The Look of Courrèges

January 29, 2016 § 10 Comments

Courrèges sunglasses - Simone D'Aillencourt photographed by Richard Avedon, 1965

Courrèges glasses, February 1965. Photo: Richard Avedon. Model: Simone D’Aillencourt. Image via the Richard Avedon Foundation.

André Courrèges died early this month. He was 92. (See WWD, “André Courrèges: Space Age Couturier,” or Vanessa Friedman’s obituary for The New York Times.)

1960s Vogue cover - Astrid Heeren in a white Courrèges bonnet photographed by Irving Penn

Courrèges hat, Vogue, November 15, 1964. Photo: Irving Penn. Model: Astrid Heeren. Image via Vogue.com.

Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.

1960s Vogue Paris cover featuring Maggie Eckhardt in a Courrèges ensemble

Courrèges ensemble, Vogue Paris, March 1965. Model: Maggie Eckhardt. Image via Pinterest.

In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):

1960s Courrèges-look patterns McCall's 7938, 7932, and 7918 photographed by Edward Pfizenmaier for McCall's Pattern Fashions

“Precision… Proportion… Perfection! This is the Look of Courrèges,” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):

1960s Courrèges-look patterns McCall's 7914, 7936, and 7923 photographed by Edward Pfizenmaier for McCall's Pattern Fashions

“This is the Look of Courrèges.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:

McCall's Pattern Fashions & Home Decorating, Fall-Winter 1965-66

Seventeen Magazine Seconds the Courrèges Look.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66.

A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:

"Crompton Corduroy just acts rich" - 1960s Crompton Corduroy advert featuring Marcel Barbeau art and a McCall's pattern

Crompton Corduroy advertisement featuring McCall’s 7923 after Courrèges, 1965.

As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):

1960s party issue cover of Seventeen magazine featuring Jennifer O'Neill in McCall's 7923 after Courrèges

McCall’s 7923 after Courrèges on the cover of Seventeen, July 1965. Model: Jennifer O’Neill. Image via eBay.

Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):

7902, 7903, 7884. Seventeen Jul 1965 via eBay

7902, 7903, 7884. Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:

Seventeen Jul1965a

McCall’s after Courrèges in Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):

1960s poncho, hood, and dress pattern after Courrèges - McCall's 7884

McCall’s 7884 after Courrèges (1965) Image via PatternVault on Etsy.

In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):

1960s jumper, skirt, and blouse pattern after Courrèges - McCall's 7903

McCall’s 7903 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::

1960s dress/jumper, blouse and skirt pattern after Courrèges - McCall's 7914

McCall’s 7914 after Courrèges (1965) Image via the Vintage Pattern Wiki.

McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:

1960s dress pattern after Courrèges - McCall's 7918

McCall’s 7918 after Courrèges (1965) Image via Etsy.

McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):

1960s dress or jumper and blouse pattern after Courrèges - McCall's 7923

McCall’s 7923 after Courrèges (1965) Image via PatternVault on Etsy.

Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:

1960s top and skirt pattern after Courèges - McCall's 7932

McCall’s 7932 after Courrèges (1965) Image via Etsy.

McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):

1960s skirt suit and blouse pattern after Courrèges - McCall's 7936

McCall’s 7936 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):

1960s coat, suit, and blouse pattern after Courrèges - McCall's 7938

McCall’s 7938 after Courrèges (1965) Image via PatternVault on Etsy.

Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):

1960s dress or jumper, blouse and jacket pattern after Courrèges - McCall's 7940

McCall’s 7940 after Courrèges (1965) Image via PatternVault on Etsy.

André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.

I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):

Vogue1Mar1965_C1

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

Vogue1Mar1965_C2

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

* Dacron was known by the name Terylene in the U.K.

Byron Lars: Vogue Patterns

January 19, 2016 § 4 Comments

1990s Byron Lars editorial photographed for Vibe by Ruven Afanador

Vibe magazine, September 1993. Model: Lois Samuels. Photo: Ruven Afanador. Image via Google Books.

Today is Byron Lars’ birthday. In lieu of cake, here’s a look at his work with Vogue Patterns.

A Byron Lars look on the cover of Women's Wear Daily, 1991

Women’s Wear Daily, April 1991. Image via Byron Lars on Instagram.

