Two versions of the same dress. Both beige silk organdy embroidered with white takes a step in the direction of the little-girl look, with ruffled gathered sleeves or, as in the second case, leans toward a more tailored body shirt look, including a collar and flowing tie.
A demure, big-sleeved dirndl dress of pale beige silk organza embroidered with white floss flowers with the hemline and tiny collar bordered in matching fillagree.
An afternoon dress of Bianchini velvet striped in shades of sable and gray, the Empire waist sashed in satin.
A western shirt dress of white Bianchini sheer wool saddle-stitched gold bugle beads. Large front pockets accented with gold buttons.
A chiffon gown printed with champagne bubbles re-embroidered with beads and stones.
An ensemble of gray flannel includes a short double-button jacket over a matching skirt with a beige blouse with a self-tie.
Both of smoke-colored linen, the “girl” dress has a turtleneck set into the yoke and empress sleeves of silk organdy. The “boy” shirtdress has contrasting set-in pewter linen sections and a self-tie.
Pleated dress of lime wool, long-sleeved, and easy-fit torso with a weighted hem in the built-in body slip to keep the skirt stayproof.
Created in slashed stripes of rust, green, and plum, this little girl's dress has a softly gathered skirt, cincher belt, and drop shoulder line that balloons into full sleeves, ending in slim cuffs.
A fire-red dress with a flouncy gored skirt, each gore tapered from hip-rider waist to hemline, provides controlled shaping.
Sleeveless
dress and sleeved vest combination. (R) Four-ply crepe. (L) Vest in linen with
chiffon sleeves and chiffon over pleated crepe dress.
Travilla went to Russia, particularly to the military, for his inspiration. There were Hussar midi coats over short dresses and long formal coats over gowns. Tzarina sleeves, bodices borrowed from the Russian lieutenant blouse, cartridge pleats, military cord trims, and Cossack pants in blue, green, and gold chiffon lame. Racine jersey for day and velvet and satin for night. He even adapted a Ukrainian peasant dress into a beautiful lilac satin evening gown with tsarina sleeves and a high-necked amber-jeweled bodice.
A Hussar-style purple velvet coat with white silk braid frog fasteners and diamond
buttons.
An
evening gown of lilac satin with balloon sleeves and a high collar. Wide sash and
embroidered topaz beading.
A
midi-coat of Racine jersey with a tight formation of brass buttons down the
front.
A two-piece cashmere costume. The jacket has contrasting revers and frogging, is leather-buttoned, and is worn over a stock-tied white silk blouse.
An evening gown of shimmering paisley lame chiffon with billowing sleeves.
A
gold lame two-piece of a peasant shirt with gathered Cossack pants full enough
to pass for a skirt.
A cocktail dress of
purple velvet reflects its Ukrainian peasant influence with white embroidery at the bodice front and cuffs.
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