Yves Saint Laurent for Dior: Vogue Patterns

December 17, 2014 § 4 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.

Donna Karan: Vogue Patterns, Part 1

November 28, 2014 § 6 Comments

Donna Karan Fall 2014 runway presentation. Image via the New York Times.

With her Fall 2014 collection, Donna Karan celebrated the 30th anniversary of her label. This new series marks this milestone with highlights of almost three decades of Donna Karan sewing patterns.

Donna Karan (b. 1948) was born Donna Faske in Queens, New York to parents in the fashion industry. She attended Parsons School of Design before beginning her career at Anne Klein. In 1984, after over fifteen years at Anne Klein, Karan left to launch her own label. Her first collection, Seven Easy Pieces, explored the concept of layering mix-and-match pieces over a ‘body’ (a snap-crotch bodysuit) and laid the foundation for her brand. (See a New York Times timeline here.)

Models in bodysuits from Donna Karan’s Fall 1985 collection. Image via WWD.

Vogue Patterns’ licensing began two years after Seven Easy Pieces. Karan was introduced to readers in the September/October 1987 (or Autumn 1987) issue of Vogue Patterns magazine:

Vogue 1960 by Donna Karan on the cover of Vogue Patterns magazine,  Autumn 1987

Vogue Patterns magazine, Autumn 1987. Image via eBay.

In an editorial photographed by Benoit Malphettes, Suzanne Lanza models the four new patterns for a Donna Karan wardrobe. The designs were from the current, Fall/Winter 1987-88 collection (see Bernadine Morris, “Beene and Karan Redefine Today’s Luxury” or watch a runway video on YouTube):

Donna Karan Vogue Patterns SeptOct 1987

Donna Karan feature with Vogue 1958. Vogue Patterns, September/October 1987. Photos: Lynn Kohlman and Benoit Malphettes. Model: Suzanne Lanza.

Donna Karan Vogue Patterns SeptOct 1987b

Vogue 1961 and 1962 by Donna Karan. Vogue Patterns, September/October 1987. Photos: Benoit Malphettes. Model: Suzanne Lanza.

DonnaKaran VoguePatternsSeptOct1987c

Vogue 1960, 1961, and 1962 by Donna Karan. Vogue Patterns, September/October 1987. Photos: Benoit Malphettes. Model: Suzanne Lanza.

(Scans via Top Models of the World.)

Vogue 1958 is a bias coat and draped, long-sleeved dress:

1980s Donna Karan dress and coat pattern - Vogue 1958

Vogue 1958 by Donna Karan (1987) Image via Etsy.

Vogue 1958 schematic

Technical drawing for Vogue 1958. Image via Etsy.

Here’s the envelope description: Misses’ Coat & Dress. Very loose-fitting, unlined, A-Line, bias coat, above mid-knee, has front extending into standing back neckline and long sleeves. No Provision for Above-Waist Adjustment. Tapered dress, above mid-knee, has draped neckline extending into collar and long sleeves, shoulder pads, front pleated and gathered waist, side front pockets, front zipper (skirt), underarm gusset and elasticized back waist (no seam).

A black, wool knit version of the Vogue 1958 dress is in the collection of the Museum at FIT, where it was featured in the 2008 exhibition Arbiters of Style: Women at the Forefront of Fashion:

1980s dresses from Rei Kawakubo and Donna Karan - Arbiters of Style exhibit

Ensembles by Rei Kawakubo for Comme des Garçons (1983) and Donna Karan (1987) in Arbiters of Style: Women at the Forefront of Fashion. Image via the Museum at FIT.

Vogue 1960 is a double-breasted jacket with elasticized back detail. The design was also featured on the fall magazine cover shown above:

1980s Donna Karan jacket pattern - Vogue 1960

Vogue 1960 by Donna Karan (1987) Image via the Vintage Patterns Wiki.

Vogue 1960 schematic

Technical drawing for Vogue 1960. Image via Etsy.

The envelope description reads: Misses’ Jacket. Loose-fitting, lined, below hip, double-breasted jacket has notched collar, shoulder pads, welt and buttonhole pockets, side back seams, elasticized, side back-button tab and long, two-piece sleeves with button vent. Purchased top.

Vogue 1961 may look like a set of tops, but it’s really two tops—one bias, the other for stretch knits—and a bodysuit:

Vogue 1961 (1987)

Vogue 1961 by Donna Karan (1987) Image via Etsy.

Vogue 1961 schematic. Image via eBay.

Technical drawing for Vogue 1961. Image via eBay.

Here’s the envelope description: Misses’ Top and Bodysuit. Loose fitting top has long sleeves. A: wrap, bias, draped front extends to tucked back collar, attached to tie ends. B: mock front wrap, shoulder pads, tucked front extends into single layer tie ends (wrong side may show) and back zipper. Bodysuit has notched collar, dropped shoulders, shoulder pads, mock front band, yoke with forward shoulder seams, very loose fitting blouson bodice, back pleat, elastic (seamed) waist, and lower edge, snap crotch closing and long sleeves with placket, pleats and button cuffs. Purchased trim.

Vogue 1962 provides the bottoms shown on Vogue 1961: a high-waisted skirt and softly pleated skirt or pants:

Vogue 1962 (1987)

Vogue 1962 by Donna Karan (1987) Image via Etsy.

Vogue 1962 schematic

Technical drawing for Vogue 1962. Image via Etsy.

The envelope description reads: Misses’ Skirt, Pants & Stole. Straight or tapered skirt (no side seams), above mid-knee or tapered pants have back zipper. No provision for shortening or lengthening for skirt B. A: bias front, no waistband, and side back seams. B: lined. Skirt B, Pants: front pleats, partially elasticized waistband and pockets. Single layer stole has narrow hem. Purchased top.

Just for fun, here’s a Patrick Demarchelier editorial photo of Paulina Porizkova in an ensemble from the Fall 1987 collection:

Paulina Porizkova in Donna Karan, British Vogue, September 1987. Photo: Patrick Demarchelier. Image via Magdorable!

Next in the series: Donna Karan patterns from the late 1980s and early 1990s.

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)

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. Update: show extended to December 7th, 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.

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