August 4, 2014 § 2 Comments
If you’ve been following my blog for a while, or are a connoisseur of 1950s sewing advertising, you’ve seen images from McCall’s mid-1950s “Make the Clothes that Make the Woman” advertising campaign. (See my earlier post here.)
I’ve found another ad from the campaign. The model is Jean Patchett, and the pattern is McCall’s 3635 —an “Italian drawstring top” and “saucy in-between-length Jamaican shorts” (click to enlarge):
May 12, 2014 § 5 Comments
(A late Mother’s Day post since I was under the weather yesterday.)
In honour of Mother’s Day, this models post is devoted to a mother and daughter who both modelled for designer sewing patterns: Nena von Schlebrügge and Uma Thurman.
Nena von Schlebrügge (b. 1941) was born in Mexico City to German-Swedish parents who had fled Nazi Germany. In 1957, two years after she was discovered by Norman Parkinson, she moved from her native Stockholm to London to pursue modelling, later moving to New York to sign with Eileen Ford.
Nena von Schlebrügge appears on a number of Vogue Pattern Book covers and Vogue patterns from the late 1950s and early 1960s.
Here she models one of Vogue’s first Dior patterns by Yves Saint Laurent—Vogue 1472, a skirt suit and full coat with big, shaped collar:
Von Schlebrügge can also be seen on Vogue 1484 by Madame Grès, a 3-piece ensemble that includes a voluminous coat with three-quarter sleeves, loose back panel, and elegant contrast lapels and lining:
Uma Thurman (b. 1970) is the daughter of Nena von Schlebrügge and her second husband, Robert Thurman. Born and raised in Massachusetts, Uma Thurman dropped out of her prep school there to pursue acting in New York City, where she worked as a fashion model before landing her breakout roles in Stephen Frears’ Dangerous Liaisons (1988) and Terry Gilliam’s The Adventures of Baron Munchausen (1988).
Here Thurman wears Simplicity 8054, a wrap dress with halter back and capelet sleeves, in classic red:
Here she models a pure ’80s LBD with big shoulders and flutter sleeves, Simplicity 8055:
Nena von Schlebrügge later became a psychotherapist and director of Tibet House and the Menla Center; Uma Thurman is an Academy Award nominee for her role in Pulp Fiction (1994). Thurman’s presence is already evident in her Simplicity patterns. Isn’t the family resemblance striking?
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:
August 23, 2013 § 23 Comments
The slogan for McCall’s Patterns in the mid-1950s was “Make the clothes that make the woman.” The advertising campaign with this slogan shows two identical women, one dressed in McCall’s pattern pieces, the other in the finished garment. It’s a charming campaign from the Golden Age of Advertising. Here’s a selection, in roughly chronological order:
This ad from 1956 shows the model enjoying a fresh strawberry at a party. (Could it be a strawberry social?) The pattern is McCall’s 3562:
The September ad shows Dovima on a trip to Paris, before a mustachioed gendarme. The pattern is McCall’s 3785 by Givenchy:
Another travel-themed ad shows McCall’s 3790 with some whimsically stacked luggage:
This 1957 ad featuring McCall’s 3952 shows a well-dressed tug-of-war:
This Valentine’s Day-themed ad appeared in Vogue’s March 1957 issue. (The pattern is McCall’s 3967.) The model is Suzy Parker:
This spring ad shows McCall’s 4046 by James Galanos:
In the ad for May 1957, the binocular-wielding model wears an “Instant” dress, McCall’s 4070:
This late summer ad looks forward to fall’s collegiate sports games. The design is by Claire McCardell, McCall’s 4208:
Within its variations on the playfully presented scene of leisure, the campaign conveys a visual reminder of one of McCall’s long-standing technologies: the printed pattern. (McCall’s had been producing printed patterns since the 1920s, whereas Vogue only introduced printed patterns in 1956—later outside North America.) Have you seen other ads from this McCall’s campaign?
February 8, 2013 § 5 Comments
The results of the Vintage Vogue 8875 giveaway are in! Thank you so much to everyone who entered and commented. The B5 size range goes to:
The F5 size range goes to:
Congratulations to the winners! I’ll be in touch by e-mail to get your mailing addresses.
Thanks again to Vogue Patterns for providing the patterns. If you’re new to my blog, you might be interested in my earlier post, How Do You Take Your Vintage Vogue?, for discussion of the Vintage Vogue pattern line since 1998 and changing approaches to vintage.
As it turns out, this is actually the second time Vogue S-4595 has been reissued. After I added my pattern to the Vintage Patterns Wiki, admin Petite Main noted that it was reissued in 1957 as Vogue S-4771:
If you have patterns you’re interested in sharing with Vogue Patterns, I’ve put together a special post with the details on the Vintage Vogue Search.
January 28, 2013 § 263 Comments
Last June a Vogue Patterns representative contacted me about borrowing a pattern from my collection, to be reissued in the Vintage Vogue line.
Because Vogue Patterns doesn’t have all their patterns archived, the company runs an ongoing Vintage Vogue search to find patterns for reproduction. (More details in pattern junkie’s post here.) I had e-mailed a few scans of my vintage, non-designer Vogue patterns (designer patterns are ineligible due to licensing issues) and they chose this 1950s Vogue Special Design:
The envelope description reads: One piece dress and redingote. Slim skirt joins the bodice at waist-line. Low, oval neck-line. Short kimono sleeves. Fitted redingote flared below hip-line. Shawl collar and detachable top collar. Tied closing at waist-line. Below elbow length sleeves cut in one with front and back.
Here are the original fabric suggestions:
Here is the new, reissued pattern, V8875:
The updated description reads: Misses’ dress, belt, coat and detachable collar. Dress has close-fitting bodice with side front/side back seams, inside belt, front pleated skirt, side zipper, and self belt with buckle. Fitted and flared coat has front extending into back collar, detachable collar, princess darts, hook/eye closure and tie ends. A and B: front and back cut-in-one with sleeves.
Recommended fabrics: A (dress): crepe, shantung and tissue taffeta. B (coat): wool crepe, flannel and worsted.
To celebrate the new Vintage Vogue release, I’m giving away two copies of V8875, one in each size range—B5 (8-10-12-14-16) and F5 (16-18-20-22-24).* To enter the giveaway, leave a comment below by midnight on Thursday, February 7th (deadline extended), and mention your preferred size range. (Size chart here.) The winners will be announced on Friday, February 8th. Good luck!
* Copies of V8875 courtesy of Vogue Patterns; worldwide shipping costs covered by me.
** This giveaway is now closed. Thanks to everyone who participated! **
August 21, 2012 § 7 Comments
It’s been a busy summer, and if you’re anything like me, you’re finishing up your summer sewing and preparing for fall. I’ll be posting some summer projects as soon as I have photos. In the meantime, I thought you might enjoy this 1959 ad from Acrilan’s “For an Active Life!” campaign: