Yves Saint Laurent for Dior: Vogue Patterns

December 17, 2014 § 5 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 § 2 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.

Donna Karan: Vogue Patterns, Part 1

November 28, 2014 § 6 Comments

Donna Karan Fall 2014 runway presentation. Image via the New York Times.

With her Fall 2014 collection, Donna Karan celebrated the 30th anniversary of her label. This new series marks this milestone with highlights of almost three decades of Donna Karan sewing patterns.

Donna Karan (b. 1948) was born Donna Faske in Queens, New York to parents in the fashion industry. She attended Parsons School of Design before beginning her career at Anne Klein. In 1984, after over fifteen years at Anne Klein, Karan left to launch her own label. Her first collection, Seven Easy Pieces, explored the concept of layering mix-and-match pieces over a ‘body’ (a snap-crotch bodysuit) and laid the foundation for her brand. (See a New York Times timeline here.)

Models in bodysuits from Donna Karan’s Fall 1985 collection. Image via WWD.

Vogue Patterns’ licensing began two years after Seven Easy Pieces. Karan was introduced to readers in the September/October 1987 (or Autumn 1987) issue of Vogue Patterns magazine:

Vogue 1960 by Donna Karan on the cover of Vogue Patterns magazine,  Autumn 1987

Vogue Patterns magazine, Autumn 1987. Image via eBay.

In an editorial photographed by Benoit Malphettes, Suzanne Lanza models the four new patterns for a Donna Karan wardrobe. The designs were from the current, Fall/Winter 1987-88 collection (see Bernadine Morris, “Beene and Karan Redefine Today’s Luxury” or watch a runway video on YouTube):

Donna Karan Vogue Patterns SeptOct 1987

Donna Karan feature with Vogue 1958. Vogue Patterns, September/October 1987. Photos: Lynn Kohlman and Benoit Malphettes. Model: Suzanne Lanza.

Donna Karan Vogue Patterns SeptOct 1987b

Vogue 1961 and 1962 by Donna Karan. Vogue Patterns, September/October 1987. Photos: Benoit Malphettes. Model: Suzanne Lanza.

DonnaKaran VoguePatternsSeptOct1987c

Vogue 1960, 1961, and 1962 by Donna Karan. Vogue Patterns, September/October 1987. Photos: Benoit Malphettes. Model: Suzanne Lanza.

(Scans via Top Models of the World.)

Vogue 1958 is a bias coat and draped, long-sleeved dress:

1980s Donna Karan dress and coat pattern - Vogue 1958

Vogue 1958 by Donna Karan (1987) Image via Etsy.

Vogue 1958 schematic

Technical drawing for Vogue 1958. Image via Etsy.

Here’s the envelope description: Misses’ Coat & Dress. Very loose-fitting, unlined, A-Line, bias coat, above mid-knee, has front extending into standing back neckline and long sleeves. No Provision for Above-Waist Adjustment. Tapered dress, above mid-knee, has draped neckline extending into collar and long sleeves, shoulder pads, front pleated and gathered waist, side front pockets, front zipper (skirt), underarm gusset and elasticized back waist (no seam).

A black, wool knit version of the Vogue 1958 dress is in the collection of the Museum at FIT, where it was featured in the 2008 exhibition Arbiters of Style: Women at the Forefront of Fashion:

1980s dresses from Rei Kawakubo and Donna Karan - Arbiters of Style exhibit

Ensembles by Rei Kawakubo for Comme des Garçons (1983) and Donna Karan (1987) in Arbiters of Style: Women at the Forefront of Fashion. Image via the Museum at FIT.

Vogue 1960 is a double-breasted jacket with elasticized back detail. The design was also featured on the fall magazine cover shown above:

1980s Donna Karan jacket pattern - Vogue 1960

Vogue 1960 by Donna Karan (1987) Image via the Vintage Patterns Wiki.

Vogue 1960 schematic

Technical drawing for Vogue 1960. Image via Etsy.

