#besson wool

[chicinsilk]

Harper's Bazaar October 1990

Irene Pfeiffer wears a yellow cashmere 3/4 jacket (Besson) with black velvet collar and cuffs, a black silk velvet top (Gandini), and a narrow silk velvet skirt (Gandini) by Karl Lagerfeld for Chanel Haute Couture. Black velvet hat with black satin ribbon, black bag with gold chain, and gold bee brooches also by Chanel. Beauty note: Chanel cream lipstick in versatile ash rose. Hair, Madeleine Cofano for Bruno Dessange; makeup, Rob Van Dorssen.

Irene Pfeiffer porte une veste 3/4 en cachemire jaune (Besson) avec col et poignets en velours noir, un haut en velours de soie noir (Gandini) et une jupe étroite en velours de soie (Gandini) par Karl Lagerfeld pour Chanel Haute Couture. Chapeau en velours noir avec ruban de satin noir, sac noir avec chaîne dorée et broches abeilles dorées également par Chanel. Note beauté : Rouge à lèvres crème en rose cendre polyvalent de Chanel. Coiffure, Madeleine Cofano pour Bruno Dessange ; maquillage, Rob Van Dorssen.

Photo Torkil Gudnason

[wilsonjackets-2]

Emily In Paris S4 Thalia Besson Black Bow Cardigan

If you’re a fan of the hit show Emily in Paris, you’re probably familiar with its delightful blend of romantic comedy and high-end fashion. While Lily Collins, who plays the charming Emily Cooper, has wowed us with her Parisian-chic wardrobe, there’s a new style icon rising from the cast: Thalia Besson.

Thalia Besson is an emerging actress in France, known for her fresh talent and captivating on-screen presence. Though not yet a household name, she is quickly gaining recognition for her role in Emily in Paris Season 4. Thalia plays a stylish and confident new character, and fashion lovers everywhere are already buzzing about her impeccable wardrobe. With her unique ability to blend French elegance with a modern twist, Besson is proving to be a fashion force to watch.

One piece that’s turning heads is Thalia’s Black Bow Cardigan — an item that’s already stirring up conversations across fashion forums and social media alike. In this blog, we’re diving into the details of this must-have cardigan, discussing how it became the focal point of Thalia’s look in Season 4, and offering some tips on how you can channel her Parisian style.

The Latest: Thalia Besson’s Iconic Black Bow Cardigan

Thalia Besson’s black bow cardigan featured prominently in Emily in Paris Season 4, has quickly become one of the most coveted pieces of the season. Designed by an up-and-coming French label, this cardigan encapsulates the refined yet playful spirit that Parisian fashion is famous for.

Here’s why the Black Bow Cardigan is getting so much attention:

Chic Simplicity: The cardigan itself features a minimalist design in a timeless black color, making it a versatile piece that can be paired with both casual and more formal outfits.

Statement Bow: What truly sets it apart is the oversized black bow at the neckline. This bow adds a dramatic yet elegant touch, giving the cardigan a feminine and romantic vibe — perfect for channeling that Parisian charm Thalia brings to her character.

Luxurious Fabric: Made from high-quality cashmere and wool blends, the cardigan is soft to the touch and has a luxurious feel, making it perfect for the cooler Parisian evenings.

Runway-Ready Appeal: The cardigan was first spotted during Paris Fashion Week 2023, where it made waves on the runway before being featured on the show. Fashion insiders have speculated that it may soon hit major retail stores, with pre-orders likely starting soon.

Styling Inspiration: How to Wear the Black Bow Cardigan

Want to recreate Thalia Besson’s effortlessly chic look with this cardigan? Here are a few styling tips inspired by Emily in Paris:

Parisian Casual: Pair the cardigan with high-waisted jeans and ballet flats for an easy, laid-back Parisian look. Add a red lip and a beret for an extra dose of French flair.

