Poiret: a richly decorated, giant
leaves collect around the shawl collar, cuffs and hem, distinctive in fashion. In the 1980s, Gigli's vision had bloom growing from a narrow Stalk
with a velvet scarf finishing with a golden tassel. Gigli’s a grandeur only equalled by that of Christian Lacroix
childhood was saturated in art history and antiquarian Silk suits, with either stovepipe trousers or long, narrow
books, over which he pored. It gave him an appreciation skirts, were worn with shirt collars that framed the
of beauty, history and travel which underlies his work — wearer's face (as here) and placed under velvet coats | Gattinoni, lribe, Meisel, Poiret, Roversi, Vallhonrat

French Vogue
Benedetta Barzini wears an embroidered coat. Photograph by Steven Meisel,
Romeo Gigli. b Faenza (IT), 1949.
 Gilb CY Tom Designer
This is classic Tom Gilbey. With his trademark simplicity tailoring. Gilbey began designing for John Michael look, it's so classic and immaculate. Jeans and a T-shirt,
and an almost militaristic neatness, Gilbey was and in 1968 opened his own shop, in London's Sackville big bumper shoes, Bermuda shorts...| hate fuss. | love
an important force in menswear in the 1960s. Here, Street. Gilbey is one of fashion's visionaries. In 1982 things to be clean, strong and aggressive:
he uses both traditionally masculine details and softer, he launched a waistcoat collection which suited the
experimental methods, such as sleeves gathered into aspirational yuppie. Around the same time, and
cuffs. Despite their feminized aspects, these outfits pre-dating the transatlantic sportswear boom by fifteen
are strong, angular examples of the new wave of British years, he said, ‘I'm influenced by the American campus = Fish, Fonticoli, Nutter, Stephen

194

Tom Gilbey. b London (UK), 1938. Winter coats. 1971.

Given chy Hubert de Designer
Snap! Audrey Hepburn, playing a model, is captured in gave way to adoration. He had already workedat He retiredin 1995, making way for two of the most
astill from the 1957 film, Funny Face. Her dress, a floral before opening
Lelong, Piguet, Fath and Schiaparelli, publicity-aware designers - John Galliano and
cotton gown, is by the man who became a lifelong friend his couture house at the age of twenty-five. Encouraged Alexander McQueen - to desiqn under his name
and collaborator. ‘It was as though | was born to wear by Balenciaga, he specialized in clothes for the new era
his clothes; said Hepburn of Hubert de Givenchy. When of air travel and grand eveningwear. In 1956 Givenchy
she was first sent to his house, Givenchy was expecting banned the press from his shows, saying, ‘A fashion
the other ‘Miss Hepburn’ - Katharine. His disappointment house is a laboratory which must conserve its mystery © Horvat, Lelong, Pipart, Tiffany, Venet

Face, 1957
Hubert de Givenchy. b Beauvais (FR), 1927. Audrey Hepburn. Still from Funny
 Goalen Barbara Model
The archetypal 1950s aloof and haughty mannequin, the — by John French and was Coffin's favourite model. She She only worked for five years, before retiring while still
well-bred Goalen was chauffeur-driven to assignments was the first British model to be sent to the Paris shows very much in demand.
in a Rolls-Royce. Careful to protect her image, she said, by British Vogue. At the height of her fame, she toured
‘| always did high fashion and | never touched anything Australia and was mobbed in the North of England. Like
that wasn't high quality! The photographer Henry Clarke many models in the 1950s, she married well — to Lloyd's
said, ‘You put the dress on Barbara and she made it sing: underwriter Nigel Campbell. Her hips were too slender
At one time she was almost exclusively photographed for sample sizes, so she rarely did catwalk modelling. @ Clarke, Coffin, French

196

Barbara Goalen. b (UK). (Active 1950s.) Strapless evening dress. Photograph by John French, 1954
Godley Georgina Designer
An otherwise utterly plain, jersey T-shirt dress springs you're buying, it's yours. | believe in a reappraisal
of f avouring
a one-to-one relationship with the «
away from the average with the introduction of organza sexual roles: Her contemporary work is in contrast in which her creativity Couldbe Gisplayed by Wor
into the hem and neck. An experimental purist, Georgina to the historicism explored during her partnership with who relish her individual experiments
Godley uses sculpture to introduce avant-garde shape Scott Crolla. Their cult shop, Crolla (opened in 1981),
into her work. ‘We are dealing with a woman who is an stocked romantic men’s clothes in velvet and brocade
individual now; she told Vogue. ‘Fashion is so retrograde, which matched the New Romantic mood. After parting
putting people down. It's not a designer's personality from him in 1985, Godley developed her own line, © Audibet, Bruce, Crolla

Alex Chatelain, British Vogue, 198¢

Georgina Godley. b London (UK), 1955. Cotton jersey body-and-soul dress. Photograph by
 Gres Madame Designer
The white, silk jersey fabric of this evening gown has couture artists. Harper's Bazaar proclaimed in 1936 sculptural cut of her gowns had the liquid effect of the
been moulded onto the figure as if it had the properties that, ‘Alix stands for the body rampant, for the rounded, ‘wet’ drapery of Classical Greek sculpture that turned
of the piece of sculpture standing next to the model. feminine sculptural form beneath the dress: She had fashionable women into living statues.
Even the play of light and shade in its deep pleats echoes _ been trained as a sculptress and it was her feeling for
the sculpture. Silk jersey is a material that lends itself to Classical Greek sculpture that enabled her to capture
pleating in precise, fluid folds and it was a mainstay its timeless elegance in her evening gowns. Hers
in the classicism of Madame Alix Gres, one of the great was an individualistic, uncompromising style where the # Audibet, Cassini, Lanvin, Pertegaz, Toledo, Valentina

198

Madame Alix Gres (Germaine Krebs). b Paris (FR), 1903 . d (FR), 1993. Grecian column dress. Photograph
by Eugéne Rubin, Femina, 1937.
Gri ffe Jacques Designer
from an American
Vogue sitting in 1952, the where
model's seated pose makesa displayof Jacques Griffe's ibric uct t|
us pin-tucks. The entire evening
dress grow textile mB
from a flamboyant pink tulle bow which uses the fabric n brilliant colours. Aft he Se
of both bodice and skirt. It finishes
ten inches from the work
floor — a younger look for ball gowns at the time and de couture in 194¢ ke ne
k the ballet length. Griffe trained
with Vionnet the mater nod ; * McLaughlin-Gill, Molyneux, Vionnet

Jacques Griffe. b sonne (FR 117. d 1996. Tulle dress

 Gruau rene Illustrator
In this suggestive advertisement for Christian Dior, the Second World War, when his swift, expressive line and form. He was one of the last grand magazine
the sinuous lines of a woman's hand are placed on was chosen by Dior's couture and perfume company illustrators before the creative possibilities
a panther's paw against an infinite background, to illustrate their perfume advertisements. Together of fashion photography made it equal to the fantasy
reflecting a spirit of graceful worldliness and glamour. with Bouche, Gruau also brilliantly illustrated haute of illustration.
Noted for his strong silhouettes and tonalities of colour, couture of the era in French Vogue. Influenced by the
Gruau's images became prestigious icons of elegance. posters of Toulouse-Lautrec, he used strong outlines —
He was an outstanding graphic artist of the period after a technique that perfectly accentuates fashion's shape * Biagiotti, Bouche, Dior

200

Rene Gruau. b Rimini (IT), 1908. d Rome (IT), 2004. Panther Paw. Advertisement for Miss Dior perfume. 1949.
G Uu CCT Guccio Accessory designer
On a terrace in Cannes, Romy Schneider caresses the where he looked after the wealthy quests, payina Intermittent pe
classic Gucci loafers worn by Alain Delon. The snaffle particular attention to their baggage. He ret ‘
loafer has been an icon of wealth and Europeanstyle Florence
and opened a small shop selling saddler
since it was designedin 1932 by the company's patriarch, expanding
into leather bags and shoes whict (
Guecio Gucci. After rebelling against joining his family's decorated with a horse's snaffle. In 1933 A
ailing straw hat-making business, Gucci ran away to joined the business and designed the iconic Gucci lo
London. He founda job as maitre d'hotelat the Savoy using the interlocking double G he tia © Ferragamo, Ford, Hermés

(IT), 1881. d Milan (IT), 1953. Alain Delon wears Gucci loafers. (
Guccio Gucci. b Florence
 Halston . Designers
Halston is surrounded by eleven models for a 1972 among the set that frequented Manhattan's Studio 54 in 1990, Halston’s influence has continued to grow.
Vogue sitting. Their fluid, silk jersey dresses and svelte club. Bianca Jagger and Liza Minnelli were friends and Tom Ford, designer at Gucci, acknowledged his Studio 54
clothes made from Ultrasuede are pure Halston: utterly clients, and both were Concorde-class models for his look as crucial to uncluttered fashion in the 1990s.
simple and an eternal antidote to fussy dressing. These draped jersey dresses and lean trouser suits. Halston
are the hallmarks of classic American design, and Halston — designed for his friends, saying in 1971, ‘Fashion starts
was recognized as a master of the art. His popularity with fashionable people... No designer has ever made
in the 1970s made him a social figure, most famously fashion alone. People make fashion! Although he died © Bandy, Daché, Ford, Maxwell, Peretti, Warhol

202

Halston (Roy Halston Frowick). b Des Moines, IA (USA), 1932. d San Francisco,
CA (USA), 1990. Halston with models, 1972. Photograph by Duane Michals, American
oe
Hamnett Katharine Designer
At last! An original’ was Prime Minister Margaret the 1980s. Hamnett
Thatcher's response to Katharine Hamnett's anti-miss ile between clott pe
message when the two met at a British government and helping with the P
reception in 1984. Such an easily copied idea Practicality and youth have always beer
(deliberately so, claimed Hamnett, who wanted the labe parachute silk, cottor ey
by as many people as possible) are some of the relaxed and f
hermessages to be read
meant that her slogan T-shirts became a symbol of been trademarks
for Hamnett over t * Sticbel, Teller, von Unwerth

b Gravesend (UK), 1948. Katharine Hamnett with Margaret Thatcher, 10 ) Downing

Dow Street
Stree
Katharine Hamnett.
 H d rin ell Norman Designer
Princess Margaret's picturesque white evening gown, be traced back to the royal visit to Paris in 1938, when This style of evening dress gained an international
with its scooped neckline, tight bodice and full skirt, King George VI specifically requested Hartnell to design reputation as a British fashion classic. It remained
recalls the gowns Charles Frederick Worth made for a wardrobe for his queen based on the royal portraits a constant in the royal wardrobe throughout the
the Empress Eugénie and which were immortalized in the painted by Winterhalter in the 1860s that hung in postwar period.
portraits of her painted by Winterhalter. This distinctively Buckingham Palace. Hartnell exquisitely used white silk,
British romantic revival interpretation was the creation satin, chiffon and tulle for evening gowns and decorated
of the royal couturier, Norman Hartnell. Its origins can them sumptuously with embroidered and beaded motifs. * Bohan, Rayne, Sumurun, Worth

204

Norman Hartnell. b London (UK), 1901. d Windsor (UK), 1979. HRH Princess Margaret we ars sequined butterfly gown for her nineteenth birthday. Photograph by Cecil Beaton, 1949.
Head Edith Designer
Perhaps the most honoured of Hollywood's costume designed for Mae West, created the sarong for Dorothy of Hollywood Golden Age fashions, and anticipating
designers, Edith Head was also the most versatile. Lamour and made Barbara Stanwyck The Lady Eve 1980s and 1990s films where fashion is chosen trom
She excelled at recognizing the trends in contemporary (1941), but her real gift was an ‘eyea keen sense for the marketplace
fashion and in creating movie costumes realistic what was happening in contemporary fashion. She
for their age, as in Elizabeth Taylor's wardrobe, inspired wrangled with fashion designers (most notably, Hubert
by Christian Dior and Jacques Fath, for Elephant Walk de Givenchy) over design credits, and she gave her films
(1954). In her years at Paramount Pictures, Head a timely sense of fashion, unlike the grand picturesque + Fath, Givenchy, Irene, Louis, Travilla

205

A ; Pe oe i Still r from Elephant

¢ Walk
Elizabeth Taylor.
Edith Head. b Los Angeles, CA (USA), 1907. d Hollywood, CA (USA), 1981.
 Hechter banie Designer
Daniel Hechter's leaping tracksuit represents the age phenomenal? The first prét-a-porter womensweat to be worn out and then replaced. His maxi coats, trouse
of performance fashion. His reality-check womenswear collection, co-designed with friend Armand Orustein, suits and divided skirts were counterpointed with
emerged in the 1960s, with function dominating style. was launched in 1963. Perfectly pitched for the menswear that mixed separates in the 1970s.
Hechter is realistic about his role: ‘Fashion is not art. ‘youthquake’ market, he persuaded Twiggy to model
It can be artistic, but it is not art. I'm really a stylist. clothes that were targeted at young women who aspired
| respect designers who create fashion, like Chanel, Poiret. to a designer lifestyle. He integrated pop culture into his
Or Levis...[but] if you dress a billion people, that's scheme, creating accessible clothes which were designed * Dassler, Kamali, P. Knight, Strauss, Twiggy

206

Daniel Hechter. b Paris (FR), 1938. Tracksuit. Photograph by Jim Greenberg, L'Officiel,
1980.
Heim Jacques Designer
Heim will be forever known as the couturier who of fashion
the world
adorned with frills. Heim entered 1 seriesofboutiqueswhich specialized in these garment
He Petraisak naesidant or a ichantan Gonccaere te
promoted the bikini. He featured it in his 1946 collection through his parents’ fur business, founded in 1898.
under When, in the same year, atomic
the name ‘atome’ also collaborated with Sonia Delaunay, designing dresses, Couture Parisienne from 1958 to 1962
bomb tests were conducted by the United States at Bikini coats and sportswear which were exhibited at the Art
Atoll, the swimsuit's name was changed to bikini. Deco exhibition in Paris in 1925. He established his owr
This bathing suit shot to fame when Brigitte Bardot was fashion house in the 1930s, his forte being beachwear
© Bardot, Coddington, Delaunay, Gernreich, Jantzen
and sportswear. Between 1946 and 1966 he opened
photographed in 1956 wearing one made of gingham

Slip-over top and cotton bikini. | 950.

Jacques Heim. b Paris (FR), 1899. d Paris (FR), 1967
 H emim Qway Wayne (Red or Dead) Designer
Loud and opinionated, just like this line-up of his team’s press reaction when models wielding bloody knives and want, be it Bollywood, Punk, Mod, Britpop, Grandad
work, Wayne Hemingway doesn't care about high knitting needles prowled along the catwalk in a pastiche or 1980s trash.
fashion. Beyond showing his collections at the normal of Alfred Hitchcock's thrillers. Hemingway's fashion
times, Hemingway's company, Red or Dead, rejoices in its — philosophy is based around the desire to reinterpret
desire to please nobody but its young, clubby customers. youth culture, using socio-political sloganeering as
It started life in 1982 as a second-hand clothing and shoe — a hook. ‘I design for a free-thinking British youth culture;
stall at London's Camden Market. In 1995 it demanded he has said. In other words, he gives them what they * Hamnett, Leroy, Rotten

Wayne Hemingway. b Morecambe (UK), 1961. (Red or Dead.) Catwalk montage, 1989-96.
Photographs by Chris Moore and Suresh Karadia
Hendrix im Icon

Hendrix was as individualistic in his stage wardrobe as drifted into juvenile delinquency, stealing flashy clothes Shirts, f wer-print ICKetS and i< Sw y ves
he was in his stage act. His clothes, old mixed with new, from stores. He wore his hair in a wild, unke mpt version reminiscent of the drug induced hallucinate ns
clothesof war and the tie-dye fabrics of war protesters, of the Afro hairstyle adopted by the ‘Black Pride inspired the lyrics of his songs
were as loud and chaotic as his electric guitar playing. His movement of the late 1960s. His clothes were often
own sense of style was manifest at eight years old when an eclectic mix of almost fop-like finery and hippie
he was ordered out of a Baptist church for being dressed ethnicity. He often wore his trademark black felt fedora
too extravagantly. Expelled from school at fifteen, he His psychedelic clothing - multicoloured patchwork * Bouquin, Ozbek, Presley

Photog: iph by Gered Mankowitz 1967

1970 Jimi Hendrix.
Jimi Hendrix. b Seattle, WA (USA), 1942. d London (UK),
 Hermes thiery Accessory designer
Princess Grace of Monaco attends to a young Caroline. month waiting list. Modelled on a'‘sac haut a courro/e’ saddler, using snaffles and stirrups as themes for its
In her other hand she carries a handbag big enough for or ‘high-handle’, which was used as a carrying case for printed silk scarves. In 1997, the company appointed
a mother, yet courtly enough for any member of royalty. saddles, the flap is fastened with horizontal straps and avant-garde designer Martin Margiela.
On the occasion of her marriage to Prince Rainier, the a twisting clasp. Hermes was founded in 1837 by Thierry
Hermes bag Grace Kelly had carried throughout thei! Hermes. In 1920 his grandson Emile brought modern
engagement was renamed in her honour. The ‘Kelly bag’ design and luxurious clothes to the label, but Hermes
has been fashionable ever since and involves a three- continues to prosper from its image as a high-quality * Banton, Bergére, Gucci, Lacroix, Loewe, Margiela

210

Thierry Hermes. b Crefeld (GER), 1797. d Paris (FR), 1878. Princess Grace with ‘Kelly bag’ and
her daughter, Caroline. Monaco, 1958.
Hilfiger Tommy Designer
H

lreach as he models for a Hilfiger catwalk show in 1997

@ Brooks, Dassler, Lauren, Mo

Ta™

¥
m.* |

b Elmira, NY A }52. Rapper Treach and Kate Moss. Spring/summer 1997

Tommy Hilfiger.
 IallGailiae ae Milliner
With its delicate sculptural form and body-encompassing him to tour France in 1962. There he met French milliner, heads of state, who brought his work to the attention o
loops circling the shoulders, this hat challenges our Jean Barthet, with whom he trained for three years at his a wider international audience during state visits abroac
preconceived ideas about millinery work. Akio Hirata, Paris salon and perfected his craft. He returned to Japan
Japan's most influential milliner, has collaborated and founded his own house, Haute Mode Hirata, in 1965.
with many avant-garde Japanese designers including Every design in his boutique, Salon Coco in Hiroo, was
Yohji Yamamoto, Comme des Garcons and Hanae Mori. handmade. He worked on commissions for Pierre Balmain
His passion for European fashion magazines encoura and Nina Ricci and designed for the wives of Japanese t, Kawakubo, Mori, Ricci, Sieff, Y. Yamamot

Akio Hirata. b Nagano Pr cture JAP), 1925. Black cord hat. Photograph by Jeanloup Sieff, 1
Hiro Photographer
In a stunning removal of fashion from its accepted by New York society's favourite fashion jeweller, Els Alexey Brodovitch’s Design Laborator
context, Harry Winston's diamond and ruby necklace Peretti, which he placed
on a bleached bone. Taken for became a photographer at Harpe:
is placed on a cloven hoof. Attention is centred on the December 1963 issue of Harper’s Bazaar, this imaaeJ defined
the decade through I
the contrast between bestial nature and the glamour exemplifies both the technical and artistic brilliance
of Winston's work - usually associated with Hollywood of the photographer known as Hiro. Born in Shangh:
~ with all its amusing connotations. Hiro has applied the to Japanese parents, he moved to New York in 1954
ame humour
same to other subjects, including a silver bangle working J with Richard Avedon and becoming a member * Brodovitch, Peretti, Winston

Hiro (Hiro Wakabayashi). b Shanghai (CHN), 1930 Harry Winston necklace. New Y
 Hishinuma Yoshiki Textile designer
Using a mixed technique known as shibori, Yoshiki technology. Belonging to the Japanese school of avant- wrapped about the body like crumpled white tissue
Hishinuma creates a negative silhouette on polyester. garde fashion, Hishinuma was able to launch his own paper, and clipped feathers knitted tightly into a sweater
Japanese textile designers are amongst the most exciting Tokyo-based label in 1984, but not before his freelance
pioneers in fashion's most scientific field, pushing the work earned him the New Designer's Prize at Tokyo's
practical and aesthetic boundaries of material. Mainichi Fashion Grand Prix. Today he has his own textile
Hishinuma's training at Issey Miyake's Design Studio gave studio, specializing in isolated, neck-to-ankle fabric
him a solid background in experimental fabric effects. 1998 looks include otherworldly chiffon, © Arai, Milner, Miyake

214

Yoshiki Hishinuma. b Sendai UAP) , 1958. ‘Shibori’ technique, polyester fabric. Spring/su
mmer 1995. P hotograph by Noboru Iwahashi.
Hope Emma Shoe desic
Emma Hope's shoes are romantic and individual in style, shoes you really wanted’, and make then
as this brocade buckled slipper shows to perfection. She to Near and behold. She makes bespoke and ready-to
established her company in 1985 after graduating from V ar shoes, and brides, in particular, buy her an 7
Cordwainer's College in London's East End, and began by delicate slippers, which are covered in seed pearls
selling a small range of brocade mules which were worn beads or decoratec ith fine embroidery. Hope ¢
with Scott Crolla's ornate, antiquarian clothes. Hope's nostalgic shoes, which recall the work of ninetec
desire is to evoke ‘the deliciousness of the first pair of century cobblers such as Pinet. Those made from silk * Choo, Cox, Crolla, Pinet, Yantorny

inte
Emma Hope. b Portsmouth (UK), 1962. Shoe with buckle. Autumn/winter 1994/5.
; Photogra
5. Photograp!
 Horst torte. Photographer
Despite an illustrious career spanning over sixty-five early black-and-white images mixed subtle contrast with iconographic — as proved by the singer Madonna who
years, photographer Horst P. Horst will forever be linked mood and sensitivity, achieved with carefully positioned copied his 1939 picture, Mai/nbocher’s Pink Satin Corset
with his portraiture of the inter-war years. He began lighting that could take three days to perfect. ‘I like for her ‘Vogue’ video in 1989.
by working with George Hoyningen-Huene at Vogue taking photographs, because | like life; he once said.
in 1932 and, within a few years, had developed an Picasso, Dietrich, Dali, Cocteau, Gertrude Stein and
unmistakable fashion style that fused elements of Greek the Duchess of Windsor were his friends and the subjects
sculpture with the decadent elegance of the time. His of his portraiture. His work has remained timeless and * Cocteau, Coward, Dali, Fonssagrives, Parker, Piguet

216

Horst P. Horst. b Weissenfels (GER), 1906. d Palm Beach, FL (USA) , 1999. Helen Bennett wears a
cape dress by Jean Patou. French Vogue, 1936.
Horvat Frank Photographer
Peering out from between
an organic swathe of organza photographs o
liner's cascade of petals, the model seem
to float on a background
of racegoers. Male and female, make-up an¢
slack and white, this 1958 shot for Jardin des Modes prevailing
is an exercise in contrast Considering its composition, a photojournalist, Ho
tis perhaps unsurprising that Frank Horvat INpe | (
went
on to make his name outside fashion with his in 1951.H ( *@ Bailey, Givenchy,
Milner, Stiebel

Frank Horvat. b Abbazia (IT), 1928. Givenchy hat, Paris. Jord

 How Ell Margaret Designer
In this gentle fashion image, Margaret Howell's tailored gardening mac hanging on the back of a door. Howell's | wanted; she told Vogue. ‘| liked quality and comfort.
navy shorts resemble those worn in the 1930s. Her menswear and womenswear collections were launched | was probably responsible for the move towards using
clothes blend memories of England with the pleasure in 1972, with an emphasis on tailoring. Howell has been men’s tailoring tweeds for women’s clothes:
of wearing worn-in country clothes. The look so copied, it almost obscures her contribution but her
was revolutionary when she began in the early 1970s, linen duster coats, shirt dresses, floor-sweeping raincoats
inspired by nostalgic icons of British style, such as and tweed suits for women have an enduring appeal.
brogues, gymslips, sturdy tweed skirts and her father's ‘When | started out, | was only thinking about what @ Jackson, Jaeger, de Prémonville

218

Margaret Howell. b Tadworth (UK), 1946. Cotton sweater and crepe shorts. Spring/summer
1992. Photograph by Koto Bolofo
Hoyningen-Huene corse Photographer
George Hoyningen-Huene's fashion photographs were on to Par
inspired by Classic al Greek sculpture. He posed his model Lhote and bega
with props so that they resembled the figures in a frieze with Man Ray, |
His technique of back- and cross-lighting, to achieve ling French Vog ue 1996 1

and volume and to give the models, the clothes and the American Vogue. Hoyningen-H ene
settings texture and sheen, is unique. During the Russian Bazaar in New v York : fron

Revolution, Hoyningen-Huene fled to England and went to Los Angeles wl * Agnes, Blumenfeld, Mainbocher, Morehouse

jacket by Mainbocher, gloves by Hattie Carnegie

eles,( Gold reefer
George Hoyningen-Huene. b St Petersburg (RUS), 1906 d Los An
 Hulanicki Barbara (Biba) Designer
A woman and child in identical maxi, panne velvet made it accessible to students and teenagers, dressed a department store building. This ‘nickelodeon land
dresses are the essence of the Biba look. Barbara stars including Twiggy and Julie Christie. Biba was, in of Art Deco with potted palms and mirrored hall’ only
Hulanicki, a fashion illustrator, had dreamed of bringing the words of Ossie Clarke: ‘Disposable glamour shrouded lasted until 1975, but Hulanicki's ideal is still admired.
decadence to the masses. She began with a ‘postal in purply, mulberry shades...’ Hulanicki's style lived
boutique’ in 1963, opening her first shop, named after somewhere between Art Deco and Art Nouveau:
her sister, Biba, a year later. It was a treasury of exotic slim, often cut from satin and velvet and highlighted
accessories and fabrics and, despite its cheapness which with lean lurex knitwear. In 1973 Biba moved into * Bouquin, Clark, Kamali, Moon, Twiggy

Barbara Hulanicki. b Warsaw (POL), 1936. (Biba.) Mother and daughter. Photograph by Sarah Moon, 1969
H U tton Lauren Model
Lauren Hutton, with her rare beauty and alluring gap- Over the following ten years, while modelling exclusive for Hutton, who has inspired deo itet
toothed smile, has graced a record twenty-five Vogue for Revion, Hutton made a name for herself on screen age of models. Her example snc hopes
|
covers and countless editorial campaigns. Her most Born in Charleston, South Carolina, she grew up mainly broader view of beauty
newsworthy career move was the contract she signed in Florida and, after dropping out of college, moved
with Revlon in 1974. The first of its kind, this exclusive to New York where she began modelling to pay for the
agreement set a precedent for supermodels’ fees, life of travel she had originally planned. Her return to
changing them from hundreds to thousands of dollars. modelling in the 1990s has been a proud achievement * Butler, C. Klein, Revson

Lauren Hutton. b Charleston, SC (USA), 1943. Lauren Hutton. F-hotograph by Fred Seidman, 1972
 Iman Model
Aslender sculpture in black velvet and white taffeta, Iman Abdulmajid in Somalia to a diplomat, she studied women), have conferred on her almost mythical status
Iman was dubbed Black Pearl for her ebony-black beauty. political science in Nairobi before being discovered among black models, a reputation shared only by Naomi
The contours of her feline figure, boasting a perfect by Peter Beard, the photographer who took her into Campbell and Beverly Johnson.
physique du réle to flaunt the 1980s’ opulence, ensured the New York fashion spotlight. A multimillion-dollar
that she was a true supermodel of her time. Her exotic contract with Revlon in the late 1970s, as well as
presence on the catwalk made her a fetish model for her marriage to rock star David Bowie and the launch
Azzedine Alaia, Gianni Versace and Thierry Mugler. Born of her own make-up range (especially devised for black * Bowie, Beverly Johnson, Revson

Iman (Iman Abdulmajid Haywood). b (SOM), 1955. Formal evening gown and feather headdress.
Photograph by Arthur Elgort 1993
Irene Designer
This film still from the 1940 film Seven Sinners shows to Hollywood to continue her trade From 1942 she took
the workof the costume designer known as ‘Ireneof over from Adrian as head costumer itat MVietr boldwy! vamp: p } vel ( i { t T
California’. She started making clothes on the campus Mayer, making outfits for, among others, Marlene handbag and chiffon ¢ age
of the University of Southern California, where Dolores Dietrich and Marilyn Monroe. Her signature style
del Rio became a client. Her connections took Irene into always remained slim, curvy and tailored for daywear
the Beverly Hills sphere, where she became involved eveningwear, however, was lavish and dramatic, wit!
with actresses and their personal wardrobes. She moved feathers, frills and sparkle. Here, Marlene Dietrich wear @ Adrian, Head, Louis, Travilla

Q'

7
=
—

mA iene Narlen Dietrich.St

Irene (Irene Lentz Gibbons). b MT (USA), 1907. d Los Angeles, CA (USA), 1962. Marlene Dietric
 Tribe pou
The simple lines and brilliant colours of Poiret's oriental
Illustrator
trimmed with fur. Further contrasts of colour are whereby a monochrome print was hand-coloured using
style are beautifully evoked in this fashion illustration, provided by the dresses visible beneath the coats and by a series of bronze or zinc stencils, enabling him to
published a year before the arrival of the Ballets Russes the headwear. With its format of clear, flat areas of capture an image as close as possible to the original.
and Bakst in Paris. The Hispahan coat in the centre, made colour and the asymmetrical arrangement of the models,
in green cotton velvet, has embroidered Persian palms the fashion illustration shows the influence of Japanese
sharply outlined in bold yellow and white. This coat is prints. In order to obtain such jewel-like colours, Iribe
framed by two others in shades of yellow and mustard, used a special technique called the pochoir process, © Bakst, Barbier, Doucet, Gigli, Lepape, Paquin, Poiret

Paul Iribe. b Angouléme (FR), 1883. d Paris (FR), 1935. ‘Three Coats! From Les Robes
de Paul Poiret racontées par Paul Iribe. 1908.
lsogawa Akira Designer
Against a background of pattern pieces (the building becoming a ‘salary man’ He trained in fashion and f | have F en thir
blocks from which fashion takes shape), Akira lsogawa's in 1996 showed his first collection as part of Austra if material, he has said, His delicate handpru
model wears a vest contructed from bronze jacquard silk Fashion Week. It was an exotic mélange of Japanese t from Jay ind form-fitt t
Its seams, brought together as an abstract, asymmetric vintage kimonos, delicate and translucent floral-print 1Snar yet individ | te ent
puzzle, are stitched on the outside, leaving their frayed dresses and modern leather and wool tailoring, all
edges to become part of the exterior decoration. lsogawa layered together to create a new aesthetic in fashiot
left his native Japan for Sydney, Australia, to escape The attraction of lsogawa's clothes lies in his passior © Arai, Chalayan, Kobayashi, Lloyd

P
Akira Isogawa. b Kyoto VAP), 1964 Deconstructed bronze brocade top and pinstriped trousers.
 Jackson sett Designer
Square, linen shapes, styled for Vogue by Vera Wang, which was thwarted by an allergy to plaster of Paris. versatile shapes; a style that allows elements of high
represent the work of Betty Jackson, who is known Instead, she freelanced as an illustrator, before turning fashion to be represented without compromising her
for her thoughtful balance between fashion and her attention to fashion in 1973, working for Wendy notion that fashion belongs to women of any age.
comfort. Consequently, her designs appeal to women Dagworthy and then at Quorum. Jackson and her French-
whose working and leisure wardrobes tend to born husband, David Cohen, founded their own company
be interchangeable — a relaxed, modern concept. She under her name in 1981. The core of her easy, fluid
originaliy wanted to become a sculptor, an aspiration collections consists of boldly coloured, simple and @ P. Ellis, Howell, Pollock, Wang

226

aan
a3, EY am ‘big@

su ‘es fee teaes

i”

|
I\

Betty Jackson. b Bacup (UK), 1949. Linen shirt and drawstring trousers, Photograph
by Tony McGee, American Vogue, 1984.
J d cobs Mare Designer
Naomi Campbell is caught laughing, mid-pose, in His proclivity for luxurious materials and modern women in their thirties are attracted by his witty update
a sitting for American Vogue. Her powder-grey, cashmere references recommended the one-time designer for Perry of a brand that has been the accessory of choice
vest and flat-fronted trousers are by Marc Jacobs, Ellis to the position of creative director at Louis Vuitton, for generations
examples of what the New York Times has called his the French luggage company. Jacobs has introduced
‘caviar clothes’ The simplicity of her outfit is given pop and kitsch elements to its traditional image; ‘Deluxe
an edgier profile with a pair of sharp stilettos, hip’ was Suzy Menkes’ summary in the International
a contradiction that Jacobs uses in his own work. Herald Tribune. Jacobs addresses his own age group: rich | Campbell, Cobain, Garren, Kors, Moses, Vuitton

227

— - 5 : . . » hotograph by Wolfgang Tillmans,

Photogray American \
Mare Jacobs. b New York (USA), 1963. Naomi Campbell wears cashmere vest and flat-fronted trousers.
 ‘)d cobson Jacqueline and Elie (Dorothée Bis) Designers
Fun, funky knitwear was the key to the Dorothée Bis were ideal for the youth-inspired period of short-lived to voluminous layering in the 1970s and tight, shoulder-
style. Their ‘total look’ often incorporated knitted tights fashion trends in the 1960s. The label was always padded graphic knits in the 1980s.
and hats and unconventional layering such as skirts commercially minded, reflecting their backgrounds
over trousers or, as seen here, thigh-clinging shorts worn in the fashion trade (in the 1950s, Jacqueline owned
with over-the-knee socks. Jacqueline and Elie Jacobson a childrenswear shop and Elie worked as a wholesale
founded the label with the desire to create wearable furrier). Each decade they defined the key looks, from
versions of high-fashion styles, producing clothes that knitted maxi coats and skinny-rib sweaters in the 1960s, * Khanh, Paulin, Rykiel, Trouble

Jacobson. Jacqueline. b Lens (FR), 1928; Elie. b Paris (FR), 1925. (Dorothée Bis.) Hooded poncho and shorts. Photograph by Peter Knapp, French Elle, 1970,
J d Cger Dr Gustav Designer
Dr Gustav Jaeger, a German dress reformer who believed
that animal hair made the most healthy fabric, stands
P YOO! | Nex t +(
erect, wearing close-fitting, woollen breeches. Unlikely
as it seems, Jaeger inspired a classic British label toart
(ga r
seCUri!
1920s that f \
which was patronized
by George Bernard
Shaw and Oscar
Wilde. The company was founded in 1883 by Lewis
Tomalin, the London businessman who translated and * Burberry, Creed Howell, Muir Wilde

1832 d Stuttgart ( Dr Gustav Jaeger.

Dr Gustav Jaeger. b Borg am Kocher (GER),
 J d mM es Charles Designer
Charles James was working for Elizabeth Arden when especially that of Christian Dior's New Look. A corseted of the extravagant concoctions that defined
he created the couture dress that is the sculptural centre bodice emphasizes the supported bust and narrowed the conservative picturesque in post-Second World
of this John Rawlings photograph. Every James dress was waist, while the flaring fabrics just below the waist float War fashion.
a tour de force of sculptural imagination; the pyramid out from the body to construct fictive hips that make the
shape on the left and the black-and-white figure on waist seem even slimmer. lrascible and self-destructive,
the right confirm his penchant for sculpture. The evening James couched his designs in pseudo-systems and
dress (c 1944) anticipates the postwar silhouette, supposed geometries, but made his name as the maker # Arden, Beaton, Scaasi, Steele, Weber

\ dix
Charles James. b Sandhurst (UK), 1906. d New York (USA), 1978. Draped duchesse satin couture gown. Photograph
by John Rawlings, 1944
James Richard Tailor
Actor Edward Atterton is laid out in a country house eccentric checks rather than traditional tweed. His choice but bland. We are trying to add a youthful spirit and
‘whodunnit’ spread for E//e, much to the entertainment of such exclusive fabrics gave British bespoke and excitement, while maintaining the propriety that
of the tourists. The photographer, David LaChapelle, tailored, ready-to-wear menswear a conte mporary feel Savile Row stands for
maximizes the tongue-in-cheek appeal of Richard James’ drawing comparisons with Tommy Nutter and his
lilac wool suit. Since 1976, when he launched his label, contemporaries from the 1960s. A-list film stars and pop
James has been regarded as the ‘light player’ of Savile stars (and their girlfriends) patronize James, who says,
Row, using vivid colours instead of sombre greys and ‘Many of the suits made along the row are beautiful * Cox, LaChapelle, Nutter, P. Smith

a
Okes

7 » hotograph byb David LaChapelle, British Elle

Richard James. b Ely (UK), 1953. Edward Atterton wears lilac wool suit and woven stripe shirt. Photograph
 Jantzen can
Swimming champion Johnny Weissmuller poses poolside in 1910. Their heavy wool sweaters, socks and gloves, with stockings), but the developments resulted in
ina pair of Jantzens', the world’s first elasticized trunks. produced ona few knitting machines and sold streamlined swimwear for women. By 1925 Jantzen
Invented by knitwear designer Carl Jantzen, who from the company shop, were phenomenally successful. was one of the first clothes companies to export its work.
experimented with the machines which made sweater The trunks soon became known as Jantzens', and the
cuffs, this innovation prompted the world to stop company changed its name accordingly in 1918. Three
merely ‘bathing’ and start ‘swimming. Jantzen founded years later, the Red Diving Girl motif was added. Jantzen's
the Portland Knitting Co with John and Roy Zehntbauer early designs were unisex (although women wore theirs @ Gernreich, Lacoste

Carl Jantzen. b Aarhus (DK), 1883. d (USA), 1939. Johnny Weissmuller wears wool tanksuit, Olympic
Games, 1924.
Jinteok Designer
Jinteok is known for simple designs crafted from glamorous garment a rustic, hobo feel. Such subtle and presented her womenswear collection on the
luxurious fabrics which meld traditional elements of her themes, inspired mainly by nature, are evident catwalks in Paris for the first time in 1994
cultural heritage with Western influences. Here, she uses throughout her collections. Since she opened her first
Chinese red silk for an apron dress. Its bodice and hem shop in Seoul in 1965, Jinteok has played a pioneering
are decorated with naturalistic forms in the tradition role in contemporary fashion in her native country,
of oriental silk garments. The underskirt, cut from South Korea. She founded the Seoul Fashion Designers
roughly assembled denim, lends this potentially Association, which encourages young Korean designers, © Arai, Kim, Rocha

Spring/summer 1995. Photograph by Mare o Madeira

Jinteok Uin Teok). b (KOR), 1938. Red embroidered gown.
 J ohn John P. Milliner
Although this outfit is heavily accessorized, the pieces America's top proponents. Also known as Mr John, he had brimmed hat is covered in black net and tones
are so carefully matched that at first glance they are a career in Hollywood for fifty years, working with Adrian with the gloves. Unusually, a long band hangs from
barely noticeable, camouflaged against the co-ordinated and Travis Banton. With Frederic Hirst he formed the hat, encircling the blouse and literally pulling
clothing. During the 1930s no fashionable outfit the John-Frederics label, creating perfectly co-ordinated the outfit together.
was complete without matching hat, gloves, shoes and outfits. This picture shows how a puff-sleeved, tartan
bag. At that time, New York's accessory designers were shirt and cream skirt is complemented with formal
moving into the limelight, and John P. John was one of accessories, including a matching bag. The cream broad- # Adrian, Banton, Daché, Simpson

234

John P. John. b (GER), c1906. d Los Angeles (USA), 1993. Veiled panama hat, plaid blouse and pocket book. Photograph
by Horst P. Horst, 1939.
 J ohnson Betsey Designer
‘Fashion is all about having fun and these are clothes designs took full advantage of the new synthetics and Christie, it sold in the tens of thousands. Johnson's career
to have fun in} says Betsey Johnson, who wears her own mini-lengths. Her dresses were decorated with jangling was launched by New York's Paraphernalia boutique
kooky combination of floral dress and fishnet tights, shower-ring hems and her fluorescent underwear was a champion of youth-inspired fashion in the 1960s
Johnson's attitude to fashion is summed up by the packaged in tennis ball cans. Johnson also sold plastic
cartwheels she performs along the catwalk at the end of dresses in kit form for the wearer to arrange as she
her shows. Best known for her brightly coloured, madcap wanted. It was a dress with a ten inch, extended collar
prints, she started designing in 1965 and her imaginative that made her name. Worn by British actress Julie + Bailly, Foale, Rabanne

Kk J
<

Photograph by Harry Benson

| Betsey Johnson. b Hartford, CT (USA), 1942 Betsey Johnson in her design studio, New York, 1982.
 oh Nn Son Beverly Model
Beverly Johnson has a place in fashion history, not only Fashion editors were impressed by her fresh beauty. Her career spanned the 1970s and early 1980s and also
as the first black model to be featured on the cover When Scavullo photographed her for the Vogue cover included film roles, records and two books.
of American Vogue, but also for paving the way for in August 1974, the magazine was taking a chance. Little
black women the world over to feel part of the fashion did they know that its circulation for that month would
industry. Johnson began modelling while a student at double. Johnson said at the time, ‘The participation
Northeastern University in Boston, receiving assignments of black models ... is unjust in proportion to the amount
for Vogue and Glamour despite having no portfolio. of money that is put into the industry by black people: #@ |man, Nast, Turbeville

<3;
A-look issue

Beverly Johnson. b (USA), 1953. Beverly Johnson. Photograph by Francesco Seavullo, American Vogue, 1974
J On eS Grace Model
Grace Jones poses for a Polaroid taken by her friend ‘Glitter? Uh-huh. Platform shoes? Yeat t was Sort rt jular, leather clothe
Antonio Lopez in his bathroom. Jones, with her old Hollywood star stuff! Fashion centred on the flast to clothe
her image a ,moder

Amazonian figure and shorn hair, was the antithesis of nightclub scene at Paris's Club Sept, where Jones {
femininity. The daughter of a Pentecostal minister, everyy night. Together
} Wwith friend Merry
Jerry Hall.
1 J Jor es
she rebelled against her strict upbringing and pursued brought outrageous performance to modelling and, as
a modelling career in Paris at a time when her theatrical a result, created a second career for herself. In the 19 10)

attitude perfectly suited the extremes of 1970s fashion she turned to music, cultivating an aqgressive ook of # Antoine, Antonio, Price

by Antonio Lope 980

Grace Jones. b Spanish Town UAM), 1954. Grace Jones. Photograph
 Jones Stephen Milliner
The model camps it up for Mario Testino's camera. On her George. In 1984 his work was noticed by Jean-Paul to collaborative ventures because of its sympathy with
head she wears a miniature topper by milliner Stephen Gaultier and Thierry Mugler, who both asked him to the clothes, as well as a sharpness that makes it a punchy
Jones, known for his innovative, witty and gregarious design hats to accessorize their collections, making him punctuation mark.
hats. Boaters, caps and bowler hats have all been reduced one of the first British milliners to work in Paris. Jones
to create millinery caricatures. He was a central figure has since collaborated with a succession of international
in London's New Romantic movement in the early fashion designers. As with the shoe designer Manolo
1980s, niaking hats for his friends Steve Strange and Boy Blahnik, his work as an accessory designer lends itself * Berthoud, Galliano, Testino, Van Beirendonck

238

Stephen Jones. b West Kirby (UK), 1957. Top hat. Photograph by Mario Testino, Harpers
& Queen, 1988.
J ourd d 1a Charles Shoe designer
In the 1930s, Charles Jourdan was the first shoe three of their platform sandals behind. Jourdan had a collaboration with André Perugia added a touch
designer to advertise in fashion magazines. In the 1970s, introduced low-priced diffusion lines to his handmade of glamour, but Jourdan’s collaboration with Bourdin
his advertisements, such as the one below, were collection after the Second World War. He sold simple remains the most exciting impression of his work
photographed by Guy Bourdin and became legendary. designs in a multitude of colours and fits, for
Bourdin lent the shoes wit and mystery by placing them a developing ready-to-wear business. In 1958 Maxime
in surreal scenes, making them components of a larger a low-heeled, square-toed court shoe with a satin
story. Here, two women are escaping over a wall, leaving bow, became his best-selling style. In the 1960s * Bourdin, Oldfield, Perugia

y by Guy Bourdin 1974

(FR), 1976. 5 Summer>r sandals Photogra
sande . Photoa raph
Charles Jourdan. b Bourg-de-Péage (FR), 1883 d Romans-sur-lsére
 Kam ali Norma Designer
In the tradition of American fashion, Norma Kamali away with comfort when fashion dictated structure and (On My Own) and her new-found independence was
formed an entire wardrobe from utilitarian material. ostentatious formality? She was also one of the first to reflected in her clothes, which have continued to provide
When she launched her own range of clothes, Kamali offer the unitard. Kamali's fashion career began in 1968, a modern response for modern women.
created a fashion phenomenon by using sweatshirt fleece when she opened a boutique with her husband Eddie
fabric for clothes such as leggings, kick skirts and wide- in New York. At the time, she was an air stewardess and
shouldered dresses. Her outfits addressed a problem sourced many European fashions, particularly from Biba
felt by millions of American women: how could they get in London. In 1978, after her divorce, Kamali set up OMO * Campbell, Hechter, Hulanicki

240

Norma Kamali. b New York (USA), 1945. Sweatshirt collection. Spring/summer

1980. Women's Wear Daily.
Ka Yan Donna Designer
eed? How can | make life easier?How «
{ressing be simplified
so that | can get
wn life?’ Donna Karan's own thoughts couldbe running
through the head ofthe ‘first woman president’, who
represents her own ideal: ultimately powerful and urbar he would wear herself. |

Professior wearability dictates Karan’s work. Her first

| ) wardrobe of separates based around the Klein dic Karar elity to k @ Dell'Olio, A. Klein, Maxwell, Morris

