![]() From there comes this naiveté of the cut which makes it youthful, with the color.” In 1976, the “new” in Parisian haute couture was derived from tradition and folklore, reanimated and reimagined. “For the day,” the designer said, “everything starts with traditional cuts from Russia, Czechoslovakia, Austria, Morocco. Inspired by visions of Russia from film and fantasy, the result is culturally hybrid and of indeterminate origin. He did not travel to Eastern Europe in the years prior instead, he drew from Sergey Diaghilev’s Ballets Russes of the 1910s and 1920s, and Dr. Like his predecessors in fashion and the visual arts, Saint Laurent’s search for the modern borrows from the past, from imaginary voyages to faraway lands. In his search for something new in fashion, Saint Laurent relied on the French belief in the eternal: following in the path of Delacroix, Ingres, Poiret, visions of the non-French, of the Other, bring to fashion an exotic, intoxicating glamour. Color and romance prevailed, carrying out Saint Laurent’s dream of another place and time. The dress has to look important.” This collection, replete with glimmering taffetas, rich velvets and topped with headscarves, showed a side of feminine fashion that brought the allure of the nostalgic and the exotic. “It’s hard to get away with a simple chiffon or jersey dress these days. “In a room full of people, the woman in an understated style has a tough time attracting attention,” said American designer Bill Blass in 1976. Billowing sleeves, long skirts and eclectic details are laced and cinched at the waist, feminine and romantic. Featuring a crepe blouse, laced corselet, a belt and a skirt embellished and trimmed with red and green rickrack, it captures the intoxicating appeal of this moment in fashion. The New York Times was visionary in its assessment of the collection.įrom the collection of Martha Smith Simpson, lot 8 is a rare example of a complete ensemble from Yves Saint Laurent’s 1976 Peasant Rive Gauche collection. This explosion of color marked a changing tide in fashion, one that the fashion press celebrated as a shift in women’s wardrobes, even calling it Saint Laurent’s New Look. Until this point, American collections had been reserved and polished, even restrained. Presented in haute couture and adapted for Rive Gauche, the impact of this collection was fast and widespread. It’s the fashion breeze that started at Saint Laurent,” said Vogue, thus igniting a trend of more drama and ornamentation than the prevailing American style had seen in years. “The new turn – the new excitement – in fashion is the new feeling for ornamentation. Saint Laurent’s was a show of extravagance in rich fabrics and sumptuous colors. Rarely is its effect so immediate, as was the case that July. In most instances, a work’s profound impact is recognized in hindsight. So declared the New York Times in the summer of 1976, following the debut of Yves Saint Laurent’s Russian collection. It is as stunning in its impact as the collection Christian Dior showed in 1947, the one that came to be known as the New Look and affected the way women dressed everywhere. ![]() PARIS, July 28-Yves Saint Laurent presented a fall couture collection today that will change the course of fashion around the world.
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