Vistiendo el Tiempo - English Edition by Museo de la Moda

U M

Summary

Introduction: A New Fashion Museum

The Art of Dressing in the XVIIIth Century

Masculine Hats

1800-845: Fashions Under the Influence: from Antiquity to Romanticism

1845-1900: The Remodelled Body of the Woman-Object

1907-1939: The Way to Emancipation in the Era of Women Couturiers

121

Women’s Hats: The Art of Milliner Rose Descat

175

1940-1960: “Renewed” Fashion

179

Raquel Bascuñán: An Eclectic Wardrobe at the End of the 1950s

221

Serge Matta: A Parisian Couturier from Chile

245

1960-1980: From Futurist Fashion to “No Future”

251

Contemporary Creation: The Aesthetics of Appearance

299

Catalogue

345

Ever since my childhood I have evolved in a world of textiles, my father was, after all, the director of “Yarur Manufacturas Chilenas de Algodón S.A.” and “Tejidos Caupolicán” and its branch in Chiuayante, near Concepcion. I have always thought that we live within and surrounded by textiles. I inherited the taste for collecting from my parents. They always conserved their personal belongings and clothes with great care and dedication - these very pieces are today part of our collection. After the death of my father, my mother revealed to me that she would like to see our home turned into a place consecrated to art. The idea gained ground in my mind, and in 1999 when I was able to combine experience with my aspirations, I decided to materia-lize the project. With the above mentioned experiences and desires, in 1999 I decided to make this project a reality. My initial ambition was to simply create a small family museum. I quickly realized however that the implementation of such an enterprise, as modest as it may be, implicated a considerable amount of work. My project -and of course my approach to it- evolved definitively with my visits to many foreign museums, particularly in England and France. In time, I also became familiar with the notion of preventative conservation in general and of textiles in particular Textiles are fragile materials, and their susceptibility to deterioration is a permanent battle which demands constant rotation of the pieces; thus, our decision to organize semesterly exhibitions, permitting the conservation of our exhibitions and storage facilities. My aim is to provide a significant and durable legacy to the community and a successful example of the safeguard of a cultural pa-trimony. I sincerely hope that the public will appreciate the importance of this initiative and will reserve it the welcome it so merits, therefore rewarding the immense efforts and the treasure of energy employed to bring it to life.

This museum is dedicated with love to my parents. Jorge Yarur Bascuñán

1. Raquel Bascuñán Cugnoni, circa 1930

2. Jorge Yarur Banna, circa 1928

5. Raquel Bascuñán Cugnoni at the beach,

6. Jorge Yarur Banna at the beach, 1946-1948

circa 1945

3. Raquel Bascuñán Cugnoni and her mother, Marta Cugnoni, circa 1927

4. Raquel Bascuñán Cugnoni, 1930-1931

7. Jorge Yarur Banna, 1937-1940

8. Raquel Bascuñán Cugnoni at the Viña del Mar Casino, 1946

9. Raquel Bascuñán Cugnoni, receiving a prize on the boat Conte Biancamano, April 7th, 1958

10. Jorge Yarur Banna, receiving a prize on the boat Conte Biancamano, April 7th, 1958

Introduction

A new museum, always a very singular adventure, invariably springs from a passion. The last to date in a family already counting a number of prestigious international institutions, the fashion museum recently opened in Santiago is a human and intellectual enterprise, original on more than one count. Created by the personal initiative of Jorge Yarur Bascuñán, this museum has achieved the amazing feat of gathering together a collection already rich with 5,000 pieces, covering a broad spectrum of the history of fashion from the 17th century to this day. This collection began with a family heritage that was enlarged through donations and by acquisitions made at auctions and specialized antique dealers across Europe and the United States. Every one of these pieces constitutes a characteristic link to the habits and behaviour of each epoch, but also reveals the taste of the collector for inventiveness and meticulous expertise. Outfits signed by the most important creators of fashion, or anonymous objects, these garments and accessories in all their diversity, constitute an encyclopaedic collection, unique in its kind on this continent which from the beginning of the 20th century has never ceased to maintain strong ties with European fashion. After all, weren’t some of the most important clients of the couture houses and Parisian fashion from South America? A perfect example of such a client was the Chilean, Patricia Lopez Willshaw, major figure of Parisian café society. She ordered her outfits over the years from Schiaparelli, Balenciaga and Dior and was also the very first client to Yves Saint-Laurent. Today conserved in the collections of the specialized museums of Paris and New York, her wardrobe may be counted amongst the emblematic pieces of fashion history.

11. Prototype of conservation box, created for handbag nº242

It is therefore no surprise to know that Chile has always held French elegance and savoir faire close to its heart; this museum being but one more proof and a long-lasting engagement.

The Art of dressing in the XVIIIth century

Until the late 18th century and the advent of “frivolistes” or fashion merchants – the predecessors of modern couturiers – garment shapes changed very slowly indeed. Court decorum and the necessity to maintain one’s rank had always imposed a well-stocked wardrobe with regular renewal of its different elements, and the use of silks, lace 13. Gloves, 1625-1650

and embroideries actively participated in the economic development of the country’s luxury industries. Due in part to their fragility, but above all to the widespread habit of “reforming” garments in codified recycling circuits – thus losing them forever for posterity – very few civil garments dating to before the 18th century have survived intact to this day. The rare doublet (20) conserved in the museum’s collections indicates the extravagance of masculine dress during the second half of the 17th century, an epoch dominated by the aura of the autoproclaimed “Sun King”, Louis XIV. From under its short, slashed sleeves a blousing shirt appeared, whilst the numerous eyelets placed along the body’s edge were destined to receive as many coloured ribbons which covered the “rhinegraves”, open-bottomed “petticoat breeches” flaring downward rather like a divided skirt to the knees and trimmed with lace flounces. Red-heeled shoes and a large ostrich-plumed hat worn over a long, curled periwig completed this outfit surfeited with bows. A less elaborate decoration however succeeded this exuberant richness and rigid ornamentation of dress during the reign of Louis XIV…

12. Fan, 1690-1710 13

Masculine dress at the time was composed of three elements: the justaucorps (the outer garment), the under (or inner)

From 1735 the dress à la française dominated, its general organization

jacket (in the place of the modern waistcoat) and breeches. The

continuing until the 1780s. It was composed of a coat open down the

underjacket with its very long basques was slit and laced in the back

front to reveal the “stomacher”, a sort of ladder of bows or ribbons

and only fastened in front by three or four buttons, allowing the

concealing the boned bodice (33), or else made up of added pieces

shirt’s large lace jabot to appear.

in self fabric, known as “compères”, and matching skirt. Conserving

In the reign of Louis XV, the justaucorps became “habit” a

front and at the sides, and the pannier supporting the skirt’s fullness

was shortened, losing some of its fullness, whilst the underjacket’s

had become oval in shape. Contrary to its masculine counterpart,

basques were also shortened and its sleeves lost forever, becoming a

feminine dress was rarely embroidered, its ornamentation being

“gilet” or waistcoat. The ensemble of habit, gilet and breeches, would

limited to different kinds of shirred and ruffled trims and furbelows

from then on be known as an “habit à la française”. In sculptered

on the edges of the coat and the visible part of the skirt (21), and lace

velvet or plain-coloured Gros de Tours (27), it was adorned with a

trimmings adorning the neckline and the cuffs known as “engageantes”.

rich floral decoration during the reign of Louis XVI (28), whilst the

From this predominant model which remained as ceremonial

gilet progressively became an autonomous piece, on whose light

dress, came different variations of which the closest in style was

ground the embroiderer’s art blossomed in themes inspired by the

known as the robe à la Piémontaise, characterized by its narrow

art of the day. (31).

inverted pleats creating a form of bridge from the shoulders to the

in his dress, and his refinement continued to be manifested in the

hips where they merged into the skirt (30). The Anglomania which was seizing the mores and minds of

beauty of the lace ornamenting his jabot and wrists and the fineness

the time brought with it a desire for simplification. The resulting

of his white silk stockings. He was ornamented, powdered, covered

dress à l’Anglaise (24) abandoned its dorsal pleats, boned corset

in jewellery and extravagant buttons (35; 36), and indulged in as much

and side hoops; the back of the corsage was boned in the seams

fantasy and delicacy as she did.

and finished in a point at the waist, whilst the skirt with its short

Feminine dress was organized over funnel-shaped “panniers” made of gum-starched cloth and basketwork hoops, over which was worn, from 1715 onwards, the floating “sacque gown” fitted only at

the back pleats of the sacque gown, its corsage was fitted both in

name it maintained throughout the entire century. In the 1750s it

The elegant man, just like his feminine counterpart, took care

14. Pouch bag, 1650-1700

embroidery, and finished in a slightly upturned point (16; 17).

15. Shuttle created by Pierre Lefebvre, 1764

train, was mounted in small pleats from the hips, supported only by a quilted bustle. In 1772, another variation, known as the robe à la Polonaise

the bustline. Its back fullness was provided by gathers or pleats and

(echoing the dividing up of Poland between Austria, Prussia and

would be known as the Watteau gown, after the artist who so well

Russia), was also widely adopted. Similar to the robe à l’Anglaise,

depicted the dress of the epoch. The fitted sleeves, stopping just

it differed in its skirt, which could be drawn up in the back by

above the elbow, were edged with a wide, wing-like cuff. The solid-

drawstrings to expose the petticoat, forming three panels: the “tail”

heeled shoes were covered in polychrome silk or decorated with

and the “wings” on either side (25; 26).

It would be an understatement to say that 18th century France

and was the principle subject of elegant society. As noted by Louis

had attained perfection in the art de vivre. The home, its decoration,

Sébastien Mercier, chronicler attentive to the mores of the epoch:

its furniture and bibelots, the least little object from a ribbon to a

“The famous doll, the precious mannequin decked out in the very

button, a snuffbox to a sword, were all of extreme refinement in both

latest fashions – the inspiring prototype! – is sent out monthly

their shapes and the beauty of the materials used. Every artisan was

from Paris to London and from there offers her graceful elegance

an artist and the art of dressing a mark of savoir vivre to which every

all throughout Europe. She travels north and south, penetrating

courtier must comply…

Constantinople and Petersbourg alike… the pleat which a French

Spurred on by Marie-Antoinette, particularly sensitive to vestimentary style, this art would find a new expression, fashion 16. Mule, 1720-1730

discovering never before seen manners of diffusion.

Followed by a population greater now than only the court, this relative installation of periodicity in the novelties launched by fashion

feminine – evolved slowly, it was the varying ornaments – ribbons,

professionals was relayed by the appearance of specialized publications,

lace, flowers, feathers, coiffures and hats supplied by the fashion

including “la Galerie des Modes et Costumes Français” (23).

In attracting the queen’s favours, Rose Bertin, who was part of

The first of a kind destined for an exponential development right throughout the 19th century, this journal – published between

this important corporation, achieved the amazing feat of imposing her

1778 and 1787 – presented busts of coiffure models, then

“creations”, and leaving behind her simple state of supplier, became

complete full length outfits in the form of engravings combined into

the launcher of new fashions inspired by the politics and cultural

notebooks and duly accompanied by descriptions. Its illustrators

events of the day. Fashion now entered a more institutional phase and

were inspired by what they saw when out walking and in society

adopted a more rapid rhythm.

gatherings, or else followed the indications supplied by the fashion

Rose Bertin, or the “Minister of Fashions” as she was nicknamed, possessed such influence that even though she didn’t

merchants themselves. The system of modern fashion was thus announced:

actually sign her models, she prefigured the modern couturier or

professionals stepping out of their strict role of manufacturer or

milliner, who would not become a reality until a century later…

supplier, to become enlightened advisor or creator; regularly launched

A system of fashion communication and diffusion was set up

18. Shoes, 1790-1795

of the tastes of rue Saint Honoré”.

In an epoch when dress forms – both masculine and

merchants, which were the great novelties.

17. Shoes, 1720-1730

hand created being repeated in all these nations, humble observers

novelties stirring up desire and emulation; and periodicals reporting

by the use of dolls or “Pandoras” (known as “the doll from rue Saint

on these novelties, contributing in the spreading of new ideas in a

Honoré”, the address of Rose Bertin’s boutique, from where they

wide geographic, if not social circle.

were sent), plaster-covered wooden figurines painted, varnished and

19. Shoes, 1785-1790

wearing the latest fashionable garments made in perfect proportion. The arrival of the French doll was greatly announced in articles and advertisements of the journals and gazettes of the time

20. Man’s Doublet, circa 1660

21. Dress «à la française», 1760-1770

23. Watteau de Lille, Galerie des modes et costumes français, 1778-1787

22. Fan, circa 1770

24. Dress «à l’anglaise», circa 1780

26. Fan, circa 1780

25. Dress «à la polonaise», 1776-1780

27. Man’s suit «à la française», circa 1780

27d. Envelope Bag, circa 1780

28. Man’s suit «à la française», 1780-1785 29. Waistcoat, circa 1785

30. Dress «à la piémontaise», 1760-1775

31. Waistcoat, 1783-1785 34

32. Waistcoat, circa 1785

33. Whalebone corset, 1720-1760

34. Original Engraving, circa 1793

35. Dress coat, 1790-1793

36. Dress coat, 1790-1795

37. Dress coat, 1793

38. Defraine and Duhamel, circa 1788

39. Journal des dames et des modes, 1798

40. Dress, 1798-1800

Masculine hats

Contrary to its continually evolving feminine counterpart, the history of the masculine hat over the last three centuries may be summarized in several archetypal forms, still seen today in some ceremonial dress or uniforms. The 18th century saw the three-cornered hat replaced in the 1770s by the decidedly more convenient bicorne (43; 44). To avoid unsettling the powder of the wigs worn at the time or disarranging the artful hairstyles, the hat was almost always carried under the arm. For this reason, an almost flat hat finished by appearing, made solely to be carried under the arm and explicitly called the “chapeaux-bras” or “arm-hat”. At home, when the wig was unnecessary, embroidered silk “undress caps” were adopted (42), replaced by cotton ones for sleeping. The top hat, which marked the 19th century, was the distinctive sign of the bourgeoisie and aristocracy, whilst the popular classes wore only the cap. Generally in black or tones of grey, it was originally made of beaver felt, but was rapidly replaced by silk for economical reasons (46), and also made in straw for summer. From the end of the century, the mirrored effect of its surface – of eight or sixteen reflects – was highly sought after. Invented by Gibus in 1823, the ingenious “chapeau claque” or “opera hat”, top hat possessing a mechanical spring, was greatly appreciated, particularly for travelling (41). The bowler hat was an English invention born in the middle of the 19th century as a “practical” alternative to the top hat. Its solidity, obtained by the use of a highly compact felt, and its round form destined it for all kinds of activities, including being used on building sites as protective helmet! Becoming the distinctive mark of the English, it was the hat par excellence of the City.

41. Travel trunk with five hats, 1900-1920

42. Man’s undress cap, 1700-1730

44. Bicorne, circa 1802

43. Tricorn, 1780-1790

45. Man’s undress cap, circa 1860

46. Top hat, circa 1850

47. Stetson, 1948-1951

48. Rosemont Quality Hats, 1958

49. Hat, 1960-1965

1800-1845: Fashion under the influence: from Antiquity to Romanticism

Fashion, in perpetual movement, synonymous of all that is new is, as has been said, a faithful mirror of history. It takes into account all the latest social, economical, industrial and even political facts and figures. With the fall of the Ancien Régime in France, and the advent of the bourgeoisie as social strength, the art of appearance - just as the diffusion of “novelties” in a now much wider circle - was of 54. Glasses, circa 1800

course modified. Fashions, now communicated on a larger scale by specialized journals, began to succeed one another at a faster pace, redefining throughout the decades the feminine silhouette, offering it contours as

50. Journal des dames et des modes, 1822

51. Journal des dames et des modes, 1822

varied as they were sometimes fanciful. Borrowing from other civilizations or revisiting past fashions were accepted practices in the quest for renewal, and it is not insignificant that the new era was marked by a spectacular rupture, directly inspired by Græco-Roman Antiquity. The neo-classicism of late 18th century fashions was in the image of the new manner of thinking, but whose beginnings can be identified in an earlier context of a completely other nature. The feminine garment had already begun its evolution toward a less ornamented, volume-reduced style even before the Revolution of 1789, as the adoption of the robe à l’anglaise proves. But it was above all with the “chemise dress”, made popular by Marie-Antoinette in person, that fashion reached a decisive turning point. Leaving behind the imposing silhouette of rich and heavy silks majestically draped over side hoops and boned corset, preference rapidly went to simple one piece dresses made in lightweight fabrics, supplely marking the waist with a ribbon.

52. Journal des dames et des modes, 1825 50

53. Journal des dames et des modes, 1825 51

The philosophical movement of the time dominated by JeanJacques Rousseau, captivated hearts and heads with such grand words

around the legs were adopted and hair was worn short and

as maternity, education, sensitivity and humanity…The love of the

unpowdered à la Titus or à la Caracalla, or else worn with a ribbon

countryside and nature refound which the philosopher extolled,

à l’étrusque. The body had been delivered of the complex structures

inspired these simple white dresses, as if made for romping in the

which hindered movement, and was no longer concealed under rich

fields…and which the queen and her friends were wearing at the

and cumbersome silks.

Hameau du Trianon. At the same time as some were turning toward nature, discovering an honest purity and simplicity, others were being touched by the reminiscences of Antiquity, so encouraged by the day’s

sleeves – occasionally with straps, but always made of one single piece – dominated. Napoleon, named emperor in 1804, once more brought silks and rich metallic embroideries to the fore, by relaunching the luxury

regenerative beauty.

industries put on standby during the Revolution. Falling into step with

In this society so hungry for any novelty, where fashion

the court dress of the Empress Josephine, fashion saw itself adorned

merchants and hairdressers took advantage of the slightest event for

with metallic sequins (61) and delicate embroideries, possessing a

launching a new fashion, nothing could be more surprising than a

certain Oriental character (62).

painting creating a sensation, as did “The Lictors Bring to Brutus the

Feminine dress continued to be subjected to yet other

Bodies of his Sons”, presented by David at the Salon of 1789, and

influences. Sleeves à la mameluk, of layered padding decreasing in size

becoming the catalyst for a change in coiffures. In the image of Mme

toward the wrist, which appeared around 1800 were so called after

Grand, whose portrait Elisabeth Vigée Lebrun painted in 1790,

the name of the Egyptian cavalry squadron created by

women began to wear their hair loose and flowing, in the place of

Napoleon Bonaparte.

With the fall of the Ancien Régime, the reform which had begun in a spontaneous manner, was now taking on a more explicitly idealogical character. The desire for simplicity and all that

Frogging and buttoning on spencers (66), redingotes and coats were also inspired by the military domain, notably the hussars’ uniform.

sleeves, or the petals adorning the top of puffed sleeves (66; 69),

acquired aspiration for liberty, clearly found a fertile terrain in the

whilst medieval accents flowered from around 1820, echoing the

great figures of Antiquity.

historical novels of Walter Scott, enormously popular at the time. It

dresses for a short while became uniformly white, supple, diaphanous and almost transparent for the most audacious of women, adorned with equally white floral embroideries (60). Rigid corsets disappeared,

56. Journal des dames et des modes, 1818

The Renaissance inspired yet other details, such as slashed

was natural - established as new moral values - and the recently

In reaction to the Ancien Régime’s system of appearance,

For more than ten years the straight dress with tiny or long

lite-rature and painting and archæologists praising the virtues of its

voluminous wigs.

55. Journal des dames et des modes, 1798

the belt raised to under the bust, open sandals or flat shoes laced

is to this particular literary infatuation that we owe the launching into fashion of tartan (67; 68). Following the “neo-classic” digression, skirts regained their fullness and the waist returned imperceptibly to its natural place. Its

small size once more became a criterion of beauty, thus bringing with

Another extremely successful accessory – the bag – replaced

it the reappearance of a bustier corset in strong white cloth, but much

the voluminous pockets worn under 18th century dresses, a practice

less restraining than the old whalebone corset. It offered the bust an

rendered obsolete by the advent of light, straight lines. The reticule of

enticing shapeliness and authorized deep and wide necklines emer-

the French Directory’s elegant women was replaced in the 1820s by

ging from the volume of the leg of mutton sleeves which attained

a more rigid bag of shell-like form, often in velvet or repoussé leather,

their maximum fullness around 1830 (77).

and possessing a finely worked steel clasp (57; 59).

Never before had garments, made using the simplest of printed co-ttons or light, figured silks, been assembled with more

century, was unquestionably the masculine renunciation of the

care, one of the visible consequences of the reorganization of the

whole decorum until then equally shared between the sexes. From

fashion métiers, now entrusted for the main part to women.

this moment, masculine dress adopted fixed forms: the redingote,

It was also this new professional situation which provoked

57. Handbag, circa 1822

But the real novelty in the vestimentary habits of this new

the morning or “cutaway” coat, the “short jacket” and trousers

the engraving on the same plate of both front and side views of the

(forerunner of today’s suit), and tails for evening, all in black or dark

models presented by the fashion periodicals. This new formula,

colours, and worn with trousers no longer skintight. The only touch

launched by the “Petit Courrier des Dames” and adopted in 1825 by

of fantasy in this whole glum sobriety coming from the coloured

the “Journal des Dames”, marked a change in the fashion journal’s

waistcoat complete with motifs (79). It was only in private, for at-

targets, by explicitly addressing seamstresses wishing to reproduce the

home outfits, that rich and sumptuous cloths of a sure exoticism

models presented.

were authorized (72).

The various gathers and pleats sculpting the volume of the sleeves and skirts (77; 80) are proof of the delicacy of the seamstress’ work, as are the systematic bias-trimming of the seams (75), emphasizing with precision the construction of the garment at the same time as ensuring its solidity. During the first half of the 19th century, the hat acquired a preeminent place in the woman’s outfit: small, close-fitting casques or bonnets at the turn of the century corresponded with the new short

59. Slippers, 1830-1840

hairstyles; followed by a cloth turban or beret adorned with feathers and lace suiting the Romantic air of the time, its brim increasing in size until it resembled blinkers and concealed an entire part of the face. 58. Handbag, circa 1822

This capote or bonnet which reigned right throughout the century, sym-bolized alone the bourgeois conformism and the subaltern role offered to women.

60. Dress, 1800-1805

61. Abanico, 1800-1815

62. Young girl’s dress, circa 1815

63. Attributed to Marie-Gabrielle Capet, (1761-1818), circa 1815

64. Double-breasted dress coat, circa 1815

66. Spencer «à la Hussard», circa 1815

65. Journal des dames et des modes, 1818

67. Ankle boots, 1830-1840

68. Journal des dames et des modes, 1825

71. Dress, circa 1825

70. Journal des dames et des modes, 1822

69. Ballgown, 1825-1827

72. Man’s at-home robe, circa 1830

73. Petit courrier des dames, September 15, 1833

74. Bonnet, circa 1830

75. Day dress, circa 1829

76. Petit courrier des dames, january 25, 1834

77. Dress, circa 1834

78. Spencer jacket, 1822-1825

79. Waistcoat, 1835-1845

80. Day dress, circa 1838

1845-1900: The remodelled body of the woman-object

Era of industrialization and reign of the bourgeoisie, the second half of the 19th century in particular was marked as much by the acceleration of fashion cycles as by important changes in the organization of its métiers, from production to diffusion. The appearance of department stores offering numerous “off the peg” fashion articles for the first time – and now to a much wider clientele – stimulated the already yearning desire for “novelties”. The growing number of regular fashion periodicals, richly illustrated and echoing all the latest innovations, also played a role not only in the launching but also in the diffusion of fashions. The most striking of all however, when overviewing the fashion of this era, is the growing disparity between the evolution of the masculine and feminine garment. Whilst the former now appeared settled in a sort of unchanging sobriety, the latter was characterized not only by spectacular changes of silhouette, but also and above all a profusion of outfits adapted for every hour of the day and every social occasion. This excessive wardrobe, whose use was dictated by complex rules of decorum, irrevocably imprisoned woman in a role of representation, and the care attached to her appearance – rather than 82. Capota, 1845-1850

a frivolous pleasure – became a duty – that of exhibiting the wealth and social success of her husband. In such a context, the female body, entirely remodelled by the corset and the prostheses which crinolines and bustles constituted, was transformed into a veritable textile monument. The skirt’s fullness never ceasing to grow, and the number of petticoats necessary to support it becoming impossible to transport,

81. Le moniteur des dames et des demoiselles, 1872

it was replaced in the 1830s by a single “crinolined” petticoat, stiffened

to which the beauty and personality of the Empress Eugénie

by horse hair, before being substituted in turn by the crinoline itself, a

(née de Montijo) offered a particular sparkle. In this context so

petticoat “boned” by the use of hoops.

favourable to the ordering of novelties, the English couturier

With the widening of skirts, the idea of slimming the waist returned, thus suggesting the fragility of the feminine being. The cor-

Gustav Bobergh (104), then venturing on his own – invented the

set once m ore became indispensable… its form however, contrary

principles of Haute Couture, making his label the major reference

to the whale-boned corset of the preceding century, took inspiration

of the second half of the century.

from the shapeliness of the bust…Laced up the back, with gussets

signature to his creations, his work thus becoming identifiable and

worn over a light “chemise”, only ever seen in privacy.

protected from copies. Another novelty with a promising career was his idea of presenting each of his new collections on living and breath-

with ornamentation, and more particularly with layers of flounces,

ing mannequins or “doubles” as they were known, as Worth delib-

whose decoration “à disposition” (89) was either printed or woven

erately chose girls who resembled his principle clients. Purveyor by

specially for these garments, and conceived by the manufac-

appointment to the Empress Eugénie and a number of personalities of

turers according to the cut and the final assembly. These dresses,

the European courts, Worth by his expertise and his innovative vision

often sold “off the peg” were amongst the first successes of indus-

of the métier, imposed Paris as capital of fashion, whilst the business

trial making-up.

bourgeoisie, enriched by the rapid development of industry and rail-

Now separated from the skirt, the corsage was extremely

roads was avid for luxury and parties. His exclusive models of ostenta-

fitted, finishing in a point at the waist (88), with deep, wide necklines

tious opulence and the personal attention he lavished on this captive

for evening and small flounce-trimmed sleeves.

clientele, somewhat softened the exorbitant prices asked for the fab-

In 1860, the crinoline’s form began to change. The volume, until then equally distributed around the wearer’s body, became flattened in the front and projected behind, forming an ellipse. The

rication of a dress, having no possible comparison with the making-up practices of the time. Weary of the crinoline, Worth attempted to launch a longer

invention of the “cage” crinoline, made of hoops or flexible steel strips

silhouette, proposing in 1866 the “princess” form, where the dress

maintained by fabric tapes and attached to a belt, stimulated the use

was not separated into two parts at the waist, but cut in lengths

of an abundant decoration, as it was light of weight and much more

reaching from the shoulder right to the hemline.

convenient. A profusion of bows, ribbons, ruching, lace and flowers was displayed across the surface of the skirt which could reach up to 14 metres in circumference (92; 93; 94). With the coming of the Second Empire, the court of Napoléon III shone by its numerous and splendid receptions,

Claiming himself “artist”, he was the first couturier to affix his

supporting the breasts, the 19th century corset was a piece of lingerie

In the 1850s, round skirts came into fashion, heavily charged

83. Caroline Reboux, 1885-1890

Charles Frederick Worth – firstly associated with the Swede Otto

The formula was adopted, but never renounced the artificial and exaggerated remodelling of the silhouette (106). From the late 1860s, the vast skirts began to be swept up at

84. Fan, circa 1885-1890

the sides, giving birth to a new form of prothesis more adapted to the accumulation of fabrics increasingly placed in the back. The bustle

-type of semi-crinoline possessing a rigid, more or less pronounced

silhouette lengthened and the waist strangled into a corset of hourglass

frame – supplanted the crinoline and marked the fashion of the two

form, appearing smaller than ever due to the optical effect produced

following decades.

by the fullness given to the sleeves. But this end of century also

Far however from the simplification sought after by Worth, feminine

remembered past fashions: ballgowns displaying brocade silks inspired

attire of the epoch continued in its surfeit of ornamentation. Never

by the 18th century (109), and leg of mutton, then puffed sleeves only

would clothing trimmings resemble so much that of furniture, and the

harmonizing with the short circle-cut capes or “collets” (114).

term “style tapissier” or “upholsterer style” perfectly characterized

La Belle Epoque was the apotheosis of the fragile, kept

these dresses of sinuous lines superposed with fringing, ruching, shirr-

woman, symbolized by the “S” shaped silhouette (118), ultimate

ing and bows of all sorts.

artificial remodelling of the restrained idealized body, aberration

Inspired by the robe à l’Anglaise (105), or à la Polonaise (107) so appreciated a century earlier, bustle dresses began to be endowed

which would not disappear until after the First World War, when woman would be forced into a more active role in society…

with “balayeuses” or long trains, as unfit for walking as for cleanliness. These dresses, accompanied by a mantle with semi-sleeves

86. Botería Elegante de Pedro Burgos, 1900-1905

cut in one with the body of the garment, were known as “visites”, a reminder of the most typical occasion to wear them. Cut out of paisley shawls (91), or heavy, richly decorated silks (108; 110), these “visites” by their rather particular cut prevented all arm movement, widely contributing to the image of woman as object, bequeathed by this second half of the century. Influenced by certain sports activities, such as the bicycle or 85. Fan, circa 1900

tennis in vogue from the early 1890s, a certain simplification of the

119b. Corset in box, 1904-1908

vestimentary line began to emerge. Redfern, another British couturier established in both Paris and London, launched the “suit” for the afternoon, composed of jacket with basque, a waistcoat and skirt all in a solid-coloured or discreetly patterned fabric, resembling those employed in the manufacture of the men’s suits which were being increasingly adopted. This strict yet sportier outfit, worn with a shirt and boater (116), also of masculine inspiration, soon became a classic of the feminine wardrobe. Without completely disappearing, the bustle was replaced by simple padding on the hips, appropriately named “faux cul”, the

87. The London and Paris Ladies’ Magazine of Fashion, April 1848

88. Dress, 1845-1848

89. Dress, circa 1855

90. Day dress, circa 1858-1860

91. Visite, 1863-1866

92. Charles Pilatte, circa 1865

93. Charles Pilatte, circa 1865

94. Petit courrier des dames, march 2, 1867

95. Wedding dress, 1868-1870

96. Petit courrier des dames, june 20, 1868

97. Le moniteur des dames et des demoiselles, 1869

100. Le moniteur des dames et des demoiselles, 1873

101. Le moniteur des dames et des demoiselles, 1874

98. Le moniteur des dames et des demoiselles, 1870

99. Le moniteur des dames et des demoiselles, 1872

102. La mode illustrée, journal de la famille, september 26, 1875

103. Le moniteur des dames et des demoiselles, 1871

104. Worth & Bobergh, 1867-1870

100

101

105. Charles Frederick Worth, 1875-1876

102

103

106. Dress, circa 1877

104

107. Young girl’s dress, circa 1887

105

108. Charles Frederick Worth, 1892-1894

106

107

109. Crouset, circa 1897

108

109

110. Visite, circa 1890

111. Boots, circa 1875

111

112. La Estación, Periódico para Señoras, August 1, 1898

113. France Mode, November 29, 1896

112

114. Collet, 1895-1898

113

116. Boater, 1895-1898

115. La Estación, Periódico para Señoras, August 1, 1898

117. La mode illustrée, journal de la famille, march 1900

115

118. Wedding dress, circa 1906

116

119. Corset, 1904-1908

117

120. Album of postcards of the theatre actress, Elise de Vère, circa 1900

118

119

1907-1939: The way to emancipation in the era of women couturiers

In 1908, fashion was at a turning point which could be compared to – relatively speaking – the eve of the French Revolution. A certain softening of the previously rigid lines was being seen: the feminine silhouette became straighter, the bust and the derrière less emphasized, the legendary “S” shape (118; 119) tending towards an “I”. In 1909 the waist rose, mimicking the French Directory period, yet the corset remained (136; 137). Paul Poiret would be the instigator of these different movements: the French Directory spirit, the Greek influence which the dancer Isadora Duncan swore by, but also, and in particular, the orientalism of Diaghilev’s “Ballets Russes” bursting upon the scene 122. Fan, 1910-1920

during their first Parisian season in 1909. In 1907 Poiret once more gave the place of honour to the vertical line of the French Directory, with light and supple sheath dresses, the waist rid of its corset and raised up under the bust (141); introduced bright, strongly contrasted colours (142), far from the era’s soft chromatic palette of faded tones, brilliantly revisited the roomy cuts of the kimono and kaftan, at the same time as updating oriental embroideries (140). And finally launched the turban and the small head into fashion, setting in motion the pro-gressive disappearance of enormous hats worn on top of voluminous chignons (131 to 134). The extraordinary “Poiret le magnifique” prefigured the character of the modern designer. Bold participant in the artistic and society life of the time, the tout-Paris delighted in his lavish receptions, of which the “Mille et Deuxième Nuit” (one thousand and two night)

121. George Barbier

in 1911 certainly left its mark, finally extracting the couturier from his

« Minuit!.. ou l’appartement à la Mode » and « Eventails, »

simple state of “supplier”.

