Yves Saint Laurent + Halston: Fashioning the 70s

April 17, 2015 § Leave a comment

The Museum at FIT’s exhibit, Yves Saint Laurent + Halston: Fashioning the 70s, closes this Saturday. (See Bridget Foley, “That Real Seventies Show.”) If you can’t make it to New York to see it, a catalogue is available from Yale University Press.

Patricia Mears and Emma McClendon, Yves Saint Laurent + Halston: Fashioning the 70s. Image via Yale University Press.

The MFIT exhibit organizes the two designers’ 1970s work in three thematic sections: menswear influence, exoticism, and historicism. Since both Yves Saint Laurent and Halston had licensed sewing patterns in the ’70s, I thought it would be fun to present three pairs of patterns in the exhibition’s format.

Menswear

From Yves Saint Laurent, Vogue 1143 is a ’70s version of the famous Le smoking. Helmut Newton photographed Charlotte Rampling in a similar, Prince of Wales check pantsuit for Vogue (with original text here):

1970s Yves Saint Laurent pantsuit, blouse, and skirt pattern - Vogue 1143

Vogue 1143 by Yves Saint Laurent (1974) Image via Etsy.

According to the curators, Halston’s most famous garment is the Ultrasuede shirtdress. McCall’s 4391 is a zip-front shirtdress that includes special instructions for working with synthetic suede:

1970s Halston dress pattern, view A for synthetic suede - McCall's 4391

McCall’s 4391 by Halston (1975) Model: Karen Bjornson.

Exoticism

Yves Saint Laurent’s interest in “exotic,” non-Western dress is perhaps best remembered from his Russian collection (Fall 1976 haute couture). From Vogue’s Ballets Russes patterns, Vogue 1558 is a Russian ensemble consisting of blouse, vest, bias skirt, and braid-trimmed jacket—hat and babushka scarf not included (see more at Paco’s blog):

1970s Yves Saint Laurent Ballets Russes pattern - Vogue 1558

Vogue 1558 by Yves Saint Laurent (1976) Model: Karen Bjornson. Image via the Vintage Patterns Wiki.

During the 1970s, both Saint Laurent and Halston showed non-Western influence in their caftans and pajama ensembles. Halston pattern McCall’s 3590 combines both:

1970s Halston caftan, top, and pants pattern - McCalls 3590

McCall’s 3590 by Halston (1973)

Historicism

Inspired by the 1940s, Yves Saint Laurent’s Spring 1971 haute couture collection, Libération, launched the decade’s vogue for vintage. Although the 1971 collection was poorly received, Saint Laurent’s subsequent vintage-inspired efforts were very influential. From 1973, Vogue 2930 is a Forties-inspired dress-and-coat ensemble:

1970s Yves Saint Laurent dress and coat or jacket pattern - Vogue 2930

Vogue 2930 by Yves Saint Laurent (1973) Image via eBay.

Halston’s historicism focused on the interwar couture of the 1930s, especially the work of Grès and Vionnet. McCall’s 4046 is a slinky dress for stretchable knits. It has only one main pattern piece and is shaped by gathers and side darts:

1970s Halston cocktail or evening dress pattern - McCall's 4046

McCall’s 4046 by Halston (1974)

As the curators note, Halston and Yves Saint Laurent have been seen as embodying two separate styles: minimalist ready-to-wear vs. fantasy couture. Yet comparison of their work shows how their stylistic experimentation led them to common ground, particularly in the earlier ’70s. Interestingly, some Saint Laurent and Halston garments can be hard to tell apart until you examine the construction—something home sewers can certainly appreciate.

Designs by Halston and Yves Saint Laurent on the cover of W magazine, September 3-10, 1976. Image via WWD.

Mr. John Millinery Patterns

April 5, 2015 § 4 Comments

Mr. John hat photographed by Edwin Blumenfeld for the cover of British Vogue, April 1951

China blue velvet beret designed by Mr. John of New York; interpreted by R.M. Hats for Marshall and Snelgrove. British Vogue, April 1951. Photo: Edwin Blumenfeld. Image via Vogue UK.

