July 25, 2014 § 5 Comments
Versatile and contemporary, jumpsuits and their cousins, playsuits and rompers, have become increasingly popular in the last few years. Jumpsuits—or all-in-ones, if you’re British—seem poised to move beyond a trend this summer.
The modern women’s jumpsuit has origins in two different garments: beach pajamas and the boiler suit. These twin origins mean jumpsuit styles range from fluid loungewear to utility-inspired or tailored designs. (See Vogue Italia for a short history of the jumpsuit.) Here are some favourite all-in-one patterns from the 1930s to the 1990s.
Beach pajamas, often worn with a matching bolero, had become one-piece by the early 1930s. This McCall’s design combines flowing trousers with geometric seaming details in the bodice and hip yoke. A reproduction is available from the Model A Ford Club of America:
The boiler suits of wartime utility wear are said to have made bifurcated clothing more acceptable for women. This Vogue pattern from ca. 1940 includes both a hooded mechanic suit with cuffed trousers and a more casual, short-sleeved version shown in a dotted print:
This early 1940s pajama ensemble with T-back halter bodice was not just for the beach—the envelope says it’s for “beach, dinner or evening”:
In the postwar period, more tailored jumpsuits emerged as a choice for casual sportswear. This early 1950s pedal-pusher coverall has cuffed sleeves and pants and a front zipper closure:
From the late 1950s, this trim, one-piece slack suit from Vogue came in two lengths and with a matching overskirt:
The jumpsuit—sometimes called a culotte or pantdress—truly comes into its own in the later 1960s. Here Birgitta af Klercker models Vogue 2249, a loungewear design by Emilio Pucci (previously featured in my goddess gown post):
In this late 1960s Butterick Young Designers pattern, Mary Quant combines a trim, zip-front jumpsuit with a low-waisted miniskirt for a sleek, futuristic look:
Both pajama and menswear-inspired styles continue into the 1970s. Famous for her palazzo pajamas, Galitzine designed this bi-coloured lounge pantdress with criss-cross halter bodice:
From Calvin Klein, Vogue 1453 marks a return to the boiler suit style. With cargo pockets, self belt, and wide, notched collar, the jumpsuit could be made long or short, with long or short sleeves:
This Bob Mackie disco jumpsuit or evening dress pattern for stretch knits dates to 1980. (See my earlier Bob Mackie post here.) The jumpsuit has a plunging neckline, waistline pleats, and tapered, bias pants designed to crush at the ankles:
An instance of the late 1980s jumpsuit trend, this shirtdress-style jumpsuit by Donna Karan has a notched collar, welt pockets, and cuffed or seven-eighths length kimono sleeves:
Also by Donna Karan, Vogue 2609, ca. 1990, is a long-sleeved, tapered jumpsuit for stretch knits with neckline variations, front pleats, and stirrups. View C has a contrast bodice with self-lined hood:
From 1996, Vogue 1821 by DKNY is almost vintage. It’s a novel suit consisting of a single-breasted jacket and wide-legged, halter jumpsuit:
Finally, this pattern is not yet vintage, but a jumpsuit collection would be incomplete without Vogue 2343, Alexander McQueen’s tailored, tuxedo jumpsuit for Givenchy haute couture Spring/Summer 1998 (earlier post here):
With their demanding fit, jumpsuits are ideal for home sewers. And they’re not just for the tall and leggy: many of the later jumpsuit patterns are marked as suitable for petites.
July 15, 2014 § Leave a comment
The results of my random number generator are in! The lucky number is 20, and the winner of my blogiversary giveaway of a choice of 5 PatternVault e-booklets is:
Congratulations, Rachelle! I’ll send you an e-mail with the details on claiming your e-booklets.
Thank you so much to everyone who entered the giveaway. Thanks especially for all of your kind regards, suggestions, and feedback! The most-mentioned favourite post types/topics were the designer histories and vintage hats and accessories. You can expect more pattern history and millinery in the coming months.
As a thank you to all of you, I’m having a flash sale in my Etsy shop through this Sunday, July 20th—25% off with coupon code YEARTHETHIRD.
July 11, 2014 § 36 Comments
To enter, leave a comment mentioning what you’d like to see more of on the blog. The giveaway closes Monday, July 14th at midnight EDT. The winner will be chosen at random and announced this Tuesday, July 15th.
July 1, 2014 § Leave a comment
In celebration of Canada Day, this models post is devoted to Canadian supermodel Linda Evangelista.
Born in St. Catharines, Ontario to Italian-Canadian parents, Linda Evangelista (b. 1965) was discovered by a scout from Elite at the 1981 Miss Teen Niagara beauty contest. (She didn’t win.) At eighteen she signed with Elite and moved to New York and later, Paris. Evangelista became one of the world’s most successful and influential models, especially after Julien d’Ys cut her hair short in 1988. (More on Voguepedia.)
Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.
The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:
She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):
Evangelista’s work with Vogue Patterns was for the Paris Originals line. Here she models a popular, pleated wrap dress by Emanuel Ungaro, Vogue 1799:
Evangelista can be seen on a number of Yves Saint Laurent patterns. Vogue 1720 is an elegant dress with blouson bodice and wide, bias roll collar. The pattern includes the contrast sash:
Here Evangelista shows off advanced-class colour blocking in Vogue 1721, a Nina Ricci pattern for a dramatic hooded blouse, mock-wrap skirt, sleeveless top, and sash:
This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:
Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:
In the mid-1990s, Evangelista’s runway work for Yves Saint Laurent reached home sewers on Vogue pattern envelopes. From the YSL Rive Gauche Spring 1996 collection, Vogue 1862 is a pattern for cropped jacket, blouse, and high-waisted pants (see a detail shot on firstVIEW):
Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:
Happy Canada Day, everyone!