1920 and 1924

121

Jeanne Paquin, president of the fashion section of the 1900 Universal Exhibition, relaunched the Empire line just before

ironed, but also of taking up no room whatsoever.

Poiret and opened the way to new developments in the matter

These concerns, which may have appeared anachronistic at the time,

of fashion distribution. Joining with English partners, her couture

proved indeed to be extremely pertinent at the end of the 20th

house was transferred to London in 1896, and in 1912 a subsidiary

century, to the point where Fortuny’s innovative concept may be

exclusively devoted to furs – one of Paquin’s specialities – opened

seen in particular in the permanent and evolutional collection Pleats

in New York, followed by two others established in Madrid and

Please by Issey Miyake, perfected in 1990 following a collaboration

Buenos Aires (146). In fact, not only did she play a deciding role in

with William Forsythe and the Frankfort Ballet.

the expansion of French couture throughout the world, but also

mores and habits of the time, which the scandalous novel published

models worn by mannequins at the races, a practice which was to

in 1922, “La Garçonne” by Victor Margueritte, portrayed perfectly.

be widely adopted in the 1910s.

Women had acquired a certain autonomy, and in the image of the

The fashion of the Roaring Twenties was indeed the echo of this

was imposing his hobble skirt à la sultane upon them (138, 139), a

phenomenon, but also the mainspring: hair was cut short, large hats

revolutionary invention was born, the patent taken out in 1909 by

charged with feathers (135) or flowers replaced by cloche hats in felt or

its creator, artist Mariano Fortuny. A dress which would go down in

straw pulled down low on the head (125; 149), the corset definitively

history under the name of Delphos, made out of undulating pleated

abandoned, the bust effaced, the waist no longer emphasized and legs

silk and dyed in a vast range of colours (143). From within his Venetian

were finally visible from under a dress shortened to the knee. This sudden discovery of the leg had a strange effect on

saw Poiret – Fortuny continued his research into textiles, decoration

stockings: whilst for two centuries the long dresses worn rendered

and lighting. Guided by his passion for the Renaissance and classical

them invisible, they were opaque and often richly decorated with

antiquity, he was endeavouring to rediscover the secrets of printing

lace and embroidery. Now in silk or yarn – they were being worn in

and fabric manufacture which he recreated in an artisanal manner for

solid skin or pinky tones, disturbing by their surprising effect of nudity.

his rather eclectic clientele of unconditional fans. Of all his creations,

Shoes, also becoming highly visible, benefited from such attention:

the Delphos dress, inspired by the classical Aurige of Delphi statue,

Hellstern (145), Perugia (123) or Bally (150), all outdoing each other in

and worn by the most important artists and avant-garde women in

creativity, as much in the form as the ornamentation and colours.

the world, is without a doubt the most fascinating. In one size only,

122

emancipated heroine, they behaved like “garçonnes” or flappers.

who after having freed women from the tyranny of the corset

palace, cut off from the bustle of the couturiers - even though he

124. Duvelleroy, 1905-1910

The First World War was to have decisive repercussions on the

in communication, being amongst the first to present her latest

Whilst Fashion was hanging on every one of Poiret’s words, 123. André Perugia, 1922

the dress presented not only the advantage of never needing to be

125 .Cloche hat, 1923-1924

Simplicity reigned in the silhouette right throughout the 1920s:

it adapts to all body types, adopting the lines of the body it follows

the straight, more or less supple dress and coat lent their plain, flat

closely, without ever restricting it, and making incongruous the

surfaces perfectly for embroideries of folkloric (149) or geometric

presence of frilly lingerie. As light as a feather and compact in size,

inspiration(165), favouring open-work (147) or fine pleating (166).

123

For the evening the dress adopted audaciously low necklines (only

blood, a living, breathing organism which should be respected

barely veiled by a boa of coloured ostrich feathers), was covered with

in all its movements.

sparkling beaded embroideries (163), and often accompanied by a full

A certain good sense conserved from their equally humble

lamé or metallized coat or cape in exuberant tones and motifs (164).

beginnings, engendered a shared denial of the facility of “effect”. But

Progressively lowered onto the hip, the belt once more

whilst Vionnet drew the founding principle of her complex art of

moved up to the waist in 1928, and in an inverse movement, hems

simplicity from Greek antiquity, Chanel anchored herself solidly in the

dropped and became enlivened by floating panels and asymmetric

present world, deriving lessons for a comfortable garment made to

structures, whilst the body’s curves reappeared, accentuated by plays

actively live an everyday life.

of strategically placed darts. The Bright Young Thing was giving way to a more conventional ideal of natural femininity, which fashion would

of fluid draping in silk crêpe (177), the other reinventing the suit,

accentuate by flounces (181), gathers and draping (180; 182).

employing materials such as jersey judged as “poor” for the epoch, or

This dual vestimentary revolution of between the wars was not unknown to the predominance of women running their couture houses. And each of them, in her own manner would contribute by 126. André Perugia, 1934-1936

as the emblematic colour of chic (162). It is curious to note that in this inner circle of the influential designers of these years, each one was associated with a

and to the advent of a new notion of fashion.

“signature” colour. For Lanvin a certain shade of “lavende” blue became her

1909, and would go on to develop new and original aspects of the

emblem, whilst Jenny opted for an old rose christened “Rose Jenny”.

fashion métier. Faced with a shortage of fabric, lace and certain dyes

Established in 1915 on the avenue des Champs Elysées, her couture

during the war, she created her own fabric dye factory at Nanterre,

house, whose salons were fitted out by the architect Mallet-Stevens,

close to Paris. Veritable forerunner of things to come, her couture

was renowned for its youthful, sporty style, attracting an American

house rapidly opened a Decoration department, managed by

clientele, but also the French tennis player Suzanne Lenglen. Amongst

Armand-Albert Rateau, another dedicated to Sport, followed in 1926

the very first couturiers to shorten skirts, she also adapted the

by a Men’s department. Noteworthy for the epoch, the embroideries

“sweater” form for evening dresses in 1925.

were carried out in her couture workshops, some even by machine!

124

else reputedly masculine fabrics such as tweed, and establishing black

her visionary talent to the construction of the modern woman’s look

Milliner in 1885, Jeanne Lanvin opened her couture house in

127. André Perugia, 1930-1933

One would become the absolute master of the cut (178),

128. Evening bag, circa 1921

Two years later the same sweater shapes, this time knitted with

Decorative lines topstitched in a quilted effect or layered sequin

trompe-l’œil motifs of bows and ties, first propulsed Elsa Schiaparelli

embroideries - highly characteristic of the Lanvin style - were mainly

into fame. The eccentricity and humour she introduced into fashion

employed on sleeves (176) or plastrons.

attracted the most elegant women of the moment to her couture

Legendary figure of fashion, Gabrielle Chanel shared with

salons in place Vendôme, decorated by Jean-Michel Franck and Diego

Madeleine Vionnet – her contemporary (different in every other way)

Giacometti, including the Duchess of Windsor, Greta Garbo, Gloria

– the conviction that the garment was made for a body of flesh and

Guiness or the beautiful Chilean Patricia Lopez Willshaw.

125

Close to artists such as Jean Cocteau and Salvador Dali, she developed a surrealistic spirit in her collections, notably by reworking the most surprising motifs and materials. Newspaper or giant lobster prints, buttons in the form of tambourines or acrobats, beetle embroideries, or garlands of talismans, drawer pockets, or lips, hats in the form of upside-down shoes or inkwell and quill. Everyone of her collections, inspired by a cultural theme (Music in 1937, followed by the Circus, the Zodiac or the Commedia dell’arte), is a festival of delightful ideas, a colourful virtuoso display of embroideries magnificently interpreted by Lesage, who for Schiaparelli updated several 18th century techniques including metallic embroidery, which the famous Phoebus cape illustrates to perfection. Deliberately provocative, Schiaparelli shocked by her modernity in using visible, brightly coloured zips, but after all, wasn’t “shocking” her motto? Shocking, the name she gave her most famous perfume, in a bottle inspired by the hourglass figure of Mae West. Shocking, the name she attached to her favourite colour, “that pink for negroes” (183), “brilliant, impossible, impudent, becoming, full of life, like light itself…a colour from China or Peru, but not western, a pure intense shocking colour…” as she described it herself in her memoires published in 129. Handbag, 1930 -1935

1954, entitled… “Shocking!”

130. Andre Perugia, 1939-1940

126

127

131. En el hipódromo de Longchamps, 2 de junio de 1912

132. En el hipódromo de Auteuil, 3 de marzo de 1912

135. Caroline Reboux, 1910-1912

133. At the Chantilly race-track, June 9, 1912 128

134. At the Longchamps race-track, June 27, 1912 129

136. Dress, 1908-1912

130

137. Dress, 1911-1912

131

139. At the Longchamps race-track, June 30, 1912

Páginas 136-137 140. Paul Poiret, 1906-1909

138. Crouset, 1911-1912

132

133

141. Paul Poiret, 1909

136

142. Paul Poiret, circa 1910

143. Mariano Fortuny, 1910 - 1920

139

144. Jeanne Hallée, circa 1915

140

141

145. Hellstern & Sons, 1914-1920

142

143

146. Paquin, 1918-1919

144

147. Dress, circa 1922

145

149. Sombrero Cloche, circa 1925 149. Cloche hat, circa 1925

150. Bally, 1923-1925 148. Nicole Groult, 1923

146

147

148

151. Attributed to Paquin, « Véronique Conmiss » model, 1921-1922

152. Attributed to Paquin, « Confidence » model, 1921-1922

155. Attributed to Francis, « Très pratique » model, Winter 1929-1930

156. House of Worth, « Gwen » Model, Fall 1936

153. Attributed to Francis, « Lulu » model, Spring 1927

154. Attributed to Francis, « Le Captif » model, Winter 1924-1925

157. House of Worth, « Marly » model, 1936

158. House of Worth, « Devise » model, 1936

159. George Barbier, 1921

150

160. Paul Poiret, 1921

151

161. Jenny, circa 1920

152

162. Chanel, circa 1924

153

163. Evening dress, circa 1925

154

164. Agnès, circa 1923

155

165. Tollman, 1925-1926

166. Jenny, 1925-1927

157

167. Lucien Lelong, circa 1925

159

160

168. House of Lucien Lelong, « William » model, Winter 1933-1934

169 House of Lucien Lelong, « Joyce » model, Winter 1933-1934

172. House of Lucien Lelong, « Lydie » model, Winter 1933-1934

173. House of Lucien Lelong, « Valérie » model, Winter 1933-1934

170. House of Lucien Lelong, « Suzan » model, Winter 1933-1934

171. House of Lucien Lelong, « Philipp » model, Winter 1933-1934

174. House of Lucien Lelong, « Tilly » model, Winter 1933-1934

175. House of Lucien Lelong, « Héloïse » model, Winter 1933-1934 161

176. Jeanne Lanvin, 1937

162

177. Madeleine Vionnet, circa 1938

163

178. Madeleine Vionnet, circa 1934

164

165

179. Dress and bolero jacket, circa 1935

180. Paquin, Winter 1936-1937

169

181. Dress, circa 1930

170

182. Evening dress, 1936-1937

171

183. Elsa Schiaparelli, circa 1936

172

173

Women’s Hats – The Art of Milliner Rose Descat

Far from being an accessory in the “non essential” sense of the word, the hat played a primordial part in the composition of the woman’s wardrobe right up to the Second World War. Bearing the responsibility of covering the hair, declared by the church as object of seduction (the Bible charging woman to cover her head when she prayed, whilst man was supposed to bare his head in the same circumstances…), the hat was indispensable in society. Bare-headed in public in the19th century was even considered a sign of moral or social decline, and apart from prostitutes or the povertystricken, no respectable woman would even dare consider it. Necessary therefore for marking one’s standing in society, the hat nevertheless remains an object of curiosity, which as a veritable showcase for the face – the most personal part of a human being – attracts and seeks attention whilst having an influence on facial expression and appearance, allowing the wearer to change roles and constantly renew her look. Since the latter half of the 18th century, and the rise of Rose Bertin - Marie-Antoinette’s famous dress designer - the hat also became significant of all that was new - the novelty - that which best embodied the rapid changes in fashion… The hat designer, exact equivalent of the “grand couturier”, was a well-known figure whose name was often one and the same as the label. She ran her house (which professional nomenclature qualified as “modes” or “haute mode”) in the same manner and following the same rules as an 185. Rose Descat, 1934

“haute couture” house, that is, at the beginning of each season proposing to her clientele a collection of original models presented on live mannequins, and who employed up to 300 people in her workshops.

184. Cover of the magazine Margarita, December 12, 1936 175

Dominated by women up until the 1940s, the métier provided a large number of internationally renowned milliners. The most famous amongst them, the House of Caroline Reboux - launched by the Empress Eugénie and the Princess of Metternich - remained the elegant woman’s indispensable address for almost an entire century. Between the wars, Paris counted as many houses of haute mode as haute couture, sharing the favours of an international clientele. Amongst them, Oriana Izquierdo Huneeus (the museum possessing several of her hats dating from the 1930s-40s) was a regular client of milliner Rose Descat. Daughter of Don Arturo Izquierdo 186. Rose Descat, circa 1939

Cerda, married to Néstor Valenzuela Valdés in 1925, she actively participated in Chilean society life, as echoed in the fashion magazines “Zig-Zag” and “Contigo”. Embassy receptions, balls or at the races… she was always seen elegantly dressed with coordinating hat according to the decorum of the time.

189. Rose Descat, 1937-1939

Her hats may have been ordered directly from Paris, or more certainly bought from one of the specialty houses found in Santiago, such as “Merino” which imported French creations. For the main part in felt, these hats are characteristic of the Rose Descat style: small, highly architectural volumes, often 187. Rose Descat, circa 1939

ornamented with a feather (190), worn low on the forehead (189) and slightly to one side (187). Established in 1917 at 22 rue Royale, where her neighbours included other major milliners from between the wars: J. Suzanne Talbot (at n°14) and Rose Valois (at n°18), the House of Rose Descat was renowned for the feminine, idealized reinterpretation of the masculine hat (191), and its manner of working precise, yet supple

190. Rose Descat, 1937

geometric volumes, such as her felts of sharp lines (185), or her modifiable hats in draped velvet, perfected in 1929. She counted amongst her clientele Marlene Dietrich, artist 188. Rose Descat, circa 1939

176

Tamara de Lempicka, and the elegant Countess de La Falaise, who all appreciated her modern, falsely simple style.

191. Rose Descat, 1936

177

1940-1960: “Renewed” fashion

Fashion, somewhat abandoned during the Second World War, recovered its rights with the coming of peace. The resourcefulness developed faced with imposed rationing during wartime and a preoccupation for comfort had designed a rather particular feminine silhouette: shortened skirt, more or less draped corsage with lightly puffed sleeves (212), longer jackets with pronounced shoulders in a military spirit (206), but above all voluminous hats or hide-all turbans (193), and shoes with thick, hard-wearing soles of cork or wood (199; 200; 201). Qualifying this fashion as “detestable”, Christian Dior constructed his own, opposing style in creating his couture house in avenue Montaigne in 1946. Visionary, sensing a strong desire to renew with the splendour of happier times, he set down the principles of the famous “New Look” from his very first collections: markedly lengthened skirts, small pronounced waists, soft shoulders, full busts and rounded hips. Thus imposing his vision of femininity so close to the aesthetic canons of the French Second Empire, with a slight reference to the Louis XVI style and a touch of the Belle Epoch of which he was particularly fond. The formula “new look”, first pronounced by the influential American journalist at Harper’s Bazaar, Carmel Snow, when she discovered the silhouette so radically different from that of the difficult war years, was all but appropriate 193. Denise Squéville, 1943-1945

in a larger historical perspective. It was in fact a “look” of heightened nostalgia, reviving the concept of whale-boned underwear and petticoats made of tulle and horsehair, just like in the good old days of the corset and crinoline! But with Dior, also came a new manner of thinking fashion: it would from now on be international and, above all be communicated. Paying great attention to the diffusion of his label throughout the world, he multiplied his licenses and travelled to where his cosmopolitan clientele was to be found,

192. Advertising placard « Sastrería Raúl Jorratt, » circa 1950 179

the United States and South America in particular. Conscious that fashion

the heavy responsibility of appearing in the right outfit for each and

was above all a question of desire, he did his utmost to arouse it, launching,

every circumstance.

for example a new silhouette each season, rendering the preceding one obsolete. In this manner, the parallelism of the H line, describing the

yet evening”.

silhouette of winter 1954-55, was substituted in spring 1955 by an A-line

“From morning time the elegant woman has graduated her effects: sport

(242), which in turn was dethroned by a Y line!

ensembles town ensembles. The cocktail is the pretext for the first tasteful

Throughout the1940s the opening of new couture houses once

shoulders, shoes reduced to their simplest and most perfect expression,

nationalities flooding into the salons of the haute couture (222).

long gloves and precious bags of unusual forms accompany the indispensable

Dior in 1946, Jacques Griffe in 1948 (232) Givenchy in 1952, whilst Balenciaga, Jacques Fath, Marcel Rochas, Grès or Maggy Rouff, couture

formula to which the couturiers have granted not only all their attention, but also a whole new status: the cocktail dress”. Whilst the cocktail was pretext for fantasy (245), daytime called upon the

houses already well-established before the war, went on to confirm their

suit in a masculine spirit, made of dry materials such as tweed (218), Prince of

reputation for excellence.

Wales checks or stripes (231; 232); the little black dress with its prettily draped

An irrepressible desire to have fun, seduce, to rediscover a life full

décolleté awaiting a brooch or necklace (233), and the skillfully cut coat (234).

of activities as essential as they may be futile was being felt. The taste for

For evening, dresses were made of a fitted corsage and immoderately full

dressing had never been lost, but the occasions had been certainly lacking

skirt, with embroidered lace-trimmed flounces (241), frothy poufs or draping

for satisfying a passion for something new, for beautiful materials and the

swept up in asymmetric volumes (235), and bows peppering a shoulder,

delicate work provided by the nimble fingers of French artisans…as only

nestling in a décolleté or the small of the back. The dress became a sculpture

they knew how.

to be contemplated from every angle.

The most magnificent society receptions and cocktails, opening nights,

The dress suit – a successful formula right from its 1930’s beginnings

outings to the theatre, restaurant, cabaret, formal dinners and balls all started

– also renewed its codes, Gabrielle Chanel offering it its letters patent

over again in this climate of rediscovered optimism. And for every occasion

of nobility. Immediately after her return in 1954 - after fourteen years of

– every different time of the day – a very precise outfit was de rigueur.

absence from the fashion arena - she even turned it into a comfortable

Encouraged by the couturiers propositions - who organized their

garment, perfectly adapted to modern life. By all appearances a town suit

presentations accordingly - wardrobes once more became excessive. In

appropriate for any time of day and adopting any hat at all, at the moment

Dior s winter 1948-49 collection can be found models for Morning, Lunch,

of a dinner or formal cocktail, it revealed a silky, sparkling corsage, of the

Afternoon, Late Afternoon, Early Evening, Formal Afternoon, Dinner,

same material as the jacket’s lining, occasionally visible on the lapel; or else

Formal Dinner, Evening, Informal Evening, Ballgowns, Cabaret, Formal

a sleeveless dress, simply button-trimmed, which a brooch chosen with

Evening, Gala Evening and Travel!

taste would “dress up”. This formula definitively signed the style “Chanel”,

Where a man could get away with one outfit – the dinner suit – for every evening outing, the woman, just as in the 19th century, carried

180

extravagances. Feathers worn on the head, gemstone necklaces, bared

again placed Paris at the epicentre of fashion creation, society women of all

Carven opened in 1944 (301), Pierre Balmain in 1945 (221), Christian

194. Otto Lucas, 1940-1941

As Vogue entitled in 1951, “It’s no longer daytime…but it’s not

195. Toque, circa 1952

travelling through time, copied more than many times over, but always remaining new (303).

181

196. Berger Bags, 1950-1955

182

197. Hat, circa 1950

183

198. Cristóbal Balenciaga, Summer 1943

185

202. Handbag, circa 1945

199. Sandals, 1940-1945

203. Plasticflex, circa 1942 200. Connie, 1944-1945

201. Ankle boots, 1942-1945

186

204. Clutch, circa 1943

187

205. Vogue, U.S.A., September 15, 1945

188

206. Adrian, Fall-Winter 1945

189

207. Dress, 1946

190

208. Portrait of Olombi Banna de Yarur, 1946

191

209. Raquel Bascuñán Cugnoni, 1945-1948

210. Raquel Bascuñán Cugnoni, 1945-1948

211. Raquel Bascuñán Cugnoni, 1945-1948

212. Grès, circa 1945

192

193

194

213. Cristóbal Balenciaga, circa 1954

215. Myles, circa 1950

214. Christian Dior created by Roger Vivier, circa 1957

216. Whol, circa 1954

195

218. Jacques Fath, circa 1949

217. Pierre Cardin, 1950-1953

196

197

219. Juan Yarur Lolas and unidentified persons at the « Yarur Manufacturas Chilenas de Algodón S.A.” factory, circa 1950

220. Coat, circa 1950

198

199

221. Pierre Balmain, circa 1950

200

222. Marcel Rochas, 1951

201

223. Photograph by John Rawlings, Vogue Magazine, U.S.A., October 15, 1951

202

224. Juli Lynne Charlot, 1951

203

225. Joe Davidan, 1951-1955

228. Tourmalet, 1958

226. Skirt, 1958

229. Skirt, 1958

230. Skirt, 1950-1955

227. Skirt, 1958

204

205

232. Jacques Griffe, 1951-1954

231. Hermès, circa 1952

206

207

233. Jacques Fath, circa 1954

208

234. Grès, circa 1952

209

235. Cristóbal Balenciaga, Winter 1957-1958

211

236. Cardinal Clothes, 1958-1962

212

237. Evening dress, 1955

213

238. Salvatore Ferragamo, 1952-1954

239. Samaral, 1958

214

215

240. Maggy Rouff advertisement, in Constanze Modeheft magazine, Fall-Winter 1954

243. Photograph Willy Maywald, « Après-midi » model by Christian Dior, Spring-Summer 1955

242. Christian Dior, Spring-Summer 1955

241. Maggy Rouff, 1954

216

217

244. House of Christian Dior, « Fiesta » model, Spring-Summer 1958

245 cd. Delman, Spring-Summer 1958

218

245 ab. Christian Dior, Spring-Summer 1958

219

Raquel Bascuñán: An eclectic wardrobe at the end of the 1950s

Tutelary figure of the museum of fashion - today installed in the villa where she lived - Raquel Bascuñán Cugnoni was its inspirer and guardian angel. Of Italian descent by her maternal grandfather, Raquel was born in Santiago in 1923, her life adopting storybook accents from 247. Sunglasses, 1958

a very early age. Brought up by her “Italian” family following the separation of her parents, she began what was to become a long, almost clandestine relationship with the industrialist Jorge Yarur Banna - textile pioneer in Chile, who she met on the 17th February 1945 at the Viña del Mar Casino - before finally officializing the union in 1958. This late marriage, unusual for the time, was followed by a honeymoon almost as surprising – an 8 month European trip! In preparation for this long voyage, Raquel spent a month in Buenos Aires, the most cosmopolitan of South American cities and renowned for its fashion outlets, where she compiled her travel wardrobe (257), which would be later completed in the different cities of the countries she visited (248; 245; 263). The couple embarked at Montevideo in Uruguay for Rio de Janeiro then headed for Milan, where they found the car Jorge had acquired in the United States and had had specially transported. Raquel would at last be able to satisfy her enormous curiosity of the European culture! Milan, Venice, Florence, Capri, Pompeii, Sorrento, Naples,

246. Raquel Bascuñán in Reñaca, 1961

Rome, Geneva, Paris, Biarritz, Cannes, the Côte d Azur, Monaco, 248. Handbag, 1958

Madrid, Barcelona, Toledo, Granada, Gibraltar, Lisbon, Brussels, Bruges, Amsterdam, Berlin…the tour finishing in London where they embarked on the Queen Mary for New York.

220

221

After a stay in South Carolina, mecca of the cotton industry at the time, the couple returned to Santiago where they began the

She was fond of solid colours or large flat tints on full skirts in felted

construction of the villa of their dreams.

wools (228),worn with a simple sweater or fresh blouse. She did not

Although having had no official training, Raquel possessed a

which inspired others: dress in all-over print of lemon slices (253), or

The museums visited and the discovery of the different cultures of the

horse head buttons on a carriage-printed dress (264). As if in honour

cities she stayed in during this initiatory voyage fed this passion, which

of the love she possessed for animals, several of her scarves bear a

she would later transmit to her young son Jorge, accompanying him to

variety of dog motifs.

the Opera and the ballet, and in the 1960s in the discovery of Paris.

She also appreciated a certain form of simulation, such as

Very early on her interest in painting even motivated her to engage in

those apparently flared dresses whose side opening reveals a straight

private lessons, whilst the library during this period became enriched

skirt underneath (253; 261).

Impressionism, which Raquel particularly admired.

Her preference for the colour green, resembling her fascinating eyes, changing in intensity with the environment...

The architecture of the villa in Vitacura, bathed in light and of

Although dressing in the fashion of her time, this wardrobe is

an extremely rational organization was indeed modern for its time.

not one of a follower, nor a victim Parisian couture labels are all but

The warm and welcoming interior design created by Mario Matta

absent, only barely represented by a 1960 s Louis Féraud ensemble

combined antiques and contemporary furniture. The care taken in

(320), and the summary of the few labels marking her outfits reveals

every detail, from the choice of faucets and wallpaper to the bibelots

a woman barely preoccupied by the pedigree of her purchases.

brought back from her travels, reflected the quite singular character of

Raquel preferred to be guided by her intuition, her taste and her own

the owner, also found in her own wardrobe.

personal pleasure.

Her outfits of the 1950s-60s, which she herself very carefully

honeymoon announced this curiosity, combined with an in-born

her like many happy memories, and constitute the very core of the

capacity to distinguish quality and the unusual, without recourse

museum, the very beginning of the collection, and that by which her

to superficial effects (263).

Composed of nearly 500 pieces of clothing and accessories

251. Handbag, 1960-1963

The many outfits acquired during her European

conserved (in a room adapted for that effect in the house), were to

son Jorge would form his eye and interest for the art of clothing.