Born in Munich, celebrity milliner Hans Harberger, a.k.a. Mr. John (1902-1993), founded his New York salon in 1948. (For bio see my earlier post, 25 Jahre Mauerfall; on the complex history of Mr. John’s name and label see my Mad Men-era millinery post, or read his obituary in the Independent.)

Millinery patterns by Mr. John were available from Vogue in the first half of the 1950s. There were also mail-order Mr. John patterns from Spadea and Prominent Designer, as well as garment patterns from Advance. Vogue’s later John-Frederics patterns date to the tenure of Mr. John’s former partner, Frederick Hirst.

1950s Mr. John silk hat with hat box

Mr. John silk hat with hat box (ca. 1950). Image via the Metropolitan Museum of Art.

From 1952, Vogue 7908 is a cloche with elegant shaped brim. The brim could be worn down or folded up on one side:

1950s Mr. John hat pattern - Vogue 7908

Vogue 7908 by Mr. John (1952) Image via eBay.

Vogue 7909 is a beret that dips to a point on one side, with an optional chin strap:

1950s Mr. John hat pattern - Vogue 7909

Vogue 7909 by Mr. John (1952) Image via eBay.

Vogue 7909 was still available the following year, as seen in this 1953 illustration for Ladies’ Home Journal. The lower two hats are by Mr. John:

1950s Vogue hat patterns illustrated in Ladies Home Journal, March 1953

Top: Vogue 7738 and 7929. Bottom: Vogue 7962 and 7909 by Mr. John. Ladies’ Home Journal, March 1953.

Vogue 7961 is a draped cloche, striking in striped fabric:

1950s Mr. Joh hat pattern - Vogue 7961

Vogue 7961 by Mr. John (1953) Image via the Vintage Pattern Wiki.

Vogue 8441 is a shirred, draped turban, recommended for jersey:

1950s Mr. John hat pattern - Vogue 8441

Vogue 8441 by Mr. John (1954) Image via Etsy.

From 1955, Vogue 8546 is gathered at the sides into a narrow brim that crosses in the back:

1950s Mr. John hat pattern - Vogue 8546

Vogue 8546 by Mr. John (1955) Image via eBay.

Vogue 8547 is a pill box with front pleat and optional ribbon ties:

1950s Mr. John hat pattern - Vogue 8547

Vogue 8547 by Mr. John (1955) Image via Etsy.

In the later 1950s, Mr. John designed six spring hats for Everywoman’s magazine. Carmen (Carmine) Schiavone photographed one of them for the cover of the Easter issue:

A Mr. John creation on the cover of Everywoman's magazine, April 1957

Everywoman’s, April 1957. Photo: Carmen Schiavone. Image via Pattern Peddler.

The patterns, which were available to readers by mail order, were home-tested by a New York homemaker (click to enlarge):

Make a Mr. John hat for Easter. Photos: Carmen Schiavone

Make a Mr. John hat for Easter. Photos: Carmen Schiavone. Image via Pattern Peddler.

Six Mr. John hat patterns available from Everywoman's magazine

Six Mr. John hat patterns available from Everywoman’s magazine. Photos: Carmen Schiavone. Image via Pattern Peddler.

Many of Mr. John’s hat patterns are available as reproductions on Etsy.

I’ll close with two Vogue covers featuring Mr. John hats:

A Mr. John hat photographed by Irving Penn for the cover of British Vogue, September 1951

Lisa Fonssagrives wears a hat by Mr. John, British Vogue, September 1951. Photo: Irving Penn. Image via Vogue UK.

Isabella Albonico photographed by Irving Penn in a Mr. John hat and scarf set for Vogue, March 1, 1961

Isabella Albonico wears a hat and scarf by Mr. John, Vogue, March 1961. Photo: Irving Penn.

For more hats by Mr. John, see Kristine/dovima is divine’s set on flickr.

Happy Easter, everyone!

Lanvin at 125: Marie-Blanche de Polignac

March 13, 2015 § 4 Comments

Lanvin's 1950s pattern, Vogue 1120, photographed by Richard Rutledge

Vogue 1120 by Lanvin, Vogue, October 1950. Photo: Richard Rutledge.

