Patterns in Vogue: Raincoats, At the Finish Line

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Vogue 8441 coat, Butterick 6356 (view B), and Vogue 8742 (view C)
“Raincoats: At the Finish Line,” Vogue, February 1984. Model: Florence. Photo: Eddy Kohli. Image: Vogue Archive.

Eighties New York forms a moody backdrop for a Vogue pattern editorial showcasing long, loose raincoats. Made with a single Vogue pattern, both raglan-sleeved coats were made oversized, in lightweight, natural fabrics, and lengthened for the new proportions.

The coat pattern is Vogue 8441, made in olive coated cotton from Strachman Associates (above) and ice-blue Bucol silk tissue taffeta from American Silk Mills (below). Vogue paired it with separates made with Tandler Textile cotton poplins: above, two-piece dress Butterick 6356 and Vogue 8742 in black, and below, pullover top Vogue 8919 and paperbag-waisted skirt Vogue 8955 in brown and “dark shadow-grey.” (Beret, Jean-Charles Brosseau / Commodore; belt, Ruza Creations. Bracelets, Roxanne; Hue hosiery; shoes, Dorothée Bis.)

Vogue 8441 coat, Vogue 8919 (view C), and Vogue 8955
“Raincoats: At the Finish Line,” Vogue, February 1984. Model: Kim Williams. Photo: Eddy Kohli. Image: Vogue Archive.

The sewing tips at the back of the magazine read:

For both coats use the same pattern and use a size 18 for a greater scale. Shorten or lengthen to fit your height. For round-neck top: omit opening at shoulder/neckline seam. Lengthen the sleeves to 29″. For grey skirt: omit center front pleat and lengthen skirt to 39 1/2″. Add three inches onto waist to fold over.

One response to “Patterns in Vogue: Raincoats, At the Finish Line”

  1. Ines Avatar
    Ines

    Everything about this photo is so 80s to me. The hair cut, the paper bag waist, the crisscross elfin looking shoes, of course a long large coat and big bangles. It’s perfect !

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