250. Dofan, 1966-1967

however scorn unusual prints (229; 227), nor the touch of humour

taste for beautiful things along with an unconventional temperament.

with a great number of art catalogues and publications, notably on

249. Handbag, 1946-1948

skirts enhancing her small waist, without imprisoning her movements.

Her relaxed elegance is also visible in her many accessories, including amusing bags in raffia (254) or fake zebra fur (252), her

(gloves, shoes, bags, hats, jewellery, etc), this wardrobe encapsulates

colourful baubles made of glass (268) or seeds (272), all create the

the life of a happy woman, a lover of beautiful materials and one who

vision of a free, modern woman, sensitive to colours and shapes,

particularly appreciates the intricacies of the cut and the subtlety of

open-minded and snobbish in no way whatsoever. A certainly atypical

chromatic associations. Valuing comfort, and of simple tastes, far from

character within her social milieu.

252. Handbag, circa 1958

ostentation or flashy luxury, Raquel’s preference went to dresses and

222

223

254. Handbag, 1958

253. Dress, circa 1963

224

256. Jorge Yarur Banna and Raquel Bascuñán de Yarur on honeymoon, en route to Capri on the vaporetto, 1958

255. Mary José, 1958

257. Dress, 1958

226

227

258. Top, 1958

260. Dress, 1958-1960

259. Skirt, 1958

262. Vittorio, 1958-1960

261. Ensemble, 1957-1959

230

231

263. Rosita Contreras, 1958

232

264. Dress, 1957-1958

233

Back view of dress nº 263

234

265. Dress, 1951

235

267. Bracelet, 1958

271. Bracelet, 1958-1960

268. Bracelet, 1958

272. Bracelet, 1958

269. Brooch, circa 1960

266. Bragance, 1961-1962

270. Brooch, circa 1960

237

273. Ensemble, 1958

238

239

274. Deauville, circa 1967

241

275. Deauville, circa 1965

242

Serge Matta: a Parisian couturier from Chile

Sergio Matta Echaurren, younger brother of artist Roberto and decorator Mario, dreamed of the theatre…instead he was to become the only Chilean to forge a career in the extremely closed coterie of the Parisian Haute Couture. Born in Santiago in 1915, he began work in the decoration boutique opened by his brothers in Providencia in 1931, before leaving Chile behind, setting his sights on New York. There he frequented the Actor’s Studio for a time (supposedly having an affair with Marlon Brando), but soon moved to Paris with the hope of joining Jean-Louis Barrault’s theatre company. Instead he made his first mark in the ballets of the Marquis de Cuevas, brilliant Chilean patron of the arts. 277. Serge Matta, 1958-1960

Fashion however called, and it was there that he would make a name for himself. Excellent sketcher and possessing very good taste, he was recruited by Schiaparelli in 1950 to design a small fashion line for the boutique in Place Vendôme, where he remained until its closure in 1954. This same year saw the sudden death of the couturier Jacques Fath, and his widow Geneviève called upon him to second her in the elaboration of the house’s collections. Encouraged and supported by Arturo Lopez Willshaw, another fabulously rich Chilean living in Paris, and the Baron de Rédé, he opened his own couture house at number 10 avenue Franklin Roosevelt in 1958. His collections here (276; 277; 278), attracted an international clientele, but despite this creative success, at the death of

278. Serge Matta, circa 1960

his major investor in 1962, he found himself – as artist lacking in the necessary talent for financial management - forced to close his house.

276. Serge Matta, circa 1958

245

But already 1963 saw him collaborating with the prestigious House of Maggy Rouff, where his style soon made its presence felt: a silhouette sculpted by diagonal cuts and fly-out fullness, a predilection for structured, geometric lines (283; 284; 285). Amongst his clients was the most Parisian of Chileans, the very young Marie-Louise de Clermont-Tonnerre - born PerezOrrego – whose wedding dress he designed. In 1969, Matta moved to Jean-Louis Scherrer, where he created quite a remarkable collection, in particular for its low-waisted, geometric puzzle coats (287), his pants (281; 282), and his use of colours such as green, pumpkin, orange, purple, black and white, combining two or three of these colours together at once. He continued working with couture houses throughout the 1970s, but in a purely anonymous manner, preferring to devote his time to his painting and life’s pleasures, between his house in Milly la

280, 281, 282. Serge Matta, 1968-1970

Forêt and his regular trips to Santiago, where he died in 1982.

279. Serge Matta, 1965-1970

283, 284, 285. « D’aubigné », « Leonardo » and « Valery » models by Serge Matta photograph by J.L. Guégan, Spring-Summer 1963 and Winter 1963-1964 collections

246

247

286. Photography of the dress nº 287 published in, L’Officiel de la mode de Paris, September 1969

248

287. Jean Louis Scherrer by Serge Matta, 1969

249

1960–1980: From futurist fashion to “No Future”

Since the 1960s and the emergence of creative ready-to-wear fashion, making style affordable for all, fashion phenomena and movements have become an endless demons-tration of juxtaposition, interpenetration, contradiction, acceleration and succession. Getting dressed has become a game in which one may freely indulge, a strong medium of expression and a patent manner of constructing not only a look, but also an identity. Like a second skin of magical powers, the garment permits, in changing one’s appearance, to also change age, country, epoch, milieu and role.To permanently challenge certain social conventions, to transgress taboos and open up frontiers. In a context of collective infatuation, fashion takes on quite a singular dimension, some of its movements more than others profoundly and irrevocably shattering our very references. Between 1965 and the end of the 70s – a decade particularly rich in experimentation of all kinds - the contemporary wardrobe was built on the ruins of an era paralyzed with fear by the question of good taste. This is the time when juniors appeared as a social entity in 289. Emilio Pucci, circa 1966

themselves, when the equality of rights between men and women, sexual liberation and other amorous behaviour were being fought for, when women were seeing themselves as increasingly autonomous, and people were beginning to open up to other cultures. All these aspirations, shared by the generation of designers and couturiers in tune with their time, would of course find their translation in fashion.

288. Richard Avedon, cover of Vogue magazine, U.S.A., July 1967 251

The youthful body inspired new attitudes. The body was

The trouser ended up by being accepted, despite (or because

discovered in both senses of the word: knees, thighs and even the

of) its scandalous image (323), the active woman liberated from under

navel (315, 321) would each be exhibited to a public at first outraged,

the male’s supervision, naturally wearing trouser suit, safari jacket,

soon disillusioned… whilst legs were learning a mobility until then

trench coat, pea jacket and even tuxedo…

reserved for men - supposedly the only active member of the two sexes – with the advent of the trouser for women. The “bomb” launched by Courrèges with his 1965 collection,

290. Shoes, circa 1960

tric shapes standing away from the body emphasizing neither bust

came into fashion (316; 321), in unconventional materials such as

nor waist (317; 318) and his flat-heeled white boots (292) worn by

metal, plastic (312; 313) or vinyl (307; 309).

of a better world. Futurist and gadget fashions were soon attacked

guardian of the temple of feminine elegance, still living with the

by the critics, rejecting the consumer society en masse. The constant

spectre of Christian Dior’s formalism (305) and the bourgeois “non-

renewal - the very raison d’être of organized fashion - was perceived

conformism” of Chanel (303).

and analyzed as a source of programmed waste. From the late 1960s, the desire to invent a new world,

the queen of Swinging London, was the standard-bearer of this fashion

to invent a new lifestyle for oneself, far from the rules of western

so closely tied to the aspirations of the young. Mini-dresses worn

consumer society, was guiding the movement toward other cultures

with coloured tights - relegating stockings and suspender belts to the

who had protected the secrets of an authentic savoir faire.

wanted to move, dance and amuse themselves in their dress. The new ideal they were referring to (either consciously

Patchwork - recycling technique par excellence - marked

of the American pioneers became the standard of an entire nonconformist generation, before contaminating the wardrobes

impossible) was no longer rich, but young. The most popular cover-

of every age and every milieu. “Do it yourself”, the rallying cry of

girl of the 1960s, Twiggy (288; 314), with her short hair and skinny,

this generation refusing the formatting of thought and appearance,

adolescent silhouette, will forever remain its perfect incarnation.

encouraged personal expression: outfits personalized by

the all too conventional issues of masculine-feminine (330; 331), and his boutique “Rive Gauche” - opened in 1966 by Catherine Deneuve

294. Maud Frizon, circa 1972

the flower-power era with its colourful outfits (338). The jeans

or not), and wishing to resemble (or denigrate if resembling was

The new prince of fashion, Yves Saint-Laurent, began to cloud

293. Valentino, circa 1977

But it would seem that so many innovations were not the sign

A stab in the codes of the almost centenary Haute Couture;

Antiquity department - became the outfit of an entire generation who

252

the technological advances and contemporary art movements of the time, including Andy Warhol’s Pop Art (310), precise geometric lines

On the other side of the English Channel, Mary Quant (308),

292. André Courrèges, 1965

another dimension entirely, this time resolutely futuristic. In tune with

opened hostilities. His short dresses baring the knees, the geome-

fresh, unpretentious young girls, all surprised by their strangeness.

291. Charles Jourdan, 1966

With the exploration of space, the era was projected into

embroideries and studs, appliqués of all kinds of materials and the inscription of many a message (339). In this quest for a better elsewhere, the charm of second-

who he had dressed that same year in the Luis Buñuel film, “Belle

hand clothes was discovered, unearthed in family attics or

du Jour” - instantly became THE meeting place for the new anti-

ferreted out at the flea markets: grandma’s petticoats, furnishing

bourgeois intelligentsia …

fabrics, passementeries and peasant blouses. Clothes from other

295. The Chelsea Cobber, circa 1973

253

eras and other cultures crept into the wardrobes of the anti-

declared Vivienne Westwood in 1981. This credo was noticeably

establishment young, before contaminating the collections of

visible in the elaboration of the punk movement’s look, whose fetish

designers and couturiers.

group “The Sex Pistols” was managed by McLaren himself.

From what began as an anti-fashion attitude was born a new fashion,

The “Anarchy” shirt (348) is emblematic of this radical, subversive

exotic and retro: the 1930’s silhouette came back in (343), as did

fashion, whose slogan was “No Future” opposing the positivism of the

the “peasant” reference (341) and the use of furnishing fabrics and

prior hippy generation. The association of libertarian messages, lyrics

passementerie (340).

of the Sex Pistols’ songs, a portrait of Karl Marx and the Nazi swastika

Veritable phenomenon of society, the boutique during these years changed from a simple sales outlet to a mecca of this 296. Biki, 1959

new culture’s diffusion: friends met there to chat, listen to music, even have a drink… And each one developed its own decor, numerous amongst

surmounting an image of Christ on the cross, clearly announced a rejection of the values and taboos of the preceding generation. With their safety pins worn as jewellery, their extreme, highly colourful haircuts (such as “the Mohawk”) their habit of piercing other parts of the body than their ears (often using safety pins), their tatoos,

them proposing their own often almost artisanal line of garments, in

torn stained jeans and T-shirts, and the reappropriation of ethnic

the image of the emblematic “Biba” of London (341), “Dorothée” in

and sexual codes, punks deeply disturbed the existing vestimentary

Paris, or “Tai” in Santiago (325; 327).

references, imposing a part of experimental and irreverent madness

The shop at 430 King’s Road, opened in London by Malcolm

to the closing 20th century.

299. Lanvin, 1968-1970

McLaren and Vivienne Westwood, and in turn named “Let it Rock” (in 1971), “Too Fast to Live Too Young to Die” (1972) “Sex” (1974297. Claude Saint-Cyr, circa 1960

76) “Seditionaries” (1976-80) then “World’s End”, incontestably marked the turning point of an era, playing a role of catalyst for new protesting attitudes… Closely linked with London’s underground music scene, this “emporium of perversity” as McLaren liked to characterize it, soon exploded existing conventions by transforming the sexual fetishist elements of the sadomasochistic practice, such as zips, rubber or bondage ties, into fashion articles. The garments created by the Westwood-McLaren couple disturbed the moral order: the T-shirts printed with Tom of Finland’s pornographic designs (346) even won

298. Hubert de Givenchy, circa 1962

them a court summons! “The only reason I am in fashion is to destroy the word

300. Clutch bag, 1976-1979

“conformity”. Nothing is interesting to me unless it’s got that element”,

254

255

301. Carven, circa 1962

256

302. Jax by Rudi Gernreich, 1962

257

303. Chanel, Spring-Summer 1964

304. Jean Patou, 1966

258

259

306. Photograph by Felix Fonteyn, Margot Fonteyn at the Panamanian embassy in London, wearing dress n° 305, 1961

305. Christian Dior, Fall-Winter 1961

260

261

308. Mary Quant, 1968-1969

309. Mary Quant, circa 1965

307. Jean Varon, 1967

263

311. Fabiani, 1968

310. The Souper Dress, 1967

264

265

314. Photograph Bert Stern, « Paris Twiggy Haute 313. Paco Rabanne, 1968

312. Paco Rabanne, Spring-Summer 1969

Couture » in Vogue Magazine, U.S.A., March 15, 1967

315. Yves Saint Laurent, Spring-Summer 1967

316. Emanuel Ungaro, 1966

269

317. André Courrèges, 1969

270

318. André Courrèges, 1967

319. André Courrèges, 1968

272

320. Louis Féraud, 1969

273

322. Pothograph Roland Bianchini, L’Officiel de la mode, 1969, nº565-566

323. Dede, 1968-1969

321. Pierre Cardin, 1969

274

275

325. TAI by Marco Correa, circa 1970

326. Photograph Horacio Walter, Eva Magazine, October 7, 1969

324. Marco Correa, circa 1972 327. TAI, 1969

276

328. Wedding dress, 1968

329. Hubert de Givenchy, circa 1966

330. Photograph Helmut Newton, Yves Saint Laurent and his sister Isabelle in Safari jackets, 1969

280

331. Yves Saint Laurent, 1969

281

335. Teddy Tinling, 1970

332. Teddy Tinling, circa 1970

333. Teddy Tinling, 1977

336. Teddy Tinling, 1970

337. Teddy Tinling, 1972 334. Teddy Tinling surrounded by tennis players, circa 1968

282

283

338. Jacket, 1975-1976

284

339. Levi’s, 1969-1973

285

341. Biba, circa 1970

340. Dress, 1976

286

287

342. Christian Dior, Spring-Summer 1973

343. Ossie Clark, circa 1973

288

289

344. Roberta Di Camerino, 1974-1977

290

345. Roberta Di Camerino, 1978

291

346. Vivienne Westwood – Malcolm McLaren, 1974-1976

347. Vivienne Westwood – Malcolm McLaren, 1977

293

350. Jamie Reid, Poster « God Save the Queen, The Sex Pistols, » 1977

348. Vivienne Westwood – Malcolm McLaren, 1977

349. Vivienne Westwood – Malcolm McLaren, 1977

348 cd. Boots, 1977

351. Punk at Hyde Park, London, 1985 294

Vivienne Westwood – Malcolm McLaren, detail of nº 348, 1977

Contemporary creation: The aesthetics of appearance

With the emerging fashion designers of the 1970s, whose influence on a media level (if not commercial) would be confirmed in the following decades, fashion – applied art par excellence – became an artistic domain whose each representative possessed a very personal vision of the world. 352. Ray Ban, 1986

Unlike their predecessors in the adventure of industrial readyto-wear, these designers and brands constructed an image composed of an ensemble of elements (collections, boutiques, fashion parades and events) where communication held the pride of place. “Fashion is in fashion!” declared the titles of the international press, euphoric over such a show of emulation. And the “look” became the watchword of these effervescent years. Each designer revolved in his own universe, immediately identifiable, and whose fashion parade – now imagined as a “show” - was the vehicle of choice. From this moment on we would speak of a Gaultier, Mugler, Alaïa or Versace style… as we might of painting or architectural styles… Women were working – even society women – and the “career woman” of the 1980s, as busy as she may be, knew how to have fun. Every day held the promise of another party, nightspots rivalizing each other in imagination and splendour, following the

353. Giorgio Armani, 1999

example of the mythical Studio 54 in Manhattan or The Palace, emblematic Parisian club of the early 80s, attracting a heterogeneous crowd of night people, for whom the party was an art, and dressing accordingly a must. Here, all those who made fashion – couturiers, designers or models – mixed with stars of every imaginable art, but

Jean-Paul Gaultier, detail of n°384, Fall-Winter 1992-1993 299

also the illustrious anonymous, ingenious and industrious when it came to the rules of “the look”. The body was exhibited, poured into the new stretch materials, and looking after it had become a major preoccupation, a veritable duty. The gym, jogging, and other sports practices sculpted

experimental territory, where any shape, material or organization, as incongruous as it may be, as contradictory as it may appear, could be exploited… Becoming international, fashion recycles all cultures, faraway

the body like any other material, before plastic surgery became

in both time and space, and offers variations in every which way of its

common practice…

own history.

In this context of favouring art and appearance, several tendan-

354. Free Lance, 2002

From this moment on, the garment has been thought of as

No form of the near or far past can escape this compulsive

cies and opposing styles produced by different cultures have been inter-

habit of revisiting: the corsets, crinolines or bustles of the 19th

penetrating over the last two decades.

century (385), 17th century military attire (360), 1940’s platform

And even though the trends succeed each other at an incredible

shoes (358), New Look ballgowns (398), 1970’s bell bottoms or the

rhythm – square shoulders replacing a narrow bust, minimalism eclipsing

geometry and pop colours of the 1960s…everything shows potential

the baroque, before making way for the ethnic…fashion diktats have

for returning to front stage. Everything can be sampled, reinterpreted

definitively disappeared, offering a much greater freedom of choice in a

and mixed with other references.

landscape of very eclectic fashion…

Designers and stylists have become erudite, dissecting history,

The Parisian Haute Couture, stimulated by the arrival of Karl

frequenting museums, specialized antique shops and auction rooms in

Lagerfeld at the commands of the House of Chanel (376), the opening of

the quest for lessons of excellence, details of cut, original, but forgotten

the House of Christian Lacroix, then later by the conversion of the agent

solutions, or simply a new challenge to be met. 357. Maud Frizon, 1983

provocateur Jean-Paul Gaultier (393), maintained its notoriety of chic and 355. Celebrity Shoes, circa 1983

unique savoir-faire (394), whist the somewhat flashy glamour popularized by American TV series (378; 379) enticed by its extravagance. Italian fashion started to dominate for men with comfortable, relaxed clothing (359; 392), and for women with sexy dresses (380; 397), whilst from Japan have come quite disturbing propositions, opposing the western references of elegance and stylishness. With their unstructured, asexual garments, and their use of tortured, crinkled and frayed materials, Yohji Yamamoto (365), Comme des Garçons or Issey Miyaké (367) have contributed by their pure audacity in radically and irrevocably changing the

356. Diadora, 1984

vestimentary syntax.

358. Charles Jourdan, circa 1983

In their wake, other waves of designers - this time from Flanders and the Netherlands – have offered a much more conceptual vision of fashion.

300

301

359. Giorgio Armani, circa 1984

302

360. Vivienne Westwood, Fall-Winter 1981-1982

303

361. Jean Charles de Castelbajac, circa 1985

304

362. Kansaï Yamamoto, circa 1981

305

363. Azzedine Alaïa, circa 1987

306

364. Thierry Mugler, Spring-Summer 1990

307

365. Yohji Yamamoto, Fall-Winter 1990

308

366. Sybilla, Fall-Winter 1987-1988

309

367. Issey Miyake, Fall-Winter 1993-1994

310

368. Moschino, 1998

312

369. Moschino, circa 1998

313

370, 371. Roberto Cavalli, 2001

315

372. Le Garage (shirt), 1989

374. Jorge Yarur Bascuñán, Photograph published in “Caras”, 1991

373. Reiss Britain, 1989

316

375. Jean-Paul Gaultier, Fall-Winter, 1989-1990

317

376. Chanel, Spring-Summer 1987

319

378. Nolan Miller and the actresses from the television series, « Dynasty, » photograph by Eddy Ming, 1985

377. Yves Saint Laurent, Spring- Summer 1985

320

379. Nolan Miller, 1985

321

381. Gianni Versace, Spring-Summer 1991

380. Gianni Versace, Fall-Winter 1992

382. Gaultier Paris Couture, Spring-Summer 1998

383. Jean-Paul Gaultier, Spring-Summer 1998

384. Jean-Paul Gaultier, Fall-Winter 1992-1993

324

325

385. Vivienne Westwood, Fall-Winter 1995

387. Cyberdog, 2000

386. Cyberdog, 2000

329

388. Octavio Pizarro, 1995 389. Imara Castagnoli in wedding dress, accompanied by her father, March 5, 1995

330

331

391. Stéphane Kélian, 2000

390. Salvatore Ferragamo, 2000

332

333

392. Giorgio Armani, Spring-Summer 2003

334

393. Jean-Paul Gaultier, Spring-Summer 2000

335

394. Jean-Paul Gaultier, Spring-Summer 2002

337

395. Jean-Paul Gaultier, Spring-Summer 2005

338

396. Victoria Beckham during the Roberto Cavalli runway show, Fall-Winter 2006

397. Roberto Cavalli, Fall-Winter 2006

341

398. Christian Dior, Fall-Winter 2002-2003

342

343

C A T A L O G U E

344

345

1. Anonymous

7. Anonymous

Raquel Bascuñán Cugnoni

Jorge Yarur Banna

Circa 1930

1937-1940

Original black & white photograph on paper

Chile

4x5 cm

9x11 cm

Private collection 2

Nº Inv. F1691

2. Anonymous

8. Anonymous

Jorge Yarur Banna

Raquel Bascuñán Cugnoni at the Viña del Mar Casino

Circa 1928

1946

Original black & white photograph on paper

13x18 cm

Chile

Private collection 14

4x8 cm Private collection 14

3. Anonymous Raquel Bascuñán Cugnoni and her mother, Marta Cugnoni

9. Anonymous

Circa 1927

Raquel Bascuñán Cugnoni during her honeymoon, receiving a prize

Original black & white photograph on paper

and certificate on the boat Conte Biancamano

Chile

April 7th, 1958

8x12 cm

Original black & white photograph on paper

Private collection 1

En route from Buenos Aires to Naples 11x16 cm

4. Anonymous

Private Collection 15

Raquel Bascuñán Cugnoni 1930-1931

10. Anonymous

Original black & white photograph on paper

Jorge Yarur Banna during his honeymoon, receiving a prize and

Chile

certificate on the boat Conte Biancamano

4x7 cm

April 7th, 1958

Private collection 3

Original black & white photograph on paper En route from Buenos Aires to Naples

5. Anonymous

11x16 cm

Raquel Bascuñán Cugnoni at Reñaca beach

Private Collection 16

Circa 1945 Original black & white photograph on paper

11. Prototype of conservation box,

Chile

Created for handbag nº242

9x11 cm Private collection 4

12. Fan 1690-1710

6. Raquel Bascuñán Cugnoni

Fan with gouache-painted paper leaf, ivory mounting with

Jorge Yarur Banna at Reñaca beach

painted chinoiseries. Motif of courtiers around a collation of fruit,

1946-1948

accompanied by musicians and singers; verso with landscape and

Original black & white photograph on paper

house. Guard is painted and sculpted in ivory, red diamanté rivet.

Chile

France

6x8 cm

Nº Inv. 2005.112

Private collection 5

346

347

18. Shoes

22. Fan

26. Fan

1625-1650

1790-1795

Circa 1770

Circa 1780

Man’s gloves in brown suede; gauntlet slit and trimmed with two

Shoe in green silk pekin and black leather stitched with pink silk.

Fan in gouache-painted paper depicting genre scenes arranged in

Gouache-painted and sequined silk fan. Ivory mounting, pierced,

striped plum-coloured ribbons; ornamented with gold metal wire

Vamp ornamented with pink ruching; cut pointed toe with a visible

panels and medallions. Mounting known as «à la Pompadour» in

sculpted, engraved and encrusted with gold and silver. Three panels

lace appliqué and embroidered with garlands and small metallic

appliqué of green silk embroidered with pink, red and green flowers

white mother-of-pearl sculpted with portraits of dancing couples,

separated by floral motifs encircled with sequins. On the left, a flutist;

sequins. Burgundy silk taffeta piping, metallic lace and sequin edging;

on the leather. Lined in ivory cotton. Natural leather sole.

musicians and birds. Verso depicting a young couple seated in a

in the centre a pair of guitarists with a woman singer; on the right a

lined in burgundy silk.

Probably France

landscape. Mica-covered guard with miniature portrait of a young

singer in representation. Guards sculpted in high relief.

Nº Inv. 2005.4.a-b

man and woman.

France

Nº Inv. 2006.286

13. Gloves

England Nº Inv. 2004.480.a-b

19. Shoes 14. Pouch Bag

27. Man’s Suit «à la Française»

1785-1790

1650-1700

Shoe in yellow, olive green and rust-coloured silk chiné, edged all

23. Watteau de Lille

Four-quarter bag in gold and silk yarn tapestry assembled by crochet

around with a yellow silk ribbon. Vamp ornamented with a striped,

Originally published in the journal Galerie des Modes et Costumes

Jacket, waistcoat and breeches in light blue Gros de Tours silk. Lined

stitch. Two quarters decorated with jardinières, the other two with

ruched ribbon. Curved heel in cream leather. White linen lining.

Français

in creamy-white taffeta. a) Jacket with flap pockets, buttons covered

a pastoral scene. Green and pink braided cords finished with gold

Leather sole.

1778-1787

in the same fabric and sleeves with cuffs lined in linen.

thread-covered pompons knit in crochet stitch. Pink silk taffeta lining.

France

Engraving, hand or stencil coloured on paper

b) Waistcoat collarless with linen back. c) Breeches with double

Europe

Donation: Chantal Dagommer

France

front buttoning lined in linen and metal buckles at the knee and in

Nº Inv. 2006.453.a-b

28x38 cm

the back. 25d) Envelope bag in the same silk, Beauvais embroidery

Re-edition of Rombaldi Publications, 1955

ecru silk floral motifs; lined in cream silk taffeta and edged with ecru

Nº Inv. EXH85

cording.

Nº Inv. 2006.91

20. Man’s Doublet 15. Shuttle created by Pierre Lefebvre

Circa 1780

Probably France

Circa 1660

1764

Short jacket in brown shot moiré silk/wool, lined in ecru silk;

24. Dress «à l’Anglaise »

Shuttle in chased and open-worked gold. Alternating decoration of

fastened by a series of plaited thread buttons; rigid front bust. Small

Circa 1780

reserves engraved with allegories in three colours of gold on a matte

basque with a row of embroidered eyelets for the addition of

a) Dress in chamois and cream striped silk taffeta with flower

28. Man’s Suit «à la Française»

background, and blue enamel reserves.

ribbons, sleeves constituted of bands of the same fabric with wide

garland motif, ornamented with passementerie ruching. Bodice “à

1780-1785

Medallion centers engraved with putti encircled by a decoration of

cuffs at elbow length in cream silk.

compères” finishing in points in front and back, adorned with blonde

a) Jacket in blue/brown shot silk taffeta, richly embroidered with

ribbons in gold and blue enamel.

Europe

bobbin lace ruffle and small basque with front cut-outs edged in fly

polychrome flowers in slip stitch and lace appliqué on tulle ground;

France

A similar doublet is conserved in the collections of the Victoria and Albert

braid passementerie. Fitted sleeves to below the elbow. b) Long full

small straight collar and embroidered buttons. Lined in silk taffeta.

Master goldsmith: Pierre Lefebvre

Museum, England

underskirt with side pleats and drawstring, attached by cord.

b) Breeches with double front buttoning, the same embroidered

Nº Inv. 2005.217

France

buttons at the knee.

Dress in similar fabric but «à la polonaise» conserved in the collections of

France Photographed with waistcoat nº 29

Nº Inv. 2006.400

Nº Inv. 2004.301.a-d

16. Mule

21. Dress «à la Française»

the Kyoto Costume Institute, Japan

1720-1730

1760-1770

Nº Inv. 2000.929.a-e

Nº Inv. 2005.27.a-b

Shoe with turned up pointed toe in emerald green silk damask with

a) Dress in figured and brocaded silk of polychrome flower bouquets

a silver metallic thread embroidery; lined in green silk repp, brown

on a coral striated ground ornamented with wide shirring edged with

25. Dress « à la Polonaise »

29. Waistcoat

leather heel and leather sole.

fine silk

1776-1780

Circa 1785

France

fly braid passementerie. Bodice with «compères» and straight sleeves

a) Dress in cream twill silk brocaded with polychrome floral motifs.

Waistcoat in cream Gros de Tours, slip stitch embroidered with floral

finishing under the elbow. Back «Watteau» pleat forming a short

Bodice « à compères », neckline ornamented with a ruffle of blonde

motifs in silk. Collarless, welt pockets, embroidered silk-covered

train. b) Long full underskirt in the same fabric excepting the upper

bobbin lace, fastened by hooks and eyes, linen lining. Elbow-length

buttons, and lined in linen.

17. Shoes

back, in coral-coloured dotted swiss damask, with drawstring at the

sleeves edged with lace. Overskirt entirely pleated and sewn to the

France

1720-1730

waist and side slits.

bodice. Furbelows trimmed with yellow and green passementerie

Photographed with suit nº Nº Inv. 2005.27.a-b

Shoe with turned up pointed toe in brocade of tulip and green leaves

France

applied to the bodice and overskirt. Two covered buttons and

Nº Inv. 2005.28

on a silk taffeta ecru ground, all-over embroidered in green ribbon.

Nº Inv. 2001.2063.a-b

two inside cords in the back allow the formation of the wings « à la

Nº Inv. 2001.743

348

Nº Inv. 2005.151

Tongue lined in green and ecru striped silk taffeta and two tabs for

polonaise ».

receiving a buckle. Solid curved heel covered in the same fabric.

b) Pleated underskirt with side drawstrings. The same passementerie

White linen lining. Leather sole.

trim as on front. Fastened by a cord tied at the waist.

