Elle Macpherson, Vogue Australia, March 1995. Photo: Andrew Macpherson. Image: Vogue Australia.
It’s spring in the southern hemisphere, and Australian Vogue is celebrating its 60th anniversary. The festivities kicked off in Canberra last week with the opening of Women in Vogue: Celebrating 60 years in Australia (at the National Portrait Gallery to November 24, 2019). A special anniversary issue of the magazine will hit newsstands in December.
Fernanda Ly, Akiima, Charlee Fraser, and Andreja Pejić on the cover of Vogue Australia, April 2018. Photo: Patrick Demarchelier. Editor: Christine Centenara. Image: Vogue Australia.
The late Tania Mallet graced the cover of Vogue Australia’s first issue in spring, 1959. (Click the image for a history published for the magazine’s 55th anniversary.)
Tania Mallet on the cover of the inaugural issue of Vogue Australia, Spring/Summer 1959. Photo: Norman Parkinson. Image: Vogue Australia.
Vogue Australia editor Edwina McCann sits on the board of directors of the new Australian Fashion Council, and the magazine’s cover archive is a gallery of famous faces, especially Australians like Cate Blanchett.
Cate Blanchett on the cover of Vogue Australia, January 2006. Photo: Richard Bailey. Image: Vogue Australia.
Vogue Patterns counts two Australians among its current designers: Rebecca Vallance and Nicola Finetti.
A Rebecca Vallance design on the cover of Vogue Patterns lookbook, Winter 2016. Image: Issuu.A Nicola Finetti design on the cover of the Vogue Patterns lookbook, Summer 2018. Image: Issuu.
Vogue Australia was still in its first decade when Butterick introduced two Aussies—Norma Tullo and Prue Acton—to its Young Designers line.
Butterick 5126 by Norma Tullo (ca. 1968) Image: Etsy.Butterick 5617 by Prue Acton (1969) Image: Etsy.
In the 1980s, Carla Zampatti and Frederick Fox both signed licensing deals with Style Patterns. The milliner to the Queen contributed more than one bridal design in classic Eighties style.
Style 4438 by Carla Zampatti (1986) Image: Etsy.Style 1249 by Frederick Fox (1987)
In the 1990s, Richard Tyler briefly designed for Anne Klein. It’s possible that an Anne Klein pattern or two showcases Tyler’s work.
Nadja Auermann in Richard Tyler for Anne Klein, Vogue, February 1995. Photo: Juergen Teller. Editor: Camilla Nickerson.Australian model Gemma Ward in Junya Watanabe, 2005. Photo: Nick Knight. Image: SHOWstudio.Vogue coverup (Adolfo hat), Wanda Beach, Australia. Photo: Helmut Newton. Vogue, May 1, 1964.
Fall 2018 Balenciaga campaign image by Charlie White. Models: Eliza Douglas and Martina Almquist. Image: Fashion Gone Rogue.
Last week, it was announced that Demna Gvasalia is leaving Vetements, the label he founded in 2014. Vetements will continue under his brother, CEO Guram Gvasalia; the Georgian designer remains creative director of Balenciaga.
Martina Almquist in Balenciaga’s Pre-Fall 2018 ad campaign. Photo: Ilya Lipkin. Editor: Lotta Volkova. Image: Balenciaga.
Vogue 1638 after Balenciaga by Demna Gvasalia (2019) Image: McCall’s.
The godet draped skirt is a permanent design, seen variously in different wool checks with a partial raw edge, and in current-season stretch wool twill.
Balenciaga Pre-Fall 2018 by Demna Gvasalia. Image: Vogue Runway.
As the check reveals, the godet is true bias at the inner edges. (Also at Farfetch.)
Balenciaga asymmetric check skirt by Demna Gvasalia. Image: net-a-porter.Balenciaga asymmetric Prince of Wales check skirt by Demna Gvasalia. Image: Matches Fashion.
Here’s a fuchsia version from Pre-Fall 2019:
Balenciaga Pre-Fall 2019 by Demna Gvasalia. Image: Vogue Runway.
The stretch wool iteration was shown with a fluid silk blouse. (Also at Farfetch and net-a-porter.)
Balenciaga Vareuse logo blouse and godet draped skirt in rose bubble gum twill. Image: Balenciaga.
Vogue’s second Balenciaga-inspired design can be shortened from dress to top. (View A, not photographed.)
Vogue 1632 after Balenciaga by Demna Gvasalia (2019) Image: McCall’s.
