Alexander McQueen Fabric, Part 2: Tartan

May 15, 2015 § 1 Comment

McQueen tartan dresses from Widows of Culloden (FW 2006)

Dresses in the McQueen tartan from Alexander McQueen’s Fall/Winter 2006-7 collection (Widows of Culloden). Image via the Metropolitan Museum of Art (via Everything Just So).

If Alexander McQueen’s innovative prints reveal his interest in technology, the designer’s work with tartan shows his engagement with history. Continuing our celebration of Savage Beauty at the V&A, this post looks at McQueen’s use of tartan. (See Part 1: Prints, or my roundup post here.)

The MacQueen clan tartan appears extensively in the designer’s breakthrough collection, Highland Rape (Fall 1995). The collection—which used Lochcarron tartan and lace found in Brick Lane—was a highly personal response to the violence of the Highland Clearances and fashion’s appropriation of Scottish culture (watch Tim Blanks’ show video here):

McQueen wool tartan jacket and skirt from the collection of Isabella Blow - Alexander McQueen FW 1995

Jacket of McQueen wool tartan with green wool felt sleeves; skirt of McQueen wool tartan; both from the collection of Isabella Blow. Alexander McQueen Fall/Winter 1995-96 (Highland Rape). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

Highland Rape runway photos - Alexander McQueen FW 1995

Alexander McQueen Fall/Winter 1995-96 (Highland Rape). Images via the Metropolitan Museum of Art.

McQueen also used his family tartan at the house of Givenchy. In his second couture collection, Eclect Dissect (Givenchy haute couture Fall 1997), which was built on the idea of a mad scientist, the McQueen tartan was cut on the bias for tailored pieces overlaid with black lace:

Two tartan looks from Eclect Dissect - Givenchy couture FW 1997

Alexander McQueen for Givenchy Fall/Winter 1997-98 haute couture (Eclect Dissect)

The McQueen tartan reappears the following year in Joan (Fall 1998). Named for Joan of Arc, with an opening soundtrack of burning wood and runway covered in cinders, the collection thematized martyrdom, with the McQueen tartan referencing the execution of Mary, Queen of Scots (see Constance C.R. White, Review/Fashion, and Kate Bethune’s note; full collection at firstVIEW):

Joan - Alexander McQueen FW1998

Alexander McQueen Fall/Winter 1998-99 (Joan)

Joan - Alexander McQueen FW 1998

Alexander McQueen Fall/Winter 1998-99 (Joan)

McQueen also worked with other tartans. The check pattern might be manipulated to appear blurred or bleeding, or it could be overlaid or embellished as in Eclect Dissect. In The Overlook (Fall 1999)—named for the haunted, snowbound lodge built on a Native American burial ground in Stanley Kubrick’s The Shining (1980)—a long, grey tailcoat was lined with tartan to match loose trousers, and an overlaid tartan jacket was paired with a balloon skirt in a large blanket check with tartan accents (full collection at firstVIEW):

Sunniva Stordahl and Hannelore Knuts in grey checks and tartan in Alexander McQueen FW 1999 (The Overlook)

Alexander McQueen Fall/Winter 1999-2000 (The Overlook). Models: Sunniva Stordahl and Hannelore Knuts.

McQueen’s 1960s-inspired collection, The Man Who Knew Too Much (Fall 2005), included bias-cut separates in a wool ombré check, together with a black, white, and pink check party dress covered in beaded fringe:

Raquel Zimmermann and Carmen Kass in tartan looks from The Man Who Knew Too Much - McQueen FW 2005

Alexander McQueen Fall/Winter 2005-6 (The Man Who Knew Too Much). Models: Raquel Zimmermann and Carmen Kass. Images via style.com.

The Girl Who Lived in the Tree (Fall 2008), a fanciful narrative of the British Empire, had several bias-cut pieces in a black, white, and red tartan, and two coats in a grey mohair tartan for a bleeding effect:

Alexander McQueen FW 2008

Alexander McQueen Fall/Winter 2008-9 (The Girl Who Lived in the Tree). Models: Sara Blomqvist and Alanna Zimmer. Images via style.com.

