December 30, 2014 § 14 Comments
Lanvin celebrated its 125th anniversary this year. Founded in 1889 by Jeanne Lanvin, the house marked the occasion with an extensive look into its archives on Instagram, Pinterest, Facebook, and the new Lanvin Heritage website. (See WWD’s article here.) In 2015, Paris’ Palais Galliera will host a major exhibition devoted to Jeanne Lanvin.
Commercial sewing patterns based on Lanvin originals were produced between the 1920s and the 1970s. Four head designers presided over the house during that period; I’ll be devoting a post to each designer.
The interwar Lanvin designs available as sewing patterns are by Jeanne Lanvin (1867-1946), who was known for her romantic, youthful dresses with couture embellishment, particularly her robe de style, a full-skirted alternative to the 1920s tubular silhouette.
From McCall’s earliest couture patterns, this robe de style with a big bow at the waist and skirt with beaded appliqués was modelled by film star Hope Hampton:
A version of this dress is in the collection of The Costume Institute:
McCall 4856 is a short evening or afternoon dress with sheer overlay. The version on the right is in Lanvin blue:
(McCall’s also sold transfer patterns for beading and embroidery; the catalogue illustrations show nos. 1558 and 1388.)
This simple double-breasted coat from Pictorial Review was adapted from a Lanvin design:
Pictorial Review’s catalogue illustration shows the coat with contrast lapels and fur cuffs and collar:
Trim is an important feature of this Lanvin day dress, which is shown in my 1929 Paris Pattern leaflet (available in PDF from my Etsy shop):
McCall 7711 is a day dress with drape-necked bodice and bow-trimmed sleeves. View A, with long sleeves and contrast bodice, has topstitched sleeves and belt that are characteristic of 1930s Lanvin:
Here’s the illustration from McCall’s Advanced Paris Styles catalogue:
In late 1934, McCall and Pictorial Review both produced versions of the same Lanvin afternoon dress: a slim, full-sleeved gown with back cutouts. A reproduction of the McCall version is available from Past Patterns:
In Blanche Rothschild’s illustration for McCall’s magazine, the dress is shown with McCall 7954 by Georgette Renal:
The text for McCall 7959 reads, “Lanvin’s long skirted afternoon dress has a new feeling of formality. The back of the bodice is suspended in folds from a cross shoulder band, slit in triangles to expose the back. Raglan sleeves provide material contrast. The skirt spreads, bell shape, into a hesitation hem.”
The Vintage Pattern Lending Library has a reproduction of the Pictorial Review adaptation of the dress, Pictorial Review 7363:
Here’s an illustration of the Pictorial Review adaptation from the Winter 1934 catalogue:
McCall 8591 (previously featured in my goddess gowns post) is a glamourous evening dress with pleated shoulder draperies. This illustration is from the McCall catalogue:
Marian Blynn illustrated McCall 8591 for McCall’s magazine (the other gown is by Ardanse):
The caption reads: “Long scarfs, drifting down from the shoulders, are used by Lanvin. The scarf dress here is hers, and when you dance it is supposed to make you look as though you were floating. These scarfs are also worn wound once around the arm.”
Just for fun, here are two photos by Horst P. Horst and Albert Harlingue showing Lanvin designs from the 1930s:
Next in the series: Marie-Blanche de Polignac’s early Vogue Paris Originals.
Happy New Year, everyone!
July 11, 2014 § 36 Comments
To enter, leave a comment mentioning what you’d like to see more of on the blog. The giveaway closes Monday, July 14th at midnight EDT. The winner will be chosen at random and announced this Tuesday, July 15th.
March 10, 2014 § 12 Comments
I made our little niece a vintage ’30s coat as a Hannukah gift. For the pattern I used Pictorial Review 6128, a double-breasted coat with optional back belt and pockets.
