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…
Have you seen the new summer patterns?
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.
This month in Galicia, the late Paco Peralta is among the artists whose work is on view in Visible (Visibility), a Pride Month exhibit curated by the photographer Daniel Agra.
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.
A Vogue pattern by Paco Peralta will remain on permanent exhibit at the Galician gallery.
Visible is at A Coruña’s CPS spazo gallery through the month of June.
Visible, Friday, June 7th to Friday, June 28th, 2019
CPS spazo, Avda Mallos, 1, 15007 A Coruña, Galicia, Spain
On now at the Montreal Museum of Fine Arts: Thierry Mugler: Couturissime, another blockbuster curated by Thierry-Maxime Loriot, the force behind the museum’s 2011 Gaultier show. (A previous Mugler show wrapped at FIDM last year. For more see Suzy Menkes’ interview.) The catalogue design is by Paprika, who also designed the Gaultier catalogue.
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.
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.
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.
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.
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.
Last week, it was announced that Demna Gvasalia is leaving Vetements, the label he founded in 2014. Vetements will continue under his brother, CEO Guram Gvasalia; the Georgian designer remains creative director of Balenciaga.
Left out of my Fall Vogues report were two Balenciaga adaptations.
The godet draped skirt is a permanent design, seen variously in different wool checks with a partial raw edge, and in current-season stretch wool twill.
As the check reveals, the godet is true bias at the inner edges. (Also at Farfetch.)
Here’s a fuchsia version from Pre-Fall 2019:
The stretch wool iteration was shown with a fluid silk blouse. (Also at Farfetch and net-a-porter.)
Vogue’s second Balenciaga-inspired design can be shortened from dress to top. (View A, not photographed.)
This one’s adapted from Balenciaga Fall 2018.
According to the Balenciaga webstore, the original was inspired by ice-skating. For knit fabrics with a lot of stretch.
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.
In the 1990s, Richard Tyler briefly designed for Anne Klein. It’s possible that an Anne Klein pattern or two showcases Tyler’s work.
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.
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.”
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.)
Vogue noted Gurung’s “sharp-yet-curvy, cherry-red pantsuit.”
The tulip-sleeve suit comes in many variations, such as zebra print, sequins, and an ecru check. The latter is a very fine houndstooth in stretch poly-viscose.
With a few tweaks you can sew the look, as worn by Beyoncé.
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.
It’s nearly the equinox: time for my Spring patterns report. As I mentioned back in December, I’ve been busy with other projects. I’m happy to share that my campaign to save Hanrahan’s, a historic Hamilton hotel turned tavern, was successful! (Read my latest op-ed | front page news | local news coverage.)
Huge thanks to now-retired columnist Paul Wilson, who first got the word out about this fascinating Edwardian hotel.
Recently, there’s also been some major pattern industry news. More on that in a moment — but first, a look at the first patterns of the decade.
Vogue’s second pattern by Richard René, the new designer for Laroche, is an oversized, colour-blocked pantsuit from the Spring 2019 collection.
Last June, British Vogue’s Venetia Scott paired the Laroche jacket with trousers by Issey Miyake.
From Rachel Comey, the Agave pantsuit, as worn for the Spring 2019 lookbook by Guinevere van Seenus.
Comey’s licensing with Vogue Patterns began in Spring, 2010. A decade later, the company finally gave the popular designer a catalogue cover.
Last fall, Zandra Rhodes celebrated her jubilee with a retrospective and catalogue from Yale University Press, Zandra Rhodes: 50 Fabulous Years in Fashion.
The new Zandra Rhodes pattern is a boho bias dress with contrast sleeve and hem flounces. Fine finishing details include narrow hems and a bias-bound neckline.
McCall’s has a fresh new logo for 2020, when the company celebrates its 150th anniversary. But thus far, no new designer patterns.
And this month, Britain’s IG Design Group Plc completed its acquisition of CSS Industries, the parent company of McCall’s and Simplicity. (Details at Design Group’s site and Business Wire.) CSS acquired The McCall Pattern Company in 2016 and Simplicity Creative Group in 2017.
Will Design Group revive Vogue Patterns Magazine, a storied publication that dates back a century, or divest the pattern side of the business entirely? Stay tuned for more coverage of McCall’s 150th and other milestones for 2020!
As a salute to our health care workers, this post is dedicated to vintage patterns for nurse’s uniforms.
1910s
During the First World War, McCall’s sold commercial patterns for war work, including nurse’s uniforms, as well as official Red Cross patterns.
Few of these antique patterns seem to have survived, but the Commercial Pattern Archive has the unisex Red Cross operating gown:
This illustration shows a nurse dressed for surgery in the gown, McCall Special R, and helmet Special S. (For more, see Patterns for the Great War.)
