With Yves in the salon of his new Paris couture salon, Loulou standing wears his loose, shirty wool-gabardine smock-jacket over a cotton shell, and one of the best wrap-skirts ever invented... On Marina (seated, left), this year's turn on the sweater set—the looser, longer beige wool cardigan and soft, bare little cotton tank top worn with pleat-top trousers in caramel gabardine.
Three weeks ago, during New York Fashion Week, I posted the first half of this story, which focused on American designers. In time for Paris Fashion Week this second part looks at the European stars of fashion in 1975. The majority are, unsurprisingly French, with a few Italians and only one based in London. The only designer still working is Karl Lagerfeld, though no longer for Chloé (he was there from 1964 to 1983 and again from 1992 to 1997). The names, though, have remained much the same—a sign of the constantly evolving, yet oddly consistent, nature of the fashion industry.
"...the big guns in Paris, London, Italy—like their American counterparts, the designers who most influence the way women dress today... and will be dressing tomorrow. Here, from their new Ready-to-Wear Collections, the looks we see as key this season... worn by the women they love to dress."
"'La modé' passes, style remains"—Saint Laurent is the genius who achieves the perfect balance between change and continuity; in every collection, he gives us not only the excitement of something totally new but new versions of the classics we all love best... with that special little slant that makes them even more desirable. Wearing examples of both: Loulou de la Falaise, Saint Laurent's Paris assistant, and Marina Schiano, his alter ego in New York."
The new dress—the white crepe dress with the short, easy sleeve and the breeze of pleats—worn by Loulou, with a touch of black straw hat and silky scarf. The charm of the middy—on Marina—with it loose short sleeves and gathered skirt in charcoal brown cotton poplin. The perky little nob hat—one of the irresistible touches of the collection.
Bare shoulders, black glitter top—Marina wears Yves' starry new Lurex tube over his skinny-hipped black crepe skirt.
The new, ultra-romantic ankle-length chemise on Loulou—all float and transparency and pale, drippy Watteau flowers on silk chiffon—pink ones, blue ones, green and yellow.
The chemise and peasant blouse worn by Loulou—in a tiny-printed dark-red cotton with the big pooffy sleeves and low, wide neckline. Sometime the neck lies a little rounder, or squared to the shoulder... sometimes he showed it with pants... sometimes, as here, over his wonderful narrow black poplin dirndl with waist ties... sometimes tucked in. He did it many ways. And you would love to own them all—they are charming!
Rosita and Tai Missoni have always done the most extraordinary silky knit separates. This years surprise—dresses—"treated as separates—worn over and under other dresses or pullovers."
At the "fabbrica," Missonis in Missonis—Rosita, Tai and their daughter, Angela, in the new rainbow-striped pull and skirt. Antonia (center) wears one of the new Missoni dress looks—the aubergine silk chemise under a striped-knit pull.
With Rosita, Antonia (left) wears a "wardrobe" of dresses in thinnest layers of knit: plaid linen kimono coat to wear also as a robe, flowered coat-dress to wear as a coat and as a dress, and the perfect little bare t-shirt dress underneath—talk about versatility! Anna Bozza (right) in the two-piece silk knit dress with a pullover top, striped linen knit pull underneath.
Ungaro in the new chrome-and-glass showroom he designed—like his clothes—super-sleek and modern... He called his collection "very simple, sophisticated, sportive..."
In a season of oversized coats, Ungaro does—the perfect narrow coat, shown twice on Sylvia de Waldner—absolutely straight, simple white wool crepe—"you cab wear it like a blazer." Here, slipped over one of the hits of the collection—the narrow silk chemise in pale green-and-beige pyjama stripes. The new soft look of a suit at Ungaro—the subtle varying of a print he does to perfection—Florence Grinda wears his silk shirt-jacket in vertical stripes of white, pale blue and rust with a wool voile skirt striped on the diagonal in white, blue, and rust.
The essence of modern dressing—unstructured, weightless, totally feminine... He says, "The basic idea is the simplest of all—a blouse and skirt. One must look twice to discover les raffinements du luxe"... Worn here—in Karl's Paris apartment—by Marie-France Acquaviva, his "right hand," and Stéphane Audran, one of the top actresses in France.
Shade of bois de rose—his favorite color. Stéphane (seated) in one of Karl's ravishing two-piece crêpe de Chines. Marie-France in the thinnest of thin dresses—without hems, without double stitching—"suede that becomes skin again." The loose blouse and skirt with his crêpe de Chine dalmatique and a matching suede fichu—the most charming way to pull a look together.
Marie-France (left) in the prettiest pale mauve crêpe de Chine print—like "Chinese porcelains"—slipped off the shoulder, wrapped at the waist with a matching fichu. Stephane wears the most beautiful blouse in Paris—iridescent paillettes scattered on ivory crêpe de Chine, slit and wrapped over a soft, gathered black crêpe de Chine skirt.
"I've chosen these clothes and the two women who wear them—Gale Lopez and Claudia Niedzielski—to express fashion in terms of joy and gaiety," says Valentino. "I'm tired of sad-looking women, of drab suffragettes, or dull and unbecoming colors."
