Save this story Save Story Save this story Editor’s Note: Richard Avedon is always in fashion. That’s because he was interested in who people—be they impossibly beautiful models, activists, or punks—were under the surface. Director Ron Howard has taken a similar approach to the late photographer and his work in the new documentary, Avedon, out November 11 on Netflix. The release coincides with “ Richard Avedon: Hollywood ,” an exhibition at the Gagosian gallery in Beverly Hills.
Avedon followed Diana Vreeland from Harper’s Bazaar to Vogue in 1966 and he stayed for 23 years. This 25-page editorial from 1967 features Veruschka, the model whom Avedon described as “the most beautiful woman in the world,” a woman whose beauty “demands something and you must extend yourself to meet the challenge or know that a kind of splendor is lost to you forever.” Nothing is lost in these images capturing Veruschka in movement; indeed, they document the symbiosis between artist and subject.
“Vogue’s Eye View: Fashion for Eveyone–American Dresses Have It,” photographed by Richard Avedon, originally appeared in the March 1,1967 issue of the magazine.
What’s new about dresses? This is: twelve months a year, day, night, and in between—the dress is the fashion everyone wants. And in the magical way of American ready-to- wear: what everyone wants, everyone gets. In a word—all the wonderful, wearable, amusing, nifty new dresses you’ve been longing for are here. . . . One-piece dresses with belted waists. Two-piece dresses with chopped tops and bouncing skirts. Narrow knit dresses with matching coats. Floaty dresses with pretty-baby sleeves. Black wool dresses for day. Black wool dresses for dinner. Light-up white dresses—the real, switchy, live-wire thing, with shiny red hearts that go blinkety-blink in the dark. Short evening dresses with flounced hems, tilted hems, jewelled hems. Short chiffon dresses in voyant prints. Long dresses with caftan languor and flow. Bare dresses, covered dresses; paper dresses to beat the band. . . . American dresses have it—fashion for everyone, here and for pages and pages to come. All 25 pages: Ara Gallant coiffures; Tovar-Tresses Dynel hairpieces. Chopped top, dirndl bounce—the two-piece dress in white wool. Chester Weinberg. Charles Elkaim earrings. La Bagagerie handbag. Hansen gloves. Mr. John hat. Beautiful Bryans stockings. Saks Fifth Avenue shoes.
AMERICAN DRESSES HAVE DARING NECKLINES AND COVERING SCARFS: Here a V, there a V: the most delicious little black sigh of a dress in thinnest wool crêpe, with slivers of brilliants for straps. By George Halley; of Ducharne fabric. Bracelet by Jack Gilbert. Earrings by Nucci. Right: Three-corner scarf: white bordered in brown, for a short bicolour dress—brown with an inlay of white. Teal Traina; Celanese acetate and rayon crêpe (Chardon-Marché fabric). Apex Art earrings.
AMERICAN DRESSES HAVE BOUNCE AND BELTS: Small on top, bounce below—the new young jacket-and-skirt proportion in a two-piece dress of pink-and-palest beige woven stripes. Chopped jacket and dirndl skirt on a camisole, of silk-wool-rayon. Sophie ready-to-wear at Saks Fifth Avenue. Richelieu earrings and necklace. Beautiful Bryans panty stockings. The gloves by Crescendoe-Superb. Right: A hug for the sky-blue shirtdress—held high and close by a white kid belt. . . lots of white buttons, two big pockets. By Branell; Chardon-Marché fabric of Fibranne and silk. Lady Exeter stockings. The gloves by Crescendoe-Superb.
AMERICAN DRESSES HAVE BOWS AND BEADS: Short and gathered, beneath small rhinestone-circled straps—the whole look pulls together with a bow at the waist. White rayon crêpe dinner dress by Christian Dior-New York. Earrings by Miriam Haskell. Right: Short and beaded, turning white crêpe into a knee-shy evening shirt—the whole idea hangs on a deep embroidered panel and cuffed shirt sleeves. Dinner dress by Murray Nieman for Hannah Troy, in Onondaga silk. Hair jewels by Beau-Craft.
AMERICAN DRESSES HAVE NAVY AND WHITE: White gabardine double-crosses navy—crisp little plastron stepping up the waist of a high-stepping dress. Sleeveless dress and matching coat (not shown) by Christian Mann for Marquise; Anglo worsted loomed in America. Earrings by Sandor Goldberger. Adolfo white straw hat. Hansen gloves; Lady Exeter windowpane stockings; Tall Gals Shoes. Right: White wool goes halves with navy—a straight white belt makes the snug divide. Dress and matching jacket (not shown) by Chester Weinberg, in Agnona wool. Earrings by Vendôme. Adolfo white straw hat. Hansen gloves; Lady Exeter windowpane stockings; Tall Gals Shoes.
AMERICAN DRESSES HAVE SPARKLE AND GLOW: Bands of sparkle: black stones and brilliants flickering on a flutter of white chiffon. . . tiny jewelled straps hold it up and a ripple of gathers under the bodice keeps it dancing all night. By Murray Nieman for Hannah Troy, of silk chiffon (Syntex fabric). Earrings by House of Joy with beading by Swarovski. Right: Mother-of-pearl glow: hundreds of shimmering discs strung together with a thousand brilliants—a short-evening jewel of a dress, cool and lambent as moonlight. By Mollie Parnis, embroidered by hand on pale marquisette. Earrings by Mimi di N—huge bunches of silvered icicles.
