A photograph by William Klein (a fellow proponent of the mod aesthetic) from _Vogue’_s Maissue celebrated the then-fledgling designer: Dressed exclusively in Courrèges, a pair of bespectacled models appear as fashionable intergalactic representatives from the planet earth.īut the look came down to earth, too: One might recall Audrey Hepburn whizzing around in her convertible in the opening sequence of How to Steal a Million, outfitted in milky white Courrèges, from her chin-strap helmet to her white kid gloves. ![]() Abbreviated hemlines, contrasting borders, and punchy stripes in silhouettes borrowed from children’s wear comprised the designer’s vocabulary. Nowhere was this truer than with André Courrèges, whose designs epitomized the era’s affection for everything outer space.ĭesigning for the year 2000, Courrèges’s eponymous label championed the youthful mod aesthetic for his sophisticated 1960s couture clientele. Chin-strap space bonnets, flat ankle boots, and sleek, plastic-like tech fabrics typified the space-age look as women readied themselves for a new sartorial stratosphere. The space race in the 1960s produced a crop of young designers aiming to equip the fashion masses for what they assumed to be the next frontier.
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