England

France

Nº Inv. 2001.1684.a-b

Nº Inv. 2002.139.a-b

349

35. Dress Coat

40. Dress

43. Tricorne

1765-1775

1790-1793

1798-1800

1780-1790

a) Dress in silk pékin taffeta striped in tones of greens, trimmed

Coat in yellow-green and black striped pékin silk, lined in the same

Long dress in beige, grey and light blue silk pekin, brocaded with

Black felt raised hat with wide brim raised to form three points held

with ruching around the neckline, sleeve edges and skirt. Bodice

fabric except in the back, lined in linen. Turn-over collar, front and

multicolor floral motifs. Bodice with square neck and pleats, adjusted

in place by four metallic brooches. Garnished with black ostrich

«à compères» finishing in two points in front and lined in natural-

cuffs trimmed with copper based glass buttons painted with a bird

by casing, high waisted and pleated at the back. Lon sleeves covering

feathers, a passementerie braid and a star on the brim. Lined in

coloured linen; eyelet fastening on the lining; elbow-length sleeves;

motif in white and gold on a blue ground. Pockets with flaps. Slit back

the hands and tightened at the wrists by a band of the same fabric.

leather and orange pongee silk, glued on top of silk paper.

pleats «à la piémontaise» in the back, finishing in a train. Overskirt

forming two wings with inverted pleats, trimmed with buttons.

Skirt entirely pleated. Fastened at side and at right shoulder. Bodice,

Label: « AU MOUSQUETAIRE/ Rue St. Honoré No. 70, près celle

sewn to the bodice, gathered and longer in the back. b) Upper part

France

sleeves and hem lined in ecru cotton taffeta. Wrists lined in cream

d’ Orléans/PAYEN/ Successeur de Contencin/ Marchand Chapelier/

of the skirt mounted on pieces of brown linen; fastened by a cotton

Nº Inv. 2005.101

colored silk damask.

Fait tout ce qui concerne son Etat et fournit les Troupes/ A PARIS »

Label: “156/ Etoffes”

France

36. Dress Coat

France

See illustrations 34 & 38

1790-1795

N°Inv. 2007.88

Nº Inv. 2006.209

30. Dress « à la Piémontaise »

drawstring tie in the waistband. France Nº Inv. 2004.1.a-b

Coat in brown, light blue and pink striped silk Gros de Tours in a 31. Waistcoat

cutaway line with short waistcoat shape in front, flap pockets. High

41. Travel Trunk with Five Hats

44. Bicorne

1783-1785

turn-over collar and cuffed sleeves. Pleats in back decorated with

1900-1920

Circa 1802

Cream silk satin waistcoat embroidered with floral motifs and a scene

buttons. Mother-of-pearl buttons inlaid with letters of the alphabet in

a) Rectangular trunk in natural leather with handle. Metal closure.

Hat in black silk plush with high brim folded to form a point on

from the tragedy «Dido», in polychrome silk thread, chenille and silver

silver filigree. Pockets and sleeves lined in silk.

Compartmentalized interior. b) Top hat in black felt, edge piped in

either side of the crown. Decorated on the front with an emblem

thread. Back in light blue linen. Lined throughout in ecru cotton fleece.

France or England

grosgrain ribbon, with ribbon around the crown. Interior in leather,

embroidered with metallic beads and finished with a repoussé metal

France

Nº Inv. 2001.574

paper and cream silk taffeta. c) Top hat in grey felt with a black felt

button. Lined in beige chintz.

ribbon around the crown. Brim edged with a beige grosgrain ribbon.

France

37. Dress Coat

Interior in leather, paper and cream silk taffeta. d) Bowler hat in black

See illustrations 34 & 38

embroidery conserved in the Cooper Hewitt Museum in New York,

Circa 1793

felt with silk ribbed ribbon around the crown and brim. Lined in cream

Nº Inv. 2002.118

United States

Coat in light brown silk Gros de Tours striped in pink, black, yellow

silk taffeta and brown leather. e) Bowler hat in grey felt with ribbon

Nº Inv. 2004.158

and red pekin silk. Buttons covered in the same fabric. High turn-

around the crown. Brim edged with a grey grosgrain ribbon. Lined

45. Undress Cap

over collar, cuffs with two buttons, flap pockets. Pleats in back

in cream silk and brown leather. f) Gibus in black ottoman with black

Circa 1860

32. Waistcoat

decorated with buttons. Green silk taffeta lining, except the sleeves

grosgrain ribbon around the brim. Lined in cream and black silk repp.

Cap in black-blue velvet embroidered with floral motifs in

Circa 1785

and back that are lined in ecru linen.

Label: a) « MI.L.B. » b) «WILLLOUGHBY HATTER/ 7 Rue de

polychrome thread, decorated at the crown’s centre with a

Straight waistcoat in cream silk taffeta, Beauvais embroidery of flowers

France

Castiglione Paris » c) «WILLLOUGHBY HATTER/ 7 Rue de

passementerie tassel. Lined in sky blue quilted silk taffeta.

and pastoral scenes in a naïve style at the hem. Small straight collar,

Nº Inv. 2004.3

Castiglione Paris » d) «WILLLOUGHBY HATTER/ 7 Rue de

England

Castiglione Paris », « Fabriqué a Londres », «FINEST QUALITY

Nº Inv. 2003.542

Embroidery inspired by the opera tragedy «Dido», libretto by Marmontel and set to music by Piccinni, represented in 1783. Waistcoat with similar

two embroidered rectangular welt pockets. Fastened in front by buttons covered in silk embroidered in stylized flowers. Linen lining.

38. Defraine and Duhamel

«MILB »,«Willoughby/7, Rue de Castiglione/ Paris/Importé

Adjusting tabs in back with the inscription: «ter/791/CS/14» in black ink.

Cabinet des Modes

d´Angleterre » e) «MLB », « WILLLOUGHBY HATTER/ 7, Rue de

46. Top Hat

France

Book 23, 2nd year, pl. 1

Castiglione, Paris », «Willoughby/7, Rue de Castiglione », «FINEST

Circa 1850

Circa 1788

QUALITY » f) «MILB » , «WILLLOUGHBY HATTER/ 7, Rue de

Top hat in mustard-coloured silk plush, brown grosgrain ribbon

Original coloured engraving on paper

Castiglione, Paris»

around the crown. Rigid, up-turned brim. Interior in burgundy felt,

33. Whalebone Corset

12x20 cm

France/England

leather and cotton ribbon.

1720-1760

France

Nº Inv. 2001.1893.a-h

Label: « PONTET/ 57 »

Corset in ecru linen and leather, laced in front and back by a yellow

Nº Inv. A1497

Nº Inv. 2004.366

France

ochre silk twill ribbon, entirely boned, with removable stomacher.

42. Undress Cap

Attaching hooks in front.

39. «Costumes Parisiens », Revue Journal des Dames

1700-1730

Europe

et des Modes

Cap in sky blue silk satin embroidered with metallic thread and silver

Nº Inv. 2005.24.a-b

1798, Year 7, n° 112

sequins. with floral designs. Trimmed at the top of the crown with

Original stencil colored engraving on paper

metallic and lamé thread with hanging flower-shaped pompons.

34. Anonymous

France

Lined in sky blue silk taffeta.

Circa 1793

12x20 cm

Europe

Original stencil-coloured engraving on paper

N°Inv. A1016

Nº Inv. 2005.216

Nº Inv. 2006.376

France 12x20 cm Nº Inv. A1490

350

351

52. «Costumes Parisiens » in the gazette Journal des

58. Handbag

63. Attributed to Marie-Gabrielle Capet (1761-1818)

1948-1951

Dames et des Modes

Circa 1822

Portrait of a young man

Hat in supple beige felt. Pinch front crown encircled with a brown

1825, nº 47

Handbag called “Sac-Gibecière” in a scallop shell shape, of

Circa 1815

grosgrain ribbon and flexible slightly upturned brim. Lined in cream

Original stencil-coloured engraving on paper

compressed cardboard covered in beige silk satin, with bellows in

Pastel on paper glued to canvas and wood

silk satin, with leather band.

France

pink silk satin. Decorated with floral motifs and metallic sequins.

France

Label: « FLAÑO/BEAVER 21/STETSON », « BEAVER/ TWENTY-

12x20 cm

Metal clasp sculpted with flowers, with a double metal chain handle.

72x59 cm

FIVE/American Manufacture/STETSON »

Nº Inv. A1565

Lined in plain weave ivory cotton.

Private collection

France or Germany

64. Double-Breasted Dress Coat

53. «Costumes Parisiens » in the gazette Journal

Nº Inv. 2006.213

Circa 1815

des Dames et des Modes

59. Slippers

Dress coat in black wool taffeta crepe, with a wide collar faced in

1825, nº 8

1830-1840

blue-black velvet. Long fitted sleeves, with two-buttoned slit cuffs.

48. Rosemont Quality Hats

Original stencil-coloured engraving on paper

Black velvet shoes with square toe. Vamp with cut-out edge trimmed

Fastened by central double buttoning. Back with two flat-pleated

1958

France

with pleated pink ribbon. Lined in quilted pink silk satin. Natural

panels and buttons. All the buttons are covered in blue-black velvet.

Hat in grey felt with cotton passementerie ribbon around the crown.

12x20 cm

leather sole.

Back lined in beige cotton twill.

Crown with concave pleats. Short, slightly upturned brim. Lined in

Nº Inv. A1527

France

Label:«GASTON COURTOIS/Costumier, Paris»

Nº Inv. 2002.433.a-b

France

47. Stetson

United States Belonged to Jorge Yarur Banna (1918-1991) Nº Inv. 2000.1346.JYB

twill and black silk stain, with leather band. Label: « Rosemont quality hats » United States

Circa 1800

60. Dress

Belonged to Jorge Yarur Banna (1918-1991); worn by Jorge Yarur

Circular steel and horn-rimmed glasses with arms finishing in two

1800-1805

65. «Costumes Parisiens » in the gazette Journal

Bascuñán in the 1980s-90s

rings for receiving a ribbon.

Dress in white cotton muslin with rounded train, slip stitch

des Dames et des Modes

Nº Inv. 2000.514.JYB

France

embroidery of leaves and floral motifs on the puffed sleeves and

1818, nº 1723

Nº Inv. 2006.482

around the hem of the skirt. Bodice with wide drawstring neckline,

Original stencil-coloured engraving on cotton paper

49. Hat

under the chest, fastened at the back with a tie; finely pleated back

France

1960-1965

55. «Costumes Parisiens » in the gazette Journal

skirt.

12x20 cm

Black felt raised hat. Pinch front crown encircled by a felt ribbon.

des Dames et des Modes

France

Nº Inv. A1600

Short, topstitched brim, slightly upturned. Lined in beige silk satin

1813, nº 29

Nº Inv. 2004.382

with brown leather band.

Original stencil-coloured engraving on paper

66. Spencer «à la Hussard »

Label: « Flexil Industria Argentina », « Flexil/ DILECT/ Avenida La

France

61. Fan

Plata 1494/SANTOS LUGARES » “(G) omarsino SQJC”

12x20 cm

1800-1815

Spencer in olive green silk satin, high collar trimmed with fluted

Nº Inv. A1528

Tulle fan embroidered with gold and silver sequins. Mounting of

pleats. Fitted sleeves with «jockeis»ballooned sleeve tops in

carved and pierced bone and wooden sticks. Copper and gold leaf

slashed effects. Decorated on the front with green silk frogging and

56. «Costumes Parisiens » in the gazette Journal

guard with motifs in relief, diamanté rivet.

passementerie pompons. Edge to edge fastening with fixed belt on

des Dames et des Modes

France

the lower edge. Double row of flounced peplums and four buttons

des Dames et des Modes

1823, nº 2146

Nº Inv. 2005.110

of green silk and cording.

1822, nº 15

Original stencil-coloured engraving on paper

Argentina Nº Inv. 2005.188 50. «Costumes Parisiens » in the gazette Journal

1822-1823

France or England

Original stencil-coloured engraving on paper

France

62. Young Girl’s Dress

France

12x20 cm

Circa 1815

12x20 cm

Nº Inv. A1548

Dress in white cotton muslin embroidered with silver metallic thread

67. Ankle Boots

and staggered rows of open-worked eyelets and floral motifs in

1830-1840

57. Handbag

silver lamé. Pleated bodice under the chest, with square drawstring

Square-toed ankle boots in green, red and white tartan silk taffeta

Circa 1822

neckline, fastened in the back by a silk ribbon. Long sleeves with

edged with a green ribbon. Fastened by embroidered eyelets and

Dames et des Modes

Handbag called “Sac-Gibecière” of rounded shape, in compressed

puffed head and a silk bias trim and decorated with silk ecru

green lacing cord. Lined in linen and white leather. Natural leather

1822, nº 11

cardboard covered in mauve silk velvet, with bellows in mauve silk

passementerie pompons; long cuffs decorated with the same bias

sole.

Original stencil-coloured engraving on paper

satin. Decorated with floral motifs, baskets and bouquets in high

trim and silk needlepoint lace. Skirt pleated below the waist, finely

France

relief. Clasp of sculpted metal with two metal chains. Lined in ecru

gathered at the back and closed with a silk ribbon; slits on both sides

Nº Inv. 2006.170.a-b

12x20 cm

cotton.

at belt level.

Nº Inv. A1584

France or Germany

Europe

Nº Inv. 2006.207

Nº Inv. 2004.369

Nº Inv. A1590 51. «Costumes Parisiens » in the gazette Journal des

352

N° Inv. 2003.588.a-c

54. Glasses

N° Inv. 2002.662

353

73. «Modes de Paris» in the gazette Petit Courrier

78. Spencer

82. Bonnet

des Dames et des Modes

des Dames

1822-1825

Circa 1845

1825, nº 47

15th September 1833, nº 124.1001

Spencer in light brown silk taffeta. Collar formed by a number of

Bonnet in old rose cotton chintz. Flat-ended conical crown piped

Original stencil-coloured engraving on paper

Original hand-coloured engraving on paper

panels finishing in a point. Front decorated with diagonal pleats.

with iridescent pink silk ribbons and bow in cream damask silk ribbon

France

Puffed upper sleeves, fitted at the wrist with decoration similar to

with geometric motifs in tones of pink. Edged in the front with cut-

12x20 cm

15x24 cm

collar. Edge to edge front fastening, finished with a waistband. Upper

out flounces and trimmed on the left side with a white ostrich feather

Nº Inv. A1565

Nº Inv. A1309

bodice lined in beige silk satin, the rest in ecru cotton.

and a flat pink silk bow. Pink notched silk ribbon ties. Lined in chintz.

Europe

Nº Inv. 2002.661

Nº Inv. 2004.372

68. «Costumes Parisiens » in the gazette Journal

69. Ball gown

74. Bonnet

1825-1827

Circa 1830

Dress in salmon pink silk damask with scattered flower motif and

Bonnet in ivory moiré silk taffeta with wide up-turned brim. Flat-

79. Waistcoat

83. Caroline Reboux

a chinoiserie border. High waist with rounded neckline adorned

topped conical crown decorated with ribbons and ivory striped silk

1835-1845

1885-1890

with blonde bobbin lace in a leaf motif and yellow diagonal bias.

pekin organza bow on the right-hand side. Brim edged with a wide

Waistcoat in brick-coloured silk satin embroidered with floral motifs

Small-crowned hat, called “Bibi”, in shirred purple silk velvet

Voluminous puff sleeves, yellow satin bias-trimmed neckline flap.

organza bias and ornamented on the inside with a moiré silk rosette.

in polychrome silk thread and metallic thread; fastened by buttons

decorated with green flowers and a purple feather in the centre.

Flared skirt with yellow satin bias quilted hem. Back hook and eye

Pekin silk organza ribbon ties. Lined in cotton gauze.

covered in the same fabric. Back in black silk twill, martingale in black

Moiré silk ties. Front lined in velvet.

fastening. Inscription of Chinese characters in Indian ink on a selvedge

France

chintz and stretch plain weave, metal eyelets for the lacing of a dark

Label: «Caroline Reboux/ 23. RUE DE LA PAIX»

inside the hem.

Nº Inv. 2002.711

blue silk ribbon.

France

Lined throughout in ecru cotton, edged in front by two bands of

Nº Inv. 2003.492

Europe 75. Day Dress

black silk twill.

Circa 1829

United States or England

84. Fan

70. «Costumes Parisiens » in the gazette Journal

Dress in silk damask brocade with flowering branches in pink, blue

Nº Inv. 2001.128

1885-1890

des Dames et des Modes

and green on an olive green ground, fastened in front by hooks and

1822, nº 36

eyes and a wide belt in the same fabric. Leg of mutton sleeves with

80. Day Dress

monkey heads wearing a lorgnette encircled with metal, and a wing

Original stencil-coloured engraving on paper

flat-pleated head, the pleats held in position at the shoulder by two

Circa 1838

collar. Each stick painted with the same motif.

France

piped tabs, wide adjustable cuffs. Skirt with flat pleats.

Dress in striped wool fabric with silk floating yarns and printed with

Probably France

12x20 cm

England

flowering branches. V-neckline draped across the bust, pointed

Nº Inv. 2007.94

Nº Inv. A1528

Nº Inv. 2002.151.a-b

bodice with small central bone, ornamented with green silk covered

Nº Inv. 2004.371

Brisé fan of natural wood. Guards simulating bamboo, sculpted with

buttons. Leg of mutton sleeves, tightened at the shoulder by a tab

85. Fan

76. S. Damours

decorated with the same covered buttons, narrow wrists with a cuff

Circa 1900

Circa 1825

«Modes de Paris» in the gazette Petit Courrier des Dames

effect trimmed with flat pleats and buttons, hook and eye fastening.

Silk fan, leaf painted with a woman’s face in profile, in «Art Nouveau»

Dress in gauze and silk pékin in tones of blue. High-waisted bodice

25th January 1834, nº 1033

Skirt with pleats in front and decorative ribbed band to the right

style. Tortoiseshell mounting, undulating shaped guard, metal rivet,

decorated with padded bias bands of light blue taffeta. Long sleeves

Original hand-coloured engraving on paper

center. Back with small pleats and hook and eye closure.

and loop.

with full pleated head; light blue bias-edged shirred wrists drawn

France

England

France

in by three bands of the same fabric. Skirt lightly flared in front,

17x24 cm

Nº Inv. 2004.293

Signed: Gendrot

gathered in the back; wadded hem trimmed with two padded rolls

Nº Inv. A1301

71. Dress

Artist who worked for the Duvelleroy house of fans 81. E. Préval

and three rows of pinked and scalloped light blue silk taffeta frills

Nº Inv. 2005.218

between two rolls.

77. Dress

Gazette Le Moniteur des Dames et des Demoiselles

England

Circa 1834

1872, nº 1044B

86. Botería Elegante by Pedro Burgos

Nº Inv. 2003.502

Moderately high-waisted dress in mauve silk taffeta, slip stitch-

Original hand-coloured engraving on paper

1900-1905

embroidered in thick pale mauve silk thread. Bodice with crossed

France

Beige leather ankle boots with pointed toe. Fitted leg, fastened with

flat pleats, V-shaped boning. Leg of mutton sleeves capped with

21x30 cm

cotton laces and eyelets. Triangular topstitching and perforations on

Circa 1830

three petals in the same fabric, pleated wrists, embroidered with a

Nº Inv. A1510.7

toe. Waisted heel covered in the same leather.

Long at-home robe in cotton chintz printed with floral, tree and bird

garland of leaves, fastened by two fabric covered buttons. Skirt with

Lined in red cotton. Natural leather sole.

motifs on an ecru ground. Large turn-down collar, double-breasted

flat pleats on the front and small plaits on the back, enhanced by a

Label: « BOTERIA ELEGANTE/de/Pedro Burgos/VALPARAISO/

self-covered button fastening. Long sleeves with lightly pleated head.

zigzag and embroidered floral garland motif decoration. Fastened in

VICTORIA 97 »

Two pockets with flaps at hip level. Three buttons in the back.

the back by hooks and embroidered eyelets and a cord at the waist

Chile

England

and neckline.

Nº Inv. 1999.560.a-b

Nº Inv. 2003.509

Probably United States

72. Man’s At-Home Robe

Nº Inv. 2003.495.

354

355

91. «Visite» Mantle

96. M. Carrache

102. Anaïs Toudouze

Paris Ladies’ Magazine of Fashion

1863-1866

« Modes de Paris » in the gazette Petit Courrier des Dames

Gazette La Mode Illustrée, Journal de la Famille

April 1848, pl. III

Mantle known as a «visite» cut from a cashmere shawl of blue and

20th June 1868, nº 3643

26th September 1875, nº 39

Original hand-painted engraving on paper

red paisleys on an ecru ground, with a small straight collar. Flared

Original hand-coloured engraving on paper

England

shape with very flared raglan sleeves. Hemline edged with silk

France

21x28 cm

passementerie fringing. Fastened by two frogs with thread buttons

19x28 cm

24x37 cm

Nº Inv. A1468

and three hooks and eyes. Applied decoration of passementerie and

Nº Inv. A1019

Nº Inv. R11H

France

97. Jules David

103. J. Bonnard and E. Préval

Nº Inv. 2005.35

Gazette Le Moniteur des Dames et des Demoiselles

Dress in fuchsia, pink, black and ivory silk taffeta tartan motif.

1869, nº 929

1871, nº 1015B

Boned bodice finishing in a point, boat neckline. Back fastened with

92. Charles Pilatte

Original hand-coloured engraving on paper

eyelets embroidered in ecru thread. Short straight sleeves, double

Original drawing

France

21x30 cm

shirred over sleeves in ecru silk tulle. Neckline, armholes and bodice

Circa 1865

21x30 cm

France

waist piped in green silk. Lined throughout in ecru cotton plain weave.

Ink and watercolour drawing on paper

Nº Inv. A1510.3

Nº Inv. A1510.5

Full skirt with flat pleats distributed in opposing senses around the

France

waist. Back hook and eye fastening. Two small interior pockets on both

25x31 cm

98. Jules David

104. Worth & Bobergh

Nº Inv. A1268

Gazette Le Moniteur des Dames et des Demoiselles

1867-1870

with a pleated ribbon of green silk. Skirt lined throughout in ecru

1870, nº 948

Dress in two parts, in rust-coloured silk faille. a) Boned bodice with

cotton gauze.

93. Charles Pilatte

Original hand-coloured engraving on paper

long sleeves trimmed in applied decoration of ribbons and strips of

France

Original drawing

France

the same fabric; fastened by nine self-covered buttons. Lined in ecru

Circa 1865, nº 2986

21x30 cm

silk taffeta, small pads placed at the bust line and shoulder blades. b)

Ink and watercolour drawing on paper

Nº Inv. A1510.4

Very full skirt with back basque trimmed with the same bias bands

87. « Fashions for April » in the gazette The London and

tassels at the centre back. Lined throughout in light blue silk twill. 88. Dress 1845-1848

sides of the skirt. Hem reinforced by a band of beige chintz and edged

Nº Inv. 2004.306.ab

and cut-out “fleur de lys” shapes; two floating panels trimmed in

89. Dress

France

Circa 1855

25x31 cm

99. E. Préval and J. Bonnard

pendant ochre corded silk tassels. Bristle lining.

Nº Inv. A1278

Gazette Le Moniteur des Dames et des Demoiselles

Label: «Worth Bobergh, 7 rue de la Paix Z- Paris»

and chiné a la branche taffeta. Boned bodice finishing in a point,

1872, nº 1034B

France

trimmed with a narrow cape effect and bows. Pagoda sleeves with

94. M. Carrache and E. Préval

Original hand-coloured engraving on paper

The commercial association of Charles Frederick Worth with Otto

puffed over sleeves. Round, pleated skirt with six flounces.

« Modes de Paris » in the gazette Petit Courrier des Dames

France

Gustaf Bobergh endured from 1857 to 1870

France or England

2nd March 1867, nº 3562

21x30 cm

Nº Inv. 2001.131.a-b

Nº Inv. 2004.162.a-b

Original hand-coloured engraving on paper

Nº Inv. A1510.6

Dress with flounces «à disposition», in cream and green silk pekin

105. Charles Frederick Worth

France 15x28 cm

100. Jules David

1875-1876

Nº Inv. A1021

Gazette Le Moniteur des Dames et des Demoiselles

Wedding dress in two parts, in ivory Gros de Tours silk. Boned

Dress in cotton pékin with bands of purple and white flecked with

1873, nº 1072B

bodice fastened in front with buttons and hooks and eyes, edged

black. Waisted bodice with high round neckline, lined from the waist

95. Wedding Dress

Original hand-coloured engraving on paper

with ivory silk corded fringing. Pointed neckline with applied pinked

to the bust line in cotton. Three-quarter sleeves with pleated heads,

1868-1870

France

collar and ornamented with a bow at bust level. Small back basque.

composed of two flared flounces of different lengths. Round, entirely

Dress in two parts, in embroidered cotton batiste. a) Bodice with short

21x30 cm

Long fitted sleeves ornamented with frills and a bow at the wrist.

pleated skirt, adorned with five ruffled flounces around the hem.

peplum in front, long in back forming two wings, button-fastened in

Nº Inv. A1510.8

Overskirt with bustle, opened at the front, with pleats in the back

France

front. V-neckline and flared sleeves edged with scalloped flounces and

Nº Inv. 2002.429.a-b

embroidered with reeds and leaves. b) Full finely pleated skirt, decorated

101. Jules David

fringing at the hem. Skirt bottom lined in bristle trimmed with a

with flounces (embroidered and scalloped in front, smooth in back),

Gazette Le Moniteur des Dames et des Demoiselles

flounce of lace-edged pleated cotton.

separated vertically by a flounced border, simulating an overskirt. Petticoat

1874, nº 1175B

Label: «WORTH/7, RUE DE LA PAIX. PARIS»

in cotton batiste decorated with a needlepoint lace-edged flounce.

Original hand-coloured engraving on paper

France

Nº Inv. 2002.59.a-b

Nº Inv. 2002.716.a-c

21x30 cm

90. Day Dress 1858-1860

forming a train. Draped skirt with applied ruching and silk thread

Nº Inv. A1510.1

356

357

110. «Visite»

116. Boater

121. George Barbier

Circa 1877

Circa 1890

1895-1898

« Minuit!..ou l’Appartement à la Mode », in the portfolio Le Bonheur

Dress in cotton organdy buttoned and fastened in front by hooks

Mantle in beige silk ottoman embroidered with floral motifs in

Boater in brown braided straw. High crown encircled with four light

du Jour ou Les Grâces à la Mode

and eyes. Central front and long shirred sleeves edged with ruching

polychrome silk thread and decorated with beige and brown silk fringes

and dark brown striped silk ribbons, trimmed with two bows of the

1920

and pleated ribbons.

and pendant beads. High round neckline. Two panels of the same fabric

same ribbon, topstitched at the border. Crown lined in black silk

Original stencil-coloured etching on paper

Draped at the hips and large shirred puffs in the back. Inside skirt

sewn to the shoulders, leaving the armhole free and forming the sleeves.

taffeta.

France

in pleated cotton edged with cotton lace and trimmed with a wide

Edge to edge fastening. Lined throughout in beige silk satin.

Label: «31 MR»

30x47 cm

«balayeuse» ribbon.

France

Nº Inv. EXH92.12

Probably United States

Nº Inv. 2002.115

Nº Inv. 2002.440

« Eventails » in the portfolio Le Bonheur du Jour ou Les Grâces à la Mode

106. Dress

1924

Nº Inv. 2006.89 111. Ankle Boots

117. Gazette La Mode Illustrée, Journal de la Famille

Original stencil-coloured etching on paper

107. Young Girl’s Dress

Circa 1875

Original hand-coloured engraving on paper

France

Circa 1887

Ankle boots with round toes in black silk satin with floral motifs

March 1900, nº 13

30x47 cm

Dress in two parts in red cotton satinette resist-printed with a white

embroidered in polychrome silk thread. Fitted leg with curved top

France

Nº Inv. EXH92.1

geometric motif.

edges. Metal eyelets and black laces. Waisted heel covered in black

27x37 cm

a) Fitted bodice crossed-over in the front, on a buttoned white

silk satin, embroidered with a floral motif in polychrome silk thread.

Nº Inv. R11H1

cotton tucker; pointed in the back. Adjoining funnel collar fastened in

Lined in ivory silk satin and white cotton. Natural leather sole.

122. Fan 1910-1920

front. Long sleeves full at the elbow, fitted by a series of pleats held

France

118. Wedding dress

in place by lines of fishbone stitching in ecru silk corded thread. b)

Nº Inv. 2006.21.a-b

Circa 1906

woman draped in a pink veil before the rising moon. Mounting in

Dress in two parts in black silk satin. a) Bodice inset with a high

tortoiseshell style horn, pierced, engraved and studded with gold

112. Gazette La Estación, Periódico para Señoras

collared beige silk satin plastron, trimmed with lace flounces and

discs.

and flat pleats at the waist. Inside side pocket.

1st August 1898, nº 15

black silk ribbons. Puffed sleeves to the elbow, trimmed with lace

France.

France or England

Original black and white engraving on paper

and black silk ribbon flounces. b) Flared skirt finishing in a train

N° Inv. 2007.95

Argentina

ornamented with lace flounces trimmed with black silk ribbons

25x37 cm

placed in herringbone form. Fastened in the back with metallic hooks

123. André Perugia

Nº Inv. R15E2

and eyes.

