February 11, 2015 § 5 Comments
The first Winter Olympics in 1924 contributed to the growing popularity of skiing, which had been around since the late nineteenth century. I have not yet seen any 1920s skiwear patterns, but contemporary magazine covers attest to the sport’s fashionability. Helen Dryden illustrated this ski-themed cover for Delineator magazine:
The following winter, Jean Pagès illustrated a ski scene for the cover of Vogue’s holiday issue:
This McCall skiwear pattern for ski jacket, pants, and separate hood dates to winter 1932-33. The catalogue text reads, “The hood fits cozily about the throat. The jacket gains freedom through two pleats in the back”:
McCall 7195 was also illustrated on the cover of the McCall Style News for January 1933:
The 1936 Winter Games were the first to include Alpine skiing, and we see an increase in skiwear patterns from the mid-1930s. (Before 1936, Olympic ski events were limited to Nordic, or cross-country, skiing and ski jumping.) A page in the December 1936 issue of Butterick Fashion News shows women’s and children’s patterns for winter sports, complete with fabric recommendations—wool, suede cloth, snow cloth, and corduroy. The patterns are Butterick 7033, 5927, and 7062 (click to enlarge):
The cover of Butterick Fashion News for February 1940 shows an alpine chalet scene featuring a ski suit pattern, Butterick 8793. The text inside reads, “Snow fun in a ski suit… When you zip off the reversible jacket, your monogrammed suspenders will be muchly admired.” (More scans at witness2fashion.) The pattern calls for snow cloth with poplin lining:
A copy of Butterick 8793 is found in the Commercial Pattern Archive, where it is dated to 1939. The pattern includes the cap:
Postwar skiwear retained the slimmer silhouette that had been prompted by wartime fabric rationing. From 1946, Butterick 3985 is a ski suit with jaunty cropped jacket and detachable hood:
From the later 1950s, Vogue 9332 is a ski suit consisting of hooded overblouse and slim stirrup pants, for flannel, worsted, gabardine, alpaca, and poplin. I plan to make this one up for après-ski purposes:
McCall’s 4788 is a ski jacket with drawstring hem, stirrup pants, and separate hood. Recommended fabrics are corduroy, poplin, serge, jersey, and twill:
Unfortunately, no-one seems to have licensed Emilio Pucci skiwear patterns. This British Vogue cover features a Pucci ski ensemble:
The only 1960s skiwear pattern I’ve seen is Vogue 6044, a hooded parka and slim stirrup pants for stretch fabrics. The envelope back notes that, for the view A parka, allowance has been made for quilting narrow fabrics. The fur cloth version is a fun alternative:
From Daniel Hechter, Butterick 4370 is a designer ski suit consisting of straight leg pants and a belted jacket with drawstring hood. The fabric recommendations range from pinwale corduroy and double knits to synthetic leather and suede:
Butterick also had two his and hers skiwear patterns, Butterick 5110/5111, a jacket or sleeveless jacket and jumpsuit (really overalls) for water repellent, quilted fabrics. The jacket and overalls have elasticized snow guards at the wrists and ankles and contrast yokes and front bands in poplin or ciré:
From 1980, Simplicity 9785 includes overalls in full or knicker length, a ski jacket with detachable sleeves, and legwarmers—all for quilted, double-faced, water-resistant fabrics:
I’ll close with this mid-1980s, ski-themed Vogue Knitting cover:
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.
April 24, 2014 § 3 Comments
My series on Mad Men-era designer patterns concludes this week with three Butterick Young Designers: Mary Quant, Jean Muir, and Emmanuelle Khanh.
In 1964, Butterick launched its Young Designers line, appealing to the youth market by licensing the work of up-and-coming, international fashion designers. The line would continue through the 1970s with the addition of new designers like Betsey Johnson, Jane Tise, and Kenzo. (For more on the Young Designers line see The Vintage Traveler’s Butterick Young Designers page.)
Mary Quant (b. 1934) was the first designer to be signed to the new pattern line. Born in London, Quant met Archie McNair and her future husband, Alexander Plunket Greene, at art school; together they opened a boutique on the King’s Road, Bazaar, in 1955, selling Quant’s fun, youthful designs. Quant is perhaps most famous as a pioneer of the miniskirt. Butterick released its first Quant patterns, featuring Celia Hammond photographed by Terence Donovan, in the fall of 1964.
Butterick 5475 is a mini-length shirt dress with plenty of details including epaulets, side slits, and a self-buttoned belt:
Also born in London, Jean Muir (1928-1995) showed an early talent for dressmaking and needlework. During the 1950s, after working her way up from the stockroom at Liberty, she was hired as designer for Jaeger; she stayed with Jaeger until 1962, when she founded her first label, Jane & Jane. She launched her eponymous label in 1966. Muir was known for her fluid dresses with charming dressmaker details.
