October 9, 2015 § 2 Comments
Anticipation is high for Star Wars Episode VII: The Force Awakens, which opens in December. For fans of costume design, it helps that Michael Kaplan, who began his career with Bob Mackie and Blade Runner (1982), is designing the costumes for the new film. (Read Vanity Fair’s post here.) Here’s a look at Star Wars costume patterns.
Star Wars’ costumes must be among the most discussed in cinema. In 2005, LA’s Fashion Institute of Design & Merchandising (FIDM) organized the exhibit Dressing a Galaxy: The Costumes of Star Wars, accompanied by a book by Trisha Biggar, the costume designer for the prequel trilogy (Abrams, 2005; still in print). Last year saw the publication of Brandon Alinger’s Star Wars Costumes: The Original Trilogy (Chronicle Books, 2014). And a new travelling exhibit, Rebel, Jedi, Princess, Queen: Star Wars and the Power of Costume, will open in New York next month.
John Mollo’s costumes for Star Wars, which won an Academy Award in 1978, have immortalized a certain strand of ’70s style. Compare Princess Leia’s iconic hooded dress with a 1976 Dior evening gown available as a Vogue pattern; both were made in white silk crepe de chine:
(I’ve made the Dior in red; photos coming soon.)
The year after The Empire Strikes Back (1980), McCall’s began releasing children’s costume patterns licensed with Lucasfilm.
McCall’s 7772 includes costumes for five characters from the first two films: Chewbacca, Princess Leia, Yoda, Jawa, and Lord Darth Vader. The Vader view calls for one single serving cereal box. I have several sizes available in the shop:
After Return of the Jedi (1983), McCall’s released a children’s pattern for Ewok costumes. And not just any Ewok: the envelope back names “Wicket the Ewok”:
In the 1990s, Butterick took over the Lucasfilm licensing. Butterick 5174 and 5175, official Princess Leia and Luke Skywalker costumes for adults and children, included an order form for the wig and light sabre:
Butterick also released two official Darth Vader costume patterns for children and adults. Butterick 5176 and 5186 included instructions for breastplate appliqués made from coloured, foam sheet remnants, and an order form for the helmet and light sabre:
There were only unofficial costume patterns based on the prequel trilogy. The year of Episode I: The Phantom Menace (1999), McCall’s released McCall’s 2433, a “Space Nomads” pattern for adults and children with a version of Sith warrior Darth Maul:
Based on costumes from Episode II: Attack of the Clones (2002), Simplicity 4433 includes Padmé Amidala’s combat suit, which doubles as an Aayla Secura costume (but two-sleeved and without the headpiece):
Although Padmé’s Peacock dress was cut from Episode III: Revenge of the Sith (2005), it was widely seen in promotional materials for the film:
Andrea Schewe produced two versions of the Peacock dress and headddress for children and adults, Simplicity 4426 and Simplicity 4443. The adults’ pattern includes both Padmé and Princess Leia, while the children’s has Leia, Padmé, and young Anakin and Obi-Wan:
Men’s costume pattern Simplicity 4450/059 includes Anakin and Obi-Wan Jedi costumes, together with an unidentifiable warlock:
Based on Padmé Amidala’s nightgown in Revenge of the Sith, McCall’s 4995 is a dress with boned bodice, separate drape, chain or bead trim, and tassels made with three sizes of beads:
Now that Disney owns Lucasfilm, perhaps there will be more licensed Star Wars patterns…
August 11, 2015 § 2 Comments
“It’s a Long Story…” is a 1996 editorial by Mario Testino featuring Nadja Auermann, Kylie Bax, and Chandra North in the season’s long, lean silhouettes. Two photos in the editorial show a Vogue dress pattern.
The first is a detail shot showcasing the Chanel cosmetics and Judith Leiber minaudière. Auermann’s white, viscose jersey dress is Ralph Lauren Collection, while Bax’s “black reversible-to-blue column dress” was made from a Vogue pattern:
The second photo shows the minimalist dresses in full length. The caption reads, “Although they lean to the glamorous, this season’s matte-jersey dresses are essentially spare, understated designs”:
The pattern is view C of Vogue Easy Options pattern Vogue 9469, as always “edited by Vogue.” The edits seem to consist of lengthening the dress to below ankle length, making it reversible, and removing the back slit for a hobble silhouette. (Jersey from New York’s B&J Fabrics.)
July 1, 2015 § 5 Comments
In celebration of Canada Day, this post is devoted to Canadian fashion designer Lida Baday.
Lida Baday (b. 1957) was born to a dressmaker mother in Hamilton, Ontario. A graduate of Ryerson’s fashion design program, she worked for different companies in Toronto’s garment district before founding her own label in 1987. (Read bios here and here; see tear sheets here.) Baday soon won international success with her sophisticated, minimalist designs in luxurious fabrics such as wool jersey. Although her company closed its doors last year, The Fabric Room, which sells its surplus textiles, is still open to the public.