This one’s adapted from Balenciaga Fall 2018.
Balenciaga Fall 2018 by Demna Gvasalia. Model: Amanda Hermansson. Image: Vogue Runway.Balenciaga Fall 2018 by Demna Gvasalia. Model: Sunniva Vaatevik. Image: Vogue Runway.
According to the Balenciaga webstore, the original was inspired by ice-skating. For knit fabrics with a lot of stretch.
Draped velvet dress by Demna Gvasalia for Balenciaga. Image: Browns.
Naomi Campbell photographed by Peter Lindbergh for “Seeing Spots,” Vogue, June 1990. Editor: Grace Coddington.
Peter Lindbergh died yesterday. He was 74. (Read the WWD obituary.) The German photographer was a frequent collaborator of Grace Coddington’s. In these images, the duo captured Naomi Campbell and Anna Getaneh in silk pyjamas made from Vogue Patterns.
Ready for a cybergoth revival? The Matrix is celebrating its 20th anniversary this year, and Variety has just announced that there will be a Matrix 4, to be directed by Lana Wachowski and again starring Keanu Reeves and Carrie-Anne Moss.
The costumes in the first Matrix were hugely influential. Working within a tight budget, costume designer Kym Barrett (Romeo + Juliet, Us) placed the emphasis on texture and movement, using low-cost materials like PVC and a wool blend for Neo’s coat. The rebels were also outfitted in custom accessories, with boots by Barrett and bespoke eyewear by Richard Walker.
On March 31st the fight for the future begins. Poster for The Matrix (1999) Image: IMDb
The first Matrix film even inspired John Galliano’s Fall 1999 couture collection for Dior. Presented at Versailles, the collection mixed futuristic raver-couture with more fanciful references like “Gainsborough in Persia.” (“The dresses are evil, evil,” Galliano was quoted saying. “But you have to have the Romantic. They die for that, my ladies.”) As Vogue’s Hamish Bowles wrote, the couture clients warmed more to the 18th-century looks than to “Matrix cybervixen.”
John Galliano with models backstage at the Dior couture show, the Orangerie at Versailles, July 19, 1999. Photo: Jean-Claude Deutsch. Image: Paris Match via Getty Images.Dior haute couture by John Galliano, L’Officiel, September 1999. Photo: Randall Bachner. Editors: Bernât Buscato and Luciano Neves. Image: jalougallery.com.Dior haute couture by John Galliano on the cover of Vogue Paris, September 1999. Model: Molly Sims. Photo: Ruven Afanador. Image: Molly Sims.
It wasn’t until 2003’s big-budget sequel, The Matrix Reloaded, that Neo got his famous cassock coat.
Keanu Reeves as Neo on the cover of French Premiere, October 2003. Image: Famous Fix.
The first Matrix-inspired costume patterns came out in 2003.
Promotional image for The Matrix Reloaded (2003) Image: Foxtel Movies.
Simplicity’s Neo and Morpheus / “Men’s and Teen’s Duster” must have sold well: the pattern was rereleased with an updated envelope in 2017. (See top of post.) Now backlisted, it’s still available from the company website.
Thanks to the sequel’s higher budget, Barrett designed Trinity’s pieces for better-quality PVCs (then newly available), with patent leather used for closeups. For the women’s pattern, Trinity’s PVC bustier-coat ensemble effectively devolves into its separate elements: a princess-seamed duster, corset top, and pants. The pattern calls for stretch vinyl, leather-like fabrics, and synthetic patent leather.
The following year, Butterick and McCall’s released men’s and children’s Neo patterns, but none for Trinity. Both cassock coats share an authentic, if painstaking touch: lots of covered buttons.
It would be another decade before Andrea Schewe designed a more accurate Trinity duster. Released in Simplicity’s 90th anniversary year, the PVC duster was paired with a Kingdom Hearts cosplay coat.
Simplicity 8482 (2017) Kingdom Hearts and Matrix costumes. Image: Etsy.
Here’s S8482 with more sci-fi (Firefly and Rogue One) in the seasonal catalogue:
Find the Adventure – S8482 and S8480 in Simplicity’s Autumn 2017 catalogue. Image: Simplicity.
There’s no word on the costume designer yet, but production on the new Matrix begins in 2020.
The Matrix Reloaded Trinity character poster (2003) Image: IMDb.
Guinevere van Seenus in Rachel Comey Fall 2018. Photo: Annie Powers. Editor: Samira Nasr. Image: Vogue Runway.
