September 1, 2014 § 2 Comments
In honour of Labour Day, this models post is devoted to iconic model and political activist Benedetta Barzini.
Benedetta Barzini (b. 1943) grew up in Porto Santo Stefano and New York City. She worked as a model in New York for four years after being discovered by Diana Vreeland. Here she appears on the cover of Vogue Italia’s inaugural issue:
Although Barzini returned to Italy to act, in the early 1970s she left acting and modelling to pursue Marxist-feminist teaching and political activism. She returned to modelling in the late 1980s. As of 2013 Barzini was a Professor of Fashion and Anthropology at the Polytechnic Institute of Milan. (Recent interview here.)
I have seen only one Vogue pattern with Barzini on the envelope. In 1967, Len Steckler photographed her in Vogue 1775 by Chuck Howard, a pattern from the new Vogue Americana line:
Barzini was also featured on the cover of the Vogue Patterns catalogue for August 1967:
Happy Labour Day, everyone!
August 31, 2014 § 5 Comments
In the mid-1960s, Helmut Newton photographed a two-page Vogue Patterns editorial for Vogue magazine on location at Wanda Beach, near Sydney, Australia.
The editorial features two pieces from a single beachwear pattern: Vogue 6211. The cowl-neck coverup is shown in white terry cloth, the one-piece drawstring bathing suit in double-knit Orlon; the linen hats are by Adolfo and Halston (click to enlarge):
As always, back views and yardage could be found in the back of the magazine:
Click the Patterns in Vogue tag for more posts in the series.
August 28, 2014 § 5 Comments
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):
This Krizia sweater set (short-sleeved pullover, bolero, and skirt) appeared in a Vogue editorial on the new knitwear:
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:
McCall’s 6629 combines a short-sleeved, V-neck bodysuit with a midi-length trouser skirt and wrap shorts:
This pattern is a set of four tops for stretch knits:
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:
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:
From 1980, this casual summer ensemble includes bias shorts or culottes and two tops trimmed with tubular knit:
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:
Just for fun, here are two more images from Krizia’s Fall 1979 advertising campaign, photographed by Barry Ryan:
Coming soon: my version of the Krizia playsuit.
August 4, 2014 § 2 Comments
If you’ve been following my blog for a while, or are a connoisseur of 1950s sewing advertising, you’ve seen images from McCall’s mid-1950s “Make the Clothes that Make the Woman” advertising campaign. (See my earlier post here.)
I’ve found another ad from the campaign. The model is Jean Patchett, and the pattern is McCall’s 3635 —an “Italian drawstring top” and “saucy in-between-length Jamaican shorts” (click to enlarge):
July 30, 2014 § 7 Comments
A while back, I mentioned that I was editing a sewing book. Now that it’s out, I can share the details: the book is by Julianne Bramson and Susan Lenahan, and it’s called Bias Cut Blueprints.
Bramson and Lenahan are the duo behind Fashion in Harmony, an independent pattern company based in California. My connection to the project was Toronto illustrator Danielle Meder, who created the technical drawings. (You may have seen her fashion paper dolls.)
Inspired by Madeleine Vionnet, the book presents a method of sewing bias-cut garments that minimizes sewing on the bias. Diagonal seams sewn on the straight grain are a Vionnet trademark. Bramson and Lenahan apply this technique to a zero-waste concept, the bias tube, and use it as the basis for a customized bias wardrobe.
The authors are passionate about making the bias cut accessible, and the book contains a range of projects as well as tips and useful tables ranking fabrics’ performance on the bias. You can see a preview on the Fashion in Harmony website.
Julianne Bramson and Susan Lenahan, Bias Cut Blueprints: A Geometric Method for Clothing Design and Construction, Livermore, CA: Fashion in Harmony, 2014.
ISBN 099046430X / 9780990464303
Available to order from Fashion in Harmony.