Born in California, Byron Lars (b. 1965) studied at the Brooks Fashion Institute and New York’s Fashion Institute of Technology before dropping out to pursue freelance work; he was already an award-winning fashion illustrator when he launched his own label in 1991. His playful yet beautifully cut designs were an instant success—twists on American sportswear shown with cheeky accessories like duck-decoy purses. In a 1993 interview, Lars cites Patrick Kelly and Jean Paul Gaultier as inspirations for his approach. (See Greg Tate, “Byron Large.”)

Byron Lars illustrations in LOfficiel, August 1991

Byron Lars illustrations in L’Officiel, August 1991. Image via jalougallery.com.

VogueSept1992_176

Two Byron Lars runway looks in Vogue, September 1992.

In the mid-1990s, Vogue Patterns licensed a number of Byron Lars designs in the Vogue Attitudes line. Lars was introduced to readers in the July/August 1994 issue of Vogue Patterns magazine:

Introducing Byron Lars - Louise Vyent on the cover of Vogue Patterns magazine, summer 1994.

Louise Vyent wears Byron Lars on the cover of Vogue Patterns, July/August 1994. Photo: Torkil Gudnason. Image via Amazon.

The first two patterns, Vogue 1419 and 1420, were modelled by Louise Vyent and photographed by Torkil Gudnason (click to enlarge):

Vogue Patterns JulAug 1994 Lars

“Introducing Byron Lars: Shape and Spirit,” Vogue Patterns, July/August 1994. Model: Louise Vyent. Photos: Torkil Gudnason.

Vogue 1419 is a pattern for a skirt, high-waisted pants, and a jacket with exposed zippers and Lars’ signature, waist-defining tie-front:

1990s Byron Lars jacket, skirt, and pants pattern - Vogue 1419

Vogue 1419 by Byron Lars (1994) Image via eBay.

Vogue 1420 presents three versions of Lars’ take on the traditional men’s shirt:

1990s Byron Lars shirts pattern - Vogue 1420

Vogue 1420 by Byron Lars (1994) Image via Etsy.

Here the twist becomes an asymmetrical, pleated drape on a tailored dress:

1990s Byron Lars dress pattern - Vogue 1506

Vogue 1506 by Byron Lars (1994) Image via eBay.

From 1995, Vogue 1529 includes leggings and a flared shirtdress with bustline tie detail. The silhouette is similar to that seen in the Ruven Afanador photo that opens this post:

1990s Byron Lars striped shirtdress pattern - Vogue 1529

Vogue 1529 by Byron Lars (1995) Image via Etsy.

Vogue 1620 provides three more variations on the Byron Lars shirt:

1990s Byron Lars shirts pattern - Vogue 1620

Vogue 1620 by Byron Lars (1995) Image via PatternVault on Etsy.

Vogue 1621 includes two tie-front shirtdresses and a top for lightweight, dressier fabrics, as well as high-waisted pants:

1990s Byron Lars dress, top, and pants pattern - Vogue 1621

Vogue 1621 by Byron Lars (1995) Image via Etsy.

In Vogue 1653, Lars pairs tapered pants with a fitted jacket with built-up neckline, exposed zippers, and dramatic back drape:

1990s Byron Lars jacket and pants pattern - Vogue 1653

Vogue 1653 by Byron Lars (1995) Image via Etsy.

Vogue 1701’s fitted dress for stretch knits was photographed at the Strand’s Central Park kiosk. The pattern includes the contrast belt, which is angled to pass through the skirt’s front drape:

1990s Byron Lars dress pattern - Vogue 1701

Vogue 1701 by Byron Lars (1995) Image via Etsy.

The jacket of this skirt suit has a surprise contrast back in synthetic suede or leather:

1990s Byron Lars skirt suit pattern - Vogue 1843

Vogue 1843 by Byron Lars (1996) Image via eBay.

You may have seen Erica Bunker’s version of Vogue 1846. This shirt can be made as a wrap-front with optional contrast cuffs and collar, or with a contrast dirndl bodice:

1990s Byron Lars shirt pattern - Vogue 1846

Vogue 1846 by Byron Lars (1996) Image via Etsy.

