Lida Baday: McCall’s Patterns

July 1, 2015 § 5 Comments

Turtleneck by Lida Baday, Fashion, August/September 1996. Model: Kim Renneberg. Photo: George Whiteside. Image via Fashion magazine.

In celebration of Canada Day, this post is devoted to Canadian fashion designer Lida Baday.

Lida Baday (b. 1957) was born to a dressmaker mother in Hamilton, Ontario. A graduate of Ryerson’s fashion design program, she worked for different companies in Toronto’s garment district before founding her own label in 1987. (Read bios here and here; see tear sheets here.) Baday soon won international success with her sophisticated, minimalist designs in luxurious fabrics such as wool jersey. Although her company closed its doors last year, The Fabric Room, which sells its surplus textiles, is still open to the public.

LidaBadayFW11_5

Lida Baday Fall 2011 ad campaign. Model: Kirsten Owen. Image via Melatan Riden.

In the 1990s, Lida Baday designs were available through McCall’s patterns, beginning with two patterns in the November 1992 catalogue. McCall’s 6255 and 6257 are patterns for a skirt suit and separates including a flared, hooded coat:

1990s Lida Baday skirt suit pattern - McCalls 6255

McCalls 6255 by Lida Baday (1992) Image via eBay.

1990s Lida Baday coat, jacket, skirt and pants pattern - McCall's 6257

McCall’s 6257 by Lida Baday (1992) Image via PatternVault on Etsy.

McCall’s 6855 is a pattern for a bolero and sleeveless sheath dress in two lengths. The longer version has a high slit with underlay:

1990s Lida Baday dress and bolero pattern - McCall's 6855

McCall’s 6855 by Lida Baday (1993) Image via Etsy.

McCall’s 8256 includes a long, double-breasted jacket, a short, cap-sleeved top, and wide-legged pants:

1990s Lida Baday pantsuit and top pattern - McCall's 8256

McCall’s 8256 by Lida Baday (1996) Image via Etsy.

This 1997 design for an oversized shirt, pants, and cropped leggings for stretch knits could be new today:

1990s Lida Baday pattern shirt, pants, and leggings pattern - McCall's 8740

McCall’s 8740 by Lida Baday (1997) Image via Etsy.

McCall’s 8823 is ’90s-minimalist perfection with its fitted tunic with narrow straps, slim pants, and low-backed, sleeveless dress with mock back wrap:

1990s Lida Baday dress, top, and pants pattern - McCall's 8823

McCall’s 8823 by Lida Baday (1997) Image via Etsy.

McCall’s 9371 includes a sleek halter top for stretch knits and a short, wrap skort:

1990s Lida Baday top, skort, jacket, and pants pattern - McCalls 9371

McCalls 9371 by Lida Baday (1998) Image via Etsy.

The long, stretch-knit dresses in McCall’s 9379 are both ’90s and classic:

1990s Lida Baday dress pattern - McCall's 9379

McCall’s 9379 by Lida Baday (1998) Image via PatternVault on Etsy.

Just for fun, here are some more Fashion magazine covers featuring designs by Lida Baday:

Lida Baday dress; John Fluevog boots. Fashion, September 1995. Model: Jenny Mac. Photo: George Whiteside. Image via Fashion magazine.

Jessica Paré wears a Lida Baday coat, Fashion, November 2004. Photo: Gabor Jurina. Image via Fashion magazine.

Happy Canada Day, everyone!

Mad Men Era Roundup

May 20, 2015 § 1 Comment

Peggy Olson arrives at the McCann offices in "Lost Horizon" (Mad Men season 7 episode 12)

Peggy Olson (Elisabeth Moss) in “Lost Horizon” (Man Men, Season 7). Image via GQ.

Did you watch the Mad Men finale Sunday night? If you aren’t ready to say goodbye, a New York exhibition, Matthew Weiner’s Mad Men, brings together sets, props, costumes, and other production materials from the show (at the Museum of the Moving Image to June 14, 2015).

