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.
Mugler himself never signed with Paris Originals, but there are still some Vogue patterns with a connection to the designer. The Dutch-born Mei Xiao Zhou (who, like Mugler, is a former ballet dancer) was hired by Laroche after six years as Mugler’s assistant in the 1990s.
Zhou designed two collections for Laroche in the early aughts, resulting in a handful of Vogue patterns, circa 2002. Even if the pattern envelopes downplay it, his designs for Laroche have a vampy futurism that gives them a Mugler-esque edge. For more see my post.
Agra was a close friend of Paco Peralta. For the exhibit, he has included the designer’s original sample garments for Vogue 1602, a sculpted top and skirt in sequinned tweed. Peralta’s originals were worn by Nadja Giramata for last year’s Winter/Holiday release.
Behind the scenes note: makeup was by Joseph Boggess / YSL Beauty. Peralta was a great collector of Yves Saint Laurent.
There are only two weekends left to catch Balenciaga: Master of Couture at the McCord Museum. Anne St. Marie’s look (above) was inspired by Balenciaga.
From the inside note: “The new straight-coat fashion favored by Balenciaga, fall and winter coverage for its own sheath dress and everything else in your wardrobe. In colorful Anglo tweed and coordinated red wool, interfaced with Armo hair canvas to hold its line. Earl-Glo Sanitized taffeta lining; B.G.E. buttons. Emme hat; Mark Cross bag; Superb gloves.”
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.
Incroyables and Merveilleuses were the dandies and fashionistas of the revolutionary period. Today, Directoire style evokes glam rock, Marat/Sade, and John Galliano. The style famously inspired Galliano’s 1984 graduation collection, entitled Les Incroyables, as well as his work for Givenchy.
Here are the museum notes:
This handsewn silk tailcoat, with its high collar, wide lapels, short front, and long back exemplifies how French fashion extremists (incroyables) adopted and exaggerated traditional wool riding coats from England. The sleeves of this tailcoat, set unnaturally close together, forced the wearer to hold his shoulders back and thrust his chest forward to create a “pouter pigeon” silhouette which was fashionable in the late eighteenth century.
The World of Anna Sui opened at the Fashion and Textile Museum in London last weekend. It’s the museum’s first retrospective on a living American designer, with an accompanying book by Tim Blanks—out today from Abrams.
Anna Sui licensed her work with Vogue Patterns for some 16 years, from the mid-1990s to 2011. Read my series on Vogue patterns by Anna Sui: