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Chanel Haute Couture, Karl Lagerfeld, Fall/Winter 1985

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection continued the development of Lagerfeld’s Chanel. Beaded looks were made to look like intricate tapestries and the hems of skirts were either floor-length or well above the knee, a deviation from Chanel’s strict rule of creating skirts 2 in. (5 cm) below the knee, no matter the fashion. The final bridal look was a white satin miniskirt suit. Two-tone, matronly pumps were a Chanel signature; the black stilettos in the collection underscored the younger, sexier direction of the house

Bill Blass, Spring/Summer 1984

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was all about simplicity, which led Nina Hyde at the Washington Post to comment, “Blass’s clothes have never been more simple, less contrived.” The hems were short because Blass believed that his couture customers had the money to keep their body in great shape. There were bra-like tops under conservative suits for day, and evening gowns in silk charmeuse draped in silk chiffon. Because of the simplicity of the clothes, the models’ hair was more extreme. Critics commended Blass’s

Bill Blass, Spring/Summer 1988

Michelle Honig

Source: Fashion Photography Archive 2015

Article

This collection was inspired by Matisse paintings that Bill Blass saw while at the National Gallery in Washington. Shown at the Parsons School of Design in New York, the clothes were short and full of froufrou due to the influence of “the sugar daddy of bonbon chic” and designer of the moment Christian Lacroix, and his short, little-girl styles. Hems were well above the knees, which concerned retailers servicing working women needing office-appropriate clothes. Even though critics liked his use o

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