“Couture: Seeing Stars,” was originally published in the November 1989 issue of Vogue. Photographed by Patrick Demarchelier. Fashion Editor: Polly Mellen. Hair, Sam McKnight for La Coupe; makeup, Sonia Kashuk.
Bewigged as a brunette, Daryl Hannah at ease in a bodysuit. Here, Chanel’s brocade—just as lean and mean as the Batman costume that may have inspired it. (The movie’s theme song was even played during Chanel’s runway show.) Hannah’s most recent movie move: her role in Steel Magnolias. The cat-eye specs are Hannah’s own, from her collection of vintage sunglasses. Chanel Haute Couture by Karl Lagerfeld wool, silk, and Lurex catsuit. Lurex by Gandini. Rings, Chanel Haute Couture by Karl lagerfeld.
Photographed by Patrick Demarchelier, Vogue, November 1989
The lowdown on the low cut: bare dresses go long or short
Daryl Hannah plays impromptu stylist, left, borrowing a cowboy hat to create a novel image—call it Dolly Parton meets Georges Marciano. The silk satin bustier’s strictly no-kidding: it’s embroidered, appliquéd, and decorated with roses. By Valentino. Valentino Couture silk satin bustier and skirt. Fabric by Taroni. Accessories by Valentino. More decoration at the wrist: a rhinestone shackle. Right: Daryl Hannah shifts into her actress persona in Christian Dior’s revealing, front-buttoned number with a walk-through slit. Made of silk crepe. Christian Dior Haute Couture dress. Fabric by Taroni. Hosiery by Berkshire.
Photographed by Patrick Demarchelier, Vogue, November 1989
Couture makes tulle the rule: two fantastical takes on a fabric
Christian Lacroix created magic with his Felliniesque dress, left, and Daryl Hannah fell under its spell. The top: a velvet bustier over a lace body stocking. The bottom: a jeweled peplum and layers of hand-painted tulle over a pleated miniskirt. Christian Lacroix Haute Couture viscose and polyamide bodysuit. Fabric Aimé Babouin. Polyamide skirt. Fabric by R. Simon. Gloves, Christian Lacroix Haute Couture. Right: To play the siren, Daryl Hannah ignored all accessories but a severe platinum wig. The dress details all have a sculptural slant: a sweetheart neckline, a scalloped hem. In back: a fishtail train by Emanuel Ungaro. Blunt-cut wig from Theresa’s Wigs, NYC. Emanuel Ungaro Haute Couture dress. Lace by Marescot. Organza by Abraham. Satin by Petillault.
Photographed by Patrick Demarchelier, Vogue, November 1989
The couturiers’ revealing new ways—front and back views
The hair... the pout... the pose: Hannah gives an off-the-shoulder dress the Brigitte Bardot treatment, left. Chanel’s beaded, re-embroidered short dress with long sleeves. Chanel jewelry. Chanel Haute Couture by Karl Lagerfeld silk dress with wool and cashmere. Silk by Petillaut. Wool and cashmere by Foster Willi. Accessories by Chanel Haute Couture by Karl Lagerfeld. Right: Italian starlets of a certain age (Monica Vitti in the 1960s) had the corner on a certain kind of glamour—Hannah has the look down pat. Valentino’s dress is all sophistication, with crisscross back straps, streamers, and even a glittering tassel. Bracelets, Valentino. Shoes, Isabel Canovas.
Photographed by Patrick Demarchelier, Vogue, November 1989