This week, the second post in my series on Lanvin sewing patterns. (See my post on Jeanne Lanvin’s interwar patterns here.)

Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.

1940s

From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:

1940s Lanvin dress pattern - Vogue 1052

Vogue 1052 by Lanvin (1949) Image via eBay.

Clifford Coffin photographed the dress in Paris for Vogue magazine:

Lanvin dress pattern photographed by Clifford Coffin for Vogue, March 1949

Lanvin pattern Vogue 1052 in Vogue, March 1949. Photo: Clifford Coffin.

According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):

1940s Lanvin strapless evening dress pattern - Vogue 1073

Vogue 1073 by Lanvin (1949) Image via flickr.

Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:

1940s Lanvin dress pattern - Vogue 1078

Vogue 1078 by Lanvin (1949) Image via eBay.

Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):

1940s dress patterns by Lanvin and Fath - Vogue 1078 and 1077 - photographed for Vogue by Richard Rutledge

Vogue Paris Originals 1078 and 1077 by Lanvin and Fath, Vogue, November 1949. Photo: Richard Rutledge.

Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:

1940s Lanvin dress pattern - Vogue 1064

Vogue 1064 by Lanvin (1949) Image via the Vintage Patterns Wiki.

The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):

Molyneux and Lanvin patterns photographed by Cecil Beaton for Vogue, 1949

Vogue Paris Originals 1058 and 1064 by Molyneux and Lanvin, Vogue, June 1949. Photo: Cecil Beaton.

1950s

Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:

1950s Lanvin suit and blouse pattern - Vogue 1104

Vogue 1104 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:

Bettina Graziani in Lanvin at Paris' Tuileries Metro station, 1950

Vogue 1104 by Lanvin, Vogue, May 1950. Model: Bettina. Photo: Norman Parkinson.

Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:

1950s Lanvin dress pattern - Vogue 1107

Vogue 1107 by Lanvin (1950) Image via the Vintage Patterns Wiki.

The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:

1950s Lanvin dress pattern - Vogue 1120

Vogue 1120 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:

1950s Lanvin dress pattern - Vogue 1122

Vogue 1122 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Instead of the envelope’s location shot, Vogue published a studio photo of the dress:

Lanvin dress pattern Vogue 1122 photographed for Vogue by Richard Rutledge, 1951

Vogue 1122 by Lanvin, Vogue, January 1951. Photo: Richard Rutledge.

Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:

1950s Lanvin pattern - Vogue 1139

Vogue 1139 by Lanvin (1951) Image via eBay.

Anne Gunning in Lanvin ensemble Vogue 1139 photographed by Henry Clarke

Vogue 1139 by Lanvin, Vogue, May 1951. Photo: Henry Clarke.

Next in the series: Antonio del Castillo’s Vogue Paris Originals.

Free Designer Pattern: Gareth Pugh Balloon

February 17, 2015 § 1 Comment

Gareth Pugh balloons photographed by Nick Knight, 2006

Photo: Nick Knight, 2006. Image via SHOWstudio.

This month Gareth Pugh celebrates the 10-year anniversary of his label. SHOWstudio is marking the anniversary—and Pugh’s return to London Fashion Week—with an editorial project, Gareth Pugh: 10 Years, and Melissa’s London flagship is hosting a retrospective exhibition of the designer’s work. (See Samantha Conti, “Gareth Pugh Sets London Retrospective.”)

SHOWstudio’s Gareth Pugh Design Download is a pattern for the striped balloon from the designer’s 2003 Central Saint Martins graduation collection. According to the site’s original notes, “Rather than submitting a traditional garment pattern to the design_download series, Gareth Pugh chose to contribute a pattern for a balloon which he had previously created. The bold, red and white striped beach-ball fabric balloons are, like much of Pugh’s designs, inspired by shape, proportion and process.”

As Sarah Mower remarked in her review of the designer’s London Fashion Week debut (Fall 2006 RTW), “Pugh has a thing about balloons.” The red and white version was a recurring motif in his graduation collection and typifies his playful, experimental approach to fashion design.

