Tag Archives: Andre Courreges

Designer Inspiration: Cristóbal Balenciaga

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A couple of weekends ago (the day after I went to the Great British Sewing Bee Live), I went with my Aunt to the Balenciaga exhibition at the Victoria and Albert Museum in London. It was a Birthday celebration for my Aunt, but I really wanted to go too, so win win! Fair warning, this will be a very photo-heavy post. Also I can’t remember all the things I read in the exhibition, so my comments may be few and far between! I’m definitely thinking I want to buy the book of the exhibition because I bet there is tonnes more information in there!

Anyway, here we go…….

His earlier clothes definitely had a Spanish influence, from his roots. I particularly love the matador-inspired jacket, above.

I feel like you could find this pink flowery dress on the high street this year! It has the statement sleeves that are everywhere at the moment (and which I’m coming around to!).

Lace was definitely something that popped up quite a few times – he was well-known for using lace, and slightly rejuvenating its reputation and making it cutting edge again.

This was definitely one of my favourite pieces – and I loved how they had x-rays of the garments so show all of the structure going on underneath what looks like an effortless, easy dress. They had a few dresses where they had a recreation, the x-ray and a video showing how the garment came together.

Love, love, love the fashion sketches!

I took a video of this dress because it was constantly rotating that that’s the only way to full see it all!

I kind of want to have a go at recreating this one! Maybe one day…..

This cape/jacket is amazing! I took a photo of the accompanying blurb so I’d remember how it  works – there are hidden ribbons underneath all of the pleats to hold them in place. Otherwise you wouldn’t be able to ever put your arms down!

This is a recreation of an original which was black and impossible to photograph! It’s a bit bonkers, but I kind of love it.

This might be my absolute favourite one – again the original was black so my photos of it didn’t really come out, especially with the reflections from the glass to contend with. This recreation was done by Claire-Louise Hardie of Great British Sewing Bee fame.

I love how you can see there is a separate sort of binding on the hem, which you couldn’t really see in the black original. There was a video showing how this one was constructed, and I thought it would be on the V & A facebook page (as I didn’t get a chance to video the video) but it’s not there, sorry! It’s all one piece of fabric and the only seams are on the shoulders. It boggles my mind how that even works!

If my memory serves, this one shows the influence of Japanese fashion on Balenciaga, in the form of the kimono-style belt.

This is another one there they show all of the engineering underneath what looks like a simple shaped dress! The corset is inside out so you can see all of the boning in there.

This red dress had to be one of the most bonkers ones to see the construction of! It’s tied underneath to the wearer’s knees!

The video of how this one works is online, and is definitely worth a look!

Fabric choice is definitely key in so many of Balenciaga’s designs, and especially this one.

I didn’t know this, but he also made a bunch of really cool hats!

Throughout the exhibition there were photos of the original buyers wearing the designs that you were looking at, which I really liked. It made them seem like real clothes (and hats), that people actually wore, and not things just to be revered – though it’s great that so many of them survive, and in such great condition.

After the hats was a whole section on embellishments, which was AMAZING! I naively never think about the fact that designers in the past, and now, make their own textiles, by embroidering/embellishing/painting the fabric, I always think they bought the fabric like that and just cut it cleverly, but of course, that isn’t the case! This beading is amazing!

This ombre jacket/dress was particularly amazing because there was a video showing how the beading etc was done – it was recreated by the couture embroidery house Lesage.

This is the recreated piece of beading and embroidery. I would definitely recommend watching the video, least of all because it’s all done upside down, where the right side of the fabric is on the bottom of the frame. And the person does it so quickly, it’s mind-boggling!

This dress was all hand-embroidered! And the pieces were all marked out and only the pattern pieces were embroidered so as not to waste time embroidering bits that would be cut off, but it was done when the fabric was still flat, before the dress was assembled. The shape of this dress also is amazing – teeny tiny waste!

I strangely love the feather sleeves on this one, even though it’s a bit mad!

