Analysis of information sources in references of the Wikipedia article "Pierre Cardin" in English language version.
...Pierre Cardin...turned his hand to men's ready-to-wear two years ago [1964], now selling $6 million worth annually. His formal suits, tightly fitted and flared to give a slender, small-waisted look, are a hit...
France's rival to [UK menswear designer John] Stephen as a male fashion revolutionary...is the renowned couturier Pierre Cardin...
...Hiroko Matsumoto, 24,...was seen by...Pierre Cardin on a trip to Tokyo. Taken by her fragility and grace, Cardin says, 'She incarnates purity as I have never seen it in anyone.'...Hiroko wore 18 of [the autumn 1960 Cardin] show's most successful numbers...
Harem coat, made in fuzzy mohair by...Pierre Cardin, brought to streetwear the puffed hemline currently very popular for evening dresses.
Having their hair done at Carita's in Paris are François and Betty Catroux, in zippered pant suits from Pierre Cardin. Carita recently opened the his-and-her salon.
On the Flash Gordon side of French ready-to-wear Retro are such designers as Claude Montana, Thierry Mugler, and France Andrevie....At Montana, it took the form of...Italian fascist gone science-fiction fantasy....At Mugler,...a big-shouldered Flash Gordon jacket...
Andre Oliver joined Pierre Cardin's fashion house in 1951 and became Cardin's right-hand man, friend and fellow creator....As Artistic Director, [he] had a...crucial role in leading Cardin's...design team.
...[T]he distinctive European chic suggested by the band's hair...was re-enforced in the most famous of Milling's creations, the grey collarless suit. Modeled on the high fashion styling of a suit first produced in 1960 by the Paris designer Pierre Cardin, the collarless suits became an equally iconic element of the band's visual style.
...[C]hez un tailleur, un jeune apprenti coupeur de 14 ans donne ses premiers coups de ciseaux....[I]l fait son apprentissage chez le tailleur Louis Bompuis à Saint Étienne. [At a tailor's, a young, 14-year-old apprentice cutter gives his first cuts with scissors....He does his apprenticeship with tailor Louis Bompuis in Saint Étienne.]
Cardin...says he now makes five times as much money dressing men [as dressing women]...
Cardin...led the long, long push to get men out of ugly suits that fit badly...
...Pierre Cardin...instigated the renaissance of the shaped suit...
Bonwit Teller has slid into the men's clothing business. When the Fifth Avenue women's specialty store opened its PIerre Cardin men's boutique in October, it was planned to stock only neckties, hats and other accessories as well as some odd jackets and slacks. A few suits were sent from Paris for the premiere to display Cardin's shaped, neo-Edwardian silhouette. However, the suits caught on, Bonwit's ordered more and the Cardin boutique expanded into a full-fledged Cardin men's department.
Barney's...first began to.stock designer clothes about eight years ago [1967] with Cardin...At Bloomingdale's, recalled Jack Schultz, the vice president for men's merchandise, Cardin clothing for men—without the Cardin label—was offered for sale in 1964. 'We didn't realize that Cardin as a label would mean anything,' he said. 'We found there was a phenomenal response to the merchandise.' Mr. Schultz said, 'A guy like Cardin, who really designed the goods in Paris, came out with a new silhouette, which was close fitting, shaped to fit the body, making a man look and feel different from the sack clothing being sold at this time'.
Pierre Cardin...fathered the peacock revolution in the 1960's with his nipped‐in men's fashions...
...[Pierre Cardin's] new collection of ready-to-wear clothes for men....Some Cardin innovations include the unpadded Cardin shoulders that slope down at a steep grade, collarless jackets reminiscent of those worn by Russian officers, British clergymen or bellhops; buttonless sleeves, and a single slit in the back of the jackets....[S]ome of Cardin's more extravagant flights of fancy,...tight knickerbockers, foulard shirts and huge leather belts...
Cocteau and Berard...introduced...Cardin to [Dior,] who was...preparing his first fashion collection...Cardin designed, cut, and made a coat and a suit. He showed them to Dior, who...enrolled him on his team.
Pierre Cardin is Dior's protégé. He got his first big break in 1947, when he helped Dior design the sensational New Look. Since then he has been the only one of Dior's assistants to start a couture house of his own.
...Cardin...designed one of the most successful models...a suit called 'Bar,' which buyers the world over bought.
In the beginning, he designed as everybody else did. There were the tight waists and rustling skirts of Christian Dior, the slight flamboyance of Jacques Fath, the barrel shapes of Balenciaga. The year was 1950, and Pierre Cardin had just opened his couture house....1951: Wasp waist and swishing skirt of black silk coat dress.
By 1952,...[h]e concentrated on suits...[H]is name could be heard at social gatherings...as the best suitmaker in town.
In 1951, at the age of 19, [André Oliver] became an assistant of Pierre Cardin in his couture salon on the Faubourg St. Honore in Paris. Through the years, he grew up to be Cardin's associate designer.
The great moment for M. Cardin came in 1957, when he decided to design a complete collection, including cocktail and evening dresses.
...[A] full-scale collection...of 1957...brought him immediate recognition.
...Pierre Cardin...has just shown his best collection so far and it puts him unquestionably into the front rank.
Dresses are shown in two different silhouettes. The first is straight, square necked and beltless, gently following the line of the body.
In practically every other dress,...the 'Navette' look appears in the skirts, which are again tucked, gathered or held by unattached pleats at the waist from which point they swell out over the hips and then are cut in around the knees.