From Gareth Pugh's BA graduation collection, 2003

From Gareth Pugh’s BA graduation collection, 2003. Image: Catwalking via the Telegraph.

Two looks from Gareth Pugh's graduation collection, 2003

Two looks from Gareth Pugh’s graduation collection, 2003. Images via 1 Granary.

(Click the above image for more runway looks from this collection.)

Nicola Formichetti, then senior fashion editor at Dazed & Confused, put one of Pugh’s balloon looks on the cover of the magazine:

A design from Gareth Pugh's graduation collection, Dazed & Confused cover by Laurie Bartley, April 2004

A design from Gareth Pugh’s graduation collection, Dazed & Confused, April 2004. Photo: Laurie Bartley. Stylist: Nicola Formichetti. Image via Dazed Digital.

Laurie Bartley editorial photo featuring Gareth Pugh's graduation collection

Editorial photo featuring Gareth Pugh’s graduation collection, Dazed & Confused, April 2004. Photo: Laurie Bartley. Stylist: Nicola Formichetti. Image via Dazed Digital.

Pugh diagram

Diagrams by Robin Howie. Image via SHOWstudio.

Download the balloon pattern (7 pieces)

Fabric requirements: approx. 1 meter (1 yd 4″) each of fabric and contrast fabric.

Recommended fabrics: Non-stretch fabrics with a sheen. The originals were made in a thick, non-stretch acetate satin.

Notions: 18” (45 cm) invisible zipper to match contrast fabric, 1 large latex balloon.

Notes: includes 1 cm (approx. 3/8″) seam allowance. The pattern is laid out on A3 sheets, so copy shop printing is recommended.

See the SHOWstudio submissions gallery here.

John Galliano Patterns: Roundup

January 12, 2015 § 3 Comments

Maison Martin Margiela Spring 2015 couture by John Galliano

The closing look from John Galliano’s Maison Martin Margiela Spring 2015 couture collection. Image via style.com.

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.

vogue paris mars 1996

Shalom Harlow in Givenchy Haute Couture by John Galliano, Vogue Paris, March 1996. Photo: Mario Testino. Image via Vogue Paris.

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:

1990s Vogue Patterns by John Galliano for Givenchy: 1887, 1889, 1978, 2061

.GallianoFW2001_look35Galliano_SHOWstudio_FW2001

For a retrospective look at Galliano’s career, see this Vanity Fair slideshow or British Vogue’s editorial gallery.

Lanvin at 125: Jeanne Lanvin

December 30, 2014 § 14 Comments

Lanvin 125: 1889-2014

Lanvin anniversary logo. Image via WWD.

Lanvin celebrated its 125th anniversary this year. Founded in 1889 by Jeanne Lanvin, the house marked the occasion with an extensive look into its archives on InstagramPinterest, Facebook, and the new Lanvin Heritage website. (See WWD’s article here.) In 2015, Paris’ Palais Galliera will host a major exhibition devoted to Jeanne Lanvin.

1920s Lanvin hand embroidery

Lanvin hand embroidery, ca. 1925. Image via Instagram.

Commercial sewing patterns based on Lanvin originals were produced between the 1920s and the 1970s. Four head designers presided over the house during that period; I’ll be devoting a post to each designer.

The interwar Lanvin designs available as sewing patterns are by Jeanne Lanvin (1867-1946), who was known for her romantic, youthful dresses with couture embellishment, particularly her robe de style, a full-skirted alternative to the 1920s tubular silhouette.

Lanvin label, été 1926, from a robe de style at The Costume Institute

Lanvin label, 1926. Image via the Metropolitan Museum of Art.

1920s

From McCall’s earliest couture patterns, this robe de style with a big bow at the waist and skirt with beaded appliqués was modelled by film star Hope Hampton:

Hope Hampton wears a 1920s Lanvin evening dress, McCall 3935, in McCall Style News January 1925

Hope Hampton in Lanvin, McCall Style News, January 1925.