The envelope description reads: Misses’ Jacket. Loose-fitting, lined, below hip, double-breasted jacket has notched collar, shoulder pads, welt and buttonhole pockets, side back seams, elasticized, side back-button tab and long, two-piece sleeves with button vent. Purchased top.

Vogue 1961 may look like a set of tops, but it’s really two tops—one bias, the other for stretch knits—and a bodysuit:

Vogue 1961 (1987)

Vogue 1961 by Donna Karan (1987) Image via Etsy.

Vogue 1961 schematic. Image via eBay.

Technical drawing for Vogue 1961. Image via eBay.

Here’s the envelope description: Misses’ Top and Bodysuit. Loose fitting top has long sleeves. A: wrap, bias, draped front extends to tucked back collar, attached to tie ends. B: mock front wrap, shoulder pads, tucked front extends into single layer tie ends (wrong side may show) and back zipper. Bodysuit has notched collar, dropped shoulders, shoulder pads, mock front band, yoke with forward shoulder seams, very loose fitting blouson bodice, back pleat, elastic (seamed) waist, and lower edge, snap crotch closing and long sleeves with placket, pleats and button cuffs. Purchased trim.

Vogue 1962 provides the bottoms shown on Vogue 1961: a high-waisted skirt and softly pleated skirt or pants:

Vogue 1962 (1987)

Vogue 1962 by Donna Karan (1987) Image via Etsy.

Vogue 1962 schematic

Technical drawing for Vogue 1962. Image via Etsy.

The envelope description reads: Misses’ Skirt, Pants & Stole. Straight or tapered skirt (no side seams), above mid-knee or tapered pants have back zipper. No provision for shortening or lengthening for skirt B. A: bias front, no waistband, and side back seams. B: lined. Skirt B, Pants: front pleats, partially elasticized waistband and pockets. Single layer stole has narrow hem. Purchased top.

Just for fun, here’s a Patrick Demarchelier editorial photo of Paulina Porizkova in an ensemble from the Fall 1987 collection:

Paulina Porizkova in Donna Karan, British Vogue, September 1987. Photo: Patrick Demarchelier. Image via Magdorable!

Next in the series: Donna Karan patterns from the late 1980s and early 1990s.

Krizia Playsuit – McCall’s 6624

September 30, 2014 § 9 Comments

Krizia_coverup

It’s officially fall now, but the recent warm weather gave Naomi and me the chance to photograph my late 1970s Krizia playsuit, made using McCall’s 6624. (See my post on Krizia patterns here).

McCall's 6624 by Krizia - 1970s playsuit and wrap skirt

McCall’s 6624 by Krizia (1979) Image via the Vintage Patterns Wiki.

The playsuit bodice and shorts are pleated into a pointed, one-piece midriff band, and the whole thing closes at the front with a zipper and buttons. I love the shaped side vents on the shorts.

I used a black glitter stretch knit from my stash, found at Fabricland’s old downtown location. The pattern needed extensive resizing. Due to the mid-1970s unofficial sizing change (thanks to Peter for drawing my attention to this) the 10 was fine on top. (That’s my copy on the wiki.) I added some ease to the midriff band and adjusted the bodice and shorts to match up to it. I also lengthened the rise, added to the crotch length, and slashed to add some room in the hips. Yes, it’s a stretch knit, but I was trying to be faithful to the ease of the original.

This was my first time sewing a McCall’s “Carefree” pattern, and I found the instructions involved a little guesswork. I have also made up a ’70s Vogue pattern with similar design elements—midriff band, pleated dirndl skirt—and can vouch for Vogue’s more extensive markings and instructions. The McCall’s didn’t even have markings for the buttonholes. I carefully followed Vogue Sewing Book’s buttonhole instructions, but I suspect I made them too big. Perhaps vertical buttonholes would solve the problem?

If I were to make the playsuit again, I would add markings to the midriff piece to help line up the side seams etc., and also ease stitch across all the pleats (rather than just hand basting) to keep everything in place. The instructions say to finish the shorts with a narrow hem; I couldn’t see that working with my knit and the shaped side vents, so I did my best to mimic a serger finish (zigzag, trim, topstitch) and pressed the sides into relative submission. If I were making it again I would use fusible stay tape.