“> Asse 02100000,

_ —= > =f \

Donna Karan. b New York (USA 948. ‘In Women We Trust’ advertising campaign.
 Kawakubo Rei (Comme des Garcons) Designer
In this classic photograph of work by Rei Kawakubo for Kawakubo's aesthetic changed the way clothes were customers to wear her ideas even when they resemble
her label Comme des Garcons, shredded sweaters are seen. Called ‘post-nuclear chic’, it supplanted the a work of art — as was the case in 1997 when she padded
patchworked together. The mishmash of knitwear is held assumption that fashion was always to be approached them with cushions to re-contour the body shape.
together by visible, rough over-stitching and deliberately with the intention of creating perfectly made clothes
careless seaming. The model's make-up feigns bruising, in the old tradition of those that flatter the body.
she wears jersey bandages around her wrists and Kawakubo Is a conceptualist, using Japanese rather
her hair is razored into a brutal crop. In the early 1980s, than European clothing traditions. She challenges her © Arai, Hirata, Lindbergh, Miyake, Vionnet, Watanabe

i) iS

Rei Kawakubo. b Tokyo VAP), 1942. (Comme des Garcons.) Knitwear. Autumn/winter 1984/5. Photograph by Peter
Lindbergh.
 ] ’
Ke ld Calle
Stér nane CL
snoe designer
 Kel ly Patrick Designer
Shining out amidst the backstage chaos are symbols that fashion look like fun...an unforced feeling of happiness: over a coat. Between 1985 and 1989, Kelly seemed
characterize one of the most exuberant designers of the His work always contained an element of the theatrical an irrepressible force for dynamic fashion, involving
1980s. A committed Francophile, Patrick Kelly describes and his catwalk shows combined the largesse of a rural young people and black experience.
the Eiffel Tower in rhinestones for a black dress, uses Southern American culture with the camp bravado of
it for clunking gilt earring charms and even on high- Moulin Rouge entertainment. Affordable ready-to-wear
heeled shoes. Journalist Bernadine Morris noted Kelly's clothing was gaily decorated with buttons, and black
‘collection of lively, unpretentious clothes that made rag dolls, once a sign of oppression, were festooned @ W. Klein, Moschino, Parkinson, Price

244

Patrick Kelly. b Vickysburg, MI (USA), 1954. d Paris (FR), 1990. Backstage. Photograph by William Klein, 1987
Ken Nn edy Jacqueline Icon

Ladylike but youthful, formal but fashionable, the Jackie’ Vreelandat Harper's Bazaar. |n return, Cassini create
style caught America’s attention and made the young 1 wardrobe for the First Lady. It had a pared
woman a fashion icon. This picture illustrates Jackie's elegance
and an informal spirit that was unusua
trademarks: the simple coat, the white gloves, the hair rarely wore patterns and stuck to simple shapes
by Kenneth. In 1961 Oleg Cassini became her designer, sleeveless, boxy shift dresses with matching coats n¢
telling her that she could only wear his clothes - accessories. Halston was her milliner, creating her
although she would occasionally consult with Diana style. Jackie always wore gloves and rarely wore j|¢ * Cassini, Daché, Lane, Pulitzer, Vanderbilt, Vreeland

é
P!
994, ‘Raja’ coat in dupion silk by Oleg Cassini.
Jacqueline Kennedy. b New York (USA), 1929. d New York (USA), 1
 Kenneth Hairdresser
In 1963, an article in American Vogue, entitled ‘The called it the ‘Dynel period’ because of the enormous backcombed precision bobs defined an era. 'l defy
Kenneth Club’, described the lengths to which women quantities of synthetic hair that were used for ever more a woman to wear a Courreges dress without really great
would go for an appointment with the hairdresser elaborate wigs and extensions. Famoustly, in Tahiti, they make-up and a hairdo, he is quoted as saying.
Kenneth Battelle. He attended to Jackie Kennedy's used Dynel not just on the models but on a real white
bouffant bob, copied across America. He created the horse to create a fairy-tale ponytail. However,
perfect domed bobs on Veruschka and Jean Shrimpton for Kenneth, the cut rather than the dressing was the
for Vogue covers when Diana Vreeland was editor. She most important element to a hairstyle: his teased and @ Antoine, Kennedy, Shrimpton, Veruschka, Vreeland

246

Kenneth (Kenneth Battelle). b New York (USA), 1927. Bouffant bob. Photograph by Art Kane,
American Vogue, 1962.
Ken ZO Designer
Her layered, tloral, prairie cottons swing to life; an earthy, popular with young, fashionable models who were the cottons to produce an eclectic, comfortable look
retrospective look that dominated much of the mid- looking for fresh, spirited clothes. Inspired mostly His refreshing use of colour, pattern and print have made
1970s. The dress and jacket use the Victorian details such _ by traditional Japanese shapes, Kenzo's early, highly him one of the most durable of the 1970s designers
asa fitted bodice and billowing sleeves caught into deep desirable collections included easy-to-wear smocks,
cuffs. Kenzo Takada, its designer, opened his first shop tunics, oriental blouses and wide-leqged trousers
in Paris in 1970. Since it was decorated with jungle prints, They were predominantly made from cotton and quilted
he called it Jungle Jap, a name which soon became Kenzo also specialized in knitwear which was added to © Ashley, Ettedgui, Matsuda

iyi yi
+)
gant!
et
fee 4

z ig a

} “4 hn,
eh
¢, Y

print dress, Spain. Photograph by Peter Knapp, 1973

Kenzo (Kenzo Takada). b Hyogo UAP), 1939. Tiered floral
 INEOKG |) nes Designer
‘Lainey's knitwear; said Hamish Bowles in American — this dress is also ethereal and romantic. The emerald ‘exquisite feeling of the lightest textures against the skin’
Vogue, ‘challenges all one's preconceptions of the green hand-work conjures up images of mermaids and her fabrics are created using feather-light cashmere
woolly jumper: Here, her friend Naomi Campbell wears and the fishing nets used on the west coast of Ireland. and iridescent chenille.
an intricately knitted dress which is light as air, clingy Lainey Keogh says her hand-knitted clothes are ‘like
and revealing. Knitting is one of Ireland's oldest cottage food or sex: intimate and personal! This poetic sensibility
industries and although Keogh’s style is modern — with is her signature; she claims to have discovered her talent
details such as the quirky, asymmetric hem and shoulder through knitting a jumper for her lover. She loves the * Campbell, Kobayashi, Macdonald

248

Lainey Keogh. b (IRE). (Active 1990s-.) Lace knitwear. Autumn/winter 1997/8. Photograph by Chris Moore.
Kerrigan Daryl Designer
A Daryl K dress is hitched up ina movement which New York in 1986. Kerrigan was detern 1 to desig ( Women w ( d
corrects a predicament known as the ‘Daryl
dip! Dary| perfect pair of jeans. Her boot-cut, hipster jeans, dubbed they're d ng ina per
Kerrigan's problematic but highly fashionable strapless ‘low riders’, were partly inspired by < f
tops, worn with tomboyish
hipster trousers, blend huggers
she had found ina vintage w | he
sportswea with tailoring
r for women who aren't ready were to make her name and become the mainstay of |
to commit to a suit. She studied fashion at the National collections, alongside her stretchy tube tops, drawstring
College of Art and Design in Dublin, before moving to nylon skirts and zip-up jersey sweat-jackets. SI 1S + Demeulemeester, Farhi, Lang

Mortimer,
Daryl Kerrigan. b Dublin (IRE), 1964. Strapless dress. Photograph by Jon
1998
 Kh d nN h Emmanuelle Designer
‘Haute couture is dead; proclaimed Emmanuelle Khanh and modernizing the loose, feminine frame of the 1930s. embroidery and peasant-style dresses. Khanh represented
in the 1960s. Her French street fashion paralleled Mary Her relaxed style, shown here, was a mixture of low- the young face of French fashion, together with
Quant's during the 'youthquake’ movement. Her radical waisted culottes, fitted jackets with narrow shoulders Christiane Bailly and Paco Rabanne.
designs, tightly modelled on the curves of the body, and dog-eared collars. These flattering innovations were
drew inspiration from the pop scene. A former model adapted from her earlier knitwear for Missoni, Cacharel
for Balenciaga and Givenchy, Khanh reacted against and Dorotheée Bis. Her own label, created in 1972,
the stiff sophistication of 1950s couture by reflecting echoed the ethnic look of the period in Romanian hand # Antonio, Bailly, Ettedgui, Jacobson, Quant, Rosier

250

Emmanuelle Khanh. b Paris (FR), 1937. Ready-to-wear womenswear. Illustration by Antonio

Lopez, French Elle, 1967.
 kim Christina (Dosa) Designer
The featherweight
gauze shirt worn over silk trousersis washed linen. Kim has since perfected the art of melding by-productsof the clothing manufacturing process
representative of Christina Kim's almost spiritual work. simple shapes, inspired by her Korean heritage, with for home accessories
The designer behind the Dosa label launched in 1983, fabrics from diverse cultures, in a palette of soothing
Kim was born in Korea but has lived much of her life often iridescent colours. In 1997 Dosa - the Korean word
in Los Angeles. The Dosa philosophy was born when her for ‘sage’ and Kim's mother's nickname — was heralded
t'ai chi teacher's traditional Chinese jacket caught her as the hottest label to come out of the USA and into
eye and inspired her to make a similar one but in heavy, Europe. Mindful of the environment, Kim also uses the + Jinteok, Matsuda, Zoran

i trousers. man,
) Photograph by Don Freeman, Joyce,
Joy 1
; i with silk
(Dosa.) Diaphanous shirt
Christina Kim. b Seoul! (KOR), 1957.
 Klein Anne Designer
A belted, white playsuit over a long-sleeved T-shirt with her work at Junior Sophisticates in 1948, she always Klein's lead was followed by Donna Karan and Louis
epitomizes every practical detail used by Anne Klein. thought in terms of carefree and casual forms, soft Dell’Olio who both excelled (and still do in Karan's case)
Klein only just missed inventing American designer materials (especially jersey for evening), mixable at fashion that is friendly towards a multitude of
sportswear. Following the pioneers of the 1930s and separates (for sensible wardrobe-building) and forgiving figure shapes.
1940s — McCardell, Leser, Maxwell et a/- she came tunics and outer wraps. Her bodysuits and derivations
to represent the ethos of contemporary sportswear, from active sportswear determined the basic canon of
creating clothes that suited modern women. Beginning American designer sportswear in the 1950s and 1960s. @ Dell'Olio, Leser, Maxwell, McCardell, Rodriguez

252

Anne Klein. b New York (USA), 1923. d New York (USA), 1974. Cream shorts suit. Photograph by
Kourken Pakchanian, American Vogue, 1972.
Kl en Calvin Designer
Lauren Hutton wears a simple blouson jacket, mannish modern fashion. In the 1970s, Klein produced branded and women’s underwear in the 1980s. Klein is ofter
pleated trousers cinched with a silk tie, and a clean, jeans, thereby creating the modern-day designer labe credited as being mostin tune with the Zeitg
white top. The styles may have changed but the as a branding tool. Klein is also known for his clever mostcapable of understanding what the modern womar
adjectives have followed Calvin Klein's work through marketing: when Brooke Shields purred sexily in his vants to wear
three decades. ‘| made a lot of things that go with things} adverts, ‘Nothing comes between me and my Calvin's
said Klein, whose sophisticated sportswear in natural it seandalized New York and ensured fame for Klein
fabrics and colours came to define the versatility of as did the pin-up, billboard posters for his men's © Baron, Coddington, Hutton, Moss, Turlington, Weber

American Voque
wears cream. Photograph by Francesco Scavullo,
Calvin Klein. b New York (USA), 1942. Lauren Hutton
 Kl EIN. witiam Photographer
The viewer always has the best seat in the house for this is the street and not a commissioned runway. Klein appeared to care little about the dresses; he was always
Klein's spectacle. In a 1960 meeting of Roberto Capucci exalted the artifice of a fashion photograph, defying a maker of eccentric, visual melodramas.
dresses on the Piazza di Spagna in Rome, Simone many of his contemporaries in the 1950s, who preferred
d'Aillencourt almost steps into the viewer's lap; Nina naturalism or its simulation. Klein sought the startling
de Vos, walking the other way, looks back as if to notice effect. Later a film-maker, Klein let out some of
that the two dresses are so Op Art and so alike. Only the his fashion contempt in the satirical film, now a fashion
‘chance’ presence of the guy on the Vespa tells us that legend, Qui étes-vous, Polly Magoo? (1966). Klein * Capucci, Courreges, Fontana, Kelly, Paulette

254

n ens
reetlteeeneeneennenne
al
—
——
rs

William Klein. b New York (USA), 1928. Black-and-white dresses by Roberto Capucci. American Vogue, 1960
Knight Nick Photographer
Devon, the young model, looks vulnerable and fragile. many 1990s photographers, he manipulates his images view of beauty has led him to photograph a size 14
She is scarred and seemingly half-blind, her face by computer to heighten their impact. Knight's model for Vogue and a septuagenarian teacher for
transformed by make-up artist Topolino. Although her photographs, which have appeared in Vogue and i-D a Levi's advertising campaigr
stance and expression are aggressively defiant, the usually have a fairy-tale aspect to them, often contrasted
image is a deeply disturbing vision by photographer Nick with disturbing touches of violence, as here. His pictures
Knight. It is fashion photography in extremis. ‘If you focus on form as well as fashion, as demonstrated by the
want reality, look out of the window; says Knight. Like geometric shapes in the photograph. His unconventional! * McQueen, Strauss, Topolino

McQueen. 1996
Nick Knight. b London (UK), 1958. Brocade cowl dress by Alexander
 Kn ght ‘Phil and Bowerma N1 Bill (Nike) Designers
The famous ‘Swoosh’ tick is the designer logo of the of victory. Much of the key to Nike's success lies in as-streetwear trend of the 1980s and 1990s, producing
sportswear market. One of Nike's two founders, Phil the marketing of its image, with advertisements that fashion-conscious designs in limited editions which have
Knight, was a middle-distance runner at the University push the brand rather than the product. The company's since become collectors’ items.
of Oregon. He founded a company called Blue Ribbon slogans, including ‘Just Do It’, are unapologetically
Sports in 1971, importing the Japanese Onitsuka Tiger uncompromising; Nike was criticized by the Olympic
trainer. Soon afterwards, he started manufacturing his Committee for its ‘You don't win silver — you lose gold’
own range, called Nike after the Greek winged goddess advertisements. Nike took advantage of the sportswear- # Crawford, Dassler, Hechter, Lacoste

ii :
7] i Fi

UN) iff’

256

RL aT
ai it ai

Phil Knight. b Portland, OR (USA), 1938; Bill Bowerman. b Portland, OR (USA), 1911. d Fossil, OR (USA), 2000. (Nike.) Sportswear, South Africa,
1997. Photograph by Anton Want.
Kobayashi vuxic Designer
This photograph by the legendary photographer of New Matsuda collection and was taken to capture its ‘raw ire inseparable...voth need to be nurtured and developed
York's drug culture, Nan Goldin, was taken in 1996 energy and artistic foundation. Kobayashi is unusual to ensure they prosper over time. Here translucent prints
as part of a series entitled Naked New York — Nan Goldin in his mission to create clothes that break free of on bare skin simulate intricate tattoos
meets Yukio Kobayashi. Kobayashi had been designer conventional style and offer an ‘ageless’ and ‘genderless
of the Matsuda menswear line since 1983, and took alternative, using highly developed sewing and
on the role of chief designer of womenswear in late decorative techniques, such as ‘needle punch’ and
1995. This photograph is from the autumn/winter 1996 quilting. 'From my perspective; he says, ‘fashion and art + |sogawa, Keogh, Matsuda

for Matsuda. Autumn/winter 1996.5. Photograph

Ph h byby PJan Goldin
Yukio Kobayashi. b Niigata VAP), 1951. Yukio Kobayashi
 Kors Michael Designer
Michael Kors is a designer of modern American chose fashion and studied it briefly, but learnt his trade and organza over cheaper alternatives. In 1998 he
sportswear. His aspiration is to design clothes that can by working at a boutique where he eventually became also began designing for deluxe French house, Céline,
be both shown off and worn for everday life. Kate Moss a designer. He established his label in 1981, incorporating a parallel to Marc Jacobs’ move to Louis Vuitton.
wearing this strapless, black outfit on a racing track and menswear in 1990. Kors works with neutral and bright
holding a helmet bearing the US flag epitomizes his style: colours; his clothes are minimalistic in shape and
itis sexy, fun and practical. Kors had two career aims luxurious to touch. He layers his silhouette and uses
as a child — to be a movie star or a fashion designer. He luxury fabrics, preferring cashmere, kid leather, silk ‘© Eisen, Jacobs, Mizrahi, Moss, Tyler

258

Michael Kors. b New York (USA), 1959. Kate Moss wears stretch tube top and pedal pushers. Photograph
by Terry Richardson, Harper's Bazaar, 1997.
ie Ch apell eC david Photographer
‘l love drama and outrageousness. | love crazy scenes} Connecticut to the brashness of Carolina encouraged planning them and working on them, is a big escape; he
says LaChapelle, who creates an unforgettable LaChapelle to ‘celebrate the artificial, He left home says. LaChapelle likes his subjects to be equally dramatic
interpretation of John Galliano's outfits for his two at fifteen and moved to New York where he worked as ‘Exhibitionists make the best models:
‘Milkmaids' here. When he was young, his mother a busboy at the legendary New York nightclub, Studio
organized elaborately staged photographs: 'In the family 54 -‘a big influence...all that pop imagery. He met Andy
albums we look like the Vanderbilts. My mom remade her | Warhol at a Psychedelic Furs concert and was employed
reality through snapshots: Their move from conservative — by him at Interview. ‘For me, taking photographs, | Galliano, R. James, Vanderbilt, Warhol

259

. Stern, 1996
David LaChapelle. b Hartford, CT (USA), 1963. ‘Milkmaids’
 LaCOSILEC Rene Designer
The French tennis star, René Lacoste, launched his polo tennis-wear for men, women and children. As such, it Casuals, working-class football supporters, began
shirt in 1933, six years after he had earned the nickname was a precursor to the sportswear phenomenon that wearing upmarket labels such as Lacoste as an emblem
‘le crocodile’ for winning a crocodile-skin suitcase in accelerated throughout the century. Lacoste's crocodile, of personal success.
a bet. ‘A friend drew a crocodile’ he said, ‘and | had it one of the most famous fashion emblems, is sold across
embroidered on the blazer | wore on the courts: His polo the world to brand-conscious youth. When logo mania
shirts were the first example of sportswear as fashion. boomed in the 1980s, Lacoste became a major label,
The Lacoste empire now includes leisure-, golf- and worn from Laos to Liverpool; it was in this city that @ Dassler, Jantzen, P. Knight

260

René Lacoste. b Paris (FR), 1904. d Saint Jean-De-Luc (FR), 1996. René Lacoste wears blazer with a crocodile
motif, 1927.
SFA CTOUX christian Designer
This printed 1eotard, smattered with beading and worn him to Boucher, Madame de Pompadour and Louis XIV. opened his own house in 1987, Lacroix became
with grandiose costume jewellery — not least a beaten An ancien régime opulence influences much of his work, famous for his fearless confusion of fabric, colour
gold and chain belt - epitomizes Christian Lacroix's role which is also coloured by his hot, southern French roots. and surface decoration.
as an ornate antidote to monochrome power dressing. Having designed for Hermés, Lacroix joined Patou in
His grandfather, a dandy who lined his suits with green 1981. His 1984 couture collection for that house, inspired
silk and painted his bicycle gold, inspired Christian's love by the bohemians and aesthetes of prewar Paris and
affair with the eighteenth century, introducing London, injected life back into the couture scene. Having + Etro, Gigli, Hermes, McCartney, Patou, Pearl

d catsuit. Photograph by Mario Testino, 1990.

Christian bata b Arles (FR), 1951. Marie Sophie wears printed and embrvidere
 la gerfel d Karl Designer | -_ 9g
‘Lam not interested in the future or the past; now is the parents, Lagerfeld moved to Paris, aged fourteen. His love leitmotifs, including gilt buttons and the chains used
interesting time; Karl Lagerfeld said in 1986. Yet of history, particularly eighteenth-century costume, has to weight her jacket hems, and turned them into
this photograph, taken by the designer himself, suggests influenced his work and his style - Lagerfeld's ponytail design features.
yesterday's Paris with her deconstructed pompadour and fan have almost become trademarks. Describing
hairstyle. Lagerfeld's modern influence is evident in the himself as a ‘professional dilettante’, his portfolio has
New York street scene and in the sharp cut of her dress, included collections for Chanel, Fendi, Chloé and his own
an enduring theme for his label. The son of wealthy label. His work at Chanel took Coco Chanel's traditional @ Fendi, Léger, Lenoir, Macdonald, Paulin, Tennant

Karl Lagerfeld. b Hamburg (GER), 1938. Nadja Auermann wears empire-line dress, New York. Photograph by Karl Lagerfeld, 1994.
Lali Q U e Rene Jules Jewellery designer
A gold and diamond tourmaline dragonfly brooch the purpose of the pieces and elaborately ornate hair Bernhardt. Lalique moved into glass jewellery in the
displays Lalique's precise copying techniques and delicate combs were especially popular. Many of the pieces 1920s and 1930s, creating all-glass rings, and pendants
pictorial detailing. Master goldsmith Reneé Lalique led had references to nature, such as insects, animals or flora on silk cords
the Art Nouveau jewellery movement of the 1890s, and and many featured pictorial scenes, such as a forest
later became a premier glass-maker. Unconventionally, clearing, with a single pearl suspended below. Often
Lalique worked with materials for their aesthetic impractically large in order to increase the visual impact,
value rather than their preciousness. Decoration was the pieces were favoured by extroverts such as Sarah * Bulgari, Tiffany

tourmaline pendant brooch, ¢1900.

René Jules Lalique. b Ay (FR), 1860. d Paris (FR), 1945. Diamond
 Van Lamswee?1deé ine: Photographer
A Van Lamsweerde photograph is instantly recognizable. Leroy, uses computer manipulation to create worked together since on academic, fashion and
Turn the pages of a style magazine such as The Face, a fantastical situation: two women on a surreal bicycle advertising projects which include campaigns for
Vogue, Arena or Visionaire and it will be impossible ride are surrounded by phallic imagery which includes Yohji Yamamoto and Louis Vuitton.
to miss the hyper-real and highly technical images made a space shuttle launch. It is staged, it is ridiculous,
with her creative and live-in partner Vinoodh Matadin. but most of all this image is humorous pastiche, and this
This image, for example, taken from a Face fashion shoot is the main characteristic of their work — satire. The
and featuring clothes by French designer Veronique pair met at Rietveld Academy of Arts in 1991, and have © Leroy, Molinari, Vuitton, Y. Yamamoto

264

Inez van Lamsweerde. b Amsterdam (NL), 1963. ‘Well basically, Basuco is coke mixed with
kerosene ... + 1994.
a n ceth Pino Designer
Two models tread Pino Lancetti's catwalk. Their richly to Rome and began sketching | ‘for fun’J for tt
detailed gowns serve to reinforce their sleek-haired there. In 1963 he launched a seminal ‘Military Line’ the trappings
of the international fashior
conspicuousness, a style that belongs to the wealthy collection
which transferred the uniform into fast was best known in Jar i
society
for which
he caters. Both dresses fall from raised His designs, unsurprisingly, tended to be p y
waistbands and are accessorized with co-ordinating their inspiration ranging from Modigliani to Picass«
wraps to maintain their decorum. Initially
a painter, to Impressionism. The look was often ‘folksy’ i
Lancetti became involved in fashion when he moved printed fabrics. Even the Military Line showed ethnic + Lapidus, McFadden, Scherrer, Storey

d 2007 ~Ided evening

Gilded eveni asses. Wonien's
dresses, Women's Vv Wear Daily,
Vally 1977
Pino Lancetti. b Bastia Umbra (IT), 1935.
 La Nn e Kenneth Jay Jewellery designer
Dubbed ‘the undisputed king of costume jewelry’ by Time jewellery was his future and spent his spare time covering famous for their real jewels, have included Jackie
magazine, Kenneth Jay Lane believes every woman has cheap plastic bangles with stripes, patterns and crystals. Kennedy, Elizabeth Taylor, Babe Paley, Barbara Bush
the right to look glamorous — no matter what her income He was celebrating the possibilities of non-precious and Joan Collins.
or status. Lane eschews the elitist stance of many materials. Lane would place demonstrably artificial
designers. Early in his career, Lane designed shoes plastics next to glass approximations of diamonds. This
for Christian Dior, where he worked under the tutelage has been an enduring formula that was widely copied
of Roger Vivier. By 1963 Lane had decided costume in the 1980s and 1990s. His clients, all of whom were * Butler & Wilson, Kennedy, Leiber, Paley, Vivier

266

Kenneth Jay Lane. b Detroit, MI (USA), 1932. Paulette Stone. Photograph by Norman Eales, 1967
 Lang Helmut Designer
A backstage snap, capturing a theatrical headdress, He describes his clothes as conveying ‘the sort of ethos is to create a simple silhouette for both sexes; this
worn with plain white vests, epitomizes the work of the anonymous Status that the truly knowing admire’ is then made more complex with textural combinations
most copied designerof the 1990s. Technology and bare — indeed, they are adored by fashionable aesthetes the sheer/opaque, shiny/matt — and flashesof bright colour
fabrics that are rarely made from natural fibres, are world over. Lang launched his own label in 1977. His
joined in his collections. Lang's watchwords
are first Paris show, in 1986, was an immediate success
‘now’, ‘urban’, ‘clean’ and ‘modern. His clothes reflect and his popularity continued throughout the 1990s,
a downbeat style which is instantly recognizable. affording him cult status. The essence of his design + Capasa, Kerrigan, Sander, Teller, Tennant

FATES Ve
ro -

al

Teller,
wears feather headdress. Photograph by Juergen
1997
' Helmut Lang. b Vienna (AUS), 1956. Kirsten Owen

7
 La nvin Jeanne Designer
Keeping the waisted, full-skirted dress alive was Patou were modernizing with their vertical aesthetic. favourite client was the star, Yvonne Printemps. Madame
a speciality of Jeanne Lanvin, as the mannequin and the Opening her maison de couture just before the First Lanvin was also famous for her mother/daughter outfits
sketches on the floor and in the hand of the couturiere World War, Jeanne Lanvin was already fifty-one when and for introducing, in 1926, a line of menswear.
attest. Famous for her robes de style and frocks the war ended. Rather than initiate revolutionary trends,
that recalled earlier times, Madame Lanvin promoted she clung to that era - designing on the lines of the full
romantic clothes when other couturiers such as skirt of 1915-16 with only slight adjustments. Fittingly,
Madeleine Vionnet, Coco Chanel, Alix Grés and Jean when romantic clothes thrived in the theatre, her * Abbe, Arnold, Castillo, Crahay, Grés, Montana

268

Jeanne Lanvin. b Brittany (FR), 1867. d Paris (FR), 1946. Jeanne Lanvin with mannequin in her Paris studio, 1921.
 Lapidus te Designer
Ted Lapidus and his model Lilo pose for Eve Arnold diploma taken in Tokyo in 1949, but he was inspired mass-manufacture at the same time as applying
backstage at his winter show in 1977. Lilo wears by his Russian tailor father to take up fashion instead his precision techniques to his couture collections
a typically romantic, crepe georgette dress by Lapidus Using the principles learnt from both disciplines, Lapidus
Despite its heavy embroidery and beading, it is a relaxed attracted a reputation as a master of pattern-cutting
shape which is dressed down with a peasant neckline Inspired by his experience of high technology in Japan,
and a tiered skirt - details usually found on daywear. he felt that it was important to integrate science
_ Lapidus's design education began with an engineering with fashion. Consequently, he became involved with * Arnold, Lancetti, McFadden

Arnold, French Vog

a beaded dress. Photo graph by Eve
) Ted Lapidus. b Paris (FR), 1929. Ted Lapidus with Lilo wearing
 Laroche uy | Designer
Guy Laroche's career began at a hat-maker’s in Paris, of Cristobal Balenciaga, but he later gave that formality waistbands. In the following decade, his trouser suit, itself
then in New York, on Seventh Avenue. On returning a lively freshness, cultivating popularity with younger a symbol for liberated women, was required wearing.
to Paris, he found employment in the maison de couture women - this meant diversifying his couture business
of Jean Desses. His successful apprenticeship encouraged by moving into ready-to-wear in 1960. Laroche Is
him to open his own house in 1957. Laroche was remembered from that time for lending an almost girlish
renowned for his mastery of cutting and tailoring. His attitude to formal clothes - especially with his empire-
early work was influenced by the architectural cutting line dresses with material gently gathered into raised | Dessés, Fath, Miyake, Paulette, Valentino

270

ay

Guy Laroche. b La Rochelle (FR), 1923. d Paris (FR), 1989. Tweed suits and woollen accessories. Photograph by
Chris Moore, 1971.
Lauder ste Cosmetics creator
The Estée Lasder look from 1961 is a constructed scheme when he came to stay in America, admonished her for the first names to develop a full range of cosmetics
using shading, lighting and lashings of liquid eyeliner. washing her face with soap. With him, the family set The company is now a giant, encompassing other
Lauder, who founded her company in 1946, was one up a laboratory and produced creams which became brands: Aramis, Clinique, Prescriptives, Origins, Aveda
of the queens of New York cosmetics. Born there, she was favourites with their friends and friends of friends. and Bobbi Brown.
the daughter of a well-to-do Hungarian mother and The real business began when Estée was invited to sell
Czechoslovakian father. Her interest in skincare the products at a Manhattan salon. Lauder encouraged
was inspired by her Uncle John, a dermatologist, who, women to buy scent for themselves and was one of © Brown, Dovima, Factor, Horst, Revillon

American Vogue, 1961

1940s-) Estée Lauder make-up. Photograph by Horst P. Horst,
Estée mate b New York (USA). d New York (USA), 2004. (Active
 Lauren sais
A Californian ranch is the setting for Ralph Lauren's
advertisement from 1988. His vision, conjured by
Designer
dressing every aspect of it, from exotic travel to business
suits for Wall Street. Since 1968, when he launched his
films The Great Gatsby (1974) and Annie Hall (1977), for
which Lauren worked on the actors’ wardrobes. In later
Bruce Weber, is of a measured, monied society which has menswear label, Polo, Lauren has created a brand that years, he has made the look his own.
a home in Connecticut and a ranch in Pasadena. Lauren, is known throughout the world and clothes which are
status symbols. His style, borrowed from vintage
product designers in the world, is a clever marketing clothing, evolved from a desire to give new relevance to
man; a purveyor of a Waspish, all-American lifestyle, nostalgic elegance. It was an aesthetic summed up in the * Abboud, Brooks, Hilfiger, Wang, Weber

Ralph Lauren. b New York (USA), 1939. ‘Polo’ advertising campaign, Pas . Photograph by Bruce Weber, 1988.
Le ger Herve Designer
These rainbew dresses, formed from hand-stitched elastic up with the vagaries of fashion. She does not give a a glamorous simplicity and an uninterrupted line
bandages, are little more than extended swimsuit shapes, damn about trends, she refuses to be a feminine clothes His swimwear continues to be regarded as flattering,
Herve Leger learned his craft working with Karl Lagerfeld, hanger: His use of stretchy bands for his ‘bender dresses’ correcting the body like foundation-wear
designing swimwear first for Fendi, then Chanel. His forte means his clothes are often compared with those of
is remoulding the body and Léger is more concerned with Azzedine Alaia, his 1980s predecessor. Both designers
perfecting the female form than he is about passing greatly admired the silhouette-enhancing work of Mme
trends, He claims that the woman he designs for is ‘fed Vionnet, and Leger's ankle-length column dresses have + Alaia, Chanel, van Lamsweerde, Model, Mugler

273

van Lamsweerde and Vinoodh Matadin, 1995

19
Hervé Léger. b Bapaume (FR), 1957. Joanna. Photograph by Inez
 Leib CT sudith Accessory designer
A glittering Judith Leiber evening bag has been the focus —_fashioned into such rhinestone whimsies. Though Leiber Pat Buckley, who displays them as works of art. Leiber
of Hollywood outfits since the 1960s. Despite its high- was offered a place to read chemistry at London's King's is less reverent about her own work, saying, ‘The bag
voltage sparkle, the example carried by Elizabeth Hurley College in 1939, the Second World War forced her to stay _ is really an object to be worn:
is understated. ‘I like to do things that look crazy, yet are in her native Budapest, where she was apprenticed
practical says Leiber, who sent First Lady Hillary Clinton to a master handbag maker. Leiber moved to New York
a bag modelled on Socks, the White House cat. Ladybirds, in 1947, starting her own business in 1963. Her handbags
teddy bears, fruit and Faberge eggs have all been are collected by customers such as American social queen ™& Lane, Mackie, Wang

ltr

lac,

Judith Leiber. b Budapest (HUN), 1921. Liz Hurley with diamanté minaudiére and Hugh Grant. 1997.
Lel On 6| Lucien Designer
The sleeves of this black, silk velvet evening gown are with the imagery of Surrealism, the dominant art efforts, at least one hundred fashion houses were kept
intricately cut, in the style of a medieval robe, movement of the 1930s. Lelong, who opened his own running throughout the Occupation of Paris from 1940
withpointed cuffs which swoop like swallows’ wings. The couture house after the First World War, was president to 1944
gown closely follows the shape of the figure, moulding of the Chambre Syndicale de la Couture Parisienne from
the waist and the hips before widening into a skirt which 1937 to 1947. He persuaded the occupying Germans
flows softly into a train, like the outspread feathers of a to allow French couture houses to remain in Paris rather
bird's tail. The birdlike character of the dress is associated than be transferred to Berlin or Vienna. Through his = Balmain, Bettina, Chéruit, Dessés, Givenchy

Huene, French Vogue 1934

d Danglet (FR), 1958. Black, silk velvet gown. Photograph by Hoyningen
Lucien Lelong. b Paris (FR), 1889
 Len OIr Jacques and Aghion Gaby (Chloe) Designers
Chloe's name, meaning ‘young, green shoot’, is particularly — with the finesse of haute couture, elevating the more time round public reaction to Lagerfeld proved
appropriate, given that the label pursues modernity. directional ready-to-wear to an art form. The most inconsistent, and Chloé replaced him in early 1997
Yet Chloé retains an ethereal, whimsical femininity that catalytic example — Lagerfeld’s ‘Woodstock couture’ with Stella McCartney, who stuck to Chloe's house
is not always followed by its eclectic choice of designers, of the 1970s, which he revived in 1993 with Linda style with vintage lace, pastel satin and glass buttons.
including the late Guy Paulin and Martine Sitbon. Evangelista as his muse — evoked the flower-child
Launched in 1952 by Jacques Lenoir and Gaby Aghion, mood with free-flowing, pale chiffon, swirly patchwork
Chloe's intention was to approach prét-d-porter maxiskirts and full bloomed, silk roses. However, second © Bailly, Lagerfeld, McCartney, Paulin, Sitbon, Steiger

me

276

Jacques Lenoir. b Paris (FR), 1920. Gaby Aghion. b Alexandria (EG), 1921. (Chloé.) Wool outfit by
Karl Lagerfeld for Chloé. Photograph by Chris Moore, 1979
Leon ard Hairdresser
For one of Leonard's striking hair designs, a hairpiece His work was innovative and directional in the 1960s and Nnours Of snipping, a talent?
is looped under the chin and caught in a hand-painted 1970s: he cut the Beatles’ mopheads and when Justin de with Vidal Sassoon, Twiqay's waifish crop
hair slide by Pablo and Delia. Leonard's extreme colouring Villeneuve delivered his young prodigy Twiggy to Leonard and so was her career
techniques were developed by him for Stanley Kubrick's for a haircut, he made the best business move of his life
2001: A Space Odyssey in 1968. 'l had to push things as Leonard, who had started out with de Villeneuve
far as they would go; says Leonard. ‘The coloured hair, the ona Shepherd's Bush Market fruit barrow Vv,asked Twiggy
crazy colours, the unnatural ones, they started there! to model a new haircut invented by him After eight © Beatles, Mesejean, Sassoon, Twiggy

Lategan, 197
Leonard (Leonard Lewis). b London (UK), 1938 Hair coloured by Leonard. Photograph by Barry
 Yep d p e Georges Illustrator
These ‘Fashions of Tomorrow’ most certainly live up illustrations captures perfectly the silhouette of Poiret's and regularly appeared on the cover of Vogue in
to their name. Poiret's pantaloon gowns, illustrated here clothes. Poiret was the first couturier to relate fashion the 1920s. Lepape was instrumental in bringing art
by Georges Lepape, were considered shocking at the successfully to the other arts and was innovative in movements such as Cubism into the realm of fashion.
time, but anticipated the move towards greater physical commissioning the artists Georges Lepape and Paul Iribe
freedom in women's fashion. This illustration is one to compile limited-edition albums of his designs. Lepape
of the plates from Les Choses de Paul Poiret vues par contributed illustrations to La Gazette du Bon Ton, a folio
Georges Lepape. The sculptural simplicity of Lepape's of fashion news and drawings in the twentieth century, @ Barbier, Benito, Drian, lribe, Poiret

SAatAaitdta
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278

Georges Lepape. b Paris (FR), 1887. d (FR), 1971. ‘Fashions of Tomorrow’. From Les Choses de Paul Poiret vues par Georges Lepape.
1911.
 Leroy Veronique Designer
Veronique Leroy was once described as ‘the unchallenged of the mass-market were still fresh. The chain Azzedine Alaia, who taught her how to handle bod
reigning queen of the Paris sexy-tack scene’. This a reference to Chanel's handbag handles, suspends an huqaing Lyeras and synthetics, and Martine Sitbor fron
sportswear-meets-eveningwear outfit is typical of Op Art patchwork of artificial sportswear fabrics. These whom she learned about the art of catering
for the oC k
Leroy's flirtation, and often unashamed love affair, thrift store-inspired collections dabble in different chick market
with bad taste. Her method is to use recently outmoded themes, each one rich in its potential for anti-taste
references. Here she used gilt chain and nylon mesh at including Charlie's Angels, Pop Art and science fiction
a time when the memories of their misuse in the hands Before starting her own label, Leroy worked with * Hemingway, van Lamsweerde, Sitbon

Photograph
| by Christophe
iristopt Kutner, british F E1l¢ 1995
utner, British
| Véronique Leroy. b Liége (FR), 1965. Blue halterneck dress.
 Lesage ain Embroiderer
This bolero jacket, lavishly embroidered with a parade in particular with his young son, Francois, Schiaparelli in gold. Maison Lesage, renowned for its jewel-studded
of elephants, is from Schiaparelli’s ‘Circus’ collection of designed her collection especially to offset the embroidery, let loose all the capriciousness of
1938. Not since Poiret had a fashion designer shown such sumptuous embroidery. Her basic silhouette of wide Schiaparelli's Surrealism.
an instinctive flair for the use of embroidery, making shoulders and neat waist enabled Lesage to adorn her
ita glamorous adjunct to haute couture. Collaborating jackets with embroideries that enhanced her whimsical
with the celebrated Maison Lesage, which had been dreams. Here, the spotlight is on performing elephants,
founded in 1922 by Albert Lesage, ma/tre brodeur, and their threads richly complementing the encrustations @ Schiaparelli, Wang, Yantorny

280

Albert Lesage. b Paris (FR), 1888. d (FR), 1949. ‘Circus’ Elephant embroidery for Schiaparelli. 1938.
Leser Tina Designer
A cute, teenager outfit of turned up, denim jeans and by everyday shapes such as play-suits, sarong dresses During the 1950s she designed cropped and harem pant
striped cotton shirt epitomizes the freshness of American smocks, swimsuits and shrug-on jackets, but they were before any other desiqners; she ts also thought to have
fashion after the Second World War. Tina Leser was almost always influenced by a more formal aesthetic been the first designer to make dresses from cashmert
among the new wave of designers unique to American as is evident here. Leser's mother was a painter and the
culture who concentrated on sportswear as fashion. designer studied art, painting, design and sculpture
Her clothes, designed for a manufacturer (until 1952 in Philadelphia and Paris. Leser moved to Honolulu and
when she formed her own company), were informed opened a boutique in 1935, moving to New York in 1942 * Connolly, A. Klein, McCardell, Simpson

NY (USA), 1986. Mexican cotton shirt and denim jeans. Photograp

b PA (USA), 1910. d Sands foint.
Tina Leser (Christine Wetherill Shilland-Smith).
 Lester Charles and Patricia Designers
A golden, hand-pleated silk dress is set against antique are hand-painted to produce unique cloth which is used pre-First World War Venice. Her pleated silk dresses
fabrics. It recalls the Delphos style designed by Fortuny for tunics, dresses and robes. The historical perception of and velvet coats, however, were taken from the Lesters’
eighty years earlier, but it is the work of designers Charles these techniques has an attraction which sets their work 1990s collection.
and Patricia Lester, who were unaware of his work when apart from the less enduring elements of high fashion.
they started their experiments in the 1960s. Years Consequently, it has been used for opera productions and
of research go into the techniques used by the Lesters: for the film adaptation of Henry James’ novel The Wings
designs are burnt out of velvet to form devore and others of a Dove, in which Helena Bonham Carter wafts around @ Fortuny, McFadden

282

Lester. Charles. b Banbury (UK), 1942; Patricia. b Nairobi (KEN), 1943. Gold pleats. Photograph by Alex Chatelain,
British Vogue, 1985.
Levine Beth Shoe designer
Freedom of niovement and freedom from the {a shape later reinventedby Vivier Westw if
conventions
of footwear are provided
by Beth Levine's ‘rocking horse’ platforms). Lé é 1S k r her se (
innovative stocking boots. All Levine's
shoes gave the stretchy boots, including pa T
potential for motion, from the elasticated sole of her who sang ‘These Boots Were Made for |
Spring-O-Lator mule, to the aerodynamic
curves and conjured imaginative
rounded ‘rock-a-bottom’ sole of her Kabuki pumps, the to chunky cuboid blocks, and favoured |
prototype for which was carved from a teak salad bowl materials such as Astrot * Ferragamo, Parkinson, Westwood

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| by Norman
Beth Levine. b r New York (USA), Suede
 Ley Wolfgang and Margaretha (Escada) Designers
The affectations of this image are stereotypical of the by Wolfgang and Margaretha Ley, Escada was aptly casual context with a smattering of sparkle. With Todd
1980s: strong-shouldered siren with sharp, glittery skirt, named after a winning racehorse. Their sexy, chiselled Oldham hired as creative consultant in 1994, Escada took
big hair and bigger attitude. What Escada meant suits, leopard-print blouses and nautical-striped a fresh approach and embraced the spirit of the times.
for women far surpassed their angst-ridden boundaries sweaters, all offset with gold buttoning and braid,
as working mothers and wives — it symbolized the eulogized a ‘bourgeois chic’ look. It was a hugely popular
triumph of ostentatious glamour at a time when image style. Wealth was counted in sequins which were applied
dominated substance, and even taste. Launched in 1976 to every surface — even sweaters were taken out of their @ Féraud, N. Miller, Norell, Oldham

284

Ley. Wolfgang. b GA (USA), 1937. Margaretha. b Vasternorrland (SWE), 1933. d Berlin (GER), 1992. (Escada.) Sequined sweater and
skirt for Escada. Photograph by Albert Watson, 1984.
 Liberm dn Alexander Photographer and art director
Alexander Liberman photographs Christian Dior, Bettina decades. After working for Lucien Vogel on Vu, a phot with a ticket of escape from her
Ballard, fashion editor of American Vogue, and Despina journalism magazine published in Paris, Libermar c ve nd the elie (
Messinesi, also from Vogue, in the early 1950s. This to New York, where he became art director of Vogue ir uxe and elegance
image, taken during one of the legendary Sundays that 1943. In 1962 he was appointed editorial director «
a few privileged people spent at the French couturier's Condé Nast'’s publications, thus acquiring a unique
country house, bears witness to the intimate relationship insight into every aspect of the fashion journalism trade
that Liberman had with the fashion world for almost six He maintained that its appeal lay in providing the viewer * Abbe, Chanel, Dior, McLaughlin-Gill, Nast

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19 dd Miami Beach, FLFL (USA)
{ 1999. Bettina Ballard, Christian Dior, Despina
Alexander Liberman. b Kiev (RUS), 1912. Miami Beach,
 Lib erty Arthur Lasenby Retailer
Just as the work of Liberty has reflected the times ever fashion designer of the 1960s. She was one of the changes, from the costume associated with the Aesthetic
since it was founded in 1875, this lawn dress, speckled leading lights of ‘Swinging London’, a term coined Movement of the 1880s to the fashion revolution of
with flowers, was perfectly in tune with the mood by the American Time magazine in 1964, the date of this the 1960s.
of its age. It is bright, simple and, with its co-ordinated dress. Arthur Lasenby Liberty's department store went on
accessories, captured young British fashion (and the to specialize in fine fabrics such as lawn — a lightweight
Rolling Stones). It was designed by The Ginger Group, a cotton material printed with floral motifs. In its history,
label founded in 1963 by Mary Quant, the quintessential Liberty has both reflected and contributed to sartorial * Bousquet, Fish, Muir, Nutter, Quant, Sasscon, Wilde

286

Arthur Lasenby Liberty. b Chesham (UK), 1843. d Lee Manor (UK), 1 917. ‘How To Kill Five Stones With One Bird’. Photogra
ph by Norman Parkinson, Queen, 1964.
Lin dbergh Peter Photographer
Shot in 1990, this photograph gathers together the stark,
reigning supermodels wearing their off-duty uniform of artifice and calm directne
of bodies by Giorgio di Sant'Angelo and Levi's jeans greyness of the
P.
eter Lindbergh's name is closely intertwined with those Germany. He was twenty-seven when he
of Naomi Campbell, Linda Evangelista, Tatjana Patitz, a camera for the first time. Ever
Christy Turlington and Cindy Crawford, who partly have appeared nevery mal r Tasnior

discovered their singularity through him. The image's influence that class

Vogue, 1990
Peter Lindbergh. b Duesburg (GER), 1944 Naomi, Linda, Tatjana, Christy and Cindy. British
 \U)oyd Alison (Ally Capellino) Designer
Alison Lloyd describes her work as ‘something which for simple organic textiles, bright colours and wearable, overwhelms her desire to produce clothes which can be
is fashionable, but which doesn't go out of fashion very enduring shapes. Lloyd and fellow Middlesex Polytechnic worn by women of any age.
quickly. Here, she uses shot organza for a transparent graduate Jono Platt set up Ally Capellino in 1979, initially
over-dress. Its stiffness gives the shape a defined form selling hats, jewellery and accessories. (The name, they
and the visible seams take the appearance of a frame. thought, was Italian for ‘little hat’; to their amusement
It certainly defies fashion's usual proclivity for styles they later discovered that it means ‘little head’) Lloyd
that can be easily dated. Lloyd is inspired by a passion became a fashion designer in 1980. Her creativity never * Arai, von Etzdorf, lsogawa

Alison Lloyd. b London (UK), 1956. (Ally Capellino.) Silk organza dress shot with metal. Photograph by
Aldo Rossi, 1996.
 Lo ewe Enrique | Accessory designer
Supple, lavender leather distinguishes a strapless dress fashion sphere in 1947 when it acquired the rights to sell was replaced by Jose Selfa whose designs have been
modelled on a handbag by Loewe, which has created Christian Dior's New Look in Spain. By the 1960s it had well received. Rodriguez left Loewe to design a house
] such bags since 1846. Loewe is fabled for its ability to begun to design its own fashion collection, one that used of his own.
make animal skin behave as fabric. It was founded the company’s proclivity for draping and gathering,
in the Calle del Tobo area of Madrid, a centre for leather as well as producing classic working shirts in suede. In
artistry, where Enrique Loewe sold snuff boxes and purses 1997, Loewe modernized its image by appointing Narciso
alongside his bags. As a company, Loewe entered the Rodriguez as its house designer. In 2001 Rodriguez + Hermés, Rodriguez, Vuitton

289

Autumn/winter 1983. Photograph by Rafael Roa.