A version of this dress is in the collection of The Costume Institute:

Lanvin robe de style, Fall/Winter 1924-25 in the collection of The Costume Institute

Lanvin robe de style, Fall/Winter 1924-25. Image via the Metropolitan Museum of Art.

McCall 4856 is a short evening or afternoon dress with sheer overlay. The version on the right is in Lanvin blue:

Illustrations of a 1920s Lanvin dress pattern - McCall 4856

Illustrations in McCall Quarterly, Summer 1927. Images courtesy of Debby Zamorski.

(McCall’s also sold transfer patterns for beading and embroidery; the catalogue illustrations show nos. 1558 and 1388.)

This simple double-breasted coat from Pictorial Review was adapted from a Lanvin design:

1920s Lanvin adaptation coat pattern - Pictorial Review 3978

Pictorial Review 3978 adapted from Lanvin (1927). Image via vintage4me2.

Pictorial Review’s catalogue illustration shows the coat with contrast lapels and fur cuffs and collar:

Illustration of Pictorial Review 3978 coat adapted from Lanvin in a 1920s pattern catalogue

Illustration from Pictorial Fashion Book, Winter 1927-28. Image via vintage4me2.

Trim is an important feature of this Lanvin day dress, which is shown in my 1929 Paris Pattern leaflet (available in PDF from my Etsy shop):

1920s Lanvin dress pattern - Paris Pattern 1122

Paris Pattern 1122 by Lanvin (1929)

1930s

McCall 7711 is a day dress with drape-necked bodice and bow-trimmed sleeves. View A, with long sleeves and contrast bodice, has topstitched sleeves and belt that are characteristic of 1930s Lanvin:

1930s Lanvin dress pattern - McCall 7711

McCall 7711 by Lanvin (1934) Image via VPLL on Pinterest.

Here’s the illustration from McCall’s Advanced Paris Styles catalogue:

Lanvin illustration in McCall Advanced Paris Styles, March 1934

Illustration by Blanche Rothschild in McCall Advanced Paris Styles, March 1934. Image via vintage4me2 on eBay.

In late 1934, McCall and Pictorial Review both produced versions of the same Lanvin afternoon dress: a slim, full-sleeved gown with back cutouts. A reproduction of the McCall version is available from Past Patterns:

1930s Lanvin afternoon dress pattern - McCall 7959

McCall 7959 by Lanvin (1934) Image via Petite Main on Pinterest.

In Blanche Rothschild’s illustration for McCall’s magazine, the dress is shown with McCall 7954 by Georgette Renal:

"Afternoons this Autumn," illustration showing dresses by Lanvin and Renal, McCall's magazine, September 1934

Illustration by Blanche Rothschild, McCall’s magazine, September 1934. Image via Vintage123.

The text for McCall 7959 reads, “Lanvin’s long skirted afternoon dress has a new feeling of formality. The back of the bodice is suspended in folds from a cross shoulder band, slit in triangles to expose the back. Raglan sleeves provide material contrast. The skirt spreads, bell shape, into a hesitation hem.”

The Vintage Pattern Lending Library has a reproduction of the Pictorial Review adaptation of the dress, Pictorial Review 7363:

1930s Lanvin-adapted evening gown pattern - Pictorial Review 7363

Pictorial Review 7363 adapted from Lanvin (1934). Image via VPLL on Pinterest.

Here’s an illustration of the Pictorial Review adaptation from the Winter 1934 catalogue:

Illustration of a Lanvin-adapted evening dress pattern Pictorial Review 7363 in a 1930s pattern catalogue

Illustration from the Pictorial Fashion Book, Winter 1934-35.

McCall 8591 (previously featured in my goddess gowns post) is a glamourous evening dress with pleated shoulder draperies. This illustration is from the McCall catalogue:

Illustration of Lanvin evening gown McCall 8591 in a 1930s McCall pattern catalogue

McCall 8591 by Lanvin (1936) Image courtesy of Debby Zamorski.

Marian Blynn illustrated McCall 8591 for McCall’s magazine (the other gown is by Ardanse):

Marian Blynn illustration of couturier evening patterns McCall 8591 and 8597 in 1930s McCall's magazine

Illustration in McCall’s magazine, January 1936. Illustrator: Marian Blynn. Image via eBay.