In the 1990s, Lida Baday designs were available through McCall’s patterns, beginning with two patterns in the November 1992 catalogue. McCall’s 6255 and 6257 are patterns for a skirt suit and separates including a flared, hooded coat:
McCall’s 6855 is a pattern for a bolero and sleeveless sheath dress in two lengths. The longer version has a high slit with underlay:
McCall’s 8256 includes a long, double-breasted jacket, a short, cap-sleeved top, and wide-legged pants:
This 1997 design for an oversized shirt, pants, and cropped leggings for stretch knits could be new today:
McCall’s 8823 is ’90s-minimalist perfection with its fitted tunic with narrow straps, slim pants, and low-backed, sleeveless dress with mock back wrap:
McCall’s 9371 includes a sleek halter top for stretch knits and a short, wrap skort:
The long, stretch-knit dresses in McCall’s 9379 are both ’90s and classic:
Just for fun, here are some more Fashion magazine covers featuring designs by Lida Baday:
Happy Canada Day, everyone!
June 16, 2015 § 4 Comments
Patricia Underwood (b. 1947) was born near Ascot in Maidenhead, England. After moving to New York City in the late 1960s, she took a millinery course at FIT on a whim; by 1976 she had founded her own company. Underwood is known for minimalist, updated versions of traditional hat styles.
As well as designing for her own label, Underwood has designed hats for major American designers such as Bill Blass, Perry Ellis, Marc Jacobs, Donna Karan, Calvin Klein, Ralph Lauren, and Oscar de la Renta. The milliner has also designed for film and theatre. Her career is the subject of a new book, Patricia Underwood: The Way You Wear Your Hat (Rizzoli, 2015).
Patricia Underwood has had a licensing agreement with Vogue Patterns since the mid-1990s. The earliest Patricia Underwood pattern I’ve seen is Vogue 9082, a pattern for five lined hats and two ascots. View A has a contrast under-brim in faux fur:
Vogue 9207 includes five hats and a shawl. Views A and B have Underwood’s signature broad brim, while view E is a turban for stretch knits:
Bridal millinery pattern Vogue 7242 has a variety of headpiece and veil combinations, as well as a headband, hair ornament, and floral wreath:
Vogue 8844 includes four day styles of hat; View A may be worn like a trilby, with upturned back brim. The recommended fabrics are nylon, ripstop, velvet/velveteen, tweed, wool/wool blends and synthetic suede:
Recent pattern Vogue 8891 includes five more formal styles, all lined in tulle: a cloche, wide and smaller brim hats, and a fascinator (view C) like a miniature pork pie hat. This pattern is still in print:
May 15, 2015 § 1 Comment
If Alexander McQueen’s innovative prints reveal his interest in technology, the designer’s work with tartan shows his engagement with history. Continuing our celebration of Savage Beauty at the V&A, this post looks at McQueen’s use of tartan. (See Part 1: Prints, or my roundup post here.)
The MacQueen clan tartan appears extensively in the designer’s breakthrough collection, Highland Rape (Fall 1995). The collection—which used Lochcarron tartan and lace found in Brick Lane—was a highly personal response to the violence of the Highland Clearances and fashion’s appropriation of Scottish culture (watch Tim Blanks’ show video here):
McQueen also used his family tartan at the house of Givenchy. In his second couture collection, Eclect Dissect (Givenchy haute couture Fall 1997), which was built on the idea of a mad scientist, the McQueen tartan was cut on the bias for tailored pieces overlaid with black lace:
The McQueen tartan reappears the following year in Joan (Fall 1998). Named for Joan of Arc, with an opening soundtrack of burning wood and runway covered in cinders, the collection thematized martyrdom, with the McQueen tartan referencing the execution of Mary, Queen of Scots (see Constance C.R. White, Review/Fashion, and Kate Bethune’s note; full collection at firstVIEW):
McQueen also worked with other tartans. The check pattern might be manipulated to appear blurred or bleeding, or it could be overlaid or embellished as in Eclect Dissect. In The Overlook (Fall 1999)—named for the haunted, snowbound lodge built on a Native American burial ground in Stanley Kubrick’s The Shining (1980)—a long, grey tailcoat was lined with tartan to match loose trousers, and an overlaid tartan jacket was paired with a balloon skirt in a large blanket check with tartan accents (full collection at firstVIEW):
McQueen’s 1960s-inspired collection, The Man Who Knew Too Much (Fall 2005), included bias-cut separates in a wool ombré check, together with a black, white, and pink check party dress covered in beaded fringe:
The Girl Who Lived in the Tree (Fall 2008), a fanciful narrative of the British Empire, had several bias-cut pieces in a black, white, and red tartan, and two coats in a grey mohair tartan for a bleeding effect:
There were several pieces in the McQueen tartan in Alexander McQueen’s Fall 2006 menswear collection, which was inspired by vampire movies Bram Stoker’s Dracula (1992) and Interview With the Vampire (1994). Vogue editor Hamish Bowles wore the appliquéd kimono-and-pants ensemble to the Costume Institute gala in 2011 (see the collection and read Tim Blanks’ review on style.com; video at AlexanderMcQueen.com):
The same season, McQueen returned to Scottish history with Widows of Culloden (Fall 2006), a romantic collection commemorating the final battle of the 1745 Jacobite Rising. The show invitation had the title in Gaelic: Bantraich de cuil lodair (see Kate Bethune on Widows of Culloden). As in the Givenchy couture, the McQueen tartan was cut on the bias, embroidered, and trimmed with lace and tulle (click to enlarge):
For more see Jonathan Faiers, McQueen and Tartan, and Ghislaine Wood’s essay, “Clan MacQueen,” in the V&A catalogue.