Cardin's 'Navette' [shuttle, as in weaving shuttle, tapering at both ends like a spindle, fusiform] line is that of a Greek amphora, or jar with a large egg-shaped body, cylindrical neck and two handles.
On coats, the look is achieved by tucks or gathers at the shoulder line. The fullness is caught in at the hem.
Town suits appear in three variations – one, short jackets with round, buttoned collars, belted at the waist; two, bolero jackets with round or square necklines; longer double-breasted jackets with seven-eighths sleeves set low. These are worn with high-waisted, belted skirts.
Dior was delighted at [Cardin's] success....Last February, at Dior's tenth anniversary dinner, Dior embraced Cardin and said: 'Paris will always be the center of haute couture because there will always be young, new talent ready to take up the torch'.
'Take up the torch,' Dior said publicly. 'It can be yours'.
Already speculation has begun as to who might be Dior's successor. The three youngest and most promising designers in Paris today are Hubert de Givenchy, Guy Laroche and Pierre Cardin, all in their thirties.
For some time thereafter there was a rumor...that the...designer...would succeed to what had become the international throne of fashion.
He was the first of the couture designers in Paris to design men's clothes...
Impatient over the standstill in men's fashions, he resolved to do something about...the necktie. His square-ended bowtie, made in knobbly tweed, doeskin or exotic brocades, suddenly became a rage in Paris. Amusing sweaters, new shirt cuffs and woven silk waistcoats also were a huge success.
Cardin...has never faltered in his admiration for Hiroko, his bird‐boned Japanese mannequin...
Probably the two most memorable models in Paris are Pierre Cardin's tiny Japanese asset named Hiroko and André Courrèges's melancholy‐looking Monique...Both are unusual, aloof and beautiful.
He...is a truly superb tailor. Everything that comes from M. Cardin's design room has a completely thought-out and accomplished look to it.
If all this description has a familiar ring, it is certainly not to Cardin's discredit....All...very good designers were thinking along the same lines.
...carefully balanced, elaborate and puffed out wigs...
...[H]e is now of the avant-garde school of design – bucket hats, big collars, wide shoulders, figure-concealing cuts and short skirts.
One of the chemise-pushing dictators that American men have been railing against arrived from Paris yesterday...Pierre Cardin...was saddened to hear that American men had denounced the chemise....[H]e said,...'After all, a woman loves a mink coat. It does not show her shape...'
As the decade of the fifties progressed, he began showing his innovative touches: an entirely pleated coat, for example...
...necklines...emphasized by cowl collars...
...deep batwing sleeve, a design Cardin has always believed in...
...[O]versized collars...dominated most of Cardin's clothes....Collars were in everlasting variety – sometimes fluted and falling off the shoulders like little capes; other times, they darted and puffed. Some, shaped rather like brioche, rose and tickled the nose.
...[W]aists were high and interest centered around the top of the body in his masterful coats and suits...
....[H]uge globe-shaped hats balanced...emphatic shoulder interest.
...Cardin's evening clothes adhered more to the closer-fitted, high-waisted Empire silhouette.
The silhouette was described by M. Cardin as a mushroom.
...[Shift dresses] were...surmounted by compellingly wide loops of collars that Cardin called 'hoops'.
Cardin's dresses were either belted at the waist, blousing casually above and below it, or they were easy-fitting, sleeveless sh[i]fts.
Evening dresses had skirts like modified balloons, curving up a bit in front and dipping into a train in back.
Hats...were either big, upside-down bowls of white organdy or brilliantly shaded, mammoth-sized sombreros.
'Often it was male fashion that influenced women's. Yes, it happened in the 1920's, ceased in the 1930's and started again – with my men's line – in 1960. Everything began with that change. Now la mode masculine is discussed regularly in fashion magazines....That is what I did for the first time: present male styles as if they were a fashion – as a line'.
...[W]hen he began doing suits in the early 1960's he practically launched the menswear fashion revolution. His first designs, known in Paris as the 'cigarette' line, were long and skinny and had Edwardian overtones.
The hard tailored look has never been a favorite with Cardin, and his new suits were particularly casual and subtle.
...[Fashion columnist William J.] Cunningham called Pierre Cardin 'creative and clever,' described his collection as embodying 'the flavor of the nineteen-thirties but the spirit of 1964'...
Pleats gave skirts motion.
Pierre Cardin's navy crepe ensemble has full, pleated white sleeves, a bow at neck.
Dresses were slim except for a series of bias-cut, blousy dresses with deep bat-wing sleeves.
The deep batwing sleeve...wended its way in and out of the collection. The sleeve almost transformed several coats into capes.
Long, slender evening gowns had daringly deep cowl necklines...
Hats looked like salad bowls stuck on the back of the head.
Suits were quite curvaceous with Cardin's favorite side closing.
...[H]is wrap‐coats...always close way over on one side of the body.
...[D]aringly deep cowl necklines...dipped to expose the back right to the waistline.
The vertical line of the loose Cardin tunic, worn with a narrow skirt, was further emphasized by plunging slit necklines....A silk gardenia...often was placed at the low decolletage.
...[N]arrow coats, suits and dresses had fronts slashed to the waist with filled‐in U or V necklines. Low lapels or roll‐away wide collars often outlined the open fronts....The audience...applauded wildly for a beaded cocktail dress slashed nearly to the hem....The back was bare and the front, filled in with flesh-colored veiling, looked even barer.
For evening, some of the best dresses had scarf tops. These were bloused in the front to end in capelet collars over bare backs.
