Analysis of information sources in references of the Wikipedia article "André Courrèges" in English language version.
Courrèges first became famous for designing beautifully tailored pants outfits to be worn on any occasion.
...Courrèges...throws out high heels...'High heels are preposterous. They are just as absurd as the ancient practice of binding the feet of Chinese women'.
'Luxury in clothes to me has no meaning. It belongs to the past. My problem is not rich embroidery, useless lavishness – it is to harmoniously resolve function problems – just like the engineer who designs a plane, like the man who conceives a car'.
'Women of today are archaic in their appearance,' Courrèges says. 'What I want is to help them coincide with their time'.
...[Fiona Campbell-Walter] says, 'I'm a Courrèges girl. I'm healthy, suntanned all the year round, an outdoor type'.
...Courrèges...liberates [women] from bras 'which in 10 years,' he predicts, 'will be as forgotten as whalebone corsets are today'.
...Courrèges...advocates above-the-knee skirts even for formal wear,...with matching spangled boots and mink helmet.
The newest style is white frames – a tribute to Paris'[s] André Courrèges, who first made the sleepy owl shape with the built-in squint...[T]he original Courrèges white plastic goggle...dangerously narrows the field of vision...
...[T]hrough the last two years...he showed no collections except for a very small group of designs made up for a handful of private customers, including [model and baroness] Fiona [Campbell-Walter].
'I perfectly well realize how utterly immoral my high prices are. My public is far too limited. Soon I should have the possibility and the means to dress the women who do not have the means to dress in original Courrèges. Working women have always interested me the most. They belong to the present, the future'.
In his new collection, Courrèges has retained...hallmarks while making a few changes....[H]e softens the severity of his line with curves and scallops.
He replaces his famous boots with long white socks, worn with flat Mary Jane shoes...
They...look[ed] like flat-chested farm girls with hockey-player legs.
In the 1960s, society had evolved in such a way that the norms imposed by haute couture had become obsolete. A growing number of women wanted to be able to dress themselves elegantly and affordably.
He has an unerring sense of proportion. He knows how to cut, and he has taste....
Courrèges has always believed in short skirts. This season they just covered the top of the knee, which made them the shortest skirts shown here to date.
The designer places himself in a line of 'pure' design - 'the way of tradition' - that descends from Chanel and Balenciaga. 'I continued the style,' he said. 'I brought something more, but I never destroyed what was behind it'.
He showed white for town, for evening and for country....[H]is extraordinary tweeds were woven with white or shown over white dresses.
The pants...covered the tops of shoes like spats.
...[H]is [boots] were a new length. They hit at mid-calf, like those worn by majorettes. He showed them in glistening white, black reptile and leather...
[When asked,] 'Which designers do you admire?' [fashion designer Norman Norell answered:]...'There is Mme. Gres, of course....And in the old days, there were Vionnet, Chanel and Balenciaga...Courreges....He did change fashion for a while'.
...[Says designer Arnold Scaasi,]...'Courrèges put an end to...lavishness'.
A dress by Courrèges...is a very pure white and rigorously smooth, with the seams placed in such a way that nothing is tightly fitted, nothing hinders you.
His controversial pants suits, above‐the-knee skirts and sleek midcalf boots have aroused much excitement since they were introduced last season. They made sense and, at the same time, gave women a bold new perspective about their lives.
He modestly denied that he had created a revolutionary way of life....'Life is changing all the time. I'm only keeping up with it. I have translated life to my clothes'.
[Courrèges's]...intention is to liberate young, fast-moving moderns from corsets, high heels, and other fashion appurtenances that strike him as fossilized vestiges...
Functionalism is the basic theme of Courrèges's clothes...A woman's clothes, the...designer believes, must be in keeping with this day and age and must help her cope with it. No gimmicks or tricks...can replace a dress that has been conceived with its function in mind...
Snug dresses are...uncomfortable, he points out...
...[A]ccording to [Courrèges,] 'a woman's body must be hard...Not soft'...
...[I]t was Yves St. Laurent who had the courage to say, 'We all needed Courrèges...He woke us up.'
Without hesitation, [fashion historian Robert Riley] answers that the most influential designers were Chanel, Dior and Courreges, because 'each of them epitomized at one point in time a really changed point of view'.
