August 28, 2014 § 3 Comments
Krizia was already an established label when McCall’s licensed Krizia patterns in the late 1970s. Designer Mariuccia Mandelli (b. 1933) co-founded the company with her friend Flora Dolci in the 1950s, naming it after Plato’s unfinished dialogue Κριτίας (Critias)—Crizia in Italian. The label is known for eclectic, youthful designs that play with pattern and contrast. (For recent coverage of the brand and its influence see the W article, Crazy for Krizia.)
From spring 1979, this two-page spread in L’Officiel shows three Krizia trouser ensembles featuring magenta, orange, and fuchsia satins (click to enlarge):
This Krizia sweater set (short-sleeved pullover, bolero, and skirt) appeared in a Vogue editorial on the new knitwear:
Between 1979 and 1981, McCall’s released a number of Krizia patterns, including a few children’s patterns. Here’s a selection of Krizia patterns for women’s wear.
McCall’s 6624 is a bias wrap skirt and playsuit with shorts and bodice pleated into a midriff band:
McCall’s 6629 combines a short-sleeved, V-neck bodysuit with a midi-length trouser skirt and wrap shorts:
This pattern is a set of four tops for stretch knits:
McCall’s 6805 is Krizia’s take on the wrap dress, with soft pleats at the shoulder and neckline and lightly puffed sleeves in long and three-quarter lengths:
This sleek skirt suit, reminiscent of AMC’s Halt and Catch Fire, pairs a straight skirt with a fitted jacket with shaped hemline and two-piece sleeves with pleated caps. The notched collar has an optional lapel buttonhole:
From 1980, this casual summer ensemble includes bias shorts or culottes and two tops trimmed with tubular knit:
The more formal McCall’s 7307 is a pattern for polished separates: a jacket with two-piece sleeves, skirt in 2 lengths, and flowing, cuffed pants with matching camisole:
Just for fun, here are two more images from Krizia’s Fall 1979 advertising campaign, photographed by Barry Ryan:
Coming soon: my version of the Krizia playsuit.
February 27, 2014 § 4 Comments
Born in Flint, Michigan, Billie Blair (b. 1946) worked as a model at the Detroit Auto Show before becoming one of the highest-paid fashion models of the 1970s. Moving to New York City, she got a job at Halston and soon found success as an editorial and runway model. Blair was among the African-American models at the historic 1973 fundraising event, Le Grand Divertissement à Versailles, known today as the Battle of Versailles. (The event was the subject of a recent documentary by Deborah Riley Draper, Versailles ’73: American Runway Revolution [2012)].)
Billie Blair may be seen on a number of Vogue designer patterns from the mid-1970s. Here she wears a tweed skirt suit and pussy-bow blouse by Oscar de la Renta; this design was marked as ‘suitable for knits':
Stan Herman designed this casual hooded top, skirt, and pants. The illustration shows some American Hustle-worthy aviator shades:
Here Blair wears a girlish, vintage-style ensemble by Nina Ricci, a cream-coloured dress with matching cape:
From Jean Patou, this maxi dress may date to the period when the young Jean Paul Gaultier was assistant designer. Blair brings out the glamour of this haute couture loungewear:
In Vogue Patterns‘ 1975 holiday issue, Jerry Hall wears the Patou dress while Blair models an off-the-shoulder party dress in an editorial devoted to evening sparkle (the headline reads, “Be a Star the Vogue Way”):
Here she models a fabulous, evening-length Dior caftan with piped neckline:
This Nina Ricci separates pattern includes a poncho with shirttail hem, convertible collar, and big patch pockets:
Blair is the model on this rare pattern by Sonia Rykiel, Vogue 1378—check out the matching coral sandals:
Billie Blair’s commanding presence and approach to modelling as performance don’t seem too unusual today. But she was unconventional for the time, and even felt the need to under-report her age when she first became famous. A 1974 profile of Blair in People magazine says she is 22 years old and remarks on her size 9 feet. (In a letter to the editor, a high school classmate wondered how Blair had stayed 22 when her peers were 28.) She continued modelling into her thirties—here she appears in a dynamic 1978 Vogue shoot by Andrea Blanch:
February 20, 2013 § 12 Comments
Oscar season is upon us, and that means goddess gowns. Goddess gowns usually share elements of classical drapery and the simple construction of the toga and chiton. Here’s a selection of patterns for Greco-Roman-inspired evening wear.
This 1920s evening dress from the House of Worth features elegant back drapery, with a beaded appliqué holding more drapery at the left hip:
The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:
This late 1940s one-shouldered evening dress has a long panel that can be worn belted in the back or wrapped around the bared shoulder:
Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:
This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:
This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):
Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:
This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:
Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:
(From the Spring 2007 Laroche collection, the pattern is still in print.)
December 3, 2012 § 10 Comments
Since Naomi was going as Daenerys Targaryen, this Halloween I went as Quaithe from George R.R. Martin’s series A Song of Ice and Fire. Quaithe is a minor character from shadowy Asshai who meets Daenerys near Qarth; she makes repeated appearances to deliver cryptic prophecies.