There were several pieces in the McQueen tartan in Alexander McQueen’s Fall 2006 menswear collection, which was inspired by vampire movies Bram Stoker’s Dracula (1992) and Interview With the Vampire (1994). Vogue editor Hamish Bowles wore the appliquéd kimono-and-pants ensemble to the Costume Institute gala in 2011 (see the collection and read Tim Blanks’ review on style.com; video at AlexanderMcQueen.com):

McQueen menswear FW2006 tartan

Alexander McQueen Fall/Winter 2006-7 menswear. Images via style.com.

The same season, McQueen returned to Scottish history with Widows of Culloden (Fall 2006), a romantic collection commemorating the final battle of the 1745 Jacobite Rising. The show invitation had the title in Gaelic: Bantraich de cuil lodair (see Kate Bethune on Widows of Culloden). As in the Givenchy couture, the McQueen tartan was cut on the bias, embroidered, and trimmed with lace and tulle (click to enlarge):

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

For more see Jonathan Faiers, McQueen and Tartan, and Ghislaine Wood’s essay, “Clan MacQueen,” in the V&A catalogue.

Like other traditional tartans, the McQueen tartan can be ordered from Scottish textile mills in different weights and fibre contents. (It’s often listed as ‘MacQueen.’) Alexander McQueen used tartan from Lochcarron, a mill established in the mid-nineteenth century in the Scottish highlands.

McQueen / MacQueen tartan swatch

MacQueen Modern tartan swatch from the Scottish Tartans Authority.

As a memorial to the late designer, Scotweb owner Nick Fiddes designed a mourning version of the MacQueen clan tartan.

What would you make in the McQueen tartan?

Sourcing Tartan Fabric

Alexander McQueen Fabric, Part 1: Prints

May 11, 2015 § 5 Comments

Jack the Ripper McQueen sketch

Sketch by Alexander McQueen, Central Saint Martins MA graduate portfolio, Jack the Ripper Stalks his Victims, Fall/Winter 1992. Pencil on distressed paper with fabric swatches. Image via Alexander McQueen.

As part of this blog’s celebration of Savage Beauty in London, I’ll be devoting two posts to Alexander McQueen fabrics. (See my earlier roundup post here.) First: a look at McQueen’s distinctive prints.

McQueen’s fellow Central Saint Martins student Simon Ungless, who went on to become director of the School of Fashion at San Francisco’s Academy of Art University, designed the barbed hawthorn print in McQueen’s graduate collection, Jack the Ripper Stalks his Victims (Fall 1992; interview here. Oberto Gili photographed Isabella Blow in the coat for British Vogue.) Ungless also designed the swallow print in The Birds (Spring 1995):

Coat in pink silk satin printed in thorn pattern, Alexander McQueen FW 1992

Coat, pink silk satin printed in thorn pattern by Simon Ungless, lined in white silk with encapsulated human hair, Alexander McQueen Fall/Winter 1992 (Jack the Ripper Stalks His Victims). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

Mr Pearl and Plum Sykes in two swallow print looks, Alexander McQueen Spring/Summer 1995 (The Birds)

Two swallow print looks, Alexander McQueen Spring/Summer 1995 (The Birds) Models: Mr. Pearl and Plum Sykes.

Silk jacket with swallow print, Alexander McQueen SS 1995 (The Birds)

Silk jacket, Alexander McQueen Spring/Summer 1995 (The Birds). Image via the Metropolitan Museum of Art.