Enrique Loewe. b (GER), 1829. d (SP), 1919. Lavender leather dress.
 Loub OU tin Christian Shoe designer
Gold embroidery, black ribbon and blue mosaic heels: letters, petals, locks of hair and feathers have been thought to do it as a job; he said. Catherine Deneuve,
a jumble of shoes reveals Christian Louboutin's love of encased within his heels. His obsession began in 1976 Inés de la Fressange and Princess Caroline of Monaco
creating forbidden fantasies. His seductive shoes, with when, aged ten, he visited a Parisian museum. Far from would be barefoot without him.
their trademark red soles, are inspired by tropical birds, being inspired by its contents, bébé Louboutin couldn't
flowers and gardens. He describes them as a cross forget the impression made on him by a huge, red high
between ‘a work tool or weapon and an objet d‘art’, and heel worn by another visitor. A meeting with French
individual commissions are intensely personalized. Love shoe master Roger Vivier changed his outlook. ‘| never * Ferragamo, Pfister, Vivier

Christian Louboutin. b Paris (FR), 1963. Autumn/winter 1998. Photograph by Mark J. Curtis.
Louis Jean Designer
‘There NEVER was a woman like Gilda!’ was the caption career as a sketch artist for Drecoll, Jean Louis moved reflected
on her broken relationst
above Rita Hayworth's picture on the poster from the to New York where he designed for Hattie Carnegie. He Every man | ever knew had fallen ir
1946 film. Sheathed in a satin dress by Jean Louis, she brought the drama of his film work to a couture business woken up with me
played a seductive femme fatale. The bodice which which excelled at creating lavish gowns. The potency
supports Hayworth's body hides an intricate construction of this made Hayworth America's dream mistress and
of boning and padding, although she maintained that it her wardrobe the blueprint for sexy, yet illusory dresses
stayed up ‘for two good reasons alone’ Having started his which is still followed today. Hayworth later sadly * Carnegie, Galanos, Head, Irene

1997. Rita Hayworth. Still from Gi/da Photogray

Springs
Jean Louis Jean Louis Berthault). b Paris (FR), 1907. d Palm
CA (USA),
 Lu ten S Serge Make-up artist
Every element of this surreal advertisement for Shiseido launched a ‘test salon’ in Paris for make-up, hair, work. He advocates that women should develop their
was created by Serge Lutens, from the make-up and jewellery and furniture. In 1968 he was invited to look own creative effects with make-up, whether they want
styling to the photograph itself. Lutens grew up wanting after the image and product creation of Christian Dior to look natural or artificial.
to be an artist. School bored him and he spent all cosmetics, leaving to join Shiseido in 1980. Lutens does
his spare time performing makeovers on his friends, then not regard his images as schemes that should (or even
taking their pictures with a Kodak instamatic. In 1960 could) be copied by women. Fantastical in the extreme,
he met his partner, Madeleine Levy, and together they they have the surreal spirit of Salvador Dali's fashion @ Nars, Page, Uemura

Serge Lutens. b Lille (FR), 1942. ‘Absolutely Amazing’ campaign for Shiseido. Photograph by Serge Lutens,
1998.
McCardell Claire Designer
Claire McCardell, who pioneered American sportswear, of ready-to-wear apparel. Cultivating u such trait t tne rr (

conceived this empire-silhouette ‘baby dress’ in 1946. relativelyinexpensive garments, McCardell made nto desigr cCardell neve rg
The black wool jersey, suggestingan update of Chanel's clothing that had a loyal following among women for pockets. He EC
little black dress, used nonchalant tying in the manner who wanted independence from corpore estrict i j f
of the casual lifestyle design she championed. Tying and or dictates from Paris. Instead, versatile separates anc
wrapping were not only apt for the active woman, the use of materials from menswear, lingerie and
but they also accommodated the inexact sizing and fit childrenswear promised an adaptable, flexible lifestyle * Cashin, Connolly, Dahl-Wolfe, A. Klein, Leser, Steele

[Dahl-Wolfe, € Harper's Bazaar, 1946

d New York (USA), 1958. Drawstring
i dress.
s. Photographby by Louise
Photograph yuise
Claire McCardell. b MD (USA), 1905.
 M cCa rtn Cy stella Designer
An embroidered, miniature evening dress of satin was just twenty-one when he took over at Christian a short, unofficial apprenticeship with Edward Sexton,
bears the richesse associated with traditional French Dior), McCartney's appointment was seen as a precocious a Savile Row tailor. McCartney has said, ‘Anyone who
fashion, but the proportions belong to the modern age. one. She worked briefly for Lacroix and was influenced has seen my work knows | am not about shock tactics:
Chloé showed the first collection by Stella McCartney, by finds made in the Portobello Market. On Friday and
appointed designer in 1997 at only twenty-five, in Saturday mornings McCartney would garner antique
the opulent setting of the Opéra Garnier in Paris. Even buttons and vintage clothes, which explains the romantic
though Yves Saint Laurent beat her by a few years (he strand of her style. The other, tailoring, is attributable to @ Lenoir, Lacroix, Chloé

i ~ 4.

294

Stella McCartney. b London (UK), 1971. Miniature satin evening dress for Chloé. Photograph by Perry
Ogden, 1998.
 McDe dn Craig” Photographer
Model Guinevere, wearing nothing but artfully in the 1990s at a time when his realist photography voyeuristic, seemingly capturing a dream-like moment.
| undone hair and make-up by Eugene Souleiman and stood out against the fashion for photographs which McDean is part of the neo-realism school dubbed ‘Heroin
~ Pat McGrath, appears from behind traditional wallpaper presented a limited number of scenarios. He has said, Chic’ by US President Bill Clinton in 1997.
inan advertisement for Jil Sander. That this photograph ‘| want to appeal to everyone, not just the fashion world;
is representing a fashion and make-up company would but it is primarily those in fashion who appreciate his
~ make it surreal, except that this is an example of selling work, which is subtly challenging. It is modern and each
~amood rather than a product. McDean's work appeared photograph, deliberately accidental, is stark and © Berardi, McGrath, Sander, Sitbon, Souleiman

295

Sander publicity campaign. 1996.

Craig McDean. b Nantwich (UK), 1964. Guinevere. Jil
 Macdonald auien Designer
With hairstyle and make-up to match, Jodie Kidd wears instrument for creating the tactile surfaces he desires. mohair (an idea sparked off by metallic Nike trainers).
a tight-fitting sheath of gossamer-fine yarns and Karl Lagerfeld, who hired him as knitwear designer for Macdonald graduated from the Royal College of Art
beading which decorate her body like calligraphy on Chanel in 1996, declared to Vogue, ‘Julien plays with in 1996 and designed knitwear for Alexander McQueen
skin. Seductive and opulent, Julien Macdonald's work his machine like Horowitz plays on his Steinway! While and Koji Tatsuno.
takes the girlishness out of knitwear. He spins out fiery regarded as a master of innovation, Macdonald does pay
fantasies like this from his trusty knitting machine. homage to the traditional craft, making it modern
With loosened screws and bent parts, it becomes an by using new-fangled, fluorescent yarns and luminous @ S. Ellis, Keogh, Lagerfeld, Tatsuno

296

Julien Macdonald. b Merthyr Tydfil (UK), 1972. Jodie Kidd wearing a red knitted dress. Photograph
by Sean Ellis, 1998.
M ca d d en Mary Designer
While Mary McFadden will probably always be towards <
remembered principally for her pleated dresses a /a and crafts luxury ar
Fortuny, she has not only made outfits for Grecian unerring
maidens, but has also brought global artistry to the by decorative tradit
comfort
of easy sportswear. Hand-painted skirts, dres es McFadden has rendered
both Klimt
and jackets
are informedby McFadden's acute awareness — in sumptuous coats, seiz¢ f
of international
design traditions, with a special leaning and understood the t #@ Fortuny, Lancetti,
Lapidus, Lester

Photograph by Fi« ScheSchern

Mary McFadden. b New York (USA), 1936 Finely pleated dress and throw. Photograph by Pierre
 McGrath pa: Make-up artist
Pat McGrath heightens the dramatic potential of make- Her fiery mouth is the dominating focal point. McGrath, the framework of facial contours since her patterns
up by using it as a brilliant focus, isolating dense blocks in partnership with hairdresser Eugene Souleiman, of colour are daubed seemingly randomly.
of colour in a parody of one accepted scheme. Here, works with Steven Meisel, Paolo Roversi and Craig
red lipstick is the single feature on an otherwise McDean to push the boundaries of beauty, and
undecorated face. In a customary twist on the /-D cover her directional vision has been used to flavour catwalk
(established with the magazine's inception in 1980), collections by Prada, Comme des Garcons and Dolce &
model Kirsten Owen's eye is shrouded by her hat. Gabbana. Her innovation has released make-up from @ McDean, Prada, Rocha, Roversi, Souleiman, Toskan

298

Pat McGrath. b Northampton (UK), 1966. Kirsten Owen. Cover of i-D, M ay 1998 (The Supernatural Issue). Photograph by Paolo Roversi
Mackie pov Designer
Mackie offers a rhinestone cowgirl, a marvel in swinging even at television scale, in conve ying large-screen and of television. This was his contribution to fashior
fringe and bold motion and dressed in his signature Las Vegas opulence and extravaganza. It was a tour de the championing of beading and sequins for gowr
style (reminiscent of the all-singing, all-dancing films of force achieved by letting the dress, or a few dre $ses, serve vimwear and lounqewear
old Hollywood). Coming to fame as a television designer as the embodiment of a grandiloquence. By the idvent
for The Sonny and Cher Comedy Hour (1971-4) and of MTV, Mackie was too much associated with old-style
The Carol Burnett Show (1967-78), Mackie presented a theatricality to be popular there, but he was responsibl
hyperbolic form of showbiz glamour which was effective, for establishing brilliant costume for the mediun + Leiber, N. Miller, Norell, Oldham, Orry-Kelly

British Vogue, 1988

Bob Mackie.
 M cKn |gh t Sam Hairdresser
Three women wear gamine hairstyles by Sam McKnight. nonchalant glamour, and it was this he gave to Diana, and still maintains that hair should not look forced.
The ‘extreme gelled girls’ illustrate his highly-polished, Princess of Wales, when, on a shoot for Vogue in 1990, A woman, he believes, should always look approachable
sharply-defined work. This sleek look, achieved by his she asked him, ‘What would you do if you had a free rein and should never risk fashion at the expense
1920s-inspired styles, equals the make-up for dramatic with my hair?’ ‘Cut it short; was McKnight's reply. And of her comfort.
effect, thus providing a fine balance. ‘Hair is like clothes’, he did, becoming the architect of her later, modernized
says Mcknight, ‘you should look as though you wear look. Trained in a salon that eschewed electrical
it with ease, that's the sexiest hair! He is known for appliances, he learned to create uncontrived hairstyles * Antoine, Diana, Pita

300

Sam McKnight. b New Cumnock (UK), 1959. Extreme Gelled girls, hanging out. Photograph by Arthur Elgort, Italian
Vogue, 1993.
 M cLa ren Malcolm Designer
Malcolm McLaren delivers his manifesto wearing the selling bondage and fetish clothing, renaming the shop band was effectively a public relations exercise whien
rubber clothes sold in his shop, Sex, for the film, The Sex in 1975. The graphic anti-monarchy and pseudo- exploded; McLaren later confessed, ‘Punk was just a w
Great Rock ‘n' Roll Swindle (1978). A maverick porn images by Jamie Reid caused outrage (the shop was to sell trousers
entrepreneur and music aficionado, McLaren is credited regularly raided by police). The same year McLaren
with shaping the punk movement. In 1971 he and his managed a US band, whose pre-punk music inspired him
partner, Vivienne Westwood, took over the running of to return to the UK to form his own band. The Sex Pistols
a vintage shop, Let It Rock. Within three years they were was cast from customers and named after the shop. The * Rotten, Van Beirendonck, Westwood

The Great Rock ‘nist Swindle Rs)

b London (UK), 1946. Malcolm McLaren wears rubber all-in-one.
| Malcolm McLaren.
 McLaughlin-Gill Renee Photographer
This picture could be placed in any year since the one and Kathryn landed a job with Vogue photographer and American sportswear markets. McLaughlin-Gill
it was taken: 1948. The subject, Carol McCarlson, dries Toni Frissell. It was she who recommended that Frances also added a spirit of informality to the stiff, grown-up
herself on a Florida beach; it is a picture that uses should be introduced to her art director Alexander couture of the 1950s.
the blur of her oscillating towel to lend a naturalness for Liberman. He hired McLaughlin-Gill in 1943 and she
which its photographer is known. In 1941, Frances came to illustrate the lives of the new young market
McLaughlin-Gill and her twin sister Kathryn entered a for Glamour and Vogue, making relaxed depictions
photography competition in Vogue. Both were finalists of real scenes the context for the burgeoning teenage ‘© Campbell-Walters, Dessés, Frissell, Griffe, Shrimpton

302

Frances McLaughlin-Gill. b New York (USA), 1919. Carol McCarlson on the beach, St Augustine,
Florida. American Vogue, 1948.
M cQu een Alexander Designer
‘Bumsters' were Alexander McQueen's iconoclastic he used an aggressive approach towards design. ‘Eclectic usually sharp, but often elegant. While McQueen has
challenge to fashion. Just as women were getting used verging on the criminal’ is how he describes his work, been accused of bad taste, it hasn't prevented his work
to wearing hipsters in 1995, he urged their trousers and no taboo has been ignored as he wields that banner. from influencing that of the generation following him.
ever lower in the style of a builder's drooping waistband. — ‘Highland Rape’, a 1996 collection, dressed women in
From the moment McQueen graduated from Central bloodied, tattered lace dresses. Savagery is usually close
Saint Martin's College of Art and Design in 1992, with to the surface, although McQueen's work for Givenchy
a collection entitled Jack the Ripper Stalking his Victims’, |sometimes shows glimpses of a mellow McQueen - + Bowie, Chalayan, Galliano, Givenchy, N. Knight, Pearl

303

‘bumsters’. Photograph by Phil Poynter, 1996.

Alexander McQueen (Lee McQueen). b London (UK), 1969. Brocade
 Madonna Icon

Madonna wears Jean-Paul Gaultier's famous pink satin Music Television (MTV). But it was her ability to assume and Harry Winston diamonds) and a sophisticated
corset for her ‘Blonde Ambition’ tour in 1990. A very real various, often controversial, personas with each new persona as Eva Peron in the 1997 film Evita, wearing
master of fashion's seasonal about-face, she has a unique video release which set her apart from other artists. She 1940s-inspired couture.
and dynamic propensity for continually reinventing has variously embraced lace and torn denim, a trashy,
herself. Her impact as a vocalist and fashion icon in sexy, punky image for the release of her premier aloum
the early 1980s was undeniably heightened by the timely in 1983; a glamorous, blonde Marilyn Monroe lookalike
introduction of a new visual format of music, namely in ‘Material Girl’ in 1986 (complete with spray-on dress @ Baron, Galliano, Gaultier, Pita, Testino, Versace

304

Madonna (Madonna Louise Ciccone). b Detroit, MI (USA), 195 8. Madonna wears pink basque by Jean-Paul Gaultier. 1990.
 Mainbochetr_ pe
During the 1940s, Natalia Wilson (Mrs John C. Wilson, and contrasting jacket decorated w
Princess Paley) was manager of Mainbocher's New York as fur. With the distinctive be uty of h
salon and his main vendeuse. She often posed for fashion modelling these suit , |Mainbocher won ac
magazines wearing his clothes, in this case a sumptuous went on to become the first American desic
evening outfit that would have been worn to a dinner a maison de couture in Paris. Mainboche
party or to the theatre. Mainbocher was celebrated for had included sketching for Vogue. Like n
his lush evening suits which consisted of a long dark skirt he was influenced by Madeleine Vionnet

USA), 1976
d New York (USA), 1976. Princess
Prince Natalia Paley. Phx Photog
atalia Paley.
| Mainbocher (Main Rousseau Bocher). b Chicago, IL (USA), 1890.
 M altezos Ruefeteieuats and (4 rpentier Suzanne (Mad Carpentier) Des igus
The very anonymity of the design team who created fashion house. After the Second World War, Mad demure and coats were elegant and comfortable. They
this dress is testament to their desire to remain on Carpentier was known for luxurious dresses and coats were also more or less timeless and nameless, recognized
the conservative side of fashion, at a time when their favoured by a restrained clientele not likely to go to the mainly by New York's garment district, Seventh Avenue,
colleagues were using shocking innovation as an ‘hot’ fashion houses such as Dior, Fath or even which copied their saleable good taste.
advertisement for their houses. Upon the retirement of Balenciaga. Rather, what Mad Carpentier distilled was an
the legendary Madeleine Vionnet, two of her staff essence of the past, always harking back to Art Deco and
(Mad Maltézos and Suzie Carpentier) established a new the streamlining of the 1920s and 1930s. Dresses were @ Connolly, Morton, Simpson, Vionnet

Madeleine Maltézos and Suzanne Carpentier (Mad Carpentier). (Active 1940s-1950s.) Shawl-coll
ared dress. French Vogue, 1949.
M d nN d elli Mariuccia (Krizia) Designer
Sharp pleats are thrown into black-and-white relief, explained her distinctive style thus, ‘There is often a sense one point dubbed ‘Crazy Kr
capturing an atmosphere of drama and amusement, of architecture in my y clothing...one
J of m ly collections InaC Sseveningwea
which conveys almost a circus mood in Mariuccia was Inspired by the Chrysler Building: Krizia, named those usually worn for dayw
Mandelli's design for her company Krizia. There is a after Critias, a Greek politician and poet commemorated
strong sense of architecture expressed in the geometric in one of Plato's dialogues, was formed in Milan in 1951
lines formed by the pleatsof the outfit. When the Historically, it is noted for experimental construction and
wearer moves, these pleats form a rolling wave. Mandelli an irreverent approach to glamorous clothes, and was at = Capucci, Miyake, Venet

lame frills.
-ated lame
Pleated by Giovani
by
Photograph oar
hot Gio Gastel, 1998
aph
Mariuccia Mandelli. b Bergamo (IT), 1933. 3 (Krizia.)
 Man Ray Photographer
Photographer Man Ray was one of the central figures inserted between them). In 1921 Man Ray left New York from posed formality into the sphere of collaborative art.
in the Surrealist movement in Paris. He was fascinated for Paris, where he took up photography to finance his He asserted that ‘inspiration, not information, the force
by women’s lips as objects of desire. Other artists painting. An introduction to Poiret, who was looking for that binds all creative acts’ is at the root of great fashion.
and fashion designers have ventured to portray the lips a different sort of photographer, brought him into
of Surrealism: Dali designed a sofa modelled on fashion, a field which united his experimentation with
Mae West's lips, Saint Laurent created a Lip Dress a commercial product. In the 1920s his work for Vogue
and Elsa Schiaparelli used lips as a pocket (the hand and Harper's Bazaar extended fashion photography * Bernard, Blumenfeld, Dali, Hoyningen-Huene

308

Man Ray (Emmanuel Rudnitsky). b Philadelphia, PA (USA), 1890. d Paris (FR), 1976. Lips on Lips. 1930.
M dala motti Achille (MaxMara) Designer
‘For us to be considered fashionable would be very here is pure cashmere, and although the design seems collections still focus on these key items of tailoring.
dangerous; said MaxMara's former managing director, pared down, attention to detail is impeccable. One It concentrates on easing the transition through trends
Luigi Maramotti. ‘It is not chic for a woman to move of Italy's largest and oldest fashion companies, MaxMara _ for a clientele that requires good taste.
violently from one way of dressing to another! MaxMara —__was founded in 1951 by Doctor Achille Maramotti,
is the epitome of Italian fashion: good quality and cut, a lawyer turned dressmaker. His first collection consisted
in classic styles, while managing to interpret trends ina of just two outfits: a suit and an overcoat. This brevity
very wearable way. The camel-coloured wrap coat shown __ of design has always been MaxMara's signature, and the | Beretta, Paulin, Venturi

309

by Steven Meisel, 1997.

(IT), 2005. Linda Evangelista wears MaxMara camel coat. Photograph
i Maramotti. * b Reggio nell'Emilia (IT), ; 1926. '" (MaxMara.) d Albinea
Achille
 M argl e| d Martin Designer
The construction of Martin Margiela's black jacket on the outside), uses doll's clothes as models for adult dressmaking. Rather than being rejected by traditional
becomes clear in the negative image. It uses the deep- clothing (complete with giant buttons), recycles unlikely houses, Margiela's iconoclastic methods were accepted in
set armholes, raised shoulders, wide lapels and raised materials and makes sweaters out of socks. Having 1997 when Hermes hired him to oversee its design studio.
waistline often seen in his tailoring. Margiela designs graduated from Antwerp’'s influential Royal Academy
in the manner of an avant-garde artist, rather of Arts, Margiela became a design assistant to Jean-Paul
than following fashion's accustomed desire to please. Gaultier — his work takes off from Gaultier's fashion
He deconstructs clothes (putting the lining material shocks and conceals clever techniques of tailoring and * Bikkembergs, Gaultier, Thimister, Van Noten

Ald
Lire
ee
AMO
NAAN
Ants
Aen

310

Martin Margiela. b Louvain (BEL), 1957. Fitted jacket. Photographs by Ronald Stoops, 1989.
M arteans Dr Klaus (Dr Martens) Shoe designer
In a stunning duality of purpose the Dr Marten (‘DM’) success. In 1959 the British bootmaker R. Griggs was cherry red became a unt form for skinhea ds nt

boot has been a symbol of aggressive, anti-fashion cults granted permission to use Marteans’ air-cushioned DMs became an essential part of British ‘street sty
for three decades. It is also worn by most uniformed, sole on his steelcapped workmens’ boots; the compound when they were worn with a pair of Lev jeans
establishment figures. It began life as an orthopaedic was changed to granular PVC (resistant to fat, oil, acids
aid. Designed in 1946 by Klaus Marteans, a Bavarian and petrol) and has remained unchanged ever since
doctor who had broken his foot while skiing and wanted The ‘Famous Footwear AirWair, with bouncing soles’ was
something to relieve the pain, the boot was an overnight born. In the mid-1960s, the eight-eyelet boot in black or = Cox, Jaeger, Strauss

and skinhead wear Dr Martens. Southend, 1980.

b Braunschweiz (GER), 1915. d (GER), 1988. Policeman
Dr Klaus Marteans.
 M d tsu d d Mitsuhiro Designer
Mitsuhiro Matsuda arranges a variety of woven linens In the 1980s, his clothes were whimsical and romantic it was with that garment that he and his contemporaries,
for an outfit which hardly resembles clothes at all. in the British style, often taking their inspiration from Kenzo and Yohji Yamamoto, examined the principle
The fabrics themselves dominate the image, with checks the costumes of historical England. Yet he maintained of Western clothes.
and stripes loosely woven to form a semi-transparent a practicality and wearability in his tailoring that was
material. Matsuda is one of the early greats in androgynous and sexy. His menswear was directional
the tradition of Japanese fashion design that carried and elements of it were used for his womenswear.
successfully over to a Western tradition and sensibility. Matsuda's father worked in the kimono industry and @ Kenzo, Kim, Kobayashi, Y. Yamamoto

Mitsuhiro Matsuda. b Tokyo VAP), 1934. ‘Madame Nicole’. Mi xed linens. Spring/summer 1996. Photograph by Mitsuhiro
Matsuda.
M atsu shim d Masaki
‘Fashion is necessary but | think it is of secondary these styling touches are down to the individual who will singer Ryuichi Sakamoto and launched his own label. His
importance; says Masaki Matsushima. His suits for men make the clothes their own. ‘| am trying to create a mass clothes are by turns highly technical and instrumental
and women show both sides of this argument at once. image; continues Matsushima. ‘That is why | don't think in promoting the notion of conceptual streetwear
Inherently they deal with the pinstripe tradition, lending that creation means to force the designer's own
them a sober quality, and yet they have a fashion personality on the people! Matsushima graduated from
edge which is sharpened with broad shirt collars and Tokyo's famous Bunka Gakuen Fukushoku school of
a flamboyant buttonhole. But Matsushima feels that fashion in 1985. He designed costumes for conceptual = Bartlett, Dolce & Gabbana, Newton

b Magoya (JAP), 1963 Reworked pinstripe suits. Photograph by Satoshi Saikusa, 1998
Masaki Matsushima.
 Maxwell vera Designer
‘Buy a Share in America’ declare the wartime posters, restrictions as well as being conscious of the pressures her first Speed Suit - an elasticated dress that could
and Americans did - even in fashion. During the Second and new-found responsibilities of women workers. be quickly slipped down over the head for busy women.
World War, European fashions, in particular those from Maxwell often reinterpreted men’s workwear shapes — It was a precursor to Donna Karan’s ethos a decade later.
Paris, were not available, so America turned to its own this jacket is based on a man's lumberjack shirt. In 1970,
designers. Vera Maxwell was one of the designers who Maxwell discovered Ultrasuede which was to become
came to the fore at this time. Her separates - simple a durable yet sophisticated staple for women's tailoring,
Shapes in humble fabrics — adhered to wartime championed especially by Halston. In 1974 she designed * Dahl-Wolfe, Halston, Karan, A. Klein

<u itsaweaenierliinsmsrbniayn
iesesysingls

BUYASH

a
a

Vera Maxwell. b New York (USA d Rincon (PR), 1995. Co-ordinated day suit. Photograph by Louise Dahl-Wolfe Harper's Bazaar, 1942
Mazzilli Tiziano and Louise (Voyage) Designers
Wrinkled velvet ribbon sewn onto the neckline of a sheer mixes colours in the same haphazard wv ¥ contriving to 7 bell, and undergo scr ny DeTore DeING wed It
T-shirt signifies the work of Voyage. Such clothes are build an apparently careless look. Owners Tiziano Mazzilli in example of fashionable exclusion surpassed only
designed to look like antiques and cast-offs and yet are and his wife Louise have fostered the label's image as ar by a later move to introduce me ershit r
recognizable as expensive garments to those in the know exclusive and expensive one. In 1991 they opened Voyage
Made from slub silk, linen, silk velvet and taffeta, each on London's Fulham Road. ‘Our philosophy is to be
one-size-fits-all unstructured garment is hand-dyed, unique; says Mazzilli. 'We don't want to please evervone
hand-painted and washed to ‘authenticate’ it. Voyage And they don't. Each visitor to the boutique must ring * von Etzdorf, Oudejans, Williamson

T-shirt and cutwork pink skirt. P

(BEL) (Active 1990s-) Voyage.) Velvet-trimmed
Mazzilli. Tiziano. b Udine (IT); Louise. b Brussels
 eisel Steven Photographer
Steven Meisel's picnic illustrates a collection by Dolce careers he has transformed — Meisel discovered Linda as many as thirty pages to depict a single story: a fact
& Gabbana. The sunny lighting contradicts the cold, dull Evangelista and Stella Tennant. He has a sensitivity that makes him the undisputed emperor of fashion
background, giving the picture a surreal edge. Meisel towards clothes and is able to adapt to each garment image-making
calls himself ‘a reflection of my times: It is a phrase that he photographs: ‘| am always influenced by the
equally applies to his work. His strength is as an image- philosophy of the particular couturier whose dress | am
maker, both in terms of his own image, and that of the photographing! American and Italian Vogue are Meisel's
designers’ work he photographs and the models whose biggest arenas. In one Italian edition he has been given # Evangelista, Garren, Gigli, Sprouse, Sui, Tennant

Steven Meisel. b New York (USA), 1954. ‘Early fall picnic in Dolce & Gabbana’ Italian Vogue, 1998oO.
 e ,

Mesejean -ablo and Can cel d Delia (Pablo &t Delia) Designers
The flower power youth revolts from Paris to San Martin 1966 Manifesto, which proclaimed
and the resurgence
of artisan crafting paved the way the Rolling Stones,
tanned bodies, the young savaae f wizards and fairies wearing the reat
for Pablo and Delia's fantasies. Inspired by Lewis Carroll's look, pink and baby blue, happy ends! Upon the arriva f leatl ( } cer
stories, this shirred, floral-printed cotton top with in London in 1970of these two art student rT
a layered tulle, flower-shaped headband heralds Aires, UK Vogue instantly featured a cover with Jean
the bloom of naiveté asa lifestyle. The mood of the times | Shrimpton in their trademark rainbow-coloure
was summarized
in Pablo Mesejean and Delia Cancela's leather dress. Pablo
and Delia othes were usually = Coddington,
J Gibb, Leonard, Shrimpton
i

t
Pier es Sete

(ARG )40, (Pab D Pink ‘Petal Hat’ and shirred dress

(ARG), 1937. d Paris (t R), 1986; Delia Cancela. b Buenos Aire
Pablo Mesejean. b Buenos Aires
Photoaraph by Barry Lategan, British Vogue, 1972
 De M eyer Baron Adolph ; Photographer
In balletic pose, Baron de Meyer's subject displays layers London's fashionable society at the end of the style was replaced by dynamic experiments in movement.
of opulent lace trimmed with silk satin ribbon. Her nineteenth century. He was hired by Conde Nast in 1914, De Meyer left Harper's Bazaarin 1932, his place taken
peignoir and dress are backlit to give them and her becoming Vogue's first full-time photographer and later by Martin Munkacsi and his invigorating look.
a luminous glow in a hugely romantic portrait of moving to Harper's Bazaar in 1921. With their halos
femininity. De Meyer's fashion photography was founded and fragile clothes, his subjects appeared too delicate
in the belle époque before the First World War. Having to participate in vigorous modern life which included
spent his childhood in Paris and Germany, he entered swimming, tennis, golf and the Charleston, and his * Antoine, Arden, Boué, Nast, Reboux, Sumurun

318

Baron Adolph de Meyer. b Paris (FR), 1868. d Los Angeles, CA (USA), 1949. Romantic chiffon dress. American
Vogue, 1922.
Miller Lee Photographer
A model, with ner painted nails, lipstick, coiffed hair for her poignant photogray
and bias-cut dress, is a tantalizing
vision for the World War member
servicewomen
she parades for. One stretches her arm Correspondent
to feel the cloth, the wearing of which, for most, would she also worked for Vogue
have been an impossible dream. Her unconscious shows that Par yu
touch renders the model
as unreal as the image she during
the war, and the 1S WE ned to
projects. American photographer Lee Miller is known re-establish itself ( t }2 #@ Arnold, Bruyeére, Dali, Man Ray

-
8

7
ee

os
a

ok,
eeaebie

women at a fashion salon, Paris. 1944.

Lee Miller. b Po ighkeepsie, NY (USA), 1907. d Chiddingly (UK), 19 Service
 Miller notan Designer
Nolan Miller, architect of the extravagant Dynasty look sequins here, was modelled on that worn by Joan women by becoming one of cinema's legendary costume
which defined the shameless glamour and camp of 1980s Crawford in the 1940s. Her shoulders are exaggerated designers. He arrived too late for that but in time to bring
fashion, sits surrounded by the show's female stars. His with vast outcrops of fuchsia ruffles. Next to her, Diahann glamour to the small screen.
studio generated twenty-five to thirty such outfits every Carroll (Dominique Devereaux) and Linda Evans (Krystle
week - with just two days to discuss a wardrobe and Carrington) also bear the inflated, squared-off shoulder
five days to create it. His ‘bitch’ wardrobe for Joan Collins line which was associated with masculine power. Miller
(Alexis Colby), who wears a gleaming column of pink moved to Hollywood in the hope of dressing glamorous @ Banton, Bates, Burrows, Mackie

320

Nolan Miller. b Burkbarnette, TX (USA), 1935. Nolan Miller and his female cast. Dynasty, 1985.
M 1|ner Deborah Designer
Deborah Milner's clothe sculptural fantasies that the art of couture by adapting her skills to work with who used them as foils for his climactic headgear
defy the term ‘fashion’ Indeed, this gauzy, full-length everyday materials’ These include net, tape, film and Here, his ergonomic glittered ellipse equals Milner's
black coat featuring Milner's signature - a superb coated wire. Milner had a strict Methodist upbringing semi-sheer coat for drama
sweeping cowl neck and intricate textiles —- could and countered it by enrolling at art college where
probably stand alone in an art gallery. Milner says, ‘My she discovered fashion. She began with a small couture
work ranges from the avant-garde to the quite classic! studio in 1991, specializing in one-off, avant-garde
One of her former tutors describes her as having ‘revived fashion pieces for, among others, milliner Philip Treacy, * Hishinuma, Horvat, Treacy

coat. Photograph by Mark Mattock, /-D, 1997

| Deborah Milner. b Walton-on-Thames (UK), 1964. Gauze
 Missoni Tai, Rosita and Angela Designers
1971 or 2008? We rely on modern photography and the yarn in the dye to leave a white mark or to allow Rosita handed the business over to their daughter,
styling for the answer because the enduring popularity the colour of the yarn to show through. The Missonis Angela, who has inherited the Missoni sensibilities.
of Missoni's colourful knitwear in basic shapes means met at the 1948 Olympics in London, where Ottavio was
their clothes have changed little over the years. Their competing in the 400-metre hurdles, wearing the team
strength and appeal lies in their simple beauty. Colour tracksuit that had been designed by his own small
is the key to the Missoni look. The distinctive, flecked knitwear company. They married and their first collection
‘flame dye' effect is achieved by only partly immersing was presented in Milan in 1966. In 1997 Ottavio and # Eula, Gibb, Khanh, Testino

Missoni. Ottavio (Tai). b Ragusa (SYR), 1921; Rosita. b Golasecca (IT), 1931: Angela. b Milan (IT), 195 »8. Chevron vest
and striped cardigan. Spring/summer 1998. Photograph cere
by Mario Testino.
| M lya ke Issey Designer
| Peaking through torn tissue, a vivid pink shirt is displayed
|asgarment
designer, Issey Miyake. He served an apprenticeship his clothes are admired and worn by artists, architects
though it were an installation. This intricately pleated
| of polyester,has twisting
first with Guy Laroche and then with Givenchy. He and intellectuals, so much so that a diffusion line, Pleats
been created by carefully folding a length also worked in New York designing ready-to-wear for Please, has been devised.
it tightly, then treating it with Geoffrey Beene, before returning to Japan in 1970 to
~ heat. This particular creation and other vividly coloured, found his own design studio at the age of thirty-two.
highly innovative designs, often involving wrapping Hugely influential, Miyake is a member of Japan's fashion

mC UNH
and layering fabric, are typical of the renowned Japanese elite, along with Rei Kawakubo and Yohji Yamamoto, and © Arai, Givenchy, Hishinuma, Kawakubo, Mandelli

i wil
A Ai
| | 323

EDO
a
ea

Ph otograph by Kazumi Kurigami, 1995.

Issey Miyake. b Hiroshima VAP), 1938. Pleats Please pink shirt.
 M |Zrahi Isaac Designer
Isaac Mizrahi, wearing his customary headband, Is Mizrahi is not a designer afraid of colour — pacific blue, autumn 1994 collection. It comes from his training at
photographed in his New York studio with model Amber cartoon yellow, bubblegum pink. 'l love Technicolor — it's New York's High School for the Performing Arts prior
Valetta, who is laid out on his pattern-cutting table. wildly beautiful! he says of his untrammelled taste in to his entry into fashion.
Beyond the scorching colour of her dress, designed for sunshine colours. He marries vibrant, unusual materials
spring 1995, there is a rainbow of cottons stored on the with shapes long used for American sportswear. This
wall and an intense mix of shades represented on a rail sense of comedy in his work and personality was aired in
of samples behind them. They are all evidence that a docufilm, Unzipped, which followed the creation of his *@ Beene, Kors, Moses, Oldham

Isaac Mizrahi. b New York (USA), 1961. Isaac Mizrahi with Amber Valetta. Photograph by Gilles
Bensimon, American Elle, 1995
Model Philippe Milliner
Complex hats, such as this sculpted headpiece formed yrize
for excellence which dates back t é ( g € (
from interwoven,
red velvet segments, have put Philippe de movedto the heart of French fast n the « Y ormed fron Ds ( etcl ( f
Modelat the forefront of French accessories design since 1980s, after working with Jean-Paul Gaultier, Claude prac 1esic er
1978. It was then he left school and started his business Montana and Thierry Mugler for whom he
from scratch by making haute couture hats. Shortly avant-garde collecti de
afterwards, Model was awarded the title ‘Me//leur o millinery - he is also a shoe designer whose neat
ouvrier de France’ (finest craftsman in France), a coveted elasticated shoes became widely copied. Similar in idea * Léger, Montana, Mugler, Paulette, Underwood

Philippe Model. b Sens (FR), 1956 Spiral hat. Photograph by 5 atoshi Saik rarpers c& Gut
 Molin alti Anna Designer
Anna Molinari believes that every woman has a dual sheer fabrics. In doing so, she takes the clothes off her husband, Gianpaolo Tarabini. At that time Molinari
fashion personality, widely known as the virgin/whore the street and into the realm of a designer label. While produced chiefly knitwear, a selection of which remains
complex. In this editorial, model Trish Goff fulfils both mirroring current trends, Molinari attracts a following in the form of sweater-girl shapes trimmed with diamante.
by wearing a sheer shirt, brief satin shorts and a snowy of ultra-feminine women. Her more romantic medium
tailored jacket for cooking. Molinari's work is always uses flouncy dresses, tutus and tops decorated with
traditional in the way it deals with creating sexy clothes, ruffles, frills and bows, which are always just decent.
often using a formula that marries brief hemlines with In 1977 she established the label in partnership with @ van Lamsweerde, Thomass, Versace

326

Anna Molinari. b Capri (IT). (Active 1970s-) Trish Goff. Photograph by Pamela Hanson, American Vogue, 1995
M olyn eu X Captain Edward Designer
A romantic look back to the silhouette worn by the a favourite fa ( (
Empress Josephine during the First Empire (1804-15) WoOr { }

characterizes
this evening dress. The empire style dres Kent, wa {

has a high waistline, a square-cut neckline, short, puffed Trained under Luc Lady Du
sleeves and rich embroidery. A draped, floor-length early twentieth century designed en
stole tapering into a train and long gloves completes the Molyneux nevertt i ke

regal look. Such aristocratic grandeur made Molyneux romar ( * Balmain, Dior, Duff Gordon, Griffe, Stiebel, Sumurun

1. Embroidered satin, empire line dress.

Captain Edward Molyneux. b
 Designer
Aggressive jackets cut from leather epitomize Claude styling in the way Pierre Cardin did in the 1960s. He MacDoudglas. In the 1980s his work symbolized
Montana's extreme style. Broad-shouldered, para- relishes the act of ‘building’ his designs and was widely a movement of women’s fashion which dressed them
military shapes accentuated with epaulettes and cinched respected for those he created for Lanvin Couture from as super-heroines.
waists have dominated his work, the most powerful 1989 to 1992. Montana's career began in London, when
using leather, since his own label was launched in 1979. he ran short of money on a visit and started designing
Montana understands a simple Constructivist shape jewellery, which was then featured in Vogue. After
with its straight, uncompromising lines and uses extreme a year, he returned to Paris to work for the leather firm @ Flett, Lanvin, Model, Steiger, Viramontes

328

Claude Montana. b Paris (FR), 1949. Embroidered, white and gold leather outfits for Idéal Cuir. Photograph by
Alain Larue, L'Officiel, 1980.
M OON Sarah Photographer
A Sarah Moon photograph is almost always a dreamy, much of the 1960
soft-focus trip back to the fashion mood of the 1920s the end of that decade
and 1930s. When she photographed the Pirelli Calendar assignment v
in 1972, it was a groundbreaking event: not only wa: which led to ec
she the first woman to do so (she was chosen to pacify Bazaarand &£
objections from the feminist movement), but she was for Biba cosmetic
also the first to show fully exposed breasts. Moon spent of the early 1970 * Bousquet, Dinnigan, Hulanicki, Williamson

b Paris (FR), 1941. Katia wears Enrica Massel. /

Sarah Moon.
 M orehouse Marion Model
The photographer Edward Steichen once declared that, elegance, made her the ideal fashion model for the writer e.e. cummings, and later in her career also
‘Good fashion models have the qualities inherent in period. As Steichen said, ‘She transformed herself into took up photography.
a good actress: For Steichen, Morehouse was ‘the best the sort of woman who really would wear that gown:
fashion model | ever worked with’ Fashion in the 1920s Morehouse was also frequently photographed
demanded a sleek and willowy silhouette, and Marion by some of the other great photographers who began
Morehouse had that archetypal figure. This, together working in the 1920s, such as Horst P. Horst
with her commanding presence and seemingly effortless | and George Hoyningen-Huene. She married the * Chéruit, Horst, Hoyningen-Huene, Steichen

Marion Morehouse. b (USA), 1906. d (USA), 1969. Marion Morehouse wears bias-cut satin dress. Photograph by Cecil Beaton, 1929
M orl Hanae Designer
The radiant daylight catches Hanae Mori's favourite of her respect for her cultural heritage. Invariably setting up shop at Tokyo's shopping haven Ginza in 1955
model Hiroko en route to her wooden pagoda retreat. Her balancing this with Western styling, Mori's feather-light She was admitted to Paris's Chambre Syndicale de la
bird-like frame, veiled in a tissue-soft, silk organza caftan creations are consistent and sensible, never enslaved to Couture in 1977
printed with daisies, echoes Mori's restrained elegance the dictatesof fashion. A graduate in Japanese literature
and Japanese aesthetic. Kimono silk printed with cherry Mori went back to college after her marriage and
blossoms and butterflies, produced by Mori's husband two sons to learn the fundamentals of dressmaking. She
Kei, Japanese asymmetry and obi belting are all indicative designed costumes for Japanese film and theatre, before © Hirata, Scherrer, Snowdon

j wvdon. British que, 1972

Hanae Mori. b Tokyo UAP), 1926. Silk caftan. Photograph by Snowdon, British Vogue
 M OTTIS Robert Lee Jewellery Designer
Three twisted, sterling silver bangles represent the for Elizabeth Arden. Morris has used cork, rubber, Their work in the mid-1980s, often pairing navy fabric
sculptural work of Robert Lee Morris. The filing marks granite and silicone in his work, but when New York's with elegant gold cuffs, created a uniform for white-
and beaten indentations lend them the natural spirit Fashion Institute of Technology staged a twenty- collar women who wanted to escape the baroque
for which Morris is known. He says, 'l adore natural five-year retrospective for Morris's work, it was titled excesses of that period.
forms. |am a student of anatomy, and his designs forge ‘Metalmania’ His use of stark, urban metals brought
elements of nature into a variety of objects, ranging him close to Donna Karan, whose cultivated designs
from Africa-inspired breastplates to a lipstick holder are an ideal backdrop for dramatic modern jewellery. @ Arden, Barrett, Karan

Robert Lee Morris. b Nuremberg (GER), 1947. Sterling silver Orbit bangles. Photograph by Wolfgang Ludes, 1998.
M orton Digby Designer
‘Fashion is indestructible; proclaimed British Vogue when took the severity and masculinity out of the tailored suit i groupof leading couturiers which promoted the br
it published this photograph by Cecil Beaton as London In 1928 he joined the house of Lachasse, quickly gaining fashion industry in the face of wartime restriction
was bombed during the Second World War. Digby recognition for his suits in exquisitely shaded tweeds
Morton provided leadership in British fashion during designed to be worn with silk blouses. He left in 1933
the war years. He specialized in tailored tweed suits. The to start his own couture business and was succeeded
example in this photograph has a hip-length jacket at Lachasse by Hardy Amies. Morton was a member of
and a slightly flared skirt just covering the knees. Morton the Incorporated Society of London Fashion Designers, + Amies, Beaton, Cavanagh, Creed, French, Maltezos

s
£
 Moschino Franco Designer
Typical of Franco Moschino is this cheeky mockery of health! That his protest became fashion itself was was sold with a manifesto stating that environmental
haute couture where, just for a second, the silhouette testament to the garments they adorned: chic formal concern is ‘the only true fashion trend’
of a military jet is accepted as a couture hat in the grand suits and evening dresses. As a boy, Moschino would go
French style. Moschino believed that fashion should be into his father's iron foundry and create images in the
fun and he demanded laughs with the slogans he applied = dust on the walls. He went on to study art and worked
to clothes and advertising: ‘Waist of Money’ and for Gianni Versace until 1977. In 1983 he launched the
‘Warning: fashion shows can be damaging to your Moschino label. After his death in 1994, each garment * Kelly, Steele, Versace

Franco Moschino. b Abbiategrasso (IT), 1950. d Milan (IT), 1994. Silhouette of a Moschino Couture!
cocktail dress, 1988. Photograph by Fabrizio Ferri
M O Se S Rebecca Designer
A cartoon figure reclines in a classic bikini which their deep-dyed colours (thirty-five every season) and any real life toit! She refers
to her clothing as ‘mobile
represents Rebecca Moses’ starting point for every piece simplicity of shape, the clothes she forms owe nothing style’ that can ‘travel’ between daywear andeveningqwear
of clothing: colour. The walls of her Italian studio are to transient fashion trends. ‘I'm not saying fashion should summer and winter and from outfit to outthit
covered with plastic envelopes, each containing colour Stay still’ she says, ‘but it should stop for long enough
swatches in the form of materials, flowers and paper to consider the needsof modern men and women | was
They turn up on her cashmere sweaters with names such fed up with fashion. There was just so much clothing out
as ‘Frozen Cranberries’ and ‘Robin's Egg’ Cartoon-like in there — fashion was moving too fast and there wasn't + Biagiotti, Jacobs, Mizrahi

bikini, 1998. Illustratior bv Rebecca Mos

Rebecca Moses. b New York (USA), 1956. Magenta
 MOss kate Model
Every so often a special face appears, a face that changes and fresh, she symbolized the triumph of naturalness unisex perfumes were one of the first products to literally
the way we perceive beauty and which challenges our over artifice. Part of that charm is a naturally skinny bottle this attitude and make it a commercial product,
tastes. This is one such face scrubbed bare. Kate Moss frame that does not bear the fleshy undulations usually leaving Kate Moss as the obvious choice of model.
was ‘discovered’ aged fourteen at JFK Airport, New York. associated with beauty icons. Labelled a ‘superwaif',
Sarah Doukas, the spotter and owner of Storm modelling her rise to fame coincided with the grunge phenomenon
agency in London, felt 'she was going to be special’ She that celebrated an anti-designer look of uncoordinated
was. Kate Moss became the Twiggy of the 1990s; young clothes worn with rock-star attitude. Calvin Klein's © Day, Hilfiger, C. Klein, Kors, Sims

336

Kate Moss. b London (UK), 1974. ‘cK be’ advertising campaign for Calvin Klein. 1997, Photograph by Rich
ard Avedon.
 Designer
getting a good fuck, honey; Mugler memorably informed ideal, a theme that also runs through his superhero
trousers conjures up the themes of Aryan vamp and Kim Basinger in Robert Altman's 1995 fashion film Prét a menswear. Mugler re-shapes the body using seam
Pop Art dominatrix. Running through his work is a sexy Porter. Mugler made his first outfit for a female friend at and fabric; an uncompromising and total vision
‘anatomical vision’ of moulded silhouettes, hand-span the age of fourteen. Joining a ballet company, he moved
waists and exaggerated shoulders that have influenced to Paris at nineteen. In 1973 he launched his own label.
Azzedine Alaia and Herve Léger. 'It's all about looking Mugler's vision has been unswerving. Each season jackets
good and helping the silhouette...and it's all about are cut, padded and stitched to create his cartoon-like | Bergére, S. Jones, Léger, Model, Van Beirendonck

and latex pants. Photograph by Thierry Mugler, 1996.

