Patterns in Vogue: Shimmering Sensations

Ariane Koizumi photographed by Bert Stern in Vogue 1651 by Yves Saint Laurent and Vogue 1654 by Emanuel Ungaro, 1985
Ariane Koizumi wears Vogue patterns by Yves Saint Laurent and Emanuel Ungaro, Vogue, November 1985. Photo: Bert Stern.

In 1985, Bert Stern captured Ariane Koizumi in two Vogue Paris Originals, made in metallic velvet for festive evenings.

The patterns are a wrap dress by Yves Saint Laurent and tunic/skirt ensemble from Emanuel Ungaro (Vogue 1651 and Vogue 1654), both shown in silk blend panné velvet from Lafitte. (Earrings, Lecour Johnson and Pellini Bijoux; bracelets, Debra Fine Yohai and Wendy Gell Jewelry; Charles Jourdan body stocking. Shoes, Manolo Blahnik and Yves Saint Laurent.)

Paco’s post about YSL wrap dresses.

Happy new year, everyone! All the best for 2020.

Patterns in Vogue: Anna Wintour Birthday Edition

Vogue 8155 cotton kimono in Vogue, January 1989
Kara Young, Carré Otis, and Jennifer Noble in Vogue, January 1989. Photo: Patrick Demarchelier. Editor: Grace Coddington.

Happy birthday to Anna Wintour, who turns 70 today.

Wintour included Vogue patterns in U.S. Vogue from her first issue as editor. Above, the models’ white cotton kimonos were made with a unisex robe pattern (Vogue 8155). Below, in Wintour’s first issue, Cathy Fedoruk wears a Very Easy dress (Vogue 7146) in cotton piqué.

"Hot Prospects" Vogue Nov 1988 Wintour 1st issue. The new colors for resort: gunmetal and white. Make the dress that may make your summer: for A.M./P.M., city/ resort, a textured cotton piqué dress with a square-necked front. Vogue Pattern no. 7146. Fabric, Batex S.P.A. Beauty and the back: sun protection from Ultima II ProCollagen SPF 4. Plain geometry: bold crisscross straps on dresses
Cathy Fedoruk in “Hot Prospects,” Vogue, November 1988. Photo: Patrick Demarchelier. Editor: Jenny Capitain.

In Wintour’s first Holiday issue, “Skirts are layered for a romantic ballerina look.” Carré Otis’ skirts (Vogue 7267) are cream polyester chiffon from Symphony Fabric Corp and blue Stehli Seiden silk-polyamid georgette; the Chanel-style jacket is a Vogue Career design (Vogue 7316) in linen from Hamilton Adams, worn with a Very Easy top (Vogue 7128) in Jasco matte rayon jersey. “Sewing tips: eliminate cuff and finish sleeve… Cut skirt to desired length.”

"Sheer Effects" Vogue Dec 1988 7267 skirt, 7316 jacket, 7128 top (1988). Skirts are layered for a romantic ballerina look. Two chiffon skirts give a classic jacket and top an unexpected twist. Skirts, Vogue Pattern no. 7267. Cream chiffon, Symphony Fabric Corp.; blue chiffon, Stehli Seiden at Gordon Textiles International. Jacket, Vogue Career Pattern no. 7316. Linen, Hamilton Adams. T-shirt, Vogue Pattern no. 7128. Jasco rayon matte jersey.
Carré Otis in “Sheer Effects,” Vogue, December 1988. Photo: Arthur Elgort. Editor: Jenny Capitain.

Patterns in Vogue: Peter Lindbergh, 1944-2019

"Seeing Spots" by Peter Lindbergh - Vogue pattern 7054 Women's robe and shorts (1987) "Additional information: shorten shorts."
Naomi Campbell photographed by Peter Lindbergh for “Seeing Spots,” Vogue, June 1990. Editor: Grace Coddington.

Peter Lindbergh died yesterday. He was 74. (Read the WWD obituary.) The German photographer was a frequent collaborator of Grace Coddington’s. In these images, the duo captured Naomi Campbell and Anna Getaneh in silk pyjamas made from Vogue Patterns.

The patterns are Vogue 7054 and 7079.

Peter Lindbergh's "Nude Study" - Vogue pattern 7079 Men's robe (1987) in silk chiffon
Anna Getaneh photographed by Peter Lindbergh for “Nude Study,” Vogue, November 1989. Editor: Grace Coddington.

Patterns in Vogue: Polar Effects

Vogue 7849 unitard worn in Iceland by Karen Mulder
Karen Mulder in Iceland, Vogue, November 1990. Photo: Hans Feurer. Editor: Grace Coddington.

