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Long and Longer. But, as so often in the past, it was Yves St. Laurent whose literally dreamy collection drew the week's top applause. Soft voiles, crepes and chiffons fitted tightly over the bosom, fluttered into pleats at the hips; gently fitted shirt-coats unbuttoned to reveal sinewy sheaths; appliques, borrowed from Matisse collages, formed butterflies on blousy knickers, birds in flight on a blue suede coat. The St. Laurent way for evening: sheer silk chemises, re-embroidered with tiny seed beads or baby sequins, delicate as veils and every bit as enticing...

Author: /time Magazine | Title: Modern Living: Punch, Oui; Power, Non | 8/3/1970 | See Source »

Petit's extravaganza is a lush mixture of Now and Then. His dancers, tricked out in crushed-velvet pantsuits by Yves St. Laurent, open with the springy "L'Amour du Métier" (The Love of Show Business). As they sing, they flit in and out of a flashing construction of steel tubes designed by the Venezuelan painter Jesús Raphael Soto. Then the Tiller Girls, 16 bright British birds whose forebears were the original inspiration for the Radio City Rockettes, descend from the ceiling in sentinel boxes. Their number is followed by blonde-wigged nudes...

Author: /time Magazine | Title: Show Business: Old-Fashioned Insouciance | 7/13/1970 | See Source »

...years if all goes well. It certainly should. Says Petit: "Our success is fantastic. Everything I have dreamed of has finally come true." Zizi is pleased, of course, but she is too much the Parisian sophisticate to be overly rhapsodic. Pointing to the set's shimmering black St. Laurent curtains, she says, "If we don't break even, at least I'll have enough material to keep me in black sequined dresses for the rest of my life...

Author: /time Magazine | Title: Show Business: Old-Fashioned Insouciance | 7/13/1970 | See Source »

...thriller by the American Cornell Woolrich, and like its predecessor, it deals with a predatory female and a weak male, whom she eventually destroys. Julie (to emphasize the similarity, the name is repeated from The Bride Wore Black) is an elegant mail-order bride with a Saint Laurent wardrobe who has come to the French island of Réunion to meet her future husband, a wealthy tobacco farmer named Louis. From the photographs they exchanged by letter, she is almost unrecognizable. He had expected a sweet but faintly dowdy brunette; she meets him as a startlingly glamorous blonde. They...

Author: /time Magazine | Title: Cinema: Truffaut in Transition | 4/27/1970 | See Source »

Couturiers were the first to be charmed. Yves Saint Laurent showed a staggering array of snakeskins in his most recent collection, which featured a line of python-printed chiffon dresses (Mme. Pompidou took hers to Chicago last month and wore it with a gold ser pent belt). Givenchy's snaky stretch-wool suit is already being copied, scale for scale, and London Designer Jean Muir has a whole group of satin separates, all slithery with the python pattern. America's Adele Simpson and Bill Blass have embossed the markings onto vel vet and chiffon; Halston has gone...

Author: /time Magazine | Title: Modern Living: For Goodness Snakes, the Serpents Have Come | 3/16/1970 | See Source »

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