Krizia: McCall’s Patterns

August 28, 2014 § 5 Comments

Model with Superman figure - Krizia ad campaign for Fall 1979 photographed by Barry Ryan

Krizia Fall 1979 advertising campaign. Photo: Barry Ryan.

Krizia was already an established label when McCall’s licensed Krizia patterns in the late 1970s. Designer Mariuccia Mandelli (b. 1933) co-founded the company with her friend Flora Dolci in the 1950s, naming it after Plato’s unfinished dialogue Κριτίας (Critias)—Crizia in Italian. The label is known for eclectic, youthful designs that play with pattern and contrast. (For recent coverage of the brand and its influence see the W article, Crazy for Krizia.)

From spring 1979, this two-page spread in L’Officiel shows three Krizia trouser ensembles featuring magenta, orange, and fuchsia satins (click to enlarge):

3 Krizia trouser ensembles in L'Officiel, February 1979, photographed by Michel Picard

Three Krizia looks, L’Officiel, February 1979. Photos: Michel Picard. Image via jalougallery.com.

This Krizia sweater set (short-sleeved pullover, bolero, and skirt) appeared in a Vogue editorial on the new knitwear:

Krizia knits in "The New Knitting" Denis Piel editorial Vogue August 1979

Krizia sweater set, Vogue, August 1979. Model: Kim Charlton. Photo: Denis Piel. Image via Corbis.

Between 1979 and 1981, McCall’s released a number of Krizia patterns, including a few children’s patterns. Here’s a selection of Krizia patterns for women’s wear.

McCall’s 6624 is a bias wrap skirt and playsuit with shorts and bodice pleated into a midriff band:

1970s Krizia playsuit and skirt pattern - McCall's 6624 - Carefree patterns

McCall’s 6624 by Krizia (1979) Image via the Vintage Patterns Wiki.

McCall’s 6629 combines a short-sleeved, V-neck bodysuit with a midi-length trouser skirt and wrap shorts:

1970s Krizia bodysuit, skirt, and shorts pattern - McCall's 6629 - Carefree patterns

McCall’s 6629 by Krizia (1979) Image via Etsy.

This pattern is a set of four tops for stretch knits:

1970s Krizia tops pattern for stretch knits - McCall's 6633 - Carefree pattern

McCall’s 6633 by Krizia (1979) Image via the Vintage Patterns Wiki.

McCall’s 6805 is Krizia’s take on the wrap dress, with soft pleats at the shoulder and neckline and lightly puffed sleeves in long and three-quarter lengths:

1970s Krizia wrap dress pattern - McCalls 6805 - Petite-able

McCall’s 6805 by Krizia (1979) Image via eBay.

This sleek skirt suit, reminiscent of AMC’s Halt and Catch Fire, pairs a straight skirt with a fitted jacket with shaped hemline and two-piece sleeves with pleated caps. The notched collar has an optional lapel buttonhole:

1970s Krizia skirt and jacket pattern - McCall's 6808 - Petite-able

McCall’s 6808 by Krizia (1979) Image via Etsy.

From 1980, this casual summer ensemble includes bias shorts or culottes and two tops trimmed with tubular knit:

1980s Krizia bias shorts, culottes, and tops pattern - McCall's 7099

McCall’s 7099 by Krizia (1980) Image via the Vintage Patterns Wiki.

The more formal McCall’s 7307 is a pattern for polished separates: a jacket with two-piece sleeves, skirt in 2 lengths, and flowing, cuffed pants with matching camisole:

1980s Krizia evening separates pattern - McCall's 7307

McCall’s 7307 by Krizia (1980) Image via Etsy.

Just for fun, here are two more images from Krizia’s Fall 1979 advertising campaign, photographed by Barry Ryan:

Model touching up lipstick with Superman figure - Cantoni - Krizia - Creeds Fall 1979 advertising campaign photographed by Barry Ryan

Krizia Fall 1979 advertising campaign. Photo: Barry Ryan.

Model reading Superman comic - Bini/Ideacomo Group for Krizia at Sakowitz Fall 1979 advertising campaign photographed by Barry Ryan

Krizia Fall 1979 advertising campaign. Photo: Barry Ryan.

Coming soon: my version of the Krizia playsuit.