Finally, two more fashion photos: the closing shot from Ruven Afanador’s Byron Lars portfolio in the premiere issue of Vibe magazine, and a runway image from Lars’ Fall 1994 collection.

By request of Clare Nightingale.

Byron Lars in Fernando Sanchez, with Kumi in Byron Lars, Vibe magazine, September 1993. Photo: Ruven Afanador. Image via Google Books.

Another Guy Laroche Pattern by Alber Elbaz?

November 4, 2015 § 6 Comments

Detail of Vogue 2368 by Guy Laroche, possibly by Alber Elbaz

Last week the fashion world was shocked by the news that Alber Elbaz had been dismissed as creative director of Lanvin. (See British Vogue or Bridget Foley for WWD.)

Before his positions at Lanvin and Yves Saint Laurent Rive Gauche, Alber Elbaz designed four seasons for Guy Laroche. (Fall 1997 to Spring 1999; see my earlier post here.) The recent news got me thinking about a Guy Laroche pattern that could also be by Elbaz.

Vogue 2368 is so rare that I didn’t see it in time for my first post. It’s a simple, formal design: a sleeveless dress with a big flower at the tucked, asymmetrical neckline:

1990s Guy Laroche cocktail or evening dress pattern by Alber Elbaz? - Vogue 2368

Vogue 2368 by Guy Laroche (1999) Image via PatternVault on Etsy.

Technical drawing for Vogue 2368 by Guy Laroche

Technical drawing for Vogue 2368

Here’s the envelope description: Semi-fitted, straight, lined, sleeveless dress, below mid-knee or evening length, has neckline tucks, side zipper and back hemline slit. Purchased flower. Recommended fabrics are silk-like crepe, lightweight wool crepe, and satin-backed crepe.

Vogue 2368 was released in late 1999—earlier than Vogue 2497, a design from Elbaz’ Spring 1999 farewell collection for Laroche. It doesn’t match any of the runway looks from Elbaz’ four Laroche collections, but the palette, neckline detail, and especially the flower (an Elbaz signature at Laroche and Lanvin) seem persuasive. What do you think?

15 Oct 1998 --- GUY LAROCHE: SPRING-SUMMER 1999 PRET A PORTER COLLECTION --- Image by © Thierry Orban/Sygma/Corbis

Guy Laroche SS 1999 © Thierry Orban/Sygma/Corbis.

Men's Lanvin flower pin in red wool felt

Lanvin flower pin. Image via LuisaViaRoma.

Men's Lanvin flower pin in fabric and leather

Lanvin flower pin. Image via Mr Porter.

More Bob Mackie Patterns

October 18, 2015 § 4 Comments

Cher in Bob Mackie on the cover of TIME magazine, 1975

Cher in Bob Mackie, TIME magazine, March 17, 1975. Photo: Richard Avedon. Image via TIME.

Speaking of Bob Mackie, I found some more Bob Mackie patterns from McCall’s.

Unhelpfully for collectors, vintage designer patterns were sometimes printed without the name on the envelope. This is the case with three Bob Mackie patterns, which were released earlier than those in my first Bob Mackie post. Like the other Mackie patterns, these three are also for stretch knits.

McCall’s 6575 and 6576 are slinky, disco halter dresses:

1970s Bob Mackie dress pattern - McCall's 6575

McCall’s 6575 by Bob Mackie (1979) Image via PatternVault on Etsy.

1970s Bob Mackie dress pattern - McCall's 6576

McCall’s 6576 by Bob Mackie (1979) Image via PatternVault on Etsy.

McCall’s 6577 is a pattern for a disco coverup, bodysuit, skinny pants, and handkerchief skirt. The contrast sash is also included:

McCall’s 6577 by Bob Mackie (1979) Image via PatternVault on Etsy.

Contemporary buyers would have ordered these designs from a catalogue complete with photos and the Bob Mackie logo, like this counter catalogue from September 1979 (click to enlarge):

McCall's 6600 by DD Dominick and McCall's 6575 by Bob Mackie in McCall's catalogue, September 1979

Designs by DD Dominick and Bob Mackie in McCall’s catalogue, September 1979. Image via eBay.

