Patterns in Vogue: How to Make the Most of a Beautiful Print

Ann Schaufuss photographed by Clive Arrowsmith for British Vogue, autumn 1970 — Detail, British *Vogue*, October 1, 1970. Photo: Clive Arrowsmith. Model: Ann Schaufuss. Image: Youthquakers.

How to make the most of a beautiful print? As an early ’70s British Vogue editorial puts it, “Cape it… blouse it… kilt it.”

The Clive Arrowsmith editorial features Ann Schaufuss in three Vogue patterns that present the silhouettes of fall 1970 in glowing, ink-coloured prints. From Nina Ricci, Vogue 2406 is an “enveloping berber cape” and sleeveless dress made from two Staron fabrics in the same “glass-flower” print: a luxurious wool-viscose-polyamide for the cape and panne velvet for the dress, available at Harrods and Gasmey, London.

Ann Schaufuss in Vogue Paris Original 2406 by Nina Ricci, photographed by Clive Arrowsmith, 1970 — Vogue 2406 by Nina Ricci, British *Vogue*, October 1, 1970. Photo: Clive Arrowsmith. Model: Ann Schaufuss. Image: Youthquakers.

The second look pairs a yoked, full-sleeved blouse, Vogue 7538, and long Miss Vogue kilt Vogue 7889. The blouse is turquoise silk crepe de chine from Gasmey, while the kilt is Bombyx rayon panne velvet in a green and jewel-toned print, available at Liberty (boots to order at The Chelsea Cobbler):

Ann Schaufuss wears blouse Vogue 7538 and skirt Miss Vogue 7889, photographed for Vogue UK by Clive Arrowsmith — Vogue 7538 and 7889 in British *Vogue*, October 1, 1970. Photo: Clive Arrowsmith. Model: Ann Schaufuss. Image: Youthquakers.

The boho Baba Yaga look may not be to everyone’s taste, but velvet and early ’70s style are trends for fall 2016… Time to dig out some vintage prints?

(See Youthquakers for more of the October issue.)