Crazy Prints, 1969

I know my readers go crazy for the crazy prints of the late 1960s.  Today, some fabulous ones from spring, 1969.  Would you wear any of these today?

This is actually a cotton bathing suit cover-up by Vuokko.   Cool, right?

Hermes used a cotton printed with large H's for this wrap tunic.

Oscar de la Renta palazzo jumpsuit with tiers of ruffles.

Mollie Parnis printed satin dress in Qiana nylon.

Hannah Troy silk dress and vest combines two black and white prints.

Raquel Welch for Vogue Magazine, 1969

Raquel Welch was an up-and-coming television and movie star when these photos were taken by Bert Stern for Vogue magazine in 1969.  She had just starred in the film 100 Rifles and was to begin filming for the kitschy TV special Raquel! that would be released in 1970.  Here she wears a gray wool flannel tunic over navy wool pants by Jacques Tiffeau.

Here she wears a brilliant red silk organza dress by Pat Sandler.  A huge brooch by Bill Smith of Richelieu is worn as a pendant on A Cadaro necklace.  Cadaro ankle bracelet and Trifari headband.  This is not the Raquel we're used to seeing!

The styling in this photo is just a bit overdone!  Raquel wears a black silk organza jumpsuit by Oscar de la Renta onto which are piled necklaces, belts, and tasseled scarves.

Raquel still looks as beautiful today as she did 42 years ago, don't you think?

Fun Fashion - 1969

On Friday, I asked my Facebook fans what they'd like to see on the blog this week. Monique wanted to see something fun from the late 60s. How about these Paris couture showstoppers from the spring of 1969? Fun indeed! Thank you for the inspiration, Monique!

Courreges metal bikinis that ended his runway show.

Pierre Cardin sheer jumpsuit with giant colorful dots.

Ungaro sheer pants and cape with pink loopy bows paired with a metal bra and belt.

Courreges mini coat in a graphic red and white print.

Pierre Cardin mini dress made of silver metal disks.

Dupont Orlon and Paris Couture

Yes, Dupont, the company that brings you "Better things for better living...through chemistry" took out a multi-page advertisement in the spring of 1969 featuring it's Orlon acrylic blend fabrics used by Paris couturiers.

The 1960s were known for technological advances and the use of synthetic materials in avante-garde fashion. We saw the use of vinyl, mylar, and other synthetics. By the late 60s, the traditional couture client was becoming a thing of the past. Ready-to-wear was experiencing an explosion of popularity. Dupont seized upon the opportunity to promote it's man-made fibers to the couturiers and to benefit from the status that link provided. And, no doubt, money exchanged hands as part of the deal.

Here, Paris couture from the spring of 1969.

Castillo navy and white plaid 3 piece suit in wool and Orlon acrylic blend.

Jeanne Lanvin black and white glen plaid coat in wool/Orlon acrylic blend.

Jean Patou white and yellow jumpsuit and jacket in double faced gabardine in a blend of Orlon acrylic and wool.


Madeleine de Rauch pink coat in double faced gabardine in a blend of wool and Orlon acrylic.

Phillipe Venet white and navy plaid 7/8 coat in double-faced gabardine of wool and Orlon acrylic.

Rondina-Manzo, 1969

There are days when my research for this blog takes me on a fascinating journey. Take a look at this sweet polka-dotted coat that was pictured in a full page ad in March of 1969. I really like this coat, and you can tell from the photo that is is very well made with fine tailoring. The wide white belt that sits above the waist sets off the fuller skirt to perfection. But Rondina-Manzo? Never heard of them.

So begins my journey. First, I learned that the Rondina portion of the company is Bill Rondina, who studied at Parsons School of Design in New York before joining the fine coat and suit house of Ben Zuckerman. He worked there as a design assistant for a year before Zuckerman retired and closed his business in January of 1968. In the spring of 1968, Rondina and his partner produced a 5-piece collection which sold well enough for them to produce a larger grouping for the fall of 1968. The polka-dot coat above was part of a line for spring of 1969, but then the small company disappears and presumably went out of business.

Rondina himself does not mention Rondina-Manzo in any of his current biographical information, which is too bad, as those of us who love quality vintage clothing would surely like to know about the line and it's successes and failures. Rondina went on to work at Christian Dior-New York. In 1973, he opened his own design studio. In 1981, he founded The Carlisle Collection, a line of high quality women's clothing offered through private consultants and by appointment only in the company's private showroom on 52nd St. in New York.

Model Galya Milovskaya

Before Russian Galya Milovskaya became a filmmaker in Paris, she was a model who first made a splash in the US in 1969. Born in 1947, she was 22 years old in these photos. She had blond hair, green eyes, and weighed all of 92 pounds. Galya went on to become the most famous fashion model in Russia, but she was also persecuted by the Soviet regime. She defected from Russia in 1974 while on a trip to Israel. She then lived in Rome for a while, but finally settled in Paris where she studied cinematography at the Sorbonne.

Here, she is photographed in Moscow, wearing American clothes in 1969.

John Meyer salt-and-pepper wool tweed skirt worn with a black jersey top. Napier chain belt worn over the shoulder and Golo boots.

A Minerva Collection rabbit cape in red, purple and white has a snap on hood. Worn with a Mic Mac white turtleneck and Magoo red jersey pants. Red boots by Francois Villon.

Brown wool knit tunic with brass grommet belt by Elegant for Jax. Boots by Golo.

Jaeger wool knit jumpsuit worn with a 9 foot long white fringed scarf. Elaine Starkman cuff and The Whip boots.

All photos by Arnaud de Rosnay.