The leitmotif of his collection—the collarless Mexican shirt-jacket he did in many fabrics, many colors, to wear as a shirt, as a jacket, over skirts or pants. Gale Lopez (standing) wears the jacket in thin wool flannel over a grey crêpe de Chine skirt with grey-and-white striped scarf, and his new white flannel trousers—wide-legged, wide waistband. The jacket in softest grey suede on Claudia Niedzielski buttoned over a white silk soft-tie shirt; her head wrapped in a grey-and-white print scarf—very Valentino!
Gale in one of his charming little cocktail dresses—the small, dark flower-print crêpe de Chine with the biggest, wrappiest fichu to tie over the shoulders. Photographed in Paris, at Angelina's Tea Room.
Givenchy stands for beautiful, understated clothes that women love wearing forever... "I like the look—easy, sophisticated, fresh..."
At the Givenchy Salon, the Duchesse de Cadaval tries his newest—easiest—suit in a wonderful ochre poplin—the fabric of the season! With a roomy, yoked shirt-jacket, button-front skirt, and the surprise of a bare little T-shirt underneath, in ochre-and-beige stripes.
Freewheeling fashion of the future! Kenzo with "six friends, six young and dynamic girls..."
Kenzo seated in the courtyard at JAP with "six sources of inspiration, six outfits which let them live joyously and freely!" Starting left, model Tracy Weed, in his new "sweater set"—the big cardigan coat and tiny v-neck pull in orange-and-violet print; red-and-white striped skirt... Carrie Nygren, model, wears a super-big reversible black/grey cotton jacket over a bare, ankle-long reversible cotton dress... Sayoko, his favorite Japanese model, in the show-stopper Japanese kimono—red-and-yellow flowers over tubular lime pants... Barbara Schlager, PR girl, in the green-and-white striped mechanics overall... Daphne Berthet, girl friday, in his blue-and-white striped romper; big shirt over it... Laurie Helm, salesgirl, in a long, striped T-shirt dress over striped pants.
Rykiel proceeds from the premise that "the importance of clothes is the woman," and gives us only the new, more perfect versions of the most feminine sweater-dressing in the world.
Isabelle Weingarten (left) wears one of the softer-than-ever sweater sets in palest ice-blue—the crayon-striped pull with ties floating (as they did throughout the collection), the cardigan with the new, looser sleeve. Régine Desforges in pale pink—shoulder-tied pullover banded in stripes and same-color mohair cardigan with long skinny-ties. Plus Sonia's wonderful pleat-front jersey skirt—unhemmed, unlined, it just goes with the body!
On Régine, the newest coat—the loose, comfy Shetland sweater of a coat in pale pink with a dressing-gown border of cassis... to tie over one of her perfect little body pulls and jersey skirt. Isabelle's striped pull—cassis and pink, over the new button-front, hip-yoked pink jersey skirt.
The individualist's individualist, Jean Muir isn't trying to dress the world—"it's déjà vu to force everyone into a mold; designers should do what they feel their customers will buy."
In the bedroom of her all-white London flat, Jean and her chums... on Paddy Grey (left), the white glacé kid jerkin with the soft, extended sleeve—a Jean Muir signature!—over a white blouse, black jersey skirt. The extended sleeve (right), this time as the top of her beautiful little jumper-dress, worn by Clio Goldsmith in thinnest black glacé kid over a pristine white matte jersey blouse.
Jean in her basic Jean Muir black jersey; everyone else in her marvelous new suèdes... Louise Pleydell-Bouverie wears the bougainvillea suède coat-dress... Clio (in the foreground) wears the flame suède drawstring smock with widening sleeve. Paddy (right) in the pumpkin suède jumper-dress—the slightly high-waisted version, with an inset belt tying over the fullness in back.
Marc Bohan in the Dior Salon with Georgina Faucigny-Lucinge and Isabelle de Rosnay—the kind of women he loves to dress—"young, active, raffinée... My collection is for town, for travel, anywhere in the world."... And always the softest, most feminine clothes—with a certain gentleness, a perfection of detail.
One of the prettiest looks at night, Georgina Faucigny-Lucinge in his delicate flower print
—pale green-and-beige crêpe de Chine jacket and skirt, soft-tie crêpe georgette blouse—a lovely way to go out... or to be at someone's house.
The most feminine tailoring—and one of Isabelle de Rosnay's favorite pants looks—a perfect little jacket and trousers, wide-leg pants in navy-and-white checks, with the extra-soft touch of a crêpe de Chine blouse in a navy-and-white print.
Jacqueline Jacobson—Dorothée Bis, headquarters for the world's niftiest sweater-dressers who love her young new look look—women like "my two friends, Jacqueline Beltoise and Anita Saada—active, curious, adventurous."
Scene on the Left Bank—one of the great new Dorothée Bis sweaters—the tiny tank top with narrow, narrow stripes—teh perfect top to slip under those sweaters and shawls... to wear alone. And it comes—the way you'd love to have it—in a batch of terrifically pretty colors. Here, apricot, pistachio, hydrangea, red, and grey, with matching bouclé knit skirts.
All Images Photographed by Deborah Turbeville for Vogue, February 1975.