All of the flowers on this outfit were hand painted! The craftsmanship involved in this level of fashion is truly amazing! Makes it seem almost worth the crazy price tags!

The above suit definitely seems pretty tame compared to most other things in the exhibition, but I love how they displayed the tailoring tools, below. I had no idea the tracing wheel had been around that long!

This is one of the more famous dresses, I think, and it’s on the cover of the book of the exhibition. I love how well the brooch goes with the dress – there are also bejewelled shoulder straps, though it was tough to get high enough to take a photo!

Classic 60s shift/sack dress. Not sure about the hat though……

This part of the exhibition was definitely more about wearable clothes that he made for his many wealthy clients.

I love the scalloped coat, which was made for Ava Gardner.

 

On the first floor of the exhibition space were loads of designed influenced or inspired by Balenciaga. I was particularly exited to see this dress, worn by Tilda Swinton, which I wrote about in my post about why I love her! I can’t remember who designed it, let me know in the comments if you know! (I should have taken notes!)

Also very excited to see this Courreges coat, which I posted a photo of in my post about him! Courreges studied under Balenciaga, so it makes sense he was represented here!

This one has a clear inspiration, from a garment in the other part of the exhibition!

I weirdly love this look, and I’m not sure why. The trousers are totally wearable and not too out-there, but I love the whole thing.  Especially the shoes.

Bonkers but amazing!

This was definitely one of my favourite inspiration designs, it looks kind of like a ship.

And it’s slightly pointed at the front!

The beading on this one is amazing!

This seems to be the evolution of the trapeze shapes Balenciaga played with. I really like the strapping details on the back.

I really like this silver and black version of the pink ombre one.

This one is an even more crazy version of the one on the cover of the book.

The pink dress with the statement sleeves….

…which has a zip all the way down the back.

This tube-y dress was by a Japanese designer, I think, who plays with zero-waste fashion and using as few seams as possible. I’m keen to start looking into zero-waste sewing/fashion, so I found this really inspiring.

Phew! There we go! I definitely want to have a go at recreating some of these looks. Which is your favourite? Do you hate the more shapeless looks?

 

 

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Designer Inspiration: André Courrèges

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I realised it has been a while since I wrote a post about a designer I love, so today I bring you André Courrèges. I thought I’d try a slightly different format, too, and put the whole biography at the beginning (it’s all copied from Wikipedia, the shame!) and then put all the pictures, so you can skip the words if you just want to swoon at some amazing 60s fashion!

André Courrèges was a French fashion designer who only died last year but was one of the main designers of the 60s whose designs were influenced by modernism and futurism. He also “defined the go-go boot and along with Mary Quant, is one of the designers credited with inventing the miniskirt.”1

“At 25, after studying to be a civil engineer, Courrèges went to Paris to work at the fashion house Jeanne Lafaurie. A few months later, he went to work for Cristóbal Balenciaga.

In 1961, Courrèges launched his own fashion house. He became known for extremely simple, geometric, modern designs, including the “little white dress” and pants for women. They were often paired with low-heeled white ankle boots, a style that became known as the Courrèges boot, and evolved into the popular go-go boot.

Courrèges was also known for the miniskirt, which he explicitly claimed to have invented, accusing his London rival to the claim, Mary Quant of merely “commercialising” it. Courrèges presented short skirts (four inches above the knee) in January 1965 for that year’s Spring/Summer collection. He had presented “above-the-knee” skirts in the previous year, with his August 1964 haute couture presentation proclaimed the “best show seen so far” for that season by The New York Times. Valerie Steele has stated that Courrèges was designing short skirts as early as 1961, although she champions Quant’s claim to have created the miniksirt first as being more convincingly supported by evidence. Others, such as Jess Cartner-Morley of The Guardian explicitly credit Courrèges with having invented the miniskirt. Alongside short skirts, Courrèges was renowned for his trouser suits, cut-out backs and midriffs, all designed for a new type of athletic, active young woman. Steele has described Courrèges’s work as a “brilliant couture version of youth fashion.” One of Courrèges’s most distinctive looks, a knit bodystocking with a gabardine miniskirt slung around the hips, was widely copied and plagiarised, much to his chagrin, and it would be 1967 before he again held a press showing for his work.

Courrèges’s favoured materials included plastics such as vinyl and stretch fabrics like Lycra. While he preferred white and silver, he often used flashes of citrus colour, and the predominantly white designs in his August 1964 show were tempered with touches of his signature clear pink, a “bright stinging” green, various shades of brown from dark to pale, and poppy red.

In 1967 Courrèges married Coqueline Barrière, his design assistant. They had met while working together at Balenciaga, and worked together as a husband and wife team for the rest of his life.

In 1968 Courrèges sold a share of his company to L’Oréal in order to finance his expansion, which, by 1972, included 125 boutiques around the world. That year, Courrèges was commissioned to design staff uniforms for the Munich Olympics that year. He began offering menswear in 1973.”2

 

 

I thought I’d start with some of his wackier designs! This is surely not at all actually wearable, but I do still slightly love it. I guess you could wear a polo neck underneath and some thick tights or trousers?

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I really like this one too – I think it’s the funnel neck collars and the swingy shape. Again, this would be wearable with something underneath. Or I’m tempted to try to recreate it but with a contrasting colour instead of the transparent section!

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And now onto the slightly more ‘normal’ looking clothes. He has a good line in jacket/dress combos. I’m not sure these would be flattering on me as I have a long body compared to my legs and I feel these would accentuate that, but I do think the models look really cool. Especially with his trademark ankle boots.

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He definitely likes stripes! I like this double-breasted version of the jacket – and it has a matching striped lining to the skirt! Not sure about the hats though….


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 As well as the short/cropped jacket and dress combos above, Courrèges also has a good line in dresses with matching long coats, like this cream and blue number. I love how the piping on the neckline of the dress lines up with the piping on the collar of the coat.

 

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I’m not really a brown person, but I like the combination of fabrics on this one.
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If you’ve read my blog for a while, you’ll know how much I like blue, and particularly navy blue, and particularly navy blue with white/cream, so this is amazing to me. I can’t really see the dress underneath, but I do kinda want to copy this outfit, even though I would probably never wear it!

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But actually this is definitely my absolute favourite of the long coats I found searching for images of Courrèges’ clothes. I wouldn’t make it in red, but I really might add this to my list of makes, once I vaguely learn how to draft things for myself – and learn how to draft something as complicated as a coat! Maybe I could pattern hack something, so I at least have a starting point. Maybe the Closet Case Patterns Clare coat (though it has raglan sleeves)? If you have any other ideas of a pattern I could hack to make this, please let me know! I have plans for another coat this year, but I could make this one early next year and still get some wear out of it!


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The other main category of garments I found when researching Courrèges was, of course, shift dresses. He definitely seems to use really interesting seam lines and shapes to make his stand out from what was probably a very saturated market!

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I do really quite like the scallops on this one. And I like the orange, though it wouldn’t be a colour I would usually wear!

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Fabric choice is definitely key for this cream dress, though, again, there are interesting seam lines and details. He seems to emphasise the seam lines with a sort of piping, as below. Does anyone know how it would be done?

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I put this one in to show how a dress with a massive hole in can become wearable with a polo neck underneath!

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Yellow is really moving up the list of my favourite colours to wear, after blue, of course. I really like the lines on this dress and the modest – for Courrèges anyway – cut out at the neckline. I like the faux wrap style of the bodice too, I think it’s really cute.

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And here is Diana Ross in an amazing yellow dress and coat – I particularly like the coat – and a slightly blue wig!

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Whenever I do one of these posts, I really want to make a copy of pretty much every outfit I find! Which would be the one (or the first one) you would want to make/wear?

