Patricia Underwood: Vogue Patterns

June 16, 2015 § 4 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.

Alexander McQueen Fabric, Part 2: Tartan

May 15, 2015 § 1 Comment

McQueen tartan dresses from Widows of Culloden (FW 2006)

Dresses in the McQueen tartan from Alexander McQueen’s Fall/Winter 2006-7 collection (Widows of Culloden). Image via the Metropolitan Museum of Art (via Everything Just So).

If Alexander McQueen’s innovative prints reveal his interest in technology, the designer’s work with tartan shows his engagement with history. Continuing our celebration of Savage Beauty at the V&A, this post looks at McQueen’s use of tartan. (See Part 1: Prints, or my roundup post here.)

The MacQueen clan tartan appears extensively in the designer’s breakthrough collection, Highland Rape (Fall 1995). The collection—which used Lochcarron tartan and lace found in Brick Lane—was a highly personal response to the violence of the Highland Clearances and fashion’s appropriation of Scottish culture (watch Tim Blanks’ show video here):

McQueen wool tartan jacket and skirt from the collection of Isabella Blow - Alexander McQueen FW 1995

Jacket of McQueen wool tartan with green wool felt sleeves; skirt of McQueen wool tartan; both from the collection of Isabella Blow. Alexander McQueen Fall/Winter 1995-96 (Highland Rape). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

Highland Rape runway photos - Alexander McQueen FW 1995

Alexander McQueen Fall/Winter 1995-96 (Highland Rape). Images via the Metropolitan Museum of Art.

McQueen also used his family tartan at the house of Givenchy. In his second couture collection, Eclect Dissect (Givenchy haute couture Fall 1997), which was built on the idea of a mad scientist, the McQueen tartan was cut on the bias for tailored pieces overlaid with black lace:

Two tartan looks from Eclect Dissect - Givenchy couture FW 1997

Alexander McQueen for Givenchy Fall/Winter 1997-98 haute couture (Eclect Dissect)

The McQueen tartan reappears the following year in Joan (Fall 1998). Named for Joan of Arc, with an opening soundtrack of burning wood and runway covered in cinders, the collection thematized martyrdom, with the McQueen tartan referencing the execution of Mary, Queen of Scots (see Constance C.R. White, Review/Fashion, and Kate Bethune’s note; full collection at firstVIEW):

Joan - Alexander McQueen FW1998

Alexander McQueen Fall/Winter 1998-99 (Joan)

Joan - Alexander McQueen FW 1998

Alexander McQueen Fall/Winter 1998-99 (Joan)

McQueen also worked with other tartans. The check pattern might be manipulated to appear blurred or bleeding, or it could be overlaid or embellished as in Eclect Dissect. In The Overlook (Fall 1999)—named for the haunted, snowbound lodge built on a Native American burial ground in Stanley Kubrick’s The Shining (1980)—a long, grey tailcoat was lined with tartan to match loose trousers, and an overlaid tartan jacket was paired with a balloon skirt in a large blanket check with tartan accents (full collection at firstVIEW):

Sunniva Stordahl and Hannelore Knuts in grey checks and tartan in Alexander McQueen FW 1999 (The Overlook)

Alexander McQueen Fall/Winter 1999-2000 (The Overlook). Models: Sunniva Stordahl and Hannelore Knuts.

McQueen’s 1960s-inspired collection, The Man Who Knew Too Much (Fall 2005), included bias-cut separates in a wool ombré check, together with a black, white, and pink check party dress covered in beaded fringe:

Raquel Zimmermann and Carmen Kass in tartan looks from The Man Who Knew Too Much - McQueen FW 2005

Alexander McQueen Fall/Winter 2005-6 (The Man Who Knew Too Much). Models: Raquel Zimmermann and Carmen Kass. Images via style.com.

The Girl Who Lived in the Tree (Fall 2008), a fanciful narrative of the British Empire, had several bias-cut pieces in a black, white, and red tartan, and two coats in a grey mohair tartan for a bleeding effect:

Alexander McQueen FW 2008

Alexander McQueen Fall/Winter 2008-9 (The Girl Who Lived in the Tree). Models: Sara Blomqvist and Alanna Zimmer. Images via style.com.

