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.
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 Sunday is the centenary of the Armistice of 1918, marking the end of World War I.
On the November 1918 Delineator cover shown above, two women wear military uniforms that could be sewn from a Butterick pattern. (Also pictured in the late Joy Emery’s book. Look inside the issue here.) Click the images below for my 1914 centenary post, Patterns for the Great War, and other patterns for war work.
Nothing says Swinging London like Mary Quant. The pioneer of the Chelsea Look will receive a major retrospective at the Victoria and Albert Museum in 2019. (An earlier exhibit, Manchester Art Gallery’s Mary Quant: Fashion Icon, had to close early due to conservation issues.)
The V&A is seeking vintage Quant for the show, including garments — or even photos of garments — made with Mary Quant patterns. See here for more details, or email the curators at firstname.lastname@example.org.Update: submissions are now closed.
Butterick licensed Mary Quant patterns from the mid-’60s to the early ’70s. (See my Mad Men-era post.)
For knitters, there were also ultra-mod knitting patterns. Some of these vintage booklets are available as official reissues, like these ones from Mary Maxim. (More on Ravelry.)
Mary Quant and her husband were profiled in Life magazine as early as 1960. (View story here.)
For his 1963 Life feature on the Chelsea Look, Norman Parkinson photographed Melanie Hampshire and Jill Kennington in these Mary Quant dresses:
Butterick released its first Mary Quant patterns in fall, 1964. Here’s Celia Hammond on the cover of the retail catalogue:
The Butterick Home Catalog hailed Quant as the originator of the Chelsea Look.
The earliest Mary Quant patterns pre-date the Young Designer line. This dress pattern even includes the rosette:
British copies of this dress pattern say “featured in Queen magazine.” Jill Kennington wore this and other Butterick Young Designers in what was billed as “The Queen’s first ever make-it-yourself fashion.”
Here Moyra Swan models a mod scooter dress. Suggested fabrics include linen, jersey, lightweight wool, and knits.
This jumpsuit or playsuit came with a matching mini skirt — “the latest put-togethers”:
What to wear with a Mary Quant mini dress? Why, go-go boots, of course:
By 1970, a Quant jumpsuit was more fluid, with a pointed collar; this pattern also includes a maxi-length cardigan. The catalogue gives a better view of the inflatable chair:
Mary Quant in a more romantic mode means a sheer tunic worn with knickers. View B is a maxi dress.
After 1971 or so, Butterick Young Designer patterns had illustrations, not photos. This Mary Quant dress dates to circa early ’73.
Before Gal Gadot’s Wonder Woman, there was Xena: Warrior Princess. The Hercules spinoff starring Lucy Lawless as a Thracian warrior became a cult hit, thanks partly to that iconic leather armour by Ngila Dickson.
Best known today for her work on Peter Jackson’s Lord of the Rings trilogy, Dickson won a New Zealand Film and TV Award for Xena in 1998. The same year saw both an animated Hercules and Xena and official licensed costume patterns from Butterick. (Simplicity had done unofficial Xena patterns in 1997.)
The Butterick costumes call for synthetic leather for the dress and accessories, metallic cord and marker, and cotton Lycra to make your own undershorts. Chakram not included.
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.
The early ’90s are back—and so are sarouel, or harem pants. Here’s a look at vintage patterns for this distinctive trouser style.
Like caftans, sarouel originated in ancient Persia. Persian sirwāl became Turkish şalvar, entering the Western fashion vocabulary via Ottoman culture and the early modern vogue for turquerie.
Şalvar were introduced to Western women’s clothing in the 19th century as part of the Rational Dress movement: Amelia Bloomer conceived her eponymous trousers as “Turkish pants.” (On cycling bloomers see Jonathan Walford, The 1890s Bicycle Bloomer Brouhaha.) Couturier Paul Poiret is usually credited with making “harem” pants fashionable in the period before World War 1.
In the mid-’60s, harem pants enjoyed renewed popularity as glam loungewear. (I Dream of Jeannie started airing in September, 1965.) This Vogue pyjama with matching, dolman-sleeved overblouse has a cuffed trouser option:
Pucci’s interest in harem pants predates the jewelled version at the top of this post: a short, blue harem ensemble was part of his 1965 Braniff flight attendant uniform. These high-waisted palazzo pyjamas also have a cuffed, harem option, as worn by Editha Dussler:
Anne de Zogheb modelled these Pucci harem pyjamas, which feature an intriguing self-lined skirt with side openings:
Bouffant knickers are a variation on the harem pant. This gold brocade, coat-and-knickers ensemble from Yves Saint Laurent’s Winter 1970 haute couture collection evokes the hippie trail. The model is Viviane Fauny:
From 1976, this Kenzo pattern includes a cuffed harem pant option. (A copy is available in the shop.)
Hot pink harem pants catch the eye on this Very Easy Vogue pattern, which also includes palazzo pants and a maxi skirt:
This gold satin pair, from Krizia, has no side seams:
In the early ’80s, the dropped-crotch, Zouave style of harem pant came to the fore. This Simplicity pattern includes Zouave pants in two lengths:
The trousers in this Versace ensemble evoke the harem silhouette, with draped volume tapering to a fitted ankle (see my Versace post for more photos):
Very Easy Very Vogue got on the dropped crotch bandwagon with three styles of Zouave pants—view C with side drape:
By the early ’90s, hip-hop musician MC Hammer had made so great an impact on popular culture that his characteristic trousers were known as “hammer pants.” Simplicity’s official MC Hammer unisex pants pattern came with not one but two iron-on transfers. (See envelope back here. There was even a doll clothes pattern for the MC Hammer action figure.) Drop-crotch pants could also be found as Butterick Classics and a unisex costume pattern.
Issey Miyake designed these lowest of the low dropped-crotch pants, as worn by Phina Oruche:
Recent patterns heralding the return of the sarouel include McCall’s 5858, Kwik Sew 3701, and the unisex Burda 7546. If the trend continues, perhaps we’ll see a pattern for Rachel Comey’s Pollock trouser…