Office Chic: Layer the cardigan over a white blouse and tailored trousers for a sophisticated, polished outfit. The oversized bow at the collar provides an elegant touch that sets you apart in the boardroom.

Evening Elegance: For a more formal look, wear the cardigan over a sleek slip dress and add heels. The contrast between the bow’s softness and the dress’s simplicity will create a stunning silhouette.

Where to Find the Black Bow Cardigan

While Emily in Paris fans eagerly await Season 4, fashion lovers are already trying to track down Thalia Besson’s Black Bow Cardigan. Though the exact designer has kept a low profile for now, the cardigan is expected to be part of a limited collection released later this fall. Here are some options if you’re on the hunt:

High-End Boutiques: French designers often release their pieces in exclusive Parisian boutiques before making them widely available. Keep an eye out for this cardigan in some of the top fashion districts of Paris.

Online Pre-Orders: Given the buzz around Thalia Besson’s wardrobe, it’s likely that the cardigan will be available for pre-order on major fashion e-commerce platforms soon.

Runway Resale Sites: If you can’t wait for the official release, platforms like The RealReal or Vestiaire Collective may list similar designs from French fashion houses. Stay vigilant as these sites often have one-of-a-kind items.

Conclusion: Thalia Besson’s Fashion Moment

Thalia Besson is on her way to becoming a true fashion inspiration, much like her fellow Emily in Paris castmates. Her Black Bow Cardigan not only symbolizes her character’s refined taste but also hints at the kind of style we can expect from this rising star. As the cardigan continues to gain popularity, don’t miss your chance to grab this piece and incorporate a touch of French elegance into your own wardrobe.

[movieassholes]

We need to find the leader, Mangalores won't fight without the leader.             

Mangalores - The Fifth Element (1997)

Mothership Monday doesn’t bother asking what the little red button on the bottom does.

[erhiem]

From left: Photo by Gi Naps/Getty Images; Photo by Rose Hartman/Archive Photos/Getty Images; Photo by Victor Virgil/Gamma-Rafo via Getty Images

Today, the House of Jean Paul Gaultier is relaunching its ready-to-wear line after a hiatus of six years. It comes 16 months after fashion’s “Maestro of Mehmed”, as journalist Georgina Howell dubbed her in the early ’90s, took her final bow as the brand’s designer, implying that this iteration of its namesake. will not be designed. Instead, the reins are taken over by a dedicated team from their atelier, with help crafted from the rotating doors of some of the most independent designers working today – Palomo Spain, Ottolinger, Nix Lecourt Mansion, Alan Crosetti and Marvin M’Tumo .

Since starting his own label in 1976, Jean Paul has been instrumental in turning underwear into acceptable outerwear, making sailor fashion sexy and, more generally, paving the way for designers to experiment with diverse and unexpected castings on the runway. have been responsible for. He also dedicated an entire collection – AW97 – to the fight against racism. The collection, titled ‘Fight Racism’, featured graphic prints of young anti-fascists with slogans printed on their chests.

In fact, with such a rich history behind it, and vintage JPGs becoming increasingly collectible since the recent renaissance—partly stemming from the Kardashians’ love of all things net—more thanks to the label’s revival. Couldn’t be the right time- the line to wear from now. Although it is a well-known fact that Jean Paul himself decided to step back from the category in 2014 after a somewhat tumultuous feud with Florence Tetier (graphic designer and co-founder). November MagazineNow serving as the brand’s creative and brand director, Ghar is poised to enter the field again. in an interview with WWDJPG’s general manager, Antón Gégy, described the relaunch as an opportunity to “celebrate Jean Paul Gaultier, its values, its archives and its history”. And what better way to raise the glass to the core of fashion? Horrible Instead look at seven of the most show-stopping moments from its most iconic era, the ’90s. Long live Gaultier!

