An interesting note regarding the photos of the Paris original couture garments we've been looking at this week. On the Table of Contents page of the September 15, 1961 Vogue magazine is the following highlighted caveat:

"The Chambre Syndicale de la Couture has requested that all publications showing Paris models from this collection publish the following line, to apply to all models shown: "Copyrighted model - reproduction forbidden." Of course, this does not apply to shops and makers who have bought the original models."

In other words, if a store paid the price for a couture original, and the designer approved, the store could produce copies for the North American market. Very soon after this magazine was published, the couture houses would demand that their names not be used in association with the copied garments. The stores were allowed to hint at who the original designer was, but were not allowed to use the name. This is when Dior became known as Monsieur X, Jacques Fath became Monsieur Y, and Hubert de Givenchy became Monsieur Z.

Our final coat this week is by Pierre Cardin. Made of red chinchilla wool, it has a full skirt with an asymmetric waistline, huge buttons at the side, and an attached scarf that flows from the top of the button placket and is worn like a stole by wrapping over the opposite arm. This coat was imported and copied by Macy's.

Two 1961 Nina Ricci Coats

We continue to look at copies of 1961 Paris originals today, with two coats from Paris couturier Nina Ricci. Ricci always worked directly on the body by draping the fabric for a fluid and flattering garment. She was reknowned for her clever use of gathering, tucks, and drapery for dramatic effect.

Nina Ricci retired in the early 50's, and her son Richard took over the business. He hired Belgian designer Jules-François Crahay in 1954, who was very successful in paying homage to Nina's trademark feminine look. The two coats shown here are his designs.


These images, from the September 15, 1961 issue of Vogue, are of the Paris originals, which were copied in America. They are similar to the Dior coats we looked at yesterday in silhouette, yet very different in structure, with the fullness achieved through the use of soft pleats and godets.

The first coat was shown by Ricci in green tweed and was copied in the US by Dan Millstein for Saks Fifth Avenue, Woodward & Lothrop, and Daytons. The second coat was shown by Ricci in yellow wool boucle and copied in the US by Zelinka-Mattlick in Forstmann wool for Lord & Taylor and I. Magnin.

Three 1961 Dior Coats

Three coats from Christian Dior's Fall/Winter 1961 collection. These were designed by Marc Bohan who took over design responsibilities for the company after Yves St. Laurent left to form his own company.

In looking at these coats, I see a nod to the past and a foretelling of the future. The wide flare gives a nod to Dior's New Look fullness from a decade past, but the fullness falls from the shoulders, not the waist. This tent or trapeze shape becomes popular in dresses later in the 60's. Also note how the flared lines of the coats are accented with strong seams that have noticeable top-stitching - another design hallmark that becomes popular in coats and suits in the early 60's. The buttons also follow the flare of the coat, rather than falling in straight vertical rows as would be expected.

Coat #1 was shown by Dior in red wool, and was imported and copied by Saks Fifth Avenue. Coat #2 was shown by Dior in taupe wool fleece, and was copied by Frank Gallant for Saks Fifth Avenue and Hutzler's, or, you could buy the original Dior at Frederick & Nelson, Seattle. Coat #3 was shown by Dior in a bright yellow-orange wool and was copied by Frechtel for Lord & Taylor and I. Magnin, or you could buy the original Dior at Nan Duskin.

Fall 1961 Saks Copy of Dior Tweed Suit

Until the mid-to-late 1960's, it was common practice in the US for major department stores and manufacturers to purchase French couture garments and copy them for the American market, with the approval of the couturier. We'll look at several of these garments over the next couple of weeks. The department store's line-for-line copies were less expensive than the Paris originals, but were also produced in very limited numbers, to maintain the cache of exclusiveness. Bergdorf's custom order department refused to produce more than 30 copies of any particular Paris original, but considered 12 orders of that garment a success.

Shown above: A Dior black and white tweed suit with matching scarf and hat, copied by Saks Fifth Avenue, pictured in the September 15, 1961 issue of Vogue magazine. The magazine states that the picture is of the original Dior couture garment, not the Saks copy.

The short jacket is double breasted and has large black buttons at the front. The 3/4 sleeves are set off by long black kidskin gloves. The skirt has slit pockets set into the front Princess seams, and is slightly flared. The scarf has short black fringe.

1961 Christian Dior New York Coat

Christian Dior was one of the first French designers to sell a pret-a-porter, or ready to wear, line, as opposed to his made to order couture lines. He was also one of the first to design ready-to-wear clothes to be made in America, rather than France, in acknowledgment of the excellence of American workmanship. Hence the Christian Dior-New York label.


This coat would have been designed by Marc Bohan, and was advertised in the September 16, 1961 issue of Vogue magazine. The coat was sold at Bonwit Teller and retailed for $350 (about $2500 today). Made from French wool with a nubby fleecy texture, this coat had a bulky silhouette. Note the full 3/4 sleeves gathered into cuffs. The half belt serves to reign in the full cut of the back of the coat. The model wears black kidskin gloves and a black fur bubble hat.

1961 Branell Mink Trimmed Suit

My attempts to find information about the Branell label have turned up nothing except items for sale on the web. But isn't this suit from 1961 simply stunning? This ad appeared in the September 1961 issue of Vogue magazine.