The caption reads: “Long scarfs, drifting down from the shoulders, are used by Lanvin. The scarf dress here is hers, and when you dance it is supposed to make you look as though you were floating. These scarfs are also worn wound once around the arm.”

Just for fun, here are two photos by Horst P. Horst and Albert Harlingue showing Lanvin designs from the 1930s:

Model wearing lame draped cowlneck blouse with rolls like corrugated pipe around deep armholes by Lanvin, and black skirt, holding vanity case by Boucheron

Lamé blouse by Lanvin, ca. 1934. Photo: Horst P. Horst. Image via Corbis.

Jeanne Lanvin with model, ca. 1930s, photographed by Albert Harlingue

Jeanne Lanvin with model, ca. 1930s. Photo: Albert Harlingue. Image: Roger-Viollet via Catwalk Yourself.

Next in the series: Marie-Blanche de Polignac’s early Vogue Paris Originals.

Happy New Year, everyone!

Yves Saint Laurent for Dior: Vogue Patterns

December 17, 2014 § 7 Comments

Isabella Albonico photographed by Leombruno-Bodi in Dior pattern 1471 for Vogue, January 1st, 1960

Detail of Vogue 1471 by Yves Saint Laurent for Christian Dior, Vogue, January 1, 1960. Photo: Leombruno-Bodi.

For Paco Peralta.

Before Vogue Patterns introduced Yves Saint Laurent with patterns from the Mondrian collection, the company had already licensed the designer’s work for the house of Dior. (Read more at the Fondation Pierre Bergé – Yves Saint Laurent, or see Dustin’s post here.)

Yves Saint Laurent was appointed head designer at Dior after Christian Dior’s death in 1957. Dior had been his mentor; in 1955 he hired Saint Laurent to work at his new boutique, later promoting him to accessories and couture. Richard Avedon’s famous Dovima with Elephants shows a velvet evening dress designed by Yves Saint Laurent while he was still assistant designer:

Avedon's Dovima with Elephants and YSL sketch for Dior, 1955

Richard Avedon, Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, 1955, and sketch by Yves Saint Laurent.

(Images via Enticing the Light and Encore! Life.)

Saint Laurent’s first collection for Dior, Trapèze (Spring 1958 haute couture), was a huge success, and his later work at the house continued its play with proportion. L’Officiel’s spring preview issue for 1958 featured an illustration of a Dior trapeze dress by René Gruau:

L'Officiel mars 1958: Gruau illustration of a black Dior trapeze dress

Christian Dior trapeze dress on the cover of L’Officiel, March 1958. Illustration: René Gruau. Image via jalougallery.com.

The young Yves Saint Laurent designed six haute couture collections for Dior; Vogue’s licensing represents his last three collections for the house, from 1959 to 1960.

Christian Dior label, fall-winter 1959 at the Metropolitan Museum of Art

Christian Dior label, automne-hiver 1959. Image via the Metropolitan Museum of Art.

1. Christian Dior Haute Couture Fall/Winter 1959

Saint Laurent’s second Fall/Winter couture collection for Dior was controversial; L’Officiel declared its aesthetic “femininity pushed to the extreme.” Suits were shown with severely cropped jackets, and the skirt silhouettes included voluminous tiers and hobble skirts.

The first Dior patterns were promoted with illustrations by Esther Larson in the late 1959 issues of Vogue Pattern Book and Vogue Printed Pattern News (thanks to the White Cabinet for the ID):

Vogue 1472 on the cover of Vogue Pattern news for December 15th, 1959

Vogue Printed Pattern News, December 15, 1959. Illustration: Esther Larson.

Anticipating demand for this high-profile addition to Vogue’s designer patterns, Vogue Pattern Book noted that the new patterns would be available in stores after November 10th:

Dior patterns in Vogue Pattern Book, December 1959-January 1960. Illustrations: Esther Larson. Image via Make Mine Vogue.