In [1947] it was Christian Dior who regained the supremacy Paris lost during the war. In 1954 it was Chanel, who made a triumphant personal comeback. In 1965 it has been Courrèges whose show in January...made him a super-star of haute couture.
Paris has finally approved of the pants suit, first started by André Courrèges in his spring collection. This time even Coco Chanel, who is never stampeded, showed pants...
Rudi Gernreich and Jacques Tiffeau...have chopped daytime hems off at three inches above the knee. Mr. Gernreich admitted that he had been inspired to do so by Courrèges...
Courreges vetoed the wearing of girdles and brassieres, a campaign that Rudi Gernreich was waging across the Atlantic.
[A Courrèges salon attendant] said severely, 'Monsieur Courrèges does not like bras.'...[A]ccording to [Courrèges,] '...The harness – the girdle and bra – is the chain of the slave'.
Emanuel Ungaro..offered softer versions of the Courrèges look in the mid-1960's.
Ungaro gave the impression of a man who is trapped by a few Courrèges shapes and can neither improve them nor forget them....Ungaro's adaptation[s] of Andre Courrèges's ideas always look like a photograph slightly out of focus. He has a new squared silver boot designed by Roger Vivier, and the models...wear a silvery nylon...wig...
...[H]is...geometric A-line dresses...somehow always evoke memories of André Courrèges. One of the things not to do around Ungaro is to suggest that perhaps he never quite cut the cord with Courrèges....'That is ridiculous,' he retorted. '...We both worked and studied under Balenciaga, so naturally we are going to have similar translations'.
...Mr. Courrèges said that 'the most rigorous works of Kandinsky' had inspired him, but he added that one factor in the 'logical composition' of his clothes had been his careful study of the 'great architects of today, above all others Le Corbusier and Saarinen'.
Givenchy's women looked like geometrical designs, abstract figures...
...soldierly silhouettes..
Will women give up skirts for pants in town, as André Courrèges...has been saying for over a year?...[T]wo...secretaries...shopping for slacks at a department store last week...both loved the idea of the pants suit as done by Courrèges...
André Courrèges...showed a beautiful, almost all‐white collection.
For the first time in many years, the widely copied fashion 'Ford' was not a Chanel suit but Courreges's neat little chemise dress,...copied in everything from leather to knit.
André Courrèges...firmly believes in...above‐the‐knee skirts...His skirts are...way above the knee...when worn with boots,...longer, although they still expose the knee, when worn with low‐heeled pumps....Dresses were outstanding because they were uncomplicated. They were chemises with short or the barest of sleeves.
André Courrèges...firmly believes in...smooth, mid‐calf boots....Courreges...is the only one in Paris to show boots for spring....
André Courrèges thinks modern. He firmly believes in pants‐suits for town....[H]e said..., 'Women don't wear pants to the office yet, but they will.'...The show...started with...pantsuits.
Courrèges will continue to show pants...In his attempt to bring the couture into line with life, he believes that pants...make more sense for driving a car than a narrow skirt.
Paris has finally approved of the pants suit, first started by Andre Courrèges in his spring collection....
The Courrèges polo coat in camel hair...is slender through the body with low back vents and white leather buttons....Rows of buttons, usually white ones, pairs of pockets and martingales were the only details on impeccably tailored suits....Courrèges's newest jacket...bloused in the back with short sleeves.
Worn with this were...huge...hats...
...Mrs. Ernest Byfield...order[s] the white Chanel sailor [hat] – along with the huge Courreges bucket [hat].
A model entered the room demurely covered up in crunchy white lace. When she turned around, her tunic swung open from a satin‐bow closing at the neck and bared her back down to a matching bow on low-slung pants.
He showed it with dignity to the sound of classical guitar in a salon that faintly smelled of hyacinth.
André Courrèges stole most of the thunder of the recent couture collections.
This year, he creased pants fore and aft.
Pants suits are the nerve cells of his newest collection....He uses the same deep V slash so they break prettily over a boot. In back, the trousers go from the hip to the bottom of the heel in one smooth stroke. Their newness lies in a slightly narrower cut and in seams that often mark the front and back of the legs with deep creases.
...[A] small set-in sleeve stamped every Courrèges dress as his.