1922

1892-1894

Chile

«Charles X» shoes with raised tongue in Aubusson style tapestry;

Cape in figured silk, ecru satin ground decorated with gold thread leaves

113. Gazette France Mode

Donation: Verónica Fajardo. Belonged to Isolina Pitto Luppa, worn for

polychrome floral motifs on an ivory ground. Bobbin shaped heels

and flower garlands in black silk thread. Small collar in cream silk satin

29th November 1896, nº 48

her wedding.

lacquered in fine gold. Lined in beige leather and sole in natural

edged with mink and decorated with an arabesque motif in metallic

Original black and white engraving on paper

N° Inv. 2001.583.a-b

leather.

cord; fastened with a hook and eye under a knot of pink ostrich feathers.

France

Overskirt sewn to the bodice, composed of a straight front panel and a pleated, rounded panel in the back. Gently flared skirt, with darts

Nº Inv. 2003.730.a-b 108. Charles Frederick Worth

Painted tulle and silk leaf with a central panel depicting a young

Label: «Perugia/BREVETE S.G.D.S/ 21 AVENUE NOTRE/DAME

Central front adorned with a plastron covered in cotton guipure and at

28x37 cm

119. Corset

the waist a large pink ribbed silk bow with long fringe-trimmed pendant

Nº Inv. R13D

1904-1908

France

a) Corset in beige cotton twill with bones covered by white cotton

Model «Aubusson», Perugia for Paul Poiret

114. Collet

ribbons. Edged with a wide piece of beige cotton lace and applied

Nº Inv. 2005.94.a-b

France

1895-1898

decoration of beige silk ribbons. Fastened in the back by cotton laces

Nº Inv. 2003.334

Collet in silk brocade on boucle velvet with marabou feathers, with

and metal eyelets, in front by metallic hooks and eyes. Equipped

124. Duvelleroy

an irregular all-over pattern of pale blue and pinky-beige plumetis,

with two white elasticized cotton ribbon suspenders in the front. b)

1905-1910

edged with brown marabou feathers and fastened by four hooks and

Original box in white cardboard with illustrated label.

Tulle leaf fan inset with satin and sequins in vegetable motifs.

Circa 1897

eyes. Adorned at the collar by a wide band of pink silk satin and a

Label: a) «GARANTI TOUT BALEINE» .b) «Corset de Paris…

Mounting and serpent-like guard in Irish horn studded with gold

Dress in figured and brocaded silk on a ground of pale pink Gros de

bow of several loops in the back.

fabriqué expressement pour AU CORSET BLANC/ 38- rue

sequins.

Tours with pink and pale blue flower garland motif. a) Boned bodice

Lined in wadded pink silk satin.

d’Alsace-Loraine- Toulouse-I-C à la Perséphone»

Label: « Duvelleroy/ Bd. de la Madeleine» on the box.

with low neckline, fastened in front by a series of hooks and eyes.

France

Nº Inv. 2003.319

N° Inv. 2002.665.a-c

Signed: Duvelleroy

velvet bow, and two smaller bows in the front. Fastened by hooks

115. Gazette La Estación, Periódico para Señoras

120. Reutlinger House

and eyes, lined throughout in pink taffeta.

1st August 1898, nº 15

Album of postcards of the theatre actress, Elise de Vère

Label: «Crouset-/Rue Moustier 8 /Marseille»

Original black and white engraving on paper

Circa 1900

France

Argentina

Black and white postcards, hand colored (cardboard)

Nº Inv. 2003.451.a-b

27x35 cm

France

Nº Inv. R15E1

22x40 cm

tails. Lined throughout in pink silk; two inside pockets. Label: «Worth»

109. Crouset

Short pleated sleeves, ornamented with a pink silk velvet bow. b)

NICE», «Modèle Deposé/Perugia»

Nº Inv. 2007.96

Flared skirt with deep inverted pleats in the back, trimmed with a

Private collection of Jorge Yarur Bascuñán 358

359

130. André Perugia

135. Caroline Reboux

139. Lady at the Longchamp Racecourse

1923-1924

1939-1940

1910-1912

Société des Nouveautés Textiles

Hat covered in ivory silk with applied embroidery of ivory silk ribbon

Shoes in black suede with platform sole covered in gold leather.

Wide-brimmed hat in plaited straw. Large round brim in, pink with

June 30th, 1912

and pentagonal shaped purl beads. High round crown encircled by a

Round toe. Supple heel counter with two black and gold leather

back border. Round crown adorned with two large pink ostrich

Original black & white photograph on paper

ribbon finishing in a bow, very short brim. Lined in ivory silk.

adjusting bands that tie. Gold leather interior visible on the edges.

feathers. Crown lined in ivory silk taffeta, brim lined with pink silk

France

Label: « 702 Y jim 69oo »

Thick black leather sole.

taffeta and black velvet border.

France

Label: « Perugia pour PADOVA/2, RUE DE LA PAIX/ PARIS »

Label: « Caroline Reboux/23. Rue de la Paix/PARIS »

13x18 cm

France

Nº Inv. F42

Padova was the commercial label used by Perugia in the United States

Nº Inv. 2002.708

125. Cloche Hat

Nº Inv. 2003.449 126. André Perugia

140. Paul Poiret

NºInv. 2001.755.a-b

1934-1936

136. Dress

1906-1909

Court shoes in taupe-coloured suede with topstitched cut-out on

131. Lady at the Longchamp Racecourse

circa1908

Evening coat in draped apricot silk velvet. High collar trimmed with

the vamp. Edges piped in silver leather. Louis heel. Lined in grey and

Société des Nouveautés Textiles

Dress made entirely of pleated, pin tucked and smooth bands of ecru

gathered flounces of gauze. Hood in beige silk lace and apricot

natural leather. Natural leather sole.

June 2, 1912, nº 414

cotton batiste and trimmed with cotton insertion lace. Long slim

gauze embroidered with gold metallic thread, sequins and cording.

Label: « Perugia/Bte. S.G.D.G/21. Ave N. DAME-NICE/11. FAUB, G

Original black & white photograph on paper

sleeves fastened with two buttons. Collar boned at the side. Skirt

Gathered shoulders, long sleeves fitted at the wrists and front bodice

St Honore-Paris », « MODELE DEPOSE/ PERUGIA »,

France

enhanced with lace and finished with a flounce. Fastened in the back

with the same applied decoration. Lined in apricot silk and silk gauze

« Pre 9264/No. 22660 », «PERUGIA»

by a series of buttons to mid-thigh.

of the same colour.

France

13x18 cm

Europe

Label: «Paul Poiret-Rue Pasquier 37 Paris»

Nº Inv. 2000.363.a-b

Nº Inv. F151

Nº Inv. 2003.727

France Acquired in Chile

132. Couple at the Auteuil Racecourse

137. Dress

Circa 1933

Société des Nouveautés Textiles

1911-1912

Open toe leather shoes with strap in black silk satin over leather,

March 3, 1912, nº 55

Dress in red silk taffeta under a double tunic in raspberry cotton

141. Paul Poiret

edged in silver leather; vamp composed of two broad crossed bands,

Original black & white photograph on paper

tulle, all-over slip stitch embroidery of circular motifs in raspberry

1909

heel counter cut-out in an effect of being interlaced with the strap.

France

cotton thread, and taffeta flowers. Fastened in the back by a series

Long straight dress in linen printed with a motif of white dots on a

High straight heel with silver application. Lined in ivory and natural

of hooks and eyes. Boned bodice with ¾ length sleeves with black

blue ground. Bodice with long kimono sleeves, embellished in front

leather. Black leather sole.

13x18 cm

silk velvet trim, enhanced with a plastron in raspberry-coloured silk

and back with a triangular plastron in navy blue linen with an applied

Nº Inv. F6

velvet, and tulle neck band embroidered with leaf motifs in ecru and

decoration of floral and linear motifs in white braids and cording.

PADOVA/PARIS »

gold metallic thread.

High waist accentuated by a black velvet ribbon (not the original),

France

133. Ladies at the Chantilly Racecourse

Label: « A-Peyri Vda Mercadal / Barcelona »

reinforced inside by two wide ecru grosgrain ribbons. Fastened in the

Padova was the commercial label used by Perugia in the United States

Société des Nouveautés Textiles

Spain

back by hooks and eyes and press studs. Weighted hem.

June 9, 1912, nº 468

Nº Inv. 2004.467

Label: «Faubourg/Saint Honoré/1909»

127. André Perugia

Label: « PERUGIA/Ste. PADOVA/2 RUE DE LA PAIX-PARIS » «

Nº Inv. 2000.362.a-b

France

Original black & white photograph on paper 128. Handbag

France

138. Crouset

Circa 1921

1911-1912

Handbag in three-coloured metallic chain-mail with a woven effect.

13x18 cm

Straight dress in petrol-blue pékin silk muslin. Bodice formed by layers

142. Paul Poiret

Gold metallic clasp with a sapphire rivet. Strap in matching metallic

Nº Inv. F157

of petrol blue cotton tulle embroidered with floral motifs on a white

Circa 1910

pongee ground. Square neckline adorned with a yoke in ecru cotton

Long coat in ochre linen lined taffeta in white lawn printed with

134. Ladies at the Longchamp Racecourse

tulle embroidered in pastel tones and gold metallic thread. Three-

carmine red lines; fastened at the side by an ecru cotton and pink

Probably France

Société des Nouveautés Textiles

quarter sleeves edged with ecru lace embroidered with grey beads.

wool corded frogging with five buttons covered in ochre linen, ecru

Nº Inv. 1999.1161.a-b

June 27, 1912, nº 574

Fastened in the back by press studs. Lined in beige cotton. High waist

cord and edged with a pink and white floral motif. High collar with a

Original black & white photograph on paper

with a wide belt of blue silk satin tied at the side and accentuated in

border in linen printed with an undulating striped motif in burgundy

France

the back by four buttons securing a long panel of tulle and macramé

tones, fastened by two hooks and eyes. Kimono sleeves tightened at

1930-1935

trimmed with fringing. Skirt composed of a pekin overskirt, of geometric

the lower arm, with wrists fastened by the same frogging detail and

Handbag in burgundy textured leather, semi-conical shape with

13x18 cm

cut in front and square train in the back, trimmed with silk pongee ribbon

lining identical to collar.

Nº Inv. F208

and embroidered discs. Blue embroidered tulle skirt. Silk taffeta lining.

France

handle. Lined in burgundy crêpe equipped with two pockets.

Label: « Crouset/8 RUE MOUSTIER/MARSEILLE »

Nº Inv. 2005.92

Germany

France

Nº Inv. 2006.142

Nº Inv. 2003.309

chain-mail. Label: « 1111.24 »

129. Handbag

inverted pleats. Circular clasp in gold metal and black plastic. Short

360

Nº Inv. 2005.225

Nº Inv. 2005.108

361

146. Paquin

150. Bally

155. Attributed to Francis

1910-1920

1918-1919

1923-1925

Original sketch

Tunic-dress in black silk satin entirely pleated with small irregular

Straight sleeveless dress formed of two panels in green silk figured

«Charles IX» shoes with strap in leather covered in black satin

Model «Très pratique»

pleats. V-neckline in front and back trimmed with a black cord

satin with gold lamé in an alternating geometric motif, finishing in a

embroidered with geometric motifs in red, green, blue and gold silk

Winter 1929-1930

crossing the bust, finished with a large tubular blue and white glass

hem pointed on either side.

thread. Heel counter with cut-out and topstitched strap fastened by

Drawing, pencil, ink and watercolour on paper

bead. Kimono style sleeves with shoulders and wrists accentuated by

Two inverted pleats in front.

a rectangular buckle with diamanté inset. Waisted satin-covered heel.

France

black cording and glass beads.

Armholes trimmed with a band of dark green silk chiffon gathered at

Interior and sole in black leather.

24x32 cm

Italy

the shoulders with a free panel on the right hand side. Bodice lined

Label: «Bally Marque Déposée/ Importé de Suisse», «Bally importé

Nº Inv. A277

Model «Delphos»

in ecru silk taffeta.

de Suisse ».

Nº Inv. 2000.632

Label: «PAQUIN-PARIS-LONDRES-BUENOS AIRES-

Switzerland

156. House of Worth

MADRID/1918-1919/43114/Nice France/151»

Nº Inv. 2003.361.a-b

Original sketch

143. Mariano Fortuny

144. Jeanne Hallée

France

Circa 1915

Nº Inv. 2002.551

Model «Gwen» 151. Attributed to Paquin

Fall 1936

Original sketch

Drawing, pencil, ink and watercolour on paper, fabric sample

147. Dress

Model «Véronique Conmiss»

France

muslin, silk ecru tulle embroidered with floral motifs in metallic

Circa 1922

1921-1922

26x18 cm

golden thread. Sailor collar in black silk satin, brocaded with floral

Straight dress with short sleeves in green linen embroidered with

Drawing, pencil, ink and watercolour on paper

Belonged to American actress Ava Gardner (1922-1990)

motifs in red, blue and gold metallic thread, trimmed by a golden

geometric motifs and stylized leaves in ecru soutache braid and slip

France

Nº Inv. A316

cord. ¾ sleeves with upturned borders, cuffs decorated with

stitch embroidered open-work. Neckline slit, attached by two ties.

24x32 cm

identical tulle to neckline, interior of sleeves in cream colored silk

Small pleats at each side of the waist. Elastic waist, self-tie belt.

Nº Inv. A266

tulle. Square peplums in the back. Snap closure buttons in the front

Europe

Dress in black silk moiré velvet. a) Bodice, with interior bodice in V-cut neckline of cream colored silk satin; superimposed with silk

157. House of Worth Original sketch

152. Attributed to Paquin

Model «Marly»

ribbon at waist. b) Long skirt with amplitudes in the shape of

Original sketch

1936

kerchiefs on the sides and at the knees, decorated with pleats and

148. Nicole Groult

Model «Confidence»

Drawing, pencil, ink and watercolour on paper, fabric sample

braided cotton cord tassels and black silk fringes. Lined in black silk

1923

1921-1922

France

satin, Interior with black grosgrain ribbon at waist. Closure with

Long dress in black silk with round neckline and short sleeves,

Drawing, pencil, ink and watercolour on paper

26x18 cm

brooches and snap buttons on the back.

opened in front over a skirt in fuchsia silk crêpe. Embroidered with

France

Belonged to American actress Ava Gardner (1922-1990)

Label: « Jeanne Hallée/ 3 rue de la Ville l’Evêque/ PARIS » « Elspeth

placed floral motifs using chain stitch, pick stitch and slip stitch.

24x32 cm

Nº Inv. A307

Phelps / 28, Albermarle St /PICCADILLY W. »

Fastened on the left side by a series of hooks and eyes.

Nº Inv. A281

France

Label: «NICOLE GROULT-29 RUE D’ANJOU 29»

N°Inv. 2007.360

France

153. Attributed to Francis

Original sketch

Nicole Groult, sister of the couturier Paul Poiret. Similar dress published

Original sketch

Model «Devise»

in « Fémina » magazine, January 1923, page 12, photograph by Albin

Model «Lulu»

1936

1914-1920

Guillot

Spring 1927-1928

Drawing, pencil, ink and watercolour on paper

High-vamped court shoes in leather covered in black satin enhanced

Nº Inv. 2004.465

Drawing, pencil, ink and watercolour on paper

France

26x18 cm

149. Cloche Hat

24x32 cm

Probably from the atelier «Muriel»

velvet in the centre applied to the vamp. Waisted heel covered in

Circa 1925

Nº Inv. A153

Belonged to American actress Ava Gardner (1922-1990)

black velvet. Interior and sole in black leather.

Hat in navy blue plaited straw trimmed with a fan motif of

and draped black silk band. Interior with ecru colored grosgrain

145. Hellstern & Sons

Nº Inv. 2004.296

with metallic gold thread lace and floral motifs embroidered in polychrome silk ribbons. Metal buckle inset with diamantés and

158. House of Worth

Nº Inv. A293

Label: « Hellstern & Sons/Brevetés/Paris »

polychrome ribbons, tied together in a knot with a navy blue ribbon.

154. Attributed to Francis

France

High round crown. Very short brim with a small cut-out on the left

Original sketch

159. George Barbier

side.

Model «Le Captif»

«Mademoiselle Spinelly Chez Elle», in the portfolio Le Bonheur du

France

Winter 1924-1925

Jour ou Les Grâces à la Mode

Nº Inv. 2003.446

Drawing, pencil, ink and watercolour on paper

1921

France

Original stencil-coloured etching on paper

24x32 cm

France

Nº Inv. A250

30x47 cm

Nº Inv. 2003.362.a-b

Mademoiselle Spinelly, née Élise Fournier (1890-1966), actress whose official couturier was Paul Poiret. Dress in the museum’s collection. Nº Inv. 2005.91 Nº Inv. EXH92

362

363

165. Tollman

169. House of Lucien Lelong

174. House of Lucien Lelong

1921

1925-1926

Original sketch

Dress in green ribbed silk. Short all-in-one sleeves trimmed in black

Straight dress in navy blue silk crêpe with a diamond-shaped motif

Model «Joyce»

Model «Tilly»

taffeta. Fitted bodice with round neckline, lined in beige silk chiffon.

formed by embroidered lines of iridescent black beads. Front

Winter 1933-1934

Full skirt gathered on the hips, with superposed panels in front and

chesterfield closing with a series of five press studs. Square neckline

Drawing, pencil and watercolour on paper

Drawing, pencil and watercolour on paper, with fabric sample

back, edged in black taffeta forming a Greek motif accentuated with

trimmed with an adjoining scarf; long narrow sleeves with wrists

France

a soutache of black and metallic thread. Fastened in the left back by a

fastened by two self fabric-covered buttons. Presence of belt loops

17x30 cm

series of hooks and eyes.

on the sides.

Nº Inv. A1399

Nº Inv. A1454

See n°159

Label: «TOLLMAN/PARIS/35, RUE DE MIROMESNIL»

Nº Inv. 2005.91

France

170. House of Lucien Lelong

175. House of Lucien Lelong

Nº Inv. 2000.873

Original sketch

Model «Suzan»

Model «Héloïse»

166. Jenny

Winter 1933-1934

Dress with straps in gold lamé fabric under green silk gauze pleated

1925-1927

Drawing, pencil and watercolour on paper

Drawing, pencil and watercolour on paper, with fabric sample

at the sides. Skirt enhanced by two rows of gauze frills, edged with

Ensemble in beige silk chiffon, cream crêpe silk and figured muslin with

France.

a green silk fringed ribbon. Waist accentuated by a lamé ribbon

velvet discs in a black and white geometric motif.

17x30 cm

covered in green silk gauze.

a) Under dress in ecru crêpe with two shoulder straps and opened on

Nº Inv. A1450

Nº Inv. A1383

Label: «JENNY/PARIS/ Nº 10599-MODELE DEPOSE»

the left side. b) Sleeveless dress in transparent solid-coloured silk crepe,

171. House of Lucien Lelong

France

pleated silk skirt with velvet decorated border. c) Long-sleeved muslin

Original sketch

176. Jeanne Lanvin

blouse, decorated with velvet, with round neckline trimmed by a bow

Model «Philipp»

1937

with long pendant tails. Trimmed in front and back by a central band of

Winter 1933-1934

Dress in navy blue embroidered silk crêpe cut on the bias. Cross-

162. Chanel

buttons d) Tubular scarf in cream colored crepe with velvet decoration.

Drawing, pencil and watercolour on paper, with fabric sample

over bodice, forming a belt fastened in the back by a buckle. Short

Circa 1924

Label: «JENNY», «UNIS FRANCE», «PARIS Nº 4963-MODELE

France

sleeves with square head, embroidered with an arabesque motif in

Sleeveless dress, gently flared in black silk satin crêpe, partially

DEPOSE»

17x30 cm

white beads over sequins.

covered in lace embroidered with grey iridescent beads. Panels of

France

Nº Inv. A1435

Label: «Jeanne Lanvin/PARIS», «UNIS FRANCE», «14», «7»,

black crepe tied at the right shoulder and the left hip.

Nº Inv. 2002.82.a-d

160. Paul Poiret

161. Jenny Circa 1920

Nº Inv. 2000.954

«1937», «40410»

Label: «CHANEL», «28055»

172. House of Lucien Lelong

France

167. Lucien Lelong

Original sketch

Nº Inv. 1999.751

Nº Inv. 2001.754

Circa 1925

Model «Lydie»

Coat in black silk velvet, with straight kimono cut and an application

Winter 1933-1934

177. Madeleine Vionnet

in band form of a figured red repp fabric with black and gold lame

Drawing, pencil and watercolour on paper, with fabric sample

Circa 1938

Circa 1925

geometric motifs Pleats at the hips and large slits at the sides. Rabbit

France

Dress in pale blue silk crepe. Bodice on the bias with collar cut all

Straight «flapper» sleeveless dress in gold lamé figured with

fur collar and cuffs. Long sleeves with pleated shoulders, lined with a

17x30 cm

in one; gathers under a stone brooch in the form of two opposing

diamond-shaped motifs, deep V-neck front and back. Bodice edges

band of same figured fabric. Closed with two black Bakelite buttons

Nº Inv. A1410

half-moons. Short sleeves with square head. Flared bias-cut skirt,

embroidered with a band of pink and gold beads. Skirt embroidered

located at the hip and at the neck. Entirely lined in black silk velvet.

163. Evening Dress

triangular yoke at the waist.

with bead fringing placed in an abstract floral motif.

Label: « Modèle déposé / Made in France / Lucien Lelong / 16 rue

173. House of Lucien Lelong

Probably United States

Matignon / Paris »

Original sketch

France

Nº Inv.2007.365

Model «Valérie»

Nº Inv. 2004.471

Nº Inv. 2001.1899

Label: « Madeleine Vionnet/déposé»

Winter 1933-1934 164. Agnès

168. House of Lucien Lelong

Drawing, pencil and watercolour on paper, with fabric sample

178. Madeleine Vionnet

Circa 1923

Original sketch

France

Circa 1934

Loose coat in pale burgundy silk lamé and pink figured velvet with

Model «William»

17x30 cm

Ensemble composed of coat and dress a) Dress in brown silk

a floral motif embroidered in metallic thread, beads, tubes and

Winter 1933-1934

Nº Inv. A1457

velvet, with collar cut all in one forming two tied points, sleeves

diamantés. Straight form with skirt gathered from the waist. Collar in

Drawing, pencil and watercolour on paper, with fabric sample

drawn in at the wrists by pleats on the back, biased cut. Flared

padded velvet with flat pleats.

France

skirt, no waist seam. b) Coat in brown wool sateen, high turn-

Label: «AGNES/MADE IN FRANCE/signature Mme Havet/PARIS/ 7,

17x30 cm

down collar in brown silk velvet fastened by a button covered in

RUE AUBER»

Nº Inv. A1463

the same fabric and loop, full sleeves narrowed at the wrist in silk

France

velvet with wool sateen head.

Nº Inv. 2003.494

Label: « Madeleine Vionnet / déposé» France Nº Inv. 2000.1257.a-b

364

365

184. Cover of the gazette Margarita

188. Rose Descat

193. Denise Squéville

Circa 1935

12th December, 1936, nº 133

Circa 1939

1943-1945

a) Fitted dress in embossed black and white checked gauffered

Original colour photoengraving on paper

Hat in shiny plaited black, green, red and blue vegetal fibre.

Turban in lilac felt and jersey. High crown in felt with asymmetric

viscose and acetate. Bodice with small round collar lined in pink

Chile

Short crown encircled with a black net ribbon. Wide brim

folds at the front; head piece in draped jersey with back pendant

viscose taffeta and short sleeves, embroidered in mercerized

18x25 cm

topstitched with two red bands.

panel.

Nº Inv. R4A

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN

Label: « Denise Squéville/20 Rue des Capucines/Paris »

leaves. b) Bolero with long sleeves with square head formed by

FR ANCE»

France

two inverted pleats. Shawl collar lined with a thick pink viscose,

185. Rose Descat

France

Nº Inv. 2004.474

fastened by two covered buttons. Lined throughout in pink

1934

Belonged to Oriana Izquierdo de Valenzuela

viscose.

Hat in supple black felt. Crown formed by three irregular

Nº Inv. 1999.1230.OI

Probably France

geometric pieces, top cross-stitched, encircled by a black

179. Ensemble

cotton with floral motifs in tones of pink and green and white

194. Otto Lucas 1940-1941

grosgrain ribbon. Interior reinforced with a bias band of black

189. Rose Descat

Toque in grey wool felt. High-sided ribbed upper topstitched

felt.

1937-1939

diagonally and sewn to a round crown, composed of three parts,

180. Paquin

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN

Small black toque in quilted suede topstitched with an oval shape in

trimmed with a bow. Black grosgrain on the inside edge.

Winter 1936-1937

FR ANCE»

front, and diamond shape in the back. Trimmed on the left side with

Label: « MODEL COPY BY OTTO LUCAS/LONDON »,

Long coat in heavy plum-coloured shot silk taffeta, cut on the bias.

France

a branch covered in black cotton thread and red wool yarn, finishing

« Made in England »

Wrap-over fastening with two hooks and eyes. Long narrow sleeves

Belonged to Oriana Izquierdo de Valenzuela. Identical model published

in a red pompon. Lined in ivory fabric and edged with a black

England

enhanced with two pleated flounces decreasing in size toward the

in «L’Officiel de la Mode» France, 1934, n° 153, page 18.

grosgrain ribbon.

Belonged to Oriana Izquierdo de Valenzuela

wrists.

Nº Inv. 1999.1219.OI

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN FRANCE»

Nº Inv. 1999.1188.OI

Nº Inv. 2001.773.a-b

France

Label: «Paquin- PARIS-PARIS-LONDRES-BUENOS-AIRES» France Nº Inv. 2002.550

186. Rose Descat

Belonged to Oriana Izquierdo de Valenzuela

195. Toque

Circa 1939

Nº Inv. 1999.1189.OI

Circa 1952 Small toque in old rose silk satin pleated at the level of the comb-

Small oval toque in black suede trimmed on the left side with 181. Dress

black feathers and brown mica sequins. Large black net hat veil

190. Rose Descat

Circa 1930

in front and a black suede comb-cover in the back. Lined in

1937

taffeta lining with grosgrain on the inside edge.

Dress in ecru silk creped muslin, sleeveless with an open neckline

buckram and edged in black grosgrain.

Small toque in black suede of asymmetrical conical shape, seams pin

Probably Italy

and shoulder flounce. Fitted bodice, flared skirt cut on the bias with

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN

tucked in herringbone form. Trimmed on the left side with along

Nº Inv. 1999.995

a series of flounces placed in herringbone form in centre front and

FR ANCE»

feather and bristle. Interior reinforced in black vegetable fibre and

back. Fastened on the left by press studs.

France

edged in black grosgrain.

196. Berger Bags

Argentina

Belonged to Oriana Izquierdo de Valenzuela. Similar hat published in

Label: «ROSE DESCAT 22 RUE ROYALE», «MADE IN FRANCE»

1950-1955

Nº Inv. 1999.500

«L’Officiel de la Mode», France, 1939, n° 210, page 32

France

Rigid handbag in truncated cone shape with sloping panel of navy

Nº Inv. 1999.1217.OI

Belonged to Oriana Izquierdo de Valenzuela. Identical model published

blue leather. Fastened by a lid decorated with a stylized floral motif

182. Evening Gown

in «L’Officiel de la Mode» France, 1937, n° 195, page 58

in varnished pearlized green and orange and applied beads. Short

1936-1937

187. Rose Descat

Nº Inv. 1999.1208.OI

double handle. Press-studded tab clasp. Lined in green leather.

Long dress with small train in figured fabric with a black and gold

Circa 1939

cover, and black velvet bow. Crown applied with beads. Synthetic

Mirror on the inside of the lid. Accompanied by a green and blue

lamé motif of ears of wheat on an ecru ground. Cut on the bias.

Hat in black braided vegetable fibre. Crown in a flattened cone

191. Rose Descat

Bodice composed of two bands crossed in the front forming straps.

form encircled by a wide red grosgrain ribbon upturned and

1936

Label: « bb/Berger Bags »

Waist accentuated by two pendant panels tied on the side.

tightened by a black, fringed lace. Wide brim, border with black

Hat in green felt. Semi-conical crown trimmed with a burgundy felt

United States

France

grosgrain ribbon and interior edged with a red ribbon.

feather on the right hand side. Short asymmetric brim turned up on

Nº Inv. 2006.88.a-b

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN

the side. Bias in beige taffeta on the inside edge of the crown.

FR ANCE»

Label: «ROSE DESCAT/22 RUE ROYALE», «MADE IN FRANCE»

183. Elsa Schiaparelli

France

Circa 1936

Belonged to Oriana Izquierdo de Valenzuela

Belonged to Oriana Izquierdo de Valenzuela. Identical model published

Long dress-coat in fuchsia wool twill with fitted waist and long raglan

Nº Inv. 1999.1232.OI

in «L’Officiel de la Mode» France, 1936, n°173, page 47

Nº Inv. 2000.951

sleeves.

change purse, lined in blue viscose twill with a metal clasp.

Nº Inv. 1999.1225.OI

Small round collar fastened by a tab and press stud on the inside; padded welt pockets in a half-moon shape. Fastened in front by a

192. Advertising Poster «Sastrería Raúl Jorratt»

long zip. Lined throughout in dark pink silk satin.

Circa 1950

Label: « Schiaparelli/21, place vendôme/Paris», «153.259»

Original colour print on plastic, glass and metal frame.

France

Chile

Nº Inv. 2004.395

17x20 cm Indoor gyratory panel used in public transport Nº Inv. G140

366

367

202. Handbag

207. Dress

212. Grès

Circa 1950

Circa 1945

1946

Circa 1945

Black Tonkinese style hat in synthetic bristle with wide brim edged

Handbag in black suede. Two short handles in the same material.