Photo by Gie Knaeps/Getty Images

Madonna’s Conical Corset from the Blonde Ambition Tour, 1990

Back in 1989, when Jean-Paul Gaultier was told by an assistant that Madonna had told the audience, she was convinced that he was playing a trick with her. They knew how obsessed he was with her, just could not do be true But she soon found herself on the phone to the original queen of pop, making a match in ’90s fashion heaven. Naturally, Madonna already knew what she wanted: to create something for her that surrounded Jean Paul’s signature masculine-feminine crossover. Inspired by his love of the late ‘queen of Paris punk’ Edwij Belmore, Jean Paul conceived a pinstripe suit – the top of ’80s manhood – and a corset with the now famous conical bra, which he designed six years ago on AW84 had started for. /85.

Photo by Victor Virgil/Gamma-Rafo via Getty Images

Eva Herzigova’s cut-out dress, 1992

Thought harnesses were a new thing on the runway? Wrong! After all, you’re not known as a fashionista Horrible Without a sprinkling of kinks here and there, as this look proves well. Presented on JPG’s AW92 runway, this dress, so slick in its fit that clothes can even put on Eva’s body, exemplifies the powerful-yet-playful take on sexuality that serves as a throughline throughout the French designer’s body of work. runs as. Styled with bicep-clad opera gloves and proudly crafting the Czech-Italian supermodel’s bust, there’s a distinctive dome-y tone at play here, though no compromise on the beauty of the silhouette or the quality of the make. It speaks to an ideological throughline that runs through Jean Paul’s work – that no matter who a woman is or wants to be, she always has the right to be chic!

Photo by Pierre Guillaud/AFP via Getty Images

Houndstooth bodysuit inspired by Leigh Bowery, 1991

In an interview with iD in 2018, Jean Paul declared his love for the “London Way”, which means “just creating your own style, your own creativity and being free to do what you want to do”. When he took the idea back to Paris, it wasn’t very popular, but that didn’t stop him from creating his own trademark approach to design. He spent his youth in the 80s at famous London nightclubs such as Blitz and Heaven, where he met performance artist Leigh Bowery. In a nod to Bowery’s influence on fashion, Jean Paul sent down his interpretation of the Leigh Bowery Houndstooth bodysuit—which would later inspire Alexander McQueen for AW09 and Gareth Pugh for SS07.

Photo by Pierre Guillaud/AFP via Getty Images

‘Chic Rabbi’ Collection, 1993

For AW93/94, Jean Paul presented the ‘Chic Rabbi’ collection, inspired by the traditional dress of Hasidic Jews. Models in streamels and black suits danced to the sounds of a violinist who played live on the catwalk. The usual circle of supermodels was there, but Jean Paul also decided to cast someone who visually embodied the cultural context: a man with a big beard. During the ’80s and ’90s, designers were known for their casting choices, pioneering their diversity. “I’m fascinated by strong personalities, people who capture my imagination because they walk well down the street,” Gaultier explained in a 2014 interview. “Showing just one type of girl is a flaw,” he adds, “something I’ve always fought with. One kind of beauty – no. If I show a bigger girl, I’ll always show a younger girl.” will show.” It is now legend that Gaultier once posted an advertisement in a French daily newspaper release Looking for “atypical” models, saying that ���facial distortions should not be avoided in application”.

Photo by Arnal/Garcia/Gama-Rafo via Getty Images

Mesh Tattoo Top, 1993

Back in 1993, the trend Declared this prestigious collection as “a startling vision of cross-cultural harmony”. While we’d be inclined to cringe at the somewhat reasonable look now that Jean Paul drove down the runway for the SS94 (which can actually be read as another nod to Leigh Bowery) it certainly Historical perspective. It also marked the debut of Jean Paul’s iconic mesh tops, which were inspired by a tattoo convention he once found himself spinning around – today, they are some of his most sought-after designs. The collection also includes heavy notes of punk, grunge, and 18th century men’s frock coats made in Jodhpur and denim in the typical JPG style. How did he ever find the place for all this?!

