mondrian yves saint laurent dress | yves saint laurent mondrian collection mondrian yves saint laurent dress In 1965, Yves Saint Laurent paid tribute to Mondrian by designing cocktail dresses that evoked the painter’s abstract canvases. Their simple cuts, geometrical lines, and bold colors gave the designer’s collection a modern feel and proved to be incredibly successful. TurboVap® LV. TurboVap® is a second generation product for solvent evaporation which builds on the solid foundations of the historic TurboVap product line and incorporates many new customer driven features. It still features the highly efficient patented gas vortex shearing technology, which is synonymous with the TurboVap brand. Learn more.
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In 1965, Yves Saint Laurent paid tribute to Mondrian by designing cocktail dresses that evoked .The six wool jersey and silk A-line Mondrian dresses comprised graphic black lines and blocks of white and primary colour, directly referencing the work of Mondrian. Rather than being printed, the dresses were made of pre-dyed fabrics, each colour in their design being an individual piece of fabric. Saint Laurent experimented with the interplay of lines by integrating them in the sea.In 1965, Yves Saint Laurent paid tribute to Mondrian by designing cocktail dresses that evoked the painter’s abstract canvases. Their simple cuts, geometrical lines, and bold colors gave the designer’s collection a modern feel and proved to be incredibly successful.
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1965 Mondrian dress by Saint Laurent, Rijksmuseum. The six wool jersey and silk A-line Mondrian dresses comprised graphic black lines and blocks of white and primary colour, directly referencing the work of Mondrian.Knowing the flat planes of the 1960s canvases achieved by contemporary artists in the lineage of Mondrian, Saint Laurent made the historical case for the artistic sensibility of his time. Yet he also demonstrated a feat of dressmaking, setting in each block of jersey, piecing in order to create the semblance of the Mondrian order and to . A conversation about the bond between fashion and fine art is incomplete without an in depth discussion of Yves Saint Laurent's Mondrian dress. The shift dress that puts all other shift (or sack as they were called) dresses to shame . Among the highlights were a row of Mondrian-inspired dresses, a theatrical cape of ostrich feathers, a beige safari-style jacket, a harlequin dress made of satin patchwork, alluring translucent pieces, and loose unassuming wool peacoats—each piece .
Simple 1960s shift dresses often acted as canvasses for bold adornments, an idea that Yves Saint Laurent took quite literally. His fall 1965 collection became known as his “Mondrian” collection, in spite of the fact that it contained only six dresses that resembled the Dutch painter’s work.
Yves Saint Laurent Museum Shines Spotlight on Mondrian Dresses. The “Babouchka” wedding dress is also part of the museum’s latest exhibition, unveiled today. Three "Hommage à Piet.Yves St Laurent designed a group of bold dresses based on intersecting black stripes and blocks of primary colours. It became known as the Mondrian Collection and was featured on the front of French Vogue in September 1965 and in many other fashion magazines.Saint Laurent maintained this “dialogue with art” all throughout his career, beginning with a series of dresses paying tribute to Piet Mondrian for the Autumn-Winter 1965 collection. Wool jersey was inlaid with no visible seams, allowing Saint Laurent to create a textile rendition of the Dutch artist’s paintings and channel Mondrian’s .
This dress is a masterpiece by Yves Saint-Laurent, a leading designer of the 20th century. A straight A-line dress with boldly set primary colors, bordered by black straight lines, was.In 1965, Yves Saint Laurent paid tribute to Mondrian by designing cocktail dresses that evoked the painter’s abstract canvases. Their simple cuts, geometrical lines, and bold colors gave the designer’s collection a modern feel and proved to be incredibly successful.1965 Mondrian dress by Saint Laurent, Rijksmuseum. The six wool jersey and silk A-line Mondrian dresses comprised graphic black lines and blocks of white and primary colour, directly referencing the work of Mondrian.Knowing the flat planes of the 1960s canvases achieved by contemporary artists in the lineage of Mondrian, Saint Laurent made the historical case for the artistic sensibility of his time. Yet he also demonstrated a feat of dressmaking, setting in each block of jersey, piecing in order to create the semblance of the Mondrian order and to .
A conversation about the bond between fashion and fine art is incomplete without an in depth discussion of Yves Saint Laurent's Mondrian dress. The shift dress that puts all other shift (or sack as they were called) dresses to shame .
Among the highlights were a row of Mondrian-inspired dresses, a theatrical cape of ostrich feathers, a beige safari-style jacket, a harlequin dress made of satin patchwork, alluring translucent pieces, and loose unassuming wool peacoats—each piece .Simple 1960s shift dresses often acted as canvasses for bold adornments, an idea that Yves Saint Laurent took quite literally. His fall 1965 collection became known as his “Mondrian” collection, in spite of the fact that it contained only six dresses that resembled the Dutch painter’s work. Yves Saint Laurent Museum Shines Spotlight on Mondrian Dresses. The “Babouchka” wedding dress is also part of the museum’s latest exhibition, unveiled today. Three "Hommage à Piet.
Yves St Laurent designed a group of bold dresses based on intersecting black stripes and blocks of primary colours. It became known as the Mondrian Collection and was featured on the front of French Vogue in September 1965 and in many other fashion magazines.
Saint Laurent maintained this “dialogue with art” all throughout his career, beginning with a series of dresses paying tribute to Piet Mondrian for the Autumn-Winter 1965 collection. Wool jersey was inlaid with no visible seams, allowing Saint Laurent to create a textile rendition of the Dutch artist’s paintings and channel Mondrian’s .
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