Editor’s note: All this week WWD will be looking back through the Fairchild Archive at some of the designers it has interviewed and profiled over the years, accompanied by photos of their collections. On Monday, the series begins with a July 11, 1966 interview with legendary American fashion designer Norman Norell. (An explanation: The article was reproduced using WWD’s style at the time, which leaned heavily toward all-caps, ellipses, and bold face type.)
THE ONLY AMERICAN DESIGNER IN THE SAME LEAGUE AS THE GREAT PARIS COLLECTION SHOWS HIS FALL COURSE IN A CHAMPAGNE SHOW TONIGHT.
AHEAD OF THE OPENING, NORMAN NORELL TALKS EXCLUSIVELY WITH WWD ABOUT.
It’s 90 degrees outside.
Norman is quiet in his cold, bare showroom.
Not a thread or swatch in sight.
No hint of frantic last-minute equipment behind closed doors.
Norman exudes confidence…admits that all is not quite over.
No temper or poor appearance, although the workmen have spilled ocher paint on the carpet and there is no time to have a new one.
He is wearing his patriotic blue suit with red tie and blue and white striped shirt.
There is a shrewd twinkle in his eye as
HE LETTS FALLS WHERE THEY MAY.
“THIS COLLECTION WILL BE ON SHOW RIGHT AWAY. People have gone overboard with the fashion show. It’s time to throw away all that gimmicky stuff.
“I don’t have private clients…never do…This is a business issue, not a social issue.
“ALL FASHION IT’S NOT COMING FROM PARIS IT’S COMING FROM LONDON AND NEW YORK.
“THIS RETURN TO ELEGANCE FALSE IS A LOAD OF BALLOONS.
“Youth can be elegant… youth still has influence… and that’s where influence will remain… and I don’t think it comes from Paris at all. With a little youth, Paris is not with him…comes from London and New York.
“We’re not going back to old lady clothes. You design a so-called women’s dress and make it a size 8 and it’s still an old dress. That’s why the whole women’s clothing business collapsed. Even a new dress in size 18 automatically becomes older.
“I’M JUST LIKE THE LENGTH OF GOOSES… It all depends on the woman.
“It’s a very healthy thing for women to decide what they want. A designer can no longer dictate.
“Now it’s a matter of knee length… ours will be short.
“I can hear it now… Paris will be the headlines… an inch or half an inch. This is not important. Only when it falls in the middle of the calf will it be news. I see no reason for longer skirts…no reason in the world to extend skirts for any length of time.
“FIT-wise, AMERICA AS A WHOLE IS GETTING USED TO THE FIELD WITHOUT A WAIST.
“You can’t suddenly change that… women are all about comfort… they don’t want to be cheated on. A belt calls for a small waist and who has a small waist today?
“I have some straight and tight shapes…some loose…in the collection.
‘I’M DOING A LOT MORE COLOR THAN I’VE EVER DONE … two or three or even four solid colors in a suit … maybe a solid color coat over an open dress … or a coat of lightly over a dark dress.
“You feel happier wearing color. Remember when the boys came to Halloran’s hospital during the war?…They put bright red pajamas on them. It’s good psychology.
“My color statement this time is quite bold. It will be tough on the ladies…they will have to have it more clothes. And it’s expensive.
“Also white…and black and white.
“I’m afraid the black dress has bitten the dust…John Moore is the only one who can still do it…one after another…but he cuts and covers them so beautifully.
“Oh well….[with a wry smile]…a woman should have a black dress… I’m not doing more than one or two.
“I DON’T THINK YOU CAN SAY PASTA IS DEAD. A woman needs a suit…a nice, easy, gimmicky suit.
“What has worried women is excessive styling. They want something like Chanel’s successful little suits that don’t fit one.
“I’m making some costumes.
“MOST IMPORTANT COATS. I did one that I liked…then I did a few more that I didn’t like as well as the first one. So why do I have to make so many different ones and have problems with buyers?
“I only have A the shape of the coat in the collection…it’s kind of like an ice cream cone…a high banded collar, small shoulders, tight sleeves and a slight flare.
“Many of the dresses have the same high band neck…. a sort of ‘Late Hong Kong influence’… it goes through day and night.
“Yeah, some Hong Kong cracks at the bottom too.
“IN THE EVENING… WELL, I HAVE YELLED SHORTAND I CAME BACK AND DID IT LONG.
“I do not know why…[with a puzzled shrug]… I still believe in short.
“Of course I’ll do some glitter, although women may be disappointed that it’s not skin-tight. You need the excitement of the glow, like the shock of fireworks.
“And I made long dresses at home. Sometimes pajamas just don’t seem right enough and these dresses fill a need. Of course you can wear them outside the house.
“I’m making some pajamas…but less than before.
“I DID NOT GIVE UP ON THE TRAVEL PANTS. I am opening the collection with narrow ones with long contrasting jackets and suitable sweaters.
“It’s funny…they didn’t sell that well before…but my girls loved them.
“THE COLLECTION IS MAINLY IN HEAVY CREPE SILK, WOOL AND SOME NOVELTIES.
“I couldn’t find any new fabrics that I liked, so we embroidered them to hell… we had to come up with our own innovations.
“What are you going to do? People are tired of brocades and velor coupes.
“THE ACCESSORIES?
“I’m not showing any hats… the dresses didn’t require or need a hat.
“But I am using hair pieces for the first time – small ones. They are anchored at the top – no straps or bows – and are wide at the sides no longer than the ear. Children like it.
“And the make-up….red mouth by day, fuchsia by night…not too heavy on the eyes, not too shadowy. There will be a pink dot on the ear lobes… light make-up on the legs with a pink dot on the knees. We will focus on the legs.
“And my shoes will be the same ones I’ve had forever. Funny, but the chunky heels that used to look so low look higher now.
NORMAN’S ENTHUSIASM FOR HIS CURRENT COLLECTION IS DIFFICULT TO GET INTO — THE COMPLETE POST.
BUT YOUR THOUGHTS HAVE WANTED TO RELATED SUBJECTS.
Aside from designing scarves or clothing or perfumes for men? “I think I’m lazy [big joke]. I pay so much attention to this thing that I don’t have time for all those extra things that make you rich. I won’t put my name on any product I don’t design myself… even though I’ve had many offers.”
Comparison of cities: “There is more inspiration in New York and the rhythm is the inspiration.
“It’s slow in Paris. Sure, it’s a beautiful city, but they’re used to it…don’t see it anymore. Paris is boring. You don’t see beautiful women everywhere in Paris like in London and New York. Paris is always ’empty!’ No matter what month you’re there, there’s no excuse not to see stylish women… they’re skiing, they’re away in the countryside. They only have New Jimmy’s and Castel’s… and so what.
“Even a friend in London says that what is happening is here – in New York.
In New York, Norell likes: Theater…and galleries and auctions (“I just bought a Tilliard bergere and a Louis XVI gueridon…I don’t know where I’m going to put them, but love will find a way.”)…and new movies (“I’m too old to like old movies…they are fresh and fun for the young.”)…and nice simple restaurants like Hamburger Heaven and Schraffts (…”not the places in between.”).
If he could leave now, he would go straight to Venice, or to North Africa.
And he loves Palm Beach: “It’s a very nice place, so clean and easy to get to for winter weekends. Let the others go to Acapulco.”
Has he ever thought of writing a book? “Yes, I have… but I took it off. After all, it has been a long time since I started designing in 1925.”
BUT NORELL UNCLEANED IS A BOOK TO WAIT FOR.
PHOTO RESEARCH BY TONYA BLAZIO-LICORISH