Many...suits...had long scarves attached to one shoulder, which were then tossed nonchalantly around the neck or over the arm.
Many afternoon and evening clothes had back drapes that dropped down as panels when the proper switch was pulled.
Cardin's bias cut, 'spiral' dress in black and white polka dot crêpe.
...[M]oving skirts had a high priority. Bias-cut flounces competed with narrow, fan-shaped pleats.
Cardin's 'butterfly' afternoon [cage over-]dress of pastel trellis-patterned chiffon. Straight shift [underdress] is sashed at the hip....Cardin's extravagant, flowing print chiffon dinner gown, another example of his bias cut.
...[C]hiffon dresses that were tinted the colors of the rainbow...all left one shoulder bare.
...blurry chiffon gowns worn by a group of models who trotted out and twirled at the same time. It is an old trick of Cardin's, but it worked well today.
For evening, hats were made of layers of chiffon, swirled like cones of whipped cream.
Collarless suits had matching, head-hugging helmets.
Pierre Cardin has dropped the hemline two to four inches below the knee, flared the skirt, narrowed the shoulders and sleeves and created a new silhouette....His clothes were fluid and stripped of detail....[H]e is one designer who can take inspiration from the past and create modern fashion rather than period costumes. Although most of his clothes must have been inspired by fashions of the Nineteen Thirties, they reflected only the faintest echo of that influence.
The Cardin collection was a revival of the nineteen‐thirties....The clothes were soft, as Cardin's always are, but this time they clung, they drooped, they curved, they bloused. Hems were scalloped or hung in handkerchief points....
M. Cardin did not succeed Dior and...despite what has been assessed as great talent, especially in his tailoring of suits and his choice of colors, he has still to win many of the top buyers.
Pierre Cardin is one of Paris'[s] most avant-garde couturiers....[H]is styles are sometimes labeled 'too advanced,' often 'unwearable'.
...[Fashion columnist William J.] Cunningham...said that although Cardin's designs were influential in Europe, they did not win favor with American buyers or press representatives.
Macy's was the only store to buy models at Cardin...
...[T]he look of the new clothes is lean and natural...Necks are muffled...or are emphasized by upturned collars, cowls, or turtlenecks...Long-sleeved tunics and pullovers abound....Skirts are...short...Legs are covered by...boots and heavy stockings...
His coats and suits were snappy and young...Collars up and with high kid boots as snug as gloves...Jackets pulled down like long sweaters over the hips. Hats were either caps or boaters..... Along with the rest of Paris, Cardin muffled the neck. There were out and out turtlenecks, soft and crushy, or cadet collars, stiff and hard.
Cardin also played with a cut-out theme. A dress in tangerine orange showed through the round holes of a perforated gray tunic.
Pierre Cardin...thought up...short skirts and matching stockings two years ago [1964]...
Some of his brightest ideas included printed flowery wool blouses and stockings that matched each other down to the last stem and leaf. He had...the only low‐waisted suits to be seen in Paris. They had hip belts ribboned through the jackets. Coats with long torsos had low, flounced hems.
1964: Chemise with bullseye appliqué.
Pierre Cardin...is one of the rare designers anywhere who does not share the Franco‐American passion for pants. They did not cut any ice in his collection today.
Pierre Cardin...added his condemnation of women in pants except for sport.
Pierre Cardin...refuses to design pants of any kind.
..[H]is new silhouette...means a longer jacket with natural shoulders and deeply slashed vents...and slim trousers, but not pipestems, that give the illusion of being slightly wider beneath the knee than above it. Real Cardinists always wear vests (some with lapels)...
...[H]e revived...the double-breasted style...three years ago [1965]...
...wide-collared colored shirts, and Cardin boots or very soft shoes.
Cardin...has kept his British-inspired silhouette.
This means wide lapels...Cardin now prefers a deep inverted pleat in the back of the jacket....His jackets seem tighter than ever...Shoulders look wider but are still sharply squared. He now likes vests without lapels....Cardin's shirt collars rise almost to the Adam's apple. Wide ties, now the rage here, have Windsor knots.
'I launched the first turtleneck sweater for evening wear two years ago [1966], at least'.
Menswear shown today included jersey suits cut in the long, lean, small-waisted silhouette that Cardin likes; long, ribbed sweaters with big, buckled belts; ankle high boots; gray flannel trousers with a brown stripe running down the side; sweaters with asymmetrical zippers; sporty jackets and narrow trousers. He also showed a black leather Hans Brinker cap with a black leather jacket that bristled with big zippers.
The summer look...means white pants with stripes down their sides, matching striped, wide belts and colored shirts unbuttoned to show most of the chest....The shirts were in purple, orange and mauve, with the stripes picking up the same colors.
For the American teen-ager, fashion begins with the British Mods [and] Courrèges looms high on the horizon...These are some of the results of a survey conducted by Seventeen magazine among girls 16 to 18 years old...Although this age group is not particularly designer-conscious, the names of Mary Quant (sometimes designated the mother of the Mod movement) and Jane & Jane are familiar and respected because of the importance of the British Mods to girls of high school age...
'[Cardin] is the space couturier,' said Mrs. [Nicole] Alphand, referring to the cosmonaut style introduced for men and women three years ago [1966].
...'I propose the "Cosmocorps",' [says Cardin]...The male models in 'Cosmocorps'...reminded some of frogmen, others of miners and skindivers, though outerspacemen seems to be what Cardin may have had in mind.
Cardin wasn't the first in France to use the big, working man's zipper, but he is the man who made the idea famous.