June 17, 2014 § 5 Comments
Ascot begins today. To celebrate, this post is dedicated to commercial patterns by the late milliner to the Queen, Frederick Fox.
(Last year I featured a free pattern for a Stephen Jones hat; see it here.)
Born in Australia to a large family, Frederick Fox (1931-2013) showed an early interest in millinery, refashioning hats for his mother and five sisters in rural New South Wales. After training with several milliners in Sydney, in 1958 he moved to London. By 1964, Fox had taken over Langée to open his own salon.
Fox’s royal commission for Queen Elizabeth II grew out of his work with Hardy Amies in the mid-1960s. Shortly before this commission began, he designed the white leather crash helmets in Stanley Kubrick’s 2001: A Space Odyssey (1968). Fox was known for his witty designs, made with fine materials and great technical skill; he is credited with inventing the fascinator. (For more on Frederick Fox, see the recent D*Hub article and Stephen Jones’ reminiscence for British Vogue.)
In the mid- to late 1980s, Frederick Fox millinery patterns were available from Style Patterns. Frederick Fox patterns display the Royal Warrant,* which he held from 1974 until his retirement in 2002.
Style 4788 is a pattern for bridal headpieces and veils. Included are both double- and single-layered veils, attached to three bases: a rose circlet edged with Russian braid, a beaded Juliet cap, and a twisted fabric headband. (The rose circlet may be worn alone.) View 1 was photographed with Style 4787, a bridal gown by Murray Arbeid, Fox’s companion of over 50 years:
Style 1072 is a pattern for a set of hats, including a beret, a turban, and a turban headband:
Do you remember the ’80s hair ornament trend? Style 1157 is a pattern for a set of hair ornaments: a rosette with attached veil, a hair slide with large or small bow in 2 fabrics; and a headband with 2-fabric bow with optional diamante trim:
Style 1249 is a unusual for offering a set of bridal hats: a hat with attached veil and narrow brim turned up at the back, and two wide-brimmed, crownless hats (both attached to headbands):
The original owner of my copy of Style 1249 had enclosed magazine pages showing these bridal designs; the text reads, “Head Turners: Hats for that special day by Frederick Fox exclusively for Style.” It may be that, like McCall’s designer patterns in the 1950s, these hats, veils, and headpieces were designed especially for Style Patterns.
* The Queen’s current milliner Rachel Trevor-Morgan is the only milliner on the current list of warrant holders.
June 15, 2014 § 5 Comments
It’s been some time since Vogue offered designer menswear patterns. In the 1970s and 1980s, home sewers could choose from licensed designs for everything from men’s shirts to outerwear and three-piece suits. In celebration of Father’s Day, here’s a selection of vintage menswear patterns from Vogue Patterns.
Vogue introduced designer menswear patterns in the early 1970s with designs by Bill Blass and Pierre Cardin. From Cardin, Vogue 2918 is a double-breasted coat in two lengths:
1975 saw the release of some his-and-hers Valentino patterns. Vogue 1180, a men’s jacket and pants pattern, was photographed with a women’s Valentino ensemble, Vogue 1178:
Polo by Ralph Lauren was introduced to Vogue customers in the summer of 1975. The safari-style Vogue 1237 and 1238 were photographed in India:
Also by Polo Ralph Lauren, Vogue 1581 is a double-breasted trench coat with detachable lining:
This Christian Dior shirt-jacket and pants is the only men’s Dior pattern I’ve seen:
This snappy three-piece suit is by Bill Blass:
There were two menswear patterns by Yves Saint Laurent: safari suits photographed by Chris von Wangenheim (see Paco’s related post here):
Givenchy licensed a trim three-piece suit, Vogue 2112:
In 1979 the company released a trio of menswear patterns by Calvin Klein—separate patterns for a shirt, jacket, and pants. Vogue 2256 is a pattern for slim, tapered men’s pants; view B is low-rise and flat-front:
The menswear releases tapered off in the 1980s. 1980 saw the release of two Bill Blass men’s patterns, for a three-piece suit and close-fitting shirt:
In 1988 Vogue released three menswear patterns by Perry Ellis, for a jacket, shirt, and pants. Vogue 2207 is a loose-fitting jacket:
Just for fun, I’ll close with this Pierre Cardin robe and pajamas, which included a logo appliqué:
With menswear sales catching up with womenswear, perhaps Vogue Patterns will capitalize on this trend by restoring menswear to its designer licensing. I’d be first in line for a Saint Laurent pattern…
Happy Father’s Day!
June 13, 2014 § 7 Comments
When I first started collecting sewing patterns, Naomi was baffled. She couldn’t understand my interest when the styling on modern pattern envelopes was bland or worse. This new, occasional series looks at designer patterns that fail to convey the strengths of the original—not as an end in itself, but in the hope of provoking reflection and discussion of the frequent disparity between designer fashion and the licensed versions offered to home sewers.
(You can see an earlier discussion in the comments on my Alber Elbaz post.)
Launching the series is Vogue 2893, a top and skirt pattern by Donna Karan from 2006. The off-the-shoulder, back-laced ensemble is drawn from Karan’s Spring/Summer 2005 collection, and was the centrepiece of the Peter Lindbergh advertising campaign starring Erin Wasson.
The look was even chosen to open the Spring 2005 runway presentation. The second photo shows the top’s contrast mesh inserts, elasticized shoulders, and decorative zigzag stitching detail:
Now consider the pattern envelope:
The envelope replaces the original’s bared shoulders, open back, and slight flare at the hips with a much higher décolletage and tightly laced back. The result is a more covered-up, middle-of-the-road, body-con look that lacks the original’s confidence and wit.
What do you think? Did Vogue Patterns assume the original styling wouldn’t appeal to their customers?