American Beauty: Pat Cleveland Reflects On Her Fashion Legacy
An icon celebrated as much for her groundbreaking editorials as her glamorous personality, Pat Cleveland reflects on the past, the future, and her September 1971 cover of L’OFFICIEL.
Photography Deirdre Lewis
Styled by Mecca James-Williams
L’OFFICIEL: You’re here today to celebrate your famous L’OFFICIEL cover shoot in 1971. What does it mean to you to be able to revisit this moment in your life?
PAT CLEVELAND: I’ve always lived in that moment. Arriving in Paris at 20 years old and being asked to pose for the magazine is one of the most spectacular things that has ever happened to me. Pierre Cardin was there the day of the shoot—it was such a surprise. It was also my first shoot in Paris, and when he walked into the room my heart was beating so fast. I wholly fell in love with Pierre; he was my idol. You know, I studied fashion and I wore his clothes as a 15 year old. To actually have him standing next to me...I could hardly imagine that a moment like that would happen to me. It was magic. And then when they shot me for the cover, wearing that Dior coat, I was in ecstasy. It was the most luxurious thing you could put on your body, and I just sort of melted into it.
L’O: What was the fashion world like when you shot the cover?
PC: At the time I was American coming over to Paris, and I was working with Antonio Lopez and Karl Lagerfeld, who were just coming up. The clothes reflected the changing times and the music in the streets. Before, fashion was just for ladies of society and movie stars. I remember when I was doing shows for big couturiers like Madame Grès and Schiaparelli, the room was completely silent and you carried a card; fashion was a private thing. Suddenly, everyone was beginning to have access to clothing and fantasy, and in the ‘70s there was this raw energy everywhere, like everyone was trying to find a space where they could express themselves through art and aesthetics, like Andy Warhol.
L’O: Regarding the evolving role of women in fashion and the workforce in general, what change have you been either most excited or grateful or furious about?
PC: Women have a lot to deal with. We feel vulnerable, and like we have to nourish the world, but at the same time there are doors that have been opened by the women who came before us to let us have an opportunity to express ourselves. They said: Yes, we can wear slacks. We can wear suits. We can smoke cigarettes. We can have a business. We can have a family and a business. We can go to school. We can be powerful, and we are very serious about our power. That doesn’t mean you have to give up your femininity. That’s why fashion is so important because it gives us a chance to blossom in that beautiful exterior way—as well as on the inside—no matter our DNA. Fashion can also be a tool—it helps to be modest when you need to be. You don’t want to run around like a bird with no feathers.
In the '70s there was this raw energy everywhere, like everyone was trying to find a space where they could express themselves through art and aesthetics.
L’O: Is there a certain garment or piece of jewelry that makes you feel
your best?
PC: My wedding ring. It was made by Dutch designer and it’s a simple ring, but I wear it with everything. As far as clothing goes, there’s a story behind every garment that was given to me. I feel sentimental toward and am very possessive of my clothes, but many of them are also being displayed in museums. So I’m very happy that they have served me and also now serve a purpose. Sometimes I’ll go to a museum and see my dress and then think, Oh, but I would like to wear you today. And then I’ll get very upset and just want to break through the glass and take it back to my house, but I have to let it go. I never in my heart let go of any beautiful dress that I’ve worn. It’s always in my heart.
L’O: What would you like to see happen in the fashion world over the
next 100 years?
PC: Oh wow. Everyone now is trying to go to the edge of outer space. I mean, I guess they’re going to have hostesses that need to dress appropriately. So I’d like someone to design something that lets your skin breathe, new fabrics that don’t hurt the planet, and clothes that will make you feel healed. I think healing is a very important part of dressing as well. You know, color vibrations and garments that make your body feel good. I think that’s the future.
L’OFFICIEL’s Centennial Issue is now available on newsstands and to order online here.
HAIR Junya Nakashima
MAKEUP Kuma
PRODUCTION Sarah Milil LILI STUDIOS
PHOTO ASSISTANTS Michel Oscar and Paula Andrea Poulsen
STYLIST ASSISTANT Raz Martinez