The Fantastic Mr Fox: Style Patterns by Frederick Fox

June 17, 2014 § 5 Comments

Queen Elizabeth II wears a Frederick Fox hat to the Silver Jubilee celebrations, 1977

Queen Elizabeth II wears a Frederick Fox hat with 25 “bells” to the Silver Jubilee celebrations, 1977. Photo: Douglas Kirkland. Image via Royal Hats.

Ascot begins today. To celebrate, this post is dedicated to commercial patterns by the late milliner to the Queen, Frederick Fox.

(Last year I featured a free pattern for a Stephen Jones hat; see it here.)

Diana, Princess of Wales wears a 'flying saucer' hat by Frederick Fox during the Royal Tour of Italy, 1985

Diana, Princess of Wales wears a ‘flying saucer’ hat by Frederick Fox during the Royal Tour of Italy, 1985. Photo: Tim Graham/AP. Image via People.

Born in Australia to a large family, Frederick Fox (1931-2013) showed an early interest in millinery, refashioning hats for his mother and five sisters in rural New South Wales. After training with several milliners in Sydney, in 1958 he moved to London. By 1964, Fox had taken over Langée to open his own salon.

Fox’s royal commission for Queen Elizabeth II grew out of his work with Hardy Amies in the mid-1960s. Shortly before this commission began, he designed the white leather crash helmets in Stanley Kubrick’s 2001: A Space Odyssey (1968). Fox was known for his witty designs, made with fine materials and great technical skill; he is credited with inventing the fascinator. (For more on Frederick Fox, see the recent D*Hub article and Stephen Jones’ reminiscence for British Vogue.)

Edwina Carroll in Kubrick's 2001 wearing a Frederick Fox crash helmet

Edwina Carroll as a PanAm space stewardess in 2001: A Space Odyssey (1968). Costume by Hardy Amies; crash helmet by Frederick Fox. Image via eBay.

In the mid- to late 1980s, Frederick Fox millinery patterns were available from Style Patterns. Frederick Fox patterns display the Royal Warrant,* which he held from 1974 until his retirement in 2002.

Style 4788 is a pattern for bridal headpieces and veils. Included are both double- and single-layered veils, attached to three bases: a rose circlet edged with Russian braid, a beaded Juliet cap, and a twisted fabric headband. (The rose circlet may be worn alone.) View 1 was photographed with Style 4787, a bridal gown by Murray Arbeid, Fox’s companion of over 50 years:

1980s Frederick Fox bridal veils and headpieces pattern - Style 4788

Style 4788 by Frederick Fox (1986) Bridal head-dresses and veils.

Style 1072 is a pattern for a set of hats, including a beret, a turban, and a turban headband:

1980s Frederick Fox hat pattern - Style 1072

Style 1072 by Frederick Fox (c. 1986) Image via eBay.

Do you remember the ’80s hair ornament trend? Style 1157 is a pattern for a set of hair ornaments: a rosette with attached veil, a hair slide with large or small bow in 2 fabrics; and a headband with 2-fabric bow with optional diamante trim:

1980s Frederick Fox hair ornament pattern - Style 1157

Style 1157 by Frederick Fox (1987) Hair ornaments.

Style 1249 is a unusual for offering a set of bridal hats: a hat with attached veil and narrow brim turned up at the back, and two wide-brimmed, crownless hats (both attached to headbands):

1980s Frederick Fox bridal hats pattern - Style 1249

Style 1249 by Frederick Fox (1987) Bridal hats.

The original owner of my copy of Style 1249 had enclosed magazine pages showing these bridal designs; the text reads, “Head Turners: Hats for that special day by Frederick Fox exclusively for Style.” It may be that, like McCall’s designer patterns in the 1950s, these hats, veils, and headpieces were designed especially for Style Patterns.

* The Queen’s current milliner Rachel Trevor-Morgan is the only milliner on the current list of warrant holders.

Patrick Kelly: Vogue Patterns

April 29, 2014 § 6 Comments

Patrick Kelly AW1988 Toscani

Patrick Kelly Fall 1988 collection. Photo: Oliviero Toscani. Image via Dazed Digital.

This past weekend, the exhibition Patrick Kelly: Runway of Love opened at the Philadelphia Museum of Art. (Read WWD’s coverage here.) The show is the second Patrick Kelly retrospective since the designer’s death from AIDS in 1990. (The first was the Brooklyn Museum’s Patrick Kelly: A Retrospective in 2004.)