There were several pieces in the McQueen tartan in Alexander McQueen’s Fall 2006 menswear collection, which was inspired by vampire movies Bram Stoker’s Dracula (1992) and Interview With the Vampire (1994). Vogue editor Hamish Bowles wore the appliquéd kimono-and-pants ensemble to the Costume Institute gala in 2011 (see the collection and read Tim Blanks’ review on style.com; video at AlexanderMcQueen.com):

McQueen menswear FW2006 tartan

Alexander McQueen Fall/Winter 2006-7 menswear. Images via style.com.

The same season, McQueen returned to Scottish history with Widows of Culloden (Fall 2006), a romantic collection commemorating the final battle of the 1745 Jacobite Rising. The show invitation had the title in Gaelic: Bantraich de cuil lodair (see Kate Bethune on Widows of Culloden). As in the Givenchy couture, the McQueen tartan was cut on the bias, embroidered, and trimmed with lace and tulle (click to enlarge):

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

Widows of Culloden - Alexander McQueen runway lookbook FW 2006

For more see Jonathan Faiers, McQueen and Tartan, and Ghislaine Wood’s essay, “Clan MacQueen,” in the V&A catalogue.

Like other traditional tartans, the McQueen tartan can be ordered from Scottish textile mills in different weights and fibre contents. (It’s often listed as ‘MacQueen.’) Alexander McQueen used tartan from Lochcarron, a mill established in the mid-nineteenth century in the Scottish highlands.

McQueen / MacQueen tartan swatch

MacQueen Modern tartan swatch from the Scottish Tartans Authority.

As a memorial to the late designer, Scotweb owner Nick Fiddes designed a mourning version of the MacQueen clan tartan.

What would you make in the McQueen tartan?

Sourcing Tartan Fabric

Alexander McQueen Fabric, Part 1: Prints

May 11, 2015 § 5 Comments

Jack the Ripper McQueen sketch

Sketch by Alexander McQueen, Central Saint Martins MA graduate portfolio, Jack the Ripper Stalks his Victims, Fall/Winter 1992. Pencil on distressed paper with fabric swatches. Image via Alexander McQueen.

As part of this blog’s celebration of Savage Beauty in London, I’ll be devoting two posts to Alexander McQueen fabrics. (See my earlier roundup post here.) First: a look at McQueen’s distinctive prints.

McQueen’s fellow Central Saint Martins student Simon Ungless, who went on to become director of the School of Fashion at San Francisco’s Academy of Art University, designed the barbed hawthorn print in McQueen’s graduate collection, Jack the Ripper Stalks his Victims (Fall 1992; interview here. Oberto Gili photographed Isabella Blow in the coat for British Vogue.) Ungless also designed the swallow print in The Birds (Spring 1995):

Coat in pink silk satin printed in thorn pattern, Alexander McQueen FW 1992

Coat, pink silk satin printed in thorn pattern by Simon Ungless, lined in white silk with encapsulated human hair, Alexander McQueen Fall/Winter 1992 (Jack the Ripper Stalks His Victims). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

Mr Pearl and Plum Sykes in two swallow print looks, Alexander McQueen Spring/Summer 1995 (The Birds)

Two swallow print looks, Alexander McQueen Spring/Summer 1995 (The Birds) Models: Mr. Pearl and Plum Sykes.

Silk jacket with swallow print, Alexander McQueen SS 1995 (The Birds)

Silk jacket, Alexander McQueen Spring/Summer 1995 (The Birds). Image via the Metropolitan Museum of Art.

Freelance print designer and Central Saint Martins Textiles tutor Fleet Bigwood designed fabrics for Alexander McQueen’s first three seasons. (See Fleet Bigwood: Breaking the Rules at Texprint, or the BBC’s Blast videos.) The top in this ensemble from Nihilism (Spring 1994, McQueen’s third collection) was printed using an iron filing paste that was rusted through exposure to air and salt water (see Louise Nutt on Pinterest; full collection at the Fashion Spot, or video here):

Fleet Bigwood rust-printed top, Alexander McQueen SS 1994

Ensemble featuring a Fleet Bigwood print for Alexander McQueen’s Spring/Summer 1994 collection (Nihilism). Image via Pinterest.

