Tag Archives: Christy Turlington

Calvin Klein, 1989

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Calvin Klein, 1989

“It is a collection in which neatness counts. The clothes are in the American tradition of glorious sportswear, updated by the use of precious materials. There are strong men’s-wear accents in the double-breasted jackets in pewter gray plaids and checks, and in the lean trousers that overshadow the knee-baring skirts. Occasionally there is a hint of mauve or green in the tweed jackets, sweaters or trousers. Softening agents are the drifts of knitted cashmere, in triangular shapes or in long stoles to wrap around the body. Some knitted styles tie at one side of the waistline for a new sweater shape.”

– from FOR KLEIN, NEATNESS AND LUXURY COUNT by BERNADINE MORRIS, NYT, 1989

Polly Mellen, 1991

Michael Kors’ fall 1991 campaign starring Christy Turlington and the legendary Polly Mellen

“Not even a chunk of ceiling falling into the middle of the runway could break the concentration at the Michael Kors show at a loft at 119 West 24th Street. Suzy Menkes was clipped on the head by a piece of it, but she moved down the row and accepted a seat from Mr. Neimark. Anna Bayle, who was modeling a camel-hair polo coat, said later that she thought it was a gunshot, but she continued to show the coat. The debris was cleaned up and the show went on.

A fine show it was, as the clothes exuded a light, youthful vigor, in attractive shapes and colors. It began with camel-hair coats and jackets mated with gold tulle skirts and dresses or gold sweaters. These combinations not only blurred the lines between daytime and dress-up clothes, but they had enough insouciance to win a serious place in the fall fashion agenda. Black sequined leggings with camel jackets, and black lace skirts or pants with gold leather coats were other unpredictable juxtapositions.

The basic idea throughout the show was to clothe the body snugly in T-shirts or tights and to throw something loose and fetching over the top. A dirndl-style skirt could be tied over the tights for a bit of fluff.

The clothes had a lot of energy and zip, so the audience overlooked the stunning heat and the collapsing ceiling. It brought into consideration how much they were willing to suffer for fashion.”

– Bernadine Morris for the New York Times, April 11, 1991