Dress in navy blue wool crêpe with high notched neckline, straight

Short dress in cotton organdy printed with all-over blue, white,

in velvet. Trimmed in the front with a wide velvet ribbon, tied and

Gold metallic clasp with applied decoration of small paste beads.

short sleeves and a gently flared skirt with small basque. Bodice

red and yellow floral motifs. Bodice with oval neckline and batwing

rigidified by a metal wire.

Lined in black silk satin with two pockets.

embroidered with a flowering branch motif in navy blue, yellow and

sleeves gathered by elastic. All-in-one belt. Full skirt composed of

Acquired in Chile

United States

red flat slip stitch and at the waist a matching bow motif. Fastened at

four circular panels, fastened on the left side by press studs and four

Nº Inv.1999.507

Belonged to Olombi Banna de Yarur (1899-1953)

the back collar by a series of covered buttons and loops. Matching

covered buttons.

Nº Inv. 1999.231.FY

belt, fastened by hooks and eyes.

Label: «Grès-1 rue de la Paix-Modèle exclusif-MADE IN FRANCE»

198. Cristóbal Balenciaga

Chile

France

Summer 1943

203. Plasticflex

Belonged to Olombi Banna de Yarur (1899-1953), wife of Juan Yarur

Nº Inv. 2006.339

Evening ensemble in red silk crêpe embroidered with black sequins

Circa 1942

Lolas (1896-1954). Worn for the engagement party of Alfredo Yarur and

and black velvet appliqués encircled in black sequins. a) Bolero with

Clutch purse shaped by solid-coloured plastic squares linked by a

Dolly Said in 1947 and in 1946 for her portrait. See nº 201.

213. Cristóbal Balenciaga

short sleeves, and shoulder pads. Front edges weighted with two

white waxed taffeta ribbon forming a striped motif in red, green,

Nº Inv. 1999.140.FY

Circa 1954

lead weights. Lined in black silk taffeta. b) Long fitted bustier dress,

yellow and blue on top of red cotton twill. Zip with red vinyl ribbon

front boning, fastened on the left side by a zip. Lined in pink silk

attached to the slider. Lined in blue cotton with two inside pockets.

208. Author illegible

crown. Lined in black tulle, edged in black grosgrain.

taffeta. c) Self-covered belt and buckle.

Label: « Plasticflex/TRADEMARK/U.S. 2000.879/PAT. 2,256,645 »

Portrait of Olombi Banna de Yarur

Label: «BALENCIAGA/10 AVENUE GEORGES V/PARIS»

Label: «EISA»

United States

1946

France

Nº Inv. 2000.879

Pastel on paper

Nº Inv. 2004.155

197. Hat

Spain

Toque in black velvet with a curved band applied to the front of the

« Eisa » was the label Balenciaga used for his Spanish creations

76x94 cm

Nº Inv. 2000.337.a-c

Dress in the museum’s collection, Nº Inv. 1999.140.FY

214. Christian Dior, created by Roger Vivier

Private collection 7

Circa 1957

204. Clutch Purse

Pumps in electric blue velvet, square opening line. Vamp

199. Sandals

Circa 1943

1940-1945

Clutch purse in red leather with edges topstitched in white thread.

209. Anonymous

embroidered with silk iridescent mauve thread and bluish diamantés.

Sandals in suede with interlaced multicolour straps. Green viscose

Metallic snap-fastened clasp. Lined in red repp with five inside

Raquel Bascuñán Cugnoni

Stiletto heel. Interior in pearl grey leather.

taffeta insole edged in pink. Cork platform heels with leather soles.

pockets. Accompanied by a change purse and small matching wallet

1945-1948

Label: «Christian Dior/Crée par Roger Vivier»

United States

containing a mirror.

Original black and white photograph on paper

France

Nº Inv. 2000.911.a-b

Argentina

Chile

Belonged to the Princess Liliane of Belgium (1916-2002), wife of King

Nº Inv. 1999.489.a-c

6x9 cm

Léopold III of Belgium (1901-1983)

Private collection 8

Nº Inv. 2003.291.a-b.Li

200. Connie 1944-1945

205. Suit, model by Gilbert Adrian, in the magazine,

Open-toe sandals covered in black suede with black grosgrain bows

Vogue, U.S.A

210. Anonymous

215. Myles

on the vamp. High, straight covered heel. Insole in natural leather

15th September 1945

Raquel Bascuñán Cugnoni

Circa 1950

and heelpiece in black leather. Platform sole with black grosgrain

Black and white photograph on paper

1945-1948

Handbag in the form of a casket, in transparent green Lucite plastic

applied in the middle.

22x30 cm

Original black and white photograph on paper

marbled with silver lamé. Rigid handle in the same material. Bronze-

Label: «Connie/AGUSTINAS 972/Santiago/Gal. Comercial 318»

Similar suit in the museum’s collection, N° Inv. 2002.35.a-b

Chile

coloured metallic snap-fastened clasp.

13x18 cm

Label: «Myles Original, MIAMI»

Private collection 9

United States

Chile Similar pair of shoes by the Chilean label Lusvenia published in «Eva»,

206. Adrian

Chile, 13th October 1944, n°56, page 6

Fall/Winter 1945

Nº Inv. 2001.1694.a-b

Suit in light grey wool jersey. a) Collarless jacket with long sleeves

211. Anonymous

and shoulder pads, fastened by three pairs of tabs and buckles. Left

Raquel Bascuñán Cugnoni

216. Wohl

sleeve trimmed with a decorative band sewn in place, plus gold

1945-1948

Circa 1954

1942-1945

button. Decorative application embroidered in the shape of a gold

Original black and white photograph on paper

Sandals in transparent plastic and black leather; shiny black floral

Short ankle boots in black suede with cuff and laced closing on the

crown, sewn to the right hand side of the bodice, in sequins, Bedford

Chile

motifs on the vamp. Leather straps with metal buckle. White leather

heel counter. Stitching and edges piped in black leather. Lined in grey

cord, thread and cording on gold cloth. Lined throughout in salmon

6x9 cm

insole. Black leather heelpiece and toe. High heel in transparent

leather. Cork platform sole covered in leather forming four padded

crêpe. b) Straight unlined skirt fastened on the left side by a zip, press

Private collection 10

acrylic with the same motif. Black sole.

rolls

studs and a hook and eye.

Label: «Jacqueline/designed by Wohl»

France

Label: «Adrian/ORIGINAL»

United States

Nº Inv. 2001.2062.a-b

United States

Nº Inv. 2000.890.a-b

201. Ankle Boots

Nº Inv. 2002.526

Model photographed in the catalogue « Extreme Beauty » from the Metropolitan Museum, U.S.A. originally published in « Vogue » U.S.A., 15th September 1945. Nº Inv. 2002.35.a-b 368

369

220. Coat

224. Juli Lynne Charlot

228. Tourmalet

1950-1953

Circa 1950

1951

1958

Ensemble in gauze printed with all-over floral motifs in tones of

Roomy coat, long and straight in brown cashmere loden, with

Full-circle skirt in black felt with an appliqué of chess-inspired motifs

Skirt in single panel of jersey brushed on the wrong side, with blue,

brown and grey on white ground.

topstitched seams. Tailored collar with buttonhole on the left lapel,

in white, red, yellow, pale blue and turquoise felt, enhanced with

white and brown stripes. Waistband in stretch rib knit.

a) Sleeveless dress gently flared. Square slightly shaped neckline. Self

patch pockets with flap on both front sides. Vent in back. Lined in

iridescent beads and sequins. Interior hem trimmed with a band of

Label: «TISSU DES PYRÉNÉES/TOURMALET GARANTIE

belt at waist. Fastened in the back by self-covered buttons placed

grey satin.

white pinked felt.

D’ORIGINE»

on the diagonal and concealed by two flat pleats. Skirt with inverted

Label: «Quality by KUPPENHEIMER/MITCHELL&MITCHELL/

Fastened in the back by a zip.

France

pleats at the waist.

SANTIAGO, CHILE”

Label: «juli lynne charlot/ california»

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her visit to

b) Waisted jacket with small round collar. Fastened in front by seven

United States

Lourdes on her honeymoon

self-covered buttons. Straight three-quarter sleeves. Lined in brown

Belonged to Juan Yarur Lolas (1896-1954). Belonged to Jorge Yarur

Published in « Vogue » U.S.A., 15th October 1951, page 113.

Nº Inv. 1999.395.RB

silk pongee.

Bascuñán in the 1980s. See nº 219

See nº 223

Label: «Pierre Cardin-Paris»

Nº Inv. 1999.1347.FY

Nº Inv. 2002.129

221. Pierre Balmain

225. Joe Davidan

Full skirt of three straight panels in figured fabric striped with floral

Circa 1950

1951-1955

and arabesque motifs in white, yellow and red on a black ground.

218. Jacques Fath

Coat in ecru polyester twill embroidered with arabesques and

Full-circle skirt in loosely woven ecru linen printed in circular form

Inverted pleats at the waist with waistband in black cotton plain

Circa 1949

curved spikes in black felt, beads, passementerie and wool crocheted

with bands of black lace; pockets concealed in the side seams.

weave. Fastened in the back by a zip and flat hooks and eyes.

Suit in heavy grey and olive green extended tabby wool. a) Fitted

cabochons. Fitted bodice with long sleeves and full skirt. Fastened in

Fastened on the left side by a zip. Waistband in stretch braid fastened

Europe

jacket with pockets standing out from the hip. Three-quarter sleeves

front by hooks and eyes crocheted in black wool. Lined throughout

by hooks and eyes.

Acquired by Raquel Bascuñán de Yarur (1923-1996) on her honeymoon

with shoulder pads. Wide, gently flared cuffs closed by two buttons.

in ecru satin.

Label: «Joe Davidan/Original», «Lot/Size»

in Europe

Round flat collar with a bow tie applied at the centre. Fastened by

Label: «PIERRE BALMAIN/PARIS», «MADE IN FRANCE», «71687»

United States

Nº Inv. 1999.143.RB

buttons on the front left side and hook and eye at the collar. Lined

France

Nº Inv. 1999.709

throughout in bottle green silk crêpe. b) Skirt composed of four

Nº Inv. 2002.418

217. Pierre Cardin

1958

France Nº Inv. 1999.724.a-b

229. Skirt

230. Skirt 226. Skirt

1950-1955

222. Marcel Rochas

1958

Semi-circle skirt in figured fabric, of two layers (underskirt in light

sewn at hip level.

1951

Flared skirt in beige raffia crocheted in fancy stitch with elasticized

grey plain weave, overskirt in black gauze), with circular floral motifs

Label: «JACQUES FATH/PARIS»

Cocktail ensemble in figured velvet on ecru gauze ground, with

waistband. Fastened with press studs. Scalloped hem.

encircled with diamanté. Side zip. Lined in ecru cotton plain weave,

France

stylized floral motifs placed in scalloped horizontal bands. a) Dress

Italy

with black plaited bristle at the hem.

Belonged to Isabel Brewster Van Dine (1932-2002), of New York high

with boned bustier, accentuated with two black silk velvet ribbons,

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

United States

society

one of which is tied into a bow under the bust. Fastened on the left

honeymoon

Nº Inv. 1999.708

Nº Inv. 2003.401.a-b

side by a long zip.

Nº Inv. 1999.7.RB

gores, fastened by hooks and eyes and zips on either side of the central back panel. Lined in black taffeta with a bristle line petticoat

231. Hermès

b) Bolero with short sleeves in the same fabric leaving the dress neckline visible. Lined throughout in ecru silk taffeta.

227. Skirt

Circa 1952

Juan Yarur Lolas and unidentified people in the factory «Yarur

Label: «Marcel Rochas», «3910»

1958

Suit in black and white pekin wool. a) Fitted jacket with flat pointed

Manufacturas Chilenas de Algodón S.A.»

France

Full skirt of single pleated panel, in beige and brown tapestry style

collar, long tailored sleeves, fastened in front by three grey mother-

Circa 1950

Belonged to Maria Eva Duarte de Perón «Evita» (1919-1952) actress,

figured fabric, with stylized branch and bird motifs. Square pocket

of-pearl buttons. Rounded flap pockets. Lined throughout in satin

Original black and white photograph on paper

politician and first lady of Argentina from 1946 to 1952

applied to the right front side. Fastened on the side by flat hooks and

damask of horse and carriage motif (the Hermès logo). b) Gently

Nº Inv. 2001.1900.a-b

eyes and zip. Lined in ecru cotton.

flared skirt with a deep inverted pleat in centre front. Fastened on

8x13 cm

Europe

both sides by a zip and hooks and eyes.

Coat in the museum’s collection, Nº Inv. 1999.1347.FY

223. John Rawlings

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

Label: «HERMES/DEAUVILLE-CANNES-PARIS-BIARRITZ-VITTEL»

Private collection 11

«More About the House: Decorated Felt Skirts», in Vogue U.S.A.

honeymoon in Europe

France

Magazine

Nº Inv. 1999.257.RB

Nº Inv. 2000.224.a-b

219. Anonymous

Chile

15th October 1951, vol. 118, nº 7 Original black and white print on paper United States 32x23 cm Skirt in the museum’s collection, Nº Inv. 2002.129 Nº Inv. R8

370

371

236. Cardinal Clothes

240. Lingerie advertisement for «Amourette», in the

245. Christian Dior

1951-1954

1958-1962

magazine Constanze Modeheft

Spring/Summer 1958

Suit in white silk pékin with fine black stripes. a) Fitted jacket with

Two-piece suit in fine grey and brown wool.

Fall/Winter 1954,

Ensemble in printed silk satin with volutes in tones of vermillion.

long sleeves, tailored collar in black silk velvet and net embroidered

a) Jacket fastened by three buttons. Welt breast pocket and double

Germany

a) Dress with large boat neckline, interior bustier in boned tulle

with black cross stitch fastened by buttons, pockets with velvet flaps

welt flapped pockets on each front side. Back vent. Dark green

Similar dress in the museum’s collection Nº Inv. 1999.757

fastened by hooks and eyes, short sleeves. Bodice fastened by hook

and knotted pompons in thick black thread. Lined throughout in silk

synthetic taffeta front lining. b) Narrow pleated straight pants with

satin damask of the label’s motifs.

two side pockets and two double welt pockets in the back, one of

241. Maggy Rouff

petticoats in orange tulle and bristle line. Fastened in the back by

b) Straight single piece skirt, fastened in the back by a zip and hooks

which is buttoned. Fastened by hooks and eyes, buttons and zip.

1954

a long zip. Suspenders buttoned to each side front and in the back

and eyes. Lined in the same damask silk.

Buckled adjusting tabs on the sides.

Evening bustier dress in ecru organza; boned bodice with padded

of the inside bodice. b) Pleated belt at the waist of large bow with

Label: «JACQUES GRIFFE/PARIS»

Labels: « ISSUED.../AMALGAMATED.../UNION MADE/SUIT/

bust, trimmed with a bow. Full skirt of three scalloped flounces

fringed tails on the left front side.

France

WORKERS OF AMERICA/GENERAL EXECUTIVE BOARD

trimmed with applied decoration of black lace and edged in black silk

Label: «PRINTEMPS-ETE 1958/Christian Dior/PARIS», «MADE IN

velvet. Bouquet of red and white fabric flowers sewn at waist level.

FRANCE», «92785»

DESIGNED/for/signature Cary Grant/By Cardinal Clothes»

Fullness of the skirt supported by two petticoats of tulle and bristle

France

233. Jacques Fath

United States

under a layer of organza. Dress fastened in back by a long zip and

c-d) Leather pumps covered in the same fabric as the dress. Stiletto

Circa 1954

Belonged to the English actor Cary Grant (1904-1986)

lined throughout in ecru silk faille.

heels. Pearl grey leather insole. Black leather sole.

Nº Inv. 2001.607.a-b

Label: «Maggy Rouff/25, AVENUE MATIGNON/PARIS/MODELE

Label: «DELMAN/Christian Dior/Paris».

in black silk taffeta, decorated with a series of buttons in centre

DEPOSE/MADE IN FRANCE»

France

front; long sleeves with darts at the elbow, narrow wrists. Two welt

237. Evening Dress

France

«Trapeze line» dress corresponding to the first collection by Yves Saint

pockets decorated with a series of black buttons. Fastened in the

1955

Similar dress published in the lingerie advertisement «Amourette». See

Laurent for Christian Dior. Belonged to the Princess Liliane of Belgium

back by hooks and eyes at the collar and a long zip. Waist reinforced

Long bustier dress in black silk satin. Fitted bodice, pleated at the

nº 240

(1916-2002). Wife of King Leopold III of Belgium (1901-1983)

by a black grosgrain ribbon.

bust. Skirt draped and crossed at the waist, leaving an opening in the

Nº Inv. 1999.757

Nº Inv. 2003.272.a-d.Li

Label: «JACQUES FATH/PARIS»

front. Panel of black silk lined in fuchsia ribbed taffeta, forming a train,

France

caught up by a loop in the back. Back zip.

242. Christian Dior

246. Anonymous

Label: «COLUMBIA PICTURES-Name: Joan Crawford »

Spring/Summer 1955

Raquel Bascuñán de Yarur in Reñaca

United States

Dress in black wool with boat neckline and short sleeves, draped

1961

234. Grès

Belonged to the American actress Joan Crawford (1904-1977) for the

on the right hand side. Slight padding at the bust, on the hip, a bow

Original colour photograph on paper

Circa 1952

film «Queen Bee», Columbia Pictures, 1955

effect with fringed tails. Reinforcement of heavy silk faille on the right

Chile

Nº Inv. 2003.144.a-b.JC

hand side hip Lined throughout in black silk pongee and fastened by

6x9 cm

applied to either side of the hips. Full sleeves folded over in a triangle

covered buttons and press studs down the left side.

Private Collection 13

form. Lined throughout in black silk taffeta.

238. Salvatore Ferragamo

Label: «Christian Dior Paris-Printemps été 1955-52623/73951»

Label: «GRES/1, RUE DE LA PAIX PARIS»

1952-1954

France

247. Sunglasses

France

Sandals in red and ivory raffia and leather. Quartered vamp in

Model «Après-Midi». See nº 243

1958

Nº Inv. 2004.468

crochet knit raffia linked by double leather straps, open toe. Straps

Nº Inv. 1999.955

Sunglasses in red and white striped plastic. Oval-shaped frame with

232. Jacques Griffe

Nº Inv. 1999.715.a-b

Dress in heavy black silk twill. Bodice with draped neckline, lined

Nº Inv. 2000.237

Coat in black wool twill. Pointed shawl collar. Two welt pockets

and eye and lined in pink chiffon. Finely pleated skirt, supported by

undulating top edge. Straightarms.

in red leather with metal buckle. Red leather stiletto heel. Insole in ivory leather. Sole in natural leather.

243. Willy Maywald

Label: «Made in France»

Winter 1957-1958

Label: «FERRAGAMO´S/CREATIONS/FLORENCE/ITALY »

Model«Après-Midi» by Christian Dior

France

Sleeveless dress in pink silk taffeta. Boned bodice with V-neck, lined

Italy

Spring/Summer Collection 1955

Belonged to Raquel Bascuñán de Yarur (1923-1996), acquired on her

Nº Inv. 2000.657.a-b

France

honeymoon

bow. Waist accentuated with a self-belt tied in front. Waist reinforced

Dress in the museum’s collection

Nº Inv. 1999.414.RB

by a wide ecru grosgrain ribbon, fastened by hooks and eyes. Very

239. Samaral

Nº Inv. 1999.955

full puff skirt, finely pleated at the waist, shorter in front than back.

Circa 1958

235. Cristóbal Balenciaga

in pink muslin. Straps adorned in the back with a small silk taffeta

248. Handbag

Petticoat of bristle and muslin, fastened by hooks and eyes.

Trapeze shape handbag in woven red sisal with gussets. Flap in ivory

244. House of Christian Dior

Label: «BALENCIAGA/10, AVENUE GEORGES V. PARIS».

leather topstitched in red thread. Rigid handle in varnished bamboo.

Original sketch

Trapezoidal shaped handbag in red and white striped repp. Rigid

France

Snap fastener.

Model «Fiesta»

handle in topstitched white leather. Clasp formed by white leather

Nº Inv. 2000.441

Label: «SAMARAL-Madrid»

Spring/Summer 1958

tabs at the base of the handle and covered snap fasteners. Lined

Spain

Ink drawing on paper, with fabric sample

in beige felted taffeta; inside pocket with mirror and white leather

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

France

change purse.

honeymoon

28x32 cm

Acquired by Raquel Bascuñán de Yarur (1923-1996), during her

Nº Inv. 1999.260.R.B

Model from the « Trapèze » line, corresponding to the first collection by

honeymoon in Europe

Yves Saint Laurent for Christian Dior. Dress and shoes in the museum’s

Nº Inv.1999.74.RB

1958

collection Nº Inv. 2003.272.a-d.Li. Nº Inv. A355 372

373

253. Dress

257. Dress

261. Ensemble

1946-1948

Circa 1963

1958

1957-1959

Diamond shaped handbag in black suede. Clasp formed by a central

Dress in two separate parts in silk satin printed with an all-over motif

Straight fitted dress in open-worked ecru linen, emphasized by plaited

Coat-dress and skirt in brown silk/wool satin chiné, reinforced with

band adorned with a rectangular diamanté piece edged in a fringe.

of yellow and green lemon slices on an ecru ground. Overdress

cord embroidery and leaf motifs in raffia and cotton stem stitch, French

black plain weave. a) Dress with fitted bodice and set-in sleeves, high

Handle in folded band of black suede and metal rivet. White silk

short, sleeveless and fitted with a high round neckline and decorated

knots and flat slip stitch. Sleeveless with square neckline. Fastened on the

round bias-trimmed neckline. Fastened right down the centre front

lining.

with bows at the sides; sides are slit to form two separate front and

left side by a zip, partially lined in white synthetic plain weave.

by a series of buttons sculpted in wood and painted black. Back with

Belonged to Raquel Bascuñán Cugnoni (1923-1996)

back panels lined in the same fabric. Fastened on the left side by

Argentina

darts and deep inverted pleat in the centre back. Skirt composed of five

a zip, hook and eye and press studs. Under dress with low wide

Belonged to Raquel Bascuñán de Yarur (1923-1996)

separate panels. Thin leather belt and buckle covered in silk. b) Straight

neckline, fitted bodice in white plain weave, straight skirt in printed

Nº Inv. 1999.91.RB

skirt slightly narrowed at the hem, with back vent. Vertical welt pockets

249. Handbag

Nº Inv. 1999.565.a-b.RB

on the sides. Side-fastening with a zip and hooks and eyes.

250. Dofan

silk. Fastened in front by a zip and hook and eye

1966-1967

Chile

258. Top

Probably Argentina

Handbag in textured ecru leather with gussets and two

Acquired by Raquel Bascuñán de Yarur (1923-1996) at the boutique «

1958

Belonged to Raquel Bascuñán de Yarur (1923-1996)

compartments. Two handles in imitation mother of pearl in brick-

Los Gobelinos », Santiago, Chile

Sleeveless top in black raffia jersey; boat neckline with

Nº Inv. 1999.240.a-c.RB

Nº Inv. 1999.144.a-b.RB

fringed flap.

coloured plastic. Lined in brown grosgrain with pocket and doublefaced mirror. Snap-fastened clasp.

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

262. Vittorio

Label: «Dofan»

254. Handbag

honeymoon in Italy

1958-1960

France

1958

Nº Inv. 1999.509.RB

Dress in ochre dupioni silk with a V-neck deeper in the back than

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Handbag in raffia woven with white taffeta bows forming a grid of

Nº Inv. 1999.70.a-b.RB

blue, green, red and yellow, finishing in a fringe. Twin rigid wicker

259. Skirt

cross-over bands in front, decorated in back with two big round silk-

handles. Fastened by a plastic ball button and buttonhole.

1958

covered buttons. Skirt with inverted pleats in the place of darts in

Italy

Full two panel skirt of red, black, green and yellow striped satin,

both front and back. Fastened in the back by hooks and eyes, press

1960-1963

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

pleated around the waistband. Square pocket applied to front.

studs and a zip. Lined in ecru plain weave.

Round-shaped handbag in brown and black goatskin. Rigid handle

honeymoon

Fastened on the left side by a flat hook and eye and press studs.

Label: « Vittorio/ALTA COSTURA », « A/INDUSTRIA ARGENTINA/

Nº Inv. 1999.331 RB

Italy

SEDA NATURAL/E.23331 »

Lined in grey leather, four inside pockets; accompanied by a small

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

Argentina

receptacle in brown leather.

255. Mary José

honeymoon in Italy

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Label: «CABRA GRABADA- Industria Argentina-Art. 2082»

1958

Nº Inv. 1999.256.RB

Nº Inv. 1999.193.RB

Argentina

Blouson jacket in beige cotton poplin and fancy interlock knit on

Belonged to Raquel Bascuñán de Yarur (1923-1996)

the front; fastened in front by grey mother-of-pearl buttons and

260. Dress

263. Rosita Contreras

embroidered buttonholes. Sleeves with low shoulders and cuffs

1958

fastened with a button. Two square flap pockets applied to front.

Dress with in silk twill printed with an all-over motif of black branches

Sleeveless dress in black silk jersey. Bodice with boat neckline in front

252. Handbag

Label: «Mary José/CANNES»

and blue on a yellow ground. Fitted bodice draped on the sides

and darts forming small inverted pleats at the waist. Back with V-neck

Circa 1958

France

and back, boned and rigidified by two layers of black plain weave,

and cross-over panels, draping held in position on the left shoulder

Handbag in black and red zebra-striped synthetic velvet fur. Gold

Acquired by Jorge Yarur Banna (1918-1991) during his honeymoon See

straight neckline and wide straps. Full skirt finely pleated at the waist.

and at the waist forming a loose panel falling the length of the skirt.

metal chain handle. Snap-fastened clasp in a bronze tone with gusset.

nº 256

Fastened in the back by a long zip and hooks and eyes.

Back zip. Lined in black silk twill.

Nº Inv. 1999.303.JYB

Probably Argentina

Label: «Rosita Contreras/Milano/Roma»

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Italy

Nº Inv. 1999.266.a-b.RB

Nº Inv. 1999.195.RB

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

251. Handbag

and flap in textured goatskin. Gold metallic snap-fastened clasp.

Nº Inv. 1999.262.a-c.RB

Lined in black grosgrain with zipped compartment.

256. Anonymous

the front, sleeveless, in ochre dupioni silk. Bodice composed of two

Jorge Yarur Banna and Raquel Bascuñán during their honeymoon on

honeymoon

the Vaporetto en route to Capri

Nº Inv. 1999.18.RB

1958 Original black and white photograph on paper Italy 9x14 cm Jacket in the museum’s collection-Nº Inv. 1999.303.JYB Nº Inv. F152

374

375

269. Brooch

274. Deauville

278. Serge Matta

1957-1958

Circa 1960

Circa 1967

Original sketch

Dress in white silk twill printed with an all-over motif of horse and

Brooch composed of two interlaced cords of plaited gold metal and

Mini dress, A-line in black crêpe. Boat neckline, slightly V-shaped in

Circa 1960

carriages in a dominant colour of green. Bodice with round neckline,

an irregular green stone set in the centre.

front with a small bow applied to the left shoulder. Sleeveless bodice

Drawing in ink and watercolour on paper, with fabric sample

lined in ecru silk organza.

Belonged to Raquel Bascuñán de Yarur (1923-1996)

with high waist, embroidered with squares of Rhodoïd, silver and

France

Nº Inv. 2000.299.RB

black round and bugle beads and diamanté cabochons. Fastened in the

35x49 cm

in green silk. Back with flat pleats held in place at the waist by a

centre back by a long zip and hooks and eyes. Black synthetic lining.

Stamp bearing the inscription «Atelier Serge Matta»

martingale in green silk taffeta buttoned

270. Brooch

Label «Deauville/COUTURE/MAIPU 945-T.E.32-8738-Bs-Aires/

Nº Inv. A206

at each end.

Circa 1960

INDUSTRIA ARGENTINA».

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Brooch in textured gold metal in the form of the sun. Irregular green

Argentina

279. Serge Matta

Nº Inv. 1999.146.RB

stone set in the centre.

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Original sketch

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Nº Inv. 1999.108.RB

1963-1967

264. Dress

Short sleeves. Fastened in front by self-covered buttons and edged

265. Dress

275. Deauville

France

271. Bracelet

Circa 1965

24x 35 cm

straps and straight neckline with notched front flap. Fitted and pleated

1958-1960

Ensemble in black silk damask and embossed leaf motif.

Nº Inv. A231

at the central front of the waist. Lined at the bust in white synthetic

Bracelet in gold metallic mesh with a fringe of turquoise blue beads.

a) Short straight jacket with small straight turn-down collar and long

taffeta.

Adjustable clasp of rectangular form sculpted on the edges and

set-in sleeves; double-breasted buttoning in front with self-covered

280. Serge Matta

United States

ornamented in the centre with a row of blue beads.

buttons. Thin leather belt and rectangular buckle covered in silk.

Original sketch

Belonged to Raquel Bascuñán Cugnoni (1923-1996)

Belonged to Raquel Bascuñán de Yarur (1923-1996)

b) Straight skirt pleated at the front waist, with darts in the back.

1965-1968

Nº Inv. 1999.242.RB

Nº Inv. 2000.279.RB

Fastened in the centre back by a zip and hooks and eyes. c) Fitted

Drawing in pencil and felt pen on paper

bodice, sleeveless with a square neckline in ecru silk crêpe entirely

France

272. Bracelet

embroidered with a leaf motif in black and white sequins. Lined in

21x27 cm

1961-1962

1958

ecru silk crêpe. Fastened in back by a zip and hook and eye.

Nº Inv. A233.1

Straight roomy coat in natural raw silk. High straight collar, dropped

Bracelet composed of diverse multicolour seeds attached to a metal

Label: «Deauville/COUTURE/MAIPU 945-T.E. 32-8738-Bs AIRES/

shoulders with kimono armholes and short straight sleeves. Two

chain.