In 2002, immediately after presenting his award-winning Central Saint Martins graduate collection, Jonathan Saunders was hired to design prints for Alexander McQueen’s Spring 2003 collection, Irere. Working with designer Christopher Pearson—a member of the Alexander McQueen design team from 2001 to 2006 and a founding member of the company’s fashion print department—Saunders produced Irere’s celebrated Bird-of-Paradise prints (see the V&A on Irere):

Jonathan Saunders bird-of-paradise feather print for Alexander McQueen, SS 2003

Feather print for Alexander McQueen, Spring/Summer 2003 (Irere). Image via Christopher Pearson/Cargo.

Alexander McQueen Irere SS 2003 prints by Jonathan Saunders

Alexander McQueen Spring/Summer 2003 (Irere). Models: Frankie Rayder and Roos van Bosstraeten. Images via style.com.

The following year, Pearson co-designed the Alexander McQueen skull scarf with Jennefer Osterhoudt, who was head of accessories for McQueen at Givenchy and later at Alexander McQueen. The pattern is based on a skull scarf found in Camden Market:

Skull print by Christopher Pearson and Jennefer Osterhoudt for Alexander McQueen, 2002

Skull print by Christopher Pearson and Jennefer Osterhoudt for Alexander McQueen, 2002. Image via Christopher Pearson/Cargo.

For McQueen’s later collections, the prints were produced by a team of designers that included textile design interns who might be hired back after graduation. From 2006 to 2011, the company’s head print designer was Central Saint Martins graduate Holly Marler, who is now head of embroidery, fabric, and print design at Temperley London.

Lilly Heine, now head of print fabric development at Dries Van Noten, interned with Jonathan Saunders and later Alexander McQueen as a textiles student. (See her profiles in the Frankfurter Allgemeine [German only] and the Independent.) During her internship at Alexander McQueen, Heine designed some prints for La Dame Bleue (Spring 2008). The collection’s rainbow bird-of-paradise print appeared on several looks including the feather-collared Bird of Paradise dress—recently worn by FKA twigs to perform at the V&A’s Savage Beauty gala:

Alexander McQueen bird-of-paradise prints, SS 2008 Isabella Blow collection

Alexander McQueen, Spring/Summer 2008 (La Dame Bleue). Models: Taryn Davidson and Viviane Orth. Images via style.com.

Torunn Myklebust, today a senior print designer at Givenchy, also did a textile design internship at Alexander McQueen. As an intern, Myklebust worked on prints for Natural Dis-Tinction Un-Natural Selection (Spring 2009), and she rejoined the company in late 2009. (Read an interview in Natt&Dag [Norwegian only]; see Myklebust’s tumblr.) The wood-grain digital print from the Spring 2009 collection was later used for the endpapers of Andrew Bolton’s Savage Beauty catalogue:

Wood-grain digital print, Alexander McQueen SS 2009

From a silk/synthetic ensemble by Alexander McQueen, Spring/Summer 2009 (Natural Dis-Tinction Un-Natural Selection). Image via the Metropolitan Museum of Art.

In her review of the Spring 2009 collection, Sarah Mower identified engineered prints as a trend out of London: “bright, multicolored allover prints, engineered to fit around jackets, leggings, and cocoon dresses—new on the Paris runway, but also part of a general trend emanating from London’s young designers.” The Spring 2009 advertising campaign, shot by Craig McDean, features a jacket and leggings in one of the collection’s crystalline digital prints:

Heidi Mount in Craig McDean's Spring 2009 campaign for Alexander McQueen

Alexander McQueen Spring 2009 ad campaign. Photo: Craig McDean. Image via styleregistry.

In her Savage Beauty interview with Tim Blanks, Sarah Burton discusses McQueen’s meticulous design process when working with patterned fabrics such as prints or jacquards. From Fall 2009 on, McQueen would drape the initial design using a rough version of the fabric, with the team producing miniature, 3-D paper dolls to show the pattern placement. When a working version of the fabric was ready, he would finalize the pattern placement on a mannequin, after which the print or jacquard would be re-adjusted to match at the seams. Only then would it be sent into production. (See Andrew Bolton, Alexander McQueen: Savage Beauty, pp. 229-30.)