The first Dior patterns were photographed by Joseph Leombruno and Jack Bodi, the couple who worked as Leombruno-Bodi. In Vogue magazine’s first issue for 1960, Isabella Albonico modelled the two dress ensembles, Vogue 1471 and 1470:

For the first time Vogue patterns from designs by Dior. Vogue 1 Jan 1960

Vogue patterns from designs by Dior, Vogue, January 1, 1960. Photos: Leombruno-Bodi.

Leombruno-Bodi also photographed the new Dior patterns for Ladies’ Home Journal. The accompanying text for Vogue 1470 suggests that the hobble skirt silhouette was considered extreme: “Dior’s famous ‘hobble’ skirt makes a charming mid-season costume … The pattern also includes details on how to make the dress without the band at the bottom of the skirt for less extreme effect.” The model on the left is Anne St. Marie (click to enlarge):

Nora O'Leary, "Christian Dior: Yours for the Making," with hats by Vincent-Harmik, Maria Pia, and John Frederics - Ladies' Home Journal Jan 1960

Nora O’Leary, “Christian Dior: Yours for the Making,” Ladies’ Home Journal, January 1960. Photos: Leombruno-Bodi. Image via the Internet Archive.

Vogue 1470 is a striking dress and jacket ensemble. The short jacket has three-quarter sleeves and bow trim at the waist, while the dress has short sleeves, low V-neckline, and the collection’s distinctive pouf-hobble skirt banded at the knee. The original was navy tweed:

1950s Christian Dior dress and jacket pattern - Vogue 1470

Vogue 1470 by Yves Saint Laurent for Christian Dior (1959) Dress and jacket.

Here’s the envelope description: One piece dress and jacket. Skirt, with or without puffed tunic, joins the bodice at the waistline. Wide V neck-line with band finish. Short kimono sleeves. Short fitted jacket, joined to waistband, has concealed fastening below notched collar; below elbow length sleeves. Novelty belt.

Vogue 1471 is a close-fitting, double-breasted jacket with matching dress. The original was black-and-white tweed:

1950s Christian Dior dress and jacket pattern - Vogue 1471

Vogue 1471 by Yves Saint Laurent for Christian Dior (1959) Image via Make Mine Vogue.

The envelope description reads: One piece dress and jacket. Flared skirt joins the bodice at the waist-line. Single button closing below the wide V neck-line with extension band finish. Above elbow length and short sleeves. Double breasted jacket has notched collar and below elbow length sleeves. Novelty belt for version A.

Vogue 1472 seems to have been the most popular of the three patterns. The voluminous coat and skirt suit were modelled by Nena von Schlebrügge:

1950s Christian Dior coat and suit pattern - Vogue 1472

Vogue 1472 by Yves Saint Laurent for Christian Dior (1959) Image via the Vintage Patterns Wiki.

Here’s the envelope description: Coat, suit and scarf. Double-breasted hip length jacket has a notched collar and below elbow length sleeves with buttoned vents. Slim skirt. Double-breasted, full coat in two lengths has a large shaped collar. Concealed pocket in side seams. Below elbow length sleeves joined to dropped shoulder armholes. Straight scarf.

In the next issue of Vogue Pattern Book, the Vogue 1472 coat is called “the newsmaking original Dior coat that tops the suit… Note the extras here: the enormous buttons, the slashed side seams, the stitched collar, the scarf to match. Your own extra: a towering cloche of the checked fabric”:

Photo of Nena von Schlebrügge in Vogue 1472 in Vogue Pattern Book Feb/Mar 1960

Vogue 1472 in Vogue Pattern Book, February/March 1960. Image via eBay.

2. Christian Dior Haute Couture Spring/Summer 1960

Saint Laurent’s Spring 1960 collection for Dior was characterized by rounded silhouettes and vibrant colour. L’Officiel noted its straight suits with jackets cut on the bias to achieve the suppleness of a knitted cardigan.

Vogue 1012, introduced in the August/September 1960 issue of Vogue Pattern Book, includes a collarless, single-breasted skirt suit and sleeveless blouse with crisscross back. The jacket in view A is cut on the bias:

1960s Christian Dior suit and blouse pattern - Vogue 1012

Vogue 1012 by Yves Saint Laurent for Christian Dior (1960) Image via the Vintage Patterns Wiki.