INDUSTRIA ARGENTINA»

281. Serge Matta

diagonal double welt flapped pockets on the front. Fastened by three

Brazil

Argentina

Original sketch

big buttons in fine rouleaux of the same fabric and piped buttonholes.

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

Belonged to Raquel Bascuñán de Yarur (1923-1996)

1968-1970

Lined in ecru synthetic repp.

honeymoon

Nº Inv. 1999.29.a-c.RB

Drawing in pencil and felt pen on paper

Label: «BRAGANCE/PARIS-2404/FLORIDA 774 Bs AIRES/

Nº Inv. 1999.51.a-b.RB

1951 Dress in silk printed with an all-over geometric motif. Black velvet

266. Bragance

France

INDUSTRIA ARGENTINA»

276. Serge Matta

21x27 cm

Argentina

273. Ensemble

Original sketch

Nº Inv. A233.7

Belonged to Raquel Bascuñán de Yarur (1923-1996)

1958

Circa 1958

Nº Inv. 1999.185.RB

Ensemble in orange and white silk chiné taffeta reinforced with orange-

Drawing in ink and watercolour on paper

282. Serge Matta

pink silk organza. a) Roomy coat with false shawl collar and short set-in

France

Original sketch

267. Bracelet

sleeves with cuffs. Two deep flat pleats on each side of front and back.

30x40 cm

1968-1970

1958

Small inverted pleat in centre back. b) Dress with wide straps and fitted

Nº Inv. A723

Drawing in pencil and felt pen on paper

Bracelet formed by pieces of white plastic molded with fine red stripes

bodice finishing in a low point in front. Skirt with small vertical pleats

interspersed by low relief elephant motifs, linked by elastic.

on the hip, ornamented in the back by a silk bow with fringed tails.

277. Serge Matta

21x27 cm

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her honeymoon

Fastened in centre back by a long zip and a hook and eye.

Original sketch

Nº Inv. A233.6

Nº Inv. 2000.289.RB

Italy

1958-1960

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

Drawing in ink and watercolour on paper, with fabric sample

283-284-285. J. L. Guégan

honeymoon

France

Serge Matta

Nº Inv. 1999.28.a-b.RB

32x 49 cm

Models «D’Aubigné », «Leonardo » and «Valery»

Bracelet composed of a metal chain and thirteen multicolour pieces of

Stamp bearing the inscription «Atelier Serge Matta»

Spring/Summer 1963 and Winter 1963-1964, creations by Serge

glass and metal of irregular form, attached to the chain by links.

Nº Inv. A207

Matta for Maggy Rouff

268. Bracelet 1958

376

Drawing in ink on paper

Nº Inv. 2000.298.RB

France

Brazil

Original black and white photograph on paper

Acquired by Raquel Bascuñán de Yarur (1923-1996) during her

France

honeymoon

18x24cm

Nº Inv. 2000.278.RB

Nº Inv. F766

377

291. Charles Jourdan

296. Biki

301. Carven

Photograph by Roland Bianchini

1966

1959

Circa 1962

September 1969, nº 569-570

Court shoes with waisted heel covered in lamé fabric. Rounded

Turban in draped orange and gold shot gauze. Lined in synthetic tulle

Straight sleeveless dress in pink linen covered in guipure of pink

France

toes, vamp ornamented with gold metallic bullion fringes. Lined in

with orange grosgrain and comb sewn inside.

horizontal herringbone motifs. Fastened in the back by a long zip and

32x24 cm

beige and brown leather. Gold leather insole.

Label: «Biki-Milan»

hooks and eyes.

Dress in the museum’s collection, Nº Inv. 2001.1296

Label: «CHARLES JOURDAN, PARIS»

Italy

Label: «Carven/6, Rond-Point des Champs Elysées/Paris»

Nº Inv. R13I

France

Belonged to the Greek-American opera singer Maria Callas (1923-

France

Belonged to Raquel Bascuñán de Yarur (1923-1996)

1977). Worn during one of her trips to Greece in 1959

Nº Inv. 2004.397

Nº Inv. 1999.24.a-b.RB

Nº Inv. 2001.120.MC

286. L’Officiel de la Couture et de la Mode de Paris

287. Jean-Louis Scherrer by Serge Matta

302. Jax by Rudi Gernreich

1969 292. André Courrèges

297. Claude Saint-Cyr

1962

a black and white grid pattern. High round collar and long straight

1965

Circa 1960

Dress with straps in silk jersey printed with an all-over black and

sleeves. Fastened in back by a long zip and hook and eye. Reinforced

Mid-calf boots in white leather opened in the upper part of the leg

Cloche hat in ecru plaited raffia, grey synthetic gauze ribbon

white motif of undulating bands in an Op Art style. Back zip. Bust

throughout with bristle and lined in black synthetic plain weave.

and ornamented with a bow. Fastened by a metal zip, concealed by

interlaced around the round crown. Lined in thick tulle, ivory

lined with various layers of skin colored muslin. Self belt tied at the

Label: «JEAN LOUIS SCHERRER/182, faub. Saint-Honoré - PARIS/

a Velcro band in the back. Flat heel in black elastomere. Lined in ecru

grosgrain on the inside edge.

waist.

Création SERGE MATTA» «-BARTOK »

leather.

Label: «Claude Saint-Cyr/Paris/Made in France», «14207»

Label: «RUDY GERNREICH», «Jax»

France

Label:«COURREGES-PARIS-MADE IN FRANCE-ELASTOMERE»

France

United States

Published in «L’Officiel de la Couture et de la Mode de Paris»,

France

Nº Inv. 2003.783

Belonged to the American actress Marilyn Monroe (1926-1962)

September 1969, nº568-570, page 43. See n°286

Similar boots published in «L’Officiel de la Couture et de la Mode de

Long flared dress in black silk organza embroidered in slip stitch with

Nº Inv. 1999.1473.a-b.MM

Paris», 1965, nº 517-518, page 120-121

298. Hubert de Givenchy

Nº Inv. 2002.424.a-b

Circa 1962

303. Chanel

Round hat in ivory felt with double flap and bow. Lined in ecru cotton

Spring/Summer 1964

293. Valentino

gauze; ecru grosgrain and vegetal fibre reinforcement on the inside edge.

Ensemble in wool tweed with dominant colours of pink and green.

July 1967, vol.150, nº 1

Circa 1977

Label: «GIVENCHY PARIS», «Made in France»,«18176” »

a) Short jacket with tailored collar and sleeves. Wrists closed by two

Original colour print on paper

Sunglasses in beige plastic. Frames with large crystals of irregular

France

gauze-covered buttons ornamented with a decorative metallic piece

United States

square shapes. Arms with slightly curved ends.

Nº Inv. 2006.322

and trimmed with a second cuff in green silk gauze with double

25x33 cm

Label: «Valentino», «MOD. DEPOSEE», «89951»,

Nº Inv. 2001.1296 288. Cover of Vogue U.S.A Magazine Photograph by Richard Avedon

topstitching. Pair of pockets on each side front trimmed with small flat

«ITALOCREMONA»

299. Lanvin

bows. Fastened in the centre front with four buttons. Lined in quilted

Italy

1968-1970

silk gauze. Jacket hem weighted with a gold chain. b) Blouse with

289. Emilio Pucci

Belonged to Raquel Bascuñán de Yarur (1923-1996)

Hat in black plush felt with wide flexible brim. Crown encircled by

short sleeves in pale green silk gauze. Rounded neckline edged with

Circa 1966

Nº Inv. 1999.1005.a-b.RB

a black grosgrain ribbon and flat bow. Edged on the inside with an

a band and a bow in centre front. Fastened by concealed buttons and

imitation leather ribbon.

press studs. c) Short skirt in wool tweed, knife pleats leaving central

294. Maud Frizon

Label: «Lanvin/ Paris»

panel smooth in both front and back. Fastened in the back by a zip.

with matching geometric motifs, snap closure with handle.

Circa 1972

France

Small waistband fastened by a hook and eye. Lined in pale green silk

Label: «Emilio Pucci/P.1»

Sandals in black suede. Vamp formed by the crossing of straps piped in

Belonged to the Greek-American opera singer Maria Callas (1923-1977)

taffeta, and cotton in the back.

Italy

patent leather. Open toe. Single piece strap with no buckle. High straight

Nº Inv. 2001.121.MC

Label: «CHANEL», «023713»

Belonged to Raquel Bascuñán de Yarur (1923-1996)

heel covered in the same leather. Insole in ecru leather. Platform sole.

Nº Inv. R8.2

a) Sunglasses, plastic frames with a multicolour geometric motif and inclusion of beige silk twill. b) Sunglass case covered in felted taffeta

Nº Inv. 1999.1006.a-b.RB 290. F. Pinet

France

Label: «MAUD FRIZON»

300. Clutch Purse

France

1976-1979

Nº Inv. 1999.1627.a-b

Clutch purse in rigid plastic printed with the cover of «ELLE»

Nº Inv. 2006.311.a-c

magazine. Snap-fastened clasp. Lined in black plastic.

Circa 1960 Court shoes with pointed toes in two-tone leather of brown and

295. The Chelsea Cobbler

France

pearl grey. Undulating motifs on the vamp with a symmetric effect on

Circa 1973

Photograph by R. Granata per Ricma

each shoe. Stiletto heel in brown leather. Ivory leather lining.

Shoes in green leather and yellow band with small perforations. High

Nº Inv. 2007.41

Label: “F. PINET/, London Paris, Made in Italy”,” Made in Italy”

straight heels covered in the same green leather. Platform sole. Lined

Italy

in beige and brown leather.

Nº Inv. 2006.32.a-b

Label: «THE CHELSEA COBBLER», «ENGLAND». England Nº Inv. 2006.147.a-b

378

379

308. Mary Quant

312. Paco Rabanne

316. Emanuel Ungaro

1966

1968-1969

Spring/Summer 1969

1966

Ensemble in black and white wool hounds tooth check. a) Straight

Coat in shiny black and white vinyl. Gently flared, long sleeves and

Mini-dress with long sleeves composed of black Rhodoïd discs

Ensemble in apple green wool sateen striped in apple green, pink,

jacket with long sleeves. High collar with tab and leather-covered

turn-over collar. Pockets in the side seams. Fastened in front by a zip

perforated and assembled by metal rings. Fastened in the back by two

teal, purple and yellow.

button. Reinforcement pieces in black leather on the shoulders

with a visible ring and a black inside button.

sets of oval fasteners in black painted plastic.

a) A-line coat with a small turn-down collar, long sleeves

and elbows. Fastened by four leather-covered buttons and a wide

Label: «by/MARY/QUANT», «CS|NO365/TARGET/ORDER/

France

and belt.

black leather belt with rectangular buckle. Lined in black silk twill.

MACH./FIN//PRESS/SERIAL NO.»

Similar model conserved in the collections of the Kyoto Costume Institute,

Double-breasted button and press stud fastening; plastic buttons

b) Straight skirt in matching fabric edged in black leather. Lined in

England

Japan

painted green, pink and blue. b) Sleeveless A-line dress. Bodice and

black silk twill. c) «Deerstalker» cap with visor in front and back and

Nº Inv. 2006.3

Nº Inv. 2001.1283

funnel collar in striped fabric, solid-coloured skirt. Lined throughout

304. Jean Patou

in green silk pongee. Fastened on the left side by a zip and hooks and

ear muffs in matching fabric. Lined in synthetic taffeta with grosgrain 309. Mary Quant

313. Paco Rabanne

eyes at the shoulder.

Label: «JEAN PATOU-Collection boutique Chapeaux, Made in

Circa 1965

1968

Label: «EMANUEL UNGARO/6, BIS AV. MAC MAHON-PARIS»

France, Paris»

Cut-off ankle boots in moulded plastic over a lining of red cotton

Handbag, rectangular and formed of round metal discs perforated

France

jersey. Square toe. Edged with a red plastic self tab and golden metal

and assembled by rings in a chain-mail effect. Metal chain handle.

Nº Inv. 1999.975.a-b

Similar ensemble published in «L’Officiel de la Couture et de la Mode de

buckle and eyelets. Red vinyl insole. Flat heel in transparent plastic.

Label: «Paco Rabanne/Made in France»

Paris», 1966, nº533-534, page 300-301

Label: “«Quant/afoot»

France

317. André Courrèges

Nº Inv. 2002.39.a-d

England

Nº Inv. 2004.478

1969

Nº Inv. 2003.547.a-b

314. «Paris Twiggy Haute Couture» in Vogue

Flared mini-dress in heavy navy blue and white plain weave. Round

305. Christian Dior

Magazine, U.S.A.

neckline and short sleeves with contrasting cuffs. Two decorative pocket

Fall/Winter 1961

310. The Souper Dress

Photograph by Bernt Stern

flaps applied to the front, finished with a black press stud. In the back a

Long dress with straps in pink moiré silk repp. Bodice with straight

1967

15th March 1967, vol.149, nº 6

rounded martingale attached by two black press studs. Fastened in the

neckline ornamented with a band crossed over the bust, pleated

Sleeveless mini-dress in non-knit cellulose on top of cotton net,

United States

back by a long zip. Lined throughout in white synthetic plain weave.

and trimmed with a small bow, supported on the inside by a boned

printed with a repetitive motif of

25x33 cm

Label: «COURREGES/PARIS», «8641», «MADE IN FRANCE»

bustier with elastic back fastened by hooks and eyes. Flared skirt

«Campbell’s/Soup» in red, black and white and two ochre bands

Similar dress in the museum’s collection. See Inv. nº 2005.146

France

rigidified by several petticoats of ecru gazar and pink tulle. Dress

around the hem. Neckline and armholes edged in black bias.

Nº Inv. R8.1

Nº Inv. 2001.1297

fastened in the back by a long zip, lined in organza

Label: «The Souper Dress/ NO CLEANING-NO WASHING-IT’S

Label: «MADE IN FRANCE/AUTOMNE-HIVER 1961/Christian

CAREFREE/FIRE RESISTANT UNLESS WASHED OR CLEANED/

315. Yves Saint Laurent

318. André Courrèges

Dior/PARIS» «111694»

TO REFRESHEN, PRESS LIGHTLY WITH WARM IRON/80%

Spring/Summer 1967

1967

France

CELLULOSE, 20% COTTON»

Mini-dress with oval neckline and short sleeves, in beige organza

Mini-sleeveless dress gently flared in tulle embroidered with little

Belonged to the English ballet dancer Margot Fonteyn (1919-1991)

United States

embroidered with geometric motifs in raffia, sequins, glass beads, square

white flowers and appliqués of pink stylized flowers with white

Nº Inv. 2001.79.MF

Dress part of an advertising campaign for Campbell’s Soup, sent in an

and oval wooden beads, yellow plastic cabochons, flat pink metallic pieces,

guipure centres. Round neckline. Oval opening in centre back.

envelope by the post. Reference to the work «32 Soup Cans», 1962 by

orange bugle beads and gold metallic threads. Waist open-worked with

Neckline, armholes, back cut-out and hem edged with a pink padded

American Pop artist, Andy Warhol (1928-1987)

glass, wood and metal beads. Bodice fastened in the back by a zip and

bias trim accentuated by a high relief passementerie braid. Under

Nº Inv. 2000.1263

hooks and eyes and skirt fastened on the left side by press studs. Lined in

dress in heavy silk. Fastened on the side by a zip and hooks and eyes

created by Christian Dior

beige organza.

at the left shoulder.

1961

311. Fabiani

Label: «MADE IN FRANCE/YVES SAINT LAURENT/PARIS», «15669»

France

Original black and white photograph on paper

1968

France

Nº Inv. 2006.347

England

Mini-dress with long sleeves in heavy plain weave printed with

Part of the «Africaine » collection. Similar dress worn by the English

20x25 cm

volutes of hair and two hands, in black on white ground. Pointed

model Twiggy in Vogue, U.S.A. Magazine, 15th March 1967. See nº 314

319. André Courrèges

Dress in the museum’s collection, Nº Inv. 2001.79.MF

collar fastened in back by a press stud and tab. Side seam pockets.

Nº Inv. 2005.146

1968

Nº Inv. F2185

The hand printed on the front wears a «ring» of a faceted green glass

Mini-sleeveless A-line dress in black organza under a guipure open-

ribbon on the inside edge of the crown.

306. Felix Fonteyn Margot Fonteyn at the Panama embassy in London, wearing a dress

encircled with diamantés. Fastened in the back by black buttons and

worked mesh fabric, padded and edged with a band of shiny black

307. Jean Varon

press studs. Lined in black silk taffeta.

vinyl at neck and armholes. Waist accentuated by a tied belt in the

1967

Label: «FABIANI/ROMA»

same vinyl. Hips and hem trimmed with a decorative band of shiny

Mini-dress in shiny red vinyl with straps finished in a big self-covered

Italy

black vinyl with a series of round cut-outs. Lined throughout in beige

button and fastened by press studs and hooks and eyes. Neckline

Photographed in an advertisement for the department store I. Magnin,

silk jersey. Fastened in the back by a zip and press studs.

and armhole facing in white cotton.

published in «Vogue» U.S.A., May 1968

Label: «COURREGES/PARIS»

Label: «jean/VARON/prêt à porter», «12»

Nº Inv. 2002.667

France

Dress published in «L‘Officiel de la Couture et de la Mode de Paris».

Nº Inv. 2006.13

1968, n° 559-560, page 138. Photograph by Patrick Bertrand Nº Inv. 2000.510

380

381

323. Dede

327. TAI

331. Yves Saint Laurent

1969

1968-1969

1969

Ensemble in black wool/silk. a) Short flared coat with long sleeves

Ensemble in shiny black synthetic crêpe. a) Straight tunic with turn-

Mini-dress in silk jersey. Ecru bodice, sleeveless, separated from the

Safari jacket in brown cotton twill with shirt collar and long skirt sleeves.

and rounded tailored collar. Seams topstitched in thick black thread.

down collar and short little sleeves. Rounded pockets applied on the

skirt by a motif of black arcades under a cord. Black, orange, fuchsia

Four pockets with flap and central box pleat in the front. Buttoned cuffs,

Double-breasted with six flower-shaped diamanté buttons. Belt

diagonal. Seams topstitched in a silver thread. Crêpe-covered belt

and ecru diagonally striped skirt.

pocket flaps and front placket. Inverted ease pleat in the centre back.

composed of two bands of fabric linked by rectangular diamanté

with round diamanté buckle; belt loops trimmed with a diamanté

Label: «TAI MERCED 188/F. CHILE»

Accompanied by a belt in topstitched leather and double-link metal chains

buckles. Lined in silk pongee. b) Short flared sleeveless dress, round

button. Fastened in the back by a long zip and hooks and eyes. b)

Chile

fastened by a large metal buckle.

neckline with scalloped form in front. Waist with round cut-outs

Straight pants slightly flared at the hem with a central pleat. Fastened

Similar dress published in Eva, 1969. See nº 326

Label:«SAINT LAURENT/rive gauche/PARIS»

linked by rectangular diamanté buckles. Fastened in the back by a

in front by an invisible zip and hook and eye.

Nº Inv. 2001.2012

France

long zip and hook and eye. Lined in silk pongee.

Label: «INDUSTRIA ARGENTINA/DEDE/MAIPU 933»

Label: «MADE IN FRANCE/MODELE/Louis Féraud/

Argentina

328. Wedding dress

« ELLE», 5th May 1969. See nº 330

AUTORISATION SPECIALE/PARIS/EXECUTE PAR GABARDIN».

Belonged to Victoria Yarur de Massú

1968

Nº Inv. 2005.229.a-b

France

Nº Inv. 1999.204.a-c.FY

Wedding dress in viscose mixed with a quilted pique with figured

320. Louis Féraud

paisley motifs in iridescent silver lamé. Short sleeves, high collar.

332. Teddy Tinling

324. Marco Correa

Two darts at the bust. Bow at back waist level continuing into a long

Circa 1970

nº563-564, page 28-29

Circa 1972

weighted train. Lined throughout in synthetic white taffeta.

Tennis dress in ivory synthetic lace with flower motifs. Sleeveless,

Nº Inv. 1999.104.a-b.RB

Long dress in thick white polyester jersey inset with black geometric

Chile

round front neckline, V-shaped in the back. White synthetic satin

motifs; deep V-neck held together by a band placed under the bust,

Given by Pola Chamy de Yarur worn on her wedding, 30th March 1968.

piping. Lined throughout in a white synthetic satin. White metal zip

long narrow sleeves and gently flared skirt. Fastened in the back by a

Dress made by Luis Jersey, Chilean couturier at Huérfanos Street in

with slider in the shape of a tennis racket.

1969

long zip.

Santiago; with fabric purchased in France

Label: «Teddy Tinling/made in England/London»

Mini-dress in heavy ecru wool twill with necklace straps in shiny black

Label: «MARCO CORREA/MADRID»

Nº Inv. 2002.531.FY

England

vinyl finished in front by a red medallion encircled in black. Vertical

Spain

pockets in the seams. Fastened in the back by a zip and a hook and

Nº Inv. 2007.11

Belonged to Raquel Bascuñán de Yarur (1923-1996). Similar dress published in « L’Officiel de la Couture et de la Mode de Paris», 1969,

321. Pierre Cardin

Belonged to the French tennis player Danielle Bouteleux 329. Hubert de Givenchy

Nº Inv. 2001.824

Circa 1966

eye. Lined throughout in white synthetic plain weave. 325. TAI by Marco Correa

Long dress flared at the hem, sleeveless and backless in black linen.

333. TeddyTinling

France

Circa 1970

Rounded neckline in front and plunging in back. Bodice with high waist,

1977

Dress published in «L‘Officiel de la Couture et de la Mode de Paris»

Long dress in thick mauve jersey with cord straps and straight

ties in the same fabric cut on the bias, passed through belt loops and

Tennis dress in yellow nylon interlock jersey. Sleeveless, round

1969, n° 565-566, page 86. Photograph by Roland Bianchini.

neckline. Insets and appliqués of geometric motifs in jersey and

tied in the back; same detail is repeated at the lower back of skirt.

neckline. Princess line piped in blue jersey and a diamanté cord.

See nº 322

bands of colour on the bodice, the middle of the skirt and the hem.

Fastened in the back by a short zip. Lined in black silk pongee.

Fastened by a hook and eye and a yellow zip on the left side.

Fastened in the back by a zip and hook and eye.

Label: « MADE IN FRANCE/GIVENCHY », « 52340 »

Label: «made in especially for you by Ted Tinling»

Label: «TAI MERCED 188/F. CHILE»

France

England

322. L’Officiel de la Couture et de la Mode de Paris

Chile

Nº Inv. 2000.235

Belonged to the donor, English tennis player Virginia Wade. Similar dress

Roland Bianchini

Nº Inv. 2002.241

330. Helmut Newton

to one she wore for her Wimbledon victory in 1970.

Yves Saint Laurent and his sister Isabelle wearing safari jackets.

Nº Inv. 2004.363

Label: «Pierre Cardin/PARIS»

Nº Inv. 2000.634

1969, nº 565-566 France

326. Horacio Walter

1969

32x23 cm.

Eva magazine

Colour print on paper

334. Anonymous

Dress in museum’s collection, Nº Inv. 2000.634

Horacio Walter

France

The couturier Teddy Tinling surrounded by female tennis players

7th October 1969, nº 1280

20x27 cm

wearing his creations

Chile

Originally published in «Elle», 5th May 1969. .Jacket in the museum’s

Circa 1968

25x33 cm

collection, Nº Inv. 2005.229.a-b

Original black and white photograph on paper, 15x21 cm

Photograph depicting dress by Marco Correa

Nº Inv. 391.1 CHE his

England

Nº Inv. R813I.1

Nº Inv. R3.2

382

Similar model Belonged to Yves Saint Laurent and his sister, published in

No. Inv. F2678

383

338. Jacket

342. Christian Dior

346. Vivienne Westwood-Malcolm McLaren

1970

1975-1976

Spring/Summer 1973

1974-1976

Tennis ensemble in double-knit polyester.

Jacket in cotton patchwork fastened diagonally across the front side by

Long dress in chiffon printed with an all-over motif of green, lime,

Sleeveless T-shirt in pale pink cotton printed jersey, boat neckline. Visible

a) Short transparent white satin-like dress, sleeveless. High collar and

a «ZIPP» zip, with a ring slider. Long sleeves, collar with pointed lapels;

yellow and orange branches. Bodice formed by two gathered

basting stitch on the shoulder seams, raw cut neckline and armholes. On

hem with white flower appliqués. White plastic zip in the back. b) Bra

diagonal pocket on the right side front closed by a zip. Belted bottom edge

triangles forming the bust and a triangle in the back, attached by a

the front, a print of two cowboys facing each other, nude from under the

in white nylon lace. Cups and straps piped in white flowers. Fastened

fastened by two metal buttons. Bodice lined in ecru synthetic plain weave.

large Plexiglas ring. Draped belt of a bow with large tails and fastened

belt and wearing their boots. Inscriptions of «Dance/Saturday/night…».

with stretch band lined with brown nylon. c) Shorts in white nylon

Probably Germany

by a hook and eye in front. Long skirt with flounces, lined in white

Label: «Malcolm McLaren, Vivienne Westwood, Sex», «SEX

Nº Inv. 2000.1308

chiffon.

Original, 430 Kings road, Chelsea, 01-351 C754»

brown nylon. Fastened by a hook and eye and a white plastic zip.

Label: «MADE IN FRANCE/PRINTEMPS-ETE 1973/Christian Dior/

England

Label: «Teddy Tinling/made in England/London»

339. Levi’s

PARIS», «02496»

Reproduction of a drawing by the Finnish-American homo-erotic artist

England

1969-1973

France

Tom of Finland, (1920-1991)

Belonged to the American tennis player Carol Kalogeropoulos; worn

Five-pocket pants with bell-bottoms in cotton denim customized

Nº Inv. 2000.216

Nº Inv. 2006.329

during the Wimbledon tournament of 1970. Article with photograph of

by appliqués of multicolour ribbons, pieces of fabric, tapestries

Carol Kalogeropoulos wearing this dress in «Mieux Vivre», France 1970

and embroideries. Appliqué of round badges including «Smiley»,

343. Ossie Clark

347. Vivienne Westwood-Malcolm McLaren

Nº Inv. 2001.1848.a-c

«HASHISH», and the Rolling Stones logo, etc. Hems edged with a

Circa 1973

1977

band of worn denim.

Maxi dress in black polyester crêpe with bodice striped in diagonal

T-shirt in two layers of cotton muslin, printed in red on the front with a

Label: «LEVI STRAUSS & CO SF CAL»

bands of yellow and black. Long pointed collar with stand. Long full

motif of bare breasts. Round neck and cut-outs on the shoulders. Very

1970

United States

sleeves gathered into buttoned cuffs. Dress opened right down the

long sleeves with visible seams, sleeve hems able to be rolled up and held

Tennis dress in white cotton piqué, fitted and sleeveless. Round front

Nº Inv. 2000.934

centre front and fastened by yellow crêpe-covered buttons.

in place by a snap hook, with two rings, one at the elbow, the other at the

Label: «DESIGNED BY/OSSIE CLARK/FOR radley»

shoulder.

340. Dress

England

Label: «A/ for/soldiers/prosti-/tutes/dykes +/punks»

waist, with the same flower appliqués all over the skirt. Lined in blue

1976

Nº Inv. 2003.723

England

polyester taffeta. White metal zip with slider in the shape of a tennis racket.

Dress in red cotton velvet printed in a blue, purple and green all-

335. Teddy Tinling

lace with floral motifs. White flower appliqués at the waist. Lined in

336. Teddy Tinling

neckline with appliqué of white daisies with a blue centre. Back V-shaped neckline with the same appliqués. Short flared skirt cut on the bias, low

Similar model conserved in the collections of the Kyoto Costume

Label: «Teddy Tinling/made in England/London»

over floral motif.

344. Roberta Di Camerino

England

Bloused bodice with blue bands applied to the sides. High round

1974-1977

Belonged to the American tennis player Carol Kalogeropoulos; worn

drawstring neckline with cord. Long full sleeves drawn in by an elastic

Long dress with long sleeves in synthetic jersey printed with vertical waves

during the Wimbledon tournament of 1970

at the wrist. Skirt gathered at the waist by elastic with belt of the

in tones of blue; V-neck in front and back. Logo «R» on the left wrist.

348. Vivienne Westwood-Malcolm McLaren

same fabric.

Italy

1977

Chile

Nº Inv. 2000.976

Shirt and pants ensemble in black cotton sateen. a) Shirt with small collar

Nº Inv. 2001.1846

Institute, Japan Nº Inv. 2000.889

with buttons, shirt sleeves, rounded hem, shorter in front than in back.

337. Teddy Tinling

Acquired by the donor, Victoria Montt de Araya, at García Vellella

1972

boutique, Viña del Mar

345. Roberta Di Camerino

Shoulder tabs and belt loops at the waist. Decorated with printed and

Nº Inv. 2001.1071.CAM

1978

woven messages. b) Cigarette legged-pants with central pleat. Square

waist. Round neckline piped in synthetic white lace with a red bow

Dress in polyester jersey printed with a trompe-l’œil motif of a belted skirt,

pockets applied on the front and back. Fastened by a Velcro band at the

applied to the front. Miniskirt in the same fabric, bias-cut, with

341. Biba

shirt and cardigan ensemble in tones of blue. Polo collar with button placket

waist and a zipped fly. Belt loops and rings on the waistband. «Bondage»

transparent synthetic lace flounces enlivened with a series of red

Circa 1970

fastened by gold buttons bearing the logo «R». Long straight sleeves.

style adjustable tabs with metal buckles at the knees. Central back leg

bows all over its surface. Lined in bias-cut white synthetic satin.

Fitted maxi coat in tapestry canvas printed with an all-over floral knit

pleats closed by zips. c-d) Short black leather boots, slightly pointed toe,

Fastened by a metal zip with slider in the shape of a tennis racket.

motif in brown, ochre, green, black and beige. Shawl collar and lapel.

Camerino», «®», «MADE IN ITALY/100%/POLYESTER»

with straps and silver metal buckles. Cotton laces. Long tongue folding

Label: «Teddy Tinling/made in England/London»

Long straight sleeves. Edge to edge fastening with black cord frogs.

Italy

over onto the vamp. Reinforced toes with application of a silver metal

England

Lined throughout in black synthetic taffeta.

Nº Inv. 2000.961

cross. Lined in beige and red leather. Rubber sole.

Belonged to the Argentinean tennis player Ana María Arias, who is

Label: “BIBA”

Label: « MALCOLM MCLAREN/VIVIENNE WESTWOOD/

married to the Chilean tennis player, Jaime Pinto

England

SEDITIONARIES», «SEX original/430 KINGS ROAD,

Nº Inv. 2001.837

Dress similar to this coat in the book «The Biba Experience» by Alwyn

CHELSEA/01-351 0764»

W. Turner, p.139

England

Nº Inv. 2006.151

Amongst the inscriptions on the shirt are the words of a song by the

Tennis dress, sleeveless, in white polyester piqué. Fitted, with low

English punk group The Sex Pistols Nº Inv. 2007.33.a-d

384

385

353. Giorgio Armani

357. Maud Frizon

360. Vivienne Westwood

1977

1999

1983

Fall/Winter 1981-1982

Shirt and pants ensemble in black cotton sateen. a) Shirt with collar and

Square pre-shaped evening bag in black silk satin with applied

a) Handbag in black lacquered zebra-striped motif printed on

Man’s ensemble in pink, purple, yellow and white striped cotton

stand, rounded hem, shirt sleeves, shoulder tabs and belt loops at the

diamantés. Handle with topstitched straps attached to a straight

white suede. Snap-fastened flap. Matching shoulder strap. Lined

taffeta.

waist. Pocket applied to the left side. Series of fabric straps attached to

plastic rod. Black felted taffeta lining. Small rectangular mirror.

in beige suede, three inside pockets.

a) Long reversible jacket, one side in striped cotton, the other in grey

the shirt and joined together by grey plastic buckles and two neoprene

Label: « Giorgio Armani »

b) Matching court shoes in white suede with a black lacquered

fleece.

rings in the front and back, inspired by a parachute harness. b) Cigarette

Italy

and white zebra striped-motif. High triangular heel. Lined in

Long sleeves, flap pockets. High turn-down collar, long lapels with

Nº Inv. 1999.792.a-c

metallic grey leather. Brown leather sole.

half-ball metal buttons engraved with the initials «FLM» and at waist

back. Fastened by a Velcro band at the waist and a zipped fly back finishing

Label: « Maud Frizon /Paris/Made in Italy »

level, two striped fabric-covered buttons. b) Short square waistcoat

at the back top. Belt loops and rings on the waistband. «Bondage» style

354. Free Lance

France

with small high collar, horizontal welt pockets and fake double

adjustable tabs with metal buckles at the knees. Central back leg pleats

2002

Belonged to Raquel Bascuñán de Yarur (1923-1996)

buttoning. Fastened only on the right hand side. Lined in white

closed by zips and a half-circle piece of grey terry-cloth printed with the

Ankle boots with pointed toe in white patent leather printed with red

Nº Inv. 2006.394.a-c.RB

fleece. c) Cigarette-legged pants with side pockets. Adjustable tabs

word «CHAOS» in black, attached by two snap hooks to the pants.

stars. Zip on the inside side. Stiletto heel. Sole in silver leather with

349. Vivienne Westwood-Malcolm McLaren

legged-pants with central pleat. Square pockets applied on the front and

with metal buckle in the back. Fastened in front by a zip and button.

Label:«MALCOLM MCLAREN/VIVIENNE WESTWOOD/

label in bas-relief and embroidered in pink. Lined in red leather.

358. Charles Jourdan

SEDITIONARIES»;«MALCOLM MCLAREN/VIVIENNE

Label: « Freelance/Paris/Made in France »

Circa 1983

Long scarf belt in double striped fabric, finished at the ends by two

WESTWOOD/SEDITIONARIES/PERSONNAL COLLECTION», «

France

Black suede court shoes. Fancy heel in a triangular shape

points and a fabric tassel.

A/for/soldiers/prosti-/tutes/dykes+/punks»

Nº Inv. 2002.310.a-d

covered in red leather. Lined in red fuchsia leather. Slight

Label:«worlds end/mclaren/westwood/born in england»

platform sole.

England

355. Celebrity Shoes

Label: « Charles Jourdan/Paris/Made in France »

Jacket cut inspired by 17th century military costume. «Pirate Collection»-

Circa 1983

France

first catwalk collection by Vivienne Westwood presented at Olympia,

« Creepers » shoes in white leather with perforated pink suede

Belonged to Dolly Said de Yarur

London

Poster «God Save the Queen, The Sex Pistols»

vamp trimmed in white cotton cord. Lined in natural leather. Black

Nº Inv. 2003.217.a-b. FY

Nº Inv. 2004.479.a-d

1977

leather sole.

Original black and white and colour print on paper

Label: « Made in England/ Dr. Martens/Air cushion shoe/Acid/Petrol/

359. Giorgio Armani

361. Jean Charles de Castelbaljac

England

Oil/Alkali/resistant », « Celebrity Shoes/Made in England»

Circa 1984

Circa 1985

69x99 cm

England

Man’s coat in beige and black herringbone wool twill. Tailored

Man’s coat in denim and patchwork of wool tweed. Tailored collar,

Poster for the English punk group The Sex Pistols’ second single, causing a

Belonged to John Entwistle (1944-2002) bass player of the English rock

collar, set-in sleeves and pockets applied to each side front.

straight sleeve with shoulder and armhole seams in contrasting fabric,

scandal because of the words against the British monarchy

group The Who

Double-breasted fastening with six buttons; inverted pleat for

elbow reinforcements and gusset pockets applied to each side at hip level.

Nº Inv. G71

Nº Inv. 2006.25.a-b

ease in centre back. Lined in taupe satin.

Pocket bands and front edges trimmed in natural leather. Fastened in front

Label: «GIORGIO ARMANI/ VIA BORGONUOVO,

by three tortoiseshell buttons. Lined in pale blue chambray and sleeves

356. Diadora

21-MILANO»

lined in beige wool.

Punk at Hyde Park, London, England

1984

Italy

Label: «Jean Charles de Castelbaljac»

1985

Trainers in yellow synthetic jersey with geometric pieces of

Nº Inv. 2005.231

France

Black and white photograph on paper

grey leather and printed grey and red plastic, yellow shoelaces.

19x27cm

Quilted synthetic insole. Grey textured sole.

Label: « DIADOR A » Autograph in print “CEB COE”

362. Kansaï Yamamoto

Italy

Circa 1981

352. Ray-Ban

Created in homage to Sebastian Coe, Olympic gold-medal winner

a) Large jacket in brown quilted corduroy with hood fastened on top by a

1986

of the 1500 metres at Moscow in 1980 and in Los Angeles in 1984,

zip and sleeves in beige polished leather. Wrists and bottom edge finished

Sunglasses with black plastic frames, metallic blue upper edge and

for England

in beige and brown rib trim. Diagonal zipped pocket on both front sides.

arms.

Nº Inv. 2001.1275.a-b

Thick embroidery of a tiger’s head on the left chest and back. Green

England Nº Inv. 2001.100.a-d 350. Jamie Reid

351. Anonymous

Lined in black crepe cotton printed with spatters of orange paint.

Nº Inv. 2005.235

« Wayfarer » model

embroidered calligraphy on the front, and the inscription «KANSAÏ»

Label: « Ray-ban »

embroidered in black and gold on the back. Blouson fastened in front by

Nº Inv. 2007.93

a zip. Lined in brown Jacquard jersey with a small beige checkerboard motif, triangle, stylized fleur de lys and diamond shapes. Label: «yamamoto / kansai» Japan Nº Inv. 2005.237.a-c

386

387

366. Sybilla

371. Roberto Cavalli

374. Miguel Sayago

Circa 1987

Fall/Winter 1987-1988

2001

Jorge Yarur Bascuñán

Suit in grey leather. a) Long jacket with small straight topstitched collar and

Coat-jacket in moss green wool, collarless, with long sleeves. Front edges

Jeans’ style pants in stretch white printed cotton sateen, straight cut with

1991

large lapel flaps. Batwing sleeves, square shoulder pads and pockets standing

and seams rigidified by metal wires creating a variety of undulations on

five pockets. Garment-printed in irregular vertical stripes of green, pink

Original colour photograph on paper

away from the hips. Pocket edges with V-shaped cut-outs exposing the

the lower part of the garment. Fastened by hooks and eyes.

and tones of blue. Overprinted with a motif of reptile scales in transparent

Chile

topstitched pocket bag. V-shaped yoke in the back. Fastened in the front

Label: «Sybilla ®/MADE IN SPAIN»

varnish. Fastened by a zip and metal riveted button engraved «roberto

15x15 cm

by two riveted press studs. Lined in grey acetate satin. b) Short skirt with

Spain

cavalli».

Waistcoat in the museum’s collection, Nº Inv. 2000.752.JY

waistband. Topstitched back panel. Fastened on the left side of the central

Similar model conserved in the collections of the UCAD, at the Musée de la

Label: «roberto cavalli» «ART/COLLECTION/roberto cavalli/…».

CARA magazine, september 1991, «Cuatro chilenos con estilo» pp. 54-57

panel by a riveted metal press stud and a zip. Lined in grey acetate satin.

Mode et du Textile, France

Italy

Nº Inv. 2000.1180

Nº Inv. 2001.762

Private collection 12

367. Issey Miyake

372. Le Garage

375. Jean-Paul Gaultier

Fall/Winter 1993-1994

1989

1990

364. Thierry Mugler

Ensemble in verdigris-coloured pleated metallic polyester, bristle led and

Shirt in ecru viscose plain weave. Collar with stand, embroidered with the

Slightly waisted waistcoat in ochre cotton sateen. V-neck and gently pointed

Spring/Summer 1990

laminated. a) Four panel tube skirt, which by its pleated effect appears to

letter «G» and an arabesque in black beads. Long sleeves fastened by a

bottom edge. Diagonal welt pockets. Elasticized sides trimmed with a heavy

Suit in white linen taffeta and viscose. a) Jacket with kimono sleeves and

be flared at the hem, elastic waistband. b) Long coat, shawl collar, long

button; hemline straight in front, slightly rounded in the back. Fastened in

metal zip. Back in black twill with adjustable tabs in satin and a metal buckle.

rounded shoulder pads, collar cut in an irregularly undulating line. Facings

sleeves, fastened by plastic buttons.

front by white mother-of-pearl buttons.

Each side of the back trimmed with three tied cords finished by a metal tube.

of the collar, front, bottom edge and sleeves in apple green cotton.

Label: «ISSEY MIYAKE»

Label: «BELLOWS BRUT/ Furnishings for Men, Women and Boys/

Fastened in front by a series of brown buttons. Lined in black twill.

Fastened on the left front side by a large white plastic buckle through which

Japan

ESTABLISHED 1976/LE GARAGE ®/EXPRESSLY PRODUCED IN

Label: «Jean Paul/Gaultier/HOMME/MADE IN ITALY»

Nº Inv. 2001.104.a-b

PARIS/MADE IN FRANCE»

France

white fabric, no waistband, and pleated effect on the left side at thigh level.

France

Belonged to Jorge Yarur Bascuñán. See n°374

Undulating flounce, rigidified and lined in orange cotton at the hem, raised

368. Moschino

Belonged to Jorge Yarur Bascuñán

Nº Inv. 2000.752.JY

above the left knee. White synthetic lining. Fastened in the back by a zip.

1998

Nº Inv. 1999.389.JY

Label: «MADE IN FRANCE ® /Thierry Mugler/PARIS»

Handbag in the shape of an American football in brown leather trimmed

France

with an ecru leather thong laced through eyelets. Two handles and a long

373. Reiss Britain

Haute Couture Spring/Summer 1987

strap in the same leather. Lined in black silk.

1989

Short bustier dress in pink silk repp. Bustier embroidered at bust level in

Label: «Moschino», «Moschino Bags/ Made in Italy by Redwall»

Two-piece man’s suit a) Jacket in black gabardine crepe with tailored collar,

motifs of swans in gold beads and cords, pastel diamantés and sequins.

365. Yohji Yamamoto

Italy

pointed lapels and long sleeves finished with three buttons at the wrist. Two

Finished with a brooch of gold metal diamantés and imitation pearls in

Fall/Winter 1990

Nº Inv. 2001.1355.a-d

rounded pockets applied to front, and a bias welt breast pocket on the left

cabochon and teardrop shapes.

side. Adjustable tabs on either side of the waist with a leather-covered buckle.

Very full overskirt opened in the back over a series of petticoats in pink

369. Moschino

Fastened in front by four black plastic buttons. Bodice lined in black twill, sleeves

and mauve tulle, smooth in front, pleated in the back; the ensemble

Fastened in the back by a zip.

Circa 1998

lined in white pékin striped fabric. b) Trousers in black and brown wool

covering a longer straight skirt in pink repp. Lined in pink silk pongee.

Japan

Handbag in topstitched leather in the shape of a milk carton, with

hounds tooth check. Vertical pocket in the pleat on each side front and double

Fastened by a zip and press studs.

Label: «Yohji Yamamoto/pour homme/FABRIQUE AU JAPON/MADE

inscriptions in

welt pockets buttoned on both side backs. Belt loops, adjustable tabs at the

Label: «CHANEL», «66094»

IN JAPON/COMPOSITION ET INSTRUCTIONS DE LAVAGE/

English and Italian on an ecru and pale blue ground. Long rigid strap in

waistband sides. Zipped fly-front fastening and two buttons.

France

VOIR ETIQUETTE ANNEXE/COMPOSITION AND WASHING

pale blue leather.

Label: «Reiss/BRITAIN», «MADE IN ITALY»

Nº Inv. 2003.308

INSTRUCTIONS/SEE ATTACHED LABEL/S»

Label: «Moschino», «Made in Italy»

England

Similar model conserved in the collections of the Los Angeles County Museum

Italy

Belonged to Jorge Yarur Bascuñán

377. Yves Saint Laurent

of Art, United States

Nº Inv. 2001.1354.a-c

Nº Inv. 2000.583.a-b.JY

Haute Couture Spring/Summer 1985

363. Azzedine Alaïa

Label: «ALAIA/ PARIS» France Nº Inv. 2001.759.a-b

two pointed, pleated panels are passed. b) Short straight skirt in matching

Nº Inv. 2003.545.a-b

Dress in black wool, sleeveless with boat neckline. Bodice composed of diverse cuts. Flared skirt rigidified by three hoops. Lined in black crepe.

376. Chanel

a) Long bustier dress in printed chine silk taffeta. Bodice horizontally

Nº Inv. 1999.717 370. Roberto Cavalli

draped to the hips. Straight skirt, slit in the back. Back adorned with

2001

a full puff attached by large press studs. Fastened by a zip and hook

Shirt in pale green polyester jersey, pleated, bristle led and heat-

and eye. b) Long wide gauze stole printed in the same motif as the

laminated. Shirt collar and long straight sleeves. Fastened in front by

dress. c-d) Leather pumps with high heels covered in matching fabric.

riveted press studs finished with a mirror cabochon engraved «RC» on

Label: «MADE IN FRANCE /YVES SAINT LAURENT/ PARIS»,

top.

«59184», «Dal co’ -Roma»

Label: « roberto cavalli»

a-b) France; c-d) Italy

Italy

Nº Inv. 2001.97.a-d

Nº Inv. 2001.761.a-c

388

389

382. Gaultier Paris Couture

385. Vivienne Westwood

387. Cyberdog

Nolan Miller and the actresses from the television series «Dynasty»

Fashion show-Spring/Summer1998 collection

Fall/Winter 1995

2000

1985

Model «Daniel»

Ensemble in wool tweed tartan with a dominant colour of green,

Pants in orange and navy fluorescent polyester denim with

Colour print on paper

Original colour photograph on paper

and shirt in burgundy, light green and white gingham cotton. a) Fitted

applications of navy thermo-engraved plastic pieces at the knees and

Dress worn by Joan Collins in the series “Dynasty” in the museum’s

France

«Bettina»jacket with long sleeves, round tailored collar and lapel in the

calves. Plastic pockets with white plastic zips. Fastened in the centre

21x31 cm

shape of a petal, and hip basque. Pockets with round opening applied

front by a heavy white plastic zip. Adjustable tabs at the sides in

Ensemble in the museum’s collection, Nº Inv. 2002.278.a-e.

to front sides. Fastened by three tortoiseshell buttons and a leather

industrial plastic braid, joined by a plastic blocker.

Nº Inv. F2718

lined tweed belt and buckle. Jacket lined in pink silk satin. b) Straight

Label: «CYBERDOG »

1985

skirt narrowed at the hem, with hips and derrière magnified by a series

England

Sheath dress in silk chiffon pékined chiffon in fuchsia pink with gold

383. Jean-Paul Gaultier

of darts and worn over a small metallic bustle. Slit in the back. Fastened

Belonged to Jorge Yarur Bascuñán

thread, with low neckline in both front and back, straps adorned with

Haute Couture Spring/Summer 1998

by a waistband and on the left side by a zip and a tortoiseshell button.

Nº Inv. 2004.67.JY

organza flounces. Entirely embroidered in vertical lines of silver bugle

Man’s Ensemble a) Shirt-jacket in brown chamois leather, inside

Lined in pink silk satin. c) Waisted shirt, rounded collar with stand.

beads and in the front a branch of leaves in beads and diamantés

cream. Visible seams. Collar and stand, long sleeves; chesterfield front

Long sleeves with double cuffs. Cuff links in gold metal in the form of a

388. Octavio Pizarro

reaching the edge of the back neckline. Lined in pink chiffon, neckline

fastening with cream silk-covered press studs. b) Tank-top T-shirt in

penis. Fastened in front by tortoiseshell buttons.

1995

facing in purple organza, reinforced in the back by a band of elastic.

ribbed ivory silk jersey. c) Trousers in silk satin embroidered with scale

Wedding dress in three layers of cream silk crepe, mini in front and

Fastened in the back by a zip.

motifs and pompons in round beads, silver bugle beads, mother-of-

England

long in the back. Double straps in fine cream silk satin cord. Pointed

Label:«Nolan Miller»

pearl beads and diamantés. Torero style cut, below the knee and

The ensemble is completed by green wool tweed tartan gloves and socks

neckline in the front and V-shaped in the back, decorated by a band

United States

darted, with multiple yokes in front. No waistband, laced in front by a

in plum-coloured knit trimmed with ochre ribbon roses. Collection «Vive

of guipure embroidered in satin-like cord and mother-of-pearl beads.

Dress worn by the English actress Joan Collins in the television series

woven silk cord and fastened on the right hand side by a zip, hook and

la Cocotte»

Back continuing into a long train of two fabric layers and closed to

«Dynasty» (1981-1989). See nº 378

loop. Slit pant bottoms. Lined throughout in pink silk pongee.

Nº Inv. 2001.1654.a-g

the feet by a series of chiffon-covered buttons and cord loops. White

Nº Inv. 2002.31

Label: «Gaultier/Paris»

378. Eddy Ming

collection, Nº Inv. 2002.31. 379. Nolan Miller

synthetic lining

France

386. Cyberdog

Label: «OCTAVIO PIZARRO VIZCARRA»

Model «Daniel». See nº 382

2000

Chile

Nº Inv. 2002.278.a-e

Ensemble of bolero, bra, skirt and necklace.

Donated by Imara Castagnoli. Worn for her wedding on March 5th

Backless dress in wool/silk satin and black leather. Bustier formed

a) Bolero in indigo polyamide/elastene jersey with long fitted sleeves.

1995. See n°389

by two triangles in fabric and topstitched leather, joined by straps

384. Jean-Paul Gaultier

Elbow reinforcements in turquoise jersey with blue thermo-engraved

Nº Inv. 2002.183.a-d

crossing-over in front and back, finishing as the belt of the skirt.

Fall/Winter 1992-1993

plastic in high relief. Fastened in front by a band of black elastic with

Trimmed with round gold and silver buttons representing the head

Man’s ensemble in Jacquard figured denim with a motif of faces.

plastic press clasp. b) Bra with cups in turquoise and black double sided

389. Anonymous

of the Medusa(Versace logo). Short straight skirt slit in the back.

a) Jacket with small collar, set-in sleeves with cuffs and a flap pocket

jersey with blue plastic reinforcement in the same geometric shape as

Imara Castagnoli in her wedding dress accompanied by her father,

Fastened on the left side by a zip, hooks and eyes and press stud.

on either side of the chest. Waistband with adjustable tabs on the

the elbows. Fine straps in indigo synthetic jersey crossing in the back. c)

5th March 1995

Lined throughout in black silk satin.

sides. All seams are topstitched. Front, pockets and tabs fastened by

Straight skirt in waterproof turquoise nylon taffeta. Adjustable at the waist

Original colour photograph on paper

Label: «GIANNI/VERSACE/COUTURE/MADE IN ITALY»

metal riveted buttons marked «GAULTIER JEANS». b) Pants with five

by a fluorescent yellow cord drawstring and blocker in transparent plastic.

Chile

Italy

riveted pockets and back yoke. Fly-front with riveted buttons.

Pleated at the knees. d) Necklace in thick transparent mica trimmed with

13x18 cm

Label:«GAULTIER JEAN’S/6 JACQUARD TETES/FABRIQUÉ EN

a diamond shape in metallic turquoise plexi on the front. Fastened by a

Dress in the museum’s collection, Nº Inv. 2002.183. a-d

TUNISIE/100% COTON», «GAULTIER JEAN’S/142 JACQUARD

metal press stud and hook and eye in the back.

Collection 1

381. Gianni Versace

TETES/FABRIQUÉ EN TUNISIE/100% COTON»

Label: «CYBERDOG-ONE SIZE», «PROHIBITION-Made in England»

Spring/Summer 1991

France

England

Ensemble in multicolour printed cotton repp in a motif inspired by

Nº Inv. 2000.935.a-b

Nº Inv. 2000.884.a-d

380. Gianni Versace Fall/Winter 1992

Nº Inv. 2005.245

the portraits of Marilyn Monroe and James Dean by Andy Warhol. a) Short jacket in printed cotton/viscose repp, edged in topstitched blue silk. False pockets on the hips. Long sleeves with wide cuffs fastened by gold buttons with red plastic centre. b) Straight dress in printed silk satin, with fuchsia satin straps; triangle shape neckline in front, straight in the back Label: «GIANNI/VERSACE/COUTURE/MADE IN ITALY» Italy Ensemble complemented by Lycra bodice suit in same print. Nº Inv. 2001.1346.a-d

390

391

390. Salvatore Ferragamo

394. Jean-Paul Gaultier

398. Christian Dior by John Galliano

2000

Haute Couture Spring/Summer 2002

Haute Couture Fall/Winter 2002-2003

Mules in lizard leather in gradated tones of blue-green and brown.

Long dress of poppy red silk plaited and braided tulle, with thin straps

Long asymmetric dress in silk taffeta resist-printed in gradated tones

Lined in brown leather. High square heel. Black leather sole.

and low neck, composed of long bands growing wider towards the

of pink and green. Neckline with flaps formed by panels of the

Label: «Collection/Salvatore Ferragamo/Made in Italy/Florence»

hem. Partially lined in skin-coloured silk tulle.

same fabric held in place by a cap sleeve and a strap falling onto the

Italy

Label: «Gaultier/Paris»

right hand shoulder. Application on the bodice and skirt of a long

Nº Inv. 2000.998.a-f

France

wrapped band of brown-printed beige inside out leather with edges

Model «Atelier»

topstitched in ecru wool. Full skirt with flat pleats formed by several

Nº inv. 2002.646

layered point panels, continuing into a train, and under this, there is a

Rectangular handbag in lizard leather in gradated tones of blue-green

flared skirt in the same fabric reinforced with white bristle.

and brown. Two Omega like (Ferragamo logo) handles in chrome metal. Magnetic clasp. Lined in olive green suede.

395. Jean Paul Gaultier

Label: «Christian Dior/Haute Couture/Paris», «33223/AH

Label: «Salvatore Ferragamo/ Made in Italy/ A Q-21 0859»

Haute Couture Spring/Summer 2005

2002/2003/100% SOIE»

Italy

Long strapless draped dress in«tanzanite» blue chiffon jersey and

France

Nº Inv. 2000.999.a-b

ecru organza. Boned bodice, pleated and forming the shape of an

Nº inv. 2002.645.a-b

African masque and long skirt with train. Lined in muslin, jersey and 391. Stéphane Kélian

pink silk satin.

2000

Label: «Gaultier/Paris»

***Raquel Bascuñán Cugnoni marries Juan Yarur Banna in 1958, and

Sandals in green metallic leather, perforated and topstitched. Fancy

France

as was the custom in Chile at that time, from that moment she goes

tongue in green leather with curved point. Single piece stretch strap.

Published in «Citizen K International» 2005, modelled by Naomi

by her married name, Raquel Bascuñán de Yarur.

Stiletto heel in green plastic. Leather sole.

Campbell. Model «Balouba»

Label: «Stéphane Kélian/Paris»

Nº inv. 2005.97

France Nº Inv. 2000.1317.a-b

396. Roberto Cavalli S.p.A. Victoria Beckham at the finale of the Roberto Cavalli Menswear

392. Giorgio Armani

fashion parade, in Milan.

Spring/Summer 2003

Fall/Winter 2006

Man’s ensemble.

Original colour photograph on paper

a) Cross over front pullover in navy blue silk/linen jersey, with long

Italy

narrow sleeves. b) Full pants in cotton pékin with fine white stripes.

11x19 cm

Pajama cut with elastic waist, welt pocket on each side and diagonal

Dress in the museum’s collection, Nº Inv. 2006.362

panel at the lower leg.

Nº Inv. Collection 3

Label: « GIORGIO ARMANI/MADE IN ITALY», «ARMANI/ COLLEZIONI»

397. Roberto Cavalli

Italy

Fall/Winter 2006

Nº inv. 2003.340.a-d

Strapless dress in white silk satin with thin straps. Fitted bodice with bust formed by knife pleats placed in a fan shape. Draping at

393. Jean-Paul Gaultier

the waist emphasized by an appliqué of embroidered fan motif in

Haute Couture Spring/Summer 2000

sequins, diamantés and beads in tones of red, gold, black and silver

Long dress with long sleeves in silk knit striped in bands continuing

finished with a silver and gold tasselled cord. Interior bodice suit of

into an embroidery of lacquered ostrich feathers forming navy and

pink elastic tulle. Very long draped skirt, slit at the left side. Metal zip

ivory stripes.

at the side. Apricot synthetic lining.

Label: «Gaultier/Paris»

Label: «roberto cavalli»

France

Italy

Model «Lascar»

Modelled by Victoria Beckham, English ex-singer of the group The Spice

N° Inv. 2002.276

Girls and wife of soccer player David Beckham. See nº 397 Nºinv. 2006.362.a-c

392

393

Published on the occasion of the opening of the Museo de la Moda, May 16th, 2007

Direction : Jorge Yarur Curator at large : Lydia Kamitsis Graphic concept : Vicente Vargas Photography : Hörst Von Himmel

Coordination : Jessica Meza, Acacia Echazarreta Texts : Lydia Kamitsis Research and documentation of works : Bernardita Mandiola assisted by Acacia Echazarreta, Montserrat Morales, Priscilla Alvarado, María Teresa Santibañez, Karla Villaroel, Julia Avello, Verónica Galdames and María Paz Aracena Construction of mannequins: Montserrat Morales assisted by Graciela Aguilar, María Cecilia Aguilar, Luisa Solis, Luis Acuña, Julia Avello, Karla Villaroel Conservation and restoration : María Teresa Santibañez, Priscilla Alvarado Conservation team : Eduardo Acuña, Cecilia Aguilar, Luisa Solis Graciela Aguilar Notice : Nathalie Hatala Retouching of images : Eric Recabarren Translation : Sally Ruddock-Rivière, Evelyne Briffaut, Acacia Echazarreta, Jessica Meza, Bernardita Mandiola. Color grading : Felipe Hernandez Printed by : Andros

We would like to warmly thank our friends, collaborators, Fashion Houses, Museums, donors as well as all those that through their advice and support have allowed us to bring this project to fruition, especially :

Isabel Alvarado, Odile Babin, Monica Barriento, Anne-Rose Brigel, José Cardoch, Imara Castagnoli, Pola Chami, Gérald Chevalier, Marie-Louise de Clermont Tonnerre, Chantal Dagommer, Fanny Espinoza, Titi Halle, Barbara Jeauffroy, Harold Koda, Mylène Lajoix, Isabelle Lebreton, Philippe Lemoult, Frédéric Lourau, Didier Ludot, Gaël Mamine, Malitte Matta, Ramuntcho Matta, Catalina Mena, Cecilia Miquel, Dominique Miraille, Victoria Montt, Patricia Muller, Blanca Ossa, Joséphine Pellas, Soizic Pfaff, Jean-Yves Rivière, Magdalena Rosas Ossa, Lucie Saboujian, Maeva Schwend, Roger Slandler, Ursula Strate, Kerry Taylor, Stéphane Tourisk, Paz Valenzuela, Maria Elena del Valle, Frédéric Verdure, Leigh Wishner, Paulina Yarur, Victoria Yarur Copyright included in notice

394

395

396