Frederic Alexander, who worked as an assistant to Holly Marler and now designs for his own label, Saint Etienne, worked on prints for Alexander McQueen’s Pre-Fall 2009 and Fall 2009 collections. The Escher-inspired magpie houndstooth print recalls Simon Ungless’ swallow print:

Floral and magpie houndstooth prints, Alexander McQueen Pre-Fall and FW 2009-10

Floral print design for Alexander McQueen Pre-Fall 2009; magpie houndstooth print design for Alexander McQueen Fall/Winter 2009-10 (The Horn of Plenty). Images via Saint Etienne/Cargo.

Alexander McQueen Pre-Fall and Fall 2009

Alexander McQueen Pre-Fall 2009 and Fall/Winter 2009-10 (The Horn of Plenty). Images via style.com.

Advances in inkjet technology enabled the thirty-six circle-engineered digital prints in Plato’s Atlantis (Spring 2010). (For further technical discussion of textiles in Plato’s Atlantis, see the Savage Beauty section of the Alexander McQueen website.) Freelance textile designer Chinsky Cheung interned at Alexander McQueen and returned to the company for several collections, including Plato’s Atlantis. In an article published in Hong Kong’s Milk magazine, she shows aspects of the design process including pattern placement:

Alexander McQueen SS 2010 look 3 print placement

Alexander McQueen Spring/Summer 2010 (Plato’s Atlantis). Model: Karmen Pedaru. Images: style.com and Chinsky Cheung/Milk magazine via Augustine Wong.

(For more scans see Augustine Wong’s post, The Queen of the Prints.)

Dress, digitally printed silk satin and silk chiffon, Alexander McQueen SS 2010

Dress, digitally printed silk satin and silk chiffon, by Alexander McQueen, Spring/Summer 2010 (Plato’s Atlantis). Image via the Victoria and Albert Museum.

The Fall 2010 menswear (An Bailitheoir Cnámh – the Bone Collector) and women’s Pre-Fall 2010 collection had the same catacombs print:

Catacomb print, Alexander McQueen Fall 2010 men's / women's Pre-Fall 2010-11

Two catacomb print looks, Alexander McQueen Fall/Winter 2010-11 menswear (An Bailitheoir Cnámh) and Pre-Fall 2010. Images via style.com and Alexander McQueen.

The textiles in McQueen’s posthumously presented Fall 2010 collection (known as Angels and Demons) were patterned with digitally manipulated images drawn from early religious painting and sculpture. (See Dazed Digital and the V&A on the collection.) Some of the patterns were not prints but jacquards, while the reworked Old Master prints looked back to pieces like the Fall 1997 Campin crucifixion-printed jacket:

Richard Fairhead's photo of Alexander McQueen Byzantine lion jacquard, Dazed magazine 2010

Alexander McQueen Byzantine lion jacquard, Dazed magazine, October 2010. Photo: Richard Fairhead. Image via Dazed Digital.

Alexander McQueen dress with print based on Stefan Lochner's 15th-century Altarpiece of the Patron Saints of Köln,

Dress, silk print based on Stefan Lochner’s Dombild Altarpiece with underskirt of gilded feathers, Alexander McQueen Fall/Winter 2010-11. Image via the Victoria and Albert Museum.

Alexander McQueen jacket with Robert Campin 15th c. crucifixion print, FW 1997-98

Jacket, Alexander McQueen Fall/Winter 1997-98 (It’s a Jungle Out There). Photo: Sølve Sundsbø. Image via the Metropolitan Museum of Art.

For more on digital prints, see the webpage for the Phoenix Art Museum’s 2013 exhibit, Digital Print Fashion (more in Corbin Chamberlin, “Phoenix Art Museum Embraces New Technology with ‘Digital Print Fashion’ Exhibit“). If you’re interested in designing your own digital prints, Kathryn Brenne recently wrote a primer for Vogue Patterns magazine’s February/March 2015 issue, and Melanie Bowles and Ceri Isaac have published a textbook on the subject, Digital Textile Design (Laurence King, 2nd ed. 2012).

With thanks to Kate Bethune.

Next: Alexander McQueen and tartan.

Alexander McQueen Roundup

March 17, 2015 § 5 Comments

Brit Wit: Alexander McQueen in Vogue, October 1997

Vogue, October 1997. Photo: Sean Ellis. Stylist: Isabella Blow.

