An extraordinary look at how the style of Piet Mondrian’s abstract paintings was posthumously appropriated by 1960s fashion, Pop art, and consumer culture.

Yves Saint Laurent’s 1965 Mondrian dresses are among the twentieth century’s most celebrated and recognizable fashions, but the context of their creation involves much more than meets the eye. In Mondrian’s Dress, Nancy J. Troy and Ann Marguerite Tartsinis offer a fresh approach to the coupling of Piet Mondrian’s interwar paintings with Saint Laurent’s couture designs by exposing the rampant merchandising and commodification that these works experienced in the 1960s. The authors situate the consolidation of Saint Laurent’s fashion brand alongside the work of such Pop artists as Roy Lichtenstein, Andy Warhol, and Tom Wesselmann, and show how conventional understandings of Mondrian’s avant-garde abstractions were transformed by the mass circulation of his signature style. 

Beyond its attention to 1960s fashion, Pop art, and consumer culture, Mondrian’s Dress offers critical assessments of Saint Laurent’s so-called dialogue with art, the remarkable art collection that he built with his partner Pierre Berge, and the crucial role that photography plays in the marketing of couture. The first book-length study of its kind, Mondrian’s Dress is a provocative reevaluation of how art, commerce, and fashion became fundamentally intertwined in the postwar period.

Nancy J. Troy is Victoria and Roger Sant Professor in Art Emerita at Stanford University. She is the author of Couture Culture: A Study in Modern Art and Fashion, Architecture and Cubism (edited with Eve Blau), and The De Stijl Environment (all published by the MIT Press), among other books on twentieth-century art and visual culture. 

Ann Marguerite Tartsinis is a scholar of twentieth-century American art, craft, and design. From 2010 to 2016, she was Associate Curator at the Bard Graduate Center and is the author of An American Style: Global Sources for New York Textile and Fashion Design, 1915–1928.

Introduction
Designs on Mondrian
Page 8

Chapter One
Saint Laurent, Mondrian, and the Dialogue with Art
Page 38

Chapter Two
What Is—and Was—a Mondrian Dress?
Page 60

Chapter Three
Originality and Reproduction in the Marketplace and the Press
Page 94

Chapter Four
Ready-to-Wear and Pop Art
Page 128

Postscript
Strategies of Musealization
Page 166

Acknowledgements, page 178
Selected Bibliography, page 180
List of Illustrations, page 182
Index, page 186
A Note to the Reader, page 192