Photo by Pierre Vuthe/Sigma/Sigma via Getty Images

Björk!, 1994

Jean Paul’s celebrity friends don’t start and end with Madonna. A year after Björk’s properly titled debut solo album, First entry, Taking the music and fashion worlds by storm, she appeared on the designer’s AW94/95 show, about a magical train that stopped in a small village somewhere high in some mountains. And what, duh?! As you’d expect from JPG, the show was a mish-mash this time in terms of different styles of traditional arctic costume. The models trotted down the snow-covered runway (which almost tripped Kate Moss), decked out in a hell of a lot of fur, silk, wool, and leather.

Photo by Pierre Verdi / AFP via Getty Images

Op-Art Inspired Catsuit, 1995

Two women riding a motorcycle hit them. One of them descends and climbs onto a loft at a DJ booth. Jean Paul’s AW95 ‘Mad Max’ Show Has Started. As he was in the middle of designing the costumes for Luc Besson’s famous film fifth element In which Bruce Willis and Milla Jovovich fight a mysterious cosmic force, they had science-fiction in mind, which means it was technology and cyber-heavy. The bodysuit inspired by Viktor Vasarelli’s op-art paintings became the show’s most memorable aspect—now made super collectible by Kim K and Cardi B and partly responsible for the JPG-madness we’re seeing on Depop these days. Also on the show was Carmen Dell’Orefice, who walked with a live falcon on her arm and sported ornate football armor that lit up like a circuit board. Really prestigious.

Photo by Victor Virgil/Gamma-Rafo via Getty Images

trompe l’oeil torso top, 1995

The next season, Jean Paul took his quest for sci-fi polka dots further, this time translating it into menswear. This time, however, he brought his knack for trompe l’oeil print placement to the table—skills he had previously flexed in the aforementioned Les Tautouzes, and even as early as 1992, when he sculpted the enviable Presented Printed Mesh Top with Toros. The look sported here by Tanel Bedrossiantz is perhaps a little more figurative in its approach, though no less direct is its infrared-style suggestion of what might lie beneath the longtime house muse’s button-down shirt.

Photo by Danielle Simon/Gamma-Rafo via Getty Images

JPG Set Sale, 1998

In a promo video for JPG’s new ready-to-wear line, Bella Hadid is wearing a big red ship on her head. In case you didn’t already know, it debuted at the Haute Couture SS98 show, where it takes us back to the Age of Enlightenment. It was a time of scientific progress, the advent of modern capitalism and of course colonialism. The ‘explorers’ were sailing around the world from Europe, ‘discovering’ new lands for them – a ship serving as a nod to the continent’s shameful past. Some say, however, that it was during the Enlightenment that the fashion we know today – as a form of self-expression that can be accessed by the public – first began to emerge, making the historical period a fashion show. became an ideal subject. .

Photo by Rose Hartman / Archive Photos / Getty Images

Man Himself!, 1992

Sure enough, to write a list of Jean Paul Gaultier’s most iconic looks from his most iconic decade, and not for the man himself. Indeed, as Florence Tetier spoke to her before the label’s launch, “Everybody knows who she is!” whether it’s his striped Whether paired with a pleated black skirt or, as seen here, a denim vest and a punkish tartan kilt, JPG’s personal style has made her one of the most instantly recognizable designers of our time. Plus, there’s a direct connection between what she wore and what we then saw on the runway. While we may have never seen a proper, French Navy-standard Sailor From the designer, “he’s done a lot of stripes and nautical-inspired pieces,” notes Florence. “It’s really nice to see the link between the way he dresses and the way he designs.” we love you, Jean Paul! Follow iD on Instagram and TikTok for more fashion.

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The post Jean Paul Gaultier’s most iconic 90s moments appeared first on Spicy Celebrity News.