Thierry Mugler b Suakoua (FR), 1948. Shaped bustier
 Muir Jean Designer
The minimalism of Jean Muir's jersey tunic and matching dressmaker in the world’ After working at Liberty, she ‘When you have found something that suits you and
culottes presents a stark silhouette on Joanna Lumley designed for Jaeger, before setting up her own company never lets you down, why not stick to it?’
(Muir's model in the 1970s). Simplicity was Muir's in 1966. She made the ‘little nothing’ of a black dress
signature. She said, ‘lam a traditionalist with a sense of a classic. But her designs were often deceptively simple —
evolution: She inspired the respectful address ‘Miss Muir’, jackets could contain up to eighteen pattern pieces. The
and always wore navy. Geraldine Stutz, president of Henri understated elegance of Muir's wearable designs have
Bendel in New York, called her ‘the most outstanding made them timeless classics. As the designer herself said, * Conran, Jaeger, Liberty, Rayne, G. Smith, Torimaru

Jean Muir. b London (UK), 1933. d London (UK), 1995. Joanna Lumley wears jersey tunic and culottes, Jean Muir's apartment.
Photograph by Michael Barrett, 1975.
ROUTIKACSI Morn Photographer
With her head high and arms swinging, Martin Munkacsi's of spontaneity which Munkacsi brought to fashion Subic ¥yvs had a purpose beyond being a be
subject is the personification of fashion liberation as she photography when he joined Harper's Bazaar in 1932 clothes horse, whether they were running on the
strides from the shadows into sunshine. Her bias-cut encouraged
by his mentor Alexey Brodovitch. As well or, as is Shown here, enjoying
an unaccompanied
dress, blurred and flowing in the wake of her motion, as showing clothes
in motion, thereby
better describing evening stroll
moves with her body rather than restraining it. It is free the real potential of fabric once it is placed on the body
of any detail that will date it and the sash is carelessly he shot fashion from new angles, giving the impression
tied around her natural waist. It is this real-life spirit of a scene snapped rather than posed. Munkacsi's © Brodovitch, Burrows, de Meyer, Snow

963.
1963. Mari
Marion avies,
Davies, San Simeon, California. Harper
Munkacsi. b Cluj (ROM), 1896. d New York US
(USA),
Martin
 N d rs Hrangols Make-up artist
Made-up and photographed by Francois Nars, model signature make-up lines. For them, the catwalk isa public lines are a dark chocolate lipstick formulated to match
Karen Elson wears his signature make-up. Nars uses dense laboratory on which new directions are born. His the colour of the giant ape's fur, and Schiap, an exact
pigments to create rich blocks of colour. Against a snowy company was formed on the catwalks of Versace, Dolce match of Elsa Schiaparelli's classic shocking pink.
base, he isolates the eyes and lips with a striking, abstract €& Gabbana and Karl Lagerfeld, in his vivid Technicolor
method. ‘The runway is my sketchpad; says Nars who, schemes that became the blueprint for each seasonal
like Bobbi Brown and Frank Toskan, belongs to a circle look. His work draws inspiration from old movies, exotic
of directional make-up artists who have created places and characters such as King Kong. Amongst his @ Dolce & Gabbana, Lutens, Schiaparelli, Toskan

340

Francois Nars. b Biarritz (FR). (Active 1980s-) Karen Elson. Photograph by Francois Nars, 1997.
N ast Condé Publisher
In one sideways glance, the Countess Divonne makes Baron de Meyer becoming the first full-time fashion and caused Harper's Bazaarto poach de Meyer in
the first-ever photographic cover of Vogue. Her romantic photographer in 1914. With his editor, Edna Woolman 1921. Nast then hired Edward Steichen, Cecil Beaton and
pose and its artful styling preceded today’s charismatic Chase, Condé Nast exerted strict control at Vogue, Harper's Christian Bérard, sparking a long-standing feud
fashion covers. Following his 1909 purchase of Vogue, and gave Carmel Snow and Alexander Liberman their
Condé Nast's transformation of the American social first glimpse of fashion editorship and art direction
magazine into a high-class fashion glossy heralded a new respectively. Such a controlling policy did not always
era in international magazine publishing - starting with work: it fuelled Diana Vreeland’s sacking in the 1960s, + Liberman, de Meyer, Snow, Steichen, Tappé

341

: NX
Counies
Biywane.
MNbiss Florence
Soudenried,

McVickar, 1893
(USA), 1942. First Vogue cover. Photograph by Harry
Condé Nast. b ents CO (USA), 1873. d New York
 N ewton Helmut Photographer
The Scandinavian model Vibeké wears a superlative Preferring statuesque, Teutonic women, he places his of ring-flash photography lends a menacing mood to his
pinstriped suit and crepe-de-chine blouse by Yves Saint subjects on the line between pornography and fashion scenarios, which have inspired debate for decades: does
Laurent. Shot at night ona Parisian street, her hair photography — this isa tame, but nonetheless powerful he objectify women, or doeshe invest them with
is slicked to her head in the sexually ambiguous manner example of Newton's work. Lesbian sex, breasts bared a superhuman power?
of Garbo and Dietrich, and she holds the cigarette as from behind a mink coat and the palpable suggestion
aman would. It isa scene conjured by Helmut Newton, of bondage are a few of the themes used by
whose work is always charged with sexual themes. him in his depiction of fashion. His employment @ Matsushima, Palmers, Saint Laurent, Teller

ork

See
Te

z
:
Is

342

Helmut Newton. b Berlin (GER), 1920. d Los Angeles (USA), 2004. Tailored Yves Saint Laurent suit. French Vogue, 1975.
N orel| Norman Designer
_ the Norell hallmark,was never more evident
than when all-over sequins, verging on the vulgar, were
tamed by his application of them on to a gown of classic
lines. An added layer of shimmer, perhapsan evening
sweater, was justified as being warm protection for the
shoulders on a wintry or Second World War night. From
joining Hattie Carnegie in 1928 until his death in 1972, * Carnegie , Ley, Mackie, Parker

Suzy Parker wears a red sequined dress

Norman Norell. b Noblesville, IN (USA), 1900. d
 Nutter uy Tailor
Mick Jagger marries Bianca Perez Moreno de Macias In 1969 he opened Nutters in Savile Row. His three-piece Kilgour French and Stanbury. He is still remembered with
at the town hall in St Tropez in 1971. He wears a suit suits were styled with narrow, square shoulders, wide affection and respect by the tailors of Savile Row. ‘He was
by Tommy Nutter, the man who opened the doors lapels, tight waists, tightly crotched flared trousers, and a modern stylist; said one. ‘He brought fashion here:
of Savile Row to a new generation (and also cut both waistcoats. Charming and shy, Nutter was a frontman
John Lennon's and Yoko Ono's wedding suits). After for the company which, employing master cutters
studying architecture, he had answered an advertisement and tailors, made the Savile Row bespoke suitfashionable
for a salesman at the Savile Row tailors G. Ward and Co. again. In 1976 he left the company and joined tailors # Beatles, Fish, Gilbey, R. James, Liberty, T. Roberts

Tommy Nutter. b London (UK), 1942. d London (UK), 1992. Mick and Bianca Jagger on their wedding day, St Tropez,
1971.
Oldfield price Designer
Bruce Oldfield reclines next to his black silk crepe The glamour could hardly be further removed from design as the Dress of the Year in 1985, praised ‘his skills
evening dress. The bodice is ruched with gold lamé and Oldfield’s childhood in a Dr Barnardo's home. His foster as a dressmaker, his belief in cut, line and silhouette, hus
the mannequin wears shoes by Charles Jourdan; together mother was a seamstress and it was from her that standards of workmanship and his conception of women
they present a collaboration of deluxe fantasy. Oldfield Oldfield first developed his interest in fashion. He
once claimed, ‘| can make any woman look better. That's presented his first collection in London in 1975. His shop
what do: His starry clientele has ranged from aristocrats opened in 1984, attracting a strong following from
to soap queens; the Princess of Wales to Joan Collins. the ‘ladies who lunch! Suzy Menkes, who selected his * Diana, Jourdan, Price

of Costume's ‘Dress of the Year’, 1985. P!

Bath Museum
a gold lamé and bl ack silk crepe dress. Winner of the
Bruce Oldfield. b London (UK), 1950. Bruce Oldfield with
 Oldham toa Designer
Todd Oldham sits with one of fashion's more exotic which began at the age of fifteen when he turned of decorative pastiche for his own collection and,
muses — his grandmother Mildred Jasper. ‘Granny's a K-Mart pillowcase into a sun dress for his sister. Oldham to a slightly lesser extent, for Escada, a label for whom
always been a huge inspiration to me. She does exactly always risks kitsch to achieve his distinctive style. Quirky he became a consultant in 1994.
what she wants, with great irreverence! In this sitting colour combinations and textures are used for his
for Harper's Bazaar, Mildred wears Oldham's hot pink, down-home Texas style of flash and panache. His denim
quilted satin jacket which comes close to being a boudoir and bikinis are fringed, his midriffs bared and his
robe. His family have long been connected to his career, skirts invariably short. Oldham creates a kaleidoscope @ Eisen, Ley, Mackie, Mizrahi, de Ribes

pas
OTOTOrTOTOT
Oe"OTe" e "O78 ™
Pal
Oo PY

ey xs

346

Todd Oldham. b Corpus Christi, TX (USA), 1961. Todd Oldham and grandmother. Photograph by Gus van Sant, Harper's
Bazaar, 1997.
Orry-Kelly waste
Orry-Kelly's hand-sewn, decorative costumes made They only fell out once when the studio insisted she be Oscars for Marilyn Monroe's sexy glamour tr
him one of Hollywood's great designers, alongside glamorized for Fashionsof 1934, which she hated. The Some Like it Hot and Leslie Caron’s colourful cost
Travis Banton and Adrian. On his first Hollywood movie, life and soul of many showbiz parties, Orry-Kelly was in An American in Paris
Orry-Kelly worked with Bette Davis and they formed a also a prima donna and an alcoholic. But his time with
Iyartnershipt that was to last for fourteen y years. Orry-Kelly
y Warner Brothers ended on a high note after he dressed
understood Davis's need for the drama in her wardrobe to — Ingrid Bergman in simple classics for Casablanca, before
match, but not overshadow,
that of her on-screen acting being drafted
into the army. He later freelanced, winning & Adrian, Banton, Mackie, Stern

dress
Kelley). b Kiama (ASU, 18 17. d 1964. Marilyn Monroe wears diaphanous beaded
Orry-Kelly ohn
 O U d e]d a S Marie-Anne Designer
Each season, Marie-Anne Oudejans produces dresses own copies. Claudia Schiffer, Helena Christensen to choose from, but many fabrics and colourways.
in just a few simple shapes but in many different fabrics (pictured here) and Naomi Campbell were photographed Trimmed with broderie anglaise and sold in soft candy
and colours. The story of her label, Tocca, is similar to wearing the dresses and customers started calling colours, they have a girlish quality that sits apart from
that of Lilly Pulitzer who, in the 1960s, became famous stores trying to find out how to buy them. ‘It became mainstream fashion.
for her printed dresses. Oudejans was originally a stylist a fashion by chance; says Oudejans. Her dresses are
who wore her own little cotton dresses on fashion unapologetically pretty and are cut from cotton or silk
shoots; the supermodels who saw them begged for their sari fabrics. Each season there are just a few styles @ Dinnigan, Mazzilli, Pulitzer, Williamson

19)
sie

348

Marie-Anne Oudejans. b (NL), 1964. Helena Christensen wears a pink embroidered dress. Photograph
by Niall McInerney, 1994.
Ozbek sits Designer
Rifat Ozbek visited North Africa, India and his own American Indian and South African Ndebele to Eastern Before moving his business to Milan in 1991 Ozbek

Turkish roots for this eclectic, delicate outfit. A gauze European gypsy and Haitian voodoo. Having been designed his New Age collection, Usi: g white
cardigan is heavily braided and trimmed with cording. brought up in Britain, Ozbek worked with the seminal it revealed a new-found purity in his work
Underneath, a dress is embroidered with flowers, the 1970s designer Walter Albini in Italy, before moving
raised waistband dotted with silver beads. Since setting back to London to work for Monsoon, a chain store that
up his own label in 1984, Ozbek has been inspired by specializes in designs manufactured in Indian fabrics
the clothing and decoration of a variety of cultures, from He has been heavily influenced by London street fashion + Abboud, Albini, Bowery, Hendrix

British Elle, 1
Rifat Ozbek. b Istanbul (TUR), 1953. Embroidered jacket and dress. Photograph by Gilles Bensimon,
 Page Dick Make-up artist
Model Annie Morton sits in her apartment bare-faced key to Page's ethos. While effecting transformations by he was a champion of the ‘greasy, glossy’ direction
and with dishevelled hair. The image is deshabille in the giving skin a shiny surface, he rejects further artificiality of make-up in the 1990s, a movement that, bizarrely,
extreme. Make-up artist Dick Page did nothing to disturb and won't use make-up that regulates and reduces accelerated the sale of make-up.
her early morning beauty. Using this pre-shoot image, women to a uniform beauty - on one occasion
he contests the idea of what constitutes beauty, saying, even leaving spots as an ‘undeniable part of the woman
‘There is no such thing as natural make-up. As soon as underneath’ Page's iconoclastic methods are unique
there is make-up on the face it is not natural! This is the ina business that is designed to sell make-up. However, * Brown, Day, Lutens

350

Dick Page. b Gosport (UK), 1964. Annie Morton in her apartment. 1996.
Pal Cy Babe Icon
Babe Paley liked to look flawless; her clothes — twinsets, the socialite Slim Keith, called her style ‘perfe
to-the knee skirts and crisp blouses always had to be inan
era of casual! convenier esst (
just so. Here she decorates
an exacting two-tone dress Cushing into a middle-class family, witt elde { ( (
with an armful of costume jewellery in the style of Allof the Cushing girls were trained b é (
another paragon of personal style, Coco Chanel. Truman mother to snare wealthy t '
Capote commented, ‘Babe Paley only had one fault: she Babe's second ma O F
was perfect; otherwise, she was perfect! Another friend, CBS. As a fashion editor of Ame n Vogue int 194 @ Chanel, Lane, Parker

Barbara Paley. b Boston (USA), 1915. d New York (USA), 1978 Babe Paley.
 Palmers Walter and Wol fullReinhold (Wolford) Hosiery designers
Nadja Auermann wears a pair of semi-opaque tights every year. For its 1996 advertising campaign to promote style-conscious women around the world, has elevated
which were specially created for this photograph. no-seam, ‘second-skin' tights (which took four years to Wolford to its position as the preferred hosiery of the
In her right hand she holds a Polaroid, the chosen film develop), Wolford chose photographer Helmut Newton, fashion industry.
of a voyeur, of herself in provocative pose. The Wolford who places his subjects in a steely sexual context.
company, founded by Walter Palmers and Wolff Reinhold Wolford has been associated with hosiery since 1949. The
operates from the small Austrian town of Bregenz, patronage of Vivienne Westwood, Helmut Lang, Christian
and creates four collections of hosiery and bodywear Lacroix and Alexander McQueen, as well as devoted, @ Lang, Newton, Westwood

ei ‘\\" a
WT)\
i i
\ )
ie

352

Walter Palmers. b Vienna (AUS), 1903. d Vienna (AUS), 1983. Reinhold Wolff. b Hard (AUS), 1905. d
Hard (AUS), 1972. (Wolford.) ‘Fatal Neon’ tights. Photograph by Helmut
Newton, 1996.
 Pa qu 1nN Jeanne Designer
It is five o'clock and Mme Paquin’s salon is crowded with President of the Fashion Section of the Paris Exposition Mme Paquin was the first couturiére to achieve
vendeuses (without hats) showing clients (with hats) Universelle of 1900 and promoted spectacular displays of international fame, establishing further couture salons
bolts of fabric from which they will order their dresses. fur. It was from this time that fur appeared as a trimming in London, Buenos Aires and Madrid.
At the centre of the room one models a fur-trimmed or accessory in the collections of leading couturiers.
gown for two ladies, one of whom is examining Mme Paquin also made exotic and brilliantly coloured
the embroidery on its skirt. Mme Paquin founded her garments, blending her superb tailoring with drapery
“own maison de couture in 1891. She was appointed inspired by Iribe and Bakst. As soignée as her models, | Boué, Dinnigan, Gibson, Redfern, Rouff, Van Cleef

on’

3.
‘
de
a«
7.
—————_
chez Paquin. Painting by Henri Gervex, 1906.
Jeanne Paquin. b ile Saint-Denis (FR), 1869. d Paris (FR), 1936. Cing Heures
 Pa rk CT suzy Model
One hand holding a cigarette, the other thrown behind Irving Penn in 1947 that Suzy was first discovered. Later Bradford Dillman, for whom she put her modelling career
her head - both bear witness to Suzy Parker's reputation she was taken on as the face of Revlon and of Chanel aside for marriage and motherhood.
as someone who could never sit still. With high No. 5 (Coco Chanel became her friend and godmother
cheekbones, green eyes and red-gold hair, she became to her daughter Georgia), before she set about becoming
the most famous model of her generation, photographed one of the MTAs (model turned actress). Although Suzy
extensively by, among others, Horst and Richard Avedon. secretly married the playboy journalist Pierre de La Salle
It was while watching her sister Dorian Leigh model for in 1955, it did not last and she later married the acto: @ Avedon, Bassman, Chanel, Horst, Norell

Suzanne (Suzy) Parker. b Long Island City, NY (USA), 1932. d Montec ito, CA (USA), 200 3. Suzy Parker. Photograph by Lillian Bassman, Harper's
Bazaar, 1963.
ae rkinson Norman Photographer
Norman Parkinson evokes the breathtaking thrill of Paris brought great urbanity, charm and sophisticated wit was a celebrated fashion model, whom he often
first seen from the air in this editorial picture taken In colour and composition, his fashion photographs have photographed. Together they brought the new
in 1960. He was a realist who took fashion photography often been compared to the paintings of John Singer cosmopolitan spirit of intercontinental jet travel
outdoors. After the Second World War, he embarked Sargent. He was the official photographer for to the pages of Vogue
upon a successful career in fashion photography the wedding of Princess Anne and Captain Mark Phillips
for Vogue, pioneering the use of colour. Parkinson had in 1973 and photographed the Queen Mother on her
a feeling for the essentials of fashion, to which he eightieth birthday in 1980. His wife, Wenda Parkinson, + Fratini, Kelly, Levine, Stiebel, Winston

Flying over Paris. Queen, 1960

Norman Parkinson. b London (UK), 1913 d Singapore (SING), 1990
 IAE@i ies Designer
Jean Patou's dress is influenced by two art movements: that would best adapt to his design philosophy of embellishment and also enhanced Patou's precision
Art Deco and Cubism. Purity of line, a key element of simplicity and a streamlined, uncluttered silhouette. His of cut. Tennis player Suzanne Lenglen was also dressed
Art Deco, was the hallmark of Patou's style. He also took long-waisted dresses with their luxurious designs were by Patou, setting a fashion for sleeveless jumpers.
inspiration from Cubism, creating sharp, geometric constantly described in the fashion magazines of the
shapes and patterns in his fabrics. He worked closely with time as ‘chic’ and were worn by actresses such as Louise
the textile firm Bianchini-Férier (where Raoul Dufy was Brooks, Constance Bennett and Mary Pickford.
under contract in the 1920s), in his search for materials Long strings of pearls and fur-trimmed coats added *@ Abbe, Benito, Bohan, Eric, Frizon, Lacroix, Lanvin

356

SS G jist Tyads ce G Ve ‘Ae® A 4.3, j f

Jean Patou. b Normandy (FR), 1887. d Paris (FR), 1936. Sequined dress. c1927.
Paulette Milliner
Lush silk roses adorn the brimof a summer
hat by reinvente {
Paulette, who was one of France's leading milliners for irtime prac | by ac ( ( f (
thirty years. She began creating hats in 1921,and set would wrap her head mpl tion tl I t
up her own millinery salon in 1939at the startof the the biggest fashic {( (
Second World War. These straitened circumstances were with draped ve nd f
to bring out her most creative talents, just as Ferragamo Paulette wer eate
was forced
to experiment
with plastics. Paulette Cardin, Ungaro, Mugler and Larocl emonstratir @ W. Klein, Laroche,
Model, Mugler, Talbot, Ungaro

1984 Barbara Mullen wears hat decorated with roses

Tour FR 00. d (FR),
Paulette (Paulette de la Bruyére). b Le
 a U |1Nn ay Designer
In 1987 the baby-doll grew up in the hands of Guy with Jacqueline Jacobson at Dorothee Bis, he took his was always to create clothes that would boost the
Paulin. The pin-tucked, big-pocketed, girlish style passion for knitting to New York in 1968, where he wearer's self-esteem.
becomes womanly with its floral print reduced to a few shared rails with Mary Quant and Emmanuelle Khanh
scattered petals. An admirer of Claire McCardell, Guy at the boutique chain Paraphernalia. Having freelanced
Paulin's easy-going, vibrant style consciously blended for MaxMara, he replaced Karl Lagerfeld as designer
office formality with the no-nonsense detailing at Chloé in 1983. Paulin had a reputation for pleasing
of American sportswear. Fired by a two-year training women with his brand of French chic and his intention @ Jacobson, Khanh, Lagerfeld, Lenoir, Maramotti

358

Guy Paulin. b Lorraine (FR), 1945. d Paris (FR), 1990. Baby-doll dress. Women's Wear Daily, 1988.
Mr Pearl Designer
A child wears a garment designed to reduce an adult's House, where his interest in the art of corsetry was famous for perfecting
the hourglass silhouette. His work
circumference
to that of a child. It is the highly crafted aroused. His great-grandmother had been
a fashionable has also appeared
on the catwalks of Christian Lacrow
work of Mr Pearl, the man who made the corset a fashion —_dressmaker in the bel/e époque and he was inspired John Galliano and Alexander McQueen
item. Called the best corsetier in the world by Vivienne by photographsof the clothes she had made: ‘The world
Westwood, he is famous for his own corseted eighteen used to be a more interesting place visually and | wanted
inch waist. Pearl left South Africa in the early 1980s for to bring some of that visual stimulus back! Pearl has
London and the costume department at the Royal Opera worked on collections for Thierry Mugler, a designer * Berardi, S. Ellis, Galliano, Lacroix, McQueen, Mugler

raphh byby Sean 1 Ellis,

Photograp El The Face
[he Face, 1996
1990s-.) Black beaded corset. ,
Mr Pearl (Mark Erskine-Pullen). b (UK). (Active
 Penn Irving Photographer
Model Jean Patchett becomes an exercise in graphic - with a regal presence. Penn said, ‘The camera is just the haute couture | think again and again of the beauty
perfection under the lens of a photographer whose a tool, like a wrench. But the situation itself is magical. of women and the magic of Paris!
work defined haute couture in the 1950s. The power and | stand in awe of it! Penn's black-and-white photography
simplicity of Irving Penn's work made him the Balenciaga of the 1940s and 1950s captured the grandeur and
of fashion photography —- a designer whose work drama of haute couture just before its pre-eminence
was often shot by Penn. It has a natural solemnity which was about to be threatened by the power of ready-
invests his subjects — a model, a still-life or even a sleeve to-wear. Of couture, Penn said, ‘When | am working with * Brodovitch, Dovima, Fonssagrives, Vreeland

360

Irving Penn. b Plainfield, NJ (USA), 1917. Jean Patchett. Photograph by Irving Penn, American
Vogue, 1950.
Peretti Elsa Jewellery designer
Like so many of Elsa Peretti’s designs, this apparently ora teardrop and translates it into a beautifu sculptural ovecame C wort by | 1 Minne ! ne )

molten silver cuff, with its smooth, tactile lines, was timeless piece of body art. She presented her inaugural ind in the 1990s by Naomi Campbell, who thread
inspired by her love of organic forms; in this case, the pieces alongside Giorgio di Sant'Angelo’s collection through her navel ring
irregular contoursof bones. A renowned craftswoman, in 1969 and later designed for Halston. Her other desigr
Peretti creates jewellery and home accessories with sold by Tiffany & Co, have included the famous Peretti
a unique rhythmic sense of the natural world. She seizes ‘Open Heart’ pendant and ‘Diamonds by the Yard
the figurative essence of something as simple as a bean — a simple chain interspersed with diamonds whict * Halston, Hiro, di Sant'Angelo, Tiffany, Warhol

' *p r b iro, 1989

}
Elsa Peretti. b Florence (IT), 1940. Silver ‘bone cuff. Photograph by Hir
 Perint Palmer cisays Illustrator
With its deft pen strokes and blocks of pastel colour, extended neck which creates an imperious air, are just to a tradition which is as old as fashion presentations.
Gladys Perint Palmer's simple catwalk illustration one step removed from reality. The close attention Sketch artists were once the only way for collections
resonates with fluidity and movement, accurately of Chanel's former model Inés de la Fressange, wearing to reach the wider public before the clothes did.
capturing not only Yves Saint Laurent's couture gypsy but a red jacket in the foreground, adds to an ambience that
also the women watching her. Like a cartoonist, Perint only a camera can record faithfully. Each picture is
Palmer's work gives a humorous insight into the catwalk a microcosm of a show, illustrating the spirit of a collection
world. Subtle exaggerations, such as the model's and that of the spectators. Perint Palmer belongs * Chanel, Saint Laurent, Vertes

362
rertegaz Manuel Designer
Henry Clarke's great attribute as a fashion photographer an oval-necked shoulder yoke and three tie-fastenina i
was his precision in defining a fashionable image, The most distinctive feature ts tent shape ent
showing here how this haute couture coat was cut widely from the shoulders, One of the areat Spar }
and how it hung. He has made the brilliantly tiled walls fashion designers, Pertegaz earr
of the Villa Rosa, an elegant Madrid restaurant, formal designs in the grand manne (
the perfect backdrop
for Manuel Pertegaz’'s
vivid green, early 1940s. The tent silhouette |
paper taffeta evening coat. Falling
to mid-calf,
it has 1951 by Pertegaz's compatriot, Baler 1a. Together they * Balenciaga, Clarke, Gres, Saint Laurent

Ao : ure ete ae Th Lh
—~ sures iin : ane : -
hie EAS 2

Manuel Pertegaz. b Aragon (SP), 1918. Green taffeta evening coat. Photo.
 feGUON cl are Shoe designer
This decorative boot, based on turn-of-the-century in black suede with a pink platform, enabled André sixteen. In 1920, he established his own salon in Paris.
spats, was the perfect complement to the attention- Perugia to capture the essence of fantasy that was so Perugia also designed footwear for Poiret, Fath and
grabbing designs of Elsa Schiaparelli. Schiaparelli much in accord with Schiaparelli's own creations. Despite Givenchy, as well as Schiaparelli.
was a brilliant colourist. Shocking pink, which she made its size, the boot was easy to walk in. Perugia understood
the predominant colour in the world of fashion in the balance, scale and the engineering of footwear, having
late 1930s and throughout the 1940s, was her famous been an apprentice at his father's shoe business in Nice
trademark. The sheer expanse of the surface of this boot, prior to opening his own shop there when he was only @ Fath, Jourdan, Poiret, Schiaparelli, Talbot, Windsor

364

André Perugia. b (FR), 1893. d Cannes (FR), 1977. Buttoned boot with scalloped edging for Elsa Schiaparelli. 1939.
ma Stet Andrea Shoe designer
With ‘Martini dry’, a sunshine yelloy sandal, Andrea
Pfister evokes the cocktail culture of the mid-1970
Its heel is shaped to resemble a martini glass embellished ind Lanvir
with a slice of lemon; a surreal object which demands whict
attention. Pfister treats
his shoes as a centrepiece rather 5 applique:
than a distant accessory, and the foot, for him, is the
start of the human body rather than its end. In 1964, @ Ferraqamo, Lanvin, Louboutin, Patou

1942. ‘Martini dry’ kid sandal. Pho

Andrea Pfister. b Pesaro (IT),
 Piguet rover Designer
Horst has photographed Robert Piguet's outfit decorative importance of the hat, and has used it here to meet Miss Zelensky's cheekbone. The purity of Piguet's
ina Surrealist manner. At first glance, we see the sitter as a witty punctuation mark to his garment. Piguet's outfit is simplified further by Horst's impeccable style.
wearing a well-cut bodice with the emphasis focused work was admired for its uncluttered yet flamboyant
on the white sleeve. Miss Zelensky's other sleeve becomes shapes, an element greatly supported by contributions
a shadow, together with her Tyrolean hat and skirt. from talented freelance designers, including Dior and
Horst has created an illusion for the designer. Having Balmain before the Second World War and Bohan after.
trained with Redfern and Poiret, Piguet understood the Here, it is represented by the sleeve with its head raised @ Balmain, Bassman, Bohan, Castillo, Galanos, Horst

66

Robert Piguet. b Yvedon (FR), 1901. d Paris (FR), 1953. Doris Zelensky we ars puff-sleeved jacket. Photograph by Horst
P. Horst, 1936.
Pi n a! Francois Shoe designer
The dainty flower design and distinctive Louis heel of this members of society, shoes that would be worn to this prestigious firm, which has become known for
delicate, white satin boot - a finer version of the lowish, underneath the grand gowns by Charles Worth. demonstrably expensive shoes, such as women’s court
wasp-waisted heel worn in the reign of King Louis XV Shoemaking was a family concern for Pinet; he had shoes entirely covered with rhinestones and animal skin
of France - are typical of the designs by the French learnt his craft from his father and, when he retired footwear for men.
shoemaking firm, Pinet. Established in 1855 by Francois in the early years of the twentieth century, his son took
Pinet, the Paris company soon became known for over and continued to expand the firm, opening shops
creating elegant footwear for the most fashionable in Nice and London. Roger Vivier later supplied designs | Hope, Pingat, Vivier, Worth, Yantorny

367

ph by Elisabeth Eylieu.
Women's embroidered boot, 1867. Photogra
Francois Pinet. b Chateau-le-Vaillere (FR), 1817. d (FR) 1897.
 Pingat Emile Designer
This navy faille day dress from the 1870s, with its frills, house flourished from 1860 to 1896. He was known pre- his creations reflected the fashionable silhouette and
ruching and cut velvet bodice, recalls the grandeur eminently as a couturier who created fashions of delicate aesthetic of the Parisian world of haute couture from
of Emile Pingat's work. He was a contemporary of Charles contrasts and for a perfect harmony of proportion, the mid- to the late nineteenth century.
Frederick Worth, the father of haute couture. They were evocative of the current ideal of femininity. His striking
rival couturiers, with their names mentioned together ball gowns captured the fantasy and romance of
in the guidebooks for female tourists visiting Paris in the the great festive occasions in Paris during the Second
second half of the nineteenth century. His own fashion Empire and the Third Republic. Together with Worth, @ Pinet, Reboux, Worth

68

Emile Pingat. b (FR). (Active 1860s-1900s.) Blue faille and silk velvet day dress. 1870s.
Pi p d rt Gerard Designer
Arlette Ricci, granddaughter of the couturiére Nina, been conducted in the houses of the great couturier precise drawings and making amendments str
wears a luxurious astrakhan coat cinched with an elastic Balmain, Fath, Patou and Givenchy; conse quently he the toiles. Pipart’s style is one of conservative beauty t
belt, an ironic conceit that displays modern use of a creates simple Parisian chic rather than chasing seasonal eschews gimmickry
deluxe garment. It is the work of Gerard Pipart for the trends. Pipart is also true to the tradition of maintaining
house of Nina Ricci, once described as a ‘never too haute’ ‘house’ styles, those which women can order each season
designer. Pipart joined the house in 1964 after the with few alterations beyond a change of fabric. He never
departure of Jules-Francois Crahay. His education had learned to cut fabric so he is unusual in working from * Balmain, Crahay, Fath, Givenchy, Patou, Ricci

by Peter Knapp, 1976

belted astrakh an coat for Nina Ricci. Photograph
Gérard Pipart. b Paris (FR), 1933. Arlette Ricci wears
 Pi ta Orlando Hairdresser
Model Shalom Harlow’s hairstyle accurately reflects Jean-Paul Gaultier catwalk and African-American shampooing hair in the belief that its own sebaceous
Orlando Pita's aesthetic approach. While creativity and braidings in videos for Madonna, one of his most loyal secretions have a natural cleansing function, has
subversion are critical elements of his vision, beauty still clients. Pita finds an ideal ground for experimentation admittedly even used toilet rolls as curlers to achieve
remains a priority. ‘A hairstyle may be stunning, but | will in the diva, who allows him to break away from all some of his Surrealist styles.
have failed if it doesn’t make a woman beautiful} says stereotypes. ‘There's no room for fantasy in the salon;
Pita. This photograph displays his signature ethnic style, he says when asked why he concentrates on editorials
which was seen in the form of Hasidic payos on the and catwalk shows. Pita, who vehemently resists * Gaultier, McKnight, Madonna

370

Orlando Pita. b Havana (CU), 1962. Shalom Harlow. Photograph by Mario Testino, Harper's Bazaar, 1994.
 Photographer
With her face turned away from George Platt Lynes' as vaguely Surreal objets by a photographer who York's artistic community). These, it is said, set precedents
camera, the reclining figure presents herself as a living followed that movement, explored during a friendship for the work of Herb Ritts and Bruce Weber, who apply
model in an art gallery setting. The drape of her with Jean Cocteau. Platt Lynes started to publish his simplicity and the artistic merit of a sinewy male
crepe-de-chine dress mirrors that on the dress of her fashion work in Town and Harper's Bazaar in 1933 and physique to their work.
companion and the wavy print snaking along her became director of Vogue's Hollywood studio in 1942.
body is a reminder of that fabric's propensity for liquid His later life was spent photographing male nudes (Platt
movement. These gowns, by Gilbert Adrian, are presented Lynes was a charismatic, openly gay member of New * Adrian, Ritts, Weber

371

Vogue, 1947.
George Platt Lynes. b NJ (USA), 1907. d New York (USA), 1955. Adrian's ‘Magic’ draped silk dresses. British
 Potret rau Designer
The scope of Paul Poiret, ‘The Sultan of Fashion’, monde of Paris would wear Poiret-designed costumes — fashion designers of the twentieth century,
is illustrated in this line-up of models influenced by the which became fashion overnight. He added a new revolutionizing fashion design, reviving fashion
Ballets Russes. In 1909 he introduced a fluid style of dimension to fashion by parading his mannequins illustration, establishing a school for the decorative
dress, inspired by the French Directo/re and orientalism in the gardens of his house, at racecourses and on tours arts and even diversifying into perfume
but also the sumptuous splendour in which he lived and of Europe and the United States. Poiret opened his own
worked. He gave fashion a theatrical spin by throwing salon after serving an apprenticeship under Doucet
lavish fétes at his maison de couture, where the beau and working for Worth. He was one of the most creative © Bakst, Barbier, Brunelleschi, Erté, lribe, Lepape

vert

5
~

me

Paul Poiret. b Paris (FR), 1879. d Paris (FR), 1944. Poiret's mannequins. L'///ustration, 1910
Pollock Alice Designer
The model sweeps down the catwalk in Pollock's crepe the irst to emplo ie ( 6
evening dress. Unadorned
but for neat front buttoning, Chelsea scene. The ( fte
the design combines simplicity with femininity in by Celia Birt ( (
keeping
with the avant-garde
of the 1960s. Challenging clothes renowned
for their ser de
convention, Pollock created fluid and comfortable in deep necklines and
eveningwear. She opened Quorum,
a wholesale and trademark fat
boutique business in London's King’s Road, becoming fitting jersey. More than a designer, P. * Birtwell, Clark, Jackson, Porter

Alice Pollock. b (UK), 1942. White crepe dress. P! yraph by Annette Green, Sritish Vog
 Porter Thea Designer
A printed voile headdress is weighted down with gold as she grew up in Damascus and later in Beirut. Porter impressive robes embroidered with Arabic designs and
embroidery and bugle beads. Under it the model wears took her international style to London's Soho evening dresses cut from silk brocade.
exotic make-up; kohl applied inside the lower lid, in the 1960s where she opened a shop on Greek Street.
emerald eye shadow and ruby nail varnish. Her caftan top It sold her own interpretation of Eastern clothing
is made from a patchwork of rough Madras cotton and to an artistic clientele that included Elizabeth Taylor
co-ordinating, semi-sheer voile. It all evokes the mixture and Barbra Streisand. Porter concentrated on clothes
of Middle Eastern influences that surrounded Thea Porter which t n illusory element removed from real life: * Bouquin, Gibb, Pollock

eh

Thea Porter. b Damascus (SYR), 1927. d London (UK), 2000. Eastern caftan and headdress. Photograph by Barry Lategan,
British Vogue, 1975.
Pozo Jesus del Designer
Jesus del Pozo adds substance to a drifting,J cotton voile stripes. Del Pozo trained as an ¢ ngineer, abandoning admired his soft, colourful menswear. Encouraged
dress by piping its vertical seams. A natural, simple shape, the discipline to study furniture design and interior he started to present womenswear itn 1980
itis a poetic garment, which becomes the focus of decorating, before moving into painting, the influence
a dream-like image photographed in heightened colour of which is clear in his work; this dress resembles a sweep
by Javier Vallhonrat. Strong colour and simple shape of paint. Del Pozo moved on once more, opening his first
is the backbone of del Pozo's style which has also cross- menswear Store in 1974. Two years later his collection
hatched a vibrant, melon slip dress with bold painted was being presented in Paris and worn by women who * Dominguez, Sybilla, Vallhonrat

Vallhonrat,
h by Javierier Vallhonra
yraph
i dress. Photograp 1997
;
Jestis del Pozo. b Madrid (SP), 1946. Handcrafted cotton voile
 era Muucets Designer
Clutching the classic nylon bag upside down in an artless fashion in the mid-1990s. Prada had inherited her fabrics in peculiar colour combinations and patterning
pose, model Kristen McMenamy models the unfettered grandfather's leather luggage business in the 1970s and that heralded the 1996 ‘geek chic’ look. Prada managed
look of Prada. Completely unadorned, save for the she revamped the label by introducing innovative fabrics. to develop a line that is brave in spirit, controversial and
discreet triangular metal stamp, the bag articulates She pioneered the lightweight backpack in parachute desired above almost any other label.
the 1990s notion of subtlety. The intelligence behind nylon now popular among the fashion cognoscenti.
this cult label belongs to Miuccia Prada. Along Focusing on freedom of definition, rather than
with Gucci, her company redefined the image of Italian sex appeal, Prada experimented with 1970s furnishing * Lindbergh, McGrath, Souleiman, Steele

376

Miuccia Prada. b Milan (IT), c1950. Kristen McMenamy. Advertising campaign. Autumn/winter 1995. Photogra ph by Peter Lindbergh.
De Prem onvill Myrene Designer
The jacket is given a dramatic cut by Myréne de (and other women's) wardrobes. In the tradition of other felt comfortable! By the early 1990s, de Prémor ville had
Prémonville for a feminized business suit. Its long-line female designers, such as Carven and Margaret Howell, found an audience of working women who apprec tated
shape is softened with pockets which follow its curving de Premonville started to design for her own needs her meticulous attention to detail
hem. The shoulders are encircled with a strap which The results were sculpted, sassy suits which used unusual
mimics an off-the-shoulder gown. De Prémonville's first colour combinations, bright graphic appliqués and
designs for her own label in the late 1980s were contrasting trims. She also designed a pair of classic
a response to what she felt was missing from her own black stirrup trousers because, as she says, ‘No one else's * Howell, de Tommaso

~
=
y

377

> 1 by Philippe
P stes,
Costes, 1984
1984
b Hendaye (FR), 1949. Day suit with banded yoke. Photograph by
Myréne de Préemonville
 Pre sley Elvis Icon
Presley's hip-thrusting style spoke eloquently to a new sensual. Presley started out as a truck driver and in 1953 Suede Shoes’ denotes a cool dandyism synonymous
American phenomenon: the teenager. Wearing a loosely recorded a few songs for Sun Records. Within five years with a certain black style.
cut suit, black shirt and half-mast tie, he is the image he had made nineteen hit records and starred in four
of a young man who has rejected the formalities of dress — blockbuster movies. His hip gyrations would turn girls
of the older generation. This new, essentially working- to jelly, earning him the nickname ‘Elvis the Pelvis. He
class image scorned established ideas about status and was also known as ‘The Hillbilly Cat’, a reference to
redefined male attractiveness as youthful and overtly the ‘hip cats' of the black jazz tradition - the song ‘Blue @ Bartlett, Dean, Hendrix

w I) (o-)

Elvis Presley. b Tupelo, MS (USA), 1935. d Memphis, TN (USA), 1977. Elvis Presley. ¢1957.
Pn Ce Antony Designer
Antony Price is photographed with Jerry Hall, his friend eveningwear, designed, as he once said, by a man for in 1979, Price consolidated his reputation for corseted
and model. She wears a peplum dress of metallic and a man. Price and Hall met when she was seventeen super-heroine evening gowns made for ‘women who
red French silk lace placed over lamé, an outfit worn and modelling a blue mermaid frock for the cover go to serious parties:
for a benefit show in 1985. ‘It wasn't the chicest or most of a Roxy Music album. In 1968 Price had designed
subtle garment; Price explains, ‘but when Jerry moved a groundbreaking menswear show; its nostalgic 1930s
under the lights she looked like a Siamese fighting fish and 1940s statement became a blueprint for the
ina vast blue tank: It is a theatrical example of his potent —_intellectual glam of Roxy Music. Launching his own label = G. Jones, Kelly, Oldfield

379

with Jerry Hall. Photograph by Richard Young, 1986

Antony Price. b Bradford (UK), 1945 Antony Price
 IP UCC Emilio Designer
Askier is frozen in flight above a model wearing a Classic he was invited to create winter clothes for women to be and an inventive user of fabrics, the ‘Divino Marchese’
Pucci design. The boldly patterned and brightly coloured sold in New York. In 1951 he established his own fashion captured the psychedelic mood of the 1960s. His look
jacket with plain, slim ski pants is typical of Emilio Pucci, house in his Palazzo Pucci in Florence. He was celebrated still inspires fashion revivals every few years.
the Marchese di Barsento, scion of an old aristocratic for his ‘palazzo pyjamas’ in non-crushable, silk jersey
Tuscan family. He was a member of the Italian Olympic which, worn by Grace Kelly, Lauren Bacall and Elizabeth
ski team and, after photographs of him on the slopes Taylor, became a jet-set uniform. As a colourist of
wearing his own designs appeared in Harper's Bazaar, swirling patterns based on medieval Italian banners @ Ascher, Galitzine, Pulitzer

380

Emilio Pucci. b Naples (IT), 1914. d Florence (IT), 1992. Ski jacket. Photograph by Peter Beard, American
Vogue, 1964.
Pulitzer Lilly Designer
The ‘Lilly’ dress, worn here by Rose Kennedy
and her that you wear practically
nothing underneath! This Woolworths. She started selling her dresseson her
granddaughter Kathleen, suited every age. Like Pucci, wealthy resort area lent her clothes a certain cachet stall and the ‘Lilly’ became an overnight success. John
Pulitzer found one style of pattern and kept with it. Her and her squiggly signature was on every dress. She had Fairchild dubbed ita ‘little nothing’ dress
simple, summer shift dresses came in bright, colourful, originally made one for herself to wear when, asa rich
floral cottons. Living in Florida’s Palm Beach, Pulitzer but bored housewife, she began selling freshly squeezed
knew what would make the perfect vacation-wear and orange juice on the beach in 1959. The original dresses
she always claimed, ‘The great thing about the Lilly is were made from cheap-and-cheerful cotton from + Kennedy, Oudejans, Pucci

Kathleen, late 1960s.