This season, Vogue patterns have a new format. For Fall 2019, illustrations are out, and photography is in, even for the company’s house line. Also consolidated is the line branding and numbering, which used to differ between licensed and internal designs. Paris Originals, Designer Originals, even Vogue designer knockoffs — they all have the same new look.
Vogue Patterns Fall 2019 lookbook. Model: Tatyana Cooper. Image: Issuu.
Autumn means outerwear, and Laroche comes through with a chic trench coat with interesting details: a storm flap, arm band, and oversized belt carriers.
Vogue 1650 by Adam Andrascik for Guy Laroche (2019) Model: Amber Mitchell. Image: McCall’s.
The coat is a design from Fall 2017, Adam Andrascik’s last collection for Laroche. The original also sports a collar hook and jumbo belt buckle.
Guy Laroche by Adam Andrascik, Fall 2017. Image: Vogue Runway.
Vogue noted the alternate version in tobacco leather — also seen in the Swiss magazine, Annabelle, which has a nice view of the shoulder dart.
Guy Laroche by Adam Andrascik, Fall 2017. Image: Vogue Runway.Guy Laroche leather coat in Annabelle, October 2017. Image: Guy Laroche.
From the late Paco Peralta, a cropped jumpsuit with Custom Fit sizing (for multiple cup sizes). The contrast insets are a signature touch, also seen on the bestselling V1550.
There are two new patterns by Rachel Comey. First, the coat ensemble at the top of this post: a collarless, raglan-sleeved coat and the Oscillate skirt, a gored, high-waisted skirt with notched waistband detail.
For Pre-Fall 2017, the designer showed it layered, jumper-style, with a blouse.
Rachel Comey Pre-Fall 2017. Image: Vogue Runway.
As worn in white by the editor Giannie Couji:
Steadfast jumpsuit in white Italian Foam. Model: Giannie Couji. Image: Rachel Comey.
Vogue’s latest Gucci adaptation includes a jacket, dress, and pleated skirt. (Also sized for petites.)
Vogue 1643 after Gucci (2019) Model: Lauren Buys. Image: McCall’s.
Some will recognize the long, tan Gucci jacket from Peter Schlesinger’s photobook for Pre-Fall 2018 (last seen in my Summer post). Pair with a print dress and coronet for the full maximalist effect.
Gucci by Alessandro Michele, Pre-Fall 2018. Model: Unia Pakhomova. Photo: Peter Schlesinger. Image: Vogue Runway.
Gucci’s red, cardigan-style jacket and pleated skirt were a key look for Spring 2018.
Gucci by Alessandro Michele, Spring 2018. Model: Sarah Wilson. Image: Vogue Runway.
As seen in the brand’s digitally painted Spring ’18 ad campaign:
Gucci Spring 2018 campaign. Illustration: Ignasi Monreal. Image: Gucci.
Vogue’s other Custom Fit design for Fall is a version of Roland Mouret’s Royston dress.
Vogue 1631 after Roland Mouret (2019) Model: Amber Mitchell. Image: McCall’s.
First presented for Resort ’18, the Royston is an update of the hit Galaxy dress. For an even more faithful copy, serge the sleeve edge and add an exposed zipper. The dress is currently available in navy, white, and red through Roland Mouret’s webstore, or at Selfridges in new-season pink:
Roland Mouret’s Royston dress in new-season pink, 2019. Image: Selfridges.
The Royston dress is also the basis for Mouret’s Clovelly bridal gown.
And rounding out the Fall collection, a version of an Alexander McQueen coat reminiscent of Spring ’99 Givenchy. (Includes petite sizing.)
Vogue 1649 after Alexander McQueen by Sarah Burton (2019) Model: Tatyana Cooper. Image: McCall’s.
Metamorphosis was the theme of Sarah Burton’s Fall 2018 collection for McQueen. Military touches in red and black referenced the Household Cavalry, the Queen’s bodyguard. Exhibit A: Burton’s asymmetrical blanket coat, as worn on the runway by Stella Tennant.
Alexander McQueen by Sarah Burton, Fall 2018. Model: Stella Tennant. Image: Vogue Runway.
A closer look at the fringed edge reveals a meticulous finish on the reverse:
Detail, Alexander McQueen by Sarah Burton, Fall 2018. Image: Vogue Runway.
Those military colours are also seen in this season’s ad campaign featuring Kate Moss. McQueen Fall 2019 was inspired by the textile mills of Northern England, where Burton grew up.