There are industrial zippers on suits and dresses; Cardin even puts them on mink windbreakers...
Two-piece dresses with low hipster skirts and loose little tops bared the midriff except in front, where a diamond-shaped insert linked the two.
One of Cardin's favorite necklines for day and evening dresses has cut-out diamond-shaped design.
...Cardin showed...suits with jacket hems forming a V in front...
Suits often have the hems of jackets cut in triangles or half moons.
...Cardin showed...his usual T-bar or cutout necklines.
....[H]is new spring-summer collection...is full of not-so-new triangles, bull's-eyes and cutouts...
A red suit...comes out with red stockings and red shoes. That is the way he thinks his very short skirts look best.
Women of any age and shape can take short skirts, Mr. Cardin persisted, if they wear them with stockings to match the dresses. 'The stockings must be heavy, not light,' he warned.
A dress...in chevron strips of white, hot pink and bitter green could be this year's Mondrian....[S]leeveless short white crepe dress...dominated by a huge bull's-eye in orange, yellow and black.
...Cardin showed...his usual square-toed, flat-heeled shoes.
Cardin's suit jackets begin to button way over on one shoulder with a little tab: they have jagged closings and scalloped or half-moon cutouts on the bottom.
Daytime coats still have scalloped or cutout shapes in the front where they button.
There are plenty of double-faced coats...
Cardin showed handbags – possibly the first time any couturier has – ...done just for him by Gucci.
...Cardin showed capes with round portals where the arms slip through...
...armholes that were cut like low little portholes or squared...
The new Cardin cape, in long and short versions, has a high, cut-out arch where the arms go.
...the one-shoulder cape-sleeve dress with the tilted hem...
...poncho sleeves...
Here are some of the Cardinisms that made the last five years [back to 1964] such good ones: ...tilted hems on evening dresses...
A batch of Lurex dresses have strips instead of skirts, which are shorter in back than in front.
...dresses that are nearly all doubled-up loops that have a fringey look...
...petal hems...
...all-over pleated dresses with wavy hemlines...
...[H]emlines have an upward flip at intervals so the pleats 'spread out like a flower'.
The many pleated dresses, in chiffons as well as wool crepes, certainly move.
...[H]ighlights of the Cardin collection...uneven hemlines...[T]here are skirts that rise in one place and fall in another...
Dresses and coats reach way up above the knees, cover them, or conceal most of the leg....[M]any of his skirts have mixed-up hems.
What's very, very familiar are...the big zipper closings...
...[T]he suits with the banded hems on the skirts and side closings on the jackets.
Cardin has been scalloping hems and...dipping them for a long time...
The girls had on tight-ribbed, short-sleeved sweaters under jumper skirts cut to stand out from the hips.
...Cardin's...candy box bows on one-shoulder dresses...
...Cardin's cutout and halter necklines...
...Cardin's...skirts with rolled hems...
...Cardin's...asymmetric closings...[J]ackets...have diagonal closings.
...[T]he pockets are different this time....[T]hey have a square mailbox shape, a doughnut shape or make a triangle. The pockets have rolled borders and don't show the slit...where the hand goes in.
Cardin's women's suits have metal fasteners on jackets...
...[T]he girls' jumpers now have wide metal belts cinching in the waists.
Occasionally, a ring of plastic aluminum circles and stiffens a collar, a waistband or a hemline.
...What looks newest in the Cardin collection is a long, droopy medieval sleeve whose point drops almost below the knee.
...'[H]ighlights of the Cardin collection...[t]he long droopy medieval sleeves...
There are lots of frog closings...
V-necked dresses have stand-up collars set almost in back of the neck....What's very, very familiar are...the tent dresses with stand-up collars;...the collar that stands up in back and frames the face – only it's bigger now...
...[H]ighlights of the Cardin collection...umbrella-gored skirts...
Cardin has lacing on the front of...suit and...coat...with whip-thin, flat leather sashes tied high up around the ribs.
Off-white coats that end at mid-knee have giant-size dots in fuchsia, purple or brown with fox hems matching the dots....What's very, very familiar are...the big fox or ostrich hems on daytime and evening dresses...
...sunburst pleats now used in a long purple wool cape...
Cardin used to drench his collections with color but, like every other Paris designer these days, he shows lots of black.
His jackets...flare wildly out from tiny shoulders or are long and narrow...What's very, very familiar are Cardin's...tent dresses...
...Cardin has been imitated so often.
The [Bonwit Teller] Cardin boutique for women will open Oct. 10...
Pierre Cardin showed his first junior collection yesterday. His teen-age boys' clothes are inventive and avant-garde but his girls' designs are small versions of big sister's wardrobe. Boys' coat of brown plaid tweed is worn with a beige turtle-neck sweater, narrow gray flannel pants shaped over the instep and a ginger-colored fedora. Girls' gray flannel tube of a dress has a stand-up collar. It was shown with dark green nylon mesh stockings and beaver hat.
Pierre Cardin...introduced...a collection of fall-winter ready-to-wear for children aged 2 to 8....The 'cosmonaut' suit – as Cardin calls it – is now for little boys, and the cut-out jumper he showed last summer is for little girls...[T]he big ring zippers on their clothes...were so easy to pull up and down....Little girls' coats and dresses have the same rolled hems and flaring skirts that were seen in the Cardin haute couture show in January. There are lots of capes with them, too, with giant zippers.
...[A]ccording to Jean Manusardi, director of Cardin's foreign operations, men and women of the world are dressing in...Cardin apparel to the tune of 22 million dollars. Last year, two thirds of it was accounted for by men...
...[M]en's fashion has become infinitely more exciting than women's...[S]uits bearing the label of Pierre Cardin...will be sold in half a dozen New York stores...At least three stores will have PIerre Cardin boutiques. Bonwit Teller...introduced Cardin clothes to the United States when it opened its...boutique...two years ago [1966]...The first Cardin made-in-America suits will be sold in 80 stores around the country starting this month.
His boutique collection for men and women[:]...The men wore ankle-high boots, jackets and trousers with big industrial zippers for closings and pockets, and turtle-neck sweaters.
...Cardin boys still have zippers all over their suits...
...[T]he cosmonaut style...has...caught on...in certain adventurous circles.
...[H]is male cosmonaut styles...consist of a white wool sleeveless tunic with Cardin's beloved rolled collar and outsize zipper down the side and across one pocket....A navy turtle-neck...go[es] underneath...There's a green corduroy edition with sleeves and matching pants...In the men's boutique, a brown and white herringbone cosmonaut suit (sleeveless tunic and matching pants)...Bonwit's also took Cardin's navy twill Nehru jacket...that dashing types are wearing...with white turtle necks and gray flannel pants and had it copied in navy flannel...
Paco[ Rabanne]'s show...had dresses...with the bodice and midriff skirt in transparent phosphorescent rhodoid plastics.
There's plenty of hardware...Cardin is...the designer who lifted big, working-clothes zippers into high fashion. So the belts...fasten with big, unusual metal clasps and there are lots of metal buttons.
Cardin... showed...electrically lighted discotheque dresses that shone brilliantly in the dark, leather outfits in phosphorescent silver, metal collars, backless gowns, and a dress with two large circular cut-outs on the bosom.
...[P]lastic appliqués...marked the couture collection Cardin showed in Paris earlier this year.
One dress, with a circular cutout at the midriff and a deep slit up the center of the skirt, makes tights mandatory...
...the minutest skirts worn over knitted jumpsuits.
...The Cardin sweater...has a high turtle neck.
The Cardin show...started off with a speech...that touched on...the fewer number of trousers about to be seen [than in other designers' shows].
...[L]ong [knit] pants...look like soft leggings. The pants cover the tops of the ankle-high boots...
There's a new Cardin-owned boutique for home furnishings...called Environnement that opened at the end of December [1968].
...[B]ig belts with transparent plastic domes on the buckle sit low on the hips...
When Cardin doesn't use vinyl, he uses leather, even to outline armholes.
There is still too much vinyl in the clothes
Cardin's calla lily collar, which rises in back to frame the head, has trapunto...
...dresses [with trapunto] on their high, ring collars and banded hems.
HIs fur hoods are shaped like rings. They don't cover the back of the head, but they make pretty face-framers.
Dresses with scalloped layered hems, big sleeves made of organdy oval petals, pointed hemlines or easy and big flounced hems...
...one-sleeve dresses with the loose panel over the other arm...
...[H]is dresses...looked like big, soft wool scarves, belted, with wildly uneven handkerchief hems.
His completely circular shawl is one of the freshest ideas in the Paris collections...
...On a red and gray plaid suit, Cardin's jacket is a shawl with little armholes. Some spring suits have doubled-up fringe on the hems of jackets or skirts.
Pierre Cardin and Hubert de Givenchy have joined that pack of Paris couturiers who are showing lots of long skirts and long coats in their collections for winter....The maxidresses that Cardin sent out with his little minis (there were plenty of them, too) have ankle-length, bias-cut skirts and a wonderful kind of slouch to them. Some...have rows of fat fringe in leather.
Cardin is positive that the long dress is in the wind for daytime. 'The eye is ready for it, now that pants have been accepted,' he declared. Cardin sprung the maxidress with bias-cut skirt in his fall collection...
...little minis (there were plenty of them, too)...a short dress cut like Robin Hood's jerkin...
The clothes, for next fall, have the...plethora of pleats...that marked the couture collection Cardin showed in Paris earlier this year...The many pleated dresses, in chiffons as well as wool crepes, certainly move.
...Cardin...intends to do four, rather than two, collections a year. In addition to his semiannual showings to press and buyers, he will make two small private customer collections...The private collection designs will be exclusives, available only in his Faubourg St. Honoré salon.
Cardin has always protested against designing two collections a year, and this one used most of the brilliant details from earlier collections.
About one-third the size of the Paris collection, the American line will consist of 75 to 80 styles.
The Cardin show – the longest in Paris...
...[G]irls...have strict instructions to race around the salon as fast as they can.
...Pierre Cardin and Yves Saint Laurent, the trend‐setters of the last few years...
In the seventies, the space clothes...began to pall a bit...
Hardly a conventional style appeared among the 200 or so pieces.
Even in Paris, Cardin is considered a wild man...[Y]ou can tell a Cardin without looking at the label.
There are some pretty things, but they're overshadowed by the hobble‐skirt dresses, the batwing outfits, the split‐level skirts edged in feathers, the tufted‐and‐tasseled sofa effects and the colored baubles the size of a baby's head that border the cape‐back of a black dress.
...a collection of some 300 styles...
In recent years, his interest has transcended fashion. His name is on chocolates and cars, sheets and towels and furniture. He owns a theater in Paris called L'Espace Cardin...The 250 products bearing his name result in a total sale of $120‐million annually at the retail level, Mr. Cardin estimates...