Butterick introduced Jean Muir patterns in the spring of 1965. This short, high-waisted dress dates to the late 1960s; the bodice front and slashed, modified raglan bell sleeves fasten with rows of tiny buttons:
Born in Paris as Renée Mésière, Emmanuelle Khanh (b. 1937) married avant-garde industrial designer Quasar Khanh in the late 1950s, around the same time that she began working as a house model for Balenciaga and Givenchy. Turning her hand to fashion design, Khanh was soon at the forefront of yé-yé fashion (Paris’ answer to Youthquake), designing for brands including Cacharel and Missoni before launching her own label in 1969. (Read a 1964 LIFE magazine article about Khanh here.) Today her company focuses on accessories, particularly eyewear.
Butterick introduced Emmanuelle Khanh sewing patterns in the fall of 1965. This turquoise, suit-effect dress creates interesting effects with topstitching and collar details:
The pattern is Butterick 3718. (Thanks to Jessica Hastings of myvintagevogue for confirming the number.) This photo shows a full-length view of the dress:
It’s interesting to see an established company like Butterick responding to contemporary Sixties youth culture, facilitating access to Youthquake and yé-yé fashion in the process.
January 31, 2014 § 6 Comments
Happy Chinese new year! In honour of the Year of the Horse, here’s a selection of equestrian sewing patterns from the 1920s to the 1990s.
Like tennis wear, modern equestrian wear begins in the 1920s. Before the First World War, women generally rode sidesaddle; equestriennes wore fashionably voluminous riding skirts designed to fall flatteringly on horseback, with breeches underneath. In addition to 19th-century Harper’s Bazaar patterns for riding habits, the Commercial Pattern Archive’s “Riding” category reveals a 1909 pattern for ladies’ riding breeches (Butterick 3313), and two divided equestrian skirts from the early teens (Butterick 5792 and Pictorial Review 5003).
By 1920 the major American pattern companies were producing commercial patterns for women’s jodhpurs—often called riding breeches. As the illustration at the top of this post shows, some women continued to ride sidesaddle, even into the 1930s, but I haven’t found any modern patterns for sidesaddle riding habits.
Butterick 2255, circa 1920, is a pattern for a riding coat and breeches worthy of Lady Mary. The envelope specifies that the design is for cross saddle riding:
This 1920 McCall pattern for riding breeches shows the pattern diagram and instructions on the envelope (click to enlarge):
I have this 1923 jodhpurs pattern in my collection—for when I learn to ride, of course:
This McCall’s illustration of a riding coat and breeches is from the same year, but it shows a different breeches pattern, as well as a more streamlined riding coat than a few years previous:
Jodhpurs were not just for equestrian sports: they were the “trousers of adventure,” worn for activities like driving, hiking and camping, safaris, and aviation. This early ’30s illustration from Pictorial Review shows the latest sports styles, including beach pajamas and clothes for tennis and golf. The riding habit includes a sleeveless jacket or waistcoat (click to enlarge):
Butterick 5647 is a pattern for cuffed, fall-front jodhpurs with notched back waist and side and back pockets. Nabby at This Old Life made these for her vintage aviatrix costume (click image for post):
McCall 9412, from September 1937, looks to be a rare early pattern for western-style riding pants, with reinforced seat and inner leg. I’d love to see a better-quality image; this one was found in a lot on eBay:
Also from the late 1930s, Pictorial Review 9337 is a pattern for a tailored shirt and sleek pair of riding trousers:
Apart from children’s equestrian patterns, I couldn’t find any patterns from the major pattern companies that were specifically for riding until the 1970s, when western-style riding wear was in fashion. McCall’s 4870 includes riding pants and a shirt-jacket with contrast, embroidered yoke and cuffs. The model is Angeleen Gagliano, who was a horsewoman in real life:
This Butterick pattern by Jane Tise shows the vogue for western shirts:
The influence of the western shirt is evident in this Halston dress with scalloped yoke:
Many of you will remember the 1980s jodhpurs trend, when you could dress for English-style riding far from any stable. Exhibit A is New Look 6013:
Gianni Versace and Claude Montana both showed jodhpurs in the ’80s, but unfortunately Vogue Patterns doesn’t seem to have released any patterns for them. Just for fun, here’s a Lord Snowdon photo of aristocrat Angela Rawlinson in a jacket and tweed jodhpurs by John McIntyre:
Little Vogue 7876, with its young model leaning on a stone balustrade, is interesting for showing the social ambition associated with horseback riding. The jodhpurs are a little loose for actual riding (the similarly styled Vogue 7842 also has a looser fit):
With the advent of stretch fabrics, riding pants no longer needed lots of room in the upper leg. These jodhpurs by Calvin Klein have a sleeker fit that’s more in line with late 20th-century equestrian wear. They come with detachable stirrups, and may be made in synthetic suede:
McCall’s 6737’s riding pants are for stretch fabrics, reinforced with leather or ultrasuede in the seat and inner leg. The pattern also marks a return to the waistcoat:
Vogue 1655 by DKNY brings us full circle: the riding-style jacket was photographed in traditional scarlet at a country estate:
For more on the history of women’s equestrian wear see Mackay-Smith, Druesedow, and Ryder’s Man and the Horse: An Illustrated History of Equestrian Apparel (Simon and Schuster, 1984), which was published to accompany the Polo/Ralph Lauren-sponsored Costume Institute exhibit held from December, 1984 to September, 1985.