[chilling-seavey]

Charlie and Richie's first snow aka Passchendaele SNOW DAY!! ~T

December 1, 1918

The war was officially over in November and the first winter truly felt like a breath of fresh air. Daniel felt like a weight was lifted from his shoulders but his heart still ached from the loss and torture he had been through over the prior four years. Regardless, he had a wife and a ten-month-old son and with the fresh innocence of the first snowfall he wanted to be able to try and feel what life was once like before the world had turned on its head.

So with a layer of snow covering London and its surrounding neighbourhoods, sparkling in the December sun, a snow day was in order.

Elizabeth rushed to answer the knock on the front door, opening it to reveal a snow laden but smiling Besson family of four. She ushered them inside quickly, sharing hugs with the adults, and closed the door again.

“Auntie Lizzie!”

Elizabeth crouched down in front of the eldest, “Hi, Frankie girl. How are you?”

“Good!” Frances smiled widely, holding onto Corbyn’s hand with her mittens still on, bundled up in a scarf and coat and wool hat, her brown curls falling messily around her pink youthful cheeks.

“We are very excited to play in snow, isn’t that right, sweetheart?” Corbyn said.

Frances nodded, making her curls bounce.

“Well I shall go fetch Dani and we can head out.” Elizabeth pinched the two-year-old’s cheek before heading around the corner where Daniel was leaning over the rug, struggling to get the small coat on the wriggling baby.

Daniel looked up at her as she approached, “He won’t lay still.”

“I got him.” Elizabeth joined him on the rug, sliding her pinky against the baby’s lips and he sucked softly on her finger, distracted by his young mother and her sweet smile. “There’s my pretty boy.”

Charlie reached up for her and she pressed her finger to his palm so he could wrap his hand around it.

“There we are.” Daniel sighed, sitting back on his knees after fastening the last button. “All set.”

“Lovely.” Elizabeth scooped the baby right up and they hurried to join their friends in the foyer, everyone getting into their winter clothes.

Charlie, sat on Elizabeth’s hip as Daniel tied up his boots, reached a little hand out to the month younger baby with Christine and the little boys touched hands.

“They’re going to be best friends for life, hm?” Elizabeth giggled.

“Oh, yes. Richard’s been nearly calling for him every night!” Christine smiled, bouncing her son on her hip to make him laugh. Exaggerating, of course, as nine-month-old Richard couldn’t say much but it obvious that the babies were destined to be as close as brothers, especially due to their close age.

Soon, everyone headed outside, Frances pulling Corbyn after her onto the lawn, her small legs slowing her down as she tried to wade through the heavy snow so he picked her up by her armpits and dropped her right in the middle of the untouched blanket of snow.

“Daddy!” Frances shrieked with laughter, flopping backwards into the snow.

“Make a snow angel!” Corbyn said, getting on the ground with her and laid next to her in the snow, showing her how to spread out her arms and legs to make a snow angel.

Daniel and Elizabeth and Christine walked over to join them and the women carefully set the babies in the snow beside each other. The boys stared up at their mothers with wide eyes, surprised by the cold mysterious substance they were placed in.

Daniel got down on the ground with them, sitting right in the snow with them, and Charlie eagerly climbed onto his lap. “Not keen on the snow, little one?”

Richard’s little face scrunched up and he let out a small cry, holding up his arms to his mother.

“My goodness.” Christine tisked and bent down to scoop up her crying son.

Charlie looked between Richard and then Daniel and his own face scrunched up with his on set of tears as if he was supposed to cry too. Daniel shushed him softly, rubbing his hand over his back but he cried on, the two little boys wailing together.

“Uncle Dani!” Frances waded over messily and grabbed onto his shoulders to pull him backwards until he flopped right into the snow, Charlie held securely to his chest. The impact made a few flurries of snow fly up and Frances giggled cheekily, “Can we go on the sleigh?”

“Sure thing.” Daniel chuckled.