Freelance print designer and Central Saint Martins Textiles tutor Fleet Bigwood designed fabrics for Alexander McQueen’s first three seasons. (See Fleet Bigwood: Breaking the Rules at Texprint, or the BBC’s Blast videos.) The top in this ensemble from Nihilism (Spring 1994, McQueen’s third collection) was printed using an iron filing paste that was rusted through exposure to air and salt water (see Louise Nutt on Pinterest; full collection at the Fashion Spot, or video here):

Fleet Bigwood rust-printed top, Alexander McQueen SS 1994

Ensemble featuring a Fleet Bigwood print for Alexander McQueen’s Spring/Summer 1994 collection (Nihilism). Image via Pinterest.

In 2002, immediately after presenting his award-winning Central Saint Martins graduate collection, Jonathan Saunders was hired to design prints for Alexander McQueen’s Spring 2003 collection, Irere. Working with designer Christopher Pearson—a member of the Alexander McQueen design team from 2001 to 2006 and a founding member of the company’s fashion print department—Saunders produced Irere’s celebrated Bird-of-Paradise prints (see the V&A on Irere):

Jonathan Saunders bird-of-paradise feather print for Alexander McQueen, SS 2003

Feather print for Alexander McQueen, Spring/Summer 2003 (Irere). Image via Christopher Pearson/Cargo.

Alexander McQueen Irere SS 2003 prints by Jonathan Saunders

Alexander McQueen Spring/Summer 2003 (Irere). Models: Frankie Rayder and Roos van Bosstraeten. Images via style.com.

The following year, Pearson co-designed the Alexander McQueen skull scarf with Jennefer Osterhoudt, who was head of accessories for McQueen at Givenchy and later at Alexander McQueen. The pattern is based on a skull scarf found in Camden Market:

Skull print by Christopher Pearson and Jennefer Osterhoudt for Alexander McQueen, 2002

Skull print by Christopher Pearson and Jennefer Osterhoudt for Alexander McQueen, 2002. Image via Christopher Pearson/Cargo.

For McQueen’s later collections, the prints were produced by a team of designers that included textile design interns who might be hired back after graduation. From 2006 to 2011, the company’s head print designer was Central Saint Martins graduate Holly Marler, who is now head of embroidery, fabric, and print design at Temperley London.

Lilly Heine, now head of print fabric development at Dries Van Noten, interned with Jonathan Saunders and later Alexander McQueen as a textiles student. (See her profiles in the Frankfurter Allgemeine [German only] and the Independent.) During her internship at Alexander McQueen, Heine designed some prints for La Dame Bleue (Spring 2008). The collection’s rainbow bird-of-paradise print appeared on several looks including the feather-collared Bird of Paradise dress—recently worn by FKA twigs to perform at the V&A’s Savage Beauty gala:

Alexander McQueen bird-of-paradise prints, SS 2008 Isabella Blow collection

Alexander McQueen, Spring/Summer 2008 (La Dame Bleue). Models: Taryn Davidson and Viviane Orth. Images via style.com.

Torunn Myklebust, today a senior print designer at Givenchy, also did a textile design internship at Alexander McQueen. As an intern, Myklebust worked on prints for Natural Dis-Tinction Un-Natural Selection (Spring 2009), and she rejoined the company in late 2009. (Read an interview in Natt&Dag [Norwegian only]; see Myklebust’s tumblr.) The wood-grain digital print from the Spring 2009 collection was later used for the endpapers of Andrew Bolton’s Savage Beauty catalogue:

Wood-grain digital print, Alexander McQueen SS 2009

From a silk/synthetic ensemble by Alexander McQueen, Spring/Summer 2009 (Natural Dis-Tinction Un-Natural Selection). Image via the Metropolitan Museum of Art.

In her review of the Spring 2009 collection, Sarah Mower identified engineered prints as a trend out of London: “bright, multicolored allover prints, engineered to fit around jackets, leggings, and cocoon dresses—new on the Paris runway, but also part of a general trend emanating from London’s young designers.” The Spring 2009 advertising campaign, shot by Craig McDean, features a jacket and leggings in one of the collection’s crystalline digital prints:

Heidi Mount in Craig McDean's Spring 2009 campaign for Alexander McQueen

Alexander McQueen Spring 2009 ad campaign. Photo: Craig McDean. Image via styleregistry.