 

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Fashion History – The Early 1960s

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In the 1960s, for the first time, fashion looked to London instead of Paris. Think of Carnaby Street and the Kings Road – there were loads of little boutiques which got new styles in every week, with young people being the main customers, of course. The 1960s saw fashion become an integral part of young people’s identities for the first time, and they had the disposable income to buy all the new fashions – and labels like ‘casual’ and ‘formal’ dressing no longer mattered.

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The early 60s were all about simple lines and clean shapes. The shift dress was king, moving away from the extreme waist definition of the 50s, started by The New Look. Mary Quant was an early queen of the shift, but it was widely adopted, with design details like large pockets and cut outs adding design details which were missing from the shape of the dress.

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Colouring was another way to add design details to the simple shift.

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It was in the 60s that trousers first took off like never before – they had obviously been around in the 20s (wide, pyjama-style) and women like Marlene Dietrich and Katharine Hepburn wore suits in the 30s and 40s – but the 60s was where they became more main-stream than they’d ever been before. They especially took off when in 1963 Cathy McGowan wore a pair to host the music tv show Ready Steady Go.

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I was slightly struggling to find good photos for this post – there are so many amazing clothes from the 60s and great designers who started in that era that I couldn’t work out how to narrow down my search, so I decided to look up Twiggy, whose style I LOVE! I definitely kinda want these massive earrings! Are they discoballs or baubles!?

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I think this dress could be easily recreated with the Megan Dress from Love At First Stitch. The one above could maybe be made with the Megan too, if I could work out how to do the ties on the front.

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Technology advances meant fabrics became more easy to wear and care for, as polyester was blended with other fibres. This led to the more avant-garde designers using slightly less conventional materials, like paper, plastic and metal. PVC was also invented in the 60s and was available in black and white. Designers also used traditional evening fabrics, such as velvet, lace, and brocade, for daywear.

This is Audrey Hepburn in a Paco Rabanne dress made of I think giant sequins, from the film Two For The Road.

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Andres Courreges was also known for his extreme cut outs and space-age-y use to unconventional fabrics and materials. The 2 white ones are clearly not wearable really, but I still love them! Digging these giant sleeves too!

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In 1960 24-year-old Yves Saint Laurent showed his final collection for Christian Dior, then set off on his own to create a cooler Beat collection including leather suits and knitted caps. With this he signalled the beginning of the end for French Haute Couture. In 1962 he launched his ready to wear label, Rive Gauche.

1960 Yves Saint Laurent, 24 years old, showed final collection for Christian Dior, sent out a cool Beat collection of black leather suits and knitted caps to an astonished and bewildered audience, sounded death knell of haute couture. 1962 invented his ready-to-wear label Rive Gauche. I love the 2 dresses on the left!

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In 1966 YSL launched the first classic tuxedo suit for women, ‘Le Smoking’, which paved the way for androgynous fashion and 80s power suits.

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Catherine Deneuve wore one too.

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This YSL suit is AMAZING! I definitely would love to copy it, even though I may not have anywhere to wear it! Maybe I should make it and then just wear it on a random Wednesday or something.

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Laurent took inspiration from pop art in his designs too, most famously his Mondrian dresses.

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I love the Mondrian dresses, and also the one with the lips below, left.

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Although the ‘youthquake’ meant young people were moving away from more tailored, formal styles, I still love 60s suits, like these 2.

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This evening gown is fairly fab!

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Of course, I couldn’t round up fashion from the early 60s without looking at the amazing sewing patterns available at the time. All the major designers, whose names we still know now, released patterns:

Nina Ricci

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Lanvin

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Yves Saint Laurent

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and Pierre Cardin.

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Don’t forget, of course, Chester Weinberg! I would like to add to my vintage pattern collection with some designer ones.

The big pattern companies were no different, so here’s a little selection of my favourites.

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Do you like the 60s? Who’s your favourite designer/ style icon?

 

 

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