If you’d like to sew your own sidesaddle riding habit, reproductions of early French magazine patterns for costumes d’amazone (women’s riding habits) are available from eBay shop Au fil du temps. For a modern equestrian look, Folkwear’s Equestriennes pattern, Folkwear 506, includes a riding jacket, waistcoat, and jodhpurs based on garments in the collection of the Costume Institute.
Special thanks to Naomi for acting as my in-house equestrianism consultant.
December 11, 2013 § 9 Comments
Today we’re used to a firm division between fashion magazines and sewing magazines. But for several decades after Condé Nast sold Vogue Patterns, editorials featuring sewing patterns could still be seen in Vogue magazine—editorials with the same models, photographers, and fashion editors as Vogue’s high fashion shoots. This post is the first in an occasional serieson these editorials.
Launching the series is “Courrèges Edge,” a 1995 editorial photographed by Nick Knight and showing Kate Moss in clothes made using patterns from Vogue and Butterick. The shoot covers the Sixties trend with all-white, Courrèges-style looks while playing with the theme of surveillance.
Update: Nick Knight used video footage from the shoot—his first with Kate Moss—in his second fashion film, The More Visible They Make Me, The More Invisible I Become:
In the back of the magazine, readers could find technical drawings and further details on the patterns used, all “edited by Vogue”:
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.
June 25, 2012 § 8 Comments
Wimbledon kicks off today. In honour of the world’s oldest tennis tournament, here’s a selection of patterns for playing the most fashionable sport.
Modern tennis fashion really got underway in the 1920s, when tennis became a popular leisure activity and couturiers like Chanel, Patou, and Vionnet designed tennis wear to meet the demand for fashionable luxury sportswear. (For more on ’20s tennis fashion see the Voguepedia article Tennis Dressing.)
Typically, sewing patterns for tennis outfits show a woman holding a tennis racquet. The Deco cover of the McCall Style News shown at the top of this post portrays McCall 5277 as a dress for tennis, but the pattern envelope doesn’t advertise its suitability for sports. The illustration simply shows a day dress with the skirt pleated in front; the handkerchief collar and scarf girdle are optional:
In the early 1930s, sports dresses had lower hemlines, but could be worn unbuttoned in the back, like this McCall’s sports dress from 1933:
This pattern was illustrated on the cover of the Spring 1934 McCall Fashion Book:
(Catalogue image courtesy of Judy Yates of Vintage4me2.)
Playsuits and shorts became fashionable tennis wear after American tennis champion Alice Marble wore shorts to a professional match in 1932. These McCall’s sports separates include a tennis outfit with high-waisted shorts:
Lauren of Wearing History has made the McCall 9180 trousers; you can see a photo by clicking the pattern image.
The ‘masculine’ shorts trend continued into wartime, which also saw a return to the sports dress. This Advance tennis dress has a front zipper and inverted pleat, and includes panties for underneath:
In the postwar period tennis dresses or skirts, pleated or plain, became the standard tennis wear. The silhouettes reflected current trends, but with higher hemlines, as with this tennis dress with pleated skirt and cinched waist:
This Vogue tennis dress is a shorter version of the day dress also included in the pattern (check out the vintage camera):
Tennis hemlines are rising with these Vogue sports separates, which include a sleeveless blouse, shorts, and tennis skirt:
More perky pleats on this early 1960s tennis dress from McCall’s:
The popularity of tennis in the 1970s prompted the release of a wide variety of tennis patterns, for dresses, visors, and even racquet covers and other accessories. Vogue Patterns licensed tennis wear from Anne Klein, Penfold, and Anne Klein for Penfold (illustrated on the June 1976 news cover here). These Vogue Patterns magazine covers show an Anne Klein tennis outfit in action and Regine Jaffrey modelling a Vogue tennis shirt and visor:
Butterick licensed designs by women’s tennis champion Chris Evert, including this pattern for a tennis dress, briefs, and visor:
Karen Bjornson models this Penfold set consisting of a sleeveless tennis dress, t-shirt, shorts, and wrap miniskirt:
It’s interesting how the history of women’s tennis wear is a history of female athletes pushing the envelope: from May Sutton Bundy’s rolled-up sleeves, in 1905, and Suzanne Lenglen’s higher hemlines, to Alice Marble’s shorts and Serena Williams’ recent subversion (with hot pink briefs) of the rule of Wimbledon whites. (See a Guardian Wimbledon slideshow here and Vogue’s tennis slideshow here.) Women’s tennis fashions insist on femininity while offering an escape from modesty.