March 13, 2015 § 4 Comments
Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.
From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:
Clifford Coffin photographed the dress in Paris for Vogue magazine:
According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):
Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:
Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):
Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:
The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):
Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:
Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:
Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:
The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:
Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:
Instead of the envelope’s location shot, Vogue published a studio photo of the dress:
Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:
Next in the series: Antonio del Castillo’s Vogue Paris Originals.
March 5, 2014 § 13 Comments
Schiaparelli was one of the eight couturiers who licensed designs for the first Vogue Paris Originals in 1949. Vogue’s first Schiaparelli pattern was a skirt suit with double pockets and one-sleeved blouse, Vogue 1051:
The suit was photographed in Paris by Clifford Coffin:
The photo that opens this post shows Vogue 1074, a Schiaparelli dress and shortcoat from Vogue’s fourth series of Paris Originals. The original coat was lined with astrakhan. (The suit on the right is Vogue 1076 by Jacques Heim.)
New Look curves characterize this Schiaparelli suit pattern from spring, 1950, which was photographed in Paris by Norman Parkinson. The short-sleeved jacket has rounded, stiffened hips, while the kimono-sleeved blouse buttons its curved fronts to one side. Vogue recommends making the blouse from the suit’s lining fabric:
Vogue 1133 is a vampy, short-sleeved dress with hip-enhancing pocket flaps and convertible collar at both front and back:
Arik Nepo’s photograph plays up the dress’ severity:
Vogue 1142 is a faux suit, an asymmetrical dress with a skirt front extension that creates the illusion of a jacket on one side. (Much like Galliano’s Givenchy jumpsuit, Vogue 1887.) The shaped projections of the big, rounded collar, skirt extension, and off-kilter double-breasted closure playfully destabilize the garment:
This Schiaparelli evening dress pattern, Vogue 1144, includes a petticoat and diaphanous kerchief. Look closely, and you can see that the oversized, decorative pockets extend almost the length of the skirt:
Here’s a closer look at Henry Clarke’s photo:
In 1952 Schiaparelli showed inverted heart necklines for spring; with its pointed, stand-away neckline and narrow shawl collar, Vogue 1179 allowed the home dressmaker to be right up to date. The cocktail dress closes with not one but two side zippers:
Vogue magazine showed an alternate photo by Robert Randall:
Frances McLaughlin photographed Bettina in Vogue 1198, a short evening dress with what Vogue called “a big pleated bandage—like an outside order ribbon” wrapping over one shoulder and around the waist. The original was made in black silk brocade:
Here’s a catalogue page for Vogue 1198, with illustration and alternate photo:
Vogue 1231 is a day dress with a single patch pocket and bloused bodice gathered to a dramatic convertible collar:
The dress was photographed in Paris by Robert Randall:
Finally, Vogue 1245 is a long evening dress with an attached stole that passes through the bodice front:
The stunning gown was photographed by Roger Prigent:
If you don’t have the budget for an original Schiaparelli pattern, a reproduction of the one-sleeved stole from Vogue 1068 is available from Decades of Style:
September 2, 2013 § 1 Comment
During World War 2, women engaged in wartime work could choose from a variety of sewing patterns for work wear. The array of coveralls available included the mechanic suit, a close cousin to the siren suit or air raid suit (see my earlier post here). This 1942 pattern from Simplicity shows a khaki version paired with a garrison cap:
(You can see a contemporary photo of View 1 at Unsung Sewing Patterns.)
Happy Labour Day, everyone!
January 25, 2013 § 2 Comments
Bomb Girls is back. For me, much of the show’s interest lies in its portrayal of women’s wartime fashions, both on and off the factory floor. One line of sewing patterns that I associate specifically with the Second World War is Weldons So-Easy patterns.
Founded in 1879, Weldon’s was England’s first major pattern company. The So-Easy line seems to have been introduced during World War 2. Weldons So-Easy patterns included a range of designs, from day wear to toys; the earlier women’s So-Easy designs tended to be available in only three sizes.
So-Easy patterns don’t bear copyright dates, but some include the war rationing notice, “Professional dressmakers are reminded that they must comply with the Making of Civilian Clothing (Restriction) Orders.” These measures were passed in 1942-43. (For the text and discussion see Cargo Cult Craft’s posts.) According to U.K. vintage dealer Tracy of Wickedlady Collectables, Weldons did not promote So-Easy patterns in their magazine, but the mention of purchase tax, introduced in late 1940, can also help with dating.