Like other traditional tartans, the McQueen tartan can be ordered from Scottish textile mills in different weights and fibre contents. (It’s often listed as ‘MacQueen.’) Alexander McQueen used tartan from Lochcarron, a mill established in the mid-nineteenth century in the Scottish highlands.
As a memorial to the late designer, Scotweb owner Nick Fiddes designed a mourning version of the MacQueen clan tartan.
What would you make in the McQueen tartan?
Sourcing Tartan Fabric
- Lochcarron has an online shop; Lochcarron tartans are also available through Mackenzie Frain and other suppliers.
- My swatch is from the Scottish Tartans Authority.
- The House of Edgar’s MacQueen Modern tartan is available from the mill’s retail site, tartankilts.com.
- If you prefer ordering locally, many Scottish shops stock fabric and can special-order tartans they don’t have in stock.
May 11, 2015 § 5 Comments
As part of this blog’s celebration of Savage Beauty in London, I’ll be devoting two posts to Alexander McQueen fabrics. (See my earlier roundup post here.) First: a look at McQueen’s distinctive prints.
McQueen’s fellow Central Saint Martins student Simon Ungless, who went on to become director of the School of Fashion at San Francisco’s Academy of Art University, designed the barbed hawthorn print in McQueen’s graduate collection, Jack the Ripper Stalks his Victims (Fall 1992; interview here. Oberto Gili photographed Isabella Blow in the coat for British Vogue.) Ungless also designed the swallow print in The Birds (Spring 1995):
Freelance print designer and Central Saint Martins Textiles tutor Fleet Bigwood designed fabrics for Alexander McQueen’s first three seasons. (See Fleet Bigwood: Breaking the Rules at Texprint, or the BBC’s Blast videos.) The top in this ensemble from Nihilism (Spring 1994, McQueen’s third collection) was printed using an iron filing paste that was rusted through exposure to air and salt water (see Louise Nutt on Pinterest; full collection at the Fashion Spot, or video here):
In 2002, immediately after presenting his award-winning Central Saint Martins graduate collection, Jonathan Saunders was hired to design prints for Alexander McQueen’s Spring 2003 collection, Irere. Working with designer Christopher Pearson—a member of the Alexander McQueen design team from 2001 to 2006 and a founding member of the company’s fashion print department—Saunders produced Irere’s celebrated Bird-of-Paradise prints (see the V&A on Irere):
The following year, Pearson co-designed the Alexander McQueen skull scarf with Jennefer Osterhoudt, who was head of accessories for McQueen at Givenchy and later at Alexander McQueen. The pattern is based on a skull scarf found in Camden Market:
For McQueen’s later collections, the prints were produced by a team of designers that included textile design interns who might be hired back after graduation. From 2006 to 2011, the company’s head print designer was Central Saint Martins graduate Holly Marler, who is now head of embroidery, fabric, and print design at Temperley London.