Born in Vicksburg, Mississippi, Patrick Kelly (1954-1990) found success as an expatriate in Paris: he was the first American, and also the first black designer, to be elected to the Chambre syndicale du prêt-à-porter. Much of Kelly’s work references his southern, African-American heritage through the use of vibrant colour, buttons and bows, and reappropriated black memorabilia motifs such as watermelons and golliwogs. (Patrick Kelly shopping bags emblazoned with his golliwog logo, as seen in the above photo, were deemed too controversial to be used in the United States.)

Embellished dresses from Patrick Kelly's Fall 1986 and Fall 1988 collections

Dresses from Patrick Kelly’s Fall 1986 and Fall 1988 collections. Image via the Philadelphia Museum of Art.

Between 1988 and 1991, Vogue Patterns licensed Patrick Kelly designs, first in the Individualist line and later as Paris Originals. Here is a selection of Patrick Kelly sewing patterns, grouped by collection.

1. Patrick Kelly Spring/Summer 1988 prêt-à-porter

Vogue Patterns’ licensing began with Kelly’s Spring/Summer 1988 collection, his first under contract with Warnaco. This collection played with the culture and racial stereotypes of the American south. (Watch a YouTube video of the collection starting here.) Vogue 2077, the first of several Patrick Kelly patterns featuring African-American model Gail O’Neill, is a flamboyant peplum suit with back bow:

1980s Patrick Kelly peplum jacket and skirt - Vogue 2077

Vogue 2077 by Patrick Kelly (1988) Image via PatternVault on Etsy.

The suit seems to have made the cover of Vogue Patterns magazine:

Vogue Patterns magazine, Summer 1988

Vogue Patterns magazine, Summer 1988. Image via Flickr.

Vogue 2078 is a tiered, off-the-shoulder dress for stretch knits:

1980s Patrick Kelly dress pattern - Vogue 2078

Vogue 2078 by Patrick Kelly (1988) Image via Etsy.

More knit dresses from this collection can be seen in this photo by Oliviero Toscani, the photographer best known for his controversial Benetton ads:

Patrick Kelly SS1988 Toscani

Patrick Kelly Spring 1988 collection. Photo: Oliviero Toscani. Image via the Philadelphia Museum of Art.

2. Patrick Kelly Fall/Winter 1988-89 prêt-à-porter

Variations on the heart motif characterized Kelly’s Fall 1988 collection, entitled More Love; the collection was later included in “Heart Strings,” a touring fundraiser for the Design Industries Foundation Fighting AIDS (DIFFA). Vogue 2165 is a long-sleeved, colour-blocked dress with heart-shaped bodice:

1980s Patrick Kelly colour-blocked dress pattern - Vogue 2165

Vogue 2165 by Patrick Kelly (1988) Image via eBay.

A version with red contrast can be seen in Toscani’s ad campaign; the red bodice also appeared in the bridal look that closed the collection. Given the ‘love’ theme, it’s surprising that the red version was not photographed for the Vogue pattern:

Patrick Kelly Fall/Winter 1988 ad campaign. Photo: Oliviero Toscani

Patrick Kelly Fall 1988 ad campaign. Photo: Oliviero Toscani. Image via Philadelphia Museum of Art on tumblr.

Vogue 2304, a stretch-knit dress with Kelly’s trademark buttons applied in a rainbow triangle, is visible in the Toscani photo at the top of this post:

1980s Patrick Kelly dress pattern - Vogue 2304

Vogue 2304 by Patrick Kelly (1989) Image via Fashionista Fabrics.

3. Patrick Kelly Spring/Summer 1989 prêt-à-porter

Having just been elected to the Chambre syndicale in June 1988, Kelly showed a Mona Lisa-themed collection for Spring 1989 in the courtyard of the Louvre. Vogue 2286 is a pattern for a full skirt, wide-legged pants, and a double-breasted top with notched shawl collar:

1980s Patrick Kelly top, skirt, and pants pattern - Vogue 2286

Vogue 2286 by Patrick Kelly (1989) Image via eBay.

The red version of the top can be seen in this campaign photo by Oliviero Toscani:

Patrick Kelly Spring 1989 ad campaign. Photo: Oliviero Toscani

Patrick Kelly Spring 1989 ad campaign. Photo: Oliviero Toscani. Image via Dazed Digital.