Bob Mackie patterns McCall's 6577 and 6576 in McCall's catalogue for September 1979

Bob Mackie designs in McCall’s catalogue, September 1979. Image via eBay.

Make with strategically placed sequins for the full Cher effect…

Zandra Rhodes: Style Patterns

September 24, 2015 § 3 Comments

Zandra Rhodesand Rembrandt's Portrait of Catrina Hooghsaet, 2014

Zandra Rhodes and Rembrandt’s portrait of Catrina Hooghsaet, 2014. Image via the National Gallery.

Last week, Zandra Rhodes returned to London Fashion Week for her Spring 2016 collection. Famous for her colourful, hand-drawn prints, the bohemian cult favourite is also new to Vogue Patterns for Winter/Holiday 2015: Vogue 1472 is the first new Zandra Rhodes sewing pattern in thirty years. (Update: read a profile in Vogue Patterns magazine.) For knitters, the current issue of Rowan Knitting & Crochet has a Zandra Rhodes jacket pattern available as a free download.

Zandra Rhodes sketch with yarn charts and sample garment - Rowan 58 (Winter 2015)

Zandra Rhodes sketch with yarn charts and sample garment in Katy Bevan, “Dame Zandra’s Knitting Circle” in Rowan Knitting & Crochet 58 (Winter 2015). Image via Rowan.

Born in Chatham, Kent, Zandra Rhodes (b. 1940) trained as a textile designer at Medway College of Art, where her mother was a lecturer, and London’s Royal College of Art. Rhodes founded her own label in order to build garments around her prints. Her first, 1969 collection, Knitted Circle, was famously worn by Natalie Wood in Vogue magazine; the evening coat is now in the collection of the V&A:

Natalie Wood wears a screen-printed felt evening coat and silk chiffon dress, both by Zandra Rhodes. Vogue, January 1970. Photo: Gianni Penati. Image via Youthquakers.

Rhodes became known as the Princess of Punk following her Spring 1977 torn and safety-pinned Conceptual Chic collection, which was partly inspired by Schiaparelli’s Tears dress.

Wedding dress and dress from Zandra Rhodes' Spring 1977 collection

A wedding dress and dress from Zandra Rhodes’ Spring 1977 collection at the PUNK: Chaos to Couture exhibit, 2014. Image via the Metropolitan Museum of Art.

By the 1980s Rhodes was designing for Princess Diana. The princess wore this pink chiffon dress, embellished with crystal beads and pearl droplets, during her 1986 state visit to Japan (now in the collection of Historic Royal Palaces):

Zandra Rhodes sketch for Princes Diana. Image via SDNews.

In 1985, Style Patterns released a handful of Zandra Rhodes sewing patterns. Rhodes was among the first designers to be included in the company’s short-lived designer line. (See my earlier posts on Bruce Oldfield and Frederick Fox.)

Style 4399 is a pattern for a wedding or evening dress in two lengths with characteristic serated frill:

1980s Zandra Rhodes formal dress pattern - Style 4399

Style 4399 by Zandra Rhodes (1985) Image via Etsy.

Style 4399 schematic

Back view for Style 4399 (1985)

Here’s the envelope description: Misses’ Lined Wedding Dress or Evening Dress in Two Lengths — Dress has shoulder yoke with serrated frill and pointed cape effect on bodice. Skirt has elasticated waistline. Model 1 bead trim is used on yoke and neck tie. Suggested fabrics: Lightweight silk types, crepe de chine, chiffon, shantung, lace, voile, batiste, organza. Lining: Jap silk, crepe de chine. Trim: wide ribbon and pearl beading or narrow ribbon.

Style 4400 is an off-the-shoulder wedding or bridesmaid’s dress with separate petticoat:

1980s Zandra Rhodes formal dress pattern - Style 4400

Style 4400 by Zandra Rhodes (1985)

Style 4400 schematic

Technical drawing for Style 4400 (1985)

The envelope description reads: Misses’ Half-Lined Wedding Dress or Bridesmaid’s Dress and Petticoat — Dress has flounced bodice with elasticated waist. Skirt has layered net frills, with gathered net and ribbon trim. Bride and bridesmaid’s dress has petticoat in fabric and net. Suggested fabrics: Dress, Models 1 and 2: Organza, voile, silk or synthetic sheers, lightweight lace. Lining: silk types, taffeta, satin (nap irrelevant). Net or tulle: silk, nylon. Trim: wide ribbon, sequin trim, narrow ribbon.