Jackets are notably longer and often have deep vents in back. There is a new seam that circles around the region of the hipbones.
There wasn't a pair of shoes in the collection.
This year's boots, which rise to the first swell of the calf, have pleated tops.
Trousers are still worn with low‐heeled boots made of suède, lizard, patent, white and bright leathers.
For evening the same boot looks small and refined in satin with a delicate ribbon circling the cuff.
There were more evening clothes than ever before.
Courrèges made evening dresses for the first time this season. They were as short as his daytime dresses and also worn with boots.
His pants suits, a fashion carried over from last season, appeared in greater number for day and were glamorized for evening.
This sleeveless dress and jacket is entirely pailletted in a clear, birthday-candle pink.
...[H]e has discovered a shiny vinyl‐like material...It was used most often for pants.
Shining black vinyl was used...
One outfit, in a brilliant poppy red lace, started off with a strip tease in reverse.
A strip tease scene in each show gives Courrèges a chance to show his humor.
The bonnet that all Courrèges's mannequins wore looked like a squared baby's cap that tied in a large stiff bow smack on the chin.
...[A] deeply bronzed brunette mannequin...in...a satin bra the same color as her tanned skin...
The famous white boot had an open toe.
[Boots were] put aside occasionally for a Mary-Jane flat with the same open toe and a bow on the instep.
The models in André Courrèges's spring collection wore white goggles with center slits to see through.
Ten-gallon hats inspired Courrèges's white straw with navy banding and a tie right on the chin.
Mortarboard hat, open-toe boots...
Striped scarf accents white pants suit.
...[W]hite...was used this time as relief.
Lime green dress has low-set white belt, scooped neck and bare arms.
Large doses of white, a Courrèges favorite, contrasted with blazer stripes of navy or faint pastel plaids or stripes.
There were plenty of...pastel plaids and stripes...
Navy bands outline white seams of pants with stripe-lined jacket.
Navy bands are staccato notes on Courrèges's white ensembles.
Banding – white on white, navy on pink or camel, navy on white – outlines the angles of dresses, coats and suits. Courrèges pants...also have banding.
In every daytime pair, banding formed a Y-shaped seam in front that lead to bands down the inside of each leg.
Courrèges's new pants suits in white cotton has navy banding. The much-copied slit over the instep has been sewn up.
Pockets on the dress and jacket are shaped like slots of a mailbox.
There was one pair of jodhpurs in a striking yellow and white plaid.
Courrèges's beautifully scaled, still very short, dresses stole the scene from his low-on-the-hip pants.
Dresses were scaled to perfection, from glistening white twill to shimmering sequins....Square, bare-neck dress has taupe hip-belt.
For summer his dresses have barer arms....The dresses have a wide round neck...or a square neck.
...short, square jackets...dresses with waist-length jackets...
His low-slung belts circled dresses and coats.
His dresses with waist-length jackets have belts below the hipbone....The very low belt also circles impeccably tailored coats...
This year's version of the tailored coat is gray and white striped wool with narrow, hip-level belt. Matching skirt with long suspenders is worn over a white blouse.
...[G]ray and white striped wool suspender-dress and matching coat with narrow belt at hipbone. Dress hangs easily from shoulders with cap-sleeved shirt.
Cap-sleeved suit is double-breasted.
...[E]vening fashions: His short, spare daytime shapes are repeated, with sequins....[C]urved bodice is white, shimmering skirt lime green. Hip-belted dress has black-sequinned skirt.
...[W]hite-embroidered nude shorts and top. Mannequin took off pink wool suit and stepped out in what may be the underwear of the future. Socks, the same mid-calf height as his boots, are of same fabric. Shoes are Mary Janes.
...[T]he jacket of a pink suit was peeled off...[T]he sleeveless lace blouse underneath looked almost nude.
In the absence of André Courrèges, the Callas of French haute couture, the winter [1965] collections...have been like an opera sung by the chorus alone.
[Paco Rabanne] mourns one thing. 'Courrèges was like a flashbulb,' he said. 'He gave out a brilliant, big light – then it died, too quickly'.
Courrèges closed his doors to the press after his last collection in January, 1965 because, he said then, he was sick of seeing cheap, badly made copies of his clothes.