[Andre Oliver's spring 1971 ready-to-wear] collection is based on the Cardin couture clothes shown in Paris a few months ago.
...[A] sportswear collection by Andre Oliver, Pierre Cardin's assistant,...was officially called Pierre Cardin II.
The first fur collection labeled Pierre Cardin is here, designed by Andre Oliver.
Pierre Cardin's collection, one of the hits in Paris, has been 'adapted to the tempo of American women' by his assistant, Andre Oliver.
His assistant, Andre Oliver, practically commutes to New York to make sure the collection here reflects the one in Paris.
Rod Gilbert...the most dapper member of the New York Rangers hockey team...is a fan of Pierre Cardin, and owns about 25 of the French couturier's suits.
The designer's touches are...the fit of the armholes, the big collar and the high double‐breasting.
Pierre Cardin...slashed openings on some of the long dresses from miniskirt level to the wide hem band. The openings were in the form of circles, pears or just plain rectangles.
Dresses are carved up into panels when they don't have a series of portholes cut into the skirt just above the hem, and long coats have at least one split, often more.
...[T]he models swung along in dresses whose skirts were a mass of...strips....They kicked up a storm in leather, crepe and wool.
Some of the skirts have pointy hemlines...
Separate skirts are split and curved and paired with skinny ribbed sweaters.
It all starts with a sweater — a very tight sweater...
...recognizable Cardin touches:...sleeves that widen at the wrist and printed linings.
There was...a...cape...that hung from the head and ended around the ankles. The other capes had Bedouin‐like hoods that popped over the head and gave the same all-enveloping effect.
There was only one poncho — a short black evening dress that was sliced up the sides to the top of the panty hose the model was wearing.
...suede jumpers...
The foundation for everything was a ribbed turtleneck bodystocking.
....[T]he body is clad in heavy ribbed tights and turtleneck sweaters, usually black.
...recognizable Cardin touches: keyhole pockets, leather inserts...
The skirts...have a big leather pocket stitched to one side, in the same color as the waistband.
Pierre Cardin...made clothes that looked like the space age. There were appliqués, stitching, free‐form jewelry.
...[T]he modern art school of Paris fashion...includes Cardin most of the time, Courrèges, Ungaro and, this season, Feraud. Most of them think of clothes in terms of abstract shapes and use color the way a painter does...
There's still too much vinyl in the Cardin collection...[O]ne long dress made of it has a snaky texture....There are still lots of cutouts at Cardin and the newest ones are over the stomach.
Pierre Cardin...dress with the cowl‐draped neckline open to below the navel.
Pleats turn up for evening in dresses that are not only pleated but tiered.
...fluttery‐skirt chiffons.
Cardin had as usual, his inimitable long dresses fluttering in chiffon petals, pennants and panels.
...[T]here seems to be a return to the airy, ultra femininity of the printed chiffon or muslin dress, by Cardin if it's French...
Miniskirts are not what you find at Cardin,...and he wasn't planning to budge an inch....There was plenty of leg on view, but you had to peek through slits that reached at least as high as a micro mini's hem and were sometimes carved out in a graceful arc to make the viewing easier.
He is a mini, midi and maxi man this season...
Tiny miniskirts of vinyl streamers or doubled-up loops or arrow-shaped strips go over Cardin's sheer, striped bodystockings.
Lengths...went all the way down to the ankle much of the time...
'Cardin told me he doesn't like the long skirts very much,' Miss Moreau said. 'He says very few women can wear them well without aging.'....
Cardin's new pants are straight up and down but they sometimes are cut off at mid-calf.
...pants in a new length—about nine inches from the floor....The reasoning for the pants seemed to be, if you wear boots, show them.
...[T]he cropped trousers Cardin showed years ago...today are everywhere.
Women...can't show off...boots under pants....[K]nickers and gauchos [are] the ideal solution.
There are the jumpsuits with abstract designs on the top...
To keep his franchise on the space‐age look, Cardin showed skinny jumpsuits...
...tight vinyl sleeveless jumpsuits that look like shiny fishnet....
Pants with raised seams front and back as well as at the sides...give a squared shape.
The brushed denim separates...[have] zippers all over the place and too much decorative stitching.
Some of Pierre Cardin's new dresses go all the way back to Paul Poiret, who flourished before World War I....Some go back to the nineteen‐fifties,...[a]nd some go back to the late nineteen‐sixties...
Cardin faltered when he cast backward glances over the history of fashion: hobble skirts, snugly fitted suit jackets...
...[H]e swings into such styles as the yellow coat with a tiny waistline belted in black patent leather, and a great flaring skirt. And then there are suits, shaped through the bodice with myriad vertical tucks released just below the waistline to burst into a little peplum....The same tucked‐top, full skirt routine is repeated in coats.
...the pencil slim shapes did not seem particularly appropriate for women who wore panty hose, not girdles.
Blue jeans are one thing. Knitted, ribbed skirts that cup the derrière and show the outline of the mannequin's underpants are another.
'On my 18th birthday,' [Gaultier] recalled,... 'I received a call from Cardin. He said, "When can you work?" '...Although Cardin taught him that 'everything was possible,' he recalls, he was fired a year later...
Cardin's minis look different from the ones that were around a year ago....Some are slippery satin dresses with bloused bodices and tiny pleated skirts. Some are flaring embroidered organdies...What makes them flare is the wide organdy bloomers underneath; the pleated skirts are over plain shorts. Not every dress bares half the thigh; the majority only show the knees. Many skirts are split up the sides like sandwich boards to show the now‐obligatory shorts underneath.