The ad copy reads, "American Chic: circa 1961. Branell expresses it in a blend of Dacron polyester. Opulence! and purely American opulence - lean, limber, understated. Hilda Altmark of Branell, one of America's designing greats, finds new imagery for this look in Raefords' Dacron polyester, worsted wool and nylon, trimmed with dyed mink. Shapes it, here, in a blouson dress and eased jacket. Today, tomorrow, and tomorrow, this costume will have the same sure opulence, Because it blends wool and nylon with the enlightened chic of Dacron. About $350. At Best, & Co., New York; Joseph Magnin, Juklius Garfinckel, Gus Mayer, Montaldo's."

There are a few things we can talk about here. First of all, the list of stores that sold this suit includes some of the elite department stores across the country in 1961. At $350, this suit was quite an investment. The same suit would cost you about $2500 today. Certainly, Branell was an upscale brand worn by women with money to spend.

This ad shows the DuPont logo prominently in the lower right corner, and the headline states that the suit is made from a blend of Dacron polyester. "Dacron" was DuPont's registered trademark for its polyester fiber, which was introduced in the US in 1951. The polyester fibers would give added shape retention to the fabric, to help avoid the sagging and bagging that can happen over time with a natural fiber such as wool. The polyester would also help with resistance to moths.

The model is wearing a high crown pillbox hat by Mr. John, and white DuPont nylon gloves. The jacket is trimmed with black mink at the hem and has a mink wedding ring collar.


Get the look with this black wool suit trimmed in sheared beaver fur from another famous suit maker, Jack Feit. Available at our website. Click the picture to see the listing.

1961 Paulette Mink Hat

Paulette is considered one of the great French milliners. She opened her first shop in Paris in 1921, and by 1939 was designing for royalty and the Hollywood elite. She continued making hats into the 1980's.

This hat from 1961 has a rounded mink brim. It was sold in the Saks Fifth Avenue Paulette Shop. As featured in the September 15, 1961 issue of Vogue magazine.

Get the look with this early 1960's mink hat by another famous milliner, Irene of New York. Available in our EBay store.

1961 Laurence Kaye Persian Lamb Jacket

Laurence Kaye was a prominent furrier on Seventh Avenue in Manhattan. He opened his own fur salon in the late 1950's and worked there for nearly 30 years until his retirement at age 82 in 1986. He made furs for Christian Dior and Hubert Givenchy, as well as for his own exclusive salon.

This Persian lamb jacket, shown in the September 15, 1961 issue of Vogue magazine, is cut very simply and closes with a single button at the neckline. Perfect to pop over a simple black day dress, or a long column of an evening gown. The model wears long kidskin gloves, a turban hat, and carries an alligator Kelly bag. So simple, so elegant.

Not into real fur or skins? You can get the look with this faux Persian lamb stole and alligator embossed patent vinyl bag, now available on EBay. Click the pictures to see the listings.

1961 Eva Rosencrans for Ben Reig Evening Gown

Eva Rosencrans worked in partnership with her sister-in-law, Nettie Rosenstein in a wholesale business named Nettie Rosenstein starting in 1931. They worked by draping dresses directly on medium sized live models, which meant that their designs flattered average American women. Another unique aspect of the business was that each dress was sewn by one seamstress from start to finish, rather than by assembly line. They kept the line exclusive by only selling to one store per city.

In 1961, Nettie made the decision to leave the clothing business in order to concentrate on accessories. At this time, Eva Rosencrans went to design for Ben Reig. She was known for her luxurious but simple designs. This evening gown was featured in the September 15, 1961 issue of Vogue magazine, and was probably from her first line for Ben Reig.

"Liquid black: silk evening dress from the Ben Reig collection, designed by Eva Rosencrans." The dress has a draped bodice with straps that come from the side seams below the bust, criss-cross at the upper edge of the bodice and then encircle the neck. The skirt is softly gathered onto the waist and a tulip slit shows the leg from the knee to the hem. Love those long black kid gloves and the full length mink draped casually over the chair. The model is not wearing a hat, but has long dramatic chandelier earrings.


Get the look with this 1950's black velvet cocktail dress with its halter strap that can be worn many ways. Available at our website. Click the picture to see the listing.

1961 Leslie Morris for Bergdorf Goodman Coat

Leslie Morris was hired by Bergdorf Goodman in 1931 and worked in their custom design department well into the 1960's. She traveled to Paris every year for the couture collections. She was considered in the top rung of American designers in the 1930's, 40's, and 50's on par with Sophie of Saks, Mr. Leone of Bendel's, and Wilson Folmar of Jay-Thorpe. I can find no evidence that Morris' name was ever put on the labels sewn into the garments, although it appeared prominently in advertisements for Bergdorf's.

This ad for Bergdorf's is from the September 15, 1961 issue of Vogue magazine. "Leslie Morris designed this flare-shaped city coat in rich black wool. Exclusive in our Made-to-Order Collection on the Second Floor." Well-to-do customers would go in to the store and have garments made specifically for them and to their measurements - the equivalent of couture. Note the 3/4 sleeves worn with long gloves and the large alligator bag, as well as the high bubble hat.
Get the look with this 1960's coat in Forstmann wool with genuine mink fur collar and cuffs, now available in our EBay store. Click the picture to see the listing.