4. Patrick Kelly Fall/Winter 1989 prêt-à-porter

Presented the year of the bicentenary of French Revolution, Kelly’s final collection was conceived as a celebration of France and America. Vogue 2385 is a shawl-effect dress designed for stretch knits; the contrast front inset extends into a shoulder drape. The illustration’s red drape version may be seen in Runway of Love:

1980s Patrick Kelly dress pattern - Vogue 2385

Vogue 2385 by Patrick Kelly (1989) Image via Etsy.

The grey stripe version was featured in the Fall/Winter 1989 ad campaign:

Patrick Kelly Fall 1989 ad campaign

Patrick Kelly Fall 1989 ad campaign. Photo: Oliviero Toscani. Image via Pinterest.

Vogue 2556 is a button-studded ensemble consisting of jacket, skirt, and coat. The design requires forty-one buttons for the jacket alone:

1990 Patrick Kelly suit and coat pattern - Vogue 2556

Vogue 2556 by Patrick Kelly (1990) Image via Etsy.

The Vogue 2556 jacket and skirt were photographed for this Apollo Landing-themed campaign image:

Patrick Kelly FW1989 Toscani

Patrick Kelly FW 1989 collection. Photo: Oliviero Toscani. Image via Philadelphia Museum of Art.

A hot pink version, included in the Philadelphia exhibit, has a matching hat and cape, and rainbow buttons:

Patrick Kelly FW1989

Patrick Kelly suit and cape ensemble, FW 1989 collection. Image via Dazed Digital.

Despite covering only two years, the sewing patterns are an excellent sample of Kelly’s bold and playful work.

Patrick Kelly: Runway of Love runs through November 30th, 2014.

Mad Men Era 9: Butterick’s Young Designers

April 24, 2014 § 2 Comments

Megan Draper (Jessica Paré) in a Mad Men season 7 promotional photo. Image via AMC.

My series on Mad Men-era designer patterns concludes this week with three Butterick Young Designers: Mary Quant, Jean Muir, and Emmanuelle Khanh.

In 1964, Butterick launched its Young Designers line, appealing to the youth market by licensing the work of up-and-coming, international fashion designers. The line would continue through the 1970s with the addition of new designers like Betsey Johnson, Jane Tise, and Kenzo. (For more on the Young Designers line see The Vintage Traveler’s Butterick Young Designers page.)

Mary Quant

Mary Quant (b. 1934) was the first designer to be signed to the new pattern line. Born in London, Quant met Archie McNair and her future husband, Alexander Plunket Greene, at art school; together they opened a boutique on the King’s Road, Bazaar, in 1955, selling Quant’s fun, youthful designs. Quant is perhaps most famous as a pioneer of the miniskirt. Butterick released its first Quant patterns, featuring Celia Hammond photographed by Terence Donovan, in the fall of 1964.

Butterick 5475 is a mini-length shirt dress with plenty of details including epaulets, side slits, and a self-buttoned belt:

1960s Mary Quant mini dress pattern - Butterick 5475

Butterick 5475 by Mary Quant (1969) Mini dress.

Jean Muir

Also born in London, Jean Muir (1928-1995) showed an early talent for dressmaking and needlework. During the 1950s, after working her way up from the stockroom at Liberty, she was hired as designer for Jaeger; she stayed with Jaeger until 1962, when she founded her first label, Jane & Jane. She launched her eponymous label in 1966. Muir was known for her fluid dresses with charming dressmaker details.

Butterick introduced Jean Muir patterns in the spring of 1965. This short, high-waisted dress dates to the late 1960s; the bodice front and slashed, modified raglan bell sleeves fasten with rows of tiny buttons:

1960s Jean Muir dress pattern - Butterick 5657

Butterick 5657 by Jean Muir (c. 1969) Image via eBay.

Emmanuelle Khanh

Born in Paris as Renée Mésière, Emmanuelle Khanh (b. 1937) married avant-garde industrial designer Quasar Khanh in the late 1950s, around the same time that she began working as a house model for Balenciaga and Givenchy. Turning her hand to fashion design, Khanh was soon at the forefront of yé-yé fashion (Paris’ answer to Youthquake), designing for brands including Cacharel and Missoni before launching her own label in 1969. (Read a 1964 LIFE magazine article about Khanh here.) Today her company focuses on accessories, particularly eyewear.