...[S]horts are under practically everything.
One of his favorite ideas was a slender mid knee‐length dress with extended shoulders. The shoulder caps left the arms bare, but gave the broadened look across the top that is much in the air here.
...[T]he collection moves on to tunics of any length — from well above the knees for day to ankle or floor length for evening. Some are the relatively sedate knee length. Most are split at the sides, many are curved at the bottom. Under them, you can wear...shorts or skinny pants or tights or flowered shirts.
...[T]here are coats that form a perfect square when the arms are extended shoulder‐high, trousers that form a triangle, ponchos that curve like a parabola.
Some of the dresses are sashed with belts that have a pendulum effect. The pendulum motif appears on coat sleeves and pants legs, too. It's part of the designer's continuing experimentation with geometric shapes and forms.
Everywhere you looked, there were tight, high waistlines. On trousers and skirts. In jersey and denim.
...black velvet with starched white organdy sleeves...Cardin's ballgowns have tiny waistlines and big, romantic skirts...
Pierre Cardin, who used to do space‐age clothes, retreated to the age of gathers, drapes and ruffles.
The unmistakable [Courrèges] evening dresses had the biggest skirts since Scarlett O'Hara's and were reportedly held out by ruffles sewn underneath.
...[J]eans have invaded ballet, theater and gallery openings with such assertion that everyone else feels overdressed.
Cardin...has a dress all his own, with a hoop that jiggles...
...Pierre Cardin and Yves Saint Laurent... decided to boycott the traditional January couture shows. They agreed to present their collections in April, when the ready‐to‐wear houses show their lines.
Three concerns tried to throw in their lot with ready to‐wear, but Robert Ricci, Pierre Cardin and Yves Saint Laurent reneged. When it came couture time, they ran up a few more styles and held couture shows.
Each designer's segment was...augmented by a float, generally in the shape of a carriage as pastoral as the background scenery (the Saint Laurent float was an elongated, old‐fashioned car; Cardin's background, a spaceship...)...
...Pierre Cardin's familiar space‐age look, with its spare jumpers and tunics tossed over ribbed black sweaters and tights, seemed absolutely refreshing.
...[H]is most successful things...go back...to Cardin in his space‐age period: turtleneck sweaters under jumpers, good coats, little caps extending over the shoulders on sleeveless pullovers, big zippers down the front.
Pierre Cardin...started off...with ankle‐length skirts paired with skinny ribbed knitted tops.
The clothes...are of the mini variety...crisp tutu-like skirts...When they aren't flaring out all around the body, the skirts tend to dip in handkerchief points...Often, it's tied up on one shoulder like a tiny toga. Ponchos with a hole for the head are another version....They're in such fabrics as eyelet, warp-printed cotton or chintz.
The first hundred models at Pierre Cardin...danced around in minidresses....[H]is minidresses look a bit like abbreviated togas or Greek togas....[M]any end in handkerchief points.
Coat sleeves rolled up to the elbow to show the tight-ribbed sleeves of the sweater beneath. Jacket sleeves roll up this way too.
His more serious daytime clothes run to wool sleeveless vests over striped blouses and full skirts.
Everything was rather free and loose...
Pierre Cardin's...loose jackets with the front ends folded back in a rippling, ruffled effect...
Other suits have bloused jackets ending in wide hip bands.
The bottoms were...dirndl skirts...
...[T]here were...dresses, loosely fitted and shaped...There...[were] a few made of billowing tiers.
...lots of bubble‐shaped tunics. Skirts are gathered under in a harem effect...[T]here are jumpsuits, elasticized at the ankles.
Pierre Cardin's...overalls, culottes or pantaloons...
The bottoms were loose but tapered pants...
...Pierre Cardin is now merchandising a running suit.
Pierre Cardin's...collection...included...tennis dresses...
Pierre Cardin...had a fondness for deep armholes...
The sweater...with deep dolman sleeves and a high turtleneck that sticks out of collars.
...the cape tops that pinioned the arms to the sides.
Big capes were wrapped and belted to become coats; small capes were tucked into belts or the edges were knotted....A long rectangle with a slot for the head was the kind of cape‐poncho that worked exceedingly well as the topping for dirndl skirts.
Pierre Cardin showed some dresses with one pants leg...[H]is one-armed coats...tie on the opposite side of his one-sleeved capes.
Evening dresses with rib‐knitted tops that can be pulled off the shoulder or made to cover one shoulder have possibilities.
Piccolino, the children's house that is the French couturier's newest licensee, displayed the first American collection bearing the Cardin Enfant label. Meaning that mothers who are crazy to have the PC logo plastered all over their offspring will be able to outfit them completely—from sunglasses to belt buckles to booties (with the logo knitted into the soles) locally.
[Armani's] career has been punctuated by a series of radical gestures, beginning with the unconstructed blazer of the mid-1970's – his epochal creation.
...Pierre Cardin...has given up his space‐age look. Once his clothes were as full of zippers as an aviator's and seemed ready for a walk on the moon. The current crop could be worn by an insurance salesman to a meeting with a corporate executive....[T]he suits themselves are not alarming. The lapels are even somewhat reduced from the flaring ones that passed for mod....[T]he jackets are a smidgen shorter and they rarely have vents...
And now? Square shoulders, short jackets and not necessarily a shirt and tie — or even a T-shirt...