...Courrèges...announced today that he would not present another collection until he had found 'a functional organization' for the manufacture of his designs....The functional organization he envisages apparently has as its fundamental aim the right of Courrèges to maintain some control over his clothes after he has designed them, to assure that what women wear will be Courrèges and no caricature.
At the height of his glory, Courrèges has abandoned art for industry, the hand-sewn for ready-to-wear and the clientele of Society for the ordinary Mme. Durand....[W]hen asked why he stepped down from the pinnacle of haute couture,...[he answered] 'Because I want every woman to be able to wear Courrèges clothes'.
Among certain fashionable young people in Paris, the couture is outmoded and ready-to‐wear...is the rage.
He also said then that he thought haute couture was an old-fashioned way to dress women.
Infuriated by the pirated copies of his designs, he has not admitted the press, manufacturers or store buyers since January, 1965. He is looking for a way to have his designs manufactured with high quality and moderate prices in America...
The couturier decided three years ago [1964] to manufacture his own clothes – to spite, and to defeat, the manufacturers who were making fast, careless copies of his designs. It took Courrèges more than two years to do it....29 months of playing peekaboo...Courrèges calls his coats and dresses 'couture future' instead of ready-to-wear.
L'Oreal, Europe's biggest hair products company, backed Courrèges after he closed his doors on Avenue Kleber. Courrèges...moved into, and decorated himself, the two floors he now occupies at 40 Rue François Premier.
Courrèges staged his comeback into haute couture early last month [February 1967]...[H]e said his couture future [boutique] would open March 1. But...Courrèges opened the doors [in February]...
For the first year, he sold his ready‐to‐wear only in his own boutique.
..[T]he designer would add new clothes to couture future all year round rather than make two specific collections a year.
There were 10 numbers in the [couture] show that are "Couture Future" models
The couture collection and the ready-to-wear...were jumbled up...because the designer thinks both are important...
This was Courrèges's longest show. It had 130 models, nearly 40 of which were...ready-to-wear.
Courrèges will create, reproduce and distribute his own models by the thousand instead of making ten of each. And he will be able to sell them at...five times less than haute couture prices, by doing away with the fittings and perfecting the technique of cutting and assembling the clothes to reduce labor costs to the minimum.
...[H]e is becoming increasingly interested in designing for women who can't swing...couture prices.
Although Courrèges dreamed of being able to dress the girl in the street,...prices on his 'couture future' clothes will be high.
...Couture Future, the ready‐to‐wear he sells in his own boutique and to stores in Tokyo, Milan, London, New York and Los Angeles. Price: around $200.
...[S]kirts are still worn well above the knee.
Courrèges summed up his feelings...'Shoes with no heels can benefit women and take ten years off their age'.
There are still no heels at Courrèges.
Courrèges summed up his feelings about his collection and fashion...'White is the color of liberty....White represents the sun and life. White is young'.
Courrèges still shows architectural shapes, but they have a rounder, curvier look.
Courrèges showed circle seams last season too, but this time he's gone much further with his curves. All the ovals on his clothes are shaped now. Inset bands on dresses have long, wavy lines looking like blow-ups of a petal.
His clothes are much, much softer, especially around the shoulders and hips. Waists show...Courrèges's new clothes are sweeter and more seductive at the same time....There isn't a square shape or a hard line in the entire collection.
A deep, stinging orange is the new Courrèges color.
...[T]he biggest shock...came from seeing so much black – even on legs....There [are]...also heaps of navy blue.
Some Courrèges dresses, and leather coats, have gathers near the waist, and that's an innovation in this house.
The clothes didn't look as rigid as they used to. There were some softer fabrics.
The clothes...look softer, sweeter and much more girlish than the ones he used to do.
This is the softest, most voluptuous collection Courrèges has ever done.
...[H]e sent out a short jump suit in pearlized blue plastic with big snaps on the inside of each leg like a baby's bloomers.
His...models...painted freckles all over their faces...
His girls...paint on their freckles with eyeliner...
All his models...pull their hair back from their faces or wear it very short...
Courrèges loves girls with short hair. One mannequin's hair was shorter than a crew cut.
His girls...wear Alexandre's bright orange, blue, green, black and yellow wigs with bangs.
Courrèges summed up his feelings about...fashion...'[R]eal women with kids and breasts and bottoms and long legs and shoulders'...are the keys.
