André Courreges, 1966, Wool Gaberdine. V&A http://collections.vam.ac.uk/item/O114975/mini-dress/
This short dress was designed by André Courreges. It is made of red wool gabardine. It has an A-line, a low square-cut neck and is sleeveless. The dress shows 2 false pockets at the front. Three welt seams emphasise each constructional section: the bodice cut under the bust, and the 2 parts of the skirt. The hem of the dress is also welted to give the desired rigidity.
André Courreges was born in France in 1923. After a brief career in engineering, he turned to fashion and joined Balenciaga with whom he worked from 1949 to 1961. From Balenciaga he learned to search for a pure, simple and sharp line. Courreges’ clothes were sharp, angular and mathematically designed.
Yves Saint Laurent 1965, Silk Crepe V&A http://collections.vam.ac.uk/item/O75489/cocktail-dress-the-mondrian-collection/
This dress was designed by Yves St Laurent (born 1936); the fabric was produced by Abraham and Bianchini Ferier. The dress was inspired by the abstract paintings of the Dutch De Stijl artist Piet Mondrian (1872-1944). Yves St Laurent designed a group of bold dresses based on intersecting black stripes and blocks of primary colours. It became known as the Mondrian Collection and was featured on the front of French Vogue in September 1965 and in many other fashion magazines. The designs were immediately taken up by mass manufacturers who made cheap copies.
This dress forms part of the Cecil Beaton Collection. With great energy and determination Sir Cecil Beaton (1904-1980) contacted designers and the well-dressed elite of Europe and America to create this lasting monument to the art of dress. The collection was exhibited in 1971, accompanied by a catalogue that detailed its enormous range.
Dispo, 1967, Bonded cellulose fibre. V&A http://collections.vam.ac.uk/item/O122003/paper-dress/
Paper dresses were a brief but spectacular 1960s sensation. They were cheap and disposable, and the simple 2-D shape was ideal for the bold graphic prints that were so fashionable.
Dispo’s paper dresses were actually made out of a bonded cellulose fibre and could be washed. A Which magazine consumer trial found that they could be worn at least six times, while other brands would not survive beyond two or three. This printed design was based on an Art Nouveau textile in the V&A collections.
Mary Quant 1960, Wool tweed. V&A http://collections.vam.ac.uk/item/O83944/dress-peachy/
Now one of the earliest works by Mary Quant in the V&A’s collection, this shift illustrates how she broke with convention and made clothes specifically for young customers. Its donor identified the work (“my scarlet runner”) as “a seminal dress at the beginning of a new and still, to me, exciting decade”. Until the beginning of the 1960s youth quake, daughters had no alternative but to dress like their mothers. In tune with the times, Mary Quant offered them identities of their own with styles such as this vivid red shift with youthful appeal.
Pierre Cardin late 1960′s dress. Wool. New York Met http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_pierre_cardin/objectview.aspx?page=235&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80015308&vT=1&hi=0&ov=0
Pierre Cardin. 1968. Wool, metal
New York Met http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_pierre_cardin/objectview.aspx?page=235&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80015305&vT=1&hi=0&ov=0
Donald Brooks, 1966. Wool, fur
New York Met http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/donald_brooks/objectview_enlarge.aspx?page=235&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&oID=80015272&vT=1&hi=0&ov=0
James Galanos 1968-70. Wool
New York Met: http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_james_galanos/objectview_enlarge.aspx?page=234&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80013824&vT=1&hi=0&ov=0
Yves Saint Laurent 1968. Cotton, silk
New York Met. http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_evening_yves_saint_laurent_paris/objectview.aspx?page=233&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80017567&vT=1&hi=0&ov=0
House of Balenciaga, 1965, Sequinned something or other
New York Met: http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_evening_house_of_balenciaga/objectview.aspx?page=222&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80007472&vT=1&hi=0&ov=0
Jacques Tiffeau, 1966. Cotton
New York Met: http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_jacques_tiffeau/objectview.aspx?page=214&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80023321&vT=1&hi=0&ov=0
Yves Saint Laurent. Early 1960′s. Linen, synthetic.
New York Met http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_evening_yves_saint_laurent_paris/objectview.aspx?page=209&sort=6&sortdir=asc&keyword=dress&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80023563&vT=1&hi=0&ov=0