Evening Report

Posted by Laura
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Harold Levine's shawled white crêpe, left, a bare-shouldered fall designed by Don Breitinger, with deep soft pleats swaying beneath a large languorous shawl banded and fringed in peach—it's the dress that could start your spring perfectly, and just about every other season of the year, too.
Stavropoulos's shawl of shawls, right: Spanish and flowered and dripping with thick ivory fringe: you wear it with an ivory jersey sweater, shining gold belt, red legs—and feel so adorable wearing it you want to go out dancing every night. Choker by R.E. Clark for William de Lillo. Ring by Joan Blumenthal. Danskin tights. Shoes by Herbert Levine. Bernard Abrams pompons.


Nothing makes me happier than a 1970s evening dress or ensemble. Even though we are heading into autumn and colder temperatures in the northern hemisphere, I think these evening looks from spring 1971 can work all year—just throw a vintage fur or opera cape on top and go! From the stars of American fashion, these party styles bridge the gap between fantastical and wearable. The secret to a pretty party look is definitely a Seventies evening outfit like one of these—without too much skin, this style of dress is fun without being vulgar. Primarily with high necks and long-sleeves, the influences range from the American prairie to the Russian steppes to the flamenco bars of Spain. I personally would kill for the tasseled Donald Brooks in the last spread, but would happily wear any of these out to the flurry of parties that make up the fall season.


Editha Dussler, Pat Cleveland, Leigh Taylor-Young, Charly Stember, Lynn Sutherland, Beverly Johnson and Gunilla Lindblad photographed by Irving Penn for Vogue, February 15, 1971.

It's the springtime of evenings. They're fresh as the year. Fast... Languorous... Shimmery... Moving... Bold with clear print... Lots of long silken fringe. A different look, a different you this night, that. And, on these and the next ten pages, all the ravishing ways and whys.


Gold knit knickers, left, and ribby sweater shining far into the night wherever dinner and parties take you—shoulderbag swinging, rings flashing, allover with gold. Sash: Sophia Rosoff for Genesis. Bagatelle bag. Earrings by R.E. Clark for William de Lillo
Galanos sheer print chemise, right, a spring fall of pink Paisley that's slashed and heaven to wear. Earrings by R.E. Clark for William de Lillo.


Teal Traina's knicker jump, left, pure smash in chalk-white crêpe—sash it with gold, boot it with white, fling a great Cossack cape over as you go, and you've carte blanch any night, anywhere. Scarfed jumpsuit. Earrings by Cadoro. Rings by Alexis Kirk, Larry Vrba for Castlecliff. Belt: Sophie Rosoff for Genesis. Boots: Walter Steiger for Pancaldi.
Bill Blass veils Paisley with Paisley, right—purple and orange organza winging over the arms, drifting down at each side of a ravishing long print dress. Necklace by Rita DeLisi.


Adele Simpson's bright, clear print, left, scarfed at the neck, smocked at the waist, and all in sheer billowy voile—so you just blow off to dinner on bright-red legs with a fringed shawl in another print. Shawl by Best of Three Worlds. Rings by Alexis Kirk, Vince Pasacane. Tights by Phoenix. Shoes by Charles Jourdan.
Ben Reig's flower-ribbon stripes, right on a white chiffon shirtdress with rosebuds and shimmery gold that shines in the night whether you wear it under furs or a skyful of stars. Alexis Kirk earrings.


Oscar de la Renta Boutique's bare-shouldered long cotton dress, left, with sleeves shirred at the wrists, flouncy peplum, lots of red and black flowers tossed in this pattern and that—the kind of dress that makes you want to throw a party just so you can show it off. Choker and bracelet by Oscar de la Renta.
Adele Simpson's puff-sleeved calico, right, blowing blue flowers on white, white ones on blue—all it takes to make any evening fresh as summer even when the whole world's deep in snow. Earrings by R.E. Clark for William de Lillo. Rings by Joan Blumental, R.E. Clark for William de Lillo.


Oscar de la Renta's black chiffon pleats, left—hundreds of them springing free from under the peplum of a ruffly plunging white lace top, and all so fresh and romantic you could dine out on it any night of the year.
Donald Brooks spills white tassels over black crêpe, right—a dress you don't have to think twice about; just put it on and have a wonderful time, anywhere.
Oscar de la Renta's gored chemise in black wool crêpe, far right, that makes you feel relaxed and sure and sexy—just what you've always wanted a black dress to do.

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