Butterick introduced Emmanuelle Khanh sewing patterns in the fall of 1965. This turquoise, suit-effect dress creates interesting effects with topstitching and collar details:

1960s Emmanuelle Khanh suit pattern on the cover of the Butterick Home Catalog, Fall 1965

Emmanuelle Khanh dress on the cover of the Butterick Home Catalog, Fall 1965. Image: myvintagevogue via Freshly Given.

The pattern is Butterick 3718. (Thanks to Jessica Hastings of myvintagevogue for confirming the number.) This photo shows a full-length view of the dress:

An Emmanuelle Khanh dress made from a Butterick sewing pattern in heavy turquoise blue wool jersey. The striped blue, grey and black stockings are by Corah and the suede buttoned gaiters and shoes by Rayne. The white stitched crepe hat is by Simone Mirman.

An Emmanuelle Khanh dress made from a Butterick sewing pattern in heavy turquoise blue wool jersey (1965) Image via Amazon.

It’s interesting to see an established company like Butterick responding to contemporary Sixties youth culture, facilitating access to Youthquake and yé-yé fashion in the process.

Mad Men Era 8: McCall’s New York Designers

April 14, 2014 § 1 Comment

Jane and Roger at the Drapers' party, Mad Men season 5, episode 1-2

Jane and Roger Sterling (Peyton List and John Slattery) in Mad Men, season 5. Image via AMC.

With Mad Men entering its final season, my Mad Men-era series concludes with two posts on fashion designers whose work became available to home sewers in the mid-Sixties. (Browse the series by clicking the Mad Men era tag, or start at the beginning.)

Before the Vogue Americana line there was McCall’s New York Designers’ Collection. In the fall of 1965, McCall’s introduced a new pattern line: New York Designers’ Collection plus 1. (The “plus 1” refers to one foreign designer, Digby Morton; later, as McCall’s added designers to the line, it became “New York Designers’ Collection Plus.”)

The Fall/Winter 1965 issue of McCall’s Pattern Fashions & Home Decorating introduced readers to the new designers. According to the catalogue, the new line featured “the most outstanding fashions of seven leading American designers and one famous London couturier” (click to enlarge):

Meet McCalls New Designers 1965

Meet McCall’s new designers. McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965–66.

The original list of designers consisted of Larry Aldrich, Geoffrey Beene, Bill Blass, Laird-Knox, Digby Morton, Originala, Mollie Parnis, and Pauline Trigère, whose agreement with McCall’s dated to the mid-1950s. (Trigère was already featured in an earlier Mad Men era post.) Later additions would include Anne Klein, Jacques Tiffeau, and Rudi Gernreich.

This post looks at three of the best-known American designers in McCall’s new line: Bill Blass, Geoffrey Beene, and Anne Klein.

Bill Blass

Born in Fort Wayne, Indiana, Bill Blass (1922-2002) showed an early talent for fashion design, studying briefly at Parsons before enlisting in the U.S. military in 1942. After the war he returned to New York to work in the fashion industry; by 1959 he was head designer for Maurice Rentner—then a conservative, established Seventh Avenue label. (McCall’s patterns credit the designer as ‘Bill Blass for Maurice Rentner, Ltd.’) In 1970 he purchased the company and renamed it Bill Blass Ltd. Blass was known for his sophisticated but youthful designs favoured by high society. He retired in 1999.

McCall’s 8927 is an asymmetrical, sleeveless shift dress with applied bands and an inverted pleat on the left-hand side:

1960s Bill Blass dress pattern - McCall's 8927

McCall’s 8927 by Bill Blass (1967) Image via Etsy.

Geoffrey Beene

Born in Louisiana as Samuel Robert Bozeman Jr., Geoffrey Beene (1924-2004) trained at the Traphagen School of Fashion in New York and École de la Chambre Syndicale in Paris, where he also apprenticed with a tailor. Returning to New York, he worked at Harmay and Teal Traina before founding his own company in 1963. Beene was renowned for his innovative, modern designs, as well as his iconoclasm.

Veronica Hamel models McCall’s 1028, a dress cut in seven panels with seven-eighths kimono sleeves and triangular, bias collar:

McCalls 1028 (1968)

McCall’s 1028 by Geoffrey Beene (1968) Image via Etsy.

Anne Klein

Born in Brooklyn as Hannah Golofsky, Anne Klein (1923-1974) also trained at the Traphagen School of Fashion. The pioneer in American sportswear worked in petites and juniors before founding Anne Klein and Company in the late 1960s. Her final collection was completed by Donna Karan, who had begun work at the company in the summer of 1967 as Klein’s intern.

McCall’s 1020 is a sleeveless shift dress with angular armholes and fabulous standing (and convertible) collar. The model is Hellevi Keko:

McCalls 1020 (1967)

McCall’s 1020 by Anne Klein (1967) Image via MOMSPatterns.

All three New York designers would later make the switch to Vogue Patterns: Blass in 1967, Beene and Klein in the 1970s.

Next: Butterick’s Young Designers: Mary Quant, Jean Muir, and Emmanuelle Khanh.

Schiaparelli Patterns, Part 2

March 5, 2014 § 13 Comments

Vogue 15 Nov 49_a

Paris Originals by Schiaparelli (left) and Jacques Heim (right). Vogue, November 15, 1949. Photo: Richard Rutledge.

This week, the second part of my series on commercial sewing patterns by Elsa Schiaparelli. (See Part 1 here.)

Schiaparelli was one of the eight couturiers who licensed designs for the first Vogue Paris Originals in 1949. Vogue’s first Schiaparelli pattern was a skirt suit with double pockets and one-sleeved blouse, Vogue 1051:

1940s Schiaparelli suit and blouse pattern - Vogue 1051

Vogue 1051 by Schiaparelli (1949) Image via the Blue Gardenia blog.

The suit was photographed in Paris by Clifford Coffin:

Vogue 1 Mar 1949 Schiaparelli

Vogue 1051 by Schiaparelli. Vogue, March 1, 1949. Photo: Clifford Coffin.

The photo that opens this post shows Vogue 1074, a Schiaparelli dress and shortcoat from Vogue’s fourth series of Paris Originals. The original coat was lined with astrakhan. (The suit on the right is Vogue 1076 by Jacques Heim.)

1940s Schiaparelli coat and dress pattern - Vogue 1074

Vogue 1074 by Schiaparelli (1949) Image via Pinterest.

New Look curves characterize this Schiaparelli suit pattern from spring, 1950, which was photographed in Paris by Norman Parkinson. The short-sleeved jacket has rounded, stiffened hips, while the kimono-sleeved blouse buttons its curved fronts to one side. Vogue recommends making the blouse from the suit’s lining fabric:

1950s Schiaparelli suit and blouse pattern - Vogue 1098

Vogue 1098 by Schiaparelli (1950) Image via eBay. Photo: Norman Parkinson.

Vogue 1133 is a vampy, short-sleeved dress with hip-enhancing pocket flaps and convertible collar at both front and back:

1950s Schiaparelli dress pattern - Vogue 1133

Vogue 1133 by Schiaparelli (1951) Image via eBay.

Arik Nepo’s photograph plays up the dress’ severity:

Vogue 1133 15Feb1951

Vogue 1133 by Schiaparelli. Vogue, February 15, 1951. Photo: Arik Nepo.

Vogue 1142 is a faux suit, an asymmetrical dress with a skirt front extension that creates the illusion of a jacket on one side. (Much like Galliano’s Givenchy jumpsuit, Vogue 1887.) The shaped projections of the big, rounded collar, skirt extension, and off-kilter double-breasted closure playfully destabilize the garment:

1950s Schiaparelli dress pattern - Vogue 1148

Vogue 1148 by Schiaparelli (1951) Image via the Vintage Patterns Wiki.

This Schiaparelli evening dress pattern, Vogue 1144, includes a petticoat and diaphanous kerchief. Look closely, and you can see that the oversized, decorative pockets extend almost the length of the skirt:

Vogue 1144 by Schiaparelli (1951) Image via the Vintage Patterns Wiki.

Here’s a closer look at Henry Clarke’s photo:

Vogue 1144 15 May 1951

Vogue 1144 by Schiaparelli. Vogue, May 15, 1951. Photo: Henry Clarke.

In 1952 Schiaparelli showed inverted heart necklines for spring; with its pointed, stand-away neckline and narrow shawl collar, Vogue 1179 allowed the home dressmaker to be right up to date. The cocktail dress closes with not one but two side zippers:

Vogue 1179 (1952)

Vogue 1179 by Schiaparelli (1952) Image via eBay.

