Olivia Hussey has an autobiography out, reminding us of a legendary bomb: the musical Lost Horizon. Naturally, there was a pattern tie-in.
Ross Hunter’s Lost Horizon (1973) was adapted from James Hilton’s bestselling novel about Shangri-La, with costumes by the great Jean Louis.
There had been another Lost Horizon, in the 1930s, but it didn’t have music by Burt Bacharach.
McCall’s released at least ten patterns in its Lost Horizon-inspired series. The film opened in March, but the patterns came out later in the year. Two Carefree and Extra-Carefree styles from the series in the Fall 1973 Carefree catalogue:
The pattern envelopes bear a tiny version of the film graphics.
Did the hippie trail reach Tibet? Some of the Lost Horizon-inspired patterns look like contemporary western clothing, but most nod to Jean Louis’ fantasia of traditional Tibetan dress, textiles, and embellishment.
Of the two designs for men and women, this robe was the most popular. The men’s and women’s caftan came with its own embroidery transfers.
Unfortunately there’s no pattern for Hussey’s saffron robes.
Marisa Berenson (b. 1947) turns 70 today. Though best known for her work as a film actor in movies like Visconti’s Death in Venice (1971), Cabaret (1972), and Barry Lyndon (1975), Berenson grew up wanting to be a fashion model. Her career was launched when she met Diana Vreeland at a society ball, and she became one of the most successful models of the ’60s and ’70s. For more, see the visual biography Marisa Berenson: A Life in Pictures (Rizzoli, 2011).
As far as I know, Berenson appears on only one pattern envelope: Vogue 2369 by Oscar de la Renta. Taken in a New York interior, the photo was also published in a 1970 Vogue Pattern Book feature on the designer:
Berenson can also be seen in Vreeland-era pattern editorials in Vogue magazine, like this shoot by Guy Bourdin (see my earlier post):
Irving Penn’s “Look Marvellous” editorial, showcasing clothes in American fabrics, included Berenson in Vogue 7017 and Vogue 7022 (via Youthquakers):
This Gianni Penati editorial shows two Vogue Paris Originals by Marc Bohan for Dior, Vogue 1787 and Vogue 1792:
The issue of Vogue Pattern Book with the Berenson cover (shown above) includes more of her editorial work. In “New Evening Splendour,” she wears the cover look, caftan Vogue 7827, as well as Vogue 7834 and Vogue 7836:
Berenson also models some jumpsuits in a summer portfolio—Vogue 7697 in a groovy print:
If you’re in London, you still have a week to see Guy Bourdin: Image Maker at Somerset House before it closes next Sunday.
Bourdin shot only one Vogue Patterns editorial that I know of: a two-page editorial for Vogue magazine in 1966. The young Marisa Berenson models a shift dress and tent coat made from a single pattern, Vogue 6916, accessorized with gloves, fishnet knee socks, and hat by Lilly Daché (click to enlarge):
As always, details could be found in the back of the magazine:
British Vogue later published the same editorial with the layout reversed: see youthquakers.