1960s.) Rose Kennedy with granddaughter
i > © To 4 > OB

Lilly Pulitzer. b Roslyn, NY (USA) (Active

 Quant Mary Designer
Grace Coddington wears a jersey dress inspired by a school and together they were members of a new society matching pantyhose, a look inspired by dance rehearsal
footballer's strip. Fresh and youthful, Mary Quant's work of design entrepreneurs that included Terence Conran outfits. Ease, exercise and stretch; these elements add up
democratized fashion, bringing an affordable version and Vidal Sassoon. From 1962 Quant's hemlines were to the foundations of modern fashion.
of couture to young working women. In 1955 Quant and raised until, in 1964, skirts arrived at the era-defining
her husband, Alexander Plunket-Greene, opened Bazaar, mini length. It was dubbed the ‘gymslip of the permissive
a Chelsea boutique that sold clothes which expressed society’ and Mary Quant wore one at Buckingham Palace
an anti-establishment sentiment. The pair had met at art when collecting her O.B.E. in 1966. Her look also used # Charles, Courreges, Khanh, Liberty, Paulin, Rayne

382

Mary Quant. b London (UK), 1934. Grace Coddington wears a Mary Quant Ginger Group mini dress. 1967.
Rabanne Paco Designer
Aluminium dises and panels linked together by wire training combined with the impact of pace and pact tne 1960s were Pierre Cardit Ar ire impeges

using pliers have replaced conventional fashion created travel in the 1960s that inspired Rabanne to create Gernreich and Y all (
by threads and needles in this space-fantasy costume. such startling new styles. His space-age fashions using
Rabanne studied architecture at the Ecole des Beaux-Arts alternative, « xperimental materials were important in
in Paris but turned to fashion, supplying plastic buttons pushing aside the traditional parameters of what were
and jewellery to Givenchy, Dior and Balenciaga. Opening acceptable clothes to wear on thes Other fashior
his own fashion house in 1966, it was his architectural designers who travelled the space-age fashion route in + Bailly, Barrett, Dior, Gernreich, Betsey Johnson

Tees 1. 19
( 1pt yy Gunnar Larsen,
P. 34. + Aluminium é
chainn ail dress.
aco Rabanne. b San Sebastian (SP
 Rayn e Sir Edward Shoe designer
‘Ladies Day at Ascot. It simply mustn't rain} reads for Queen Elizabeth, the Queen Mother, Rayne designed keeping his eye on prevailing trends. Both Jean Muir and
the caption to this playful image. Rayne's lemon-yellow for Princess Elizabeth's wedding trousseau in 1947, Mary Quant lent their talents to Rayne's fashion profile
court shoes, striped with nylon mesh, are flirting with draping her sandals in ivory silk with seed pearls. The by designing youthful footwear.
masculine polished riding boots and Oxford brogues. family-owned business, H&M Rayne, was founded by his
Impeccably crafted in a myriad of colours, from the day grandparents in 1889. Edward Rayne joined the company
japonica pink to the evening jewelled jade, Rayne's shoes in 1940, taking over in 1951. He collaborated with
dressed Britain's well-heeled. Granted the Royal Warrant couturiers Hardy Amies and Norman Hartnell, while still * Amies, Hartnell, Muir, Quant, Vivier

Sir Edward Rayne. b London (UK), 1922. d (UK), 1992. Jaress' yellow shoe with mesh toe. Spring 1963.
Reboux Caroline Milliner
Caroline Reboux was a milliner who excelled at also complementedthe tailored ye I Ce ( ( (
structured simplicity. She avoided decoration and Reboux designed hats for many couturiers and, late
ornamentation. She liked working with felt — a strong in her career, hac ( ( onst (
and malleable material which she cut and folded Madame Vionnet, whos«
on her clients’ heads. For Mile Conchita Montenegro,
the n the 1860s, Caroline Reboux's individual style caught
milliner decorated the hat very simply with a lotus plant he eye of Princess Metternich, who was cred
motif which reflected the line of the hat. This style of hat introducing Worth to the Empres igénie. She * Agnes, Barthet, Dache, Hartnell, Pingat, Windsor

by baron Ge Vieys
+] Reboux. b Paris (FR),\}, 1830s. d Paris (FR), 1927 Hat trimmed with broderie anglaise. Photograph
Caroline
aro = e < 5 eh!
 Redfern som Designer
Mary Garden, the celebrated Scottish opera singer, wears which extends into a train. This style of dress became houses in London and Paris, followed by branches
a town dress made of pleated Rajah silk with a matching known as the S-bend. It reflected the taste for Art in Edinburgh and New York. Redfern closed his houses
cape and a lace blouse. It evokes the fashionable Nouveau. Redfern began as a ladies’ tailor in Cowes in 1920.
silhouette of the be//e €poque: a high-necked, full on the Isle of Wight. The success of his tailored garments,
bodice which gives a pouched effect, over a deep, tightly especially his yachting costumes, led to his becoming
constricted waist. The skirt is cut straight at the front a couturier, designing fashionable clothes for royalty,
and filled out by pleats and extra fabric at the back singers and actresses. In 1881 he established fashion ‘* Bouée, Drecoll, Gibson, Paquin

386

John Redfern. 6 Cowes (UK), 1853. d 1929. Town dress of pleated Rajah silk and lace. 1905.
De la Renta Oscar Designer
Carla Bruni looks as though she owns, and plays, the the rich and beautiful witt
grand piano on which she is perched. It is all part brief apprenticeships in Euroy
of the de la Renta image: sophisticated, lavish, grown on to design for Elizabeth Arder € Y¢ ere f ]

up. The svelte black bodice, which sweeps into a softly idealismof touches
of European glamour c
gathered skirt, is finished with flat bows on the shoulder conventions of American dressn
Known for ornamentation and extremely feminine In 1993 he returned to Europe
silhouettes, de la Renta has cultivated clients among while satisfying the chic Ameri nen who se d * Alfaro, Arden, Roehm, Scaasi, Steiger

Photograp
b Santo Domingo (DOM), 1932 Carla Bruni wears black cocktail gown.
Oscar de la Renta.
 Revill on Théodore, Albert, Anatole and Léon (Revillon Freres) Designers
Louise Dahl-Wolfe shoots a shawl-collared, sealskin cape his name from Count Louis-Victor d'Argental during by his four sons, became the first French global company
draped around the shoulders like a wash of black ink; the French Revolution, such coats might not have with trading posts across Canada and Siberia and
itis an image of awoman coated in wealth. The pioneers existed. Louis-Victor had already taken fur beyond its a museum opened in their name.
of this sort of fur fashion, the Revillon brothers - practical use as a provider of warmth with much-coveted
Théodore, Albert, Anatole and Léon - treated the pelt like juxtapositions of exotic furs such as ocelot, chinchilla
silk, cutting it skilfully a century earlier. Were it not for and Arctic fox, making Paris the fur capital of the world.
their aristocratic father's neck-saving decision to change On his death, the firm, renamed Revillon Freres @ Dahl-Wolfe, Fendi, Lauder

388

Revillon. Théodore. b Paris (FR). d (FR), 1920; Albert. b Paris (FR). d 1887: Anatole. b Pa ris (FR). d (FR) 1916;
Léon. b Paris (FR). d (FR), 1915. (Active 1840s-1910s.) (Revillon Freres.)
Seal cape. Photograph by Louise Dahl-Wolfe, Harper's Bazaar, 1956.
R eCVSO nN Charles (Revlon) Cosmetics creator
Sassy and liberated, Shelley Hack — the ‘Charlie Girl’
strides across the page wearing a trouser suit and an to him as ‘that man’ (becaus¢
expression that says, ‘I've got it all! Revlon captured the her ideas), he created
mood of a new generation of independent women with That Man. S é
the image of its scent, Charlie, in the 1970s. Revion w coloured nail pc hict [ (
founded in 1932 by brothers Charles and Joseph Revson introduced women to matching nail ar p
and a chemist named Charles Lachman. Charles Revson started with Fire anc ( trong red, wit ( ! @ Arden, Factor, Hutton, Venturi

t. ifs ‘ ;
1976. (Revion.) Shelley Hack modelling for Revion’s Charlie’ perfume
Charles Revson. b Somerville, MA >A)
 Rh O des Zandra Designer
Zandra Rhodes once said that she tried to achieve as jewellery. Her dresses used techniques that are still recalled. She cited Edith Sitwell as her inspiration. Her
an ageless exoticism. As such, she is an original; her seen as subversive: exterior seams and ‘winking’ holes own image - multi-coloured hair and statement make-
trademarks were slashed silk tatters, abstract beading, revealing erogenous zones and semi-sheer jersey. Rhodes up - contributes to her aura of outrageousness.
handkerchief points, squiggle prints, tulle crinolines studied fashion at the Royal College of Art, graduating
and pleated fabrics edged with ruffles. The ‘conceptual in 1966. ‘We were determined to live in a world of today,
chic’ collection of 1977, shown here, brought street making it all ourselves, creating our own environment,
style to couture using embroidered rips and safety pins a perfect world of plastic, perfectly artificial’ she @ Rotten, Sarne, G. Smith, Williamson

390

Zandra Rhodes. b Chatham (UK), 1942. ‘Conceptual chic’, Punk jersey dresses. Photograph by Clive Arrowsmith,
1977.
De Ribes Jacqueline Designer
In a pose of fragile elegance, the Comtesse Jacqueline haute couture all her life. Because of a family history of discreet grandeur and slender lines adorned
de Ribes gazes out in a stark, black velvet dress, its of French aristocratic wealth — which suggested fashion by extravagant though simple shoulder deta
rigorous cut softened only by a gentle froth of silk design was beneath her station — her longing to become
cloqué. Dubbed the ‘Most Stylish Woman in the World’ a designer was not fulfilled until she was well into her
by Town and Country Magazinein 1983, the Comtesse forties. An innate sense of good taste meant success
was already appearing on the international best-dressed for her first collection in Paris and America in 1983
lists by the age of twenty-five, having consistently worn It catered for women of her ilk, who admired its aura + von Firstenberg, de la Renta, Roehm

ine de de Ribes,
Ri Paris. Photograph by Victor Skrebne ski 1983
Comtesse Jacquelini e de Ribes.
i b Paris (FR),
( 1931.3 Jacqueline
ac
 Riccl Nina Designer
In this advertisement from 1937, a slimline suit, the feminine, elegant and beautiful. It was a tradition that tucking to emphasize her clients’ attributes and disguise
jacket trimmed with fur, is placed in the context of Nina was continued by Jules-Francois Crahay and then their imperfections.
Ricci's world; the centre of which was the place Vendéme by Gerard Pipart, both of whom respected Ricci's original
in Paris. Unlike her contemporaries Coco Chanel and tenet. She opened her Parisian couture house in 1932
Elsa Schiaparelli, Nina Ricci did not set trends; instead, and, with the help of her son Robert Ricci, rapidly
she concentrated on providing clothes for wealthy established a reputation as a true couturiére. She worked
society women of a certain age, whose aim was to appear by draping fabric directly onto the body, gathering and @ Ascher, Crahay, Frizon, Hirata, Mainbocher, Pipart

Nina Ricci. b Turin (IT), 1883. d Paris (FR), 1970. Fur-trimmed jacket and skirt. Illustration by Pierre Mourgue
1937.
Ritts Herb Photographer
Using his customary talent for black-and-white was exposed to a world of sophisticated beauty by his and powerful, often homo-erotic and always
photography, Herb Ritts makes a drama out of Gianni mother, an interior decorator. Photography started as by the texture of skin
Versace's already arresting dress. The funnel of black a hobby, with portraitsof friends and landscapes. In 1978
fabric, and that worn by the model, create startling a picture he had taken on the set of Franco Zeffirelli’s
geometric shapes that contrast with her pale skin and the remake of The Champ was used by Newsweek. A friend
desert backdrop. Born into a wealthy Los Angeles family male model Matt Collins, introduced Ritts to Bruce
in 1952, Herb Ritts lived next door to Steve McQueen and Weber and fashion photography. Ritts's style was sexy # Platt Lynes, Sieff, Versace, Weber

Tatjana Patitz wears Versace. Le Mirag¢ 1990

e
Herb Ritts. ‘ b Los Angeles, 3 CA (USA), ), 1952 d Los Angeles, CA (USA), 2002
 Roberts Michael Illustrator
Recalling the collage work of Henri Matisse, Michael treatment hints at a deep knowledge of fashion's New Yorker magazine. His provocative vision was acutely
Roberts accurately depicts Azzedine Alaia's sculptural intricacies. A fashion writer, stylist, photographer, exemplified when, for an April Fool issue of Tatler,
Sphinx dress. Bands of white paper emulate the elastic illustrator, video director and collagist, Roberts pokes he transformed designer Vivienne Westwood into
bands in Alaia’'s trademark creation; a black paper fun at fashion icons. His outrageous sense of style Margaret Thatcher.
silhouette accentuates these bands’ curvaceous effect. and venomous pen found their way through his
Using a naive, ‘child-like’ illustrative technique, Roberts appointments at The Sunday Times in 1972, society
keeps an outsider's perspective, while his humorous magazine Jatlerin 1981 and at UK Vogue and the @ Alaia, Ettedgui, Westwood

394

Michael Roberts. b Aylesbury (UK), 1947. ‘Azzedine's Sphinx’. Paper collage, 1991.
Roberts Tommy (Mr Freedom) Designer
Photographer Clive Arrowsmith puts Tommy Roberts’ a bad thing?’ Designer Tommy Roberts was Mr Freedom, Carnaby Street which was followed in 1969 by
work into its kitsch Americana context for Vogue in 1971. a man with an eye both for design and for the gap in the Mr Freedom, on the King's Road. It sold a fast moving
The stretchy wrestler's dungarees are appliqued with market. His cheerful T-shirts and tightly cut trousers were style that never took itself too seriously
a bubblegum-pink satin heart and worn over a colour- also decorated with camp symbols of 1930s and 1940s
blocked T-shirt. The grinning baseball team seals Hollywood - Mickey Mouse and Donald Duck adorned
the story. This was fun fashion for the pop generation iconoclastic clothing for both sexes. In 1966 Roberts
at a time when Vogue asked the question, ‘Is bad taste opened Kleptomania, a hippie emporium near London's * Fiorucci, Fish, Nutter

hez
6 heart. otodranh
Hr Photograph Clive
byby Clive Arrowsmith,
Arrows Britis
; ;
Tommy Roberts. b London (UK), 1942 (Mr Freedom.) Dungarees with pink applique
 Rocha son Designer
Creative yet commercial, John Rocha says, ‘Sex never picture, Irish references often influence Rocha's work. end-of-year show was spotted by the Irish Trade Board
comes into it. I'm interested in beauty more than Natural fabrics, including linen, wool and sheepskin, are who invited him to work in Dublin, where he has lived
anything else’ Here, his organza dress printed with vast given the colours of a Celtic landscape: soft moss green, since 1979, producing clothes under his Chinatown label.
orchids is thrown into relief by Pat McGrath's abstract stone, slate grey. Rocha describes his clothes as ‘free
cobalt-blue make-up. The dress is designed to stand in spirit...a bit gypsy: This description also fits the
proud of the body, creating a see-through sheath Portuguese-Chinese designer who moved from Hong
shadowed with flowers. Despite the hot mood of this Kong to London to study fashion. His Celtic-inspired @ Eisen, Kim, McGrath, Watanabe

396

John Rocha. b Hong Kong (HK), 1953. Organza print dress. Photograph by Steven Klein, Frank, 1998
R O ch d S Marcel Designer
Viarcel Rochas oversees the fitting of a dress, conducted was to train figures
for a decade. Counting Jean Cocteau considered ‘a sign
of the feminine’ In the 1950s, he
dy his wife Helene,
while testing
a fragrance sample ind Christian Bérard among his friends, and with the transposed casual trousers into the context of womer
Vime Rochas pins and tucks the skirt into the New Look encouragement of Poiret, Rochas opened his own maisor Suiting - another novelty
shape — a curvaceous silhouette that Rochas was credited de couture in 1925. He started to create black-and-white
with presaging in his film work for Mae West. In 1946 dresses that featured a white collar —one of which
ne launched the guép/eére, a long-line strapless brassiere is photographed here. His creative innovations often
which enclosed the hips - a foundation garment that featured a strong shoulder line, an element that Rochas © Berard, Cocteau, Dior

and Héléne Rochas with model. 1944

Marcel Rochas. b Paris (FR), 1902. d Paris (f R), 1955 Marcel
 ROATIGUEZ Narciso besigner
Cerruti, for whom he designed this dainty, embroidered for a really good friend and [it] brought a lot of attention In 1997, Rodriguez launched his own label in Milan
bodice, gave Narciso Rodriguez his first international to the work | was doing; he said afterwards. Rodriguez and was appointed to design for the luxurious Spanish
platform as a designer of minimal fashion. However, learned the power of understatement while working for label, Loewe.
it was the creation of a wedding dress that really brought —_a succession of design houses, each of whose philosophy
his name to general attention. In 1996 Carolyn Bessette is based around clean, modern, luxurious and wearable
married John F. Kennedy Jr wearing one of his rigorously clothes: Anne Klein, Calvin Klein (where he met Bessette)
simple, bias-cut sheath dresses. ‘| made a wedding dress and TSE, a design label specializing in cashmere. * Cerruti, Ferretti, A. Klein, C. Klein, Loewe

398

Narciso Rodriguez. b NJ (USA) , 1961. Embroidered bodice and skirt for Cerruti. Photograph by Carter Smith, Harper's
Bazaar, 1997.
R O eh mM Carolyne Designer
Carolyne Roehm, photographed at a gala event held by society clothes to rich women who were either like her evening skirt, will be worn with a cashmere sweater
Bill Blass, is her own best advert. When she launched her or wanted to be like her. She has been described as both to simulate the feel of sportswear
own deluxe, ready-to-wear business in 1984, it was her ‘driven’ and ‘highly organised’ and it is these qualities
tall, whippet-thin frame that starred in the glossy adverts that led her to Oscar de la Renta, for whom she worked
and sold her feminine clothes. ‘| wasn't so gung ho on the for ten years as designer, house model and muse. Roehm
idea of being in the ads; she said. ‘I was told it would be mixes luxury with a practical awareness. Garments cut
a tremendous advantage: And so it was. Roehm sold her from lavish fabrics, such as a full-length, duchesse satin * Blass, de la Renta, de Ribes, Wang

by Daniel d'Errico, Women's Wear Daily

Carolyne Roehm. b Kirksville, \MI (USA), 1951. Satin cocktail dress. Photograph
 Rosier Michéle Designer
A mountain takes on the look of another planet for the she helped boost the export of French prét-a-porter five- Jean-Pierre Bamberger. Rosier's use of sportswear fabric
backdrop to Michele Rosier's space-age sportswear. The fold between 1962 and 1970. Rosier spent her childhood such as nylon fleece, paved the way for their adoption
model's bug-eyed goggles and silver boots amplify the with her mother, publisher Helene Gordon-Lazareff, in as part of everyday fashion clothing.
drama of Rosier's foil ski jacket and pants. Together with the United States, where the youth-orientated style was
her contemporary Christiane Bailly, Rosier was a major a formative influence. Rosier began her career as a writer
player in France's burgeoning ready-to-wear market. for New Woman and France-Soir, but quit journalism
With her young, accessible response to haute couture, to found V de V (Vétements de Vacances) in 1962 with @ Bailly, Bousquet, Khanh, W. Smith

Michéle Rosier. b Paris (FR), 1929. Quilted ski jacket and p ants for V de V. Phot
ograph by Vernier, Bri
tish Vogue, 1966.
Rotten Johnny Icon
Created by Malcolm McLaren and styled by Vivienne antipathetic to every dress code before it; even the epulsive ( ever Sec
Westwood, the Sex Pistols were a promotional tool for individual protest clothes worn by hippies had of clothing rathe } (
the pair's punk-defining London's King's Road shop, Sex. proclaimed a mood of utopian collectivity, but punk 15 hi !
Johnny Rotten, lead member of the group, pronounced, was invented to alienate every other element of society
‘The kids want misery and death. They want threatening by using sex and bondage as its themes. Rotten was
noises, because that shakes you out of your apathy: This surprised himself when Westwood gave him a rubber
uniform was designed as the sartorial equivalent. It was shirt to wear on stage: 'l thought it was the most * Cobain, Hemingway, McLaren, Rhodes, Westwood

jE oP
i} :

1977
«
Johnny Rotten Uohn Lydon). b London (UK), 1956 Johnny Rotten wears tartan bondage trousers.
 Rouf assy Designer
The East provides the inspiration for this evening gown. technique, this dress takes on an almost seamless gaining a reputation for ravishing eveningwear and also
Rouff has incorporated Japanese influence into appearance, with a sweep of unbroken fabric reaching for sportswear. In 1937 she opened her salon in London
superlative modern tailoring: the long, loose pendant from the bodice to the cuff's hem. Rouff began her where her Parisian gowns were shown to her
sleeves recall those of a kimono. Like Poiret and Bakst career as a fashion designer at Drecoll, where her mother, British clientele.
before her, Rouff has infused her design with a feel Madame de Wagner, was head designer. But it was
for the exotic, the Orient. She has achieved a perfectly Jeanne Paquin who was her main inspiration. Rouff
wcut European gown. By using the bias-cutting founded her own fashion house in 1929, rapidly *@ Agnes, Bakst, Drecoll, Paquin, Poiret

Maggy Rouff. b Paris (FR), 1876. d Paris (FR), 1971. Evening dress with cut sleeves. Photograph by George Hoyningen-Huene, 1935.
ROVEYTSI Paoto Photographer
Paolo Roversi describes Kirsten Owen, his favourite a timeless dimension’ Roversi’s illusory work stands alone exchange an attempt to ca
model, as ‘somewhere between an angel and a demon’, among late twentieth-century fashion photographers a little of their personal 1

which is how he captured her in this photograph He left his native Italy for Paris in 1973, and by the end of
taken for a Romeo Gigli campaign. Gigli, a long-term the decade had developed a distinctive style using double
collaborator of Roversi's, believes the photographer exposure and Polaroid film. Roversi's images are poetic,
‘succeeds in seizing a fleeting moment, a tremor romantic and painterly, and by turns demure and slightly
of emotion which projects the women themselves into demented. He describes them as ‘a very intense © Ferretti, Gigli, McGrath, McKnight

ite,
= ty

modelling for Romeo Gigli. 1987.

Paolo Roversi. b Ravenna (IT), 1947. Kirsten Owen
 Rubinstein teens Cosmetics creator
‘Life Red comes to life on your lips’ claims Helena protect her complexion from the sun. A successful small credentials were also impeccable - in Paris she became
Rubinstein’s fresh-faced advertisement from the 1940s. skincare school followed and when one of her seven friend and patron to Matisse, Dufy, Dali and Cocteau.
The healthy image promoted by Rubinstein's make-up sisters joined her, Rubinstein studied with the best
and skin creams was born in a laboratory. She had European dermatologists. Her white-coated approach
wanted to study medicine but, denied her chance, left to cosmetics resulted in several innovations, including
Poland to live with an uncle in Australia. She started to the first skin cream to use male and female hormones
sell a face cream, Creme Valaze, brought from home to in an attempt to delay the process of ageing. Her artistic * Cocteau, Dali, Dufy

with Helena Rubinstein’s

new £46 RED lipstick
Helena Rubinstein. b Cracow (POL), 1870. d New York (USA), 1965. ‘Life Red’ advertisement. 1940.
Ryki El] sonia Designer
During a salon presentation, Sonia Rykiel's tailored designing in 1962 when she was pregnant and unable in muted ¢ j ire her trader

knitwear is exemplified by cardigan coats and dresses to find any soft sweaters. So she knitted her own, and is sophisticated enough for even
accessorized with sequined roses and gold belts. Her also began selling them in her husband's fashion shops SayS, DECAUse
attitude to the grand feasibility of knitted wool was Rykiel’s style of elegant yet easy ‘lounge’ dressing things with justa thre

explained when she said, ‘Just as one woman looks is typically French. She calls her clothes ‘Ie nouveau

fantastically erotic naked...another can seem the same classicisme’, their slim line owing much to the 1930s
in a polo-neck sweater: The ‘Queen of Knits’ began Fluid jersey, wide trousers and raglan-sleeve sweaters * Albini, Jacobson, Turbeville

Knitted co-ordinates. 1974

Sonia Rykiel. b Paris (FR), 1930
 Saint Laurent wes Designer
Yves Saint Laurent dresses model Reneé Russo in and turned them into luxurious options for women. cutting those moments of transition out of cloth.
a polished evening suit, framing her face (simply made- Saint Laurent has often referred to art, basing designs He once described what he did as ‘minor art’ but later
up by Way Bandy) with feathers. Since the 1960s 'YSL’ and embroidery on paintings by Mondrian, Matisse, added the words 'maybe it is not so minor after all.
has been a directional and determining force in modern Picasso and Braque, but always taking them as historical
fashion. He introduced masculine tailoring for women, icons and making them current. Saint Laurent said,
using military uniforms and variations on the tuxedo or ‘Like Proust, I'm fascinated most of all by my perceptions
‘le smoking’, and took street styles and peasant costume of a world in awesome transition: Great fashion is about * Bandy, Deneuve, Dior, Newton, Perint Palmer

Yves Saint Laurent. b Oran (AL 1936. René Russo wears deep feather collar and skirt, Paris. Photograph by Francesco Seavullo, 1974.
Sander Jil Designer
Sander began her career as a fashion journalist, but clothes have become the byword for an ultra-modern architecture of men’s suits. This approach throw
moved into fashion design. In 1968 she opened androgynous sensuality that is as uncompromisingly emphasis away from detail and onto the mate rial
a boutique in Hamburg and five years later was showing technical as it is beautiful. Her simplicity must not, be seen here with a pair of trousers, the mo tstriking
on the catwalk. Sander perceived a need for understated however, be confused with classicism. As Sander told aspect of which is the texture
clothes with a sense of quiet self-confidence, but which Vogue, ‘A classic is an excuse, because one is too lazy
would provide the wearer with the ultimate in fit, quality to contrast the spirit of the time! She rejects the clichés
and modernity. It was a prophetic vision: today, her of femininity for the refinements found in the * Lang, McDean, Sims, Vallhonrat

i and tweed trousers. Photograph by / David Sims

1998
1943. Angela Lindvall wears silk
i shirt
Jil Sander. b Wesselburen (GER),
 Sa Nn t "An gel O Giorgio di Designer
Veruschka's body is barely covered by a chain bikini by an animation fellowship with Walt Disney in Los Angeles. Sant'Angelo found new customers with his wrapped,
Giorgio di Sant'Angelo. Her hair is wrapped with gold In the early 1960s, he moved to New York and worked as stretchy Lycra clothes designed according to the
lamé and her body encircled with gold chains. The a textile designer, where his talent was spotted by Diana same principles.
1960s was a decade devoted to the cult of youth and Vreeland, the flamboyant editor of American Vogue. She
Sant'Angelo designed to make women aware of their sent him to Arizona with an array of materials, scissors
bodies. Born in Florence, he trained as an architect and and Veruschka to ‘invent’ clothes for a spread in her
studied art, ceramics and sculpture, before winning magazine, of which this design is an example. In later life © Bruce, Lindbergh, Peretti, Veruschka, Vreeland

# * &

Giorgio di Sant'Angelo. b Florence (IT), 1936. d New York (USA), 1989. Veruschka wears gold chain bikini. Photograph by
Franco Rubartelli American Vogue, 1968.
Sarne Tanya (Ghost) Designer
A fine georgette fabric, traced over with a print titled ‘ice of developing a fabric that is hardy, yet sensuous against require minimal attention a Tact that
river’, is Slashed into an asymmetrical dress; one that the skin. The result was a material woven mainly from popular with women who travel. Ghost’s fabr
is of its season but at the same time unique to one label viscose yarns and derived from specially grown soft for everything from vests to complicated qowns
Regardless of their style, which changes every season, woods. This is put through an intensive process of boiling
Ghost's dresses are machine-washable, a practicality not and dyeing in an unusual palette of colours. This costly
usually associated with high fashion. Tanya Sarne, the and time-consuming activity gives it a unique crepe-like
founder and figurehead at Ghost, came up with the idea texture and density. Such garments have longevity and * Clark, Dell'Acqua, Rhodes, Tarlazzi

iver’ printed
river’ -tte dress.
georgette dre Ph t ytograph
raph by Mcinerne
Niall McInerney
by Niall 19097

b Southgate (UK), 1945. (Ghost ) Fuchsia ‘ice

i pri
Tanya Sarne.
 Sa SSOON SAGE) Hairdresser
‘Hair is nature's biggest compliment and the treatment lacquered shapes and other hair constriction. Sassoon's to hair and elevated the role of the hairdresser, working
of this compliment is in our hands. As in couture, the cut cuts - the geometric, the wash-and-wear perm, the bob in partnership with designers such as Mary Quant and
is the most important element...haircutting simply means (cut on a horizontal plane) and the Nancy Kwan - were Rudi Gernreich.
design and this feeling for design must come from low-maintenance high modernism, and he identified
within! Vidal Sassoon's words explain the reasons for his easy-to-care-for shapes that were adaptable for many
simplified, Bauhausian haircuts which freed women from women. Belonging to the generation of the Beatles and
weekly beauty-parlour visits and the tyranny of curlers, Swinging London, Sassoon took the cult of the natural * Beatles, Coddington, Gernreich, Leonard, Liberty

Vidal Sassoon. b London (UK), 1928. ‘Five-point' haircut. Photograph by David Montgomery, 1964 aaa
BCA ASI Amold Designer
Saucer-sized black dots on a white silk dress,
its colours socialite functions. Scaasi was careful to include ( jasi. “(
reversed
for the coat,
was already a Scaasi signature
in decorative ‘table top’ necklines
and low décolletaqe nteresting t k at and mor
1957. So were the waist-deep décolletage and the bell and he favoured large ‘grand entrance’ prints. In 1958
shaped skirt. Scaasi was the first designer in America to his polka-dot evening dress was the first formal evening
do the snapny matching coat and dress look for evening outfit to end above the knee. His couture salon opened
Having trained with Charles James, he left in 1956 in 1964, producing short evening dresses and spectacular
to set up his own label, specializing in evening clothes for — ball gowns. ‘| am definitely not a minimalist designer! * Deneuve, C. James, de la Renta, Schuberth

Polka-dot dress. 1957

Arnold Scaasi. b Montreal, QC (CAN), 1931
 S CdVU I]O Puente sae Photographer
The model Antonia plays a tourist in an epic fashion making home movies and much of his early work in 1965. But his lasting legacy to fashion photography
scene shot in the populated chaos of a Hong Kong has a filmic quality. He began his career at American was undoubtedly his technical knowledge, particularly
marketplace, directed by the photographer Francesco Vogue and spent three years with Horst, before going his use of diffused lighting designed to flatter the
Scavullo. Her flight bag crashes into her silk dress, to work on the new teenage magazine Seventeen. greatest ‘cover’ faces.
oriental make-up and hat, dramatizing the outfit and Scavullo's passion for photographing beautiful women
dressing Antonia for her role. Scavullo’s obsession with was harnessed by American Cosmopolitan, whose
photography began at an early age: at nine he was unapologetically sexy covers he began to photograph *@ Deneuve, Fonssagrives, C. Klein, Turlington

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Be
a

Francesco Scavullo. b Staten Island, NY (USA), 1929. d New York (USA), 2004. Antonia, Hong Kong, 1962.
Scherrer Jean-Louis Designer
This fantasy world of a Botticelli woman rising from longer, covered-up fashions that satisfied the modesty of Saint Laurent as his successo ri Sct errer left
a shell serves as the ideal medium for the revelation of requirements dictated by Islamic laws, while opened his own business ir
a silk-chiffon dress with a waterfall collar and butterfly also proclaiming their wealth. Parisian ballrooms have
cape. Its luxurious yet dramatic qualities adorn Jean- witnessed Scherrer's sumptuous embroideries and
Louis Scherrer's refined classicism. Scherrer moved into glittering silks since he started as Christian Dior's
haute couture when, after the petrol crisis in the assistant, after an accident finished his career as a dancer
1970s, he provided the wives of affluent Arabs with at the age of twenty. After Dior's death and the choice = Lancetti, Mori, Ungaro

McBean, Harpers & Queen, 1989

dress and straw hat. Photogra ph by Angus
Jean-Louis Scherrer. b Paris (FR), 1936. Print
 Schiaparelli as: Designer
Is the woman wearing this ‘Desk Suit’, designed by Elsa and ‘Venus de Milo of Drawers: Surrealism was an art by storm. She commissioned some of the best artists
Schiaparelli in 1936, going to the office or the beach? movement that flourished in the 1920s and 1930s, of the period, such as Salvador Dali, Jean Cocteau and
The suit features a vertical series of true and false reacting against the rational and formal real world, Christian Bérard, to design fabrics and embroideries
pockets, embroidered to look like desk drawers with and substituting instead fantasy and a dream world. for her.
buttons for knobs. Dress designing for Schiaparelli Surrealism in fashion thrived in the 1930s, depicting
was an art, and this Desk Suit is based on two Surrealist psychologically suggestive garments. Schiaparelli's smart,
drawings by Salvador Dali entitled ‘City of Drawers’ sophisticated, witty clothes took the fashion world *@ Banton, Cocteau, Lesage, Man Ray, Nars, Perugia

Elsa Schiaparelli. 6 Rome (IT), 1890. d Paris (FR), 1973. ‘Desk Suit’, Photograph by Cecil Beaton, 1936.
Schiffer Claudia Model
In oneof her most famous photographs,
Claudia Schiffer usually refuses to place any model on its cover. The 1998, opening
up the pin-up market fe
becomes a sex kitten. Shortly after being discovered first and only model to have a wax likeness in the Grévin became a lucrative avenue for womer
in a discothequein 1987, Schiffer secured the Guess? Museum in Paris, Schiffer's appeal beyond that as a ind Cindy Crawford, whose beauty t
advertising campaign and subsequently became one fashion model is an obvious one. As a member of the
of the most sought-after models in the world. She has supermodel troupe, she represents natural blonde beauty
appeared on the coversof more than 500 magazines, — a modern, healthy look that dates back to Cheryl Tieqs
including Vanity Fair which has an editorial policy that She modelled for Sports I//ustrated’s swimwear issue ir * Crawford, Thomass, von Unwerth

rtl
aph by Ellen von Unwe
Jeans publicity campaign, 1989. Photogr
Claudia Schiffer. b Rheinberg (GER), 1970. Guess?
 Sch On mit Designer
This 1968 photograph, which features a perfectly cut, had fled to Italy to escape Communism. In 1959, Schon tailoring is highlighted by its very simplicity - making
Mila Schon, white wool suit, represents several of her launched her business. She had gained her love of details out of seams and darts.
design signatures. Schén's favourite fabric was fashion as a couture customer at Balenciaga,
double-faced wool; she was a perfectionist who worked and within her clothes can be seen his austerity of cut,
within a classical structure, to exacting specifications, together with the influences of Dior and Schiaparelli.
and she also created modernist garments. She came By 1965, Schon had developed her own style and
from a family of wealthy Yugoslavian aristocrats who began showing on the catwalk. Construction of her @ Cardin, Cashin, Courreges

Mila Schon. b Trau, Dalmatia (CRO), 1916. Benedetta Barzini wears double-face trouser suit and hat.
Photograph by Ugo Mulas, 1968.
Schuberth mito Designer
A ruched taffeta, puff-ball gown, inspired by a late catwalksin 1952. His signature touch, of undercutting ynly known training was twenty ve
eighteenth-century shape, flaunts a tiered underskirt serious evening crinolines with unexpectedly baroque within his own house prior t 952
decorated with a filigree print. The underlying flamenco embroidery, attracted the early fashion paparazzi, clientele, which included the Duch«
theme is given cachet by the length of black ribbon who were drawn to his double-sided skirts, which
adorning the model's chignon. As one of Rome's top metamorphosed into capes strewn with appliquéd flora
couturiers in the 1950s, Emilio Schuberth was also one Schuberth often created fantastical skirts decorated with
of the first to present his collection on the Italian rows of foaming tulle and dotted with silk flowers. His * Biagiotti, Fontana, Scaasi, Windsor

taffeta evening gown. Photograph by G.M. Fadigati, 1955

Emilio Schuberth. b Naples (IT), 1904. d Rome (IT), 1972. Ruched
 Sh ia mpto n Jean
Although Jean Shrimpton had been modelling for a few against a blue background; recalled Bailey. ‘It was like look and Quant's mini. When the couple appeared
years when she was pictured here, she retained a quality her blue eyes were just holes drilled through her head to in American Vogue editor Diana Vreeland's office,
that prompted her to say, ‘| was as green as a salad; the paper behind. Duffy said, “Forget it - she's too posh she exclaimed, ‘England has arrived!’
of the day she joined London's Lucie Clayton modelling for you," and | thought, “We'll see about that" In the
school in 1960. Later that year she was on a shoot for course of her affair with Bailey, Shrimpton became a sex
a cornflakes advertisement, when she met the icon and top model; ‘the Shrimp’ was born. Shrimpton's
photographer David Bailey. ‘Duffy was taking her picture gawky, urchin style was perfect for Courreges’ space-age @ Bailey, Kenneth, McLaughlin-Gill, Mesejean

82

Jean Shrimpton. b Buckinghamshire (UK), 1942. Jean Shrimpton in Epping Forest. Photograph by Frances
McLaughlin-Gill Harper's Bazaar, 1965
Sieff Jeanloup Photographer
Astrid wears a black pillbox hat by Halston and silk shapes, those maddening lights...’ he has said of his In 1966he returned to Par
crepe gown by Bill Blass. Jeanloup Sieff said of this predominantly black-and-white images. Born in Paris to deat occasionally dabbling in fashio
photograph, ‘She had an aristocratic profile and a very Polish parents, Sieff received a camera for his fourteenth to his passion: capturing moments whi
inspiring back: For him, fashion photography is, and has birthday. By 1960, after a brief spell at French Elle and
always been. more than the simple representation the Magnum picture agency, he was living and working
of clothing. Instead, it is about his passion for beauty in New York taking fashion pictures for Harper's Bazaar
and form. ‘The simple pleasure of rendering certain His fame grew quickly, as did his disdain for fashion * Blass, Halston, Ritts

back’. Palm Beach. Harper's Bazaar, 1964

Jeanloup Sieff. b Paris (FR). 1933. d Paris (FR), 2000. ‘Astrid's
 SIMPSON ase Designer
From Mrs Eisenhower to Mrs Carter, Adele Simpson's fastening jacket could easily match other elements one of the highest-paid designers in the world at the age
conservative versions of the current trends have delighted of Simpson's collections. The first American designer of twenty-one, she bought her own company in 1949.
the wives of many leading US politicians. Her clothes, to treat'cotton seriously as a fashion fabric, she used this
that could be co-ordinated into complete wardrobes, fibre for street dresses and full-skirted evening gowns.
proved practical and suitable for the active and exposed Cotton was also used in one of Simpson's most celebrated
lives of her clients. The ensemble shown illustrates this: creations: a 1950s chemise dress with attached belts
though nota suit, the slim skirt and asymmetrically which could be tied at the front or the back. Reputedly ‘© Galanos, John-Frederics, Leser, Maltézos

Adele Simpson. b New York (USA), 1903. d Greenwich, CT (USA), 1995. Formal day suit. Photograph by John
Rawlings. 1947.
Sims David Photographer
David Sims’ stark, stylized fashion images have set Together they helped to pioneer the grunge look, which He

agendas through their honesty. Here Sims chooses an gave them all an international platform between pushed the borders ¢
utterly unstyled photograph, almost a snap of undressed the covers of Vogue, Harper's Bazaar and The Face
hair and unclothed shoulders. In the early 1990s, after Sims always tries to put the realities of daily life into his
working as assistant to photographers Norman Watson pictures, using either natural or edgy studio lighting,
and Enrique Badulescu, he began working with stylist which illuminates quirky facial expressions and poses not
Melanie Ward and models Kate Moss and Emma Balfour. seen in the realmsof traditional fashion photography * Day, Moss, Sander

Ve\5
4

# y.
\

AYA
XN

David Sims. b Sheffield (UK), 1966 Strands of hair. 1997

 Si tb on Martine Designer
Wearing a splash-printed dress by Martine Sitbon, Stella education was gained in the flea markets of London and coats worn with slim trousers — suits inspired by those
Tennant crouches next to a surreal arrangement of wild Paris, as has been the case for many designers before and hanging on flea market rails.
animals. Sitbon herself started out as the wild child since. Her passion for the English scene stayed with her
of French fashion, influenced by the rock scene inhabited as she worked first as a stylist, then as a designer. The art
by the Rolling Stones and the Velvet Underground of pulling a look together from many inspirations is at
(whose music was used as backing music for her first the centre of Sitbon’s style. In the mid-1980s she became
collection). As a teenager, Sitbon’s early fashion known for feminized menswear, in particular fitted tail * Kélian, Lenoir, Leroy, McDean, Tennant

Martine Sitbon. b Casablanca (MOR), 1951. Stella Tennant wears devoré dress. Photograph by Craig McDean,
1997.
 Sm 1th Graham Milliner
A floral confection balances a formal hairstyle and co- mannered. Educated at the Royal College of Art, Smith's _ of York in the 1980s (he believes the Royal Family has
ordinates with a powder-pink dress. It is a ceremonious graduation collection achieved such acclaim that he was _ saved British millinery). Smith is a master of balance
hat made for the English season by Graham Smith who immediately appointed milliner at Lanvin-Castillo in and proportion, determined not to forsake flattery
is noted for his royal millinery. He believes that a hat Paris. In 1967 Smith launched his own label, at the same for fashion.
_ should appear to be part of the wearer, with particular time collaborating with designers Jean Muir and Zandra
emphasis on silhouette and scale. His lightweight, Rhodes. Smith specializes in traditional styles, best shown
delicate textures create a hat that is showy yet well- by his designs for Princess Diana and the Duchess | Castillo, Diana, Muir, Rhodes

Vr
~

423

eee
ee
ee

by Henry Clarke, British Vogue, 1965.

tiny roses, black-and-white chi c’. Photograph
Graham Smith. b Bexley (UK), 1938. ‘Small head,
 Smith Paul Designer
At Paul Smith's party, men and women wear outfits that in 1998. The first thing he ever sold was a Union Jack principles of cut, colour and fabric found in his
bear a contemporary blend of influences: unexpected handkerchief and today his shops remain quirky, menswear, with his androgynous suits finding a ready
materials mixed with traditional cloths, classic shapes selling anything from toy robots to ties. It is this inspired market for women who until then had to wear Paul
cut with fashionable edge. In Smith's ranges, colour and eccentricity and a mind fine-tuned for marketing that Smith for Men.
print distinguish his wearable and individual work. Smith has, unusually for a British company, turned Smith's
opened his first shop in Nottingham in 1970, expanding label into a status one, particularly in Japan. In 1994
into London's Covent Garden in 1979 and Notting Hill he launched Paul Smith Women, basing it on the same @ R. James, Nutter, Stephen

Paul Smith. b Nottingham (UK), 1946. Paul Smith Men, Paul Smith Women. Autumn/winter 1997. Photograph by
Mario Testino.
Smith Willi Designer
A jumpsuit, with functional zip, tie belt, large patch easy-to-care-for separates that
pockets and cuffed sleeves became extraordinary in the to a wider market. He used ma
handsof Willi Smith, who decided to cut it out of silver- and
cut them with room for movem«e For both mer ( ( © ide
coated clothin 1973. As a freelance designer he was and women, Smith plugged the gap between jeans f (
already exploring the concept of putting fun into stiff, formal clothes which meant nothing to the aae
function. Then, in 1976, Smith launched his label Willi group he was addressing. It was a market he was pr
Wear. It produced well-priced, young, easy-to-wear, of, saying that he didn’ t design clo thes f © Bartlett, A. Klein, Rosier

xy
y

4 AS
ara~
2777)

1987. Metallic jump-suit. Photograph by Nic

Willi Smith. b Philadelphia (USA), 1948. d New York (USA),
 Sn OW Carmel Editor
The chic image of Paris is achieved through Louise Dahl- understood him, Carmel Snow was applauding For twenty years of her editorship-in-chief Harper's
Wolfe's graceful composition of a model controlling Balenciaga’s clean, sculptural lines, and she christened Bazaar mixed crisp fashion reportage with fresh visuals
her excitable poodles against a backdrop of the Sacré Christian Dior's New Look purely by accident in a letter by Martin Munkacsi, Louise Dahl-Wolfe and
Cceur. Part of an illustrated fashion story, the picture to the designer. A major presence as American Vogue's Salvador Dali.
accompanied Snow's 1955 Paris report for Harper's fashion editor, and then at Harper's Bazaar from
Bazaar, which concentrated largely on Balenciaga’s and 1932, it was said that if a dozing Snow awoke during
Dior's new silhouettes. Well before the rest of the press a showing, the outfit appearing to her would be a hit. @ Balenciaga, Bassman, Brodovitch, Dior, Vreeland

w* 3 . a
4%
—"
ref XK =3
a es

Carmel Snow. b Dublin (IRE), 1887. d New York (USA), 1961. Tunic and curled hat by Balenciaga. Photograph ty Louise Dahl-Wolfe, Harper's Bazaar, 1955.
Snowdon Photographer
This 1957 fashion shoot by Snowdon, then Antony models mc ve and react, putting then
Armstrong Jones, for Vogue shows a new approach: the situation or oerforminga
f inc

picture is infused with the energy inherent in the run-up them run, dance, kiss, anything but star a st

to the 1960s. In fact, Snowdon's spontaneous moment sitting bec ime a short stor rmir
was Staged = the tumbling champagne glass was his was the beginning of the language of
suspended ona clear thread and the model's thrilled fashion photography, a new r
greeting an act of theatre. He recalled, '| made the artificial confines. In 1960 Armstror * Beaton, Fish, Mori

. b London (UK) 1930. Champagne glasses. Britis!

