July 30, 2012 § 4 Comments
This is the second of two posts on Gianni Versace’s Vogue patterns. (See the first post, on designs by Versace for Genny and Complice, here.)
Today, Gianni Versace may be best known for his flamboyant prints, colour, and embellishment, and designs that exploit the tactile qualities of materials like leather and metal mesh. Besides being celebrity-friendly, Versace was also a master technician and art connoisseur; his designs make myriad references to art history, especially the classical and baroque. His clothes flatter a woman’s curves; indeed, disliking standard mannequins, he designed his own based on the Venus de Milo.
Vogue’s Versace patterns were released from the late 1970s to the early 1980s. Here is a selection:
Vogue 2168 is a pantsuit and blouse modelled by Karen Bjornson and photographed by Patrick Demarchelier:
Clotilde models Vogue 2375, the draped trouser ensemble I featured in last year’s disco best-of:
Vogue 2534 is a colour-blocked wrap dress with handkerchief hem. I love the hybrid cami/draped bodice, which ties at the left shoulder:
Here’s the photo that was published in Vogue Patterns magazine; this shoot was also by Patrick Demarchelier:
(There’s a small size available at Miscellanium on Etsy.) This later campaign image shows Iman in a dress with similar bodice construction:
Vogue 2702 is a design for harem pants and a lavishly draped tunic with batwing sleeves and pointed back hem:
Here’s an editorial photo of Vogue 2702 from the holiday issue of the magazine:
Vogue 2702′s pleated harem pants make me think it could be from Versace’s Spring 1981 collection, shown in this campaign image by Richard Avedon:
As even this small sample of sewing patterns shows, Gianni Versace’s work was sui generis. It’s a special treat that the general period of the designer’s work covered by Vogue patterns yielded collaborations with prominent photographers including Guy Bourdin, Helmut Newton, Patrick Demarchelier, and Richard Avedon. (In 1986, Versace was the subject of a fashion photography exhibition at Paris’ Musée Galliera; see Christopher Petkanas, “A Dialog with Gianni Versace,” WWD, October 22, 1986.) Several of the Versace patterns give fresh takes on classical drapery, showing Versace’s gift for reinterpretation and innovation through a keen engagement with culture—both high and popular.
June 30, 2012 § 2 Comments
In the late 1970s and early ’80s, McCall’s licensed a handful of Bob Mackie designs for stretch knits. The summer heat always makes me think of disco, so here’s a selection of disco-era Bob Mackie patterns:
McCall’s 6838 is a long-sleeved wrap dress in two lengths:
Here’s the envelope description: Misses’ dress – for stretch knits only. Long or short wrap-dress (without side seams), softly pleated into front waistline has shoulder gathers and long sleeves. Shaped sash is tacked to right side seam.
The second pattern in the series, McCall’s 6839, is a dress that’s high-necked in the front but has a deep cowl in the back:
The envelope description reads: Misses’ dress – for stretch knits only. Low-backed dress in two lengths with shaped seaming has long sleeves, flared skirt, back zipper; softly draped bias collar snaps in back. Rhinestone trim is optional.
The third in the series, McCall’s 6840, is a halter dress with pleated cowl bodice inset and a shaped front hemline:
Here’s the envelope description: Misses’ dress – for stretch knits only. Back zippered halter dress in two lengths has flared skirt, shaped hemline with front slit; upper edge binding extends into ties. Loose, pleated cowl is included in side fronts only.
McCall’s 7134 includes a true disco jumpsuit—shaped at the waist with pleats and gathers, and with tapered legs designed to crush at the ankles. For extra fluidity, the pants and skirt have no side seams and are cut on the bias:
The envelope description reads: Misses dress and jumpsuit – for stretch knits only. Back zippered, fitted dress in two lengths and jumpsuit have slightly extended shoulders, low V-neckline, soft front waistline pleats and slight gathers in back. Dress has front slit with shaped hemline and pleated belt included in center back seam. Jumpsuit has purchased belt; length allows for crushing at ankles. Note: skirt and pants, cut on bias, have no side seams.
Interestingly, the McCall’s patterns pre-date Bob Mackie’s ready-to-wear line, which was launched in 1982. It’s difficult to find details on the designer’s work outside show business; Unmistakably Mackie, the catalogue from the Museum at FIT’s 1999 Mackie retrospective, focuses mainly on his costume work. The Bob Mackie patterns could be glitzed up or down depending on the sewer’s preference. I wonder whether they were designed exclusively for McCall’s?