We photographed the playsuit by a local graffiti mural by Anser and Chou.

McCall's 6624 by Krizia (1979) - Noble St. mural in Parkdale, Toronto

McCall's 6624 by Krizia (1979)

The sparkle only shows up close:

1970s Krizia playsuit pattern - McCall's 6624

McCall's 6624 by Krizia (1979)

Here’s a view of the back pleats:

Krizia_back

The playsuit is so strappy, short, and unstructured that it falls more into the realm of loungewear. It’s a bit more practical when worn with a coverup.

McCall's 6624 by Krizia (1979)

(Sandals: Gareth Pugh for Melissa)

(Cross-posted to We Sew Retro.)

The Fantastic Mr Fox: Style Patterns by Frederick Fox

June 17, 2014 § 5 Comments

Queen Elizabeth II wears a Frederick Fox hat to the Silver Jubilee celebrations, 1977

Queen Elizabeth II wears a Frederick Fox hat with 25 “bells” to the Silver Jubilee celebrations, 1977. Photo: Douglas Kirkland. Image via Royal Hats.

Ascot begins today. To celebrate, this post is dedicated to commercial patterns by the late milliner to the Queen, Frederick Fox.

(Last year I featured a free pattern for a Stephen Jones hat; see it here.)

Diana, Princess of Wales wears a 'flying saucer' hat by Frederick Fox during the Royal Tour of Italy, 1985

Diana, Princess of Wales wears a ‘flying saucer’ hat by Frederick Fox during the Royal Tour of Italy, 1985. Photo: Tim Graham/AP. Image via People.

Born in Australia to a large family, Frederick Fox (1931-2013) showed an early interest in millinery, refashioning hats for his mother and five sisters in rural New South Wales. After training with several milliners in Sydney, in 1958 he moved to London. By 1964, Fox had taken over Langée to open his own salon.

Fox’s royal commission for Queen Elizabeth II grew out of his work with Hardy Amies in the mid-1960s. Shortly before this commission began, he designed the white leather crash helmets in Stanley Kubrick’s 2001: A Space Odyssey (1968). Fox was known for his witty designs, made with fine materials and great technical skill; he is credited with inventing the fascinator. (For more on Frederick Fox, see the recent D*Hub article and Stephen Jones’ reminiscence for British Vogue.)

Edwina Carroll in Kubrick's 2001 wearing a Frederick Fox crash helmet

Edwina Carroll as a PanAm space stewardess in 2001: A Space Odyssey (1968). Costume by Hardy Amies; crash helmet by Frederick Fox. Image via eBay.

In the mid- to late 1980s, Frederick Fox millinery patterns were available from Style Patterns. Frederick Fox patterns display the Royal Warrant,* which he held from 1974 until his retirement in 2002.

Style 4788 is a pattern for bridal headpieces and veils. Included are both double- and single-layered veils, attached to three bases: a rose circlet edged with Russian braid, a beaded Juliet cap, and a twisted fabric headband. (The rose circlet may be worn alone.) View 1 was photographed with Style 4787, a bridal gown by Murray Arbeid, Fox’s companion of over 50 years:

1980s Frederick Fox bridal veils and headpieces pattern - Style 4788

Style 4788 by Frederick Fox (1986) Bridal head-dresses and veils.

Style 1072 is a pattern for a set of hats, including a beret, a turban, and a turban headband:

1980s Frederick Fox hat pattern - Style 1072

Style 1072 by Frederick Fox (c. 1986) Image via eBay.

Do you remember the ’80s hair ornament trend? Style 1157 is a pattern for a set of hair ornaments: a rosette with attached veil, a hair slide with large or small bow in 2 fabrics; and a headband with 2-fabric bow with optional diamante trim:

1980s Frederick Fox hair ornament pattern - Style 1157

Style 1157 by Frederick Fox (1987) Hair ornaments.

