Fashion of the 50s and 60s (Part 2)

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Balenciaga, who was Basque, found himself chased out of Spain due to the Spanish Civil War and found himself in Paris. He retained his loyalty to the Paris fashion scene after World War II by participating in “Théâtre de la Mode”, a traveling doll show that presented haute couture in miniature representation, showing the fashions of the best Paris designers in an effort to claim Paris as the center for international fashion.

The Spanish fashion designer, creator of the house of Balenciaga, introduced some fashion innovations in the 1950s such as the tunic dress where the shoulders were widened and the waist was eliminated. He further elaborated on this concept by introducing the chemise dress. Eventually carrying the trend further, he created the Empire Line, high waisted, kimono like jackets and garments.

Even so, his work before World War II harkened back to fashions of the 18th century. Although his fashions were largely acclaimed during pre-war times, he flourished during the 1950s, producing the sack dress, the barrel dress, the baby doll dress, and the peacock evening dress.

Count Hubert James Marcel Taffin de Givenchy

One may look at the full Givenchy name and get a fairly good idea of the background of this designer. He was the younger son of the Marquis de Givenchy. It is the truth that only the rich or well-connected can afford an extended name. Besides his royal pedigree, he worked with many of the well-known french and international designers. His idol was Balenciaga. Working with Dior and Balmain, he eventually found himself working for Schiaparelli. Givenchy was best known for his famous clientele which included the likes of Audrey Hepburn, Lauren Bacall, Ingrid Bergman, Maria Callas, Marlene Dietrich, Grace Kelly, Jacqueline Kennedy and the Duchess of Windsor, to name only a few.

My personal opinion of Givenchy designs admit that he was creative and had a knack for following the trends. His intense cultivation of the growing celebrity obsession grew his image among the elite and the media. With the dissemination of the presence of Givenchy from Hollywood and elsewhere, it did not matter about innovation or distinguishing the brand from others. (Of course, I am talking here about mid century Givenchy.) Although to say Givenchy designs exhibited derivative and prosaic characteristics would be distinctly incorrect, his designs could not be categorized as avant-garde or revolutionary. His ideas were strictly commercial and meant to fit the current climate.