July 25, 2015 § Leave a comment
Iman (b. 1955) turns sixty today. Born Iman Mohamed Abdulmajid in Mogadishu, Somalia, she and her family fled to Kenya after the 1969 military coup, where she was discovered while a student in Nairobi by photographer Peter Beard. She soon became the first African supermodel, later founding Iman Cosmetics. (For more on Iman’s early career, watch Vogue Italia’s video interview, or read a 2014 Guardian profile here.)
Iman can be seen on a handful of Vogue Patterns, circa 1980, as well as pattern editorials in Vogue Patterns and Vogue magazine.
From Jean Muir, Vogue 2399 is a long-sleeved, blouson dress with matching scarf:
Vogue 2400 is an Emanuel Ungaro skirt suit with striped, quilted jacket and tucked blouse:
From Yves Saint Laurent, Vogue 2404 is a skirt suit with contrast standing collar and turn-back cuffs:
(Reposted from the Fashion Spot Iman thread.)
On the left, Iman wears Vogue 7234 (the envelope shows Gia Carangi; with Bjornson in Vogue 7392); on the right, her wrap-front blouse is Very Easy Vogue 7373 (with Bjornson in Vogue 7435 – click to enlarge):
Just for fun, here’s another early Iman cover from the same period as her commercial pattern work (photographer unknown; later used by German Cosmo):
Happy birthday, Iman!
With thanks to vegas4001 for the Vogue Italia photographer credit.
July 20, 2015 § 6 Comments
This week the Pan Am Games continue in Toronto. In honour of the Games, here’s a look at vintage patterns and illustrations showing women’s sports.
First up: Pan Am sports that have already concluded for 2015.
Archery. From a 1933 issue of McCall’s magazine, this archery scene was illustrated by Jean des Vignes:
Golf. Ben-Hur Baz (later known for his pin-ups) illustrated this golf scene for McCall’s magazine, circa 1930:
Donna Karan designed these mid-1970s golf separates, hat included, when she was at Anne Klein. You can buy it for your own golfing needs from the PatternVault shop.
Roller skating. Simplicity 3890, a World War 2-era skating pattern, includes this roller skating illustration:
Sailing. This 1930s sailor dress has a contrast collar and big buttons at the side-front closure:
The swimsuit was photographed by Richard Rutledge for Vogue Pattern Book:
Tennis. The cover of the McCall Quarterly for Spring 1932 has this tennis-themed illustration featuring two dresses by Bruyère:
(For more tennis patterns see my Tennis, Anyone? post.)
Stay tuned for more vintage sports wear… I’ll be looking at a different Pan Am sport and related vintage pattern every day this week.
June 11, 2015 § 3 Comments
Yves Saint Laurent’s Spring 1971 haute couture collection, Libération, is currently the focus of a major Paris exhibition. Curated by Olivier Saillard of the Palais Galliera, Yves Saint Laurent 1971: la collection du scandale may be seen at the Fondation Pierre Bergé – Yves Saint Laurent through July 19th, 2015. A catalogue (in French only) is available from Flammarion.
Inspired by the women of occupied Paris, Saint Laurent’s “Forties” collection interpreted vintage styles for the younger generation—subversive historicism with an edge of camp. The wartime silhouettes of thirty years previous dominated for day, with evening gowns featuring prints based on ancient Greek erotic art. (See Suzy Menkes for Vogue and Joelle Diderich for WWD.) Like the designer’s Beat collection for Dior, it brought youthful street style to couture, prompting a similar backlash but ultimately succeeding in terms of broader influence.
L’Officiel was one of the only magazines to put the collection on the cover; British Vogue and Harpers & Queen opted for related Rive Gauche looks instead:
Vogue Patterns licensed two patterns from the Spring 1971 couture. Vogue 2571 is a puff-sleeved dress trimmed down the front with tiny buttons. Frank Horvat photographed the navy original for the August/September issue of Vogue Pattern Book. The editorial text reads, “From Yves Saint Laurent, a slither of crepe. Note the new high puffed sleeves tight round the wrists, with just enough flare and tiny ball buttons”:
Here’s the envelope description: Misses’ Dress. Semi-fitted, slightly flared dress, mid-knee length, has jewel neckline, front button and loop closing, front gathered into forward shoulder seam and topstitch trim. Full length leg-o-mutton sleeves with pleated cap have zipper closing. Purchased scarf. Semi-fitted sleeveless slip has back zipper closing.
The exhibition catalogue includes this photo of the dress in the original collection presentation:
Vogue 2598 is a pattern for pleated skirt, cuffed trousers, and double-breasted jacket with optional ribbon trim (see Paco’s post here):
The envelope description reads: Misses’ Three-Piece Suit. Fitted, double-breasted blazer jacket has notched collar, wide lapels, patch pockets, extended padded shoulders, full length sleeves with buttoned vents and turn back cuffs. Topstitch or ribbon trim. Gored, pleated skirt, two inches below knee, has waistband and topstitch trim. Straight-legged pants with cuffs are darted into waistband.
