January 29, 2016 § 10 Comments
Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.
In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):
Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):
This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:
A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:
As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):
Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):
Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:
Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):
In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):
McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::
McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:
McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):
Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:
McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):
McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):
Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):
André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.
I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):
* Dacron was known by the name Terylene in the U.K.
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 18, 2015 § 4 Comments
Unhelpfully for collectors, vintage designer patterns were sometimes printed without the name on the envelope. This is the case with three Bob Mackie patterns, which were released earlier than those in my first Bob Mackie post. Like the other Mackie patterns, these three are also for stretch knits.
McCall’s 6575 and 6576 are slinky, disco halter dresses:
McCall’s 6577 is a pattern for a disco coverup, bodysuit, skinny pants, and handkerchief skirt. The contrast sash is also included:
Contemporary buyers would have ordered these designs from a catalogue complete with photos and the Bob Mackie logo, like this counter catalogue from September 1979 (click to enlarge):
Make with strategically placed sequins for the full Cher effect…
September 24, 2015 § 3 Comments
Last week, Zandra Rhodes returned to London Fashion Week for her Spring 2016 collection. Famous for her colourful, hand-drawn prints, the bohemian cult favourite is also new to Vogue Patterns for Winter/Holiday 2015: Vogue 1472 is the first new Zandra Rhodes sewing pattern in thirty years. (Update: read a profile in Vogue Patterns magazine.) For knitters, the current issue of Rowan Knitting & Crochet has a Zandra Rhodes jacket pattern available as a free download.
Born in Chatham, Kent, Zandra Rhodes (b. 1940) trained as a textile designer at Medway College of Art, where her mother was a lecturer, and London’s Royal College of Art. Rhodes founded her own label in order to build garments around her prints. Her first, 1969 collection, Knitted Circle, was famously worn by Natalie Wood in Vogue magazine; the evening coat is now in the collection of the V&A:
Rhodes became known as the Princess of Punk following her Spring 1977 torn and safety-pinned Conceptual Chic collection, which was partly inspired by Schiaparelli’s Tears dress.
By the 1980s Rhodes was designing for Princess Diana. The princess wore this pink chiffon dress, embellished with crystal beads and pearl droplets, during her 1986 state visit to Japan (now in the collection of Historic Royal Palaces):
In 1985, Style Patterns released a handful of Zandra Rhodes sewing patterns. Rhodes was among the first designers to be included in the company’s short-lived designer line. (See my earlier posts on Bruce Oldfield and Frederick Fox.)
Style 4399 is a pattern for a wedding or evening dress in two lengths with characteristic serated frill:
Here’s the envelope description: Misses’ Lined Wedding Dress or Evening Dress in Two Lengths — Dress has shoulder yoke with serrated frill and pointed cape effect on bodice. Skirt has elasticated waistline. Model 1 bead trim is used on yoke and neck tie. Suggested fabrics: Lightweight silk types, crepe de chine, chiffon, shantung, lace, voile, batiste, organza. Lining: Jap silk, crepe de chine. Trim: wide ribbon and pearl beading or narrow ribbon.
Style 4400 is an off-the-shoulder wedding or bridesmaid’s dress with separate petticoat:
The envelope description reads: Misses’ Half-Lined Wedding Dress or Bridesmaid’s Dress and Petticoat — Dress has flounced bodice with elasticated waist. Skirt has layered net frills, with gathered net and ribbon trim. Bride and bridesmaid’s dress has petticoat in fabric and net. Suggested fabrics: Dress, Models 1 and 2: Organza, voile, silk or synthetic sheers, lightweight lace. Lining: silk types, taffeta, satin (nap irrelevant). Net or tulle: silk, nylon. Trim: wide ribbon, sequin trim, narrow ribbon.
The third dress design, Style 4400, has a low back décolletage and multi-tiered skirt:
You can see the same pattern with updated envelope here.
Here’s the envelope description: Misses’ Dress in Two Lengths — Dress has fitted bodice with elasticated waistline. Models 1 and 3 have bodice frill to waistline. Model 2 has shorter bodice frill. Models 1 and 2 have four-tiered skirt flounce. Model 3 has three-tiered skirt flounce. Suggested fabrics: Chiffon, georgette, voile, silk or synthetic sheers, organza. Also: lightweight lining fabric. Trim: wide ribbon; pearl trim (views 1 and 2).
The designs seem to be from Rhodes’ Spring 1985 collection, Images of Woman:
The trim and fabric specifications are catalogues of girliness: lightweight, floaty fabrics to be trimmed with the ribbon, sequins, and pearls. I love how Style 4495 suggests lining fabric as an alternative—perhaps with a budget-conscious youth market in mind.
For more on Zandra Rhodes, see the V&A’s article.
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: