Patterns in Vogue: Where There’s Sun There’s Silk

Vogue UK May1966 V6468
Detail, British Vogue, May 1966. Photo: Helmut Newton. Image: Youthquakers.

A mid-1960s Helmut Newton editorial features a leopard and a Vogue pattern.

The model on the right wears Vogue 6468’s beach coverup in white guipure from Ilo Lace. (Left: blue mini dress by John Bates at Jean Varon; Paco Rabanne earrings.)

Vogue 6468 "Where there's sun there's silk."
British Vogue, May 1966. Photo: Helmut Newton. Image: Youthquakers.

For the full editorial see Youthquakers.

1960s bathing suit and cover-ups pattern Vogue 6468
Vogue 6468 (1965) Image: Etsy.

Mirella Petteni

Mirella Petteni photographed by Helmut Newton in Venice, 1966
Mirella Petteni in Venice, 1966. Photo: Helmut Newton. Image: Tumblr.

Happy Mardi Gras! To celebrate the last day of Carnival, here’s a look at the star of Helmut Newton’s 1966 Venetian shoot: Italian model and socialite Mirella Petteni Haggiag.

Born in Bergamo, Mirella Petteni moved to Milan to work as a model. As the wife of film producer Robert Haggiag, Petteni was also a society figure with residences in Venice, Tuscany, New York, and Rome’s Palazzo Mengarini. (See T magazine.) She retired from modelling to become an editor at Vogue Italia.

Mirella Petteni in Queen, August 1966. Photo: Helmut Newton. Image: Sweet Jane.

Petteni can be seen on many Vogue Couturier Designs by Italian designers.

Mirella Petteni in Pucci
Image: PatternVault shop.
Vogue 1397 by Pucci, March 1965 retail catalogue
Vogue 1397 by Pucci, March 1965 retail catalogue. Image: Pinterest.

Petteni also appears in a Vogue holiday editorial that includes two Vogue Special designs (Vogue 6084 and 6054):

Vogue 6084 and 6054 as worn by Mirella Petteni in Vogue, 1963
In Vogue 6084 and 6054, Vogue, December 1963. Photos: Irving Penn? Image: Youthquakers.

Here she wears Galitzine’s halter and culotte:

Mirella Petteni in Vogue 1393 by Galitzine
Vogue 1393 by Galitzine (1964) Image: Etsy.

Here, in Pucci’s bestselling cape-jacket ensemble, Petteni’s aspirational hair is an added bonus:

1960s Pucci pink ensemble pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1394
Vogue 1394 by Pucci (1964) Image: Etsy.
Image: Etsy.

In white dresses from Fabiani and Forquet:

1960s Forquet 2-piece dress pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1402
Vogue 1402 by Federico Forquet (1964). Image: Etsy.
1960s Fabiani dress pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1866
Vogue 1866 by Fabiani (1967) Image: Etsy.
1960s Fabiani dress pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1899
Vogue 1899 by Fabiani (1968) Image: Etsy.

Sorbet colour-blocking from Pucci:

1960s Pucci culotte pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1865
Vogue 1865 by Pucci (1967) Image: Etsy.
1960s Pucci dress pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1955
Vogue 1955 by Pucci (1968) Image: PatternVault shop.

In Forquet’s short, half-bias evening dress:

1960s Forquet dress pattern feat. Mirella Petteni Haggiag - Vogue Couturier Design 1957
Vogue 1957 by Federico Forquet (1968) Image: Vintage Pattern Wiki.

Here she poses with Benedetta Barzini in early Valentino:

Benedetta Barzini and Mirella Petteni in Valentino, at Agnese Bruguier's apartment in the Palazzo Borghese, Rome, 1968
Benedetta Barzini and Mirella Petteni in Valentino, at Agnese Bruguier’s apartment in the Palazzo Borghese, Rome, Vogue, September 1968. Photo: Henry Clarke. Image: tumblr.
Mirella Petteni in Queen, August 1966. Photo: Helmut Newton
Mirella Petteni in Queen, August 1966. Photo: Helmut Newton. Image: tumblr.

Patterns in Vogue: Helmut Newton at the Beach

Australian beach photo by Helmut Newton, 1964
Detail, Vogue, May 1, 1964. Photo: Helmut Newton.

In the mid-1960s, Helmut Newton photographed a two-page Vogue Patterns editorial for Vogue magazine on location at Wanda Beach, near Sydney, Australia.

The editorial features two pieces from a single beachwear pattern: Vogue 6211. The cowl-neck coverup is shown in white terry cloth, the one-piece drawstring bathing suit in double-knit Orlon; the linen hats are by Adolfo and Halston (click to enlarge):

Vogue 6211 coverup and bathing suit photographed by Helmut Newton - Vogue 1 May 1964
Vogue 6211 in Vogue, May 1, 1964. Photos: Helmut Newton.

As always, back views and yardage could be found in the back of the magazine:

Vogue 1May1964 219
Vogue, May 1, 1964.

Click the Patterns in Vogue tag for more posts in the series.

Helmut Newton for YSL Rive Gauche, 1991

Detail from Helmut Newton's ad campaign for Yves Saint Laurent Rive Gauche FW 1991

I love finding pattern designs in ad campaigns. Vogue 1016 by Yves Saint Laurent is a long-sleeved, full-skirted formal dress with a dramatic décolletage and optional stretch-lace camisole:

1990s Rive Gauche Yves Saint Laurent dress pattern - Vogue Paris Original 1016
Vogue 1016 by Yves Saint Laurent (1992) Dress and camisole. Image: PatternVault shop.

The news from Paris that season was lower hemlines, with pleated skirts and tartans at Yves Saint Laurent Rive Gauche. (See Bernadine Morris, “Review/Fashion; New Tricolor in Paris: Stars and Stripes.”)

The late, great Helmut Newton photographed the Vogue 1016 dress for the Rive Gauche Fall 1991 advertising campaign:

Yves Saint Laurent rive gauche ad campaign by Helmut Newton autumn 1991
Yves Saint Laurent Rive Gauche Fall 1991 advertising campaign. Photo: Helmut Newton. Image: jalougallery.com.

(You can see more campaign photos in the August 1991 issue of L’Officiel—scroll about one-third down. Further 1991 campaign images by Newton can be seen in Paper Pursuits’ archive.)

Newton’s photograph shows a woman standing in the well-appointed bathroom of a Parisian hotel. (Another campaign photo shows Karen Mulder in the parking garage.) She wears the long-sleeved version of Vogue 1016, sans cami and done up in black Bucol silk. The dress is worn with big, dramatic accessories: a collar, ear clips, and a pair of gold (!) booties. On a shelf before the mirrors are two glasses of red wine; written in lipstick on one mirror is the message ‘ADIEU ET MERCI, SUSAN.’ Although the model’s elaborately coiffed head is turned away from the camera, she looks back out at us from the inscribed mirror.

The photo’s grand hotel setting and atmosphere of bad-girl mischief are pure Helmut Newton. (On the photographer and his work see Lindsay Baker, “Helmut Newton: A Perverse Romantic.”) Some might relegate its subject, the Vogue 1016 dress, to a period of post-Eighties decadence, but the interplay between photographer and designer is interesting. The two had a long-standing professional relationship, and Anna Wintour, quoted in Helmut Newton’s WWD obituary, hints that Newton’s photos of Yves Saint Laurent’s work could be as influential as the work itself. Does Newton’s photograph colour our view of Vogue 1016?