Iceland’s Vatnajökull National Park is one of the latest additions to UNESCO’s World Heritage List. In 1990’s “Polar Effects,” the Vatnajökull glacier and Jökulsárlón glacial lake co-star with supermodels Karen Mulder and Kirsten Owen, and two Vogue patterns.

Karen Mulder in Vogue 7849, Vogue, November 1990. Photo: Hans Feurer. Editor: Grace Coddington.

Both patterns are Very Easy designs. In the opening image, Karen Mulder’s unitard is made from an unspecified “shiny” stretch knit from B&J Fabrics. Kirsten Owen’s double-width dirndl skirt is silk taffeta from Jerry Brown Fabrics.

Kirsten Owen in Vogue 9813, Vogue, November 1990. Photo: Hans Feurer. Editor: Grace Coddington.

Patterns in Vogue: The Leather Forecast

Linda Evangelista photographed in V1175 at Stansted airport by Nick Knight, 1994. Editor: Camilla Nickerson.
Linda Evangelista at Stansted Airport, 1994. Photo: Nick Knight. Editor: Camilla Nickerson.

Nick Knight once photographed Linda Evangelista at London’s Stansted Airport in a Vogue minidress.

The pattern is Vogue 1175, a 5 Easy Pieces pattern, cut from white leather from Mystic Leather, NYC.

White looks right against a steely sky or industrial machinery…

Long synonymous with rough and rugged images, leather is being transformed into sleek, sexy shapes with a body-conscious fit (Left: Vogue Patterns; right: Marc Jacobs for Birger Christensen.) Vogue, October 1994 Photo: Nick Knight.
Linda Evangelista in “The Leather Forecast,” Vogue, October 1994. Photo: Nick Knight. Editor: Camilla Nickerson.

Patterns in Vogue: Pillow Talk

Dorothea McGowan in breakfast coat Vogue 9774, 1960 - "fresh, frothy, delicious - almost Victorian in feeling, even to the pale ribbon sash."
“Fresh, frothy, delicious” – breakfast coat worn by Dorothea McGowan in Vogue, May 1, 1960. Photo: Leombruno-Bodi.

This Galentine’s, a midcentury slumber party.

Leombruno-Bodi photographed three models, including Nena von Schlebrügge and Dorothea McGowan, in airy loungewear made from Vogue patterns.

Vogue 5032 and 9774 in Vogue, May 1, 1960. Photos: Leombruno-Bodi.

Left: Red polka dots printed on white cotton: brief panties, a top swung briskly from red ribbon shoulder straps. In Crown Soap n’ Water fabric. Centre: Candy-striped silk, slipping into a perfect fall from narrow, softly bowed ribbon straps. Pink and orange stripes skimming white silk; the ribbon, orange. A.P.Silk fabric. Right: White cotton batiste, embroidered with white medallions; single touch of colour, the trailing, sweet-blue ribbon. Emanuel Roth fabric. All ribbon by Century.

The patterns are Vogue 9774 and 5032, a ruffled breakfast coat and nightgown / short pyjamas and nightcap.

Late 1950s-early 1960s lingerie patterns Vogue 9774 and Vogue 5032 "Very Easy to Make"

Pattern images: Vintage Pattern Wiki, Pinterest.

Patterns in Vogue: Hutton Meets Warhol

Model reclines on a large Andy Warhol silver helium-filled pillow wearing a Vogue Pattern 6928 dress
Lauren Hutton with Warhol pillows. Photo: Gianni Penati. Image: flickr.

A Vreeland-era Vogue Patterns editorial shows Lauren Hutton with silver, helium-filled pillows by Andy Warhol, who would have been 90 this year.

Andy Warhol photographed by Stephen Shore at Silver Clouds, Leo Castelli Gallery, 1966
Andy Warhol at the Leo Castelli Gallery, 1966. Photo: Stephen Shore. Image: Phaidon.

The Mylar pillows were the stars of Warhol’s Silver Clouds show at the Leo Castelli Gallery in New York. (More here.) The patterns are Vogue 6733 and Vogue 6928, both “Easy to Make.” Shown in silver cloqué, the short dress was adapted as a dancing dress; the long dress was designed as a nightgown. (Regina Novelty earrings; Bernardo sandals. Hair by Marc Sinclaire.)

Happy New Year, everyone! All the best for 2019.

Lauren Hutton in Vogue, July 1966 Photo: Gianni Penati.
Lauren Hutton in Vogue, July 1966. Photo: Gianni Penati. Image: Youthquakers.
Lauren Hutton in Vogue, July 1966. Photo: Gianni Penati. Image: Youthquakers.

Vogue 6733 and Vogue 6928: 2 patterns worn by Lauren Hutton in Vogue, July 1966

Pattern images: Mrs. Wooster, Vintage Pattern Wiki.