Snowdon (Antony Armstrong Jones, 1st Ear! of Snowdon)
 Soul elm d Nn Eugene | Hairdresser
Eugene Souleiman’'s chignon is an amalgamation and has fought with designers in his drive to develop Souleiman is one of the hairdressers who have made the
of traditional hairdressing and modern styling. new looks for the catwalk. In defiance of their expressive manipulation of hair an indivisible element of fashion.
The feathered hairpieces make it an avant-garde foil for outfits, Souleiman has sent models along Prada's catwalk
her rococo gown by Valentino. Souleiman forges his own with belligerently unstyled hair, a typically contrary
path through the world of hairdressing, often working idea. He quickly tires of one look and, with the help
with make-up artist Pat McGrath. Frequently of hairpieces, experiments with hair textures to reinvent
contentious, he scorned the New York scene as boring the discipline on a monthly basis. Artificial or natural, @ McDean, McGrath, Prada, Valentino

Eugene Souleiman. b London (UK), 1961. Taffeta gown. Photograph by Craig McDean, Italian Vogue,
1998
Sprouse Stephen Designer
A design-school dropout, Sprouse arrivedin New York in his own label.
Warhol's influence iI ¥SO u { ESSE ( ed W
1972 and soon made all the connectionshe needed for from Sprouse’'s silver showroom to t di } Edie [
a career
in fashion. Debbie Harry introduced
him to Andy Sedgwick was his ‘favourite meteor. In 1997. when }
Warhol who introduced him to Halston who took him on
relaunched his label, he used Warhe ork rir
as an assistant. But Sprouse's artistic interests distracted
on dresses. (Sprouse had exclusive rights to use the
him and he and Halston parted company. In 1984,famous Pop Art images in clothing designs.) Hi k
the photographer Steven Meisel persuaded
him to launch | the 1980s was y influencedby the pop music scene * Halston, Meisel, Warhol,
K. Yamamoto

h by Rainer Hosch,
2004. ‘Partytime’ tank and sequined skirt. Photograp
/-L
SA), 1953.
ephe Sprouse. ‘ b OH (USA),
Stephen d New York (USA),
|
 Steel G Lemans Designer
Working on the lingerie theme, with a pin-tucked, as Germany and Spain. Elements of this upbringing and European influences, then left in 1994 to continue
chiffon camisole worn over a satin petticoat skirt, have been worked into his collections, including direct his development under his own label.
Lawrence Steele demonstrates his love of luxuriously references such as epaulettes applied to the shoulders
simple clothes. His restraint is inspired by the work of shirts and jackets. Steele trained with Moschino in
of Charles James and Claire McCardell. Born in Virginia, Milan, before moving on to Miuccia Prada's then
Steele had a military upbringing which took him relatively new womenswear line. He brought it forward
to different cities throughout the United States, as well with his simple, modern style, which blends American @ C. James, McCardell, Moschino, Prada

Lawrence Steele. b Hampton, VA (USA), 1963. Strapless, pin-tucked camisole with skirt. Photograph
by Miles Aldridge, 1998.
Stel ch en Edward Photographer
Gloria Swanson confronts the camera head-on. She lace veil and hung it in front of her face, causing her hat he took to Vogue in 1923. His working relationship with
wears a cloche, the tight-fitting, helmet-like hat which to mould to her head and give a streamlined appearance the model Marion Morehouse was the first such
was the characteristic fashion headwear of the 1920s. Her eyes dilated and her look was that of a leopardess collaboration between mannequin and photographer
In 1963, Edward Steichen recalled the circumstances lurking behind leafy shrubbery watching her prey.
surrounding the taking of this photograph. He and Steichen, a thoroughly modern fashion photographer,
Gloria Swanson had a long session, with many changes was noted for his settings which conveyed atmosphere
of costume. At the end of the session, he took a black and structure anchored to current fashions, a mood © Barbier, Daché, Morehouse, Nast

&

Ps

American Vogue, 1924

Gloria Swanson. Photograph by Edward Steichen,
Edward Steichen. b Luxembourg (L UX), 1879. d West Redding, CT (USA), 1973.
 SteIGeM watt Shoe designer
For Walter Steiger, the composition of a shoe is just the age of sixteen, after which he found employment the demands of several couturiers with whom he
as important as the aesthetic appeal of its exterior. at Bally in Paris. He moved to London in the early 1960s, subsequently collaborated, including Karl Lagerfeld,
Distinctive designs have been those with heels like many- where he designed lavish shoes under the Bally Bis label, Chanel, Chloé, Montana, Oscar de la Renta
sided cones or with triangular structures, an approach as well as for Mary Quant. He also opened a successful and Nina Ricci.
that was particularly popular in the 1970s and 1980s. studio in 1966 but felt Paris more appropriate for his first
Swiss-born, Steiger followed family tradition shop, which he opened in 1973. The sophistication
by undertaking an apprenticeship in shoemaking at of Steiger's highly innovative shoe construction met * Bally, Kélian, Lenoir, Montana, de la Renta, Ricci

Walter Steiger. b Geneva (SW), 1942. Heeled pump. Photograph by Sheila Metzner, American Vogue,
1984.
Stephen som traitor
Photographed with his dog Prince, John Stephen wears collarsas they tried jackets on, he realized they were to change over the following decad
the pristine suit, with Italianate ‘bum-freezer' jacket, looking for wider lapels, which he produced and sold commit himself beyond eight week
of a late 1950s buck. Known as the ‘Million Pound Mod’, by the thousand. Stephen introduced extravagant details ‘In this world, change is violent y
Stephen revolutionized the way menswear was sold into the dusty realm of menswear, including flares, in two months
when he opened Carnaby Street's first swinging boutique — fly-fronted shirts inspired by dress shirts and suits cut
in 1958. He would watch his teenage customers for from tweed treated with a lustrous finish. He had an
inspiration — when he noticed them fluffing up their early understanding of how quickly fashion would begin * Fish, Gilbey, P. Smith

2004. John Stephen and Prince. Daily Mail, 1957.

John Stephen. b Glasgow (UK), c1936. d
 Stem er Photographer
Bert Stern was the last person to photograph Marilyn things in front of me: His desire to capture the perfect worked on fashion and portraiture throughout his career,
Monroe, seen here wearing Christian Dior. This stroke image led him to a career in commercial photography, photographing the most famous and most beautiful
of luck made him world famous and left the world with where he worked on print advertisements for Pepsi-Cola, women of the time.
a series of sensitive portraits that transcend the duty of Volkswagen and, most famously, Smirnoff. His 1955
fashion photography. Stern taught himself photography picture of a martini glass in front of one of the pyramids
while working as art director for the American magazine at Giza became legendary, as did his image of Lolita
Mayfair: '| was always moving around and reframing wearing heart-shaped glasses for the 1962 film. He @ Arnold, Dior, Orry-Kelly, Travilla

Bert Stern. b New York (USA), 1929. Marilyn Monroe wears Dior. British Vogue, 1962
Stewart Stevie and H ol an David (Body Map) Designers
‘Gawky but sexy’ is how David Holah and Stevie Stewart Striped tube skirts in a mélangeof layers and knitted which Body Map inhabited by night and brought ;

defined their fashion sportswear in 1984. Body Map, fabrics under absurd collection titles such as ‘A Cat in the catwalk. The sight prompted Womer
their label, was named after a 1960s artwork by Italian a Hat Takes a Rumble With a Techno Fish. Body Map to ask if it were all ‘an Outrageous preter
artist Enrico Job which mapped a man's body with designed a sporty and flexible wardrobe. Smith's stylized i pretentious Outrage
two thousand photographs: ‘It seemed to sum up our compass motifs were interwoven with abstract
approach to pattern cutting; explained Holah. technological designs to produce graphic fabrics. The
The partnership created sawn-off sweatshirts worn over shapes were designed for London's uninhibited clubland | Boy George, Ettedgui, Forbes

winter 1984. Phot h by An

1958 (Body Map.) ‘Cat in a H at’ collection. Autumn/
Stevie Stewart. b London (UK), 1958: David Holah. b London (UK),
 Sti eb e| Victor Designer
Three women are snapped by Norman Parkinson en route Stiebel studied architecture at Cambridge before being of the British Royal Family, including Princess Margaret
to an Ascot race meeting. They are dressed and hatted encouraged to enter fashion by Norman Hartnell. Having for whom he designed the going-away outfit for her
by Stiebel in his romantic style, with their vast cartwheel served as an apprentice at Reville & Rossiter, he became marriage to Anthony Armstrong Jones.
hats dominating soft, feminine dresses with hemlines an accomplished British fashion designer and a membe
that stop eight inches from the ground. As a favoured of the Incorporated Society of London Fashion Designers,
designer of society women, Stiebel carefully considered together with Hartnell, Hardy Amies and Edward
his accessories, regarding them as part of his total look. Molyneux. Stiebel also dressed actresses and members * Amies, Hartnell, Horvat, Molyneux, Parkinson

er

Eo

Victor Stiebel. 6 Durban (SA), 1907. d London (UK), 1976. Dresses and ‘Cartwheel’ straw hats. Photograph by
Norman P.arkinson, Harper's Bazaar, 1938.
Storey Helen Designer
Helen Storey has loved texture since childhood. Here and black patent leather chaps were equally challenging alone. In 1996, she collaboratec with her ister te
she applies sequins to leggings with the intention of ‘Clothes made by women don't deny what's underneath - produce a sci-art project, Prin Cive Streok whic seg
glamorizing what, at the end of the 1980s, was a basic we dress the essence, not the male-inspired dream! magnified human {
structures as a r textile ar
garment usually cut from black Lycra. Her womenswear Storey said of this work. She trained with Valentino
had the intertion of putting forward a new mood of and Lancetti, both designers famous for their feminine
aggressively sexy feminism. Her bras were decorated with sensibilities. After a partnership with designer Karen
dangerously sharp gemstones and her metal minidresses Boyd in the 1980s, Storey continued her explorations * Lancetti, Rosier, Valentino

Photograph by Eamonn J. McCabe, Brit ish Elle, 1990.

Helen Storey. b London (UK), 1959 Sequined leggings.
 Strauss tev Designer
A septuagenarian teacher invites her young audience who followed the Gold Rush to sell his goods. When his glamorized by the 1950s rebels James Dean and Marlon
to grapple with its preconceptions in an advertisement customers asked for trousers, he cut up tents to make Brando. In the 1980s, a pair of Levis worn with
for Levi Strauss. ‘| wish | had invented blue jeans; Yves them. In.1860 Strauss discovered an equally tough fabric Dr Martens shoes became the enduring uniform for
Saint Laurent once said. ‘Jeans are expressive and called serge de Nimes (denim), from France. Jeans were an entire generation.
discreet, they have sex appeal and simplicity - everything named after the Genoese sailors’ trousers on which
| could want for the clothes | design! The real inventor the original 501 style was based. First brought to Europe
was Levi Strauss, a Jewish-Bavarian immigrant pedlar by Gls during the Second World War, jeans were ‘@ Benetton, Dean, Fischer, Hechter, N. Knight

Levi Strauss. b Bavaria (GER), 1829. d San Francisco, CA (USA), 1902. ‘Josephine, 79, teacher, C olorado' wears 501 jeans. Photograph by Nick Knight, 1996.
Sul Anna Designer
Nadja Auermann appears on Anna Sui's catwalk as Greta School of Design in New York and worked as a stylist Her inspiration comes from s yme forty years off
Garbo in sequins, trilby and boa. The key to Sui's look a skill that can be appreciated in the way she brings cuttings, stored away in w n it sne a }« Geniu
is the eclectic way she mixes her clothes, rather than the a look together from several directions. While studying
individual garments themselves, As shown here, she she teamed up with a classmate, photographer
has a modern take on most fashion periods. This retro- Steven Meisel. She also worked briefly as a designer
reworking Is typical of 1990s fashion, and Sui's versions in a sportswear company, before setting up on her
are more wearable than many. She attended Parsons own in 1981, after Macy's began stocking her designs © Garbo, Garren, Meisel

boa. F PI g ¢ ipl ‘t
y Chris Vit €, 1995
195toh
29 Nadja
é uerma n
Auerman ears
wears a a sequir 1ed sweate r and
Sui. b Dea
e a) orn H € gnts M (L SA), ’
Anna
 Sumurun Model
When Edward Molyneux left Lucile to open his own shows Vera in the Molyneux studio dressed for the causing men to whoop and cheer. After retiring, Vera
couture house in 1919, he hired Vera Ashby as his head Coucher du Soleil (sunset) ball. Inspired by her exotic, became a vendeuse at Molyneux, later moving to
mannequin. He named her Sumurun, the Enchantress oriental look, Molyneux created a harem dress of silver Norman Hartnell where she was appointed vendeuse
of the Desert, and she became the highest-paid model tissue worn under a sleeveless tunic of gold lame. to the Queen.
in Paris (crowds would gather to see her enter and exit He concealed electric bulbs in the ruby jewels that
the Molyneux establishment). She was photographed decorated her outfit. As the house lights were dimmed,
by Baron de Meyer and drawn by Drian. This photograph she pressed a button to light up her outfit, @ Drian, Hartnell, de Meyer, Molyneux

wa

Onn

Sumurun (Vera Ashby). b London (UK), 1895. d Victoria, BC (CAN), 1985. Sumurun wears costume
by Molyneux. Photograph by Jean Desboutin, 1921.
Sybilla Designer
‘Travelling Clothes’ is the title of this image by Javier a coat
has the spiritof both a traditional
belted trenct her own label ar
Vallhonrat of Sybilla's autumn/winter 1989-90 coat and an opera coat by her fellow countryman of soft colours and qu
collection. The incongruous title reflects the designer's Cristobal Balenciaga. Sybilla grew up in Madrid and shoes, bags and (
Spanish sense of humour — these clothes are suited to moved to Paris in 1980 to work at Yves Saint Laurent's
a walk in the rain rather than international travel. Sybilla couture atelier. After one year she dismissed Paris as
creates surreal designs and marries opposites in her work: too snobbish and cold, returning to the fun and laid-back
extravagance with subtlety, humour with elegance. Here, atmosphere of her home city. In 1983 she launched * Toledo, Vallhonrat

44

1989. Photograph by Javie r Vallhonrat

York (USA), 1963. ‘Travelling Clothes’,
Sybilla (Sybilla Sorondo-Myelzwynska ). b New
 lta b ot Suzanne Milliner
‘Talbot would send us out to dine in public looking as world. The Talbot premises were part of the rich fashion With Paulette, Mme Agnes and Lilly Dache, who moved
exotic as the Wicked Queen in Snow White - easily the map of Paris in the 1920s and 1930s, which included to New York having trained at Talbot, it was a house
most chic vamp the films have ever evolved! The caption those of hairdresser Antoine, couturiéres Chanel whose work moved in parallel with the fashions
that accompanied this picture takes us into Suzanne and Schiaparelli and shoe designer André Perugia. This for clothes.
Talbot's charmed world. Talbot had long since died black silk jersey hat, embellished with a golden spike
(her own powers being at their peak in the 1880s) but her and embroidery, included a veil. Such theatrical French
spirit lived in the house's close alliance with the fashion millinery was greatly admired by the American market * Agnes, Antoine, Dacheé, Paulette, Perugia

Suzanne Talbot. (Active 1880s-1900s.) Embroidered, silk jersey hat for Bergdorf Goodman. Photograph by George Hoyningen-Huene, Harper's Bazaar, 1939
Tappe Herman Patrick Designer
Mary Pickford, ‘America’s Sweetheart’, wears the wedding nuptials. The silk tulle wrap, worn over a plain, strapless and he became a creator of robes de style - quixotic
dress chosen for her marriage to Douglas Fairbanks. dress, is trimmed with ruffles edged with silk organdie dresses based on costumes found in paintings
It was originally made by Herman Tappé for Natica Nast, Elsewhere, the tulle is formed into rows of tight gathers
Conde's daughter, to wear for a Vogue sitting published Wedding dresses, and those for bridesmaids, formed
in 1920. Tappé had been upset that he should be asked the core of Tappé's exclusive, expensive work. He was
to make it in such a tiny size, but that was before known as the Poiret of New York for his individual and
Pickford had seen and selected it for her high-profile mysterious style. His was a romantic, feminine view, + Emanuel, de Meyer, Nast, Poiret

-—

&
-

Vogue, 192 1920

ican Vogue,
matching bonnet. Photograph by Baron de = Meyer, American
- on .)? Organdie dress with ribbon-banding and
ctive A 1910s-1940s
Herman Patrick Tappe. (Active
 WaTlaZZI
nce Designer
amply cut from Sort
ric Grapes.

SHOULAC
SA 1

pursue &

of Caros

Angelo Tarlazzi. b Taffeta evening dress ra)

Tatsuno Koji Designer
Dress? Costume? Sculpture?
Amid the acceleration estat me
backstage,
the models stand motionless in orchestrated his sma ¢ t the P. f
coilsof fine mesh, trimmed with rows of flowers. Like elf-taught t t
sculptural relief, these lyrical compositions
reflect irrived in Londor ( p
Tatsuno’'s synthesis of modern technology and folkcraft He co-launched the f
He has spent his career experimenting
with rare on the 1980s te t
craft techniques, initially from his bespoke tailoring fashion. Disillusio @ W. Kicin, Macdonald, Y. Yamamoto

Photograph by VV
Koji Tatsuno. b Tokyo UAP), 1964 Backstage at Koji Tatsuno’s catwalk show.
 Tell eT Juergen Photographer
Iris Palmer lies flat; her underwear, designed as shoots clothes as part of an image rather than its focus. work was advocated by stylist and partner Venetia Scott
a covering, is made superfluous by the camera's angle — Primarily he is a diarist recording the lives of those above that which is artificially posed. Together they have
an example of the ‘sexual fashion photography’ that he works.and lives with, resulting in a sometimes created distinctive images for Katharine Hamnett and
Juergen Teller feels allies his work to that of Helmut uncomfortable real-life documentary of those working Helmut Lang.
Newton. For him a model should never be regarded as in fashion. His uncompromising style is also
a clothes horse, rather he or she should be represented non-judgmental and Teller doesn't prettify those lives.
as the people they are. Consequently, Teller Originally encouraged by Nick Knight, Teller's reportage * Hamnett, N. Knight, Lang, Newton, von Unwerth

Juergen Teller. b Erlangen (GER), 1964. Iris Palmer. Katharine Hamnett advertising campaign. 1997.
iran tsets voda
The six-foot figure of Stella Tennant is dressed in Helmut photographed by two leading photographers: as one passé. What she brought to fashion was co l. Witt
Lang. Despite her model figure and superlative skin, of London's ‘It’ girls by Steven Meisel and as the characteristic nonchalance, Tennant finished
the first
Tennant's edgy looks originally fell outside the granddaughter of the Duke and Duchess of Devonshire chapterof her careerby ‘retiring’ after just five years
parameters between which models usually fall. She by Bruce Weber. Called the ‘antithesis of the supermodel
defied any stereotype and succeeded because of it. The Tennant was nevertheless picked up by Karl Lagerfeld for
art student who had pierced her own nose on a railway Chanel. Her slouching demeanour on the catwalk made
platform was propelled into modelling after being the bouncing, pouty attitude of other models look © S. Ellis, Lagerfeld, Lang, Meisel, Sitbon, Weber

Sean Ellis, American Vogue,> 1 998

Helmut Lang T-shirt and tiered skirt. Photograph by
> > .
i

ella
Stella Tennant. b
Tennant. Che
b Chatswort h (UK), F 1971.
:
 Testin O Mario Photographer
Nadja Auermann pulls her T-shirt from under her skirt. with a dramatic quality, placing his models in the to photograph Diana, Princess of Wales. Those pictures,
In doing so she exposes her legendary legs for Mario glamorous world in which he himself lives. He has which use a relaxed reportage style, are regarded as
Testino, or ‘Super Mario’ as he is nicknamed. ‘Fashion photographed the most famous and iconic women of the — the most flattering and modern taken in her later life.
is all about making a girl look sexy, he says, and it late twentieth century, including Madonna, a friend, who
is his ability to orchestrate this mood that has made his was his model for an advertising campaign for Versace
photographs so powerful. In the case of his advertising Atelier. Testino used his talent for best representing
images for Gucci, Testino imbues overtly sexy clothes the women he adores when he became the last person @ Diana, Ford, S. Jones, Missoni, Versace, Westwood

Mario Testino. b Lima (PER), 1954. Nadja Auermann. French Glamour, 1994.
Th 1mister Josephus Melchior Designer
Surrounded by patterns
and fabric, Josephus Thimister probably clapped in his grave! Thimister used his is being about ‘light, fabric < Tel
and his team work on a collection for Balenciaga, the detailed archives to create religiously simple clothes first collection, he studious! ed
label for which he designed from 1992 to 1997. Thimister |which have been called ‘neo-couture’ for their modern dresses from black or blue h
was perceived by some as the natural heir to Cristobal attitude. Educated at Antwerp's Royal Academy
Balenciaga, sharing the pure vision of the Spanish of Art, the training ground for Martin Margiela,
designer often described as the Picasso of the fashion Ann Demeulemeester and Dries Van Noten, Thimister
world, After one collection French Elle said, ‘Balenciaga describes his clothes, now designed under his own label * Balenciaga, Demeulemeester, Margiela, Van Noten

aren

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e ELLE Decoration
Deco , 1997
n
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Josep us imister =r inin his
him
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 Thomass chanta Designer
Photographed against the masculine background carefully. Thomass did not train as a designer but began dresses with lace but her name will forever be connected
of American footballers, Chantal Thomass's tartan-lined her fashion career in 1966 by opening a boutique, to lacy underwear, nightwear and stockings that combine
jacket flies away to reveal a co-ordinating bustier. Ter et Bantine, in partnership with her husband. It sold fashion and sensuality.
Chantal Thomass provided frilly, coquettish underwear tantalizing, flirtatious clothes and enjoyed patronage
and outerwear for every Lolita or Vargas Girl in France. from Brigitte Bardot, among others. In 1975 the
She described her designs as ‘provocative, but not pair founded the Chantal Thomass label and designed
vulgar’; it is a delicate distinction and a line she treads a clothing range. Thomass trimmed Jackets and evening @ John-Frederics, Molinari, Schiffer

Chantal Thomass. b Malakoff, TX (USA), 1947. Bustier and gre y skirt suit. Photograph by Bill King, French Vogue, 1982.
VY ffa ny Charles Lewis Jewellery designer
Audrey Hepburn’s
role as Holly Golightly in the 1961 film in 1987 Ihe centrepiece of the nec
Breakfast at Tiffany's made the jewellery store, whose from eighteen-carat gold, platinum and white diamond rrik
clients have included Queen Victoria, even more famous is the Tiffany diamond, bought by f¢
In this photograph, Hepburn wears a Givenchy Lewis Tiffany in 1877 for $18,000. Rather tha
dress and the priceless ‘Ribbon’ necklace made by Jean it, Tiffany placed it in the window of his New York store
Schlumberger, the celebrated Parisian jeweller, who Charles's son, Louis Comfort Tiffany, Elsa Perett
worked for Tiffany & Co from the 1950s until his death and Paloma Picasso continued to keep I iny at the * Cartier, Givenchy, Lalique, Peretti

t
receptio n ffor kf
Breakfast a t f
iffany's
tk e ff
liftany : Ribb
1o0¢ ; ecklace
« ace ataa press
at ss rece
1848 York (USA),
S/ ‘ 1933 A ud r ey H epbu ars
n wears
iTiffa n y- b New
ve York (USA),
r 848. d New V
Charles
r Lewisi
 Toledo Isabel Designer
Latin flavour, surreal lines and futuristic content define a shape in her mind, usually a circle or a curved line. husband, Ruben, known for his whimsical fashion
Isabel Toledo's radical fashions sewn in the tradition ‘| love the maths behind the romance; she says of her illustrations, manages the business side of the New York-
of couture. Toledo, who speaks of herself as a seamstress so-called liquid architecture's craftsmanship. The crepe based company and acts as her creative alter ego.
rather than a fashion designer, creates in the manner jersey that forms the body of this dress is suspended
of couturiéres such as Madeleine Vionnet and Madame by the armholes and anchored at the hem (unseen)
Gres. Like them, she does not start from a flat sketch, but by a construction of lace, net, wool and felt; the effect
envisions clothing in three dimensions, always bearing is like that of water slowly pouring into a barrel. Toledo's s@ Gres, Sybilla, Vionnet

Isabel Toledo. b Camajani (CU), 1961. Matte jersey ‘Infanta’ dress, sp ring/summer 1992. Photograph by Ruven Afanador.
De Tommaso Carmen (Carven) Designer
This immaculate striped cotton dress is designed that would fit her tiny figure. Sh
specifically fora petite figure, The vertical lines before founding
the house of Carven in Par
which appear from pin-tucks above and below the waist (a modification of her christian name). With her most end
will lengthen the figure while the dainty detail of bows architectural training, de Tommaso excelled at adjustir
and reversed stripes accentuate the hand-span waist. the accessories
to the exact proportions of her clientele
Carmen de Tommaso started designing because she was The dress below is an example of intelligent
unable to find the clothes she wanted, in her case those problem-solving, a vital aspect of good fashion d *@ de Premonville, de la Renta

p
dres withwith g green stripes.
ite dress
ven.) White 1945
b Chateaur
I oux (FR), 1909.
: (Ca-arven
Carmen de Tommaso.
 Topolino Make-up artist
Conceptual make-up artist Topolino describes his The lips are half-coloured by feathered pencil lines. These because of his interest in fashion, and began working
influences as ‘street, insects, nature, space, fairies, circus, methods are examples of the way Topolino explores the in 1985. He has produced startling andinfluential catwalk -
cartoons and life’, and his style as ‘trashy trendy, fantasy potential of make-up and uses it to accessorize fashion, work for designers Alexander McQueen and Philip Treacy,
but chic’, which sums up this photograph. When asked in this case a fake fur jacket that begs such aggressive
about his technique, Topolino replied, ‘It is more about touches. He has a passion for Mickey Mouse, and
imagination than technique: Here, that imagination has been described as a ‘Puck-like figure’ due to his
conjures nails embellished with rose thorns and lacquered. diminutive size. He taught himself the art of make-up = Colonna, N. Knight, McQueen, Treacy

Topolino. b Marseille (FR), 1965. Nails decorated with rose thorns. Photogra ph by Norbert Schoerner, French
Glamour, 1994.
TOTIMATU cyan curs Designer
lersey flows like water from a halter-neck bodice non-crease polyester which could maintain long-lasting inspired by monastic garb, His dran
xy Gnyuki Torimaru, formerly known as Yuki. He studied pleats. Using intricate pleating techniques, he created panels cut on a full circle a luxurious technique tt
urchitecture, before becoming a textile engineer, ever-more fantastical designs. Japanese-born, Yuki made gives a garment the maximum fullne that can
in occupation that has dominated his work since. His London his permanent home in 1964, having worked be achieved without seaming
ove of vivid celour, purity and fluidity has remained for Norman Hartnell and Pierre Cardin, and launched
ay constant in Torimaru’s work. He developed them to their his own label in 1972. He soon enjoyed a degree of fame
Fullest potential after discovering, in 1984, a luxurious for his one-size hooded or draped jersey dresses, often * Burrows, Muir, Valentina

* Photograph byby Richar V

Richard Davis
1940. Jersey halter-neck dress. Late : 1970s.
Gnyuki Torimaru (Yuki). b Miyazaki-Ken (JAP),
 Toskan Frank and An gel O Frank (M.A.C) Cosmetics creators
Frank Toskan is joined by drag queen RuPaul and singer The catalyst for a cult beauty boom, M.A.C. started from the futuristic space tramp to the sun-buffed
k.d. lang who contort their bodies to form the words in 1984 in Frank Toskan's kitchen as a long-wearing naturalist, has promoted the notion of make-up as
‘Viva Glam’, the name of the lipstick that has championed foundation to meet the harsh demands offilm, catwalk complete freedom of expression.
M.A.C's (Make-up Art Cosmetics) Aids awareness and stage work. As the owner of a national chain of hair
campaign. Both celebrities epitomize the company's salons, his business acumen complemented the creative
slogan, All Races, All Sexes, All Ages, that trailblazed expertise of the late Frank Angelo, an acclaimed
the notion of unconventional beauty for the 1990s. hairstylist and make-up artist. Their beauty colourscape, @ McGrath, Nars, Uemura

Frank Toskan. b Trieste (IT), 1950; Frank Angelo. b Montreal, OC (CAN), 1947. d Coral Gables, FL (USA), 1997.
(M.A.C.) ‘Viva Glam' lipstick advertisement. 1996.
Tran uetne Illustrator
A sedate, navy pyjama suit by Hardy Amies and crisp, Blahnik's shoes and sandals are picked out with fine in British and American Voque and La A
organza shirt and skirt by Alistair Blair are put into brushwork. The picture recalls the social commentary Tran has also illustrated for clients, includ
a pastoral English scene by Hélene Tran. This was one of by artists such as Marcel Vertés, who captured social and Roger Vivier
a series of images that illustrated the social summer situations in a way that photography cannot
season of 1987. Tran's easy, loose technique characterizes Tran studied illustration at the Ecole Supérieure d'Art
rich clothes and their languid wearers with broad washes Graphique in her native city, Paris. Her dramatic, and
of watercolour and baroque curls. Details such as Manolo often humorous illustrations have been published * Amies, Blahnik, Blair, Vertés, Vivier

and Alistair Blair. Harpers & Queen, 1987

Héléne Tran. b Paris (FR), 1954, Outfits by Hardy Amies
 Weal d William Designer
In one of film history's most famous moments, Marilyn shaped by a crisscross tie. It actually came off the peg for the early 1980s soap opera Dallas, in which the
Monroe's halter-neck dress is whipped into action over and remains a best-seller - resurrected every couple characters did indeed wield their womanliness like
a city grille in the steamy comedy, The Seven Year Itch. of years by retailers who are still profiting from its sexy instruments of medieval battle.
The dress was designed by William Travilla, a favourite allure. Travilla's appeal was his ability to flatter figures,
of Monroe's, who designed the costumes for eleven of including Marilyn's healthy hips and chest. His traditional
her films. This dress is an adaptation of classical Grecian assertion that ‘femininity is the strongest weapon
robes, with pleats mimicking draping and a bodice a woman can have’ took him on to design the wardrobe @ Head, Irene, Stern

William Travilla. b Avalon (USA), 1920. d Los Angeles, CA (USA), 1990. M arilyn Monroe wears her famous white pleated dress. Still from The Seven Year Itch.
1955,
rea CY Philip Milliner
Philip Treacy’s purple, melozine trilby, which historically as Chanel's creative director Ar
belongs
to the male hat rack, plays with both glamour George. By comparison,
many of Tre
and sexuality; the jaunty angle which conceals part couture hats would be more appropriate
of the face is reminiscent of Marlene Dietrich and sculpture. The usual millinery fabric
the provocative cross-dressing common in 1930s cabaret replaced with industrial plastics; a galleor
style. Each season Treacy redraws the line of this style, reconstructed, with correct rigging
an ever-changing classic worn by fashion icons as diverse head; and fluorescent satin ellipses s t sideways * Boy George, Conran, Milner, Topolino, Underwood

the Guc
Philip Treacy. b Ahascragh (IRE), 1967. Purple trilby. F-hotograph by Christoph Sillem,
 Tre e Penelope Model
Cecil Beaton photographs Penelope Tree's elfin face, an he would sue if the pictures were published. By the time calling me a capitalist pig!’ In 1974, Bailey and Tree split
extraordinary one that made ‘The Tree’ a match for ‘The Diana Vreelend sent her to Richard Avedon, she was up and she moved to Sydney, Australia, far away from the
Twig’ in the 1960s, She was the rebellious daughter of seventeen and her father had relented. David Bailey focus of the fashion photographer's camera.
a rich and serious-minded family who were disappointed described Penelope as ‘an Egyptian Jiminy Cricket’;
in Penelope's original decision to irk ON & reer in 1967 she moved into his flat in London's Primrose Hill
as a model. When she was first shot at thirteen by Diane which became a hang-out for spaced-out hippies who,
Arbus, her father, a British multimillionaire, vowed Bailey recalls, would be ‘smoking joints |had paid for and # Avedon, Bailey, Beaton, Vreeland

Penelope Tree. b London (UK), 1950. Penelope Tree. Photograph by Cecil Beaton, 1967
Ty gere Pauline Designer
The structured tailoring on show here explains why York in 1937. After working with Travis Banton at Hattie knottings. Trigére was the best model for her fashion:
in Breakfast at Tiffany's, Patricia Neal's character, an Carnegie, Trigere opened her own business in 1942. urban chic in luxury fabrics, coats robust and flowing
uptight girlfriend wearing Pauline Trigére, nearly proved More than fifty years later, she would demonstrate how and rhinestone bras.
a match for Audrey Hepburn's youthfully elegant outfits she cut into luxury fabric directly from the bolt onto the
by Hubert de Givenchy. She represented grown-up and mannequin to awestruck fashion students. Her cutting
urban New York fashion. Born and trained in the family was sure, emphasizing wrapping and tying in the
business of dressmaking in Paris, Trigére arrived in New French tradition of magnificent scarves and idiosyncratic © Banton, Carnegie, Givenchy

Karen Radkai, American Vogue, 1959.

Leopard-print turban and crimson coat. Photograph by
Pauline Trigére. b Paris (FR), 1912. d New York (USA), 2002.
 Troubl eC Agnes (Agnes b.) Designer
With her simple clothes, swept-back hair and classic plain knitwear and pared-down (often black) tailoring on utilitarian clothing such as workman's blue overalls
black sunglasses, this model is the epitome of Parisian have survived precisely because they pay very little and undershirts, found a place as fashion’s antidote.
chic. The stripy black-and-white T-shirt shown attention to fashion. She worked as a junior fashion
is reminiscent of Jean Seberg's in Breathless, and the editor at E/le magazine in France, and as a stylist at
simple style of Left Bank beats. ‘I don't like the word Cacharel and Dorothée Bis. She opened her first shop
“fashion”; | say | design clothes; says Agnes b. Her in 1975, during an eccentric era of flared trousers
neutral-coloured wardrobe staples: crisp white shirts, and platform shoes. From the outset, her designs, based @ Bousquet, Farhi, Jacobson

Agnés Trouble. b Versailles (FR), 1941. (Agnés b.) Black-and-white striped top. Photograph by
Darzacq, 1997.
Turbeville Deborah Photographer
Models Isabel Weingarten and Ella Milewiecz become moved on to assist designer Claire McCardell. She from other fashion photoar y (
yartof Deborah Turbeville's dreamscape. A typical shot, then turned to magazines, becoming a fashion editor it was intriguing rather than alienating
t depicts motionless subjects who pose in a group but for Mademoiselle. In 1966 she changed course agair
Nithout relating to one another. Turbeville's career path Turbeville became a freelance photographer for Harper's
Nas a tortuous journey through fashion, an experience Bazaar after being inspired by a talk given by Richard
that gave her a deep understanding of clothes. Having Avedon. By 1972 she was working for the cult magazine
arrived in New York in 1956, she worked as a model and Nova in London. Her haunting style was very different * Avedon, McCardell, Rykiel

Isabel Weingarten and Ella Milewiecz. 1978

Deborah Turbeville. b Medford, MA (USA), 1 938.
 Turlington Christy Model
Christy Turlington's beauty is a versatile one. Here Turlington is one such woman. As she told Vogue, ‘| know contacts because of them! Turlington managed to make
Francesco Scavullo makes hers a cover face in the how to make every part of my body appear different an easy transition from the haute glamour of the 1980s
traditional sense. But equally, Turlington has personified than it actually is. |can make my eyes and my lips appear to the relaxed simplicity of the following decade.
nude, unaffected beauty - representing Calvin Klein's bigger by putting my chin down... You can manipulate
fragrances since 1987. While modelling relies on the arts everything for photography: Called ‘the most beautiful
of lighting, make-up and retouching, a few women are woman in the world’, she feels it's all down to her full,
able to achieve a perfect look through self-awareness; symmetrical lips: ‘| have gotten most of my advertising @ Ferre, C. Klein, Lindbergh, Scavullo, Valentino

Christy Turlington. b Oakland, CA (USA), 1969. Christy wears Gianfranco Ferre. Photograph
by Francesco Scavullo, 1988.
Twi Qgy Model
wiggy poses next to her mannequin lookalikes.It was to launch Linda Evangelista's
career as a supermodel, the prime minister, she could only giggle, ‘D
he only way to replicate
her powerful figure at a time twenty years earlier the potentialof Twiggy's gamine retired’ at the age of nineteer
vhen the whole world wanted to have a part of charm was unlocked with a haircut by Leonard. With her
ler magic. Lesley Hornby had come from the suburbs elfin crop and teenage figure, Twiggy became the icon
f London. At fifteen she met Nigel John Davies, then of young fashion and the first model to grow into
) hairdresser. He reinvented himself as Justin de Villeneuve a media personality, albeit a startled one. In response
ind Lesley as ‘Twig’, later Twiggy. Just as it took a haircut to one journalist's assertion that she earned more than * Bailey, Evangelista, Foale & Tuffin, Hechter

re

—_

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~
SSS
> Rey ~
;
7
ei. Photogra sdale,
ph by / J. Drysdale 1966
i by Adel Rootstein
Twiggy (Lesley Hornby). b London (UK), 1949. Twiggy with mannequins
 Tyl eT Richard Designer
Model Irina wears a shrunken, three-piece suit by Richard seamstress mother and trained as a tailor, an education followed in 1989 by womenswear. Both collections
lyler. He found success when Hollywood discovered his which became important to Tyler's work when he became became successful through Tyler's reputation as a master
meticulous tailoring. Actress Sigourney Weaver said, a recognized craftsman of women's tailoring. He built his cutter. ‘| have no ego. All | have is my skill; he says.
‘Richard's clothes make you feel like a movie star: Tyler career designing stage clothes for Elton John, Cher and
became well known late in life, winning an award for Diana Ross. A change of direction in the mid-1980s led
best newcomer at forty-six. His fashion career, however, to Tyler launching a menswear range with business
has been his life's work. He learned his craft from his partner and soon-to-be wife, Lisa Trafficante. This was * Alfaro, Dell’Olio, Kors

Richard Tyler. b Melbourne (ASL), 1948. Irina Pantaeva wears black three-piece suit. Photograph by Chris Moore,
1995.
U em Uuld Shu Cosmetics creator
With his design philosophy bien étre'(a sense of well He raised the standard of make
being),
Shu Uemura freed the face from the shifting an art form, using superior cosmeti his ¢ tte (
dictatesof transient fashions
and developed a notion the finest beauty tools as apparatus. The he st
of the inner sense of beauty, reflecting
a mood of in his aesthetically
modern Beauty Boutiques, whict
introversion end lack of artifice. Originally a hairdresser, resembled
art supply stores and heralded smet
Shu Uemura became a make-up artist to stars such as counter revolution in the 1980s. After thirty decade:
Shirley MacLaine and Frank Sinatra in 1950s Hollywood natural style of his cosmetic n soft, muted Ours a! *@ Bandy, Bourjois, Factor, Lutens, Nars

i
aking-up
Uemura a m making-up 2E a model's face.
“I's face. PIPhotograp! 1 byMorozum 1983
Shu Uemura. b (JAP).
(JA (Active
Acti 1950s-)
9° ) Shu Ue
 Underwood patricia Milliner
The familiar stetson is given a modern twist: straw braid shape and proportion, rather than fussy ornamentation, Her understated aesthetics fit the New York look, where
instead of suede, a wider brim and modest curve to her hats are noted for their spartan modesty which she works with designers Bill Blass and Mare Jacobs who
create a feminine and elegant shape. The particular cock makes them into one-statement sculptures for the mirror her modernist, abstract forms.
of the brim remains, hinting at the provocation head. ‘A simplicity of design avoids the pitfalls of a hat
the cowboy hat was noted for. Subtle, yet interesting becoming a distraction on the wearer; she says. British-
manipulationsof traditional hat shapes are characteristic born, Underwood moved to New York in 1967
of Underwood's millinery designs. Relying completely on after a brief tenure at Buckingham Palace as a secretary. © Blass, Jacobs, Model, Sui, Treacy

Patricia Unde 90d. b Maidenhead (UK), 1948. Black straw stetson. 1991
Ungaro Emanuel Designer
[his minidress by Ungaro shows him to be in touch with to Balenciaga by Courréges. He joined the Spaniard's his style had softened. His 1980s eveningwear used vivid
the flower power mood of the late 1960s and house in 1958 and stayed for six years. Having learnt the florals cut and ruched to form extremely ladylike, grows
demonstrates his love of delicate fabric and surface detail. master's rigorous attitude to cut, he opened his own up versionsof his girlish dress from 1969
Yet the acute sense of cut remains. The son of an Italian couture business in 1965 with simple, bold garments
tailor, Ungaro's favourite toy at six years old was such as blazers worn with shorts. Four years later,
his father's sewing machine and he became a tailor at along with Cardin and Courréges, Ungaro created
fourteen. In 1955 he moved to Paris and was introduced a new nudeness in French fashion, but by the 1970s * Audibet, Balenciaga, Cardin, Courreges, Paulette

469

trellis appliqué, lace dress. Photograph by Peter Knapp,

1969
Emanuel Ungaro. b Aix-en-Provence (FR), 1933. White, floral,
 Von Unwerth Photographer
Wearing towering heels, stockings, silk underwear she says. ‘They all like to be photographed in that way: ten years later. She has grown to be a key image-maker
and corset, model Iris Palmer presents a traditionally Von Unwerth ‘discovered’ the supermodel Claudia in the 1990s through her editorial work for Vogue,
provocative figure. Many observers are surprised to find Schiffer in 1992 when she photographed her for Guess? The Face, Interview and even Playboy.
that von Unwerth, the photographer, is a woman. She Jeans. She has also famously created advertising images
encourages her subjects to look sensual and her success for Wonderbra, Katharine Hamnett and Gianfranco Ferre.
stems from the fact that she projects these images from Von Unwerth left her native Germany in 1974 to begin
a female perspective. ‘The models love to look sexy; a modelling career in Paris, becoming a photographer @ Hamnett, Schiffer, Teller

Ellen von Unwerth. b (GER), 1954. Iris Palmer. The Face, 1996.
Valentin d Designer
Madame Valentina, photographed here in triplicate, green cowl draped around her high-piled, chignon ilso has a theatrical air, tra
wears her own design: a dinner dress with a jewelled hairstyle and caughtup in a belt. The whole aura isthat training for the stage. Her f
belt and collar. The dress was made in jersey,a material of a Byzantine emperor's consort. The grand manner of very popular with actre
which swathes and clings to the figure, creating Madame Valentina was rooted in her Russian heritage
a sculptured look. The strong rosy-red colour provided an — even though she moved to Paris during the Russian
uninterrupted line, another key feature of the Valentina Revolution and then to New York in 1922, where she set
style. Colour to intensify line is enhanced by the fluid up her own establishment four years later. The costume = Gres, Torimaru, Vionnet

d New York (USA), 1989. Madame Valentina wears her jersey dress and cowl.
Valentina (Valentina Nicholaevna Sanina Schlee). b Kiev (RUS), 1904.