Corbyn took Charlie as Daniel got up and grabbed the small wooden sled from their porch and returned with it, setting it on top of the snow and helped his goddaughter climb onto it in all her snow clothes. Frances got settled against the wood back and Corbyn set Charlie between her legs and Christine set Richard at the front of their little line up.

“Hold onto them tightly now.” Daniel said softly, setting Frances’ arms around the two babies.

“Oh, how sweet.” Elizabeth beamed, clasping her hands together in front of her face as Daniel picked up the rope at the front and carefully started pulling them across the snow.

The babies looked like puffy marshmallows in their jackets and mittens and hats and their uncertain expressions were priceless as Daniel pulled them around the snow-covered lawn, Frances grinning with enjoyment all the way around the yard. They looped back to where the rest of the adults stood and Frances waved to them.

“Daddy! Look!” Frances shouted.

“I see you, darling!” Corbyn smiled. “Are you having fun?”

“Yes!” she rested her cheek against Charlie’s head and the grownups swooned over the sweetness, her little arms wrapped around both boys so gently to keep them secure on the sled.

Daniel glanced over his shoulder at the children, feeling his heart beating hard in his chest, a time where he didn’t feel worry or fear for the first time in years. Charlie was staring up at him silently with wide blue eyes as Daniel pulled the sleigh slowly around the snow-covered yard.

After a full afternoon in the snow, they headed back inside for tea by the fire and Christmas tree. Frances fell asleep in Corbyn’s arms, her cheeks pink from the cold and her little body exhausted from all the fun and she napped with her hand clung onto the front of his shirt and his arm tucked around her. The adults chatted quietly together, reminiscing about Christmases past and what they were looking forward to since the war was over, Richard nursing with his mother and Charlie drifting off against Daniel’s shoulder. Daniel wasn’t paying much attention to the conversation, his gaze focused on the fireplace as he sat at the end of the couch with his son resting against his chest with his head on his shoulder and his eyes struggling to stay open. Daniel rubbed gentle stripes over the baby’s back to lull him to sleep, glancing at the framed photograph of Christian sitting on the fireplace mantle. It was to be his son’s first Christmas and their first Christmas in a while that wouldn’t house the looming anxiety of war along with it, and Daniel was more than relieved but he only wished his brother was there to celebrate with him.

[black-coffee-balletomane]

Types of people as months (and their academias {that may or may not be based on me})

January (dark academia) : dark circles, 3am bedtime 6am wake up, Mary Shelley and Byron, black coffee is the only sustenance, plaid skirts, ripped tights, brogues, straight hair left down, charcoal sketches, infp, slytherin

February (grey academia): plaits messed up by wind and rain, rewatching Russian Doll, clove scented bedroom, honey soap, Earl Grey every morning, long night time walks, watercolour paints, witch hazel tincture, brown mascara, infp, ravenclaw

March (dark academia) : two low buns, smudged brown eyeliner, waking up at 3am, navy blue nail polish, breakfast and lunch are black coffee, dinner is toasted sourdough and soup, black calligraphy notes, Audrey Hepburn films, pink clay face masks, evening runs, Jesca Hoop, too much studying, learning piano, Italian lessons, infp, equal parts slytherin and ravenclaw

April (dark academia) : rye toast with honey, hazelnut coffee, Anne with an E, playing Stravinsky on the violin, pointe work and bleeding toes, mauve lipstick, porridge, wuthering heights, pastel drawings, sencha tea, Shakespeare, enfp, ravenclaw

May (light academia) : lilac and cut grass, 6.30 rise and shine, animal crossing new leaf, more essays than I can count, dent may, contemporary ballet, studio ghibli, white rose and lemon leaf perfume, cranberry juice, embroidery, rose tea, almond milk, infp, hufflepuff

June (grey academia) : honeysuckle and lavender, coffee black or with oat milk, lemon verbena soap and lime leaf shampoo and conditioner, writing of blues and yellows billie marten, charcoal and tea tree face wash, hot sand and cold water, studying Latin, Phillipe Besson, romantic ballet, classical violin, esfp, ravenclaw