Soon after launching this blog in 2011, I began a series on Mad Men-era designer patterns. Like the TV series, it shows the changes that were taking place in fashion in the 1960s. Here’s the full roundup:

  1. The Old Guard I – Jacques Heim, Madame Grès, Jo Mattli, and Jean Dessès
  2. The Old Guard II – Jacques Griffe, Pauline Trigère, Pierre Balmain, and Pierre Cardin
  3. London’s Old Guard – Ronald Paterson, John Cavanagh, Michael Donéllan, and Edward Molyneux
  4. Old House, New Designer – Lanvin, Patou, Nina Ricci, and Dior
  5. The Europeans – Rodríguez, Simonetta, Fabiani, and Pucci
  6. New Talent – Guy Laroche, Irene Galitzine, and Federico Forquet
  7. Millinery – Sally Victor, John Frederics, Guy Laroche, and Halston
  8. McCall’s New York Designers – Bill Blass, Geoffrey Beene, and Anne Klein
  9. Butterick’s Young Designers – Mary Quant, Jean Muir, and Emmanuelle Khanh

I also have two posts on Yves Saint Laurent’s 1965 Mondrian collection, Mondrian! and my version of Vogue 1556, and for the later 1960s, a designers post on Rudi Gernreich.

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Vogue 1556 by Yves Saint LaurentVogue 1556 by Yves Saint Laurent, Knoll Toronto

Yves Saint Laurent + Halston: Fashioning the 70s

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.

Patricia Mears and Emma McClendon, Yves Saint Laurent + Halston: Fashioning the 70s. Image via 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.

Menswear

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):

1970s Yves Saint Laurent pantsuit, blouse, and skirt pattern - Vogue 1143

Vogue 1143 by Yves Saint Laurent (1974) Image via Etsy.

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:

1970s Halston dress pattern, view A for synthetic suede - McCall's 4391

McCall’s 4391 by Halston (1975) Model: Karen Bjornson.

Exoticism

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):

1970s Yves Saint Laurent Ballets Russes pattern - Vogue 1558

Vogue 1558 by Yves Saint Laurent (1976) Model: Karen Bjornson. Image via the Vintage Patterns Wiki.

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:

1970s Halston caftan, top, and pants pattern - McCalls 3590

McCall’s 3590 by Halston (1973)

Historicism

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:

1970s Yves Saint Laurent dress and coat or jacket pattern - Vogue 2930

Vogue 2930 by Yves Saint Laurent (1973) Image via eBay.

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:

1970s Halston cocktail or evening dress pattern - McCall's 4046

McCall’s 4046 by Halston (1974)

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.

Designs by Halston and Yves Saint Laurent on the cover of W magazine, September 3-10, 1976. Image via WWD.

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.

Lanvin at 125: Jeanne Lanvin

December 30, 2014 § 14 Comments

Lanvin 125: 1889-2014

Lanvin anniversary logo. Image via WWD.

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 InstagramPinterest, 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.

1920s Lanvin hand embroidery

Lanvin hand embroidery, ca. 1925. Image via Instagram.

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.

Lanvin label, été 1926, from a robe de style at The Costume Institute

Lanvin label, 1926. Image via the Metropolitan Museum of Art.

1920s

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:

Hope Hampton wears a 1920s Lanvin evening dress, McCall 3935, in McCall Style News January 1925

Hope Hampton in Lanvin, McCall Style News, January 1925.

A version of this dress is in the collection of The Costume Institute:

Lanvin robe de style, Fall/Winter 1924-25 in the collection of The Costume Institute

Lanvin robe de style, Fall/Winter 1924-25. Image via the Metropolitan Museum of Art.

McCall 4856 is a short evening or afternoon dress with sheer overlay. The version on the right is in Lanvin blue:

Illustrations of a 1920s Lanvin dress pattern - McCall 4856

Illustrations in McCall Quarterly, Summer 1927. Images courtesy of Debby Zamorski.

(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:

1920s Lanvin adaptation coat pattern - Pictorial Review 3978

Pictorial Review 3978 adapted from Lanvin (1927). Image via vintage4me2.

Pictorial Review’s catalogue illustration shows the coat with contrast lapels and fur cuffs and collar:

Illustration of Pictorial Review 3978 coat adapted from Lanvin in a 1920s pattern catalogue

Illustration from Pictorial Fashion Book, Winter 1927-28. Image via vintage4me2.

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):

1920s Lanvin dress pattern - Paris Pattern 1122

Paris Pattern 1122 by Lanvin (1929)

1930s

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:

1930s Lanvin dress pattern - McCall 7711

McCall 7711 by Lanvin (1934) Image via VPLL on Pinterest.

Here’s the illustration from McCall’s Advanced Paris Styles catalogue:

Lanvin illustration in McCall Advanced Paris Styles, March 1934

Illustration by Blanche Rothschild in McCall Advanced Paris Styles, March 1934. Image via vintage4me2 on eBay.

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:

1930s Lanvin afternoon dress pattern - McCall 7959

McCall 7959 by Lanvin (1934) Image via Petite Main on Pinterest.