July 25, 2014 § 10 Comments
Versatile and contemporary, jumpsuits and their cousins, playsuits and rompers, have become increasingly popular in the last few years. Jumpsuits—or all-in-ones, if you’re British—seem poised to move beyond a trend this summer.
The modern women’s jumpsuit has origins in two different garments: beach pajamas and the boiler suit. These twin origins mean jumpsuit styles range from fluid loungewear to utility-inspired or tailored designs. (See Vogue Italia for a short history of the jumpsuit.) Here are some favourite all-in-one patterns from the 1930s to the 1990s.
Beach pajamas, often worn with a matching bolero, had become one-piece by the early 1930s. This McCall’s design combines flowing trousers with geometric seaming details in the bodice and hip yoke. A reproduction is available from the Model A Ford Club of America:
The boiler suits of wartime utility wear are said to have made bifurcated clothing more acceptable for women. This Vogue pattern from ca. 1940 includes both a hooded mechanic suit with cuffed trousers and a more casual, short-sleeved version shown in a dotted print:
This early 1940s pajama ensemble with T-back halter bodice was not just for the beach—the envelope says it’s for “beach, dinner or evening”:
In the postwar period, more tailored jumpsuits emerged as a choice for casual sportswear. This early 1950s pedal-pusher coverall has cuffed sleeves and pants and a front zipper closure:
From the late 1950s, this trim, one-piece slack suit from Vogue came in two lengths and with a matching overskirt:
The jumpsuit—sometimes called a culotte or pantdress—truly comes into its own in the later 1960s. Here Birgitta af Klercker models Vogue 2249, a loungewear design by Emilio Pucci (previously featured in my goddess gown post):
In this late 1960s Butterick Young Designers pattern, Mary Quant combines a trim, zip-front jumpsuit with a low-waisted miniskirt for a sleek, futuristic look:
Both pajama and menswear-inspired styles continue into the 1970s. Famous for her palazzo pajamas, Galitzine designed this bi-coloured lounge pantdress with criss-cross halter bodice:
From Calvin Klein, Vogue 1453 marks a return to the boiler suit style. With cargo pockets, self belt, and wide, notched collar, the jumpsuit could be made long or short, with long or short sleeves:
This Bob Mackie disco jumpsuit or evening dress pattern for stretch knits dates to 1980. (See my earlier Bob Mackie post here.) The jumpsuit has a plunging neckline, waistline pleats, and tapered, bias pants designed to crush at the ankles:
An instance of the late 1980s jumpsuit trend, this shirtdress-style jumpsuit by Donna Karan has a notched collar, welt pockets, and cuffed or seven-eighths length kimono sleeves:
Also by Donna Karan, Vogue 2609, ca. 1990, is a long-sleeved, tapered jumpsuit for stretch knits with neckline variations, front pleats, and stirrups. View C has a contrast bodice with self-lined hood:
From 1996, Vogue 1821 by DKNY is almost vintage. It’s a novel suit consisting of a single-breasted jacket and wide-legged, halter jumpsuit:
Finally, this pattern is not yet vintage, but a jumpsuit collection would be incomplete without Vogue 2343, Alexander McQueen’s tailored, tuxedo jumpsuit for Givenchy haute couture Spring/Summer 1998 (earlier post here):
With their demanding fit, jumpsuits are ideal for home sewers. And they’re not just for the tall and leggy: many of the later jumpsuit patterns are marked as suitable for petites.
July 15, 2014 § Leave a comment
The results of my random number generator are in! The lucky number is 20, and the winner of my blogiversary giveaway of a choice of 5 PatternVault e-booklets is:
Congratulations, Rachelle! I’ll send you an e-mail with the details on claiming your e-booklets.
Thank you so much to everyone who entered the giveaway. Thanks especially for all of your kind regards, suggestions, and feedback! The most-mentioned favourite post types/topics were the designer histories and vintage hats and accessories. You can expect more pattern history and millinery in the coming months.
As a thank you to all of you, I’m having a flash sale in my Etsy shop through this Sunday, July 20th—25% off with coupon code YEARTHETHIRD.