In her Savage Beauty interview with Tim Blanks, Sarah Burton discusses McQueen’s meticulous design process when working with patterned fabrics such as prints or jacquards. From Fall 2009 on, McQueen would drape the initial design using a rough version of the fabric, with the team producing miniature, 3-D paper dolls to show the pattern placement. When a working version of the fabric was ready, he would finalize the pattern placement on a mannequin, after which the print or jacquard would be re-adjusted to match at the seams. Only then would it be sent into production. (See Andrew Bolton, Alexander McQueen: Savage Beauty, pp. 229-30.)

Frederic Alexander, who worked as an assistant to Holly Marler and now designs for his own label, Saint Etienne, worked on prints for Alexander McQueen’s Pre-Fall 2009 and Fall 2009 collections. The Escher-inspired magpie houndstooth print recalls Simon Ungless’ swallow print:

Floral and magpie houndstooth prints, Alexander McQueen Pre-Fall and FW 2009-10

Floral print design for Alexander McQueen Pre-Fall 2009; magpie houndstooth print design for Alexander McQueen Fall/Winter 2009-10 (The Horn of Plenty). Images via Saint Etienne/Cargo.

Alexander McQueen Pre-Fall and Fall 2009

Alexander McQueen Pre-Fall 2009 and Fall/Winter 2009-10 (The Horn of Plenty). Images via style.com.

Advances in inkjet technology enabled the thirty-six circle-engineered digital prints in Plato’s Atlantis (Spring 2010). (For further technical discussion of textiles in Plato’s Atlantis, see the Savage Beauty section of the Alexander McQueen website.) Freelance textile designer Chinsky Cheung interned at Alexander McQueen and returned to the company for several collections, including Plato’s Atlantis. In an article published in Hong Kong’s Milk magazine, she shows aspects of the design process including pattern placement:

Alexander McQueen SS 2010 look 3 print placement

Alexander McQueen Spring/Summer 2010 (Plato’s Atlantis). Model: Karmen Pedaru. Images: style.com and Chinsky Cheung/Milk magazine via Augustine Wong.

(For more scans see Augustine Wong’s post, The Queen of the Prints.)

Dress, digitally printed silk satin and silk chiffon, Alexander McQueen SS 2010

Dress, digitally printed silk satin and silk chiffon, by Alexander McQueen, Spring/Summer 2010 (Plato’s Atlantis). Image via the Victoria and Albert Museum.

The Fall 2010 menswear (An Bailitheoir Cnámh – the Bone Collector) and women’s Pre-Fall 2010 collection had the same catacombs print:

Catacomb print, Alexander McQueen Fall 2010 men's / women's Pre-Fall 2010-11

Two catacomb print looks, Alexander McQueen Fall/Winter 2010-11 menswear (An Bailitheoir Cnámh) and Pre-Fall 2010. Images via style.com and Alexander McQueen.

The textiles in McQueen’s posthumously presented Fall 2010 collection (known as Angels and Demons) were patterned with digitally manipulated images drawn from early religious painting and sculpture. (See Dazed Digital and the V&A on the collection.) Some of the patterns were not prints but jacquards, while the reworked Old Master prints looked back to pieces like the Fall 1997 Campin crucifixion-printed jacket:

Richard Fairhead's photo of Alexander McQueen Byzantine lion jacquard, Dazed magazine 2010

Alexander McQueen Byzantine lion jacquard, Dazed magazine, October 2010. Photo: Richard Fairhead. Image via Dazed Digital.

Alexander McQueen dress with print based on Stefan Lochner's 15th-century Altarpiece of the Patron Saints of Köln,

Dress, silk print based on Stefan Lochner’s Dombild Altarpiece with underskirt of gilded feathers, Alexander McQueen Fall/Winter 2010-11. Image via the Victoria and Albert Museum.