Photographs by John Rawlings, American Vogue, » 1945

1046
 Valentino Designer
Christy Turlington is worshipped wearing a beaded a couturier himself. Initially he made extravagant pyjama pants for ready-to-wear. His suave demeanour,
sheath dress from the spring/summer 1995 collection. couture gowns for wealthy Italian socialites, but in 1968 impeccable manners and womanly, seductive clothes
Its designer, Valentino, has been called the ‘Master he caused a sensation when he launched a radical, are about style, not high fashion.
of the Dress: His clothes represent the romance, beauty, all-white collection. Jackie Kennedy wore an outfit from
femininity and decadence of Rome, the city where he the collection when she married Aristotle Onassis. Fiery
launched his own label in 1960. Valentino worked with red, however, is Valentino's signature colour, used for
Jean Desses and then Guy Laroche, before becoming precious lace gowns in his couture collection and beaded © Barbieri, Desses, Storey, Turlington, Viramontes

Valentino (Valentino Garavani). b Voghera (IT), 1932. Christy Turlington. Advertising campaign.
Photograph by Herb Ritts, 1995,
Vallhonrat sever Photographer
Almost surreal, this dream-like image softly releases Galliano because, as he says, ‘I felt identified with his but exploit its creativity to pursue autonomy
fashion of its social connotations. The model enjoys the aesthetic sensibility: Vallhonrat, who has also in photography, which is Vallhonrat’s main academic
company of the dolphins in aquamarine waves coloured collaborated with Martine Sitbon, Sybilla, Jil Sander concern. Having worked for all European Vogues from
with Vallhonrat's customary intensity. In his last and Romeo Gigli in their advertising campaigns, takes 1984 to 1994, Vallhonrat now lectures and exhibits
campaign for lohn Galliano, in which nature is a source pride in only working for those designers whose creativity
of harmony and fantasy, Javier Vallhonrat frees the will serve as a ground for photographic research.
clothes from their visual role. He agreed to work for His photographs, he affirms, never document fashion © Frissell, Galliano, Gigli, del Pozo, Sander, Sybilla

473

chiffon ‘Dice’ vest by John Galliano. 1986.

vier Vallhonrat. b Madrid (SP), 1953. Beaded
 Van Beirendonck Walter (W € LT) Designer
Van Beirendonck's bright, futuristic clothing could clothes as ‘such fun, so upbeat, such wild clubwear... jackets to fuzzy nylon suits or stretchy tops with
have stepped straight from a computer game. His label, like Gaultier in his early days! He has Gaultier’s rebellious, holograms. He claims, ‘Young people want to wear
W & LT (‘Wild and Lethal Trash’), first shown in 1995, anti-fashton aesthetic and eclectic, visual references. something that defines them as different and that
humorously mixes high-tech fabrics with bright colour The W & LT slogan, ‘Kiss the Future!’, suggests youthful articulates their attitudes:
combinations and bold graphics. They reflect the carnival optimism (and his promotion of safe sex) and his
atmosphere of the clubs for which they are designed. obsession with science fiction. He uses synthetics and
Milliner Stephen Jones describes Van Beirendonck’'s innovative fabrics for his clothes, from inflatable rubber * Bowery, Gaultier, S. Jones, McLaren, Mugler

Walter Van Beirendonck. b Brecht (BEL), 1957. (W & LT) Printed T-shirt and rubber trousers. Autumn/winter 1995/6. Photograph by Jean-Baptiste Mondino.
Van Cleef Alfred and Arpels Charles, Julien & Louis Jewellery designers
This illustrated magazine cover, featuring a faceted in 1906. They were among the first craftsmen
to move work of Poiret and Paquin. Impeccably chic stars of the
ruby and platinum cuff typifies the Van Cleef
& Arpels into place Vendome
in Paris, a square now lined screen, such as Marlene Dietrich and Joan Fontaine, were
customer of 1942. Her high turban, squared shoulders with such jewellery companies. Van Cleef & Arpels clients of Van Cleef & Arpels
and fur wrap are worn with grand jewellery ina defiantly introduced exotic themes inspired by the excavation
glamorous response to the occupation of Paris. Alfred of Tutankhamen's tomb and chinoiserie. They used
Van Cleef and his three brothers-in-law, Charles, Julien characteristic mixtures of bright precious and semi-
and Louis Arpels, founded their jewellery company precious stones to create jewellery that paralleled the * Paquin, Poiret, Verdura

er

NUMERO 373 — DECEMBRE 19%

FRANCE 18 FRANCS

=
Arpels. b NyNarseille (FR),
R 1884.
884 d Paris (FR) 1964
d Le Vesinet
e = (FR), 1951. ie
Julien
<
’, 1938.
(FR), Charle af
Charles Arpels. b Paris (FR),) 1880.
( leef. b Paris (FR), 1873. d . Yvelines
A fi ;
Alfred Van
1942
i cuff. Illustrateded by by L. Louchel| ffor La Fe >mme eC Chic,
1 976. (Van Cleef & Arpels.) Ruby, diamond and platinum
Louis Arpels. b Nancy (FR), 1886. d Neuilly (FR),
 a e: Dries voTens S Sake Ss N vs s Cc € t verp Six' and earned
e ens hiseciec Se e such as this exe e of S coatg Be ? enviable rept 1 for producing
> TEC c > crs \ > CUrauual c t c IS CS t c t

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Cc BS e c 1 1 together with five other Belgian designers

S$ some e relishe C M \ € A Jemeulemeeste # Bikkembergs, Demeulemeester, Forbes, Thimister

Noten. b 8. Backstage at Dries Van Noten's menswear catwalk show. { P 1997

 anderbilt Gloria Designer
‘Money is the symbolby which your peers judge you; designer,
but was approachedby Murjani Internationa he 1, The only money t
said Gloria Vanderbilt complacently. Heiress to one to license her name to their design of jeans. Vanderbilt the money| make myself! Her range late
of America’s biggest fortunes, Vanderbilt's gold-stitched was supposedly the company's second choice after Jackie to do yreeting card ya-be lessert iIggage
signature
logo on ‘designer jeans’ summed
up the Kennedy. By the early 1980s Vanderbilt's were the best ind fu
decadence of *he disco decade. Here, they are put into selling jeans in America. She was mobbed at in-store
the unlikely context of a cocktail party. A one-time appearances, and made TV advertisements for ‘the jeans
actress, writer and poet, Vanderbilt was not a fashion that hug your derriére! She didn't need the money but + Adolfo, von Fiirstenberg, Kennedy, LaChapelle

oe SAAN
bas ; BF

Claridge
for Murjani, 1982. Photograph by John
Gloria Vanderbilt. b (USA), 1924. Jeans
 Ven Git Philippe Designer
A petal-like, organdie collar grazes Jane Birkin's face, he met the young Hubert de Givenchy, who hired him on geometric silhouettes and organic lines, such as the
extending down her back in a spine of ruffles, the as master tailor for his couture house in 1953. Venet's triangle-shaped kite coats and oversized capes with
red embroidered polka-dots sprayed like pollen. Venet contributions were extensive during Givenchy's heyday dolman sleeves.
explored floral themes like this to enliven his imaginative in the 1950s, notably for dressing Audrey Hepburn in the
and deft tailoring, the hallmark of his creations. 1954 film Sabrina Fair and conceiving her iconoclastic
Apprentice to a Parisian couturier at the age of fourteen, gamine look. He opened his own couture house
Venet went on to work for Elsa Schiaparelli in 1950. Here, in 1962, and became known for his tailored coats built @ Givenchy, Mandelli, Schiaparelli

Philippe Venet. b Lyon (FR), 1929. Jane Birkin wears spotted organdie dress. Photograph
by Jean-J acques Bugat, French Vogue, 1972.
Ventu nN Gian Marco Designer
A prominent designer in the Italian fashion scene of the major
1980s, Venturi based his women's ready-to-wear labe f : cs
on sensuous, masculine tailoring. His dynamic, swingy rich art te nd
designs reflected
the elevated portswear look
of the em ar ‘ =
time and had a distinctive Milanese feel in their artistic tactile ' t
minimalism
and architectural fluidity. Venturi was
WadS ‘i
1S io
Wr ma
¢ ection me
tr 9/79. ft

not formally trained in the fieldof design; instead he look of Se rn )UISE fc ks dre t k * Maramotti, Revson, Wainwright

jodhpurs. Women's Wear Daily, 1981

b Florence (IT), 1943. Jacket and
Gian Marco Venturi.
 Verdura Fatco « Jewellery designer
Diamond earrings and a gold bracelet are illustrated for on tassels from coats of arms and mariners’ knots, but gold rather than platinum for mounts, he uncommonly
1950s America in a highly original composition. Their di Verdura found his greatest source of inspiration in melded semi-precious and precious stones in the same
designer, whose own vision was equally original, was nature, choosing themes such as wings, leaves, mermaids, setting, using diamonds as an accent rather than as
Fuleo Santostefano della Cerda, Duke of Verdura, pomegranates and especially shells for motifs. Jewellery a centrepiece.
a widely influential, forward-thinking jewellery designer. designs evoked by nature were typical of his era, but,
Verdura worked for Chanel, before opening his own New unlike many of his peers, he was far more experimental
York shop in 1939. Some of his designs were based and eclectic in his design approach. Often using @ Chanel, Van Cleef & Arpels, Vreeland

Fulco di Verdura (Fuleo Santostefano della Cerda, Duke of Verdura). b Sicily (IT), 1898. d
London (UK) , 1978. Gold bracelet and diamond earrings.
Photograph by Karen Radkai, American Vogue, 1958.
VETSACE ion
| like to dress egos, if you haven't got a big ego, you can
Forget it; said Gianni Versace, who dressed the biggest
Designer
sexy, extrovert designs were worn by the famously rich with modern sobriety, but Versace celebrated the breadth
of both sexes, from rock stars to royalty; Elton John to of fashion.He said, ‘| don’t believe in good taste;
personalities. Here, Madonna, a longtime friend Diana, Princess of Wales. One Versace dress could make and then created a demure pastel suit for a princess
and model for his work, wears a made-to-measure gown a woman's career (as Elizabeth Hurley found out when
shaped with integral boning. Brightly coloured, sexually she wore his safety-pinned column), and he is credited
exuberant, celebrity-endorsed, Versace's clothes brought with fuelling the supermodel phenomenon with his
something of Hollywood glamour back to fashion. His flamboyant, baroque style. It often seemed out of pace * Fonticoli, Madonna, Molinari, Moschino, Nars, Ritts

481

'
Pav
Advertising campaign. Photograph by Mario Testino, 1995
Miami, FL (USA), 1997. Madonna wears Versace Atelier.
Gianni Versace. b Reggio Calabria (IT), 1946. d
 Vertes Marcel lilustrator
A woman wearing a black, bias-cut gown by Molyneux vanities at the same time as illuminating the romantic fashion with a seemingly effortless lightness and grace,
laments — has someone else also turned up in the same dress of the period, here a trio of formal, bias-cut gowns and were a major contribution to the graphic tradition
dress? Is her colour scheme hopelessly wrong? (Which worn with capes or a fichu. Vertes studied drawing of Vogue.
might explain the imperious look on the face of and painting at the Academy of Fine Arts in Budapest.
her tormentor.) This drawing by Vertés demonstrates his In 1921 he settled in Paris and his watercolours were
flair for observing both the social life and the fashion exhibited at the Salon des Humoristes in 1925. Vertes’
of the Parisian beau monde. He sketched their foibles and light fashion drawings portrayed high society and high # Delhomme, Molyneux, Tran

Marcel Vertes. b Budapest (HUN), 1895. d 1961. Molyneux evening gowns. French
Vogue on
Veruschka Model
Rubartelli photographs Veruschka, the woman who put conspired to kill Hitler. ‘Little Vera’ went on to study herself to blend in with her background. She de
a face to ‘hippie deluxe’ Her feathered waistcoat, painted art in Hamburg and then Florence, where she was spotted her art as a way of making herself dis ippear, ‘working
make-up and beads represent fashion from the late and asked to model at the Palazzo Pitti collections. She against my model career
1960s, when her blonde hair and full lips were an became famous for her work with Irving Penn and Diana
ubiquitous element of fashion. From beginning to end, Vreeland, and for her role in Antonioni's cult
Veruschka's career was an unusual one. Her father, Count 1960s movie, Blow Up. She retired in the early 1970s
von Lehndorff-Steinort, was one of the group which to do camouflage body art, where she would paint * Bouquin, Kenneth, Penn, di Sant'Angelo, Vreeland

Sie a

Fre nch Vogue, 1970

(GER), 1939 Feathered waistcoat. Photograph by Franco Rubartelli
Veruschka (Countess Vera von Lehne Jorff). b Mauersee
 Vionnett maceteine Designer
Madeleine Vionnet's material does not hang on the fabrics two yards wider than usual. She created her a harbinger of modern styles, because these Grecian-
models but accompanies them, following their natural designs on small dolls and those who were privileged draped dresses take their shapes from the body.
lines, achieving a modern Grecian silhouette. To get this enough to be allowed to watch likened her to a sculptress Contemporary disciples of this fashion purist include
fluid movement, she dispensed with corsets and used moulding designs to create these neoclassical dresses. Azzedine Alaia and John Galliano
the bias cut, which means cutting across the grain Madeleine Vionnet, who refused to be called a fashion
of the material to enable it to flow and cling into folds designer, preferring the title of dressmaker, reached
and drapes. To achieve this effect Vionnet commissioned the zenith of her fame in the 1920s and 1930s. She was @ Alaia, Boulanger, Callot, Chow, Gailiano, Valentina

Madeleine Vionnet. b Aubervilliers (FR), 1876. d Paris (FR),

1975 Bas-relief frieze. Photograph by George Hoyningen-
Huene, French Vogue, 1931 : aos
Viramontes tony Illustrator
A waterfall of jersey in scarlet - Valentino's favouite and Montana. He also captured the highly colourful were those of Jean Cocteau and Henri Matisse
colour — streams down the back of Tony Viramontes’ romantic period of street fashion early in the decade; Viramontes created line drawings similar in intent
subject. Her skin is a broad stroke of cobalt from a time of fashion pirates with their heads wrapped with Cocteau’'s figures and blocked them with oil past
naked head to waistband and the fabric is decribed with turbans and bodies decorated with elaborate costume or watercolour
swathes of red gouache. Viramontes worked throughout jewellery. Viramontes settled in Venice and Paris, drawn
the 1980s, capturing the vivid, angular attitude of the to Europe by his love of fashion and art. Of the artists
designers’ work he illustrated - in particular Valentino who inspired him, the most obvious influences * Cocteau, Montana, Valentino

4%

d 1988. Valentino Couture. 1984

Tony Viramontes. b Los Angeles, CA (USA), 1960.
 ViVI eT Roget Shoe designer
This pink satin evening pump, covered with embroidery known for innovative heel shapes such as the rhinestone- coronation. He worked at Christian Dior between 1953
and encrusted with glass beads and pearls, is as ornate studded ‘ball’ heel and the backward-bent ‘comma’, and 1963, and has said of his shoes, ‘They are
and ous as a piece of jewellery. Roger Vivier's manufactured in lightweight aluminium alloy by quintessentially French, a Parisian alchemy in style!
elaborate, sometimes heavily embellished shoes have an aeronautical engineering firm. Ava Gardner, Marlene
been described as ‘the Fabergé of footwear’ Vivier has Dietrich, Josephine Baker and the Beatles were all fans
always said, ‘My shoes are sculptures: Indeed, he studied of Vivier's shoes and Queen Elizabeth II wore Vivier's
that subject at the Ecole des Beaux-Arts in Paris and is gold kidskin pumps, studded with garnets, for her 1953 @ Bally, Beatles, Dior, Lane, Louboutin, Pinet, Rayne

Roger Vivier. b Paris (FR), 1913. d Toulouse (FR), 1998 . Pink embroidered shoe
with ‘comma’ heel, 1
963. Photograph by Jacques Boulay.
Vre | d Nn qd Diana Editor
The epitome of a jolie /aide, Diana Vreeland was the
yeautiful swan and ugly duckling of fashion complete nat iy Ur
with kaUuki-like make up. From 1937 to the 1980s elegance !

she was an arbiter of style, first < > an editor-writer {such as ‘pink
for Harper's Bazaar where she is most remembered for Fasnion cliche
her short-lived but legendary ‘Why Don’t You columr Vogue, Vret

which made insouciant suggestions in defiance of igé and youth © Brodovitch, Dahl-Wolfe, Kennedy, Kenneth, Nast

dh Diana Vreeland wears Verdura’s cuffs

b Paris (FF 01.
Diana Vreeland.
 Vuitton Louis Accessory designer
Colonial history and an exclusive lifestyle are evoked be stacked in the cargo hold of transatlantic ships or on chequerboard ‘Daumier' canvas was first introduced
by this image of leisured travel. Louis Vuitton, the the luggage racks of trains. His travelling wardrobe trunk, in 1888 and the famous monogram, a perennial status
progenitor of the preferred luggage of such travellers, introduced in 1876, was accessorized with a rail and tiny symbol, was created in 1886 by Louis’ son, Georges.
was the son of a carpenter. He moved to Paris in 1834 drawers. It was a success and Vuitton's luggage and
and crafted packing trunks for aristocrats at the court hand-luggage have symbolized privileged travel ever
of the Empress Eugenie. He saw a general need for high- since — the ‘Alma’, a half-circular hand-held bag,
quality baggage and designed a flat trunk that could was created for Coco Chanel in the1950s. Vuitton's @ Jacobs, van Lamsweerde, Loewe

Louis Vuitton. b Cons-Le-Saunier (FR), 1811. d Asniéres (FR), 1892. Monogrammed trunk. Photograph by Sacha, 1991.
W d 1nwrigh { Janice Designer
Janice Wainwright brings the outdoors indoors with company in 1974. Throughout the 1970s she was known dresses cleverly designed to spiral downwards around
a pair of moiré taffeta jodhpurs - a widely used theme for soft dresses which were often cut on the bias. the body. Intricate embroidery, appliqué trimmings and
at the end of the 1970s. Sensuous fabrics cut with She produced clothes that, according to Vogue, ‘...obey accentuated shoulders are other distinctive hallmarks
a feminine touch were at the centre of her work; here her the first rule of dress which is that clothes must be of her style
silk crepe-de-chine shirt is given a fichu tie. Wainwright appropriate’ Wainwright's interest in textiles extended
studied at the Royal College of Art in London, and to her involvement with the design and colouring
worked with Sheridan Barnett before founding her own of the fabrics she used. Previous collections include * Barnett, Bates, Demarchelier, Venturi

4t

j¥

silk shirt and moiré jodhpurs. Photograph by Patrick

Demarchelier, British Vogue, 1980
Janice Wainwright. b Chesterfield (UK), 1940. Plum
 Wang ver Designer
A dress never works harder than on Oscar night or when shapes associated with American sportswear. Wang lives use of net to give the illusion of bare skin have also
it's worn by a bride. When Hollywood's daughters or in the society she designs for. Born into New York's Upper recommended her for the design of Olympic figure-
the centrepiece of a wedding emerge from a limousine, East Side, Wang was forbidden to attend design school, skating costumes — another career she pursued before
they want a dress that will make the audience draw becoming instead Vogue's youngest fashion editor. design.
breath. This is what Vera Wang is famous for. She uses Having worked for Ralph Lauren, she opened a bridal
rich fabrics such as silk lace and duchesse satin in the salon and couture business in 1990. Her appreciation
tradition of Paris couture, and applies them to the simple of surface decoration, particularly beading, and the # Jackson, Lauren, Leiber, Lesage, Roehm, Yantorny

x Node AV
a,
ere
ale ae
eyes

Vera Wang. b New York (USA), 1949. Gold brocade couture

gown, 1991. Photograph by Victor Skrebneski.
Warh e) Andy Designer
Andy Warhol began work as an illustrator
for fashion as a fashion designer. Here two women are hanaina out Betsey Johnsor din 19
companies
and magazines such as Mademoiselle, in the Factory,
his artist's salon, wearing his slogar experime j ( (
growing increasingly aware of the relationship between dresses. Warhol began to wear rock-star leather jackets profiled his designer frier
art, fashionand commerce. He then produced window satin shirtsand a silver-sprayed wig and he used the
displaysfor New York department stores Tiffany's and superstar actresses from his films to model paper dre
Bonwit Teller. By the early 1960s, Warhol had reinvented printed with his Banana paintir
himself as a music and movies impresario and even friends with fashion editor Diana Vr

= font
BRILLA MES,ave fE ONBW
er

‘Brillo’ and ‘Fragile, Handle With Care’. Photograp!

d New York (USA), 1987
Andy Warhol (Andrew Warhola). b P ttsburgh, PA (USA), 1928.
 Watanabe Junya Designer
By extending the distances between each model as they Comme des Garcons, designing the Tricot line in 1987. stark white. Giving his clothes an irregular touch through
tread the perimeter of his square catwalk, Junya As Rei Kawakubo's protege, his creations reflect the random tucking, pleating and ruching, he evokes the idea
Watanabe gives visual silence to his futuristic fashion. intellectual Zeitgeist of the Japanese maestro. However, of the human aesthetic married with the future.
Glamour, sound and colour are notably absent; instead, he takes a personal approach for his line, Junya
an optical tautology of frugal, white cotton khadi Watanabe Comme des Garcons. He takes a successful
presents this complex collection. Watanabe graduated stab at anything futuristic: from cellophane-wrapped
from Tokyo's Bunka Fashion Institute in 1984 and joined neon punks and abstract oriental peasantwear, to poetic @ Fontana, Kawakubo, Rocha

Junya Watanabe. b (JAP), 1961. White dress and veil. Photograph by Ch

ris Moore, 1998.
Web CT Bruce Photographer
Chosen by Bruce Weber to represent his work, this of redefined masculinity in the 1980s and 1990s. He Lauren have created a privileged dream world of country
photograph shows a girl, fresh and artless, peering from created erotic images of muscular, natural bodies. One houses, polo matches and safaris
beneath a Charles James gown, itself the very example significant inspiration for Weber is Classical sculpture: his
of constructed beauty. Such human subjects are,however, buffed, athletic heroes (seen in Calvin Klein's underwear
unusual. His historical paragon is the photographer Leni advertisements) often recall Hellenistic sculpture. The
Riefenstahl, who extolled an exclusive and privileged chaos of real life never intrudes or spoils the mood; over
male body. Weber was the most important photographer — the course of two decades his photographs for Ralph + C. James, C. Klein, Lauren, Platt Lynes, Ritts, Tennant

493

vintage dress by Charles James, 1991.

Bruce Weber. b Greensburg, PA (USA), 1946. Girl beneath
 poration with Malcolm McLaren. In 1981
catwalk collection, continuing her
on eccentricity and subversion

* Barbieri, McLaren, Palmers, Testino, Turlington

2 Olas-cut tartan suit. Ph

Wilde oscar Icon
‘A Fashion is a form of dress so unbearable we are jacket (a recent addition to the male wardrobe) and conventional dress for men to be the most beautiful
compelled to alter it every six months; said Oscar Wilde a comfortable, nonconformist soft collar and cravat. in the world, stating, ‘It is only the shallow people who
in 1884, citing Paris as the centre of sartorial tyranny. Between 1887 and 1889, he was editor of Woman's do not judge by appearances:
This is Wilde photographed in New York in 1882. The World magazine, which promoted the aesthetic dress
picture reflects the writer's campaign for men's dress sold at Liberty. By 1890, apart from his green carnation or
reform. He wears knee breeches (the artistic alternative lily buttonhole, Wilde had decided to wear conventional
to trousers, which he called boring tubes), a smoking dress. In The Picture of Dorian Gray, he pronounced + Coward, Jaeger, Liberty, Muir

49)

by Napoleon Sarony, 1882

Oscar Wilde in breeches and a smoking jacket. Photograph
Oscar Wilde. b Dublin (IRE), 1854. d Paris (FR), 1900.
 Williamson. matthew Designer
Matthew Williamson's yellow, organza slip dress, known for'a collection of delicately beaded bags, trained described by Williamson as ‘something special, a little
machine-embroidered with fuchsia dragonfly motifs, with Zandra Rhodes, whose influence shows in glittering’, which allows his clothes to pass from day
typifies a trend for individual, precious clothing. His his choice of unbridled colour combinations and lavish into eveningwear.
brilliant colour palette is inspired by a back-packing tour detailing. Williamson launched his label in 1996 and
of Mexico and Guatemala and numerous trips to India, showed his first collection of fluid, bias-cut dresses and
where he learned techniques for the intricate embroidery skirts and cashmere twinsets. The use of sweaters over
that features in his work. Williamson, who was first such dresses suggests a nonchalant glamour, @ von Etzdorf, Mazzilli, Moon, Oudejans, Rhodes

Matthew Williamson. b Manchester (UK), 1972. Emma Balfour

wears a yellow organza dr ess embroidered with dragonflies. Photograp
h by Francois Halard, American Elle 1998.
Win dsor Duke and Duchess of Icons
Together the Duke and Duchess of Windsor symbolized dress and jacket which were worn with a matching hat interlined clothing of his youth,he ofter
opulence tempered by sartorial restraint. For their by Reboux. Givenchy and Marc Bohan were other convention and pioneered newstyle ich
wedding day, Wallis Simpson chose a sapphire blue favourites. It was a discreet style that provided an ideal blue, double-breasted dinner jacket
(dubbed ‘Wallis’ blue), crepe silk dress by Mainbocher, backdrop for her magnificent jewels, many of which were
one of her favourite designers. Mainbocher preferred chosen by the Duke. His clothes were equally influential
to ‘blend mystery rather than to rant and rave with At university he had championed the flapping trouser
my shears; and he created an utterly simple, bias-cut legs dubbed ‘Oxford bags' and, rejecting the stiff, + Cartier, Ferragamo, Horst, Mainbocher, Reboux

| We...

d Paris (FR), 1986

b Richmond (UK), 1894. d Paris (FR), 1972 Duchess of Windsor. b Blue Ridge Summit, PA (USA), 1896.
Duke of Windsor.
at the Chateau de Conde, France. 1937
The Duke and Duchess of Windsor on their wedding day
 Winston Harry Jewellery designer
Elizabeth Taylor wears a suite of diamonds by Harry reciprocal love affair with Hollywood began when large stones. In 1998, the Winston look was encapsulated
Winston, the sparkling voltage of which is matched he assisted his father in their small Los Angeles jewellery in a pair of diamond-encrusted Ray-Ban sunglasses,
by the glint in her violet eyes for her favourite stone, after store. At the age of twenty, he moved back to New York designed for the Oscar ceremony.
which her scent White Diamonds is named. When Marilyn to found his own jewellery business. By the time he
Monroe sang about her favourite rock in Gentlemen had incorporated his firm under his own name in 1932,
Prefer Blondes, it was to the ‘King of Diamonds’ she Winston had become a leading retailer of exclusive
appealed: ‘Talk to me, Harry, tell me about it...’ Winston's diamond jewellery, renowned for using exceptionally @ Alexandre, Hiro, Madonna

Harry Winston. b New York (USA), 1896. d (USA), 1978. ‘Passion’ perfume
publicity campaign. Elizabeth Taylor wears diamond earrings and
collar. Photograph by Norman Parkinson, 1987.
Worth Charles Frederick Designer
Spangled silk tulle was typical of Worth's work in the portraits and painted many similarly graceful in fabulous style. Under that patronage, Worth drew or
1860s. For Empress Elizabeth of Austria he chose gold to compositions of the Empress Eugénie, Worth’'s most the history of costume to create lavish, expensive gowns
be scatvered over her gown — a scheme extended by valuable client. The story of modern fashion began when which raised dressmaking to a new level called
the golden stars in her hair. The dress's décolleté neckline, Charles Frederick Worth, a young tailor, arrived at the haute couture
which exposes and embraces her shoulders, would court of Napoleon III. In his bid to re-establish Paris
be softened with the tulle held lightly around her hips. as the centre of fashionable life, the Emperor stimulated
Winterhalter chronicled the work of Worth through such the luxury business and his wife Eugénie patronized it * Duff Gordon, Fratini, Hartnell, Pinet, Poiret, Reboux

1865
Empress Elizabeth of Austria wearing spangled tulle. Painting by Franz Xaver Winterhalter,
Charles Frederick Worth. b Bourne (UK), 1825. d Paris (FR), 1895.
 Yamamoto kansai Designer
Cartoon graphics and cotton netting were one of the shows were huge events, attracting up to 5,000 people. the following decades. Yamamoto's trademarks are a use
wilder combinations offered by Kansai Yamamoto. Others After training as a civil engineer, Yamamoto left school of abstract colour sculpted into unique forms, which
included lush satin robes and pyjamas appliqued with in 1962 to study English, before moving on to fashion. successfully blended ancient Oriental influences with
huge Japanese figures. Yamamoto married traditional He designed David Bowie's outrageous costumes modern sporty themes.
Japanese culture and Western influences, set for ‘Ziggy Stardust’ and ‘Aladdin Zane’ and, in 1975, he
them to a music beat and put them in the realm of the began showing in Paris, part of the first wave of Japanese
perfoming arts. In the 1970s his fashion performance designers who would have an impact on fashion through ®@ Bowie, Sprouse, Warhol

Kansai Yamamoto. b Kanagawa (JAP), 1944. ‘Kansai’ graffiti shirt and mesh skirt. Women's
Wear Daily, 1982.
Yamamoto vor Designer
This lean coat represents the traditions of both antique shrouds in several shades of black, worn with flat shoes, beings: they are alive. | am alive’ His visionof women
Western tailoring and those of contemporary Japan. In little make-up and a stern expression. But the shock and later men, as independent, intelligent, liberated
1981 Yonji Yamamoto presented his clothes to a Western turned to admiration. Yamamoto dropped out of a law artisans has elevated his status to that of a fashion legend
audience for the first time and effectively turned degree to work for his widowed mother in her
the notion of fashion as structured, sexy and glamorous dressmaking shop. He followed this with a fashion degree
on its head. Experts were shocked, labelling the collection at Tokyo's Bunka Fashion College, and set up his own
‘Hiroshima chic’; it was composed of androgynous label in 1977. He says, ‘My clothes are about human * Capasa, van Lamsweerde, Miyake, Tatsuno

50

1985
Yohji Yamamoto. b Yokohama UJAP), 1943. Red hat and black tail-coat. Photograph by Paolo Roversi,
 Yan tomy Peto Shoe gesianey
Pietro Yantorny's sumptuous custom-made shoes — in Yantorny is partly attributed to a reputation that lasted reason for their patience: Yantorny made painstaking
precious, milky silks and decorated with his trademark only a few years, although in that time he enjoyed measurements of each individual in order to make each
diamanté buckle - survive today as totems of an international clientele sprinkled with royalty. Of East shoe fit ‘like a silk sock’
unsurpassed grandeur. Over 300 of these shoes, each Indian origin, his own lofty aspirations — reinforced
of them perching daintily on Louis-style heels, were by the slogan used in his Parisian salon, ‘The world's most
made for Rita de Acosta Lydig, who never walked more expensive custom shoemaker’ - did not deter clients,
than a few hundred yards. What little is known about even when orders took two years to arrive. There was @ Hope, Lesage, Pinet, Wang

Pietro Yantorny. (Active 1910s.) Trunk of evening shoes belonging

to Rita de Acosta Lydig, ¢1915. Photograph by Jack Carroll
Zoran Designer
Utterly simple, squared black shapes; the name Zoran acclaim in 1977. His first collections were designed around white and crear he also ave ising ext raneou
is associated with minimalism and purity. Elementsof his squares and rectangles in silk crepe-de-chine. Zoran decoration. Even the practical
approacn to design — mathematical precision-cutting remains as unswayed by transient fads of fashion collars, zips and fastenings, are
and clean, simple shapes — hark back to his degree today as he was back in the 1970s. He prefers to design where possible
in architecture for which he studied in his home town, comfortable, practical clothing with longevity
Belgrade. Zoran moved to New York in the early 1970s, In sumptuous fabrics, especially cashmere. Using
launching his first capsule collection there to wide an elemental palette of colours — mainly red, black, grey * Audibet, Coddington, Kim

Zoran (Zoran Ladicorbic). b Belgrade (YUG), 1947 Black outfits. Photograph by Goe Moe
 Glossary of movements, genres and technical terms
Batiste
Aigrette

A generic term for a fine, sheer, lightweight fabric made from cotton or linen, with or without other
A decorative tuft, usually of heron, egret or osprey feathers, worn on hats or as a hair ornament.
fibres, wool, silk, polyester or rayon.

A-line
Batwing sleeve see Dolman sleeve.

A skirt or dress silhouette which flares from the waist or bust, forming the ‘A’ shape.
Beat

Alpaca
First coined in 1958, the beat (or yé yé in France) was a progenitor of both mod and hippie, both
in spirit and attitude. Having witnessed the ravages of the Depression, war and the atomic threat,
Formerly a fabric made from the wool of the alpaca (a South American mammal related to the llama)
the beat's distrust of politics, capitalism and uniformity provoked an aspiration to a simple,
and cotton, today it describes a rayon crepe fabric.
existential lifestyle. The tough, student uniform was, ‘Any colour so long as it is black’, usually a polo
neck or turtleneck sweater and jeans. Beat was born at the University of Colombia which spawned
Angora
a generation of philosophical writers such as Allen Ginsberg and Jack Kerouac - whose phrase ‘Beat
Generation’ gave the movement its name. Its spirit spread to Britain and France where Juliette Greco
The hair of the angora goat or rabbit. It is usually mixed with fabrics such as wool and used for
and Jean-Paul Sartre made the Parisian Left Bank (Rive Gauche) a fashionable location. In the 1980s
knitwear. See mohair.
the beatnik look was revived as a minimalist fashion of black jeans and turtlenecks, Breton
Aniline dyes T-shirts and a pair of sunglasses.

Vivid synthetic dyes, originally obtained from indigo, that were introduced in the late nineteenth * Bardot, Trouble
century and widened the palette of colours available to designers.
Belle Epoque
Appliqué
The French phrase, meaning ‘fine period’, came to symbolize a comfortable, prewar society dressed
A technique of creating surface decoration by stitching or gluing motifs, trimmings or other fabric in extravagant ruffles and out-sized hats for women and prosperous black tailoring for men. During
onto the ground fabric. this period the ideal female shape was no longer defined as small or meek, but voluptuous, majestic,
and boasting a vast pigeon-bosom. That figure was covered with decorative flourishes intended
Argyle to lend further richness. Lace, embroideries, ribbons, feathers, jewels and flowers all vied for space
on figures trained into an S-curve. The froth of the Belle Epoque was gradually replaced by a more
A block of diamond pattern, commonly seen on knitwear, which is an approximation of the tartan rational style championed by modern women annoyed with its excess.
work by the Scottish clan Argyle.
| Doucet, Drécoll, Paquin, Redfern
Astraskhan
Bias cut
Originally the fleece of the karakul lamb of Russia, used as a trimming on collars and cuffs and for
hats until the late nineteenth century. Today it refers to both the fleece and a heavy fabric, knitted Fabric construction by which panels are cut across the grain, 45° to the edge of the cloth, giving
or woven, with a pile imitating the shiny, black, tightly curled fleece. Also called persian lamb. it natural elasticity and drape.

Atelier Boat or bateau neck

The studio or workshop of a designer. Straight, boat-shaped neckline extending from shoulder to shoulder with the same depth at front
and back.
Baguette
Boater
A precious stone cut in an oblong shape with facets.
Previously used in England as part of a late nineteenth-century punting uniform for men. Made
Ballets Russes or Ballet Russe of shellac-coated straw, the boater is a simple, circular hat with a flat top and brim.

Sergei Diaghilev brought Russian dance to Western Europe with the Ballets Russes. For the first Bolero jacket
time, décor, costume and music were as important as the dance itself. Its first appearance in Paris,
in 1909, shocked audiences with its unrestrained, brilliantly hued designs influenced by the Orient. The Waist-length jacket worn open in front, with or without sleeves.
costumes consisted of harem pants, turbans, bold jewellery, painted linen, and appliqué on velvet and silk.
Designed by Léon Bakst, they inspired Poiret - and subsequently much of early twentieth-century fashion Boot-cut
~ to discard the stiff corsetry and gentle colours typical of the period and to shorten skirts to ankle-length.
Trousers cut slightly wider at the hem that can be worn over boots.
© Bakst, Barbier, Brunelleschi, Poiret, Sumurun
Bouclé
Bandeau
French for ‘buckled’ or ‘curled! A fabric or yarn which has a looped or knotted surface.
A strapless bodice usually made from a stretch fabric.
Box pleat
Barathea
A pleat consisting of two parallel creases turned inwards towards each other.
A fine woollen cloth used for outer garments in the nineteenth century and now used for suiting.
Braid
Barege
A narrow, decorative band used for trimming or binding.
A fine silky gauze, usually made from silk and wool, most often used for veils and head-dresses during
the nineteenth century. Named after Barége in the South-West of France where it was originally made. Brocade

Batik A heavy dress and furnishing fabric woven with a jacquard loom, in which all-over patterns
of flowers and foliage are raised from the surface cloth.
East-Asian textile craft of ‘wax writing’, in which liquid wax is used to draw designs which are
protected from taking the dye.
Broderie anglaise Chenille

A type of traditional embroidery consisting of petal shapes and eyelet holes cut out and finished
From the French, meaning ‘caterpillar’, because of its protuding, velvety tufts. Made of silk, rayon,
with buttonhole stitching at the edges. cotton or wool, the yarn can be knitted or woven through the warp threads.

Brogue Chiffon

A stout, lace-up stitched leather shoe with ornamental perforated bands Originating in Scotland A lightweight, gossamer-sheer fabric, printed or dyed, made of silk or synthetic fibres.
or Ireland.
Chinoiserie
Bugle beads
From the French ‘chinois’, meaning Chinese. An embroidered or brocaded pattern showing Chinese
Long, tubular-shaped glass beads in black, white or silver often used as dress trimming. motifs or qualities. An alternative French meaning is ‘hair-splitting’ which, if also applied to such
embroidery, describes its fine intricacies very well.
Bust bodice
Circular cut
A heavily boned, padded and taped undergarment based on the camisole, which was replaced
by the bra. A skirt or cape pattern piece cut in one curve or circle.

Bustier Cloche

A close-fitting, boned bodice. A soft, felt hat with a deep crown and narrow brim occasionally pushed back to frame the eyes.
Sometimes trimmed with a deep ribbon band.
Cable knit
Cloqué
A raised knitted pattern resembling twisted rope or cable.
A treated fabric with a blistered surface appearance, obtained by weaving a double-cloth consisting
Caftan of yarns with varying degrees of shrinkage.

A rectangular-cut, ankle-length garment with a front opening, side splits and sometimes Combination jacquard
a cummerbund, probably originating from Mesopotamia. Once made in striped or brocaded silk,
velvet or cotton, its predominance as a 1970s fashion item ensured versions were made in almost An updated version of jacquard weaving, in which computerized systems create highly complex
all kinds of fabric. jacquard patterns as well as incorporating yarns of various thickness and twist into the cloth.

Calico Coq feathers/plumage

A coarse cotton fabric named after the city and port, Calicut, in India, from which it was Iridescent black and green feathers of the barnyard cockerel.
originally exported.
Cravat
Camel hair
Ascarf tied round the neck in front with its ends tucked inside a shirt.
A fabric made from the soft undercoat of the camel. Has also come to mean material made from 50
cashmere and wool which has been dyed the colour of natural camel hair. Crepe

Camisole A fabric given a crinkled texture by heat and a particular weave. Made of silk, cotton, rayon or wool,
its draping qualities make it most suitable for formal day dresses or eveningwear.
Formerly an undergarment, based on the bodice, with fine straps, it is now also worn as an outer
garment. It is generally made from lightweight silky fabrics and often trimmed with lace or ribbon. Crepe de chine

Capri pants Very soft China silk crepe.

Close-fitting trousers, tapered to the mid-calf, named after the Italian island of Capri. Satin-back crepe

Caracul, karacul see astraskhan. Crepe fabric with a smooth satin surface on the reverse side.

Cashmere Crinoline

The undercoat hair of the Kashmir goat, originally from India, now raised in Afghanistan, Tibet From the French ‘crin’, meaning horsehair. In the early 1840s, the crinoline was a petticoat corded
and China. An expensive fibre, it is often mixed with wool to reduce its cost. and lined with horsehair. It changed in the 1850s to a quilted petticoat with whalebone and several
starched muslin layers underneath, flounced and tucked, eventually becoming a cage-like frame
Challis of flexible steel hoops.

A lightweight, soft woven fabric usually made from a blend of wool, cotton and rayon, and chiefly Cut velvet
used as a dress fabric.
A variation of velvet, where the pile loops are cut to create tufts, either plain or patterned.
Chamois
Panne velvet
Supple, fine, yellow-hued leather from the skin of the chamois goat, used for gloves.
Not to be confused with chamois cloth, an imitation made of cotton. Shiny shimmery velvet with the pile pressed in one direction to create a lustrous, smooth appearance.

Charmeuse Cut work

Originally a type of embroidery consisting of small openings made to form a pattern. Modern
A lustrous lightweight fabric, developed in the twentieth century, made from synthetic or silk fabrics
application includes figured cut-outs on leatherwear.
of satin weave.
 Décolleté Flapper

A deep neckline revealing the cleavage, neck and shoulders. With their hair shorn into an Eton crop or shingle, leaving their necks and ears exposed, flappers
symbolized a spirit of independence partially discovered in the absence of men during World War |.
Fashion dressed that mood. In particular, Jean Patou's uncluttered, plumb line dresses, adorned by
Delphos
long, spare strings of pearls, and Chanel sporty jersey outfits were a pivotal influence in the 1920s.
Because of public antipathy towards bared legs, designers fought against rising hems with elaborate
The name given to a column dress of lustrous, intricately pleated silk designed and patented
by Mariano Fortuny in 1909. Its simple, tubular shape was based on sculpture of the sixth century creations that drew attention away from the bared ankle. In 1921, Vogue wrote ‘One cannot help
B.C. and resembled the lonie chiton worn by the Delphic charioteer of Ancient Greek legend, hence
wishing for a less independent, less hard, more feminine product than the average twentieth century
its name. girl! The reactionaries were disappointed in their hope but it wasn't until 1924 that the female knee
showed itself for the first time. Skirts jumped from floor to knee-length and the flapper, coined
Devore earlier in the century for a young woman whose hair flapped free rather than being neatly pinned,
took on her new role as a nightclub habitueé with a taste for Martini cocktails and an ear for jazz.
A technique used on velvet to create a patterned effect by chemically dissolving fibres using The new length caused a hemline controversy that would only be superseded by that of the mini
pattern plates. forty years later.

Diamante * Abbe, Antoine, Chanel, Cheruit, Patou

Fake jewels or decoration, such as rhinestones, that imitate the sparkle of diamonds. Foulard

Dolman sleeve A soft twill weave silk used for making plain or printed scarves.

A wide ‘batwing’ sleeve cut in one piece with the bodice, creating a deep armhole that reaches Frogging
from the waist to a narrowed wrist.
A decorative fastening of long, braided or corded loops and buttons.
Donegal tweed
Frieze
Originally a hand-scoured, homespun, slubbed fabric made by Irish peasants using uneven yarns.
Today it is a machine-made tweed with coloured slubs woven in. A warm, Coarse woollen fabric with a shaggy or ‘friezed’ pile for jerkins and overcoats.

Dress Reform Gabardine

In 1851, at a time when Charles Frederick Worth was still dreaming of his future as a dressmaker A hardwearing twill worsted fabric, used for coats, riding habits and uniforms. In cotton it can
to royalty, American Amelia Jenks Bloomer began a campaign to encourage women to wear trousers. be preshunk and made water-repellent.
Her bulbous pantaloons (a skirt divided and gathered at either ankle) were the ancestor of the
tight hipsters worn in the 1960s. Throughout the last 150 years, fashion has been energized by the Gauze
example of dress reformers. Dr Gustav Jaeger - whose ‘Sanitary Stockingnette Combinations’ were
worn by George Bernard Shaw and other intellectuals - famously crusaded to dress the body entirely A thin, sheer fabric, made of cotton, silk, linen or rayon, first made in Gaza, Palestine.
in wool. His efforts resulted in the first streamlined, truly rational fashion in the early decades
of the twentieth century. Gingham

+ Jaeger, Wilde From the Malayan ‘ginggang’, meaning ‘striped’ A checked, striped or solid colour cotton fabric
of a plain weave, using pre-dyed yarns. Originally from India.
Empire-line
Grunge
A lean dress or coat silhouette, usually in velvet, silk or lingerie fabrics, with its skirt gathered
underneath the breasts, a low neckline and occasionally tiny, puffed sleeves. So named because Grunge was born in Seattle's music scene at the end of the 1980s. Youth developed a slacker lifestyle
it was popularized by Empress Josephine during the French Napoleonic Empire of 1804-1814.
with a dependence on television and computers for entertainment. Their boredom was reflected in
a dishevelled, lazily thrown together look of army trousers, unkempt hair and army boots or plimsolls.
Eton crop
Grunge empathized with the horizontally-relaxed hippie attitude and was used by designers such
as Marc Jacobs and Calvin Klein to market anti-fashion nonchalance as a fashion in itself.
An extremely short, severe haircut with longer hair on top slicked back. Typically a cut favoured
by boys attending the English public school, Eton College, it became an androgynous fashion + Cobain, Day
for women in the 1920s.
Gossamer
Faconne
An extremely fine gauze or silk fabric. Its name, a combination of the old French ‘gos’, meaning
French for ‘fancy weave’, describing patterned fabrics with scattered motifs or patterns woven
goose, and ‘somer’, meaning summer. Its name probably refers to the fact that it appeared during
into the cloth.
the season when geese were ready for consumption.

Faille
Guépiére

Close woven cotton, rayon or silk with a slight sheen, identified by the rib effect in the cross grain A mini corset used to cinch the waist. Constructed of bone and elastic inserts, and laced
of the fabric.
in at the back or front.

Fedora
Haute couture

Felt hat with a tapered crown and medium-sized brim, and a centre crease. An industry of established couturiers, or dressmakers, protected by the law and governed by the
Chambre Syndicale de la Couture Parisienne with rigid regulations and emphasis on craftsmanship.
Fichu
Haute Couture specifically refers to the manufacture of made-to-measure garments, an industry
that employs a small group of highly skilled craftspeople. In terms of revenue, haute couture
Small lace scarf or shawl knotted loosely around the shoulders with the points falling onto the chest. no
longer pays its way but is still shown twice a year (in January and July) as an exhibition of
luxurious
fashion for the purpose of selling the couture houses’ perfume.