...husky models...
André Courrèges's tall, big-boned models...
The models...seem to have more bosom and more bottom and much less muscle.
As they dance,...they flash real...smiles.
...[M]odels...don't stand still for a second. Arms swing, legs kick, ponytails whip up and down.
The models...danced, kicked, skipped, jumped and bounced...
...[M]odels...never walk but only skip, slide and skitter...
Courrèges's girls are always dancing...
A record of Jimmy Smith playing the organ filled the showroom.
Courrèges's favorite song is 'Conversations,' by the Modern Jazz Quartet, and he plays it...loudly...
...[H]is white knit body stocking...is an indispensable part of the Courrèges look.
...[T]here were all the ribbed, knitted jumpsuits...in pretty shades of yellow, pale blue, green, red and purple. He called them catsuits and said they were for the woman who wanted to be comfortable as well as modern. The jumpsuits weren't new. Courrèges introduced them three years ago [1967], and they've been widely copied. But a lot of people have missed the clue they provide for a new form of dress....Courreges used the jump suits as the foundation for dresses, jumpers, and skirts. Infinite variations are possible...
His long knitted cat suits (jumpsuits) have been cropped to shorts length.
...Cardin...made clothes that looked like the space age....The foundation for everything was a ribbed turtleneck bodystocking.
Pale pink coat has curved front closing, welt-seam circles under the arms.
There are still those typical short jackets over dresses, but they have lost their squared shape.
...ubiquitous battle jackets...
...lots of little capes and bra tops to be worn with skirts.
...[C]oats and dresses...have deep frilly scallops almost everywhere...
The...trends in the Courrèges collection are: more scallops...
Courrèges keeps on with his scallops...
He has slowed down on the scallops...
Posies pop up everywhere...If a dress doesn't have posies, it has petal-curved, set-in bands.
...nude-colored organdy dresses with dogwood flowers...
The new Courrèges posy has two big petals and it sometimes shoots up from the cuff of a playsuit.
The main message of the Courrèges show was that it's not necessary to go back to clothes our ancestors wore to find ideas for today.
Courrèges summed up his feelings about his collection and fashion...'I have no long dresses in my collection. You can't dance the dances now being danced in long dresses'.
He likes circles and uses seams to make them wherever he can....[T]wo...coats, in pale pink and white, have welt seams making circles around the armholes, or bigger ones over the ribs.
There's another new circle...on coats and dresses, just below the shoulders. The circle spreads out high on the bosom and arm.
Pockets – half moon or circular – are everywhere.
There is a new Courrèges pocket that is a big circle with a tab that juts out.
...an arrow-shaped tab on collar, waist and sleeves...
Courrèges still likes tabs on coats, pants and dresses.
White cotton coat has...circle pockets that snap open.
...a wrap skirt that snaps shut in front under a false facade of buttons...
...many seams and tabs and plastic snaps...The Courrèges version of the shirtdress snaps down the front instead of buttoning.
White lattice dress by Courrèges is cotton with big white cotton posies that have iridescent plastic centers.
...plastic skirts.
...lots of vinyl trimming on dresses and evening jumpsuits...Black wool coat has black vinyl trimming....Black cage jumpsuit for evening has vinyl at neck, armholes and cutouts.
...too much vinyl, even trimming some long dresses...
...[T]he new Courrèges-isms are...coats with big leather midriffs...Caramel and white windowpane-plaid coat has brown leather midriff...
...ribbed, knitted jumpsuits, banded with leather...
He likes more patent leather and leather piping...and shiny cuffs on his white knee socks.
The journalists and the buyers..had their fill of King's Road and East Village fashions at couture prices. The Russian infatuation, the Orientalia and other folkloric episodes had lost their power to thrill....And then Courrèges boldly saved the day.
And then comes Rudi Gernreich to shock you into the present....Life isn't a costume party or a stroll down memory lane, the designer seems to be saying. And functionalism isn't a dirty word.
Skirts on summer evening dresses go down...to mid-calf...His daytime clothes...still don't come even near the kneecaps.
...[T]he girls came out in metal breastbands and metal microskirts...painted in purple, brown, blue and red.
Yes, Courrèges made long skirts: below the knee, mid‐calf or to the ankle.