Alexander McQueen jacket with Robert Campin 15th c. crucifixion print, FW 1997-98

Jacket, Alexander McQueen Fall/Winter 1997-98 (It’s a Jungle Out There). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

For more on digital prints, see the webpage for the Phoenix Art Museum’s 2013 exhibit, Digital Print Fashion (more in Corbin Chamberlin, “Phoenix Art Museum Embraces New Technology with ‘Digital Print Fashion’ Exhibit“). If you’re interested in designing your own digital prints, Kathryn Brenne recently wrote a primer for Vogue Patterns magazine’s February/March 2015 issue, and Melanie Bowles and Ceri Isaac have published a textbook on the subject, Digital Textile Design (Laurence King, 2nd ed. 2012).

With thanks to Kate Bethune.

Next: Alexander McQueen and tartan.

Alexander McQueen Roundup

March 17, 2015 § 5 Comments

Brit Wit: Alexander McQueen in Vogue, October 1997

Vogue, October 1997. Photo: Sean Ellis. Stylist: Isabella Blow.

The London incarnation of Alexander McQueen: Savage Beauty has just opened at the Victoria and Albert Museum. (See British Vogue on the additions to the Costume Institute show.) Accompanying the exhibition is a full calendar of events, including a two-day conference in early June. The exhibition catalogue by Claire Wilcox is available in hardcover and paperback from the V&A, with a North American edition to be published by Abrams in May.

Alexander McQueen: Savage Beauty in London

Alexander McQueen catalogue - Abrams

Several London galleries are hosting related exhibitions. At Proud Galleries, McQueen: Backstage – The Early Shows by Gary Wallis presents Wallis’ behind-the-scenes photographs from McQueen’s early career (to April 5, 2015; book). Tate Britain’s Nick Waplington/Alexander McQueen: Working Process brings together Nick Waplington’s photographs of The Horn of Plenty (FW 2009), recently published in his 2013 book (to May 17, 2015). At the Gallery at Foyles, Inferno: Alexander McQueen – Photographs by Kent Baker will present backstage photographs from Dante (FW 1996) (March 20 to May 3; book). And next month, London College of Fashion’s Fashion Space Gallery will host Warpaint: Alexander McQueen and Make-Up (April 30 to August 7, 2015).

Lee doing cartwheels across the lawn, Hilles House, 1994

Nick Waplington/Alexander McQueen: Working Process at Tate Britain

Untitled by Kent Baker, from Alexander McQueen's Dante collection, 1996

Warpaint: Alexander McQueen and Make-Up

To celebrate the opening of the London retrospective, here’s a roundup of my posts on sewing patterns by Alexander McQueen, both for Givenchy and his own label:

4 Givenchy McQueen patterns - Vogue 2086, 2157, 2343, 2228

Caitriona Balfe / McQueen kimono jacket

Vogue 2248 by GivenchyVogue 2086 by Givenchy

John Galliano Patterns: Roundup

January 12, 2015 § 3 Comments

Maison Martin Margiela Spring 2015 couture by John Galliano

The closing look from John Galliano’s Maison Martin Margiela Spring 2015 couture collection. Image via style.com.

Today John Galliano presented his first collection as creative director at Maison Martin Margiela: the Spring/Summer 2015 couture. It was the first time Margiela showed in London; the collection will also be viewable by appointment during Paris couture week. (See Suzy Menkes, “Galliano for Maison Martin Margiela” and Melanie Rickie, “John Galliano: penitent return of an enfant terrible.”)

The show comes four years after Galliano’s last runway presentation. It’s been nineteen years since his first couture collection, for the house of Givenchy in January, 1996.

vogue paris mars 1996

Shalom Harlow in Givenchy Haute Couture by John Galliano, Vogue Paris, March 1996. Photo: Mario Testino. Image via Vogue Paris.

