My Winter patterns report comes a little late: I’ve been busy working to save a historic hotel-turned-tavern here in Hamilton. (Read my op-ed | #SaveHanrahans) Without further ado, here’s a look at the last patterns of the decade.
Vogue’s cover look is a white jersey gown from Badgley Mischka. As worn on the pattern envelope by new model Shaya Ali:
The new Guy Laroche — a minimalist pantsuit with contrast trim — is the company’s first by Richard René.
René’s second collection for Laroche was inspired by art brut and the graphic potential of a blank sheet of paper. According to Vogue, he showed structured pieces for strong personalities, with details like “stand-up edging that adds a cape-like extra inch or two to the shoulders.”
From Cynthia Rowley, a pattern for the Eden dress and top.
The original Eden dress in polished cotton. (The top version is a lightweight printed cotton: webstore | Rent the Runway.)
This flounced dress by Cynthia Rowley is seen variously in the designer’s Inverness Fish print and bias-cut silk lamé.
Rowley’s longtime collaborator William Eadon photographed the lookbook in her hometown of Barrington, Illinois. The lookbook was styled by her daughter, Kit Keenan.
For a subtle variation, close the front bodice seam.
These pleated trousers are adapted from Celine by Hedi Slimane.
McCall’s chic cover look is a version of Max Mara’s hooded cape coat.
Here’s the Max Mara original in cashmere twill:
Vogue Couturier patterns are the original Vogue designer knockoffs. The new Vintage Vogue is a Couturier coat from 1949:
The new Custom Fit patterns are also designer adaptations. View A of V1654 is after Gucci.
And V1667 is a version of Prabal Gurung’s tulip sleeve jacket. (Trousers not included.)
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.
Cover look V1627 is an archival design by Zandra Rhodes, as worn by the Latvian-American model Ana Kondratjeva.
Rhodes reissued her 1973 Field of Lilies dress — renamed the Summer, in memory of Donna Summer — for Matches Fashion’s recent 30th anniversary. The designer commissioned Claire Rothstein to take the mother-and-daughter portrait at the top of this post, in which Pat Cleveland and her daughter, Anna, both model the dress. The original is printed silk chiffon.
Inspired by Alessandro Michele’s Gucci, the new Very Easy Vogue pyjama is illustrated with ribbon trim, and in a version of the Gucci Flora print.
For Gucci Pre-Fall 2018, in place of a more conventional lookbook, American artist Peter Schlesinger shot a photobook on location in Rome. Called Disturbia, it was inspired by the films of Dario Argento, the director behind the original Suspiria.
A variation of the Gucci Flora pyjamas in printed silk twill.
Michele paired a full-length version of the trousers, trimmed in the distinctive Gucci ribbon, with a faux-fur coat.
The Pre-Fall 2019 ad campaign features another version of the Gucci Flora pyjama, as seen in the ancient ruins of Selinunte, Sicily. Vogue’s reference kimono top and pant (on pre-order at Neiman Marcus) is silk georgette.
The new Tracy Reese sundress has a cowl neckline, criss-cross back, and midriff that extends into waist ties. (See WWD for recent news.)
Martha Graham was the inspiration for Reese’s Spring 2015 collection, where the dress was shown with a kimono jacket in the same botanical print.
There are two patterns from Rachel Comey. The first: the Willow peasant top and Basin pant with grosgrain waistband. Judging from the pattern number, it may have been delayed from the Spring release. Hopefully this doesn’t signal the wrapping up of the designer’s contract. (See: Laroche?)
Both pieces made their début in Comey’s country-and-western themed Pre-Fall 2016 collection, shot by New York street photographer Gus Powell. The original Willow top (right) is rayon gauze.
For Fall 2016, Comey showed the top in a cute print. Later, it could even be seen in a lace and gingham combo.
The second Rachel Comey is a pair of unisex shirts. The unisex / menswear angle is welcome, since Comey made her name with men’s shirts. (See my earlier post.)
The Selleck shirt is short-sleeved, with seam interest, while the Tre shirt is a long-sleeved button-down. Both were shown in Comey’s Spring 2017 15th anniversary collection, which saw the launch of her unisex line.
After a decade of licensing, Simplicity has released a swimwear design by Cynthia Rowley. The colour-blocked one-piece is called the Heather, and retails in Rowley’s signature neoprene.
The new pattern also includes a button-front maxi dress with ruffle sleeves. Add bodice tucks and you have the Nairobi kaftan — Rowley’s opening look for Spring 2017. The original caftan dress is 100% cotton.
Finally, a stealth bridal pattern: Very Easy Vogue V9373, a version of a Stella McCartney gown that was the first change of a newly minted duchess. (More at Vogue.)
The bride’s silk crepe, open-backed gown was an advance look at the Stella McCartney Made With Love collection, which launched in autumn, 2018.
Make in cruelty-free, sustainable fabrics for the authentic Stella McCartney touch.