As many of you know, I started this blog with posts on Alexander McQueen, as a way to commemorate his work. His birthday is a natural time to revisit and reflect on his legacy. Since my last roundup in 2015, for the London version of Savage Beauty, I’ve posted about the designer’s 1998 Blade Runner collection. You’ll also find extensive updates to my inaugural McQueen for Givenchy series: as part of my recent blog redesign, I added additional and improved images from runway, advertising, and editorial.
Blade Runner 2049, Denis Villeneuve’s much-anticipated sequel to Ridley Scott’s Blade Runner, opens today. Here’s a look at the fashion references and influence of the 1982 cult classic. (For Blade Runner’s influence on current fashion and an interview with costume designer Renée April, see Booth Moore, “‘Blade Runner 2049’ Already a Hit on the Fashion Runways.”)
Blade Runner’s BAFTA-winning costume designers, Charles Knode and Michael Kaplan, cite 1940s film noir, with its iconic characters like Humphrey Bogart’s Sam Spade and Rita Hayworth’s Gilda, as their main inspiration. For the replicant Rachael, they also looked to the 1930s and ’40s tailoring of Hollywood costume designer-turned-couturier Adrian. (Kaplan is still in the genre-film spotlight with the new Star Wars trilogy, while the Adrian label—the subject of a recent exhibit—is being revived as Adrian Original.)
Kaplan used vintage fabrics for Rachael’s Adrian-inspired outfits: “I liked the idea of combining different shades of suiting fabrics to create patterns—something Adrian did. In this case I used amazing vintage suiting woollens in shades of grey and beige, with metallic threads that I was lucky enough to find, which created a subtle luminous quality.” (Source: AnOther mag.) This circa 1944 Butterick suit features Adrian-style piecing:
In the 1980s, Claude Montana was the go-to designer for the decade’s updated triangular silhouette. (Ridley Scott has acknowledged the decade’s ’40s revival as an important factor in the film’s aesthetic.) This Vogue Individualist design plays up the ’40s influence:
In spring, 1997, Blade Runner: The Director’s Cut was one of the first movies to be released on DVD. The following spring, working with stylist Bill Mullen and set designer Jack Flanagan, Steven Meisel photographed a Blade Runner-homage cover and editorial for Vogue Italia’s March 1998 prêt-à-porter issue. Michael Kaplan recalls mistaking the cover for a film still. The editorial features text from Roy’s climactic monologue (“I’ve seen things you people wouldn’t believe…”) with clothes from Prada’s Spring 1998 collection, which paired natural materials with synthetics like latex and plexiglass.
Meanwhile, in Paris, Alexander McQueen referenced Blade Runner in his Fall/Winter 1998 ready-to-wear collection for Givenchy. Visionaire’s Alexander McQueen memorial issue includes an image from Steven Meisel’s fall advertising campaign. (For more on this collection, see my McQueen series post.)
Sewists and Blade Runner devotees are fortunate to have two licensed patterns from this collection:
The sleeveless version of the dress seems to have been shown with a jacket on the runway. (Click the image to read about my version, which I wore to TIFF’s Cronenberg exhibit.)
Rachael’s chevron-quilted synthetic fur coat gets the most screen time, but it’s her blue brocade coat with standing fur collar that appears to have been McQueen’s main reference for the fur-trimmed coats and jackets. As the pattern reveals, the collar stands with the help of boning.
The weathered tones and textures of Mayan Revival—prominently seen in Deckard’s apartment, as played by Frank Lloyd Wright’s Ennis House—form a thread linking the first film, Meisel’s Givenchy campaign, and Villeneuve’s sequel. It was Kaplan’s vision of a dirty retrofuture, rather than glossy futurism, that won him the Blade Runner gig. It will be interesting to see what role revivals play in the new film.
For more production images for the new film, see the Vogue Italiagallery.
Will you be watching the Oscars on Sunday? In past years I’ve posted about goddess gowns and caftans. This year, a look at red carpet-worthy pantsuits.
The Best Actress winners who have accepted their award in trousers can be counted on one hand: Barbra Streisand (1969, in Arnold Scaasi); Jane Fonda (1972, in Yves Saint Laurent); Sissy Spacek (1981); Jessica Tandy (1990, in Armani); and Jodie Foster (1992, also in Armani). But then, Katharine Hepburn never attended.
Celebrity style icons Gwyneth Paltrow, Angelina Jolie, and Kate Moss started appearing on the red carpet in pantsuits in the 1990s and early 2000s.
Recently, more and more female celebrities have been choosing tuxedos and jumpsuits for formal events.
Here are some patterns—now available in the shop—that would be perfect for your next gala appearance.
The year Jane Fonda won an Oscar for her performance in Klute, Vogue Patterns released this Valentino design for an evening jumpsuit and jacket:
Calvin Klein had the Annie Hall look nailed before Woody Allen’s movie started filming (in spring, 1976). Vogue 1369, a designer wardrobe pattern, highlights the three-piece pantsuit:
Fast forward to 1999, when Alexander McQueen presented a futuristic millennium collection for Givenchy (Fall 1999 prêt-à-porter; post here). The long, detailed jacket was designed for shimmery fabric:
This tunic and pants ensemble is from Donna Karan’s Fall 2007 collection (as worn by Jessica Stam on the runway). The strapless tunic has outside darts, pockets, and foundation with padded bra and boning:
Whether you call it fake or faux, this season’s fur trend is only fashion’s latest take on synthetic fur.
Many vintage sewing patterns call for fur banding and fur cloth. The reversible coat shown above, Vogue 1019 by Jacques Griffe, is fully lined with the latest black, synthetic fox fur. (Hover for full caption.) More recently there’s Donna Karan’s coat for low-pile fake fur, Vogue 1365, from the Fall 2012 collection:
Here’s a look at vintage patterns that call for fur trim or fur cloth, with an emphasis on the trendy, unusual, and outrageous.
From Winter 1926, this dolman coat by Martial et Armand has a deep fur collar and narrow fur banding at the cuffs:
This opulent, late 1920s evening wrap calls for a length of 4.5″ fur banding. A reproduction is available from EvaDress:
Thirties patterns show many creative uses of fur trim. These two ca. 1933 coats both call for fur cloth accents. McCall 7206 has an attached scarf and contrast lower sleeves, shown in synthetic Persian lamb, while McCall 7207 has a deep fur collar and matching, triangular sleeve patches:
Simplicity 1541’s dramatic, curving collar and pointed cuffs can be made in contrast fur cloth; the fur-trimmed version was illustrated on the cover of the holiday 1934 issue of Simplicity Pattern Magazine. A reproduction is available from the Vintage Pattern Lending Library:
From the autumn of 1939, McCall 3420 is a swagger coat with built-up neckline and optional, tapered lower sleeves and semi-circular shoulder insets. View A is shown in faux Astrakhan (matching hat unfortunately not included):
McCall 3875, a World War 2-era swing coat, can be made with elbow-deep fur cuffs:
This wartime cape pattern, previously featured in my vintage capes post, includes an evening cape with stand-up fur collar:
High-end postwar sewing patterns sometimes assume natural fur will be used and direct the home dressmaker to a specialist. From November 1949, Vogue 1075 is one of the earliest Balmain patterns. The voluminous “melon” sleeves can be made in fur contrast; the envelope back says, “Note: Have fur sleeves made by furrier”:
This Vogue Couturier design includes a wide-necked evening coat with big fur collar and elbow-length sleeves:
From Nina Ricci, Vogue 1217’s cape has a broad shawl collar that can be made in faux fur:
Vogue 1897 is a design from Yves Saint Laurent’s Fall/Winter 1967-68 haute couture collection, inspired by Queen Christina (see Paco’s post here). The fur-trimmed evening cape requires a taffeta stay for the fur trim unless made by a furrier:
David Lean’s Doctor Zhivago (1965) seems to have prompted a fashion for Cossack coats and hats. Vogue-Butterick had Vogue 1983, and McCall’s had this fur-trimmed coat pattern:
There was even a pattern for fur hats for men, women, and children, McCall’s 2966:
Eighties excess brought the more-is-more aesthetic to designs for synthetic fur. McCall’s 7736 is a raglan-sleeved jacket for lightweight fake fur or woolens:
From the Connoisseur Collection, Simplicity 7078 is for fake fur only:
In addition to a hat and stole for fur-like fabrics, accessories pattern Vogue 9981 includes a muff with concealed pocket:
The 1990s were another good time for synthetic fur—so good that Vogue Patterns licensed a designer specializing in faux fur outerwear. Not quite vintage, this reversible coat pattern by Issey Miyake calls for high pile fake fur:
From Alexander McQueen’s Fall 1998 ready-to-wear collection for Givenchy, Vogue 2228’s jacket has a fur-trimmed hem and large, standing fur collar that recalls the 1940s evening cape shown above. (See my earlier McQueen post here.) I have one copy for sale in the shop:
Vogue 2233’s fur-trimmed dress and jacket are from Anna Sui’s Fall/Winter 1998 collection (click to purchase from the shop):
Vogue 2233 is one of the most ’90s patterns ever: Björk meets Britpop. The jacket was worn on the runway by Kirsty Hume—hat by James Coviello:
There was also a pattern for Anna Sui faux-fur accessories, Vogue 7950 (see my earlier Anna Sui series).
Tips for sourcing synthetic fur
Tissavel: This luxury French faux fur mill is unfortunately now closed, but ends can be found on Etsy.
Faux Persian lamb/Astrakhan: Available as a special order from Emma One Sock.
Fur banding:Mokuba carries high-quality synthetic fur banding in various widths.
Working with vintage furs and synthetic fur
Vintage patterns often direct the home dressmaker to a furrier; old sewing books and magazines also provide tips for refashioning vintage furs. (Woman’s Day 5045 came with a special instruction booklet and fur needle.) Claire Shaeffer’s Fabric Sewing Guide includes a chapter on fur.
For tips on sewing with synthetic fur, see Claire Shaeffer’s Fabric Sewing Guide, Fehr Trade’s post, and Shannon Gifford’s post for Emma One Sock.
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 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:
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):
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):
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:
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:
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.comvogue.com; video at AlexanderMcQueen.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):
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.
As a memorial to the late designer, Scotweb owner Nick Fiddes designed a mourning version of the MacQueen clan tartan.
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):
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):
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):
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:
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:
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:
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:
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:
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:
The Fall 2010 menswear (An Bailitheoir Cnámh – the Bone Collector) and women’s Pre-Fall 2010 collection had the same catacombs print:
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:
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 is available in hardcover and paperback from the V&A, with a North American edition to be published by Abrams in May.