...those beautifully cut Courrèges pants without a slit in front but still covering the heel of the shoe in the back.
His pants look wider...
Courrèges's...hip-hugger pants decorated with huge blue sequins.
There are one-piece outfits with narrow Bermuda shorts...
...Bermuda-length pant suits in brown pony skin and red wool...
There are lots of shorts worn with short-sleeved, belted jackets with tabs.
Big sequin posies sparkle on crepe jump suits with cut-out ribs and cuffed harem pants.
...Courrèges models in cable knit tunic and very full knickers...
Long dress by Courrèges with sheer appliqués, battle jacket and shorts.
...[T]here's more nudity because of more cutouts...The designer now likes big cutouts on jumpsuits and organdy dresses. There are often big holes over the chest and tummy....Black sequined jumpsuit has cutouts in front and down each leg. White pompons mark each cutout.
...sheer dress with cotton yoke, insert over crotch and rows of embroidered circles.
There are bared bosoms at Courrèges...[Y]ou can see right through the black illusion sleeveless tops of two dresses...
When the cape is whipped off, she is bare to the hips, except for two little yellow flowers on her breasts.
When the Courrèges girls wear nothing at all on top, they modestly hold folded scarves over their chests....Ribbed shorts and socks are topped by nothing but a scarf model is holding.
One girl in the evening sequence came out wearing black bikini pants, a silver choker and lots of silver bracelets. She had her arms folded across her bare chest.
He likes...such low backs that rumps really show...
Courrèges bares more of the bosom than any other designer in town, including Saint Laurent. No model...wears a bra...
The necklines are usually surplice ones with a curved V plunge...or a deep keyhole.
Raquel Welch...is wearing one of the jumpsuits from the new Courrèges show, which has the low keyhole neckline meant to bulge with bosom. It is red, with black patent leather patches at the crotch and on the legs.
...[E]mbroidered sheer evening dresses with skimpy bodices, like overall tops.
A higher, softer boot is held up by buttons and loops.
...a Mary Jane in kid with no heel and a big, unconnected tongue held in place by the strap.
...[T]he models wore the favorite Courrèges shoe: the soft little ballet slipper with the strap and no heel at all.
...Mary Jane shoes that have a wide, round, Charlie Chaplin toe.
...square-toed Mary Janes...
...[A] flat, soft slipper...has a brass ball and brass plaque over the vamp...
...Mary Janes...had plastic inserts on the toes and heels that light up at night.
The Courrèges girl this spring will wear thin white wool socks (sheerer ones for evening)...
...[T]here are posies all over long white stockings.
There are fake eyelashes on the sun shades his models wear.
Courrèges designed handbags for the first time, to be worn with the "Couture Future" outfits.
Another first at Courrèges is bathing suits. They will be sold in the Couture Future collection...
...Courrèges...spoke about prices. He wasn't only concerned about fashion as an esthetic experience, he said. He also wanted women to be able to afford it. So he was introducing a new group, called Hyperbole, for young people with slender budgets. Average price: around $90.
Last week in Paris he introduced a second collection of less expensive ready‐to-wear called Hyperbole, after the geometric figure that curves into infinity.
...[D]oes this mean the couture will fade away? Emphatically no, said the designer. The couture line included styles too complicated to mass produce, he explained, and besides, 'some customers love the service and the fittings'.
It seems that [Courrèges] doesn't like the words 'haute couture' any longer and has banished the description from his salon....They're replaced by what the designer calls 'prototypes'.
Courrèges had the only knee-baring skirts in Paris.
Are we really going to wear longer skirts? Looks that way. Courrèges was the only designer to show short ones and they seemed like period pieces. At the same time they look modern. It's a paradox.
The above‐the‐knee hemlines of Courreges...are not likely to pass into the mainstream...
'I started giving modern clothes, but the markets didn't follow,' he said. 'They didn't see it. Everybody but me got a bit retro....The world's creativity stopped in 1970'.
...the already popular gypsy‐ethnic look.
...[M]id‐calf peasant‐style dresses are the choices of college students and working girls...
Fashion designers [and s]torekeepers...fondly recall the time when women traveled with steamer trunks filled with clothes instead of with backpacks, when ladies wore white gloves and hats, and blue jeans were for farmers and laborers.