The third dress design, Style 4400, has a low back décolletage and multi-tiered skirt:

1980s Zandra Rhodes dress pattern - Style 4495

Style 4495 by Zandra Rhodes (1985)

Style 4495 schematic

Technical drawing for Style 4495 (1985)

You can see the same pattern with updated envelope here.

Here’s the envelope description: Misses’ Dress in Two Lengths — Dress has fitted bodice with elasticated waistline. Models 1 and 3 have bodice frill to waistline. Model 2 has shorter bodice frill. Models 1 and 2 have four-tiered skirt flounce. Model 3 has three-tiered skirt flounce. Suggested fabrics: Chiffon, georgette, voile, silk or synthetic sheers, organza. Also: lightweight lining fabric. Trim: wide ribbon; pearl trim (views 1 and 2).

The designs seem to be from Rhodes’ Spring 1985 collection, Images of Woman:

Zandra Rhodes SS1985 a

Zandra Rhodes Spring/Summer 1985 collection. Image via UCA Library.

Zandra Rhodes SS1985 b

Zandra Rhodes Spring/Summer 1985 collection. Image via UCA Library.

The trim and fabric specifications are catalogues of girliness: lightweight, floaty fabrics to be trimmed with the ribbon, sequins, and pearls. I love how Style 4495 suggests lining fabric as an alternative—perhaps with a budget-conscious youth market in mind.

For more on Zandra Rhodes, see the V&A’s article.

Lida Baday: McCall’s Patterns

July 1, 2015 § 5 Comments

Turtleneck by Lida Baday, Fashion, August/September 1996. Model: Kim Renneberg. Photo: George Whiteside. Image via Fashion magazine.

In celebration of Canada Day, this post is devoted to Canadian fashion designer Lida Baday.

Lida Baday (b. 1957) was born to a dressmaker mother in Hamilton, Ontario. A graduate of Ryerson’s fashion design program, she worked for different companies in Toronto’s garment district before founding her own label in 1987. (Read bios here and here; see tear sheets here.) Baday soon won international success with her sophisticated, minimalist designs in luxurious fabrics such as wool jersey. Although her company closed its doors last year, The Fabric Room, which sells its surplus textiles, is still open to the public.

LidaBadayFW11_5

Lida Baday Fall 2011 ad campaign. Model: Kirsten Owen. Image via Melatan Riden.

In the 1990s, Lida Baday designs were available through McCall’s patterns, beginning with two patterns in the November 1992 catalogue. McCall’s 6255 and 6257 are patterns for a skirt suit and separates including a flared, hooded coat:

1990s Lida Baday skirt suit pattern - McCalls 6255

McCalls 6255 by Lida Baday (1992) Image via eBay.

1990s Lida Baday coat, jacket, skirt and pants pattern - McCall's 6257

McCall’s 6257 by Lida Baday (1992) Image via PatternVault on Etsy.

McCall’s 6855 is a pattern for a bolero and sleeveless sheath dress in two lengths. The longer version has a high slit with underlay:

1990s Lida Baday dress and bolero pattern - McCall's 6855

McCall’s 6855 by Lida Baday (1993) Image via Etsy.

McCall’s 8256 includes a long, double-breasted jacket, a short, cap-sleeved top, and wide-legged pants:

1990s Lida Baday pantsuit and top pattern - McCall's 8256

McCall’s 8256 by Lida Baday (1996) Image via Etsy.

This 1997 design for an oversized shirt, pants, and cropped leggings for stretch knits could be new today:

1990s Lida Baday pattern shirt, pants, and leggings pattern - McCall's 8740

McCall’s 8740 by Lida Baday (1997) Image via Etsy.

McCall’s 8823 is ’90s-minimalist perfection with its fitted tunic with narrow straps, slim pants, and low-backed, sleeveless dress with mock back wrap:

1990s Lida Baday dress, top, and pants pattern - McCall's 8823

McCall’s 8823 by Lida Baday (1997) Image via Etsy.