Here’s the diagram and description from the envelope back. It’s a unisex coat for small children, and was available only in sizes 1 to 6:
The recommended fabrics were flannel, camel’s hair, piqué, velveteen, cheviot, and serge. We had a length of purple Woolrich tweed that felt the right weight for a coat. (Established in 1830, Woolrich is North America’s oldest woolen mill. Today, Woolrich tweed is a wool-nylon blend for durability.) I cut some leather trim for the welt pockets from an old pair of leather gloves, and my modest button stash yielded a set of one-inch vintage Civil Defence buttons for the front and belt.
Since the pattern is the old die-cut type and needed no alterations, I tried cutting using the original tissue pieces held down with weights.
I’m new to tailoring (and coat-making), so throughout the process I referred to Paco Peralta’s tailoring tutorial and my 1970s Vogue Sewing Book on tailoring techniques. The coat collar gave me the opportunity to try out pad stitching. The pattern even gave instructions; the undercollar is to be interfaced with muslin and pad stitched, with the collar stand first worked with a running stitch:
Here are some progress photos of the pad stitched undercollar:
This is the undercollar attached to the coat body:
You could call my approach to the coat half-tailored—somewhere between the pattern’s Depression-era muslin collar interlining and modern tailoring’s padstitched hair canvas interfacing, all catch-stitched along the seam lines. As a compromise between vintage and modern methods I used a sew-in interfacing on coat facings, belt, and pocket welts. (None was called for in the pattern.) To handle the heavy tweed, I had no tailor’s clapper, so I pounded the steamed seams and edges with a small cedar block we had on hand. Paco’s tip of making a few stitches across lapel corners worked wonders for my first-ever lapels.
I bagged the lining and added handworked keyhole buttonholes—fanned at one end, with a bar tack at the other. Partway through making the coat we decided against the convertible collar, so I omitted the lapel buttonholes. (As with many vintage patterns, there were no button/buttonhole markings.) It was my first stab at handworked buttonholes on heavy fabric; I love how the hand stitches create an edge that curves out to the ridge of knots that lines the buttonhole opening.
Here are some photos of the finished coat:
I think of Civil Defence buttons as ‘Keep Calm and Carry On’ buttons since the font and crown are similar to those on the WW2 propaganda poster originally produced by Britain’s Ministry of Information. (More on the Keep Calm font here.) Some closeup views of the buttons and buttonholes:
And the little back belt:
Our loft’s walls have some mysterious industrial hardware that proved useful in showing the scale of the coat:
Cutting straight from a die-cut pattern was an interesting experience, but I still prefer printed or traced tissue for cutting and marking. An oft-cited drawback of unprinted patterns is that the notches and other markings don’t always line up. This was true of the coat pattern, but it wasn’t hard to correct.
It’s always a pleasure working with wool, and I really enjoyed the challenge of trying out tailoring with a heavy fabric. The finished coat is something our niece will grow into, especially in the shoulders. But she does love the pockets! I see more coat-making in our future…
(Cross-posted to We Sew Retro.)
January 22, 2014 § 10 Comments
Have you heard? The house of Schiaparelli, founded by the legendary Elsa Schiaparelli (1890-1973) and dormant since 1954, has been revived.
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.)
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:
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):
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:
Here is the illustration of McCall 5839 in McCall’s magazine:
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:
McCall 6981 is a three-piece suit consisting of a jacket, cropped pussy-bow blouse, and sleeveless, bias dress:
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:
This Benito illustration for Vogue shows a similar Schiaparelli ensemble, worn with a tomato red Sicilian cap:
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:
Here’s the catalogue illustration for Pictorial Review 6764:
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”:
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:
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:
The pattern is illustrated in the January 1937 issue of McCall’s magazine, which made much of the new, street-length hemline:
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.
June 21, 2013 § Leave a comment
On the cover of the McCall Style News for July 1939:
(The illustration shows McCall 3319, a set of boleros.)
January 10, 2013 § 4 Comments
Happy New Year, everyone! This year I look forward to sharing more of my original pattern research and sewing projects, including my ’40s cape, an over-the-top ’70s Dior, and two by Alexander McQueen. For the moment I’ve been temporarily sucked back into academia, so my first post of 2013 is an images post.