The London incarnation of Alexander McQueen: Savage Beauty has just opened at the Victoria and Albert Museum. (See British Vogue on the additions to the Costume Institute show.) Accompanying the exhibition is a full calendar of events, including a two-day conference in early June. The exhibition catalogue by Claire Wilcox is available in hardcover and paperback from the V&A, with a North American edition to be published by Abrams in May.

Alexander McQueen: Savage Beauty in London

Alexander McQueen catalogue - Abrams

Several London galleries are hosting related exhibitions. At Proud Galleries, McQueen: Backstage – The Early Shows by Gary Wallis presents Wallis’ behind-the-scenes photographs from McQueen’s early career (to April 5, 2015; book). Tate Britain’s Nick Waplington/Alexander McQueen: Working Process brings together Nick Waplington’s photographs of The Horn of Plenty (FW 2009), recently published in his 2013 book (to May 17, 2015). At the Gallery at Foyles, Inferno: Alexander McQueen – Photographs by Kent Baker will present backstage photographs from Dante (FW 1996) (March 20 to May 3; book). And next month, London College of Fashion’s Fashion Space Gallery will host Warpaint: Alexander McQueen and Make-Up (April 30 to August 7, 2015).

Lee doing cartwheels across the lawn, Hilles House, 1994

Nick Waplington/Alexander McQueen: Working Process at Tate Britain

Untitled by Kent Baker, from Alexander McQueen's Dante collection, 1996

Warpaint: Alexander McQueen and Make-Up

To celebrate the opening of the London retrospective, here’s a roundup of my posts on sewing patterns by Alexander McQueen, both for Givenchy and his own label:

4 Givenchy McQueen patterns - Vogue 2086, 2157, 2343, 2228

Caitriona Balfe / McQueen kimono jacket

Vogue 2248 by GivenchyVogue 2086 by Givenchy

Free Designer Pattern: Gareth Pugh Balloon

February 17, 2015 § 1 Comment

Gareth Pugh balloons photographed by Nick Knight, 2006

Photo: Nick Knight, 2006. Image via SHOWstudio.

This month Gareth Pugh celebrates the 10-year anniversary of his label. SHOWstudio is marking the anniversary—and Pugh’s return to London Fashion Week—with an editorial project, Gareth Pugh: 10 Years, and Melissa’s London flagship is hosting a retrospective exhibition of the designer’s work. (See Samantha Conti, “Gareth Pugh Sets London Retrospective.”)

SHOWstudio’s Gareth Pugh Design Download is a pattern for the striped balloon from the designer’s 2003 Central Saint Martins graduation collection. According to the site’s original notes, “Rather than submitting a traditional garment pattern to the design_download series, Gareth Pugh chose to contribute a pattern for a balloon which he had previously created. The bold, red and white striped beach-ball fabric balloons are, like much of Pugh’s designs, inspired by shape, proportion and process.”

As Sarah Mower remarked in her review of the designer’s London Fashion Week debut (Fall 2006 RTW), “Pugh has a thing about balloons.” The red and white version was a recurring motif in his graduation collection and typifies his playful, experimental approach to fashion design.

From Gareth Pugh's BA graduation collection, 2003

From Gareth Pugh’s BA graduation collection, 2003. Image: Catwalking via the Telegraph.

Two looks from Gareth Pugh's graduation collection, 2003

Two looks from Gareth Pugh’s graduation collection, 2003. Images via 1 Granary.

(Click the above image for more runway looks from this collection.)

Nicola Formichetti, then senior fashion editor at Dazed & Confused, put one of Pugh’s balloon looks on the cover of the magazine:

A design from Gareth Pugh's graduation collection, Dazed & Confused cover by Laurie Bartley, April 2004

A design from Gareth Pugh’s graduation collection, Dazed & Confused, April 2004. Photo: Laurie Bartley. Stylist: Nicola Formichetti. Image via Dazed Digital.

Laurie Bartley editorial photo featuring Gareth Pugh's graduation collection

Editorial photo featuring Gareth Pugh’s graduation collection, Dazed & Confused, April 2004. Photo: Laurie Bartley. Stylist: Nicola Formichetti. Image via Dazed Digital.