Vogue magazine showed an alternate photo by Robert Randall:

Vogue 1179 15May1952

Vogue 1179 by Schiaparelli. Vogue, May 15, 1952. Photo: Robert Randall.

Frances McLaughlin photographed Bettina in Vogue 1198, a short evening dress with what Vogue called “a big pleated bandage—like an outside order ribbon” wrapping over one shoulder and around the waist. The original was made in black silk brocade:

Vogue 1198 15 Oct 1952

Vogue 1198 by Schiaparelli. Vogue, October 15, 1952. Model: Bettina. Photo: Frances McLaughlin.

Here’s a catalogue page for Vogue 1198, with illustration and alternate photo:

Vogue 1198 catalogue

Vogue 1198 in a 1950s Vogue Patterns counter catalogue.

Vogue 1231 is a day dress with a single patch pocket and bloused bodice gathered to a dramatic convertible collar:

1950s Schiaparelli dress pattern - Vogue 1231

Vogue 1231 by Schiaparelli (1953) Image via Betsy Vintage.

The dress was photographed in Paris by Robert Randall:

Vogue 1231 15Aug1953

Vogue 1231 by Schiaparelli. Vogue, August 15, 1953. Photo: Robert Randall.

Finally, Vogue 1245 is a long evening dress with an attached stole that passes through the bodice front:

Drawing showing details of Schiaparelli evening dress pattern - Vogue 1245

Illustration for Vogue 1245 by Schiaparelli (1954)

The stunning gown was photographed by Roger Prigent:

Vogue 1245 1Jan1954

Vogue 1245 by Schiaparelli. Vogue, January 1, 1954. Photo: Roger Prigent.

If you don’t have the budget for an original Schiaparelli pattern, a reproduction of the one-sleeved stole from Vogue 1068 is available from Decades of Style:

Vogue 1068 by Schiaparelli. Sketch by David

Vogue 1068 by Schiaparelli. Sketch by David, Vogue, August 1, 1949.

Schiaparelli Patterns, Part 1

January 22, 2014 § 10 Comments

Guinevere Van Seenus in vintage 1930s Schiaparelli, Vogue, May 2012. Photo: Steven Meisel. Image via vogue.com.

Have you heard? The house of Schiaparelli, founded by the legendary Elsa Schiaparelli (1890-1973) and dormant since 1954, has been revived.

Schiaparelli label, summer 1938 - 21 place vendôme Paris

Schiaparelli label, 1938. Image via the Metropolitan Museum of Art.

Last year Christian Lacroix presented a one-off couture collection for the house, and this week the new head designer, Marco Zanini, presented his first Schiaparelli collection at the Paris couture. (See the Spring 2014 collection on style.com, or read W’s coverage of Zanini’s appointment here.)

Christian Lacroix sketch for his Schiaparelli collection. Image via Fashion Loving.

Stella Tennant in Schiaparelli by Marco Zanini, 2014

The opening look in Marco Zanini’s debut collection for Schiaparelli. Model: Stella Tennant. Image via style.com.

The high-profile revival follows the Costume Institute’s major 2012 exhibition, Schiaparelli and Prada: Impossible Conversations (see my earlier post here). And, timed to coincide with couture week, an auction of Schiaparelli’s personal collection takes place Thursday at Christie’s Paris:

Schiaparelli Christies

Collection personnelle d’Elsa Schiaparelli. Image via Christie’s.

Many of you will be aware of Schiaparelli’s licensed sewing patterns, since she was among the first designers of Vogue Paris Originals. There were also Schiaparelli knitting patterns. If you knit, you can download a free pattern for Schiaparelli’s 1927 Bowknot sweater, updated by Lisa Stockebrand (Ravelry page here):

Douglas Pollard illustration of Schiaparelli's bowknot sweater, Vogue, December 1927

Bowknot sweater by Elsa Schiaparelli, Vogue, December 15, 1927. Illustration: Douglas Pollard.

Like Vionnet, Schiaparelli also saw commercial sewing patterns for her designs in the interwar period, released by companies including the McCall Pattern Company, Pictorial Review, and the Paris Pattern Company. Here is a selection of early Schiaparelli patterns.

This McCall pattern is the earliest Schiaparelli pattern I’ve seen. Dating to the autumn of 1929, it’s a pattern for a blouse, skirt, and coat with angled pockets. It was still shown in a 1930 catalogue:

1920s Schiaparelli pattern - McCall 5839

McCall 5839 by Schiaparelli in the McCall catalogue, 1930. Image via echopoint.

Here is the illustration of McCall 5839 in McCall’s magazine:

1920s Schiaparelli sewing pattern - McCall 5839

McCall 5839 by Schiaparelli. McCall’s magazine, October 1929. Illustration: Blanche Rothschild.

This Schiaparelli pattern from the Paris Pattern Company has some unusual details. The wrap skirt buttons diagonally across the hips and has two slits through which the blouse’s attached scarf can pass, for a suspender effect:

Paris 1647

Paris Pattern 1647 by Schiaparelli (c. 1931)

McCall 6981 is a three-piece suit consisting of a jacket, cropped pussy-bow blouse, and sleeveless, bias dress:

1930s Schiaparelli sewing pattern - McCall 6981

McCall 6981 by Schiaparelli (1932)

Here’s an illustration of this design (centre, no. 14) in the summer 1932 issue of McCall Fashion Bi-Monthly. Elsewhere it calls McCall 6981 a “trick” ensemble, since the blouse and jacket disguise a dress suitable for tennis:

McCallBiMonthlyJulAug1932

McCall Fashion Bi-Monthly, July/August 1932. Image via carbonated on flickr.

This Benito illustration for Vogue shows a similar Schiaparelli ensemble, worn with a tomato red Sicilian cap:

Schiaparelli beige suit, blue blouse and Sicilian cap; pink jacket and brown skirt, Vogue, May 1, 1932. Illustration: Eduardo García Benito. Image via Corbis.

This Pictorial Review Schiaparelli adaptation dates to late 1933. The dress has interesting details like shoulder flanges, diagonal waist darts, and inverted darts radiating from the neckline:

PR 6764

Pictorial Review 6764 adapted from Schiaparelli (c. 1933) Image via Best Vintage Patterns.

Here’s the catalogue illustration for Pictorial Review 6764:

PR6764illus

Illustration of Pictorial Review 6764 (c. 1933) Image via Best Vintage Patterns.

Paris Pattern 2286, illustrated in my 1934 Paris and Style Patterns booklet, is a jaunty ensemble consisting of a coat, skirt, and jacket blouse. The description reads, “A superb town and country suit. Just the thing for that week end vacation. Top coat can be worn over any dress. The skirt and jacket blouse make an ideal spectator costume”:

1930s Paris Pattern by Schiaparelli

Paris Pattern 2286 by Schiaparelli. Paris and Style Patterns leaflet, June 1934.

Also in this leaflet is the Schiaparelli dress and capelet ensemble available as a reproduction from the Vintage Pattern Lending Library. The dress has shoulder yokes, puffed sleeves, and a skirt with pointed set-in panels and pair of buttons at the waist; the matching capelet is trimmed with pleating and buttons to the skirt front. Thanks to owner Deirdre Duggan for providing a scan of the envelope:

1930s Schiaparelli sewing pattern - Paris Pattern 2301

Paris Pattern 2301 by Schiaparelli (c. 1934) Image courtesy of the Vintage Pattern Lending Library.

Finally, from McCall’s, this Schiaparelli dinner dress in two lengths dates to winter 1936-37. The bodice back extends into sleeves that are gathered into a heart-shaped bodice:

1930s Schiaparelli dinner dress pattern - McCall 9076

McCall 9076 by Schiaparelli (1936) Image via the Vintage Patterns Wiki.

The pattern is illustrated in the January 1937 issue of McCall’s magazine, which made much of the new, street-length hemline:

McCall Jan1937 Schiap

McCall’s magazine, January 1937. Image via eBay.

Schiaparelli patterns from between the wars tend to lack the surrealist touches we associate with the designer, since many of these were based on couture embellishment, accessories, or notions. (Cricket buttons, anyone?) I remember reading a contemporary 1930s article that said Schiaparelli pieces were so simple, they were too easy to copy. Today one might say it’s her brand of dynamic severity that makes her clothes seem so modern.

Bonus: The Art Deco Society of California has posted instructions for Schiaparelli’s “Mad Cap” (via What Would Nancy Drew Wear?).

Next: Schiaparelli’s postwar Vogue Paris Originals.

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