January 29, 2016 § 9 Comments
Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.
In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):
Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):
This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:
A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:
As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):
Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):
Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:
Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):
In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):
McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::
McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:
McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):
Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:
McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):
McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):
Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):
André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.
I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):
* Dacron was known by the name Terylene in the U.K.
November 16, 2015 § 3 Comments
In honour of Paris, a selection of postwar fashion photography shot on location in the city.
Vogue’s earliest Paris Originals were photographed in Paris, by Vogue editorial photographers including Clifford Coffin and Norman Parkinson.
The eight colour photos were first seen in the March 1st, 1949 issue of Vogue magazine, to announce the new couturier patterns.
(Available as a print from Condé Nast.)
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.
March 13, 2015 § 4 Comments
Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.
From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:
Clifford Coffin photographed the dress in Paris for Vogue magazine:
According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):
Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:
Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):
Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:
The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):
Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:
Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:
Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:
The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:
Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:
Instead of the envelope’s location shot, Vogue published a studio photo of the dress:
Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:
Next in the series: Antonio del Castillo’s Vogue Paris Originals.
January 12, 2015 § 3 Comments
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.
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:
- John Galliano for Givenchy: Vogue Patterns
- A Fourth Givenchy Pattern by Galliano
- Free Designer Pattern: John Galliano Jacket
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!
December 17, 2014 § 8 Comments
For Paco Peralta.
Before Vogue Patterns introduced Yves Saint Laurent with patterns from the Mondrian collection, the company had already licensed the designer’s work for the house of Dior. (Read more at the Fondation Pierre Bergé – Yves Saint Laurent, or see Dustin’s post here.)
Yves Saint Laurent was appointed head designer at Dior after Christian Dior’s death in 1957. Dior had been his mentor; in 1955 he hired Saint Laurent to work at his new boutique, later promoting him to accessories and couture. Richard Avedon’s famous Dovima with Elephants shows a velvet evening dress designed by Yves Saint Laurent while he was still assistant designer:
Saint Laurent’s first collection for Dior, Trapèze (Spring 1958 haute couture), was a huge success, and his later work at the house continued its play with proportion. L’Officiel’s spring preview issue for 1958 featured an illustration of a Dior trapeze dress by René Gruau:
The young Yves Saint Laurent designed six haute couture collections for Dior; Vogue’s licensing represents his last three collections for the house, from 1959 to 1960.
1. Christian Dior Haute Couture Fall/Winter 1959
Saint Laurent’s second Fall/Winter couture collection for Dior was controversial; L’Officiel declared its aesthetic “femininity pushed to the extreme.” Suits were shown with severely cropped jackets, and the skirt silhouettes included voluminous tiers and hobble skirts.
The first Dior patterns were promoted with illustrations by Esther Larson in the late 1959 issues of Vogue Pattern Book and Vogue Printed Pattern News (thanks to the White Cabinet for the ID):
Anticipating demand for this high-profile addition to Vogue’s designer patterns, Vogue Pattern Book noted that the new patterns would be available in stores after November 10th:
The first Dior patterns were photographed by Joseph Leombruno and Jack Bodi, the couple who worked as Leombruno-Bodi. In Vogue magazine’s first issue for 1960, Isabella Albonico modelled the two dress ensembles, Vogue 1471 and 1470:
Leombruno-Bodi also photographed the new Dior patterns for Ladies’ Home Journal. The accompanying text for Vogue 1470 suggests that the hobble skirt silhouette was considered extreme: “Dior’s famous ‘hobble’ skirt makes a charming mid-season costume … The pattern also includes details on how to make the dress without the band at the bottom of the skirt for less extreme effect.” The model on the left is Anne St. Marie (click to enlarge):
Vogue 1470 is a striking dress and jacket ensemble. The short jacket has three-quarter sleeves and bow trim at the waist, while the dress has short sleeves, low V-neckline, and the collection’s distinctive pouf-hobble skirt banded at the knee. The original was navy tweed:
Here’s the envelope description: One piece dress and jacket. Skirt, with or without puffed tunic, joins the bodice at the waistline. Wide V neck-line with band finish. Short kimono sleeves. Short fitted jacket, joined to waistband, has concealed fastening below notched collar; below elbow length sleeves. Novelty belt.