AMERICAN DRESSES HAVE WILY BLACK LACE: Fast little flounce, wiling away the hours on cagey black lace. By Adele Simpson; rayon and nylon (Whelan lace). Earrings by Bess Goldman for Apex Art. Right: High-flying pleats, fanned out from the bosom—a great whir of black Chantilly lace. By Sarmi; McConnell lace. Beau-Craft hair jewel. Beautiful Bryans stockings.
AMERICAN DRESSES HAVE FLOUNCE AND JOUNCE: High-speed flounce, skirting about in silver-pink glitter and mauve-pink net. By John Moore; McConnell laces. Mary Carmen hair jewel. Bonnie Doon panty stockings. I. Miller Galleria shoes. High-speed shimmer, John Robert Powers’ Pearl Shell lipstick. Right: Jounce-it-all prints, never meant for each other until just now—small daisies on chiffon, bold ones on Fibranne, unlikely bright flowers jouncing through black and white. Pleated dinner dress by Burke-Amey, in silk chiffon and Fibranne (Sormani fabrics). Big bright disc-earrings by Sant Angelo for Vendôme. Lacy white panty stockings by Beautiful Bryans. Pumps by Tall Gals Shoes. Highspeed shimmer John Robert Powers’ Pearl Shell lipstick.
AMERICAN DRESSES HAVE BIB AND PUCKER: Jewelled halter bib baring a white crêpe slither—the brilliant maze of coral-and-turquoise embroidery points to the knee-slashed hem. Dinner dress by Burke-Amey, in silk. Adler panty stockings. Sandals: I. Miller Galleria. Right: Fly-a-kite hem puckered out at the hip, in at the thigh—black crêpe-in-the-wind for dinner now. By Robert Morton, of Onondaga silk. Mr. John cartwheel. Charles Elkaim necklace. Shalimar gloves. Ariadne stockings.
AMERICAN DRESSES HAVE KICK AND CLING: Back-pleated white crêpe—kicking out from a bow. Betty Carol for Mam’selle; Avisco acetate and rayon (Bloomsberg Fabrics). Anné earrings. Stockings by Beautiful Bryans. Center: Hem-fringed white crêpe—kicking out in a flash-splash of fake diamonds, crystals, pearls. By John Moore, in silk. Earrings by Michael Hic; stockings by Ariadne; shoes by Evins. Right: Plunged and swayed pink jersey, cut with the clinging seductiveness of a Merveilleuse robe—one long vapour-pale drift ribboned just under the bosom by a circlet of sharp-pink stones and, at the slightest motion, blown against the slim pink jersey pants beneath. Silk jersey evening dress and pants by Ben Reig. Earrings by Apex Art and Les Bernard. Gilded sandals paved with a cuff of pink stones: Bernardo.
AMERICAN DRESSES HAVE MATCHING COATS AND SWINGING HEMS: The coat for a small A-dress of greige knit: a small-A shape of matching wool knit, back-belted, buttoned up high with nuggets of gilt. Kimberly turnout. Napier earrings. Walter Katten beige shoulder bag. Gloves by Grandoe. Textured beige panty stockings by Hudson. Right: The dress that swing-a-ding-dings: float of tan, snug and turtlenecked on top, wide wide wide and welted at the hem. By Bill Blass for Maurice Rentner, in a wonderfully dry and spongy Lesur fabric of wool and cotton. Napier earrings. Smith St. Jacques bracelet. Panty stockings by Bonnie Doon.
AMERICAN DRESSES HAVE STRIPES AND BELTS: Runaround stripes, far left: navy and white with taut little sleeves. Betty Carol for Mam’selle, Avisco rayon (Folker fabric). K.J.L. earrings. Adolfo hat.Lady Exeter stockings—open windowpane checks; Crescendoe-Superb gloves. Center: Belted and taped, center: black-and-white T-dress flashing stripes of red, white, and black at the waist. Shannon Rodgers for Jerry Silverman, Ducharne fabric of Fibranne. Adolfo hat. Lady Exeter stockings—open windowpane checks; Crescendoe-Superb gloves. Right: Belted and bloused, right: thin black wool with a side-pleated skirt jumping for joy. By Chester Weinberg. K.J.L. earrings. Ben King belt. Lilly Daché hat. Lady Exeter stockings—open windowpane checks; Crescendoe-Superb gloves.
AMERICAN DRESSES HAVE IT SOFT, SASHED AND OVERBLOUSED: The cowled dress, having it pretty soft—a little crush of straw-pale crash knotted by a white leather sash. Sleeveless dress by Adele Simpson, in Fibranne. Shoes by Saks Fifth Avenue. Adolfo beret. Stockings by Lady Exeter. Right: The two-piece Argyle knit dress, navy and white simply banded in navy at all stops. Overbloused dress by Anne Fogarty, in linen and rayon. K.J.L. earrings. Morris Moskowitz handbag. Van Raalte gloves. Stockings by Lady Exeter. Tall Gals shoes.
Source: Lifestyle
