Travilla Late 1960s African Influences

Travilla had not made It back to the Dark Continent since 1961, but he returned to it for inspiration for his 1967-68 collections. As busy as he was, he always felt the pull from halfway across the world, telling the L.A. Times in September 1969. "Did you ever hear of Jean Pierre Hallet? If I were anybody else, I'd want to be him--writer, adventurer, explorer, anthropologist. I've met and entertained nearly everybody--presidents, world leaders, and great stage and movie figures. I wish I could go to Africa or maybe Pitcairn Island."

Instead, he took a sabbatical closer to home in Oaxaca and Tehuantepec, Mexico. He frequently traveled to the country's mountainous regions where loincloths and headbands worn by primitive natives were the only fashion for hundreds of miles. "It's the only way I can live. Vacationing to me wouldn't be Paris or Rome or the make-believe world of Tinseltown. I want to go to the remote areas while still, a few are around.” Travilla was inspired by the simple shirts worn by the peons which inspired his Guayabera shirtdress.

A fluid column in heavy white crepe. African influence is reflected in the wide and high tribal collar effect achieved with self-cording that also borders the slashed neckline and falls free fring-style to the floor. Peeping beneath the fringe, a leg-revealing slit.

Beige wool crepe with self-cording placed high at the waistline for a young look. The cording is restated at the knee, covering the hemline and the rising, stand-away collar.

In October 1970, Joan Gilmore, fashion editor of The Daily Oklahoman, interviewed Travilla on the patio of his cliff-side Malibu residence and described his home as featuring “an eclectic décor of mementos from India and Africa plus crystal chandeliers and exquisite cut glassware.

"One wall is adorned with the stuffed heads of animals, a zebra skin rug is on the floor, and two chairs are upholstered in spotted cat pelts. Referring to his mementos, Travilla told her, 'I’m against killing animals as a prepared hunting safari. I think it’s rotten. No one could take me to Africa, put me in a blind to shoot a leopard in a prepared trap.'" She also noted that he lived with “his beautiful 19-year-old daughter Nia and his business partner Bill Sarris and that Travilla "is estranged from his wife."

Bright orange carpet and walls in the dining room set off the glittering crystal chandelier, while abacas-style decorations adorn the walls. The intricately carved table features a circular inlay of rare wood. (Relaid with marble at some point before being auctioned in 2013.)

Two paintings and a mosaic by Travilla.

Travilla with his pet panther Clarence poolside. “I really do relate my world of fashion to my world of animals. The woman I really adore is the woman who would be a tigress. Dogs and kitty cats are nice—but they don’t come on strong enough. I’m a firm believer in love. I have confidence in my animals—when I’m alone, not when other people are around. These big cats give love—a demonstrative kind of love—even with a bite.”

As he did in 1962 with the spearring, in he created jewelry inspired by that worn by the Samburu tribe. He introduced the "face leash," a jeweled rhinestone band worn across the forehead and chin, held securely by looping around the ears.

Diahann Carroll and Travilla on the set of Julia.

As before, Travilla used African-inspired costumes in both film and television. As the designer for Diahann Carroll’s new show, Julia, about a black widowed nurse raising a young son. Having the character making her own stylish wardrobe, it gave Travilla an opportunity to work his African influences in numerous times. That same season, TV Guide featured a layout of his creations worn by Julie Sommers, star of The Governor and J.J..