Advertising for home sewing often involves women and mirror images. Promotional illustrations will show a woman standing before a mirror, or contemplating her reflection, as on these leaflets from Butterick and McCall:
An Edwardian McCall’s ad shows an interesting variation: the mirror reflects a fashion plate, the idealized, well-dressed woman the dressmaker will become through her labour. The slogan spells out the idea of wish-fulfilment, promising the home dressmaker that she can “realize her dreams” with McCall’s patterns:
The fashion plate also serves to promote a McCall’s pattern. Here is the full illustration:
I know this isn’t the only sewing ad I’ve seen based on this concept. Can you think of others?
In other news, PatternVault is now on Twitter! Follow me for updates on the blog, shop, and vintage and designer fashion.
December 13, 2012 § 17 Comments
The reputation of Madeleine Vionnet (1876-1975), the brilliant innovator in draping and the bias cut, has only increased with time. The label she founded in 1912 was recently revived, and Betty Kirke’s book is back in print for the house’s 100th anniversary. You can see Vionnet pieces online at the V&A and the Costume Institute. There’s even an animated video on Vimeo demonstrating the construction of one Vionnet dress. (For more on Vionnet, see Lisa’s Coletterie post; Betty Kirke’s 1989 Threads article; and Sandra Ericson’s revised 2010 Threads article, in pdf here.)
In recent years, those who wished to reproduce a Vionnet design could trace their pattern from a book. Janet Arnold’s Patterns of Fashion 2: Englishwomen’s Dresses and their Construction, c. 1860-1940 (Macmillan, 1982) includes five Vionnet patterns, and the Japanese companion volume to Kirke’s book (Bunka Fashion College, 2002; available on amazon.co.jp) contains tested, traceable versions of twenty-eight of Kirke’s Vionnet patterns. Costumer Koshka has made the 1919 Vionnet dress in Patterns of Fashion, while the Vionnet Identique project saw all the designs in Kirke’s book made up in half-scale for an exhibition and book (for photos see this Threads post and the book preview).
In the 1920s and 1930s, dressmakers could sew Vionnet designs using commercial patterns. McCall’s released patterns based on Vionnet originals, while companies like Pictorial Review sold adaptations of Vionnet designs. Here is a selection of Vionnet patterns.
These two patterns for a negligee and day dress date to 1926. The negligee is reversible:
Vionnet was known for her robes à mouchoirs, or handkerchief dresses, like this evening dress:
This formal dress is another handkerchief dress. Note the triangular sleeve insets:
Here’s a magazine illustration of McCall 5635 from the following year. The accompanying text reads, “A Vionnet gown characteristic of the graceful new formal frocks is simply made to fall in points at the center front and at the sides and back”:
Both McCall’s and Pictorial Review released patterns for this circa 1931 ensemble:
McCall’s magazine showed two illustrations for this design (McCall 6451); the text on the first page reads, “A masterpiece in simplicity that only Vionnet could have created. The chic contrasting bodice top is sleeveless and joins the skirt in a coat-dress closing”:
The ensemble was also illustrated on the cover of McCall Style News shown at the top of this post. Here’s the full illustration:
This 1932 Pictorial Review design for an asymmetrical day dress was adapted from Vionnet. The skirt and applied front are cut on the bias:
Here’s the corresponding illustration in Pictorial Review magazine. The accompanying text reads, “Yes, it’s a Vionnet, we knew you would recognize it in the characteristic handling of the diagonal seaming, in the clever use of button trimming, and in its absolute simplicity. Make it in a sheer linen with contrasting button accents”:
Finally, a three-piece suit pattern from the same year, consisting of a short-sleeved blouse, high-waisted suspender skirt, and jacket that criss-crosses in the front:
This illustration for McCall 6999 accompanies a trend report on suits:
Madeleine Vionnet is said to have considered herself a “geometrician”; the brilliance of her technique reveals itself in her garments’ construction. Have you tried making any Vionnet designs?