The envelope description reads: Suit and blouse. Short, straight jacket buttons below collarless away from normal neck-line. Welt pockets. Below elbow length kimono sleeves. Skirt has soft gathers from very shallow yoke. Easy fitting overblouse has shoulder straps crisscrossed at back.

This suit is similar to Vogue 1012, but has a more conventional button front:

L'Officiel 457-58 Dior

Christian Dior’s pared-down suit, L’Officiel, April 1960. Photo: Philippe Pottier. Image via jalougallery.com.

These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:

L'Officiel 455-56 Dior Arsac

“Boule” coat by Christian Dior, L’Officiel, March 1960. Photo: Guy Arsac. Image via jalougallery.com.

LOfficiel 457-58 Diorb

Silk dress by Christian Dior, L’Officiel, April 1960. Photo: Guy Arsac. Image via jalougallery.com.

3. Christian Dior Haute Couture Fall/Winter 1960

Yves Saint Laurent’s controversial final collection for Dior, le Beat look, was inspired by Left Bank icon Juliette Gréco and the Beatniks of Saint-Germain-des-Prés. It was innovative for its infusion of youthful, bohemian street style into the couture, with Beat elements including leather jackets, knitted turtlenecks, and plenty of black.

Vogue produced two patterns from this collection, drawn from the more conventional designs. Vogue 1041 is a skirt suit and matching, loose coat with a big standing collar and side slits:

1960s Christian Dior suit and coat pattern - Vogue 1041

Vogue 1041 by Christian Dior (1960) Image via the Vintage Patterns Wiki.

Here’s the envelope description: Suit and coat. Easy fitting jacket has high buttoned closing below neck-band. Vent opening in side front seams. Bracelet length and elbow length sleeves. Slightly gathered skirt has outside stitched front panel concealing pockets. Seven eighths length loose coat has opening in side seams. Away-from-neck-line standing neck-band. Bracelet length kimono sleeves.

Philippe Pottier photographed the purple coat ensemble for L’Officiel‘s winter collections issue:

Christian Dior tweed ensemble photographed by Philippe Pottier for L'Officiel octobre 1960

Christian Dior tweed ensemble, L’Officiel, October 1960. Photo: Philippe Pottier. Image via jalougallery.com

Vogue 1041 was photographed for Vogue magazine by Henry Clarke:

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1049 is a skirt suit and sleeveless overblouse. The blouse is worn over a barrel skirt with attached underbodice for a dropped-waist effect. The jacket of view A is designed to be worn open:

1960s Christian Dior suit pattern - Vogue 1049

Vogue 1049 by Yves Saint Laurent for Christian Dior (1961) Image via Etsy.

The envelope description reads: Suit and blouse. Box jacket has cut away fronts and simulated buttoned closing or complete buttoned closing, below standing band collar. Easy fitting overblouse with optional tied belt has bateau neck-line. Above elbow length sleeves and sleeveless. Slightly barrelled shaped skirt attached to bodice.

The dotted black ensemble in duchesse velvet was photographed for this Chatillon Mouly Roussel advertisement in L’Officiel:

Ensemble de Christian Dior en duchesse velours de Chatillon Mouly Roussel

Chatillon Mouly Roussel ad showing an ensemble by Christian Dior, L’Officiel, October 1960. Image via jalougallery.com.

I also found the black suit in a later L’Officiel composite:

A Dior suit by Yves Saint Laurent - Dior 1000modèles Beat

A Dior suit by Yves Saint Laurent, L’Officiel 1000 modèles no. 81 (2007). Image via jalougallery.com.

These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:

Dorothea McGowan and Sara Thom in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan and Sara Thom in Dior, with Little Bara. Vogue, September 1960. William Klein. Image via Pleasurephoto.

Dorothea McGowan in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan in Christian Dior. Vogue, September 1960. Photo: William Klein. Image via the Fashion Spot.

For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.

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