March 17, 2015 § 3 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
January 12, 2015 § 3 Comments
Today John Galliano presented his first collection as creative director at Maison Martin Margiela: the Spring/Summer 2015 couture. It was the first time Margiela showed in London; the collection will also be viewable by appointment during Paris couture week. (See Suzy Menkes, “Galliano for Maison Martin Margiela” and Melanie Rickie, “John Galliano: penitent return of an enfant terrible.”)
The show comes four years after Galliano’s last runway presentation. It’s been nineteen years since his first couture collection, for the house of Givenchy in January, 1996.
To celebrate the designer’s return, here’s a roundup of my posts on sewing patterns by John Galliano, both for Givenchy and his own label:
- John Galliano for Givenchy: Vogue Patterns
- A Fourth Givenchy Pattern by Galliano
- Free Designer Pattern: John Galliano Jacket
November 2, 2014 § 2 Comments
“Hush,” one of the strongest and spookiest episodes of Buffy the Vampire Slayer, stars a model-turned-actor who appeared on Vogue patterns in the mid-1990s. Giles’ girlfriend Olivia is played by Phina Oruche (b. 1972). Born in Toxteth, Liverpool to Nigerian parents, Oruche was a successful model in London and New York before she won her first role in Sydney Pollack’s remake of Sabrina (1995).
Here Oruche models Vogue 1328, Issey Miyake’s jacket, top, and hammer pants:
Vogue 1344 is an ensemble consisting of a top, high-waisted pants, and jacket with custom closures from Anne Klein II:
Here Oruche shows off the lace-up back of Vogue 1353, a summer dress by Betty Jackson:
Ornate trim highlights the seam detail on Vogue 1354, a top and skirt by Geoffrey Beene:
Just for fun, here’s a recent portrait of Oruche by Paul Jones:
The Gentlemen are coming…
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!
May 23, 2014 § 3 Comments
It’s Kate Moss Month at SHOWstudio, so I was able to update my “Courrèges Edge” post with a newly released, early fashion film by Nick Knight featuring video of Kate Moss from the 1995 patterns shoot.
An earlier Kate Moss editorial shows the model in sophisticated summer looks, all made up in red using Vogue patterns. Photographed by Juergen Teller, “Red Hot” appears in the June, 1994 issue of Vogue magazine.
On the left, Moss’ silk charmeuse romper was made using Vogue 9765, a 1980s bias lingerie pattern; on the right, the jacket from Vogue 1326 by Claude Montana becomes a short, patent leather trench coat:
As always, in the back of the magazine readers could find all the details on the patterns used in the shoot:
Click the Patterns in Vogue tag for more posts in the series.
May 21, 2014 § 2 Comments
In 1997, Michel Comte photographed pro basketball player Rebecca Lobo for Vogue magazine in an evening dress made from a Vogue pattern. The American Women’s National Basketball Association (WNBA) had had its first game earlier that year, and the New York Liberty forward was featured in a health and beauty portfolio, “Women on the Verge,” on six women in the public eye.
The caption reads: “Rebecca Lobo, forward for the New York Liberty, former college basketball star, and Olympic gold medalist, is too tall (six feet four) for off-the-rack women’s clothes and too stylish to be relegated to baggy unisex sweatsuits. Her solution: a custom-made wardrobe. Here, satin evening gown from Vogue Pattern #9400.”
Lobo’s bias evening gown is view C of Vogue 9400 from 1995, made up in silk crepe-backed satin:
Lobo appeared in the same issue as my previous Patterns in Vogue post—apparently the last issue to feature sewing patterns.
March 17, 2014 § 3 Comments
This week, the second post in my occasional series on Vogue’s pattern editorials. (See the first post here.)
“Clean Cuts,” from the November 1997 issue, seems to have been Vogue’s last editorial to feature sewing patterns. Mario Testino photographed Guinevere Van Seenus and Amber Valetta in ’90s minimalist style in the season’s body-conscious basics—“the edgier side of Vogue Patterns,” as the headline says.
Here Guinevere Van Seenus models a white tank top made using Vogue 8062; on the right, her hooded red dress is Butterick 5088, lengthened, made sleeveless, and with an altered neckline:
Here Van Seenus models the Vogue 9501 shirt in silk jersey with the Vogue 1982 DKNY pants in black, while Valetta wears the Vogue 8062 tank with a red leather skirt, Vogue 7074:
As always, in the back of the magazine readers could find the details of the patterns used in the shoot:
It’s curious that the text doesn’t mention the designers behind Vogue 1982 and 1725; Donna Karan and Calvin Klein would have been major advertisers. Most interestingly, in showing patterns’ potential through fabric choice and alterations, the editorial reveals Vogue editors thinking like dressmakers.