+ Cardin, Dior, Lanvin, Lelong

Hippie Lycra”

In 1967 Gnd the ‘Summer of Love’, America's West Coast became the centre of the universe for a Trade name for the two-way and three-way stretch fabric manufactured by du Pont
convergence of people detached from society - each with their own fashion. Hippies, their collective
term, had been coined in the 1950s to describe ‘uncool’ people who tried hard to be, but the new Mantilla comb
breed had a relaxed attitude. So did their clothes; a mish-mash of psychedelic prints, Indian cotton,
ponchos and caftans either picked up on their travels or imported and made to look as though they A Spanish hair decoration in the shape of a high tortoiseshell or ivory comb with four very long
had been. The hippie look was transformed into a couture version, called ‘hippie-deluxe’, by designers teeth. Traditionally used with a mantilla, a black or white lace scarf or veil
who were also inspired by global travel. In using silk gauze instead of muslin and crepe rather than
cheesecloth, the couturiers strayed far from the hippie’s empathy with the cultures whose clothes Mantle
they wore, but in doing so they ended the 1960s with an unrestrained and divergent style.
A loose cloak or wrap, usually without sleeves.
= Bouquin, Hendrix, Porter
Matte jersey
Jacquard
Plain or ribbed fabric with a dull surface as it is knitted from crepe yarns.
A raised motif weave made on a jacquard loom used for damasks and brocades.
Melozine
Jodhpurs
A rabbit-hair fabric, with a texture similar to camel-hair.
Riding breeches, christened after a former colonial Indian state, Traditionally full to the knee
and tight from knee to ankle, with a strap passing under the boot, and with knee patches. Mesh

Khadi A woven fabric made semi-transparent by its open-mesh texture, used for underwear and
sportswear. Made of cotton, linen, wool, rayon or more commonly nylon.
Handspun Indian cotton yarn, or rough-surfaced Indian paper, strongly associated with Mahatama
Gandhi, who suggested a return to a cottage industry in Khadi as a protest against the Microfibre
industrialisation brought with the British Empire.
Very fine synthetic fibre, approximately sixty times finer than human hair.
Kid leather
Minaudieére
Leather made from the skin of a baby goat.
Small metal evening bag. Usually set with jewels or hand-engraved and carried either in the hand
Kimono or on a-short chain.

A national Japanese costume, consisting of a wrap-over, chinoiserie satin or silk gown with extremely Moccasin
long sleeve cuffs, fastened by an obi (see below).
A one-piece foot covering gathered around the foot and laced to an upper piece. Traditionally made
Kitten heel by native Americans from deerskin.

A low sculptured heel curved sharply inward along the sides and back, then flared slightly at the base. Mod
50
Knee breeches The mod, or modernist, originated in 1950s Britain as a celebration of clean, modern taste.
Purposefully young and energetic, the mod adopted a more enthusiastic, acquisitive taste than
Breeches fitted to the knee, or knickerbockers with some fullness. their forerunner, the beatnik, accumulating a wardrobe of Italian-cut suits for men and immaculate
short skirts and stiletto heels for women that betrayed material aspirations. Obsessively neat and
Lame narcissistic, mods wore parka anoraks while riding on their Lambretta motorcycles to protect their
expensive suits. A vigorous economy enabled mods to embrace consumerism with gusto. Coming
7
Any fabric interwoven with (not necessarily real) gold or silver threads. at a time when art made you dance and both cars and skirts were minuscule, the mod was very much
of the moment, elevating British youth to iconic status and generally bolstering London's standing
Leatherette as a pop capital.

Imitation leather, produced by treating cloth to produce the grain and texture of real hide. + Stephens

Loafer Modelliste

Tailored low-heeled slip-on shoe fashioned after moccasins. French term for a designer who works for a maison, or design house, whose work is shown under
the label of the house.
Lounge suit
Mohair
An informal, plain style suit with no waist seam, single- or double-breasted; it fastens with one
or two buttons, placed low at the front. Also called a sack suit, it appeared in the 1850s. Fibre from the hair of the Angora goat, usually mixed with cotton, silk or wool to produce
a distinctively hairy texture. A popular men's suiting fabric in the 1960s particularly with
Louis heel ‘Tonik' weaves.

Named after Louis XIV of France, it then referred to a method of making the sole and heel in one Moire
section. It is better known asa thick heel, often covered, that curves in at the mid-section before
A fabric with a gleaming water ripple effect, made of silk or synthetic silk. The fabric is passed
flaring out.
through engraved rollers to create the pattern. Also called watered silk.
Lurex®
Mule

Trade name for metallic thread, produced in various colours by thinly coating plastic sheets with
Ashoe with the back cut away to reveal the heel.
aluminium on both sides. Used as a sewing thread, in embroidery, and can be woven into fabric for
shimmery effect.
 Pompadour
New Look

With its tight, wasp-waist bodices, full skirt and padded hips, the New Look was a style that harked A coiffure with the hair brushed back, often over a pad, to a loose, full roll around the face.
Named after the Marquise de Pompadour, mistress of Louis XV of France.
back to the age of crinolines. It was lauched in 1947 by Christian Dior. It appeared outdated and
irrelevant to the more practical-minded woman who had survived two world wars, but as a weapon
Poncho
with which Paris could retrieve its former standing as a centre of international haute couture,
it was essential. The New Look arrived at a time when women were still struggling with acute fabric
A square of woollen fabric worn as a cape with a neck opening in the centre.
shortages and it became a symbol of both desperate want and despair. Only the very wealthy could
afford the New Look but it filtered through to influence fashion at all levels, replacing practicality
with cumbersome femininity. Prince of Wales check

‘* Carnegie, Dior, Rochas, Snow

A wool fabric which consists of a black check against off-white, with a larger windowpane overcheck
in red or blue. Popularized by Edward VIII, then Edward, Prince of Wales, when he wore a double-
Obi breasted suit in this pattern in 1923.

A traditional wide Japanese kimono belt, usually made of embroidered or brocaded silk or satin. Princess line

Ombre The cut of women's clothing defined by continuous vertical panels shaping the waist,
and lengthening through the torso without a waistline seam.
French for ‘shaded! Weaving term for fabric, woven or painted, with graduated hues of colour.
Pump
Organdie
Asimple, low-cut, flat shoe without fastenings.
The sheerest plain-weave muslin fabric, made of 100 percent cotton yarn which has been
stiffened slightly. Punk

Organza Soaring temperatures and rising unemployment gave rise to an aggressive London subculture
in 1975. Disaffection was reflected in an apocalyptic style made up of painted leather jackets, Doctor
Similar to organdie, but made from silk or polyester. A fine, stiff and wiry fabric. Martens, studs, spiked hair and safety pins worn as jewellery. As a look, it was designed to repulse
and offend. Protagonists included a tartan-suited Johnny Rotten and Vivienne Westwood who,
Pailette together with Malcolm McLaren, dressed the movement from their confrontational clothes shop,
SEX (after which the Sex Pistols were named) on London's Kings Road. Selling bondage trousers
A metal or plastic circular spangle, slightly larger than a sequin. Used as a trimming for evening and PVC T-shirts, it became a meeting place for punks.
clothes and accessories.
@ McLaren, Rhodes, Rotten, Westwood
Palazzo pyjamas
PVC (Polyvinyl chloride)
Loose evening trousers that resemble pyjamas.
A high-gloss vinyl fabric used for clothes, shoes and bags.
Paparazzi
Raglan sleeve
An Italian term named after a character in the film La Dolce Vita (1960). It is used to refer to
freelance photojournalists who persist in taking pictures for newspapers, whether invited or not. A full sleeve which extends to the neckline instead of stopping at the top of the arm. It is named
after Lord Raglan (1788-1855).
Parachute silk
Ready-to-wear
A light, airy, tightly-woven silk formerly used for parachute canopies. Now used as a fashion fabric
for ultra-light summer clothes. Designer clothes manufactured in a range of sizes, colours and shapes. The term is derived from the
French ‘prét-a-porter!
Pave
Reefer jacket
An ‘invisible’ jewellery setting, with the stones placed closely together so that no metal shows
between them.
Double-breasted, thigh-length boxy jacket with a small collar, thin lapels and three or four sets
of brass buttons.
Pin-tuck
Robe de style
A technique whereby the fabric is pinched vertically or horizontally, and the pinch sewn into a fine,
uniform, decorative fold.
A dress fashioned on those found in seventeenth-century paintings, with a tight-fitting bodice,
an ankle- or floor-length bouffant skirt, and short or non-existent sleeves. It is famously associated
Pique
with Jeanne Lanvin. Also called the ‘Infanta’ style.

A firm silk or more commonly cotton fabric, used for shirts, which gives a ribbed or corded effect.
Ruching

Platform shoes A technique of tightly crimping or pleating lace or gauze causing it to ruffle on both sides. Used
as trimming or to add a decorative texture to a fabric.
Shoes on which both the heels and soles are given extra thickness for height.
Satin
Plexiglass
A fabric made of silk, rayon or synthetic silk fibres, closely woven to give it its distinctive sheen.
A clear plastic material imitating glass in texture and appearance, but with greater flexibility.
Duchesse satin
Polo shirt
A thick, heavy, extremely glossy satin, suitable for formal evening gowns. Also called duchess satin.
A cotton jersey sports shirt, usually short-sleeved, with a ribbed Peter Pan collar
and buttoned placket.
S-curve
he cuts the intended fabric. Also a muslin or calico copy of a garment which a manufacturer buys
for copying purposes.
The femate silhouette of the Edwardian period (see Belle Epoque). A corset was developed to push out
the bust and derriére, leaving a tiny waist and forcing the wearer's figure into an imposing 'S' shape. Toque

Sheath dress Asmall, round, brimless woman's hat, made of jersey or any other fabric that drapes well,
occasionally decorated with a plume or brooch.
A figure-hugging, straight, ankle-length evening dress, popularized by film stars in the 1920s ——
and 1930s. Trilby

Shibori Soft, felt hat of Alpine shape, with a plush-like texture, a dented crown and a flexible brim,

A varied fabric-making technique, generally used in Japan, combining tie-dye, stitching Tulle
and pleat-resistance. ~ —E a
—— Avery soft silk, cotton or synthetic net.
Shawl collar
Tussore
A long, continuous collar, without peaks or notches, that wraps around the coat, dress or blouse SS en
it is attached to like a shawl. A type of wild, strong silk which includes pongee and shantung. It is made from the tussah silkworm
of India. Also called tussah, tusseh, tusser, tussur.
Silk gazar
Ultrasuede
Stiffened organza used mainly in evening dresses. ee ara a
— Synthetic suede fabric of polyester and polyurethane mix which is crease resistant and
Silk-screen printing machine washable.

A method of printing using separate screens to block colour patterns individually onto a silk fabric, Vendeuse iat 3

Slip dress A French word for a sales assistant.

Asilky, lightweight dress with fine straps resembling an undergarment. Vichy check : —- a a

Smoking jacket : Chequered fabric woven with two different coloured threads, made of cotton or linen.

A type of lounge jacket in a brocade, velvet or other dark-coloured fabric, trimmed in braid. Worn Voile SS a ; a =a
at home for smoking during the late nineteenth century, by the twentieth century it appeared in a eel : : ———_ = ae
a silk version, similar to a dressing gown. See lounge suit. Asheer, semi-transparent, plain fabric of a tight weave, made from cotton, silk, rayon or wool.

Snood Wedge heel 4

A loose hair net, either knitted or openwork, or a fabric bag, which encases the hair at the back A heel merged into the sole in one graduated shoe layer, flat on the ground from heel to toe.
of the head. Fashionable during the 1930s and 1940s. Sometimes made of wood, rubber or cork.

Spangles Windbreaker’

Tiny pieces of metal designed to catch the light and used as fabric decoration. Famously used Trade name for a lightweight nylon zip-up jacket with an attached hood, fitted waistband and cuffs.
by Charles Frederick Worth on silk tulle.
Windsor knot
Stetson
A fat, complex knot that juts out from the throat, best worn with a cutaway shirt collar. Named after
An American cowboy sombrero, nicknamed the 'ten-gallon’ hat. So-called after John B. Stetson's Edward VIII, the then Prince of Wales, who wore his knots thickened with wadding - although he
quality cowboy hats in the 1860s, which were famously comfortable and durable. never actually tied a Windsor knot.

Stove pipe/cigarette legs Yarn

Straight-legged, ankle-length fitted pants. A thread of fibres with or without twist, used for knitting or weaving.

Taffeta Yoke

Plain, closely woven stiff silk fabric which is slightly lustrous. A fitted portion of a garment covering the back between the shoulders, or an extended waistband
curving downwards. Traditionally an integral upper part of a smock.
Technicolor
Youthquake
A trade name for a cinematic colouring process in which the three primary colours
are recorded on separate films and then combined in a single print. Also a description of colours "Youthquake' was the term given to an explosive period in the mid-1960s when short,
displayed in such a way that they dazzle the viewer. confrontational fashion was designed, modelled and photographed by young men and women.
For the first time, fashion was directed by youth for youth. Twiggy, David Bailey, Mary Quant
Toggle and Vidal Sassoon were a few of the key figures who made London the centre of ‘youthquake’

A wooden button secured to the cloth by a cord loop, which is pushed through another cord loop = Bailey, Beatles, Charles, Foale and Tuffin, Liberty, Quant, Rosier, Sassoon, Twiggy
on the opposite edge for fastening. A common feature on duffle coats.

Toile

A calico or muslin mock-up of a garment, made to enable the designer to see how it will look before
 Directory of museums and galleries
Bayerisches Nationalmuseum Kyoto Costume Institute
ARGENTINA DENMARK
Prinzregenten Strasse 3 Wacoal Corporation
Dansk Folkemuseum 80538 Munich 103, Shichi-jo Goshonouchi Shimogyo-ku,
Museo Historico Nacional del Traje
Nationalmuseets 3 Afdeling © (49 89) 211241 Kyoto 600-8864
Buenas Aires
© (81 75) 321 9221
© (84 11) 4343 8427 DK-2800 Lyngby
© (45) 45 85 3475 Miinchner Stadtmuseum
Jacobsplatz 1 Nishijin Textile Museum
AUSTRAUIA
FINLAND 80331 Munich Imadegawa, Kamigyoku
Museum of Victoria © (49 89) 23322370 Kyoto
P.O. Box GEGE Doll and Costume Museum © (81 75) 432 6131
Melbourne VIC 3001 Hatanpaan kartano Germanisches Nationalmuseum
© (G1 3) 9660 2689 Hatanpaan puistokuja 1 Kornmarkt 1 Bunka Gakuen Fukushoku Hakubutsukan
33100 Tampere 90402 Nuremberg 3-22-1 Yoyogi
National Gallery of Victoria © (358 3) 222 6261 © (49 911) 13310 Shibuya-ku
180 St, Kilda Road Tokyo-151-0053
Melbourne VIC 3004 FRANCE Deutsches Ledermuseum/ Deutsches © (81 3) 3299 2387
© (61 3) 9208 0344 Schuhmuseum
Musée de la Chemiserie et de l'Elegance Frankfurter Strasse 86 MEXICO
Museum of Applied Arts & Sciences Masculine 63067 Offenbach/Main
500 Harris Street rue Charles Brillaud © (49 69) 8297980 El Borcegui Shoe Museum
Ultimo 36200 Argenton-sur-Creuse Bolivar 27
Sydney NSW 2007 © (33 2) 54 2434 69 Wiirttembergisches Landesmuseum Centro Historico
© (6) 2)9217 011 Schillerplatz 6 CP 06000 Mexico City
Musee des Beaux-Arts et de la Dentelle 70173 Stuttgart © (52 5) 5121311
AUSTRIA 25 rue Richelieu © (49 711) 2793498
62100 Calais THE NETHERLANDS
Modesammiungen des Historischen Museums © (33 3) 21 46 48 40 GREECE
tetzendorfer Strasse 79 Rijksmuseum
1120 Vienna Musee du Chapeau Peloponnesian Folklore Foundation Stadhouderskade 42
& (43 1) 804 OF 16 route de Saint Galmier 1 Vass. Alexandrou 1071 ZD Amsterdam
42140 Chazelles-sur-Lyon GR-21100 Nafplion © (31 20) 674 70 00
BELGIUM ® (33 4) 77 94.23 29 © (30 752) 28947
Haags Gemeentemuseum
Randers Fashion Institute (opens year 2000) Musee des Tissus IRELAND Stadhouderslaan 41
Nations t 30-34 rue de la Charité 2517 HV The Hague
2000 Antwerp 69002 Lyon National Museum ofIreland © (31 70) 338 11 11
H (32.3) 226 1447 © (33 4) 78 38 42 00 Kildare Street
Dublin 2 Centraal Museum
Musee du Costume et de la Dentelle Musee de la Mode © (353 1) 677 7444 Agnietenstraat 1
6 rue de k Violette 11 rue de la Canabiére 3512XA Utrecht
1000 Bruxelles 13001 Marseille ITALY © (31 30) 236 23 62
© (32 2)512 778
© (33 4) 96 17 06 00
Galleria del Costume NEW ZEALAND
The Vriesethof Textile and Costume Museum Musee Galliéra, Palazzo Pitti
Musee de la Mode de la Ville de Paris 50125 Florence Canterbury Museum
10 avenue Pierre Premier de Serbie © (39 55) 238 8763 Roleston Avenue
75116 Paris Christchurch 1
© (33 1) 56 52 86 00 Civiche Raccolte d'Arte Applicata © (64 3) 366 5000
CANADA Castello Sforzesco
Musee de la Mode et du Textile 20121 Milan NORWAY
NicCord Museum Palais du Louvre © (39 2) 869 3071
690 Sherbrooke Street West 107 rue de Rivoli Kunstindustrimuseet in Oslo
75001 Paris Accademia di Costume e di Moda St. Olavsgate 1
© (33 1) 44555750 Via della Rondinella 2 0165 Oslo
00186 Rome © (47 22) 03 65 40
Musée International de la Chaussure © (39 6) 686 4132
woe Museum 2 rue Sainte-Marie
sow Se Wees
PORTUGAL
oor St. Vest 26100 Romans Museo Palazzo Fortuny
© (33 4) 75.05 81 30 Camp San Beneto Museu Nacional do Traje
3780 San Marco Parque de Monteiro Mor
GERMANY Venice Largo de Castalho
© (39 41) 520 0995 Lumiar
Royal Ontario Museum Museum fiir Kunst und Gewerbe P-1600 Lisbon
100 Qu c Steinorplatz 1 JAPAN © (351 1) 759 03 18
20099 Hamburg
© (49 40) 42813427 Kobe Fashion Museum SOUTH AFRICA
2-9, Koyocho-naka
Deutsches Textilmuseum Higashinada-ku Bernberg Fashion Museum
CZECH REPUBLIC Andreasm arkt 8
Kobe 658 1 Duncombe Road
4150 Krefeld © (81 78) 858 0050 Forest Town 2193
Unreleckopr'umysiové Muzeum 49 2151) 572046 Johannesburg
© (27 11) 646 0716
SPAIN The Bowes Museum Chicago Historical Society
Barnard Castle 1601 Clark Street at North Avenue
Museo Textil de la Diputacién de Barcelona Durham DL12 8NP Chicago
Pare de Vallparadis-Carrer Salmeron 25 © (44 1833) 690606 IL 60614
08222 Barcelona © (1 312) 642 4600
© (34 93) 785 72 98 National Museums of Scotland
Chambers Street Wadsworth Atheneum
Museo Textil y de Indumentaria Edinburgh EH1 JF Hartford
Calle de Montcada 12 © (44 131) 225 7534 CT 06103
08003 Barcelona © (1 860) 278 2670
© (34.93) 319 7603 Kelvingrove Art Gallery and Museum
Glasgow G3 8AG Indianapolis Museum of Art
SWEDEN © (44 141) 276 9599 1200 West 38th Street
Indianapolis
Nordiska Museet Lotherton Hall IN 46208- 4196
Djurgardsvagen 6-16 Aberford © (1 317) 923 1331
S-115 93 Stockholm Leeds LS25 3EB
© (46 8) 519 546 00 © (44 113) 281 3259 Kent State University Museum
Rockwell Hall
SWITZERLAND State Apartments and Royal Kent
Ceremonial Dress Collection OH 44242
Textilmuseum Kensington Palace © (1 350) 672 3450
Vadianstrasse 2 London W8 4PX
9000 St. Gallen (© (44 870) 751 5170 Los Angeles County Museum of Art
© (41 71) 222 1744 5905 Wilshire Boulevard
Victoria and Albert Museum Los Angeles
Bally Shoe Museum Cromwell Road CA 90036
Parkstrasse 1 London SW7 2RL © (1 323) 857 6000
5012 Schonenwerd (© (44 20) 7942 2000
Zurich The Brooklyn Museum of Art
© (41 62) 858 2641 Gallery of English Costume Eastern Parkway
Platt Hall Brooklyn
UNITED KINGDOM Rusholme New York
Manchester M14 5LL NY 11238
Museum of Costume (© (44 161) 224 5217 © (1 718) 638 5000
The Assembly Rooms
Bennett Street Costume and Textile Study Centre The Costume Institute
Bath Carrow House Metropolitan Museum of Art
Avon BA1 20H 301 King Street 1000 Fifth Avenue
© (44 1225) 477173 Norwich NR1 21S New York
© (44 1603) 223870 NY 10028-0198
The Cecil Higgins Art Gallery © (1 212) 5357710
Castle Close Museum of Costume & Textiles
Bedford MK40 3RP 51 Castle Gate The Fashion Institute of Technology
© (44 1234) 211222 Nottingham NG1 6AF West 27th Street at 7th Avenue
© (44 115) 915 3541 New York
Ulster Museum NY 10001- 5992
Botanic Gardens Paisley Museum & Art Gallery © (1 212) 217 7999
Stranmillis Road High Street
Belfast BT9 SAB Paisley Museum of the City of New York
© (44 1232) 383000 Renfrewshire PA1 2BA 1220 Fifth Avenue
© (44 141) 889 3151 New York
Birmingham City Museum & Art Gallery NY 10029
Chamberlain Square Rowley's House Museum © (1 212) 534 1672
Birmingham B3 3DH Barker Street
© (44 121) 303 2834 Shrewsbury SY1 10H Philadelphia Museum of Art
© (44 1743) 361196 26th Street & Benjamin Franklin Parkway
Brighton Art Gallery & Museum Philadelphia
Church Street York Castle Museum PA 19130
Brighton York YO1 SRY © (1 215) 763 8100
East Sussex BN1 1UE © (44 1904) 687687
© (44 1273) 292882 The Arizona Costume Institute
UNITED STATES The Phoenix Art Museum
Museum of Welsh Life 1625 North Central Avenue
St. Fagans The Museum of Fine Arts Phoenix
Cardiff CF5 6XB 465 Huntington Avenue AZ 85004
© (44 29) 20573500 Boston © (1 602) 257 1222
MA 02115
Grosvenor Museum © (1 617) 267 9300
27 Grosvenor Street
Chester
Cheshire CH1 2DD
© (44 1244) 402008
 Acknowledgements courtesy Akio Hirata: 212; © Jeanloup Sieff: 419;
Mankowitz © Bowstir Ltd.1998: 209; photograph
Texts principally written by Angela Buttolph, Tamasin Camellia: 148; photograph Sean Ellis, hair Jimo Salako, photograph Christophe Sillem: 459; photograph David
: Mitsuhiro Matsuda - 1996 S/S Madame Nicole ad
Doe, Alice Mackrell, Richard Martin, Melanie Rickey and make-up Eli Wakamatasu, model Harley: 359; Sims: 421; photograph David Sims, model Angela Lindvall,
campaign: 312; photograph Mark Mattock: 321; courtesy
Judith Watt and also Carmel Allen, Rebekah Hay-Brown, photograph Sean Ellis, hair Jimo Salako, make-up Eli courtesyJilSander: 407; Skrebneski: 391, 490;
Maxmara: 309; Steven Meisel/A+C Anthology: 193, 316;
Sebastian Kaufmann, Natasha Kraal, Fiona McAuslan Wakamatasu, stylist Isabella Blow, model Jodie Kidd: 296; photograph Carter Smith, courtesy The Katy Barker
photograph Randall Mesden, courtesy Joseph Abboud: 5;
and Melissa Mostyn. courtesy Escada: 284; photograph Jerome Esch, courtesy Agency: 398; © Snowdon: 427; Solo Syndication Ltd: 433;
© Sheila Metzner: 432; photograph by Baron de Meyer.
Fendi. 162; courtesy Etro: 153; © Joe Eula: 156; Mary photograph Howard Sooley: 315; photograph Howard
Courtesy Vogue: 385, 443; photograph by Baron de
The publishers would particularly like to thank Suzy Evans Picture Library: 140, 192; photograph Elisabeth
Meyer. Courtesy Vogue. Copyright © 1922 by the Conde Sooley, courtesy Georgina von Etzdorf: 155; courtesy
Menkes for her invaluable advice and also Katell le Eylieu/Musee International de la Chaussure de Romans,
Nast Publications, Inc: 318; © Duane Michals, New York: Spectator Sports Ltd: 232; photograph Edward Steic hen.
Bourhis, Frances Collecott-Doe, Dennis Freedman, France: 367; courtesy Max Factor: 159; photograph G.M.
202; © Lee Miller Archives: 78, 319; courtesy Nolan Miller: Courtesy Vogue. Copyright © 1927 by the Condé Nast
Robin Healy, Peter Hope-Lumley, Isabella Kullman, Fadigati: 417; Fabrizio Ferri, courtesy Bulgari: 79; Fabrizio
320; photograph Eddy Ming, courtesy Akira lsogawa: Publications, Inc: 100; photograph Edward Steichen.
Jean Matthew, Dr Lesley Miller, Alice Rawsthorn, Aileen Ferri, courtesy Moschino: 334; Joel Finler Collection: 223;
© Don Freeman: 251; photograph Jill Furmanovsky: 170; 225; © Ministére de la Culture, France/AAJHL: 116; Mirror Courtesy Vogue. Copyright © 1936 by the Condé Nast
Ribeiro, Julian Robinson, Yumiko Uegaki, Jonathan Publications, Inc: 120; © Bert Stern: 434; photograph
courtesy Gallery Bartsch & Chariau: 15, 237, 250; Syndication International: 149, 304, 401; photograph
Wolford for their advice. And Lorraine Mead, Lisa Diaz Ronald Stoops, Antwerp: 310; John Swannell/Woman's
photograph Joél Garnier: 365; Getty Images Limited: 13, Jean-Baptiste Mondino, courtesy Walter Van
and Don Osterweil for their assistance. Journal/Robert Harding Syndication: 215; photograph
382, 497; TheJ.Paul Getty Museum, Malibu: 14; courtesy Beirendonck, W. & LT: 474; photograph David
Tom Gilbey: 194; © Givenchy: 195; photograph Nathaniel Montgomery, courtesy Vidal Sassoon: 410; photograph Yoshi Takata, courtesy Pierre Cardin: 88; photograph
And Alan Fletcher for the jacket design. Juergen Teller, courtesy Z Photographic: 267, 446;
Goldberg, Paris: 86; photograph Nan Goldin - 1996 AIW Sarah Moon: 69, 329; ® Chris Moore: 12, 42, 105, 128,
Matsuda ad campaign: 257; image © 1998 The Archives of 129, 146, 185, 211, 248, 270, 276, 439, 466, 492; courtesy photograph Mario Testino, model Marie Sophie: 261;
Milton H. Greene, LLC. All rights reserved. # 541-997 4970 Robert Lee Morris: 332; © Jon Mortimer: 249; illustration photograph Mario Testino, fashion editor Carine Roitfeld,
Photographic Acknowledgements Rebecca Moses, creative direction Deborah Moses, « hair Marc Lopez, make-up Tom Pecheux: 424; photograph
www.archivesmhg.com: 343; courtesy Gucci: 201;
courtesy Annie Guedras: 107; photograph Francois animation & design Detour Design, NY: 335; courtesy Mario Testino, stylists Carine Roitfeld & Patrick Kinmonth,
Photograph James Abbe/ © Kathryn Abbe: 4; Photograph hair Marc Lopez, make-up Tom Pecheux: 322; photograph
Halard/Elle, NY: 496; courtesy Hamiltons Photographers Thierry Mugler: 337; photograph Ugo Mulas, courtesy
Eric Adjani, Sygma/JetSet: 11; photograph Miles Aldridge, Mario Testino, fashion editor Carine Roitfeld, hair Marc
Ltd: 178, 283, 286, 355, 436, 487, 498; © Pamela Hanson: Mila Schon: 416; © Joan Munkaesi, courtesy Howard
courtesy Lawrence Steele: 430; photograph Simon Lopez, make-up Linda Cantello, models Georgina
326; photograph Michael E. Heeg, Munich, courtesy Greenberg, NY: 339; Musée de la Mode et du Textile, coll.
Archer: 101; photograph © Brian Aris, courtesy Boy Grenville & Ludovico Benazzo: 176; photograph Mario
Adidas: 123; photograph Terry Andrew Herdin: 440; UFAC: 137, 142, 280, 364; Museo di Arte Moderna e
George: 72; courtesy Giorgio Armani: 18; © Eve
photograph Ken Heyman: 491; © 1963 by Hiro. All rights Contemporanea di Trento e Roverto: 158; Museo Testino, fashion editor Lori Goldstein, hair Orlando Pita,
Arnold/Magnum Photos: 19, 269; photograph Clive
reserved: 213; courtesy Yoshiki Hishinuma: 214; Salvatore Ferragamo: 164; The Museum of Costume and make-up Laura Mercier, model Madonna: 481;
Arrowsmith, courtesy Zandra Rhodes: 390; courtesy Laura
photograph Horst: 114, 234; photograph Horst/courtesy Fashion Research Centre, Bath: 386; The Museum at FLT, photograph Mario Testino (British Vogue, Sept 1993),
Ashley: 21; The Associated Press Ltd: 210; courtesy Marc
Staley-Wise Gallery, New York: 216, 366; photograph by New York: 198, 230, 281, 293, 306, 314, 388; © 1998 The fashion editor Jayne Pickering, hair Marc Lopez, make-up
Audibet: 22; © 1978 Richard Avedon. All rights reserved:
Horst. Courtesy Vogue. Copyright © 1946 by the Condé Museum of Modern Art, New York. Gift of the Leslie Chilkes, model Christy Turlington: 494; photograph
23; photograph Enrique Badulescu: 40; © David Bailey:
Nast Publications, Inc: 351; photograph by Horst. photographer. Copy print: 431; courtesy NARS: 340; by Mario Testino (French Glamour, May 1994), fashion editor
24; courtesy Balenciaga Archives, Paris: 143; courtesy
Courtesy Vogue. Copyright © 1961 by the Conde Nast courtesy of the National Portrait Gallery, London: 495; Carine Roitfeld, hair Mare Lopez, make-up Tom Pecheux,
Bally: 29; © Gian Paolo Barbieri: 34; courtesy Fabien
Publications, Inc: 271; photograph Horvat/courtesy © Helmut Newton/Maconochie Photography: 342; model Nadja Auermann: 448; photograph Mario Testino
Baron: 37; © Michael Barrett: 338; courtesy Slim Barrett:
Staley-Wise Gallery, New York: 217; photograph Rainer photograph Helmut Newton, courtesy Wolford: 352; (Harper's Bazaar, March 1994), fashion editor Tonne
38; © Lillian Bassman: 41, 354; photograph Peter Beard.
Courtesy Vogue. Copyright © 1964 by the Conde Nast Hosch, model Heather Payne, hair Christaan, make-up photograph Fiorenzo Niccoli, courtesy Roberto Capucci: Goodman, hair Orlando Pita, make-up Kevyn Aucoin,
Publications, Inc: 380; photograph Cecil Beaton, courtesy Linda, as published in i-D magazine, Jan 1998: 429; House 87; courtesy L'Officiel: 50, 93, 206, 228, 444; photograph model Shalom Harlow: 370; photograph Mario Testino
Sotheby's London: 44, 65, 141, 171, 186, 330, 333, 414, of Worth, London/Bridgeman Art Library: 353; courtesy Perry Ogden: 111; photograph Kazuo Oishi, courtesy (Harper's & Queen March 1998), fashion editor Hamish
460; photograph Cecil Beaton. Courtesy Vogue. Copyright Margaret Howell: 218; photograph Hoyningen-Huene, Gianfranco Ferre: 165; Bill Orchard/Rex Features: 71; Bowles, hair Sam McKnight, make-up Leslie Chilkes: 238;
© 1945 by the Condé Nast Publications, Inc: 30; courtesy of UK Harper's Bazaar/Harpers & Queen: 8; © Mike Owen: 175; PA News, London: 203; photograph photograph Mario Testino (Visionaire ‘Chic’, Sept 1997),
photograph Cecil Beaton. Courtesy Vogue. Copyright courtesy Barbara Hulanicki: 220; Illustrated London News Dick Page: 350; photograph by Kourken Pakchanian. fashion editor Carine Roitfeld, hair Marc Lopez, make-up
© 1952 by the Condé Nast Publications, Inc: 89; courtesy Picture Library/Tatler Magazine: 99; photograph Courtesy Vogue. Copyright © 1973 by the Conde Nast Tom Pecheux, models Linda Evangelista & Shalom
Marion de Beaupré, Paris: 298, 403, 501; photograph Dominique Isserman/Maud Frizon for Ombeline: 181; Publications, Inc: 183; photograph by Kourken Harlow: 51; photograph lan Thomas: 59; Tiffany & Co
Bellini, courtesy Christian Dior: 136; photograph Gilles photograph Katerina Jebb: 97; © Gerald Jenkins: 135; Tim Pakchanian. Courtesy Vogue. Copyright © 1975 by the Archives. All rights reserved: 451; Wolfgang Tillmans,
Bensimon/Elle NY: 324; photograph Gilles Jenkins/Women's Wear Daily: 25; courtesy Norma Kamali: Condé Nast Publications, Ine: 252; courtesy Parfums courtesy Maureen Paley/Interim Art: 227; Louis Tirilly
Bensimon/SCOOP Elle UK: 349; © Harry Benson: 235; 240; photog raph by Art Kane. Courtesy Vogue. Copyright Christian Dior: 200; courtesy Jean Patou: 356; © CARTIER: 90; courtesy Isabel Toledo: 454; photograph
© Francois Berthoud: 53; courtesy Laura Biagiotti: 55; © 1962 by the Condé Nast Publications, Inc: 246; courtesy photograph by Irving Penn. Courtesy Vogue. Copyright Oliviero Toscani, courtesy Fiorucci: 167; photograph by
collection Biagiotti-Cigna, Guidonia/photo Giuseppe Donna Karan: 241; courtesy Stephane Kelian: 243; © © 1950 (renewed 1978) by the Condé Nast Publications, Oliviero Toscani. Courtesy Vogue. Copyright © 1974 by the
Schiavinotto, Rome: 28; Bibliotheque national de France: Christoph Kicherer: 449; Bill King Photographs, Inc: 169, Inc: 172, 360; © Elsa Peretti 1989. Photography by Hiro: Conde Nast Publications, Inc: 81; photograph Tessa
94, 372; Bildarchiv Peter W.Engelmeier, Munich: 35, 458; 450; © 1997 Calvin Klein Cosmetic Corporation/cKbe TM 361; J.M. Perier/SCOOP French Elle: 189; courtesy Gladys Traeger: 112; illustration by Héléne Tran, courtesy of UK
Birks Couture Collection, Camrax Inc: 83, 368; courtesy owned by CKTT: 336; photograph Kelly Klein: 160; Perint Palmer: 362; Photofest, New York: 7, 32, 125, Harper's Bazaar/Harpers & Queen: 457; courtesy Mary
Manolo Blahnik: 58; courtesy Bill Blass Ltd. Archives: 60; photograph Steven Klein, courtesy Frank magazine: 396; 205, 378; photograph PICTO: 161; photograph George Trasko, New York: 502; © Deborah Turbeville, courtesy
512 © Estate of Erwin Blumenfeld: 61; photograph Jacques © William Klein: 113, 173, 184, 244, 254, 357, 445; Platt Lynes. Courtesy Vogue. Copyright © 1947 by the Marek & Associates Inc: 463; photograph Deborah
Boulay/Musée des Arts de la Mode, Paris: 486; photograph Peter Knapp: 228, 247, 369; photo Nick Conde Nast Publications, Inc: 371; photograph Phil Turbeville. Courtesy Vogue. Copyright © 1975 by the
photograph Guy Bourdin/® Samuel Bourdin: 67, 239; Knight: 70; photo Nick Knight/ stylist Simon Foxton: 438; Poynter: 303; courtesy Myrene de Prémonville: 377; Condé Nast Publications, Inc: 45, 62; courtesy Shu
courtesy Bourjois: 68; photo © Nick Briggs 1998: 345; photo Nick Knight/Art Director Alexander McQueen: 255; Private Collection, Italy: 151; courtesy Lilly Pulitzer: Uemura: 467; courtesy Patricia Underwood: 468;
British Vogue/The Condé Nast Publications Ltd: 36, 103, The Kobal Collection: 291, 347; photo F. Kollar © Ministére 381; photograph by Karen Radkai. Courtesy Vogue. courtesy Ungaro: 469; United Colours of Benetton: 46;
191, 197, 282, 299, 317, 331 363, 373, 374, 395, 400, 423, de la Culture, France: 327; courtesy Krizia, Milan: 307; Copyright © 1958 by the Condé Nast Publications, Inc: Ellen von Unwerth: 415, 470; courtesy Valentino: 472;
489; courtesy Brooks Brothers: 74; photograph Kelvin photo Kublin. All rights reserved. Balenciaga Archives, 480; photograph by Karen Radkai. Courtesy Vogue. courtesy Valentino Couture: 485; photograph Javier
Bruce/Nunn Syndication Ltd: 134; courtesy Burberrys: 80; Paris: 27; Kunsthistorisches Museum, Vienna: 499; Copyright © 1959 by the Condé Nast Publications, Inc: Vallhonrat: 473; photograph Javier Vallhonrat, courtesy
courtesy Butler & Wilson: 82; Camera Press Ltd, London: photograph Kazumi Kurigami: 323; photograph 461; photograph by John Rawlings. Courtesy Vogue Jesus del Pozo: 375; photograph Javier Vallhonrat,
204; courtesy Carven: 453; courtesy Oleg Cassini: 92; Christophe Kutner: 279; photograph David LaChapelle Copyright © 1945 by the Condé Nast Publications, Inc: courtesy Sybilla: 441; courtesy Van Cleef & Arpels: 475;
courtesy Cerruti: 96; © Dave Chancellor/Alpha, London: (Elle UK), set design Kristen Vallow, hair Jorge Serio at Jed 471; photograph by John Rawlings. Courtesy Vogue. photograph Gus Van Sant: 346; Victoria & Albert
274; photograph Walter Chin, reproduced from Bobbi Root, make-up Ellie Wakamatasu, wardrobe Alice Massey: Copyright © 1947 by the Condé Nast Publications, Inc: Museum, London/The Bridgeman Art Library: 26; V&A
Brown Beauty - The Ultimate Beauty Resource by Bobbi 231; photograph David LaChapelle (Stern Galliano Story), 420; Rayne Archives: 384; courtesy Red Rooster PR: Picture Library: 20, 47, 95, 108, 179, 196, 455; courtesy
Brown & Annemarie Iverson (Ebury Press, 1997): 75; set design Kristen Vallow, hair Greg Everingham at Carole 208; Retna Pictures Limited: 106; Rex Features: 43; Rex Vogue Paris (1931): 484; courtesy Vogue Paris (1934):
photograph Walter Chin, courtesy Gap: 168; courtesy Agency, make-up Charlotte Willer at Carole Agency, Features/SIPA: 344; Rheinisches Bildarchiv, Cologne: 308; 275; courtesy Vogue Paris (1935): 402, 482; courtesy
Chloé: 294; Christie's Images: 263; photograph John wardrobe Franck Chevalier at Smashbox: 259; courtesy photograph Terry Richardson, courtesy The Katy Barker Vogue Paris (1949): 30 6; courtesy Vogue Paris (1970)
Claridge: 477; photograph Henry Clarke, courtesy Vogue Lacoste: 260; photograph Karl Lagerfeld: 262; Inez van Agency: 258; Art Rickerby/Katz Pictures Ltd: 245; 483; courtesy Vogue Paris (1972): 478; courtesy Vogue:
Paris (Nov 1957): 104; photograph Henry Clarke, courtesy Lamsweerde and Vinoodh Matadin/A+C Anthology: 264, courtesy Paolo Rinaldi, Milan: 10; © Herb Ritts, courtesy 341; courtesy Vogue. Copyright © 1933 by the Condé Nast
Vogue Paris (1970): 66; photograph William Claxton: 190; 273; photograph Sylvie Lancrenon, courtesy Louis Féraud: Fahey/Klein Gallery, Los Angeles: 84, 393; © Michael Publications, Inc: 150; courtesy Vogue. Copyright © 1935
photograph Clifford Coffin. Courtesy Vogue. Copyright 163; photograph Andy Lane, courtesy Stevie Stewart: Roberts/Maconochie Photography: 154, 394; courtesy by the Condé Nast Publications, Inc: 118; courtesy Vogue.
© 1947 by the Condé Nast Publications, Inc: 188; 435; courtesy Jeanne Lanvin: 268; photograph Gunnar Rochas Mode: 397; Tim Rooke/Rex Features: 117; Copyright © 1937 by the Condé Nast Publications, Inc:
photograph Clifford Coffin. Courtesy Vogue. Copyright arsen, courtesy Galerie Dominique Weitz: 383; courtesy Adel Rootstein: 465; photograph Aldo Rossi: 122; courtesy Vogue. Copyright © 1938 by the Condé Nast
© 1949 by the Condé Nast Publications, Inc: 109; Laspata/Decaro Studio, courtesy Elite, New York: 157; 288; photograph Francois Rotger, courtesy Patrick Cox: Publications, Inc: 48; courtesy Vogue. Copyright © 1945
photograph Michel Comte, courtesy Dolce & Gabbana: photograph Barry Lategan: 278; photograph Thierry Ledé: 115; © Paolo Roversi, courtesy Giorgio Armani: 300; by the Condé Nast Publications, Inc: 63; courtesy Louis
138; photograph Michel Comte, courtesy Dirk 110; photograph Erica Lennard, model Lise Ryall: 147;
Paolo Roversi, courtesy Alberta Ferretti: 166; Vuitton: 488; photograph Anton Want, courtesy Nike:
Bikkembergs: 56; photograph Bill Cunningham, Courtesy © Alexander Liberman: 98, 285; The Library of Congress,
photograph Paolo Roversi (i-D cover, May 1998), stylist 256; photograph Albert Watson: 389; © Bruce Weber:
Vogue. Copyright © 1972 by the Condé Nast Publications, Prints & Photographs Division, Toni Frissell Collection:
Edward Enninful, make-up Pat McGrath for Aveda: 298: 272, 493; Weidenfeld & Nicolson Archives: 266;
Inc: 6; photograph Mark J. Curtis: 290; Louise Dahl- 180; photograph Peter Lindbergh: 287, 376; Peter
photograph by Rubartelli, Courtesy Vogue, Copyright Westminster City Archives/Jaeger: 229; Wingluke Asian
Wolfe/courtesy Staley-Wise Gallery, New York: 121; Lindbergh, courtesy Comme des Garcons: 242; Peter
© 1968 by the Condé Nast Publications, Inc: 408; courtesy Museum, Seattle/photo courtesy Junichi Arai: 16;
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Day: 124; ©Jean-Philippe Delhomme: 127; © Patrick Loewe: 289; Lisa Lyon, 1984 copyright © 1984 The Estate
photograph Satoshi Saikusa, courtesy Masaki 476; Women's Wear Daily: 265, 358, 479, 500; courtesy
Demarchelier/courtesy Harper's Bazaar: 130; Daniel of Robert Mapplethorpe: 76; photograph Eamonn J
Matsushima: 313; photograph Satoshi Saikusa, courtesy WPR, London: 174; Richard Young/Rex Features: 379;
d'Errico/Women's Wear Daily: 399; © Philip-Lorca McCabe/SCOOP Elle UK: 437; & Craig McDean: 49,
295, UK Harper's & Queen: 325; courtesy Arnold Seaasi: 411; courtesy Zoran srl: 503
diCorcia: 131; courtesy Adolfo Dominguez: 139; 422, 428; ° Tony McGee, London: 226; photograph Niall © Francesco Seavullo; 91, 132, 182, 253, 406, 412, 464;
photograph Brian Duffy: 57; Raoul Dufy © Bianchini- McInerney: 348; photograph Niall Melnerney, courtesy
photograph by Francesco Scavullo. Courtesy Vogue.
Ferier (Musée Historique des Tissus); 145; © Arthur Elgort: Ghost: 409; courtesy Malcolm McLaren: 301;
© Frances Copyright © 1982 by the Condé Nast Publications, Inc:
9, 31, 102, 222; photograph Arthur Elgort, courtesy Oscar McLaughlin-Gill, New York: 54, 85, 133, 199, 302,
418; 236; Pierre Scherman/Women's Wear Daily: 297;
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MAC: photograph Norbert Schoerner, courtesy Lionel Bouard:
make-up Eli Wakamatasu: 447; photograph Sean Ellis, 456; Nick Machalaba/Women's Wear Daily: 425;
454; SCOOP Paris Match/Garofalo: 152; © Fred Seidman:
hair Jimo Salako, make-up Eli Wakamatasu, model photograph by Marcio Madeira: 233: photograph Gered 221; courtesy Shiseido: 292; photograph Jeanloup Sieff, www.phaidon.com
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