July (light academia) : one foot in the grave andie, getting iced coffee and almond milk on the way to dance intensive, stardew valley, hair in a low bun, train rides listening to never forever by Kate Bush, black tea, raspberries, elderflower cordial, tidy room, enfp, ravenclaw

August (dark academia) : brown sugar, full cafetiere, metropolitan museum of art, instrumental jazz (autumn leaves, misty, cry me a river), cappuccinos, Paul Beatty, character shoes, French, beige wool tights, vanilla, isfp, gryffindor

September (grey academia) : braided hair crown, notes are somewhat organised, diet is mostly apples, toast, and coffee with milk, red rose perfume, rooibos tea, German and Latin, history and English lit, caramel coffee, field hockey, classical ballet and jazz dance, they smell of cocoa butter, tweed jackets, probably running more than is healthy, sculpting clay, enfp, ravenclaw

October (chaotic academia) : no organisation of notes whatsoever, spilled ink, black coffee and diet energy drinks, no sleep for a month straight, sunken eyes, scraps of paper, the only thing messier than their hair is their bedroom, laughing too loud, never making their bed, hiit workouts, little dark age, hot apple cider to feel fancy, learning German, viola, istp, slytherin

November (darkest academia) : tap dancing and classical ballet, violin practice for hours, the kick inside by Kate Bush, 6 hours studying, 2 hours of sleep, mint tea, Earl Grey, piles of notes, spilled sheet music, balsamic vinegar, barely speaking, red nail polish, brown lipstick, eyeliner and mascara, wavy loose hair or a bun, plaid trousers, button down shirt, grey cardigan, fingerless gloves, brown boots, in love with constellations, infp, slytherin

December (dark academia) : constant dreamer, warming by the fireplace, performing on stage, acrylic paints, violin and piano, writing stories and music, long coats, black or grey jeans, black boots, white wool jumper, one plait, reading constantly, icy hands, cuddling dogs, enfp, ravenclaw

[chicinsilk]

Harper's Bazaar October 1990

Irene Pfeiffer wears a large fuchsia wool tailored coat (Besson), worn over a cashmere turtleneck sweater (Fabrik Front Line). Clothing and accessories, by Claude Montana for Lanvin Haute Couture. Hair, Madeleine Cofano for Bruno Dessange; makeup, Rob Van Dorssen.

Irene Pfeiffer porte un large manteau de tailleur en laine fuchsia (Besson), porté sur un pull à col roulé en cachemire (Fabrik Front Line). Vêtements et accessoires, par Claude Montana pour Lanvin Haute Couture. Coiffure, Madeleine Cofano pour Bruno Dessange ; maquillage, Rob Van Dorssen.

Photo Torkil Gudnason

[chicinsilk]

"Jolie Madame du Printemps"

Model/Modèle : Marie-Thérèse

Photo Georges Saad

[chicinsilk]

Marc Bohan for Christian Dior Spring/Summer 1965 Haute Couture Collection. Suzy Smith wears a gray and white caviar fil-à-fil pure worsted wool suit by Pierre Besson, white silk canvas blouse.

Marc Bohan pour Christian Dior Collection Haute Couture Printemps/Été 1965. Suzy Smith porte un tailleur en fil-à-fil caviar gris et blanc pure laine peignée de Pierre Besson, blouse en toile de soie blanche.

Photo Yurek.

[chicinsilk]

Jeanne Lanvin-Castillo Haute Couture Fall-Winter 1958-59 Collection. Simone d'Aillencourt wears a gray woolen suit speckled with black by Pierre Besson. The off-the-shoulder bolero is decorated with flap pockets. Astrakhan Pass. Prost bag.

