Happy Mardi Gras! To celebrate the last day of Carnival, here’s a look at the star of Helmut Newton’s 1966 Venetian shoot: Italian model and socialite Mirella Petteni Haggiag.
Born in Bergamo, Mirella Petteni moved to Milan to work as a model. As the wife of film producer Robert Haggiag, Petteni was also a society figure with residences in Venice, Tuscany, New York, and Rome’s Palazzo Mengarini. (See T magazine.) She retired from modelling to become an editor at Vogue Italia.
Petteni can be seen on many Vogue Couturier Designs by Italian designers.
Petteni also appears in a Vogue holiday editorial that includes two Vogue Special designs (Vogue 6084 and 6054):
Here she wears Galitzine’s halter and culotte:
Here, in Pucci’s bestselling cape-jacket ensemble, Petteni’s aspirational hair is an added bonus:
Model and Bond girl Tania Mallet (b. 1941) was born in Blackpool to English and Russian-English parents. (Her mother, Olga Mironoff, was Helen Mirren’s paternal aunt.) She began working as a model in the late 1950s after taking a course at the Lucie Clayton Charm Academy. You may recognize her from her role as Tilly Masterson in Goldfinger (1964).
Mallet’s modelling work in the 1960s included editorials for Vogue patterns and Vogue Knitting Book.
The earliest patterns I’ve found featuring Mallet are by French and Italian designers—Jacques Heim and Simonetta:
Later patterns are by London designers like Ronald Paterson and Jo Mattli:
Whether you’re going out or staying in, palazzo pyjamas are perfect for New Year’s Eve. “Pyjama Game—the palazzo persuasion,” a 1963 Vogue editorial photographed by Gene Laurents, features two Vogue Couturier patterns for evening pyjama ensembles.
Both patterns are by designers based in Rome: Federico Forquet and Irene Galitzine. Vogue 1260 by Forquet is a sleeveless, draped evening dress that’s slit to reveal slim, matching pants. The original was apricot silk crêpe (click to enlarge):
From Galitzine, Vogue 1220 is a three-piece pyjama ensemble consisting of a top and skirt in black cut velvet shot with Lurex paired with trousers in white crêpe. The bold, rope necklace is by Brania:
As always, details could be found in the back of the magazine:
This week, three newer designers who established their companies in the late 1950s and early 1960s: Guy Laroche, Irene Galitzine, and Federico Forquet.
Guy Laroche (1921-1989)
Guy Laroche worked as assistant to Jean Dessès for seven years before founding his own couture house in 1957. He had an early success with his ready-to-wear line, founded in 1961, helped by a brief stint in New York’s garment industry. Laroche was known for his accessible, youthful designs and use of colour.
Vogue 1102 is a slim, one-shouldered cocktail or evening dress with off-the-shoulder neckline and loose back panel. (Click image for back view.) The dress has a boned underbodice and looped self-trimming at the shoulder:
Irene Galitzine was a Russian-born princess whose mother had fled the Bolshevik Revolution with her and settled in Rome. A former model, she presented her first collection in 1959. Galitzine was famous for her ‘palazzo pajamas,’ evening ensembles featuring wide-legged pants; she also designed part of Claudia Cardinale’s wardrobe for her role as Princess Dala in The Pink Panther (1963). Amusingly, Claudia Cardinale is actually this blog’s top search (she’s mentioned briefly in my first Mad Men Era post). Here she wears a white Galitzine tunic and pants in the film’s first party scene:
At first glance, Vogue 1393 looks like a jumpsuit, but it’s really a chic halter blouse and culotte. The sleeveless blouse has a wrap-around construction and gathers into a high, standing band collar. The matching culotte has a gathered skirt that forms wide palazzo pants in the front:
Federico Forquet (1931-)
Federico Forquet was also born to a family of aristocratic emigrés: his ancestors had settled in Naples after fleeing the French Revolution. The young Forquet worked with Balenciaga, Fabiani, and Galitzine before opening his own studio in 1961. He was known for his elegant, sculptural cut. Forquet also designed the costumes for the early Bertolucci film “Prima della rivoluzione” (1964).
Vogue 1315 is a bow-trimmed sheath dress and jacket ensemble. The dress has a neckline that’s square in the back and scooped in the front with notched detail; contrast bow trim gives a high-waisted effect. The jacket has three-quarter kimono sleeves and a fabulous raised neckline curving up into points at the throat. It seems that, when worn together, the dress’ bow sits outside the jacket. The original was photographed at the Palazzo Annibale Scotti:
With the exception of Guy Laroche, these new designers were based in Rome, reflecting Italy’s burgeoning fashion industry, with its alternatives to the Paris couture, as well as the rise of ready-to-wear.