January 19, 2016 § 4 Comments
Today is Byron Lars’ birthday. In lieu of cake, here’s a look at his work with Vogue Patterns.
Born in California, Byron Lars (b. 1965) studied at the Brooks Fashion Institute and New York’s Fashion Institute of Technology before dropping out to pursue freelance work; he was already an award-winning fashion illustrator when he launched his own label in 1991. His playful yet beautifully cut designs were an instant success—twists on American sportswear shown with cheeky accessories like duck-decoy purses. In a 1993 interview, Lars cites Patrick Kelly and Jean Paul Gaultier as inspirations for his approach. (See Greg Tate, “Byron Large.”)
In the mid-1990s, Vogue Patterns licensed a number of Byron Lars designs in the Vogue Attitudes line. Lars was introduced to readers in the July/August 1994 issue of Vogue Patterns magazine:
The first two patterns, Vogue 1419 and 1420, were modelled by Louise Vyent and photographed by Torkil Gudnason (click to enlarge):
Vogue 1419 is a pattern for a skirt, high-waisted pants, and a jacket with exposed zippers and Lars’ signature, waist-defining tie-front:
Vogue 1420 presents three versions of Lars’ take on the traditional men’s shirt:
Here the twist becomes an asymmetrical, pleated drape on a tailored dress:
From 1995, Vogue 1529 includes leggings and a flared shirtdress with bustline tie detail. The silhouette is similar to that seen in the Ruven Afanador photo that opens this post:
Vogue 1620 provides three more variations on the Byron Lars shirt:
Vogue 1621 includes two tie-front shirtdresses and a top for lightweight, dressier fabrics, as well as high-waisted pants:
In Vogue 1653, Lars pairs tapered pants with a fitted jacket with built-up neckline, exposed zippers, and dramatic back drape:
Vogue 1701’s fitted dress for stretch knits was photographed at the Strand’s Central Park kiosk. The pattern includes the contrast belt, which is angled to pass through the skirt’s front drape:
The jacket of this skirt suit has a surprise contrast back in synthetic suede or leather:
You may have seen Erica Bunker’s version of Vogue 1846. This shirt can be made as a wrap-front with optional contrast cuffs and collar, or with a contrast dirndl bodice:
Finally, two more fashion photos: the closing shot from Ruven Afanador’s Byron Lars portfolio in the premiere issue of Vibe magazine, and a runway image from Lars’ Fall 1994 collection.
By request of Clare Nightingale.
November 4, 2015 § 6 Comments
Before his positions at Lanvin and Yves Saint Laurent Rive Gauche, Alber Elbaz designed four seasons for Guy Laroche. (Fall 1997 to Spring 1999; see my earlier post here.) The recent news got me thinking about a Guy Laroche pattern that could also be by Elbaz.
Vogue 2368 is so rare that I didn’t see it in time for my first post. It’s a simple, formal design: a sleeveless dress with a big flower at the tucked, asymmetrical neckline:
Here’s the envelope description: Semi-fitted, straight, lined, sleeveless dress, below mid-knee or evening length, has neckline tucks, side zipper and back hemline slit. Purchased flower. Recommended fabrics are silk-like crepe, lightweight wool crepe, and satin-backed crepe.
Vogue 2368 was released in late 1999—earlier than Vogue 2497, a design from Elbaz’ Spring 1999 farewell collection for Laroche. It doesn’t match any of the runway looks from Elbaz’ four Laroche collections, but the palette, neckline detail, and especially the flower (an Elbaz signature at Laroche and Lanvin) seem persuasive. What do you think?
October 9, 2015 § 7 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…
Update: Irving Penn’s 1999 editorial was not the first Star Wars-themed shoot in Vogue magazine: see Ishimuro’s “The ‘Force’ of Fur” in Vogue, November 1977. (Thanks to Devorah Macdonald for the reference.) Vogue recently posted some outtakes and reminiscences.
Update 2: Simplicity 8074, a Game of Thrones / Star Wars costume pattern (Sand Snakes / Rey) adapted by Andrea Schewe, suggests that Disney hasn’t licensed costumes from The Force Awakens (yet).
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 § 5 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.