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40:(1872â1944). Because these six shift dresses played a major role in this collection, the collection is called the Mondrian Collection. In academic literature it has been questioned whether this name fully covers the aim of the collection, since there are other artists who inspired Saint Laurent such as
79:
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
126:
Saint
Laurent was known for his love of fine art, and had an extensive collection covering a wide range of periods and styles which had important influence on his work. He said of Mondrian: âMondrian is purity and one can go no further in purity in painting. This is a purity that joins with that of
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The convergence of fashion and art in the
Mondrian dresses is significant. Whilst reflecting the fashionable Western silhouette, the designs also reflect the significance of the work of artists like Mondrian during the 1960s. The abstract, geometric visual language of the modernistic Dutch movement
84:
theme of the designs. In interviews Saint
Laurent acknowledged that Mondrian inspired him to focus on simple dresses with minimal decoration. Although the overall effect appeared simple, the technique was complex and required precision cutting and work-intensive haute couture techniques to achieve
146:
in 1965. Mondrian style dresses became very popular, with many mass manufacturers producing copies of the designs for lower prices, which were then widely circulated. The copying was so widespread that Saint
Laurent became a little disenchanted with this collection during the peak of its success,
93:
Although Saint
Laurent's Mondrian dresses were very successful, it was noted that several other designers had produced very similar works beforehand. In 1965, a New York reporter noted that the Mondrian dresses closely resembled two-colour jersey dresses that had already been produced and widely
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interplay of lines by integrating them in the seams of the garment and giving a seemingly seam-free construction. The weight of the fabrics used ensured that the dresses hung straight, without draping or movement to distort the simplicity of the effectâfeatures that enhanced the
127:
the
Bauhaus. The masterpiece of the twentieth century is a Mondrianâ. The dresses have been described as a canvas on which Saint Laurent experimented with his artistic ideas, and have become regarded as having captured the
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of their era. As icons of 1965 fashion the dresses have been described as giving a new perspective on haute coutureânamely that it didn't have to consist of a total look any more, and that it could be easy to wear.
48:. However, Mondrian seemed to play a leading role in this collection. The dresses were famously accessorized with low-heeled, black pumps with large, geometric-looking metallic buckles across the vamp, produced by
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36:(1936â2008) in 1965. This collection was a homage to the work of several modernistic artists. Part of this collection were six cocktail dresses that were inspired by the paintings of
260:
For this collection, Saint
Laurent sketched a series of shoes that were made by the designer Roger Vivier: black pumps decorated with a large square buckle in gold or silver metal.
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As the sack dress evolved in the 1960s into a modified form, the shift, Saint
Laurent realized that the dress's planarity was an ideal field for color blocks.
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574:'I hate Mondrian now,' he said.... has seen numberless cheap copies of his famous Mondrian-inspired dresses...t is a love-hate relationship.
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The
Mondrian collection was widely published in many fashion magazines, with one dress featuring on the cover of
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claimed that the effect of the Mondrian dresses had been achieved two years previously by the American designer
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The original Mondrian dresses can be found in several museums around the world, including the
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304:"The 50 Best Artist Collaborations in Fashion: 47. Yves Saint Laurent x Piet Mondrian"
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to which Mondrian belonged was applied to the design of the six dresses.
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334:"Cocktail dress, "The Mondrian collection," Yves Saint Laurent, 1965"
471:"Mondriaanjurk, Yves Saint Laurent, Abraham, Bianchini-FĂ©rier, 1965"
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682:
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Composition with Large Red Plane, Yellow, Black, Grey and Blue
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Kim, Sung Bok (1 February 1998). "Is Fashion Art?".
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839:
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224:"Dress, fall/winter 1965-66, Yves Saint Laurent"
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16:1965 fashion collection by Yves Saint Laurent
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539:"Everybody, Almost, is in the Mondrian Race"
430:. Victoria and Albert Museum. Archived from
277:Foundation Pierre Berge â Yves Saint Laurent
147:saying at one point, "I hate Mondrian now."
85:successfully, making the dresses expensive.
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25:Mondrian dresses by Yves St Laurent (1966)
566:"'I Hate Mondrian Now,' St. Laurent Says"
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32:was designed by French fashion designer
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64:1965 Mondrian dress by Saint Laurent,
797:Composition with Red, Blue and Yellow
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526:. Zwolle: Wbooks. 2011. p. 142.
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564:Taylor, Angela (12 November 1965).
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452:
14:
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94:retailed by the French designer
428:"Dress, John Kloss, about 1966"
400:"Parisienne Pioneers Pop Style"
273:"Couture: Iconic YSL creations"
249:Musée Yves Saint Laurent Paris
112:Convergence of fashion and art
1:
805:Composition with Yellow Lines
749:The Lighthouse in Westkapelle
537:Nemy, Enid (20 August 1965).
781:Composition with Grid No. 1
302:Cohn, Hana (4 April 2013).
930:
914:Yves Saint Laurent (brand)
725:A Farmhouse Behind A Fence
664:10.2752/136270498779754515
338:Victoria and Albert Museum
165:Metropolitan Museum of Art
161:Victoria and Albert Museum
592:Yves Saint Laurent: Style
245:"Homage to Piet Mondrian"
621:Hohé, Madelief (2011).
56:Design and construction
30:The Mondrian Collection
821:Broadway Boogie Woogie
590:Bergé, Pierre (2008).
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26:
829:Victory Boogie Woogie
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625:(in Dutch). WBooks.
405:The Montreal Gazette
868:Mondrian Collection
408:. 14 September 1965
163:in London, and the
570:The New York Times
543:The New York Times
344:on 20 October 2014
228:The Met Collection
159:in Amsterdam, the
101:The New York Times
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34:Yves Saint Laurent
27:
881:
880:
741:Evening; Red Tree
632:978-9-0400-7813-2
605:978-0-8109-7120-2
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623:Mode Loves Kunst
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38:Piet Mondrian
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658:(1): 51â71.
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549:16 September
547:. Retrieved
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513:, p. 57
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479:. Retrieved
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455:, p. 55
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436:. Retrieved
432:the original
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389:, p. 21
346:. Retrieved
342:the original
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180:1960s portal
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50:Roger Vivier
29:
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18:
824:(1942â1943)
744:(1908â1910)
475:Rijksmuseum
157:Rijksmuseum
66:Rijksmuseum
888:Categories
757:By The Sea
499:Bergé 2008
481:11 October
477:(in Dutch)
387:Bergé 2008
348:11 October
282:11 October
254:11 January
187:References
151:In museums
136:Popularity
106:John Kloss
89:Precedents
773:Evolution
765:Gray Tree
728:(c. 1904)
717:Paintings
672:1362-704X
641:844956399
614:836801687
370:Hohé 2011
210:Hohé 2011
82:Modernism
75:and silk
42:Poliakoff
873:De Stijl
511:Kim 1998
453:Kim 1998
438:17 April
315:17 April
129:Zeitgest
120:De Stijl
46:Malevich
856:Related
840:Museums
309:Complex
832:(1944)
816:(1942)
808:(1933)
800:(1930)
792:(1921)
784:(1918)
776:(1911)
768:(1911)
760:(1909)
752:(1908)
736:(1907)
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596:Abrams
572:: 53.
412:4 June
77:A-line
73:jersey
143:Vogue
668:ISSN
637:OCLC
627:ISBN
610:OCLC
600:ISBN
551:2024
545:: 32
483:2014
440:2015
414:2014
350:2014
317:2015
284:2014
256:2022
44:and
660:doi
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
