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James Galanos photographed by Richard Avedon in New York City, August 10, 1975. Published in Vogue, October 1976.
Galanos’ first appearance in Vogue—a sculpted silk satin halter evening dress. Photographed by Horst P. Horst for Vogue, September 1953.
Galanos was known for his love of stiff white organdie. Here used for a “demi-long shirtwaist dress that might seen next as a country wedding, or at a dance in town.” Photographed by Irving Penn for Vogue, June 1957.
Paisley chiffon encrusted with bead embroidery and gilt thread on a deceptively simple dinner dress. Photographed by Irving Penn for Vogue, October 1967.
“This enchantment is made of coppery-dotted black point d’esprit, billowed from a point just below the bosom into a great, blown skirt that’s caught above the knee with a satin bow, then released into a deep flounce.” Photographed by Richard Avedon for Harper’s Bazaar, February 1958.
A hand-embroidered paisley challis top paired with an exuberant white organdie skirt; photographed by Richard Avedon for Harper’s Bazaar, March 1958.
Known for his immaculate suiting, this tweed one features a long, loose jacket with short cone-like sleeves and a soft, sleeveless dress. The hat is also by Galanos. Photographed by Leombruno-Bodi for Vogue, March 1960.
James Galanos believed that black was the most flattering color for all women and he always included several variations on the LBD in each collection. Long-sleeved black chiffon dress with a navy flounce, over a navy slip; the matching hat is navy blue rolled in black chiffon. Photographed by Karen Radkai for Vogue, February 1962.
A pale-grey satin tunic worn as a pinafore over a simple dark grey wool sheath, with matching turban. Photographed by Irving Penn for Vogue, July 1963.
A feather-trimmed evening column for the cover of Harper’s Bazaar, November 1963—photographed by Melvin Sokolsky.
“Serene line, Baroque ornamentation”: A burnt orange wool dinner dress with beaded cuffs. Photographed by James Moore for Harper’s Bazaar, November 1963.
A delicate silk chiffon dress with smocked bodice and cuffs, available in smoke gray or navy. Illustrated by Kenneth Paul Block for a Bonwit Teller ad, April 1965.
A “wing-sleeved pyramid for evening” made of chiffon with a textile design by Tzaims Luksus. Photographed by Francesco Scavullo for Harper’s Bazaar, April 1966.
A black wool-and-silk column with a big of emerald-eyed, diamanté daisies. Photographed by Bert Stern for Vogue, September 15, 1966.
Jean Shrimpton in a gold lamé caftan jumpsuit, heavily embroidered with opalescent stones on the yoke and cuffs. Photographed by Richard Avedon for Vogue, November 1966.
James Galanos staring in a Marshall Field & Company ad for November 1966, alongside a model in one of his beaded, black evening dresses.
The most darling summer day dress ever: red cotton with a pin-tucked bodice and a full, barrel-pleated short skirt—and of course, the matching hat. Photographed by Jack Penati for Vogue, April 15, 1968.
An asymmetric coatdress of “glinting gold, blue, and scarlet braid flowering on scarlet lace” with a high belt and flared hem. Photographed by Alexis Waldeck for Vogue, July 1968.
James Galanos at home for Town and Country, September 1969: “James Galanos is one man who enjoys the contradictions of 20th-century living. In spite of a great need for privacy, Galanos eats out every night. ‘Being a bachelor, it simplifies matters,’ he explains, adding that ‘as a dieter I like simple things: caviar and champagne, or a great American hot dog.’ A night person at heart, he prefers dark rooms of subtle colorings but ‘with a feeling of richness and quality.’ Of décor, he says that it should be a complete reflection of oneself. For him, perfectly proportioned furnishings, simple in line—‘nothing embellished. Elaborate antiques were right for their particular time and environment but are not suitable for the scale of houses today. Mies van der Rohe and Breuer designs are as elegant as anything of the past. You have only to look at the Seagram Building in New York—a jewel.’
Though known for the timeless quality of his designs, Galanos always sought to move with times—these transparent pants and teeny bikini top are one such example. Photographed by Bert Stern for Vogue, November 1968.
Galanos made his name in the early ‘50s due to his skilled use of chiffon, and continued to excel at it throughout his career. In 1977—the same year as his first retrospective exhibition, at the Fashion Institute of Technology—Jimmy paired a Pierrot collar with stripes of flame-and-white chiffon. Photographed by Arthur Elgort for Vogue, June 1977.
For the disco era, Galanos provided a glittering gold lamé blouse with broad shoulders. Photographed by James Moore for Harper’s Bazaar, November 1978.
Nancy Reagan in the one-shoulder beaded column that Galanos designed for her husband’s first inaugural ball on January 20, 1981; photographed by Horst P. Horst.
A column of wool jersey, “a fabric he elevates into another realm, another mood of dressing.” Photographed by Sheila Metzner for Vogue, June 1985.
An ad for Galanos at Bergdorf Goodman, featuring his fully beaded white evening dress and lynx coat for A/W 1985.
Galanos was renowned for his eveningwear until his retirement in 1998; this satin slip dress with a pearl-beaded bodice and straps is a later example. Photographed by Peter Lindburgh for Vogue, December 1989.