History's Runway: The Weisweiller Balenciaga Gown, 1960

This and all related images from
The Victoria & Albert Museum

In 1960, Madame Alec Weisweiller commissioned Balenciaga, her favorite couturier,  to design a special one-off gown for the 18th birthday party of her daughter (who was also exclusively dressed by Balenciaga). Both of the Weisweiller ladies were considered quite the Parisian personalities and were especially close with both Balenciaga and Cocteau.

The gown is unique in that Balenciaga, who favored linear shapes, bold colors and embroidery, has veered from these ideals to create a more youthful piece in pale pink organza and delicate floral patterns which lean more toward Dior than the usual Balenciaga look.  

This evening dress boasts a fichu-like collar which encircles the shoulders and crosses over at the front to attach to the bodice with hooks and eyes.  One side is adorned with a pink organza bow. Embroidery of cream lace florets, ribbon-work pink and green flowers with colored silks, and with white and pearl colored beads decorates the collar and the upper third of the skirt. 

Originally, a satin ribbon was worn at the waist.  This is now lost.  the ribbon would have served to hide the waist seam.  

History's Runway: A Charles James and Jean Cocteau Evening Gown, 1938

Charles James (1906-1978) donated this printed silk gown to the V&A.  The fantastic dress of emerald silk was designed by James in 1938.  James, an Anglo-American couturier, was celebrated for his masterful creations of complicated, sculptural shapes built with meticulous cutting and seaming. 

Take for example, the short sleeves of this dress which spiral under the arm, over the shoulder, and form cross-over drapery.  This section is formed from one piece which continues to form the bodice front. 

Normally, James preferred for the shape of the gown to speak for itself and, to keep from distracting from the architectural quality of his work, opted for solid-color silks.  Therefore, the use of printed silk in this gown is unusual.  The textile is all the more special given that it was  designed by the artist-illustrator Jean Cocteau. In 1937, Cocteau had met and fallen in love with the young actor Jean Marais. The masks in the print are portraits of Jean Marais and of Cocteau himself, celebrating their relationship.

The gown is wholly emblematic of the marriage of fashion design and modern art which took place in the 1930s, rising even more so with the Surrealist Movement.  Couturiers such as Charles James and Elsa Schiaparelli worked with artists such as Cocteau and Salvador Dali to produce wearable art.

History's Runway: A Charles James and Jean Cocteau Evening Gown, 1938

Charles James (1906-1978) donated this printed silk gown to the V&A.  The fantastic dress of emerald silk was designed by James in 1938.  James, an Anglo-American couturier, was celebrated for his masterful creations of complicated, sculptural shapes built with meticulous cutting and seaming. 

Take for example, the short sleeves of this dress which spiral under the arm, over the shoulder, and form cross-over drapery.  This section is formed from one piece which continues to form the bodice front. 

Normally, James preferred for the shape of the gown to speak for itself and, to keep from distracting from the architectural quality of his work, opted for solid-color silks.  Therefore, the use of printed silk in this gown is unusual.  The textile is all the more special given that it was  designed by the artist-illustrator Jean Cocteau. In 1937, Cocteau had met and fallen in love with the young actor Jean Marais. The masks in the print are portraits of Jean Marais and of Cocteau himself, celebrating their relationship.

The gown is wholly emblematic of the marriage of fashion design and modern art which took place in the 1930s, rising even more so with the Surrealist Movement.  Couturiers such as Charles James and Elsa Schiaparelli worked with artists such as Cocteau and Salvador Dali to produce wearable art.