To celebrate the designer’s return, here’s a roundup of my posts on sewing patterns by John Galliano, both for Givenchy and his own label:

1990s Vogue Patterns by John Galliano for Givenchy: 1887, 1889, 1978, 2061

.GallianoFW2001_look35Galliano_SHOWstudio_FW2001

For a retrospective look at Galliano’s career, see this Vanity Fair slideshow or British Vogue’s editorial gallery.

Phina Oruche

November 2, 2014 § 2 Comments

Phina Oruche in "Hush" (Buffy the Vampire Slayer, season 4, episode 10)

Olivia Williams (Phina Oruche) in “Hush” (Buffy the Vampire Slayer, season 4)

“Hush,” one of the strongest and spookiest episodes of Buffy the Vampire Slayer, stars a model-turned-actor who appeared on Vogue patterns in the mid-1990s. Giles’ girlfriend Olivia is played by Phina Oruche (b. 1972). Born in Toxteth, Liverpool to Nigerian parents, Oruche was a successful model in London and New York before she won her first role in Sydney Pollack’s remake of Sabrina (1995).

Phina Oruche on the cover of Essence magazine, September 1992

Phina Oruche on the cover of Essence magazine, September 1992. Image via Phina Oruche.

Here Oruche models Vogue 1328, Issey Miyake’s jacket, top, and hammer pants:

1990s Issey Miyake jacket, top and pants pattern - Vogue 1328

Vogue 1328 by Issey Miyake (1994) Image via Etsy.

Vogue 1344 is an ensemble consisting of a top, high-waisted pants, and jacket with custom closures from Anne Klein II:

1990s Anne Klein II pattern - Vogue 1344

Vogue 1344 by Anne Klein II (1994) Image via Etsy.

Here Oruche shows off the lace-up back of Vogue 1353, a summer dress by Betty Jackson:

Vogue 1353 (1994)

Vogue 1353 by Betty Jackson (1994) Image via Etsy.

Ornate trim highlights the seam detail on Vogue 1354, a top and skirt by Geoffrey Beene:

1990s Geoffrey Beene top and skirt pattern - Vogue 1354

Vogue 1354 by Geoffrey Beene (1994) Image via Etsy.

Just for fun, here’s a recent portrait of Oruche by Paul Jones:

Phina Oruche. Imaage via Paul Jones.

The Gentlemen are coming…

Phina Oruche in "Hush" (Buffy the Vampire Slayer, season 4, episode 10)

Phina Oruche in “Hush” (Buffy the Vampire Slayer, season 4)

Linda Evangelista

July 1, 2014 § Leave a comment

Linda Evangelista photographed by Steven Meisel for the cover of Vogue Italia February 1990

Vogue Italia, February 1990. Photo: Steven Meisel. Image via Bellazon.

In celebration of Canada Day, this models post is devoted to Canadian supermodel Linda Evangelista.

Born in St. Catharines, Ontario to Italian-Canadian parents, Linda Evangelista (b. 1965) was discovered by a scout from Elite at the 1981 Miss Teen Niagara beauty contest. (She didn’t win.) At eighteen she signed with Elite and moved to New York and later, Paris. Evangelista became one of the world’s most successful and influential models, especially after Julien d’Ys cut her hair short in 1988. (More on Voguepedia.)

Linda Evangelista photographed by Patrick Demarchelier for the cover of Harper's Bazaar, March 1997

Harper’s Bazaar, March 1997. Photo: Patrick Demarchelier. Image via Top Models of the World.

Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.

1980s

The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:

Linda Evangelista on the cover of Burda international magazine, Frühling-Sommer 1985

Burda international, Spring/Summer 1985. Image via flickr.

She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):

1980s Linda Evangelista editorial in Burda international, Frühling/Sommer 1985

Linda Evangelista in Burda international, Spring/Summer 1985. Photo: Günter Feuerbacher. Image via Magdorable!