Style 1249 is a unusual for offering a set of bridal hats: a hat with attached veil and narrow brim turned up at the back, and two wide-brimmed, crownless hats (both attached to headbands):

1980s Frederick Fox bridal hats pattern - Style 1249

Style 1249 by Frederick Fox (1987) Bridal hats.

The original owner of my copy of Style 1249 had enclosed magazine pages showing these bridal designs; the text reads, “Head Turners: Hats for that special day by Frederick Fox exclusively for Style.” It may be that, like McCall’s designer patterns in the 1950s, these hats, veils, and headpieces were designed especially for Style Patterns.

* The Queen’s current milliner Rachel Trevor-Morgan is the only milliner on the current list of warrant holders.

Vintage Designer Menswear: Vogue Patterns

June 15, 2014 § 5 Comments

1970s Bill Blass men's jacket, sweater, shirt and necktie pattern - Vogue 2917

Vogue 2917 by Bill Blass (1973) Image via the Vintage Patterns Wiki.

It’s been some time since Vogue offered designer menswear patterns. In the 1970s and 1980s, home sewers could choose from licensed designs for everything from men’s shirts to outerwear and three-piece suits. In celebration of Father’s Day, here’s a selection of vintage menswear patterns from Vogue Patterns.

1970s

Vogue introduced designer menswear patterns in the early 1970s with designs by Bill Blass and Pierre Cardin. From Cardin, Vogue 2918 is a double-breasted coat in two lengths:

1970s Pierre Cardin men's coat pattern - Vogue 2918

Vogue 2918 by Pierre Cardin (1973) Image via Etsy.

1975 saw the release of some his-and-hers Valentino patterns. Vogue 1180, a men’s jacket and pants pattern, was photographed with a women’s Valentino ensemble, Vogue 1178:

1970s Valentino men's jacket and pants pattern - Vogue 1180

Vogue 1180 by Valentino (1975) Image via the Vintage Patterns Wiki.

Polo by Ralph Lauren was introduced to Vogue customers in the summer of 1975. The safari-style Vogue 1237 and 1238 were photographed in India:

Polo Ralph Lauren men's patterns in Vogue Patterns May June 1975

Vogue 1237 and 1238 by Polo Ralph Lauren in Vogue Patterns, May/June 1975. Photos: Steve Horn. Image via Make Mine Vogue.

Also by Polo Ralph Lauren, Vogue 1581 is a double-breasted trench coat with detachable lining:

1970s Polo Ralph Lauren men's trench coat pattern - Vogue 1581

Vogue 1581 by Polo by Ralph Lauren (c. 1977) Image via Art Fashion Creation.

This Christian Dior shirt-jacket and pants is the only men’s Dior pattern I’ve seen:

1970s Christian Dior men's shirt-jacket and pants pattern - Vogue 1609

Vogue 1609 by Christian Dior (c. 1977) Image via the Vintage Patterns Wiki.

This snappy three-piece suit is by Bill Blass:

1970s Bill Blass men's 3-piece suit pattern - Vogue 1620

Vogue 1620 by Bill Blass (1977) Image via patronescostura on Etsy.

There were two menswear patterns by Yves Saint Laurent: safari suits photographed by Chris von Wangenheim (see Paco’s related post here):

Yves Saint Laurent men's patterns in Vogue Patterns March April 1977

Vogue 1645 and 1644 by Yves Saint Laurent in Vogue Patterns, March/April 1977. Photos: Chris von Wangenheim. Image via Paco Peralta.

Givenchy licensed a trim three-piece suit, Vogue 2112:

1970s Givenchy menswear pattern - Vogue 2112

Vogue 2112 by Givenchy (1979) Image via PatternVault on Etsy.

In 1979 the company released a trio of menswear patterns by Calvin Klein—separate patterns for a shirt, jacket, and pants. Vogue 2256 is a pattern for slim, tapered men’s pants; view B is low-rise and flat-front:

1970s Calvin Klein men's trousers pattern - Vogue 2256

Vogue 2256 by Calvin Klein (1979) Image via Etsy.