Lilly Heine, now head of print fabric development at Dries Van Noten, interned with Jonathan Saunders and later Alexander McQueen as a textiles student. (See her profiles in the Frankfurter Allgemeine [German only] and the Independent.) During her internship at Alexander McQueen, Heine designed some prints for La Dame Bleue (Spring 2008). The collection’s rainbow bird-of-paradise print appeared on several looks including the feather-collared Bird of Paradise dress—recently worn by FKA twigs to perform at the V&A’s Savage Beauty gala:
Torunn Myklebust, today a senior print designer at Givenchy, also did a textile design internship at Alexander McQueen. As an intern, Myklebust worked on prints for Natural Dis-Tinction Un-Natural Selection (Spring 2009), and she rejoined the company in late 2009. (Read an interview in Natt&Dag [Norwegian only]; see Myklebust’s tumblr.) The wood-grain digital print from the Spring 2009 collection was later used for the endpapers of Andrew Bolton’s Savage Beauty catalogue:
In her review of the Spring 2009 collection, Sarah Mower identified engineered prints as a trend out of London: “bright, multicolored allover prints, engineered to fit around jackets, leggings, and cocoon dresses—new on the Paris runway, but also part of a general trend emanating from London’s young designers.” The Spring 2009 advertising campaign, shot by Craig McDean, features a jacket and leggings in one of the collection’s crystalline digital prints:
In her Savage Beauty interview with Tim Blanks, Sarah Burton discusses McQueen’s meticulous design process when working with patterned fabrics such as prints or jacquards. From Fall 2009 on, McQueen would drape the initial design using a rough version of the fabric, with the team producing miniature, 3-D paper dolls to show the pattern placement. When a working version of the fabric was ready, he would finalize the pattern placement on a mannequin, after which the print or jacquard would be re-adjusted to match at the seams. Only then would it be sent into production. (See Andrew Bolton, Alexander McQueen: Savage Beauty, pp. 229-30.)
Frederic Alexander, who worked as an assistant to Holly Marler and now designs for his own label, Saint Etienne, worked on prints for Alexander McQueen’s Pre-Fall 2009 and Fall 2009 collections. The Escher-inspired magpie houndstooth print recalls Simon Ungless’ swallow print:
Advances in inkjet technology enabled the thirty-six circle-engineered digital prints in Plato’s Atlantis (Spring 2010). (For further technical discussion of textiles in Plato’s Atlantis, see the Savage Beauty section of the Alexander McQueen website.) Freelance textile designer Chinsky Cheung interned at Alexander McQueen and returned to the company for several collections, including Plato’s Atlantis. In an article published in Hong Kong’s Milk magazine, she shows aspects of the design process including pattern placement:
(For more scans see Augustine Wong’s post, The Queen of the Prints.)
The Fall 2010 menswear (An Bailitheoir Cnámh – the Bone Collector) and women’s Pre-Fall 2010 collection had the same catacombs print:
The textiles in McQueen’s posthumously presented Fall 2010 collection (known as Angels and Demons) were patterned with digitally manipulated images drawn from early religious painting and sculpture. (See Dazed Digital and the V&A on the collection.) Some of the patterns were not prints but jacquards, while the reworked Old Master prints looked back to pieces like the Fall 1997 Campin crucifixion-printed jacket:
For more on digital prints, see the webpage for the Phoenix Art Museum’s 2013 exhibit, Digital Print Fashion (more in Corbin Chamberlin, “Phoenix Art Museum Embraces New Technology with ‘Digital Print Fashion’ Exhibit“). If you’re interested in designing your own digital prints, Kathryn Brenne recently wrote a primer for Vogue Patterns magazine’s February/March 2015 issue, and textbook on the subject, Digital Textile Design (Laurence King, 2nd ed. 2012).
With thanks to Kate Bethune.
Next: Alexander McQueen and tartan.
March 17, 2015 § 5 Comments
The London incarnation of Alexander McQueen: Savage Beauty has just opened at the Victoria and Albert Museum. (See British Vogue on the additions to the Costume Institute show.) Accompanying the exhibition is a full calendar of events, including a two-day conference in early June. The exhibition catalogue by Claire Wilcox is available in hardcover and paperback from the V&A, with a North American edition to be published by Abrams in May.
Several London galleries are hosting related exhibitions. At Proud Galleries, McQueen: Backstage – The Early Shows by Gary Wallis presents Wallis’ behind-the-scenes photographs from McQueen’s early career (to April 5, 2015; book). Tate Britain’s Nick Waplington/Alexander McQueen: Working Process brings together Nick Waplington’s photographs of The Horn of Plenty (FW 2009), recently published in his 2013 book (to May 17, 2015). At the Gallery at Foyles, Inferno: Alexander McQueen – Photographs by Kent Baker will present backstage photographs from Dante (FW 1996) (March 20 to May 3; book). And next month, London College of Fashion’s Fashion Space Gallery will host Warpaint: Alexander McQueen and Make-Up (April 30 to August 7, 2015).
To celebrate the opening of the London retrospective, here’s a roundup of my posts on sewing patterns by Alexander McQueen, both for Givenchy and his own label:
- Alexander McQueen for Givenchy: Vogue Patterns, Part 1 (1997 collections)
- Alexander McQueen for Givenchy: Vogue Patterns, Part 2 (1998 collections)
- Alexander McQueen for Givenchy: Vogue Patterns, Part 3 (1999 collections)
- Free Designer Pattern: Alexander McQueen kimono jacket
- Vogue 2248 by Alexander McQueen for Givenchy
- Year of the Snake: Vogue 2086 by Alexander McQueen for Givenchy, Part 1