McCall’s 9371 includes a sleek halter top for stretch knits and a short, wrap skort:

1990s Lida Baday top, skort, jacket, and pants pattern - McCalls 9371

McCalls 9371 by Lida Baday (1998) Image via Etsy.

The long, stretch-knit dresses in McCall’s 9379 are both ’90s and classic:

1990s Lida Baday dress pattern - McCall's 9379

McCall’s 9379 by Lida Baday (1998) Image via PatternVault on Etsy.

Just for fun, here are some more Fashion magazine covers featuring designs by Lida Baday:

Lida Baday dress; John Fluevog boots. Fashion, September 1995. Model: Jenny Mac. Photo: George Whiteside. Image via Fashion magazine.

Jessica Paré wears a Lida Baday coat, Fashion, November 2004. Photo: Gabor Jurina. Image via Fashion magazine.

Happy Canada Day, everyone!

Patricia Underwood: Vogue Patterns

June 16, 2015 § 5 Comments

Reese Witherspoon by Tim Walker. Hat by Patricia Underwood, W February 2015

Reese Witherspoon wears a hat by Patricia Underwood, W magazine, February 2015. Photo: Tim Walker. Image via the Fashion Spot.

In celebration of Royal Ascot, which begins today, this post is devoted to millinery designer Patricia Underwood.

Patricia Underwood (b. 1947) was born near Ascot in Maidenhead, England. After moving to New York City in the late 1960s, she took a millinery course at FIT on a whim; by 1976 she had founded her own company. Underwood is known for minimalist, updated versions of traditional hat styles.

Image via the Metropolitan Museum of Art.

As well as designing for her own label, Underwood has designed hats for major American designers such as Bill Blass, Perry Ellis, Marc Jacobs, Donna Karan, Calvin Klein, Ralph Lauren, and Oscar de la Renta. The milliner has also designed for film and theatre. Her career is the subject of a new book, Patricia Underwood: The Way You Wear Your Hat (Rizzoli, 2015).

Fiona (Kristin Scott Thomas) in a Patricia Underwood hat, with Charles (Hugh Grant) in Four Weddings and a Funeral

Kristin Scott Thomas wears a Patricia Underwood hat in Four Weddings and a Funeral (1994) Image via 50 Anos de Filmes.

Jeffrey Banks and Doria de la Chapelle, Patricia Underwood: The Way You Wear Your Hat (2015) Image via Rizzoli.

Patricia Underwood has had a licensing agreement with Vogue Patterns since the mid-1990s. The earliest Patricia Underwood pattern I’ve seen is Vogue 9082, a pattern for five lined hats and two ascots. View A has a contrast under-brim in faux fur:

1990s Patricia Underwood hat pattern - Vogue 9082

Vogue 9082 by Patricia Underwood (1994) Image via Etsy.

Vogue 9207 includes five hats and a shawl. Views A and B have Underwood’s signature broad brim, while view E is a turban for stretch knits:

1990s Patricia Underwood pattern - Vogue 9207

Vogue 9207 by Patricia Underwood (1995) Image via Etsy.

Bridal millinery pattern Vogue 7242 has a variety of headpiece and veil combinations, as well as a headband, hair ornament, and floral wreath:

Patricia Underwood bridal headpiece and veils pattern - Vogue 7242

Vogue 7242 by Patricia Underwood (2000) Image via Betsy Vintage.

Patiricia Underwood bridal pattern - crown and hair ornament, Vogue 7242

Vogue 7242 by Patricia Underwood (2000) Image via Etsy.

Vogue 8844 includes four day styles of hat; View A may be worn like a trilby, with upturned back brim. The recommended fabrics are nylon, ripstop, velvet/velveteen, tweed, wool/wool blends and synthetic suede:

Patricia Underwood hat pattern - Vogue 8844

Vogue 8844 by Patricia Underwood (2012) Image via Etsy.

Recent pattern Vogue 8891 includes five more formal styles, all lined in tulle: a cloche, wide and smaller brim hats, and a fascinator (view C) like a miniature pork pie hat. This pattern is still in print:

Patricia Underwood hat pattern - Vogue 8891

Vogue 8891 by Patricia Underwood (2013) Image via Etsy.

For more on millinery patterns, see my previous Ascot posts on Frederick Fox and Stephen Jones.

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