Pugh diagram

Diagrams by Robin Howie. Image via SHOWstudio.

Download the balloon pattern (7 pieces)

Fabric requirements: approx. 1 meter (1 yd 4″) each of fabric and contrast fabric.

Recommended fabrics: Non-stretch fabrics with a sheen. The originals were made in a thick, non-stretch acetate satin.

Notions: 18” (45 cm) invisible zipper to match contrast fabric, 1 large latex balloon.

Notes: includes 1 cm (approx. 3/8″) seam allowance. The pattern is laid out on A3 sheets, so copy shop printing is recommended.

See the SHOWstudio submissions gallery here.

John Galliano Patterns: Roundup

January 12, 2015 § 3 Comments

Maison Martin Margiela Spring 2015 couture by John Galliano

The closing look from John Galliano’s Maison Martin Margiela Spring 2015 couture collection. Image via style.com.

Today John Galliano presented his first collection as creative director at Maison Martin Margiela: the Spring/Summer 2015 couture. It was the first time Margiela showed in London; the collection will also be viewable by appointment during Paris couture week. (See Suzy Menkes, “Galliano for Maison Martin Margiela” and Melanie Rickie, “John Galliano: penitent return of an enfant terrible.”)

The show comes four years after Galliano’s last runway presentation. It’s been nineteen years since his first couture collection, for the house of Givenchy in January, 1996.

vogue paris mars 1996

Shalom Harlow in Givenchy Haute Couture by John Galliano, Vogue Paris, March 1996. Photo: Mario Testino. Image via Vogue Paris.

To celebrate the designer’s return, here’s a roundup of my posts on sewing patterns by John Galliano, both for Givenchy and his own label:

1990s Vogue Patterns by John Galliano for Givenchy: 1887, 1889, 1978, 2061

.GallianoFW2001_look35Galliano_SHOWstudio_FW2001

For a retrospective look at Galliano’s career, see this Vanity Fair slideshow or British Vogue’s editorial gallery.

Envelope Fail: Vogue 2893 by Donna Karan

June 13, 2014 § 7 Comments

Erin Wasson photographed by Peter Lindbergh - Donna Karan Spring 2005 advertising campaign

Donna Karan Spring 2005 ad campaign. Model: Erin Wasson. Photo: Peter Lindbergh.

When I first started collecting sewing patterns, Naomi was baffled. She couldn’t understand my interest when the styling on modern pattern envelopes was bland or worse. This new, occasional series looks at designer patterns that fail to convey the strengths of the original—not as an end in itself, but in the hope of provoking reflection and discussion of the frequent disparity between designer fashion and the licensed versions offered to home sewers.

(You can see an earlier discussion in the comments on my Alber Elbaz post.)

Launching the series is Vogue 2893, a top and skirt pattern by Donna Karan from 2006. The off-the-shoulder, back-laced ensemble is drawn from Karan’s Spring/Summer 2005 collection, and was the centrepiece of the Peter Lindbergh advertising campaign starring Erin Wasson.

Erin Wasson photographed by Peter Lindbergh - Donna Karan Spring 2005 advertising campaign

Donna Karan Spring 2005 ad campaign. Model: Erin Wasson. Photo: Peter Lindbergh.

The look was even chosen to open the Spring 2005 runway presentation. The second photo shows the top’s contrast mesh inserts, elasticized shoulders, and decorative zigzag stitching detail:

Gemma Ward - Donna Karan Spring 2005 collection

Model: Gemma Ward. Photo: Marcio Madeira. Image via style.com.

Detail - Gemma Ward, Donna Karan Spring 2005 collection

Model: Gemma Ward. Image via style.com.

Now consider the pattern envelope:

Donna Karan off-the-shoulder top and skirt pattern - Vogue 2893

Vogue 2893 by Donna Karan (2006) Top and skirt.

Technical drawing for Vogue 2893

Technical drawing for Vogue 2893

The envelope replaces the original’s bared shoulders, open back, and slight flare at the hips with a much higher décolletage and tightly laced back. The result is a more covered-up, middle-of-the-road, body-con look that lacks the original’s confidence and wit.

What do you think? Did Vogue Patterns assume the original styling wouldn’t appeal to their customers?

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