Here is a ribbon-trimmed pantsuit version of Vogue 2598 in the original presentation. The pattern could be adapted to make the sleeveless variation:
These editorial photos from L’Officiel’s spring couture preview show three variations on the Vogue 2598 double-breasted suit look: a long, houndstooth coat; a jacket worn with a short, wool jersey jumpsuit; and a pinstriped pantsuit topped with a fur stole:
Jane Birkin was photographed in the long-sleeved, ribbon-trimmed jacket (can anyone identify the photographer?) and Bianca Jagger wore a white, single-breasted jacket from this collection to her wedding:
Just for fun, I’ll close with some editorial images featuring spring 1971 Yves Saint Laurent:
With thanks to Paco Peralta.
April 17, 2015 § 1 Comment
The Museum at FIT’s exhibit, Yves Saint Laurent + Halston: Fashioning the 70s, closes this Saturday. (See Bridget Foley, “That Real Seventies Show.”) If you can’t make it to New York to see it, a catalogue is available from Yale University Press.
The MFIT exhibit organizes the two designers’ 1970s work in three thematic sections: menswear influence, exoticism, and historicism. Since both Yves Saint Laurent and Halston had licensed sewing patterns in the ’70s, I thought it would be fun to present three pairs of patterns in the exhibition’s format.
From Yves Saint Laurent, Vogue 1143 is a ’70s version of the famous Le smoking. Helmut Newton photographed Charlotte Rampling in a similar, Prince of Wales check pantsuit for Vogue (with original text here):
According to the curators, Halston’s most famous garment is the Ultrasuede shirtdress. McCall’s 4391 is a zip-front shirtdress that includes special instructions for working with synthetic suede:
Yves Saint Laurent’s interest in “exotic,” non-Western dress is perhaps best remembered from his Russian collection (Fall 1976 haute couture). From Vogue’s Ballets Russes patterns, Vogue 1558 is a Russian ensemble consisting of blouse, vest, bias skirt, and braid-trimmed jacket—hat and babushka scarf not included (see more at Paco’s blog):
During the 1970s, both Saint Laurent and Halston showed non-Western influence in their caftans and pajama ensembles. Halston pattern McCall’s 3590 combines both:
Inspired by the 1940s, Yves Saint Laurent’s Spring 1971 haute couture collection, Libération, launched the decade’s vogue for vintage. Although the 1971 collection was poorly received, Saint Laurent’s subsequent vintage-inspired efforts were very influential. From 1973, Vogue 2930 is a Forties-inspired dress-and-coat ensemble:
Halston’s historicism focused on the interwar couture of the 1930s, especially the work of Grès and Vionnet. McCall’s 4046 is a slinky dress for stretchable knits. It has only one main pattern piece and is shaped by gathers and side darts:
As the curators note, Halston and Yves Saint Laurent have been seen as embodying two separate styles: minimalist ready-to-wear vs. fantasy couture. Yet comparison of their work shows how their stylistic experimentation led them to common ground, particularly in the earlier ’70s. Interestingly, some Saint Laurent and Halston garments can be hard to tell apart until you examine the construction—something home sewers can certainly appreciate.
December 24, 2014 § 2 Comments
“Striking Gold,” a 1979 editorial by the late Deborah Turbeville, includes a two-page Vogue Patterns spread that has a festive sparkle.
Turbeville’s photo shows four seated models dressed in shimmery charmeuse and lamé; two wear off-the-rack clothing. The two featured patterns (at centre and far right) were made up in gold-pistachio lamé from Bloomingdale’s (click to enlarge):
Happy holidays, everyone!
September 30, 2014 § 9 Comments
The playsuit bodice and shorts are pleated into a pointed, one-piece midriff band, and the whole thing closes at the front with a zipper and buttons. I love the shaped side vents on the shorts.
I used a black glitter stretch knit from my stash, found at Fabricland’s old downtown location. The pattern needed extensive resizing. Due to the mid-1970s unofficial sizing change (thanks to Peter for drawing my attention to this) the 10 was fine on top. (That’s my copy on the wiki.) I added some ease to the midriff band and adjusted the bodice and shorts to match up to it. I also lengthened the rise, added to the crotch length, and slashed to add some room in the hips. Yes, it’s a stretch knit, but I was trying to be faithful to the ease of the original.
This was my first time sewing a McCall’s “Carefree” pattern, and I found the instructions involved a little guesswork. I have also made up a ’70s Vogue pattern with similar design elements—midriff band, pleated dirndl skirt—and can vouch for Vogue’s more extensive markings and instructions. The McCall’s didn’t even have markings for the buttonholes. I carefully followed Vogue Sewing Book’s buttonhole instructions, but I suspect I made them too big. Perhaps vertical buttonholes would solve the problem?
If I were to make the playsuit again, I would add markings to the midriff piece to help line up the side seams etc., and also ease stitch across all the pleats (rather than just hand basting) to keep everything in place. The instructions say to finish the shorts with a narrow hem; I couldn’t see that working with my knit and the shaped side vents, so I did my best to mimic a serger finish (zigzag, trim, topstitch) and pressed the sides into relative submission. If I were making it again I would use fusible stay tape.
The sparkle only shows up close:
Here’s a view of the back pleats:
The playsuit is so strappy, short, and unstructured that it falls more into the realm of loungewear. It’s a bit more practical when worn with a coverup.
(Sandals: Gareth Pugh for Melissa)
(Cross-posted to We Sew Retro.)
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.