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.
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.)
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.
Vogue Patterns counts two Australians among its current designers: Rebecca Vallance and Nicola Finetti.
Vogue Australia was still in its first decade when Butterick introduced two Aussies—Norma Tullo and Prue Acton—to its Young Designers line.
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.
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.
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.
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.”
It wasn’t until 2003’s big-budget sequel, The Matrix Reloaded, that Neo got his famous cassock coat.
The first Matrix-inspired costume patterns came out in 2003.
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.
Here’s S8482 with more sci-fi (Firefly and Rogue One) in the seasonal catalogue:
There’s no word on the costume designer yet, but production on the new Matrix begins in 2020.
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.
Autumn means outerwear, and Laroche comes through with a chic trench coat with interesting details: a storm flap, arm band, and oversized belt carriers.
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.
Vogue noted the alternate version in tobacco leather — also seen in the Swiss magazine, Annabelle, which has a nice view of the shoulder dart.
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.
Comey’s Fall 2018 collection was modelled by Guinevere van Seenus, in a lookbook shot by Annie Powers and styled by Vanity Fair’s Samira Nasr.
The second Rachel Comey is the Steadfast jumpsuit, a cropped-leg style with square armholes and wrap overlay.
For Pre-Fall 2017, the designer showed it layered, jumper-style, with a blouse.
As worn in white by the editor Giannie Couji:
Vogue’s latest Gucci adaptation includes a jacket, dress, and pleated skirt. (Also sized for petites.)
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’s red, cardigan-style jacket and pleated skirt were a key look for Spring 2018.
As seen in the brand’s digitally painted Spring ’18 ad campaign:
Vogue’s other Custom Fit design for Fall is a version of Roland Mouret’s Royston dress.
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:
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.)
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.
A closer look at the fringed edge reveals a meticulous finish on the reverse:
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.