Nurses wore similar protective wear during the Spanish Flu epidemic of 1918-19. This archival photo shows a local Hamilton estate, Ballinahinch, that was donated for conversion to a hospital during the pandemic.
1920s
Twenties-era patterns for nurse’s uniforms always seem to include the cap. This design dates to circa 1921, just before McCall’s patented the printed pattern.
This drop-waisted uniform was still available two years later, but with a much higher hemline.
The Vintage Pattern Lending Library sells reproductions of this late 1920s design. Swap in a contrast Peter Pan collar and cuffs and it doubles as a maid’s uniform.
Andrea Cesari has several nurse patterns in her collection. The description for this one reads, “A uniform whose trim lines always look smart. The absence of fussy detail assures perfect laundering.”
1930s
This early ’30s uniform is similarly sensible. (View on Etsy.)
From Vogue, a late ’30s uniform that also includes a pintucked shirtdress:
1940s
During the Second World War, dressmakers could again sew Red Cross nurse’s uniforms, as well as commercial designs. This back-buttoned nurse’s uniform from Simplicity includes the apron, but not the cap.
As in the previous World War, Red Cross patterns were available from many companies. McCall’s and Simplicity both sold patterns for the Red Cross Volunteer Special Service Corps. Here, the envelope stipulates: “Must be made in poplin; veil may be made in chiffon, georgette, voile, or lawn.” This uniform was not intended for hospital workers.
The next year, the veil and white contrasts were gone. (Compare Cesari’s equivalent, Simplicity 4626.)
This McCall’s retail catalogue shows the Special Service Corps uniform with two other Red Cross patterns, with a note that they were only available by special order.
After the war, patterns for nurse’s uniforms return to their peacetime selves, fashionable yet practical — in this case with a three-piece shoulder pad. Do you have any uniform patterns in your collection?
In honour of Tartan Day, a Sixties Vogue Special Design for coordinates, shown in what looks to be the Munro tartan.
Alba gu bràth!
Do you remember Grace Coddington’s Amish editorial? From late summer, 1993, “The Great Plain” looks forward to Schitt’s Creek and today’s back-to-the-land trend. It also features two Vogue Sport dress patterns.
The Vogue team travelled to rural Pennsylvania for the shoot. In the opening spread and barnyard square-dancing sequence, Christy Turlington wears simple dresses, made up in cotton broadcloth from Sutter Textiles.
The patterns are Vogue 8293 and Vogue 8315, as edited by Vogue.
Have you seen the new summer patterns?
For Summer, 2020, Rachel Comey covers the Vogue Patterns lookbook for the second season in a row.
Like Spring’s Agave suit, the aqua and gold cover look is from Rachel Comey Spring 2019. The Amplus top features big puffed sleeves and overcast edge detail, while the New Joust trousers are high rise with a tapered leg. Both pieces were offered in a linen blend.
The second Rachel Comey design is the Frida jacket, seen here in cotton-blend seersucker. Ruffles abound on this fun, cropped jacket, including the raw-edged trim for the elbow cutouts.
The new Guy Laroche is from Fall 2018, the same collection as Winter’s V1666 pantsuit. The runway version better shows the seaming detail:
From Badgley Mischka, a pattern for the Belcanto dress. The duo’s Spring 2018 collection was inspired by Capri.
Triple-tiered tassels not included.
In terms of adaptations, there’s a version of The Row’s Abel blouse.
A maxi version opened the Spring 2019 presentation.
For Spring 2020, Oscar de la Renta designers Laura Kim and Fernando Garcia were inspired by the Dominican Republic. Margot Robbie wore their blue, wide-leg jumpsuit — bowless — on The Tonight Show in February. The moiré faille is a cotton-viscose blend.
It’s always nice to see current-season looks. The new Cynthia Rowley jumpsuit is from the Spring 2020 collection, which the designer presented on a Dr. Seuss runway near her new Tribeca headquarters. Rowley’s original is Tencel, a sustainable cellulose fibre. (View in webstore.)
Reviewing Rowley’s hometown Resort ’18 lookbook, I thought this dress looked sewist-friendly. Simplicity didn’t include it in their Spring lookbook, so I missed adding it to my previous pattern report.
For variations, add contrast trim, use a print, or make it a maxi with sequin appliqué.
Today is the 100th anniversary of Vogue Paris. To celebrate, here’s a decade-by-decade look at Paris and patterns from the 1920s to now. (Click the images for more.)
In the 1920s, designs by Chanel and other Paris couturiers were available from the McCall Pattern Company. (See my article in the new issue of Selvedge.)
In the 1930s, the Authentic Paris Pattern company sold French designs exclusively, like this ensemble by Schiaparelli.
Vogue joined the party with its Paris Originals in 1949.
In the 1950s, the company released its first Dior patterns, by the young Yves Saint Laurent.
