Norman Norell - 1967

Had you asked, I never would have guessed this maxi coat, pants and top set was by Norman Norell, but some of the best designers surprise me over and over.  If you look closely, you can tell this set was made by a master.  Look how the design is matched precisely.  The white stripes match both horizontally and vertically from the coat to the pants.  Even the sleeves are perfectly matched and the opening edges of the coat split the design perfectly in half.  That is not easy to do and takes skill from the designer, the pattern maker, the fabric cutter and the seamstress.  And doesn't Benedetta Barzini do this set justice?

Photo by Richard Avedon for Vogue, 1967

Norman Norell Cocktail Dress - 1964

This gorgeous black silk cocktail dress by Norman Norell looks just as modern today as when it was made in 1964.  I love everything about it........except what is that thing in her hair?

Norman Norell Bubble Dress - 1957

Traina-Norell, 1957

Norman Norell was the designer of this bubble dress in 1957 for the Traina-Norell label.  Anthony Traina was Norell's financial backer.  He died in 1958 and Norell took over the company and changed the label to simply Norman Norell about 1960.  Richard Avedon took this photo of Norell's bubble dress and I have to assume that the dress is puffed up with air or stuffed with something to give it this round shape.  It's likely there are slits for the arms hidden in there somewhere and when the dress was worn in a normal fashion the bubble silhouette was far less severe.

I normally associate Norman Norell with the "ladies who lunch" crowd and his design esthetic in the 60s and 70s certainly fit that mold.  But Norell was a master of stunning cocktail and evening dresses and his work in the 40s and 50s included some incredible, incredible designs.  Here are a few more examples of his earlier work.

1951

circa 1955 from the Met Museum Costume Collection

1949

That bubble dress at the top is not the only wacky design Norell ever did.  Take a close look at this dress from the 1950s.  Do my eyes deceive me or is this actually a split skirt with two huge harem pant legs?

circa 1950s from the Indianapolis Museum of Art costume collection

 And take a close look at this evening gown from 1949.  Those are satin harem pants under the lace skirt.

1949

Weekend Eye Candy - Norman Norell, 1952

A handsome and beautifully tailored suit by Norman Norell from 1952.

Weekend Eye Candy - Norman Norell, 1958

One more garment from the Brooklyn Museum collection. This 1958 evening dress by Norman Norell is trimmed with rows of black fox fur. This dress was not shown in the exhibit, but is in the book, "High Style" that accompanies it.

Tailored Bias Cuts

When I say "bias cut", what probably comes to mind is sultry, clinging evening gowns from the 1930's or the 1990's. But a bias cut can be used to great effect in tailored garments as well.

Image from Threads Magazine

What is bias cut? The straight grain of a fabric, either vertical or horizontal, has no stretch, unless it is a knit or is woven with a stretch fiber such as spandex or lycra. But when you turn the pattern 45 degrees, you are cutting on the bias, which has a gentle give and allows a softer and more fluid result. Using fabric cut on the bias is challenging, as it can stretch out of shape during the sewing process, so it requires more time and care to avoid distortion of the garment.

Here are a couple of examples of tailored garments with a bias cut from 1963, both made of linen. Notice how cutting the stiff linen on the bias gives these garments more softness, shaping, and fluidity. At the same time, the weight of the fabric allows the garment to float away from the body without clinging, a plus during the heat of summer.

An overblouse dress by Norman Norell in magenta linen. The front of the overblouse is cut on the bias so it floats softly over the underdress, but contours lightly to the body. A leather sash slips through slits in the front princess seams and is tied at the waist for more definition.

This shift dress by Ben Reig is fashioned from brown linen. A front zipper is hidden behind the decorative placket. Notice how the dress floats next to the body while the bias cut of the linen allows subtle shaping.

Just added at Couture Allure, this early 60's overblouse dress by Herbert Kasper in black rayon. The overblouse is cut on the bias for fluid shaping that softens the square cut.