The historical context behind a harlequin print revival indicates its subversiveness is perfect for times like these.
When London-based New Zealand fashion designer Catherine Boddy launched her label during the pandemic, one of the more distinctive pieces included was a mesh bodysuit featuring a patchwork of diamond harlequin
The launch coincided with the era’s unhinged mood where Gen-Z ushered in a chaotic and dystopian way of dressing that’s difficult to ignore. There is something appealing about dressing edging on delirium when the world is closing in, and a classic harlequin print is a surprising symbol of this.
Even Catherine’s collection of harlequin pieces reinforces the print’s unseriousness. Fingerless gloves, mini skorts, and a harness attached to detachable sleeves indicate a sense of irreverent dressing that is fitting with the times.
In a sea of straight-laced preppy stripes and too-twee polka dot prints, the harlequin print has an unconventional appeal. Everyone from David Bowie, Freddie Mercury, and of 90s cartoon icon Harley Quinn have worn the harlequin print, the latter now immortalised by Lady Gaga in the soon-to-be-released musical thriller Joker: Folie a Deux alongside Joaquin Phoenix.
Serving as an equally manic henchperson to The Joker, Gaga’s interpretation of Harley has noticeably filtered into reality. This past week alone she has been sighted promoting the film and release of an accompaniment album of campy theatre-kid covers entitled Harlequin, wearing a parade of outfits that incorporate variations of a classic harlequin print. It’s her nod to the tragi-comic figure of a court jester, the mischievous medieval clown Arlecchino who is synonymous with harlequin patches sewn together from scraps as part of the 16th-century Italian theatre movement Commedia dell’arte.
Another complementary harlequin-print-wearing figure that emerged from Commedia dell’arte is the Pierrot clown, a figure who combined frill necks with harlequin prints. Both characters represent a quiet sadness with the world, silently watching on in disillusionment. It’s partly why the print found popularity during those decades of emancipation and counter-culture - the 60s and 70s.
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Advertise with NZME.Highlights include a Pablo Picasso retrospective in 1962, the cultural impact of which hooked into the seminal work of fashion designers during that era including London disruptors Mary Quant and Biba; while the explosion of the Pierrot clown as a design on merchandise defined a certain romanticism during the late 70s and early 80s that shaped fashion’s penchant for the pie-crust collared blouses and harlequin print pieces worn by everyone from Princess Diana to Agneta Faltskog and Frida Lyngstad of ABBA.
And of course, you can’t look at the harlequin print without at least acknowledging how it has shaped so many of the late and great Dame Vivienne Westwood’s back catalogue of greatest hits. The harlequin print was employed by the designer as another way of celebrating her punkish design aesthetic.
In 1999, another British fashion design icon with an equally potent blend of dark humour and historical referencing, Alexander McQueen, included a geometric sequined harlequin jumpsuit styled with a mask and hat during his tenure as creative director of Givenchy.
The irreverence of a harlequin print has more recently been favoured by the likes of Harry Styles, whose custom Egonlab x Swarovski harlequin patterned jumpsuit worn to the 2023 Grammy Awards reminded us of why those that paved the way for him, from Bowie and Freddie Mercury, favoured the avant-garde symbolism a harlequin print communicated to the world.
When the late Queen Elizabeth turned up to The Royal Variety Performance in 1999 wearing a technicoloured harlequin sequin gown designed by Karl-Ludwig Rehse, it displayed the type of aristo-theatrics that comes with the way British do formal - panto with a dash of dry humour.
While some might be reticent to introduce a print that looks like it would have an entire department dedicated to it at Dangerfield, give it a chance; maybe consider investing in something bespoke ahead of party season. A harlequin’s upcycling roots alone should be enough inspiration to feed off.
If not, you may want to dip your toes into the harlequin print’s preppy cousin - the argyle print of Scotland. It’s safer, more traditional.
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Advertise with NZME.The harlequin print is an avant-garde way to incorporate dark humour into your wardrobe or interiors, because it also indicates something much more hopeful too; a smile-even-though-your-heart-is-breaking sentiment is what makes a harlequin print endearing.
Much like Gaga’s pair of Emilio Cavallini harlequin tights or the recent inclusions of harlequin dresses at Armani and Moschino, the harlequin print pieces for now haven’t veered too far from the personality the print has developed over time. In fact, Gaga’s unique Ida Immendorff harlequin outfit this past weekend could be something plucked from the desperate dancefloor of They Shoot Horses Don’t They?
But then again, those Great Depression punters were happy and sad at the same time too.
Viva Shops
From fashion to homewares, these harlequin-inspired pieces are ready to buy now.
A porcelain plate collectable perfect for displaying or incorporating into your next great tablescape ahead of the festive season.
For bedtime and lounging around at home, this harlequin print PJ set offers up plenty of fun and personality, made from 100% organic cotton voile - soft, breathable and ultra-comfortable.
Add a playful layer to sneakers and heels for a subtle nod to a harlequin print you can wear anytime, anywhere.
A striking statement print is best presented on an otherwise simple silhouette, and a linen smock dress is the sort of wear-anywhere piece you can rely on as we head into summer.
For something vintage, invest in the classic harlequin motifs that feature in many of Vivienne Westwood’s designs.
Dan Ahwa is Viva’s fashion and creative director and a senior premium lifestyle journalist for the New Zealand Herald, specialising in the intersections of style, luxury, art and culture. He is also an award-winning stylist with more than 17 years of experience and is a co-author and co-curator of the book and exhibition Moana Currents: Dressing Aotearoa Now.
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