Salvador Dali (1904-1989), 'Bryans', ''Vogue'', Vol. 108, #2, 1946 Advertisement for Bryans Nylon Stockings.
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Salvador Dali (1904-1989), 'Bryans', ''Vogue'', Vol. 108, #2, 1946 Advertisement for Bryans Nylon Stockings.

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US Vogue September 15, 1965
Veruschka wears a ribbon-trimmed chemise with its own black lace bra cinched over a wide neckline. The empire-waist skirt plunges deeply into French lace. This one, by Van Raalte, in nylon knit. Bryans tights, in Helanca stretch nylon. Wall fabric by Brunschwig & Fils. Wallpaper by Clarence House. Hair by Marc Sinclaire.
Veruschka porte une chemise à rubans avec son propre soutien-gorge en dentelle noire cintré sur un large décolleté. La jupe Empire plongeant profondément dans la dentelle française. Celle-ci, par Van Raalte, en tricot de nylon. Collants Bryans, en nylon extensible Helanca. Tissu mural Brunschwig & Fils. Papier peint par Clarence House. Coiffure par Marc Sinclaire.
Photo Horst P. Horst
Publicité pour les "Bas Bryans" d'Erwin Blumenfeld (non daté) à l'exposition "Studio Blumenfeld, New York 1941-1960" aux Docks de la Mode et du Design, Paris, mars 2017.
US Vogue October 1, 1956
Anne St. Marie wears a short, double-breasted coat with a sleek, slim line over a black sheath dress. By Fredrica, in black-dyed Southwest African Persian lambskin (treated by Hammer Brand), with a collar in natural Labrador otter. Hat by Lilly Daché. Gold-beige stockings by Bryans. Pumps by Andrew Geller. Lipstick by Lucien Lelong Alive - "Flair Red." Gold and diamond jewelry by Van Cleef & Arpels.
Anne St. Marie porte un manteau court, croisé, à la ligne épurée et fine, sur une robe fourreau noire. Par Fredrica, en agneau persan d'Afrique du Sud-Ouest teint en noir (traité par Hammer Brand), le col en loutre du Labrador naturelle. Chapeau, Lilly Daché. Bas beige doré Bryans. Escarpins Andrew Geller. Rouge à lèvres Lucien Lelong Alive - « Flair Red ». Bijoux en or et diamants, Van Cleef & Arpels.
Photo Horst P. Horst

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US Vogue September 15, 1965
Veruschka wears a body-hugging petticoat in blue crepe, encircling the knees in black Alençon lace. By Parisian Maid, in Du Pont nylon crepe, silk, and Dacron. Black mist, lifting and shaping the bust. Underwire bra by Charmfit, in Du Pont nylon tricot with Dacron fiberfill. Beautiful Bryans tights. Blue with a clinging effect. Clarence House wallpaper; Georges Kaplan Mongolian lamb rug; Porthault scalloped blue pillows. Hair by Sebou of House of Revlon.
Veruschka porte un petit jupon encerclant le corps en crêpe bleu, encerclant les genoux en dentelle d'Alençon noire. Par Parisian Maid, en crêpe de nylon Du Pont, soie et Dacron. Brume noire, liftant et galbant la poitrine. Soutien-gorge à armatures par Charmfit, en tricot de nylon Du Pont avec rembourrage en fibre de Dacron. Magnifiques collants Bryans. Bleus à effet collant. Papier peint Clarence House ; tapis en agneau de Mongolie Georges Kaplan ; coussins bleus festonnés Porthault. Coiffure par Sebou de House of Revlon.
Photo Horst P. Horst
US Vogue March 1, 1967
Veruschka wears a pink and pale beige woven striped jacket and dress set. Cropped jacket and dirndl skirt over a silk, wool, and rayon camisole. Ready-to-wear: Sophie Gimbel at Saks Fifth Avenue. Richelieu earrings and necklace. Beautiful pantyhose: Bryans.
Veruschka porte un ensemble veste et robe à rayures tissées rose et beige pâle. Veste coupée et jupe dirndl sur un caraco en soie, laine et rayonne. Prêt-à-porter Sophie Gimbel chez Saks Fifth Avenue. Boucles d'oreilles et collier Richelieu. Magnifiques bas-culottes Bryans. gants Crescendoe-Superb. Coiffure Ara Gallant.
Photo Richard Avedon vogue archive