Dressmaker Carol Horn, whose signature elongated designs and caftans caught on within the ’60s, died Thursday on the age of 86.

The sportswear designer had been under hospice care at Calvary Hospital on the time of her death, in line with her cousins Suzanne Horn and fashion publicist Sally Fischer in a joint interview.

Born in Brooklyn, Horn was an only child whose father worked within the housewares industry and whose elegant mother raised her to at all times put her best self forward. She bounced around to multiple schools, including the Calhoun School, Choate Rosemary Hall, Columbia University, Boston University and the Fashion Institute of Technology, amongst others.

A lifelong Upper East Sider, she began designing sportswear for juniors at Bryant 9 before venturing on to Benson & Partners and the Outlander Sweater Co. She created her own signature line for Malcolm Starr International and later opened her own company, Carol Horn’s Habitat, in 1974. The next 12 months Horn won a Coty award for Designer of the Yr — a precursor to similar awards which are now called the Council of Fashion Designers of America awards. In 1983, she debuted Carol Horn Sportswear.

An inveterate traveler who drew inspiration for her brightly coloured designs from her many global jaunts, Horn particularly enjoyed Asia, her cousins said. As a substitute of designer mentors, Horn relied on travel as her waterfall of inspiration, Suzanne Horn said. Africa was one other of her favorite destinations, as were South and Central America with Guatemala being of great interest. Horn jetted off to Como and Florence, Italy often for textiles. She introduced caftans to her collection within the ’60s — well before others did — and carried them on into the ’70s recognizing their ease, practicality and luxury.

“I feel she would design them today,” Fischer said, a nod to the silhouette’s longevity.

Former WWD fashion editor Bobbi Queen recalled Thursday how Horn was especially popular within the ’60s as a consequence of her designs in crinkled gauze that was sourced from India. The designer was integral to Henri Bendel on Recent York’s Fifth Avenue, a forerunner of multi-boutique specialty store shopping, at the moment. Saks Fifth Avenue was one other key stockist for Horn. In response to industry lore, buyers at Saks tried to iron the designer’s “great crushed look flat, before they learned that gauze was meant to be crinkled,” Queen said.

Stuart Kreisler, a former manufacturer who’s now a consultant, recalled Thursday that Horn had an office and showroom next to his. “She was very talented as her business was backed by Malcolm Starr, and Gil Aimbez was her assistant who went on to even be an awesome talent. She had an actual flair for sweaters and contemporary sportswear in earth tones.”

Even after retiring from fashion 25 years ago, Horn continued to be involved in the humanities — working as a jewellery designer, painter and a sculptor. At one point she collaborated with Anthropologie, making a series of paintings for the retailer and furniture as well. “She also did chairs — every thing that had a canvas on it,” Fischer said.

Very much about living within the moment and having fun with life, Horn was not introspective about what the legacy that she might leave behind may very well be. “I feel what she hoped would remain her legacy was actually her great style. But she really spent her time having fun with life. She traveled the world. I don’t think there wasn’t a continent that she didn’t travel to,” Fischer said. “She enjoyed horseback riding and the humanities. She was on the ballet on a regular basis.”

Known for being “ever here on a regular basis,” Horn was a daily at Studio 54 and an acquaintance of Andy Warhol’s. La Coupole’s opening was one in all many first nights she attended. The late designer Giorgio Di Sant’Angelo was amongst her nearest and dearest, and Calvin Klein, Perry Ellis and Cathy Hardwick were other friends. Friendly with Irving Benson and his wife Diane, a maverick retailer, Horn worked with them, too.

Her artistic inclinations and joie de vivre were evident within the colourful and spirited textiles she used for Carol Horn Habitat and wherever she designed. Keeping current, the fine-featured Horn continually modified her hairstyles through the years — embracing the massive, teased hair of the ’50s and evolving with each decade.