Evangelista’s work with Vogue Patterns was for the Paris Originals line. Here she models a popular, pleated wrap dress by Emanuel Ungaro, Vogue 1799:

1980s Emanuel Ungaro dress pattern featuring Linda Evangelista - Vogue 1799

Vogue 1799 by Emanuel Ungaro (1986) Image via the Vintage Patterns Wiki.

Evangelista can be seen on a number of Yves Saint Laurent patterns. Vogue 1720 is an elegant dress with blouson bodice and wide, bias roll collar. The pattern includes the contrast sash:

1980s Yves Saint Laurent dress pattern featuring Linda Evangelista - Vogue 1720

Vogue 1720 by Yves Saint Laurent (1986) Image via Paco Peralta.

Here Evangelista shows off advanced-class colour blocking in Vogue 1721, a Nina Ricci pattern for a dramatic hooded blouse, mock-wrap skirt, sleeveless top, and sash:

1980s Nina Ricci evening pattern featuring Linda Evangelista - Vogue 1721

Vogue 1721 by Nina Ricci (1986) Image via Etsy.

This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:

Linda Evangelista wears Vogue 1721 by Nina Ricci, Vogue Patterns, Autumn 1986. Image via Magdorable!

Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:

Linda Evangelista on the cover of Vogue Patterns magazine, summer 1987

Vogue Patterns, July/August 1987. Image via tumblr.

1990s

In the mid-1990s, Evangelista’s runway work for Yves Saint Laurent reached home sewers on Vogue pattern envelopes. From the YSL Rive Gauche Spring 1996 collection, Vogue 1862 is a pattern for cropped jacket, blouse, and high-waisted pants (see a detail shot on firstVIEW):

Vogue 1862 by Yves Saint Laurent (1996). Image via Etsy.

Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:

1990s Yves Saint Laurent coat pattern featuring Linda Evangelista - Vogue 1652

Vogue 1652 by Yves Saint Laurent (1995) Image via Paco Peralta.

Happy Canada Day, everyone!

Patterns in Vogue: Red Hot

May 23, 2014 § 3 Comments

Kate Moss photographed by Juergen Teller in a red Montana trench - Vogue, June 1994

Kate Moss photographed by Juergen Teller, Vogue, June 1994.

It’s Kate Moss Month at SHOWstudio, so I was able to update my “Courrèges Edge” post with a newly released, early fashion film by Nick Knight featuring video of Kate Moss from the 1995 patterns shoot.

An earlier Kate Moss editorial shows the model in sophisticated summer looks, all made up in red using Vogue patterns. Photographed by Juergen Teller, “Red Hot” appears in the June, 1994 issue of Vogue magazine.

Here Moss models a simple, silk charmeuse gown, Vogue 8689; on the right she wears a sheer nylon shirt, Vogue 8447, with a pair of Ray-Ban mirror shades (click to enlarge):

Kate Moss photographed by Juergen Teller - Vogue June 1994

Vogue, June 1994. Photos: Juergen Teller. Fashion editor: Camilla Nickerson.

On the left, Moss’ silk charmeuse romper was made using Vogue 9765, a 1980s bias lingerie pattern; on the right, the jacket from Vogue 1326 by Claude Montana becomes a short, patent leather trench coat:

Kate Moss photographed by Juergen Teller - Vogue June 1994

Vogue, June 1994. Photos: Juergen Teller. Fashion editor: Camilla Nickerson.

Here Moss’ basic silk tank is Vogue 1342; on the right, her silk satin pantsuit is Vogue 1402 by Genny, worn with a black, silk charmeuse cami made with another ’80s lingerie pattern, Vogue 2146:

Kate Moss photographed by Juergen Teller - Vogue, June 1994

Vogue, June 1994. Photos: Juergen Teller. Fashion editor: Camilla Nickerson.

As always, in the back of the magazine readers could find all the details on the patterns used in the shoot:

Patterns used in the Kate Moss / Juergen Teller shoot, Vogue, June 1994

In This Issue, Vogue, June 1994.

Click the Patterns in Vogue tag for more posts in the series.

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