In Blanche Rothschild’s illustration for McCall’s magazine, the dress is shown with McCall 7954 by Georgette Renal:

"Afternoons this Autumn," illustration showing dresses by Lanvin and Renal, McCall's magazine, September 1934

Illustration by Blanche Rothschild, McCall’s magazine, September 1934. Image via Vintage123.

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:

1930s Lanvin-adapted evening gown pattern - Pictorial Review 7363

Pictorial Review 7363 adapted from Lanvin (1934). Image via VPLL on Pinterest.

Here’s an illustration of the Pictorial Review adaptation from the Winter 1934 catalogue:

Illustration of a Lanvin-adapted evening dress pattern Pictorial Review 7363 in a 1930s pattern catalogue

Illustration from the Pictorial Fashion Book, Winter 1934-35.

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:

Illustration of Lanvin evening gown McCall 8591 in a 1930s McCall pattern catalogue

McCall 8591 by Lanvin (1936) Image courtesy of Debby Zamorski.

Marian Blynn illustrated McCall 8591 for McCall’s magazine (the other gown is by Ardanse):

Marian Blynn illustration of couturier evening patterns McCall 8591 and 8597 in 1930s McCall's magazine

Illustration in McCall’s magazine, January 1936. Illustrator: Marian Blynn. Image via eBay.

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:

Model wearing lame draped cowlneck blouse with rolls like corrugated pipe around deep armholes by Lanvin, and black skirt, holding vanity case by Boucheron

Lamé blouse by Lanvin, ca. 1934. Photo: Horst P. Horst. Image via Corbis.

Jeanne Lanvin with model, ca. 1930s, photographed by Albert Harlingue

Jeanne Lanvin with model, ca. 1930s. Photo: Albert Harlingue. Image: Roger-Viollet via Catwalk Yourself.

Next in the series: Marie-Blanche de Polignac’s early Vogue Paris Originals.

Happy New Year, everyone!

Yves Saint Laurent for Dior: Vogue Patterns

December 17, 2014 § 8 Comments

Isabella Albonico photographed by Leombruno-Bodi in Dior pattern 1471 for Vogue, January 1st, 1960

Detail of Vogue 1471 by Yves Saint Laurent for Christian Dior, Vogue, January 1, 1960. Photo: Leombruno-Bodi.

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:

Avedon's Dovima with Elephants and YSL sketch for Dior, 1955

Richard Avedon, Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, 1955, and sketch by Yves Saint Laurent.

(Images via Enticing the Light and Encore! Life.)

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:

L'Officiel mars 1958: Gruau illustration of a black Dior trapeze dress

Christian Dior trapeze dress on the cover of L’Officiel, March 1958. Illustration: René Gruau. Image via jalougallery.com.

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.

Christian Dior label, fall-winter 1959 at the Metropolitan Museum of Art

Christian Dior label, automne-hiver 1959. Image via the Metropolitan Museum of Art.

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):

Vogue 1472 on the cover of Vogue Pattern news for December 15th, 1959

Vogue Printed Pattern News, December 15, 1959. Illustration: Esther Larson.

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:

Dior patterns in Vogue Pattern Book, December 1959-January 1960. Illustrations: Esther Larson. Image via Make Mine Vogue.

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:

For the first time Vogue patterns from designs by Dior. Vogue 1 Jan 1960

Vogue patterns from designs by Dior, Vogue, January 1, 1960. Photos: Leombruno-Bodi.

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):

Nora O'Leary, "Christian Dior: Yours for the Making," with hats by Vincent-Harmik, Maria Pia, and John Frederics - Ladies' Home Journal Jan 1960

Nora O’Leary, “Christian Dior: Yours for the Making,” Ladies’ Home Journal, January 1960. Photos: Leombruno-Bodi. Image via the Internet Archive.

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:

1950s Christian Dior dress and jacket pattern - Vogue 1470

Vogue 1470 by Yves Saint Laurent for Christian Dior (1959) Dress and jacket.

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:

1950s Christian Dior dress and jacket pattern - Vogue 1471

Vogue 1471 by Yves Saint Laurent for Christian Dior (1959) Image via Make Mine Vogue.

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:

1950s Christian Dior coat and suit pattern - Vogue 1472

Vogue 1472 by Yves Saint Laurent for Christian Dior (1959) Image via the Vintage Patterns Wiki.

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”:

Photo of Nena von Schlebrügge in Vogue 1472 in Vogue Pattern Book Feb/Mar 1960

Vogue 1472 in Vogue Pattern Book, February/March 1960. Image via eBay.

