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60s space age jewelry fashion8/30/2023 ![]() Dossena’s latest ready-to-wear collection for Paco Rabanne is scheduled to show during Paris Fashion Week. Dossena thanked the late designer on Instagram for the legacy he left behind. Rabanne retired from the fashion world in the late ’90s to pursue art. His values of mysticism became a heavy theme in his work, as Julien Dossena - the current creative director for the Paco Rabanne fashion brand - told Hero Magazine in 2020. Rabanne often took inspiration from the mythical and astrological, describing himself as clairvoyant and recounting his experiences with mysticism and predictions in a book. Soon after, Rabanne signed a deal with Puig to launch the brand’s best-selling fragrances. Rabanne went on to study architecture at l’École Nationale des Beaux-Arts and did stints in construction and drawing fashion sketches before going on to design jewelry at Dior, Balenciaga, and Givenchy and eventually launching his own line in 1966. Rabanne was influenced by fashion at an early age - his mother was a seamstress for Cristobal Balenciaga. B roadly categorized, there were three main trends in 1960s womenswear: 1) the lady-like elegance inherited from the previous decade seen on the likes of First Lady Jacqueline Kennedy, 2) the fun, youthful designs popularized by Swinging London, and 3) the Eastern-influenced hippie styles of the late 1960s. Melanie Hampshire in André Courrèges Coat, photographed by Melvin Sokolsky for Harper's Bazaar, 1965Īstrid Schiller in André Courrèges Mini-Dress, photographed by F.C.Photo: Victor VIRGILE/Gamma-Rapho via Getty Images Tilly Tizzani in André Courrèges Dress, photographed by William Klein, 1962 It was a time when pencil skirts and kitten heels became essential in every lady’s wardrobe. Simone D'Aillencourt in André Courrèges Ensemble, photographed by John French, 1964 The 1960s were a polarizing era for fashion. Patti Boyd in André Courrèges Ensemble, photographed by David Bailey for Vogue, 1969Īndré Courrèges, Ensemble, photographed by Paul Huf, 1969Ĭatherine Deneuve in André Courrèges Dress, photographed by David Bailey for Vogue, 1967Īndré Courrèges, Ensembles and Dresses, photographed by Bill Ray, 1968Īndré Courrèges, Mini-Dress, photographed by Pierre Boulat, 1965Īndré Courrèges, Ensembles, photographed by Alain Dejean, 1971Īndré Courrèges, Sunglasses, photographed by Peter Knapp, 1965Īstrid Heeren in André Courrèges Suit, photographed by Philippe Pottier, 1963 ![]() Simon D'Aillencourt in André Courrèges Coat, photographed by John French, 1964ĭiana Ross in André Courrèges Dress, 1966Īndré Courrèges, Ensemble, photographed by John French, 1960sĪndré Courrèges, Ensemble, photographed by Robert Cohen, 1977Īndré Courrèges, Ensembles, photographed by Bert Stern for Vogue, 1969 Gundlach, 1965Īndré Courrèges, Dress, photographed by William Klein, 1965Ĭatherine Deneuve in André Courrèges Boots and Coat, 1965Īndré Courrèges, Ensemble, photographed by Pierre Boulat for LIFE, 1965 ![]() ![]() Kellie Wilson in André Courrèges Ensemble, photographed by Bert Stern, 1969Īndré Courrèges, Mini-Dress, photographed by F.C. Gundlach, 1965Īndré Courrèges, Ensemble, photographed by Peter Knapp, 1965Īndré Courrèges, Dress, photographed by William Laxton, 1960sĪudrey Hepburn in André Courrèges Hat, photographed by Douglas Kirkland, 1965 Gundlach, 1965Īndré Courrèges, Ensemble, photographed by F.C. With new popularity, his designs trickled down to mass production companies that created affordable designs similar to Courrèges.Īndré Courrèges, Dresses, photographed by F.C. Designers such as Pierre Cardin and Paco Rabanne taking influences towards “future” fashion looks. The New York Times described him as “the brightest blaze of the year” to emphasis the change from the little black dress to the white dress. The entire collection was celebrated with British Vogue announced that 1964 was “the year of Courrèges”. He utilized unconventional materials such as metal, plastic and PVC which was unusual for couture ateliers. White and metallic color ways were implemented to emphasize the futuristic collection. The harness – the girdle and bra – is the chain of the slave.” Which is why his cut-out panel garments were worn without bras.Īccessories were inspired by astronauts equipment such as goggles, helmets and flat boots. He emphasized that “A woman’s body must be hard and free, not soft and harnessed. Courrège had strong beliefs within the liberation of fashion. ![]() A notable look was the linear minidresses with revolutionary tailoring with cut-out panels that displayed waists, midriffs and backs. ![]()
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