Jeanne Lanvin-Castillo Collection Haute Couture Automne-Hiver 1958-59. Simone d'Aillencourt porte un tailleur en lainage gris moucheté de noir de Pierre Besson. Le boléro décollé est orné de poches à rabat. Col d'Astrakan. Sac de Prost.

Photo Philippe Pottier

[chicinsilk]

Muriel is wearing the "Facettes" suit, in navy blue wool. Straw snood beret with ribbon and gardenias. By Marc Bohan for Christian Dior. Gloves, by Kislav. Uncredited photographer.

Muriel porte le tailleur "Facettes", en laine bleu marine. Béret snood de paille ruban et gardénias. Par Marc Bohan pour Christian Dior. Gants, par Kislav. Photographe non crédité.

[chicinsilk]

US Vogue March 15, 1962

Dorothy McGowan is wearing the "Facettes" suit, in navy blue wool. Straw snood beret with ribbon and gardenias. By Marc Bohan for Christian Dior. Gloves, by Kislav.

Dorothy McGowan porte le tailleur "Facettes", en laine bleu marine. Béret snood de paille ruban et gardénias. Par Marc Bohan pour Christian Dior. Gants, par Kislav.

Photo William Klein vogue archive

[chicinsilk]

Marc Bohan for Christian Dior Spring/Summer 1962 Haute Couture Collection. Catherine Pastrie wears "Scaramouche", a "Gazmil" suit. Pure wool from Besson. Photo Louis-Roger Astre.

Marc Bohan pour Christian Dior Collection Haute Couture Printemps/Été 1962. Catherine Pastrie porte "Scaramouche", un tailleur en "Gazmil".Pure laine de Besson. Photo Louis-Roger Astre.

[chicinsilk]

US Vogue April 1984

Kim Williams in a pink and black wool, satin and lace ensemble by Emanuel Ungaro. Camisole in pink silk satin and black lace, Besson fabric. Dormeuil wool jacket. All accessories by Ungaro. Hushed Shadows Makeup by Elizabeth Arden.

Kim Williams dans un ensemble laine, satin et dentelle rose et noir d'Emanuel Ungaro. Camisole en satin de soie rose et dentelle noire, tissu Besson. Veste en laine Dormeuil. Tous les accessoires par Ungaro. Maquillage Hushed Shadows d'Elizabeth Arden.

Photo Peter Lindbergh vogue archive

[chicinsilk]

US Vogue October 1, 1960

Pierre Cardin Haute Couture Fall/Winter 1960-61 Collection. Dorothy McGowan wears a red wool coat by Pierre Besson, tied at the side, then rolled to the left, and which, in the end, seems remarkably straight and not bulky. Velvet helmet, black leather gloves by Roger Faré. Lipstick, Velvet Flame by Helena Rubinstein.

Pierre Cardin Collection Haute Couture Automne/Hiver 1960-61. Dorothy McGowan porte un manteau en lainage rouge de Pierre Besson, noué sur le côté, puis enroulé sur la gauche, et qui, en fin de compte, semble reamrquablement droit et peu volumineux. Casque de velours, gants noirs en peau de Roger Faré. Le rouge à lèvres, Velvet Flame d'Helena Rubinstein.

Photo Photo Irving Penn vogue archive

[chicinsilk]

US Vogue October 1986

Yves Saint Laurent Haute Couture.

Frederique van der Wal wears a short black wool evening dress, lined with black velvet ( Besson wool; silk velvet by Moreau.) The big hat!-perfect symbol of the couture atmosphere of the season. Hairstyle, Bruno Weppe for Jean-Louis David, makeup, Marc Schaeffer.

Frederique van der Wal porte une robe courte de soirée en laine noire, bordé de velours noir (Laine Besson ; soie velours par Moreau.) Le grand chapeau !-parfait symbole de l'ambiance couture de la saison. Coiffure, Bruno Weppe pour Jean-Louis David, maquillage, Marc Schaeffer.

Photo Bill King vogue archive