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:

1960s Christian Dior suit and blouse pattern - Vogue 1012

Vogue 1012 by Yves Saint Laurent for Christian Dior (1960) Image via the Vintage Patterns Wiki.

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:

L'Officiel 457-58 Dior

Christian Dior’s pared-down suit, L’Officiel, April 1960. Photo: Philippe Pottier. Image via jalougallery.com.

These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:

L'Officiel 455-56 Dior Arsac

“Boule” coat by Christian Dior, L’Officiel, March 1960. Photo: Guy Arsac. Image via jalougallery.com.

LOfficiel 457-58 Diorb

Silk dress by Christian Dior, L’Officiel, April 1960. Photo: Guy Arsac. Image via jalougallery.com.

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:

1960s Christian Dior suit and coat pattern - Vogue 1041

Vogue 1041 by Christian Dior (1960) Image via the Vintage Patterns Wiki.

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:

Christian Dior tweed ensemble photographed by Philippe Pottier for L'Officiel octobre 1960

Christian Dior tweed ensemble, L’Officiel, October 1960. Photo: Philippe Pottier. Image via jalougallery.com

Vogue 1041 was photographed for Vogue magazine by Henry Clarke:

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: 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:

1960s Christian Dior suit pattern - Vogue 1049

Vogue 1049 by Yves Saint Laurent for Christian Dior (1961) Image via Etsy.

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:

Ensemble de Christian Dior en duchesse velours de Chatillon Mouly Roussel

Chatillon Mouly Roussel ad showing an ensemble by Christian Dior, L’Officiel, October 1960. Image via jalougallery.com.

I also found the black suit in a later L’Officiel composite:

A Dior suit by Yves Saint Laurent - Dior 1000modèles Beat

A Dior suit by Yves Saint Laurent, L’Officiel 1000 modèles no. 81 (2007). Image via jalougallery.com.

These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:

Dorothea McGowan and Sara Thom in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan and Sara Thom in Dior, with Little Bara. Vogue, September 1960. William Klein. Image via Pleasurephoto.

Dorothea McGowan in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan in Christian Dior. Vogue, September 1960. Photo: William Klein. Image via the Fashion Spot.

For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.

25 Jahre Mauerfall

November 30, 2014 § 3 Comments

Lissy Schaper in an ensemble by Staebe-Seger, Brandenburg Gate

Lissy Schaper in an ensemble by Staebe-Seger, Film und Frau 3, 1961. Photo: F.C. Gundlach. Image via Suites Culturelles.

To mark this month’s anniversary of the fall of the Berlin Wall, here’s a look at three postwar German designers who licensed their work to Vogue Patterns.

Celebrity milliner Mr. John was born Hans Harberger in Munich. He moved to New York in the 1920s, opening a salon with partner Frederick Hirst; the Mr. John salon was founded when the milliner went solo in 1948. (On the complex history of Mr. John’s name and label see my Mad Men-era millinery post, or read his obituary in the Independent.) Mr. John hat patterns were available from Vogue in the 1950s. Vogue 7909 is a beret that dips to a point on one side, with an optional chin strap:

1950s Mr. John hat pattern - Vogue 7909

Vogue 7909 by Mr. John (1952) Image via eBay.

Born in Hamburg, Alke Boker moved to New York City in the 1970s after the death of her husband. She spent a few years designing for Pierre Cardin before founding her own label in the early 1980s. This Vogue Individualist pattern includes a pullover, bias dress with seven-eighths sleeves and separate hood. The model is Wanakee Pugh:

1980s Alke Boker dress pattern - Vogue Individualist 1439

Vogue 1439 by Alke Boker (1984) Image via Etsy.

Also from Hamburg, Karl Lagerfeld made his career in Paris, working as head designer at Patou and Chloé before establishing his own company in 1984. Vogue Patterns soon made a licensing agreement for Lagerfeld sewing patterns which continued into the 1990s. From 1989, Vogue 2407 is a formal dress-and-overdress ensemble that can be tied in front or back:

1980s Karl Lagerfeld evening pattern - Vogue 2407

Vogue 2407 by Karl Lagerfeld (1989) Image via Etsy.

The Berlin fashion photos in this post are by West German photographer F.C. Gundlach. Click the link to visit the foundation devoted to his work, or the photos to read more about his fashion photography.

Das Kind ruft die Mäuse graffiti - Kreuzberg, Berlin

Kreuzberg, Berlin. Photo: F.C. Gundlach. Image via Suites Culturelles.

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