...[J]eans have invaded ballet, theater and gallery openings with such assertion that everyone else feels overdressed.
Skirts are short enough to show...over-the-knee socks.
André Courrèges dropped his hemlines only to mid‐knee today, making them the shortest in Paris.
Courrèges dropped his hemlines to mid‐calf...
...[T]hose strict, architectural dresses...[a]re starting to loosen up. One has pleats, another shirring at the waistline.
Courrèges...tries to soften...the line...A few...jackets have gathered waist lines. A zip‐front coat has what looks like a drawstring....Courrèges shows coat with gathered waistline.
...[T]here are indeed signs of change: some skirts have dirndl fullness, some jackets are gathered at the waist, and at least one coat is wide and swingy.
...[T]here's a hint of softening: a tent coat, for instance, and shirtwaist dresses of pliable knitted fabrics, are easing up the soldierly silhouettes.
Instead of the straight‐leg pants he used to advocate...he has tapered the legs and bunched the top in a trendy sort of way.
Under [a dress] is a one‐piece playsuit and under that a swimsuit.
...[S]ome [dresses] are in pretty pastel shades of cotton satin.
...pretty colors such as turquoise blue or a nice, clear red...
He started his showing with a bunch of girls wearing powder blue outfits with pink over‐the‐knee stockings and berets.
His boots now lace up the front and look like army shoes.
Still, there's a Courrèges look, involving battle jackets, pants and tailored dresses and often it's quite nice and modern.
...[T]hose waist-length jackets...accompany net dresses or pants....Courrèges's red battlejacket...goes with polka-dotted cotton pants.
...[T]hose strict, architectural dresses...[a]re starting to loosen up.
...[A] green motorcycle zoomed across the stage. Eleven girls kicked their way across the stage like the Rockettes. Two girls staged a mock boxing match. Some played ring‐around‐a‐rosie....The only time the girls stopped dancing was when the amplifying system broke down.
...[T]he girls all gyrate around to loud music...
Courrèges gave up his wild music and dancing girls.
...showing both ready‐to‐wear and couture at the same time.
Courrèges...mixes up his ready‐to‐wear with his couture clothes...
The designer has not conquered the tendency to plaster his initials over everything, sometimes on many articles worn at the same time, including beret, coat, sweater, knee socks and gloves.
Those vinyl monograms on the chest of André Courreges's sweaters...have made them international status symbols...
Now that his ribbed sweaters with his initials on the chest are a big success, Courregès has found new places to put the AC's: on the back yoke of skirts, pants and jackets, on the sleeve of coats.
...[H]is basic designs are what sell....[T]he simple, tailored dresses and the multitudinous ribbed sweaters...have become status symbols of sorts, decorated with their ubiquitous initials.
The AC's stand for André and Coquelin, his wife. What's more, the A is supposed to be strong and mannish, the C gracefully curved and feminine.
Now he places his entire name, not just his initials, strategically on sleeves and jackets.
Andre Courreges, who can spot a trend a mile off, has also come out with his first tennis dresses for the people who really do intend to play.
...a white pique tennis dress...
...[T]ennis visors in plastic to wear at night.
The standard white Courrèges coat still exists...
...[T]here are still chemises or shifts for those who want them.
....[T]he girls were wearing plastic battlejackets and white pants or standard Courreges shifts...
...[W]e have all the...short white shifts...
...[I]t is comforting to see those calf‐high boots, those plastic borders and battle‐jackets, even the zippers.
A clear plastic cape, big as a tent and decorated with feathers, is his piece de resistance this time.
...[T]he edges are almost always bordered in vinyl. Contrasting vinyl.
...silver kid battle jackets with sports clothes, silver boots in addition to white ones...
...his silver kid short overalls worn with matching boots...
One of those stark shifts has zippers spiraling around the body, easy to remove.
...[T]he big zippers, the touches of plastic, the plethora of buttons...are over everything.
Everyone wore plastic eyeshades.
...[W]hat he liked best in his collection were the sunglasses. They were big white plastic affairs with different shape cutouts for the eyes.
...[T]here are zippers that don't zip, and patches that aren't necessary.
Maybe you could give him serious attention if he wasn't adding pink legwarmers to caramel‐colored separates and wrapping up clothes in blue or green cellophane batwing coats.