Vogue 1471 is a close-fitting, double-breasted jacket with matching dress. The original was black-and-white tweed:
The envelope description reads: One piece dress and jacket. Flared skirt joins the bodice at the waist-line. Single button closing below the wide V neck-line with extension band finish. Above elbow length and short sleeves. Double breasted jacket has notched collar and below elbow length sleeves. Novelty belt for version A.
Vogue 1472 seems to have been the most popular of the three patterns. The voluminous coat and skirt suit were modelled by Nena von Schlebrügge:
Here’s the envelope description: Coat, suit and scarf. Double-breasted hip length jacket has a notched collar and below elbow length sleeves with buttoned vents. Slim skirt. Double-breasted, full coat in two lengths has a large shaped collar. Concealed pocket in side seams. Below elbow length sleeves joined to dropped shoulder armholes. Straight scarf.
In the next issue of Vogue Pattern Book, the Vogue 1472 coat is called “the newsmaking original Dior coat that tops the suit… Note the extras here: the enormous buttons, the slashed side seams, the stitched collar, the scarf to match. Your own extra: a towering cloche of the checked fabric”:
2. Christian Dior Haute Couture Spring/Summer 1960
Saint Laurent’s Spring 1960 collection for Dior was characterized by rounded silhouettes and vibrant colour. L’Officiel noted its straight suits with jackets cut on the bias to achieve the suppleness of a knitted cardigan.
Vogue 1012, introduced in the August/September 1960 issue of Vogue Pattern Book, includes a collarless, single-breasted skirt suit and sleeveless blouse with crisscross back. The jacket in view A is cut on the bias:
The envelope description reads: Suit and blouse. Short, straight jacket buttons below collarless away from normal neck-line. Welt pockets. Below elbow length kimono sleeves. Skirt has soft gathers from very shallow yoke. Easy fitting overblouse has shoulder straps crisscrossed at back.
This suit is similar to Vogue 1012, but has a more conventional button front:
These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:
3. Christian Dior Haute Couture Fall/Winter 1960
Yves Saint Laurent’s controversial final collection for Dior, le Beat look, was inspired by Left Bank icon Juliette Gréco and the Beatniks of Saint-Germain-des-Prés. It was innovative for its infusion of youthful, bohemian street style into the couture, with Beat elements including leather jackets, knitted turtlenecks, and plenty of black.
Vogue produced two patterns from this collection, drawn from the more conventional designs. Vogue 1041 is a skirt suit and matching, loose coat with a big standing collar and side slits:
Here’s the envelope description: Suit and coat. Easy fitting jacket has high buttoned closing below neck-band. Vent opening in side front seams. Bracelet length and elbow length sleeves. Slightly gathered skirt has outside stitched front panel concealing pockets. Seven eighths length loose coat has opening in side seams. Away-from-neck-line standing neck-band. Bracelet length kimono sleeves.
Philippe Pottier photographed the purple coat ensemble for L’Officiel‘s winter collections issue:
Vogue 1041 was photographed for Vogue magazine by Henry Clarke:
Vogue 1049 is a skirt suit and sleeveless overblouse. The blouse is worn over a barrel skirt with attached underbodice for a dropped-waist effect. The jacket of view A is designed to be worn open:
The envelope description reads: Suit and blouse. Box jacket has cut away fronts and simulated buttoned closing or complete buttoned closing, below standing band collar. Easy fitting overblouse with optional tied belt has bateau neck-line. Above elbow length sleeves and sleeveless. Slightly barrelled shaped skirt attached to bodice.
The dotted black ensemble in duchesse velvet was photographed for this Chatillon Mouly Roussel advertisement in L’Officiel:
I also found the black suit in a later L’Officiel composite:
These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:
For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.