1980s

The menswear releases tapered off in the 1980s. 1980 saw the release of two Bill Blass men’s patterns, for a three-piece suit and close-fitting shirt:

1980s Bill Blass men's shirt pattern - Vogue 2586

Vogue 2586 by Bill Blass (1980) Image via Etsy.

In 1988 Vogue released three menswear patterns by Perry Ellis, for a jacket, shirt, and pants. Vogue 2207 is a loose-fitting jacket:

1980s Perry Ellis men's jacket pattern - Vogue 2207

Vogue 2207 by Perry Ellis (1988) Image via the Vintage Patterns Wiki.

Just for fun, I’ll close with this Pierre Cardin robe and pajamas, which included a logo appliqué:

1970s Pierre Cardin men's pajamas and robe pattern - Vogue 2798 - moustachioed man on telephone

Vogue 2798 by Pierre Cardin (c. 1972) Image via Etsy.

With menswear sales catching up with womenswear, perhaps Vogue Patterns will capitalize on this trend by restoring menswear to its designer licensing. I’d be first in line for a Saint Laurent pattern…

Happy Father’s Day!

Free Designer Pattern: Patrick Kelly One-Seam Coat

May 5, 2014 § 5 Comments

Cotton coat by Patrick Kelly, 1985

One-seam coat by Patrick Kelly, 1985. Image via the Philadelphia Museum of Art.

As part of its current exhibition, Patrick Kelly: Runway of Love, the Philadelphia Museum of Art is sharing a pattern for a one-seam coat designed by Patrick Kelly in 1984. (See my post on Patrick Kelly’s Vogue patterns here.)

After Kelly moved to Paris in 1979, he worked as a costume designer for Le Palace nightclub while also selling his coats on the sidewalk of the Boulevard Saint-Germain. When he secured a stall at Les Puces de Saint-Ouen, the famous Porte de Clignancourt flea market, his raw-edged jersey tube dresses caught the attention of his first backer, Françoise Chassagnac of Victoire. Thanks to Chassagnac’s connections, Kelly’s entire collection was featured in Elle magazine:

Les Tubes de Patrick Kelly, Elle France, February 18, 1985

“Les tubes de Patrick Kelly,” Elle France, February 18, 1985. Image via Shrimpton Couture.

Although the Philadelphia Museum of Art’s coat dates to 1985, the design is the same as those Kelly sold on the Boulevard Saint-Germain.

Kelly’s one-seam coat would become a recurring feature in the designer’s work. A rethinking of Cristóbal Balenciaga’s iconic 1961 one-seam coat, it may have been inspired by Issey Miyake’s cocoon coat—Kelly was once the house guest of Miyake’s publicist, Victoria Rivière, in Paris.

The original coat is a quilted cotton knit. It has a simple revers opening in front, box pleats in the back, and batwing sleeves formed by the shoulder seam:

Patrick Kelly one-seam coat illustration

These technical drawings show the coat front and back:

Patrick Kelly coat schematics

Download the one-seam coat pattern

Size: One size fits all

Fabric requirements: About 3.5 yards (3.2 m) of 60″ (~150 cm) fabric

Recommended fabrics: Fabrics with a good hand and drape, e.g. double knits and double-faced fabrics. The original is a quilted single knit.

Finished length: 52″ (132 cm)

Pattern length from top to bottom: 57.5″ (146 cm)

Tips, caveats: No separate instructions; scale and seam allowances are not marked. The coat must be cut on the cross grain. The original coat has a simple turn and stitch finish, with a sleeve binding piece for the sleeve openings.

A Parisian friend of Kelly’s has posted instructions to make a doll-scale version based on her Patrick Kelly original.

Thanks to Monica Brown, Senior Collections Assistant, Costume and Textiles, for answering questions about the project, and Paula M. Sim, Costume and Textiles intern, for drafting the pattern.

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