Alexander McQueen Fall 2019 ad campaign. Model: Kate Moss. Photo: Jamie Hawkesworth. Art direction: M/M (Paris). Image: Alexander McQueen.
A Biba look on the cover of 19 magazine, January 1971. Photo: David Tack.
I started this blog eight years ago this month. To celebrate, here’s a look at some all-but-forgotten licensing: patterns by Barbara Hulanicki for Biba.
Ingrid Boulting wears Biba’s Tiger Lily dress at Lacock Abbey, British Vogue, July 1970. Photo: Norman Parkinson. Image: Iconic Images.
Biba might be the biggest brand you’ll never see on a pattern. Born in Warsaw, Biba founder Barbara Hulanicki (b. 1936) grew up in Palestine and Brighton, where she attended Brighton Art School. She worked as a fashion illustrator before starting the Biba label with her husband, Stephen “Fitz” Fitz-Simon. Sometimes called the first lifestyle brand, Biba was a runaway success in Swinging London, selling everything from cosmetics to couture.
Biba design for Seventeen, Brighton Museum, 2013. Image: The cherry blossom girl.
In 1970, Hulanicki licensed patterns with McCall’s as a way to launch her brand in North America. The main promotion was in Seventeen Magazine, as it was Seventeen editor Rosemary McMurtry who first approached Hulanicki about the idea. Hulanicki mentions the McCall’s deal in her memoirs, as well as The Biba Years, 1963-1975, which she co-wrote with Martin Pel, curator of Brighton’s Biba and Beyond: Barbara Hulanicki.
Barbara Hulanicki and Martin Pel, The Biba Years, 1963-1975 (V&A 2014) Image: V&A.Image: Costume Institute.
Around New Year’s, 1971, Seventeen readers could peruse the new Biba patterns in a dreamy Sarah Moon editorial shot in Paris. Among the models was Ingrid Boulting, the face of Biba Cosmetics (another Sarah Moon project). As Hulanicki writes in her memoir, From A to Biba, the setting for the shoot was the round tower of Au Printemps, the storied Paris department store. The printed fabrics — cotton satin, rayon crepe, cotton voile, twill, and broadcloth — were all Tootal for Biba, and available at retailers like Macy’s in New York. (More at Sweet Jane. Seventeen scans courtesy of Musings from Marilyn.)
“Biba Boutique,” Seventeen Magazine, January 1971. Photos: Sarah Moon. Images: Musings from Marilyn.“Biba Boutique,” Seventeen Magazine, January 1971. Photos: Sarah Moon. Images: Musings from Marilyn.“Biba Boutique,” Seventeen Magazine, January 1971. Photos: Sarah Moon. Images: Musings from Marilyn.
The patterns were even covered more than once in Women’s Wear Daily.
From “Viva Biba,” WWD, January 5, 1971. Illustration: Robert Melendez. Image: Shrimpton Couture.
The designs consisted of a top and skirt, separates and a hat, a long-sleeved dress and short-sleeved coatdress, and a midi or maxi dress, all in junior sizes only. Two included a matching choker. Customers could see the Biba logo in McCall’s retail catalogues, but the pattern envelopes give no indication they’re Biba designs.
McCall’s 2725 by Biba (1971)McCall’s 2728 by Biba (1971)McCall’s 2746 by Biba (1971)McCall’s 2747 by Biba (1971)
McCall’s Pattern Fashions featured the Biba patterns in a four-page illustrated portfolio called “Seventeen Magazine Pattern Selections.” The write-up emphasizes Biba’s novelty in North America: Now Seventeen Magazine brings Biba to America … You, too, can be a Biba girl without crossing the Atlantic.
Biba patterns in McCall’s Pattern Fashions, Spring 1971.Biba patterns in McCall’s Pattern Fashions, Spring 1971.
Curiously, the Biba patterns aren’t in McCall’s back index, but one of them appears in this croquet-themed textiles ad — at left, in printed Dacron crepe:
Klopman advertisement in McCall’s Pattern Fashions, Spring 1971.
The peplum blouse with short “mushroom” sleeves (McCall’s 2725, view B) is very similar to a Biba evening suit seen in a 19 cover portfolio by David Tack. (Cover at top of post.) Like Seventeen, the British teen magazine also published its feature around the time of New Year’s, 1971.
Have you sewn any of the Biba patterns?
Biba screen-printed satin evening suit in 19 magazine, January 1971. Photo: David Tack. Image: Vintage-a-Peel.