The trouble is...he decided to go for baroque. Whereupon he developed organdy dresses that looked like puff pastries tied up in ribbons. Flower appliqués were tacked about and ruffles sprouted, looking as if they were made of iron, unfortunately.
...[Evening d]resses are see‐through or sequined, worn with short white kid gloves or knitted ones. Accessories include chastity belts, a tiny pillbox on a chain around the waist of a sheer jumpsuit and nutty headdresses tilted to one side....Courrèges back-wrapped evening skirt with rose.
The ball gowns are from the Courrèges couture collection....[T]he elaborate ball gowns...might startle Courrèges fans.
With a generation of office workers and executives going to work in T-shirts and blue jeans, formality in fashion was becoming a thing of the past....[I]t is possible for a woman to go anywhere, including black‐tie dinners, in a shirt and pants....Simplicity is the rule, and there's no need for a woman to clutter her closets with a lot of clothes...It is part of the simplification of life that comes under the heading of modernity.
Pierre Cardin, who used to do space‐age clothes, retreated to the age of gathers, drapes and ruffles....draped dresses and a pair of pink lace pants with eight stiff little tiers on each leg...
Cardin...has a dress all his own, with a hoop that jiggles when you joggle and gives you the squarest hips on the loose....Cardin had, as usual, his inimitable long dresses fluttering in chiffon petals, pennants and panels.
The unmistakable evening dresses had the biggest skirts since Scarlett O'Hara's and were reportedly held out by ruffles sewn underneath.
They're fantasies of plastic and organdy. One is embroidered with red plastic hearts.
...ruffles so stiff they look lethal...
Another is in three tiers, with hoops at the end of each layer....[H]oops stiffen tiers of black organdie dress from his couture collection.
A sheer blue dress puffs between sequin bands that divide it into three tiers.
...a navy blue dress banded with four rows of sequins, one under the bust, one at the top of the hips, one at the knees and one at the hem. The dress puffed between the bands...
...[A] red wool jumper with a big top like an overall...
...bib‐top short overalls for day or night, sequin‐covered hot pants with a sheer top.
Ready‐to-wear designers...are busily repeating such successes of the 1960s as the knitted shift and the miniskirt.
...Karl Lagerfeld's new minidress smacked of Courrèges revisited.
There...was André Courrèges,...returning to the pure, architectural style that set the mood for clothes in 1963....The calf‐high boots, the above-the-knee hemlines, the no‐waistline shapes. Instead of being mostly in white, they now combined primary colors — blue, red and yellow — with white...
I...begged [Ungaro] to decode the enigma of space-age chic and to explain why he, of all people, abandoned the cause. 'Ze space-age look was very short-lived. It was not comfortable...,' said the couturier....'Courrèges et moi...work[ed] for Balenciaga....Balenciaga was obsessed with cut and structure and architecture....[W]e chop 20 centimeters off the skirt, and, voila, le space age'.
...a girl in a see-through blouse that is tantamount to topless – a condition of near-nudity which...has been sanctioned by Courrèges'[s] last collection.
'Haute-Couture,' says André Courrèges,...'is done almost purely for the pleasure of the designer. I can create clothes that are not at all functional. I make evening dresses that are extensions of my fantasies about life. I make things that nobody has ever worn and nobody ever will wear – except for my models'.
In his recent collection he showed skirts cut off at the knee, none shorter.
...[T]he nouvelle vague [New Wave] crowd dressed a la...1960s...One girl...wears a Courreges mini with short, white Courreges boots.
Some Paris designers have taken...a backward glance at the 1960s. What they have come up with for the opening ready-to-wear showings of 1980s hot-weather fashions are skinny miniskirts and other styles spun off from the 1960s fashions of Courreges, Rudi Gernreich and Paco Rabanne....France Andrevie...must have researched the short-cropped, tube-shaped dresses of Rudi Gernreich, the minis of Courreges and the vinyl and metallic hinged designs of Paco Rabanne...
Courrèges showed no collection this season, but his impact was visible everywhere: the traditional 'little black dress' has gone mostly white.
...[T]he test tube fiber revolution that exploded after World War II...was largely abandoned during the revival of natural fiber in the Seventies.