One thing that distinguishes wartime So-Easy patterns is their pinup-style illustrations straight out of Mrs Henderson Presents. Here is a selection of World War 2 Weldons So-Easy patterns, with an emphasis on lingerie.
This ‘Pretty Undies’ set includes a brassiere, full slip, and knickers with pointed yoke:
These ‘Slim Line Undies’—a full slip and knickers—are held in the National Trust Collections:
These ‘Simple Undies’ include a nightgown and slip with seam interest:
This pattern includes a bra and knickers in two styles, French and Directoire (bloomers), the last with interesting details:
This two-piece bathing suit with skirt was available in four sizes:
My personal favourite must be the Two-Way Siren Suit, an air raid coverall with options for a hood and gathered ankles:
For fans of Bomb Girls, which films in the Toronto area, it’s possible to visit some of the locations for the show. Victory Munitions and other sets were built in an old furniture factory in Etobicoke, while street scenes were shot in Hamilton. The Witham mansion is Oshawa’s Parkwood estate, the former home of General Motors founder R.S. McLaughlin. (Read an interview with the cinematographer here; download production notes here.)
December 31, 2011 § 5 Comments
This Christmas, while browsing my mother’s back issues of Vogue Patterns magazine, I was interested to see how the Vintage Vogue pattern line has evolved since its launch in 1998. Two repro patterns that were made up more than once for the magazine’s editorials are especially revealing of Vogue Patterns’ choices in promoting its vintage line. A look at the magazine’s different versions of these patterns seems the perfect opportunity for end-of-year reflection on different approaches to sewing—and wearing—vintage.
Vogue 2241, an early 1930s evening gown pattern, has been made up twice for the magazine. (See the pattern on flickr here.) This pattern is one of the earliest Vintage Vogues: it was released soon after the initial batch, which was photographed in black and white for the September/October 1998 issue.
The 1998 holiday issue’s “Vintage Vogue: Past Perfect” feature shows two evening designs, one Fifties, one Thirties, with an old-fashioned dressing screen. The headline promotes the ‘romance’ and timelessness of vintage, and the accompanying copy relates both designs to the “spare, romantic elegance of modern eveningwear,” but the shoot’s dress-up concept makes the garments look static and costumey. Here’s the first Vintage Vogue 2241, in washed silk charmeuse:
Six years later, the same design was remade for another holiday editorial, this one called “Vintage Nights.” This shoot features lush ‘vintage’ set design, with the model conveying a glamorous hauteur. The emphasis is more on dramatic style and interpretation: the headline reads, “Relive the glamour of a bygone era. Dressing for evening takes a cue from the past in Vintage Vogue.” Here’s the second Vogue 2241, this time in sueded silk charmeuse:
The second Vintage Vogue pattern, Vogue 2787, a Forties reproduction, is still in print. For its initial release in spring 2004, Vogue 2787 was made up in two versions, a printed and a solid silk charmeuse, each paired with a retro hat and gloves. The pattern was released with another Forties design, and the editorial gives a fairly direct rendition of Forties glamour; as the headline says, “Forties and still fabulous—take it from us, classic couture gets better with age.” Here are the first two versions of Vogue 2787:
A few years later, Vogue 2787 reappeared in a garden party-themed editorial of Forties and Fifties designs called “Well Cultivated Vintage Vogue.” (The cover shows a Fifties top from the same shoot.) The headline promotes the designs’ freshness and timelessness: “Firmly rooted in the elegance of the past, these perennial beauties make a perfect pick for today.” Vogue 2787’s next incarnation was made up in silk crepe de chine in a pink-dotted print:
And just this fall, Vogue 2787 opened a feature called “Beyond Vintage,” in which Vogue Patterns’ staff adapted and modernized their reissued patterns. Creative Director Jelena Bogavac updated the Forties dress by raising the hemline and altering both sleeves for an asymmetrical bodice. Here it is in iridescent green and pink velvet:
Has our thinking about vintage changed since the ’90s? When the two reissued patterns first came out, their straight period styling was appealing enough for me to get them both. Today I prefer the interpretation of the “Vintage Nights” shoot, and the updating and play of the fall vintage feature.
If you sew vintage, do you make it straight up, or with a twist? Do you adapt your style to accommodate vintage pieces, or make vintage adapt to you?
All the best for 2012!