Cardin also introduced a new concept of clothes. He calls it pret‐a‐couture, which represents a marriage of pret‐a-porter (ready‐to‐wear) and couture or made‐to‐order clothes. The new order is a simplification of the couture. Instead of five or six fittings, there will be only one. Prices will also be simplified. Instead of S1,500 to $4,000, they will run $360 to $1,000.
Cardin padded some of his shoulders so sharply they looked as if they could cut...
Pierre Cardin...said in Paris that the Chinese Government had named him as a consultant to its textile‐trade agency. Under the agreement with Peking, Mr. Cardin will advise the Chinese on how to style their textile products to make them more marketable in the West.
Pierre Cardin today gave the Chinese their first taste of haute couture in decades when he showed off his collections of spring and summer fashions for women and fall clothes for men.
Pierre Cardin turns up the outer edges of his padded shoulders in a pagoda-like flip...
The idea came, he said, from a trip to China. 'I saw the roofs that go up at the ends rather than down,' he said...
What the shows also had in common was an emphasis on extended, pinched‐up shoulders somewhat like the pagoda line Pierre Cardin showed in his last couture collection and took to China recently.
[Montana's] shoulders...turned up at the ends, like pagoda roofs.
Claude Montana...shoulders extended half a foot on each side by padding and huge shelflike sleeves...
Pierre Cardin probably has the widest, squarest shoulders in town.
...[Viewers] stared in amazement at the oversized shoulders on Cardin's new creations. 'These styles are Superman styles,' Cardin said of the big, wide shoulders...
Pierre Cardin's...shoulders can be monstrous...
Pierre Cardin's upturned pagoda shoulders of last season have now acquired a squared‐off shape....His squared-off shoulders often top squared‐off sleeves, box-shaped instead of rounded...
A lot of his things are pleated.
...the slanted hemlines have a certain charm and his use of pleats is inventive.
He used taffeta in enormous evening smocks...
The shoulders mark the return of the suit, but far more effective are the strapless play dresses and party dresses that just billow around the body.
Pierre Cardin's...mini‐dresses...
Ready‐to-wear designers...are busily repeating such successes of the 1960s as the knitted shift and the miniskirt.
...a 'triangular look': the shoulders are broad, though they now roll off gently, and the jacket is shaped with a lot of drape. In addition, Cardin has reduced the width of his jacket lapels from four inches to three and one‐half inches.
Pierre Cardin refers to his new suit silhouette as 'an upside‐down triangle.' He also calls it 'The Concorde.' What this all means is that he is designing clothes with broader shoulders and cutting back lapel widths to make the shoulders more pronounced on single-breasted and double‐breasted jackets. The lapels taper as they approach the waistline and the jacket bottoms are close‐fitting.
There's a new Cardin-owned boutique for home furnishings...called Environnement that opened at the end of December [1968].
There are 280 licensees for Cardin products in 34 countries, the designer said the other day....Mr. Cardin, who started as a woman's couturier in Paris, has also tried his hand at car interiors (the French Simca and the American Javelin) as well as belts and watches.
His empire now includes more than 350 separate license programs for more than 2,000 separate products. Cardin's hasty signature can be found on heating radiators, tie clips, wine bottles, bicycle pumps, flatware, stoves, hair dryers, desk sets, lamps, chairs and casseroles. His products are now distributed in more than 120 countries.
Pierre Cardin...has some 500 licensees throughout the world...
Pierre Cardin, the French designer, has perhaps more licensees than anyone else, about 800 of them. Their sales, of $1 billion a year wholesale, earn him personally about $80 million a year.
A Simca with a Cardin-designed interior was presented at the auto show in Paris last month. Next year, he will try designing a whole car.
His first trip was in...1963, as part of a delegation of cultural workers....He openly admitted that his revolutionary female outfits resembling spacesuits were conceived in his mind from photographs of Valentina Tereshkova, the first woman in space. His Space collection, inspired by Yuri Gagarin's flight, became emblematic of his work and the development of 1960s fashion as a whole.
In the 1970s, Cardin was considered the main Western fashion star in the USSR.
Cardin met Plisetskaya at the Avignon theater festival during her 1971 tour of France, and went on to create costumes for many productions starring the prima donna, the most famous being the Bolshoi Theater's legendary ballet interpretation of Anna Karenina. The ballerina also willingly modeled Cardin's ensembles in everyday life.
'...[A]s the end of the war arrived I returned to Paris...I wanted to become an actor'.
'...I met other personalities who introduced me to Jean Cocteau. I was employed by him and I did the costumes for La Belle et la Bête. That was the first money I earned...That was how I started in couture, via the theatre'.
Diana Dew...has been able to produce minidresses with throbbing hearts and pulsating belly stars, as well as pants with flashing vertical side seams and horizontal bands that march up and down the legs in luminous sequence.
To relieve the sterile monotony of nurses' uniforms, fashion designer Pierre Cardin recently unveiled three new creations at a London showing...nunlike wimples with white maxidresses....a pastel green body stocking with a white miniskirt...
Smokily seductive Moreau played a gold-digging French courtesan...Pierre Cardin...creates the costumes...
...[C]ostumes by...Pierre Cardin, Edith Head and Antonio Castillo are worthy of plaudits.
...[Pierre Cardin's] space-age shoulder pads...
Suddenly he is out of his chair and starts 'designing' a dress on a visitor. He slides an ashtray under the shoulder to show a changed shape...
...[B]ig pagoda shoulders...were [Cardin's] favorite silhouette...last March.
A model poses in Pierre Cardin's double-breasted suit with pagoda shoulders during the French men's wear designer fashion show in New York on Oct. 8, 1979.