The couture of André Courrèges caused a sensation in the 1960s. Courrèges didn’t license patterns, but that didn’t stop the American pattern companies from producing a wealth of knockoffs.
In the early 1970s, Yves Saint Laurent shook up the Paris couture with his ’40s-inspired Libération collection.
In the late 1980s, when Christian Lacroix left Patou for the prêt-à-porter, his Vogue patterns were conspicuously photographed in Paris.
John Galliano’s mid-1990s tenure at Givenchy signalled a massive shift for the Paris couture. This ready-to-wear design was available from Vogue Patterns.
Guy Laroche was the last, and longest running, label with Vogue Paris Originals. This suit from the aughts was designed by the late Hervé L. Leroux, formerly Hervé Léger.
Today, Vogue Paris Originals are no more, and you’re more likely to see versions of styles shown on the Paris runway, like this coat adapted from Sarah Burton for McQueen.
Unzipped, the groundbreaking fashion film, is 25 this month.
The 1995 documentary made Isaac Mizrahi a household name. (Read more at Vogue.com.) To celebrate, here’s a look at Mizrahi’s vintage Vogue patterns.
Born in Brooklyn, Isaac Mizrahi (b. 1961) started licensing patterns not long after showing his first solo collection. Vogue Patterns Magazine welcomed him to the Vogue Individualist line for Holiday ’88 with two patterns shown in sorbetto brights.
Even before Mizrahi received backing from Chanel, both Vogue and Vogue Patterns were champions of his work. This crisp Mizrahi shirtdress made the cover of the summer retail catalogue.
Vogue included a Mizrahi jacket pattern in the spring 1991 budget-dressing editorial, “Fit to Print.” The jacket was made in a double-faced wool plaid from New York’s Felsen Fabrics.
For Holiday ’94 — essentially the Fall-Winter ’94–95 season documented in Unzipped — Mizrahi designed what Vogue called a “mini-collection created especially for Vogue Patterns.” Several of these pieces were featured on the cover of the counter catalogue.
Vogue published a two-page article on the new Mizrahi patterns. The magazine had everything made up in silk lamé, wool jersey, and vinyl from B&J Fabrics.
Isaac Mizrahi patterns were available through Vogue Attitudes until the later 1990s. Mizrahi graduated to Vogue’s regular designer line in 1998 — the year he shuttered his label.
Yet the mid-teens saw another comeback for the designer, with both a return to Vogue Patterns and a retrospective exhibition at the Jewish Museum, New York, entitled Isaac Mizrahi: An Unruly History.
The new Vogue patterns for fall 2020 play with drape and texture for dropping temperatures. Plus, for those who like a challenge, there’s outerwear in luxe synthetics.
Both of Vogue’s cover looks are designer adaptations. (More on those later.)
The new Badgley Mischka was Fall 2019’s opening look, as worn by South-Sudanese model Ajak Deng. The sequinned pantsuit comes with a matching tie belt.
For his Fall 2019 collection, Laroche designer Richard René was inspired by the founder’s black marble tomb. The Guy Laroche ad campaign also featured Vogue’s selection: a high-necked dress for stretch knits.
The new Rachel Comey designs were shown together on the Fall ’19 runway. But Comey had sent out the Alter pants for Spring ’18, as part of a black suit.
The original Jaunt coat is turmeric solaric (a crinkle patent) with shearling collar and rib-knit cuffs.
One of Fall’s cover looks, V1717, is adapted from Gucci by Alessandro Michele. That season, the Gucci ad campaign highlighted a traditional garment district.
Instead of a Vintage Vogue, there’s a ’70s-style jumpsuit, also adapted from Gucci. Lana Del Rey wore a green version in the brand’s fragrance campaign for Cruise 2019. Michele used a wool-silk cady for both the original jumpsuit and playsuit variation. (View on the Gucci website: Navy jumpsuit | Gardenia playsuit.)
There are also tops adapted from Isabel Marant and LaPointe. Marant’s striped Bianca blouse, with bias cowl and shoulder flanges, made its first appearance in the cult designer’s very ’80s-inspired Fall ’19 collection. In a metallic stripe, it becomes the Ramone.
The LaPointe was shown in sweater and blouse variations, made in cashmere, viscose-polyester knit, and striped satin. Vogue adds a bias cut for drape.
This sleeveless McQueen midi dress dates to circa Fall 2015. Vogue’s version cuts the bodice, and optional sleeves, on the bias.
Vogue’s moto jacket cover look is also adapted from McQueen. Designer Sarah Burton first showed her extra-generous peplums in Spring ’18; her peplum biker jackets are belted, embroidered, or even made with a contrast drape.
Burton introduced the shorter version, in black or ivory, for Fall ’19. (There’s one left at Alexander McQueen online, or try Bergdorf’s.) Just add hardware.
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