In the books Quaithe is hardly described at all apart from her red lacquered mask, so I had a lot of freedom. Asshai, in the fantasy world’s mysterious east, is known for its worship of R’hllor, a fire religion with Zoroastrian echoes. After doing some research into ancient Persian costume, which showed periodic Greek influences, I opted to use my Very Easy late ’70s Givenchy evening dress pattern, Vogue 2014:
The design may be from the Spring 1978 collection, judging from the similar halter neckline in this campaign image:
For fabric, I used black Qiana from a deadstock bolt found on Etsy. Qiana is a vintage nylon, a synthetic silk with a little stretch. It’s even in keeping with the ‘exotic’ Qs of the fantasy series.
As a Very Easy Vogue pattern, Vogue 2014 has very simple construction, but also lots of hand-finishing. The hem and slits at top and bottom front are slipstitched, the top edge is blindstitched to the inside bodice, and the back facings and extension are slipstitched over the hooks and eyes that fasten the halter.
I made the size 12 with no alterations, and it worked out just fine. The lines of gather stitching at the ends of the halter fastening are visible, as I discovered, so if I made the dress again I would mark them rather than doing my usual winging it.
Instead of using the 18-inch tassel the pattern calls for, I strung together some mesh beads from Arton Beads on Queen Street West. With stainless steel spacer beads the strand is fairly heavy, but I like the effect when it’s fastened to the back extension.
Naomi found me a shimmery red mask at Malabar, and within a day or so I had a costume:
Here are some detail shots of the bodice and back:
Many thanks to our fabulous photographer, Rachel O’Neill, for a fantastic beach shoot in mid-November!
(Cross-posted to We Sew Retro.)
July 9, 2012 § 6 Comments
One of the fun aspects of vintage patterns is that they sometimes show famous models, familiar to us from the pages of major fashion publications and the work of top photographers. This is the first in an occasional series on prominent models and commercial sewing patterns.
Gia Carangi (1960-1986) is sometimes called the first supermodel. (Cindy Crawford was nicknamed ‘Baby Gia’ when she first moved to New York.) There’s even a blog devoted to her editorials. Starting in 1978, the year of her first major fashion shoot—the Chris von Wangenheim chain link fence shoot dramatized in the HBO movie Gia—Carangi also did some work for Vogue Patterns.
The November/December 1978 issue of Vogue Patterns magazine has a few pages featuring Gia Carangi, including an Arthur Elgort portfolio showing Vogue 2008 by Bill Blass. In most cases, Carangi was photographed for editorials only, but she can be seen on a few Vogue patterns:
Carangi also shot some Vogue Patterns campaigns with Andrea Blanch which appeared in Vogue magazine in 1978 and 1979. Here are some of her campaign images promoting designer patterns—two Calvin Klein patterns, Vogue 1878 and Vogue 2027, and Vogue 1988 by Yves Saint Laurent. The Vogue 2027 coat was shortened for the photo shoot:
This May 1979 campaign image shows Vogue 2040, a tunic by Edith Head, made up in sheer black silk marquisette:
The famous “Dead” photo was also part of a Vogue Patterns campaign (in the same issue as the Dalmatian photo shown above; the latter shows Vogue 2060, a top by Yves Saint Laurent). The patterns are two Calvin Klein designs: Vogue 1990, a wrap dress, and the pants from Vogue 2027:
Click the images to see more Gia Carangi/Vogue Patterns campaign photos.
June 30, 2012 § 5 Comments
In the late 1970s and early ’80s, McCall’s licensed a handful of Bob Mackie designs for stretch knits. The summer heat always makes me think of disco, so here’s a selection of disco-era Bob Mackie patterns:
McCall’s 6838 is a long-sleeved wrap dress in two lengths:
Here’s the envelope description: Misses’ dress – for stretch knits only. Long or short wrap-dress (without side seams), softly pleated into front waistline has shoulder gathers and long sleeves. Shaped sash is tacked to right side seam.
The second pattern in the series, McCall’s 6839, is a dress that’s high-necked in the front but has a deep cowl in the back:
The envelope description reads: Misses’ dress – for stretch knits only. Low-backed dress in two lengths with shaped seaming has long sleeves, flared skirt, back zipper; softly draped bias collar snaps in back. Rhinestone trim is optional.
The third in the series, McCall’s 6840, is a halter dress with pleated cowl bodice inset and a shaped front hemline:
Here’s the envelope description: Misses’ dress – for stretch knits only. Back zippered halter dress in two lengths has flared skirt, shaped hemline with front slit; upper edge binding extends into ties. Loose, pleated cowl is included in side fronts only.
McCall’s 7134 includes a true disco jumpsuit—shaped at the waist with pleats and gathers, and with tapered legs designed to crush at the ankles. For extra fluidity, the pants and skirt have no side seams and are cut on the bias:
The envelope description reads: Misses dress and jumpsuit – for stretch knits only. Back zippered, fitted dress in two lengths and jumpsuit have slightly extended shoulders, low V-neckline, soft front waistline pleats and slight gathers in back. Dress has front slit with shaped hemline and pleated belt included in center back seam. Jumpsuit has purchased belt; length allows for crushing at ankles. Note: skirt and pants, cut on bias, have no side seams.
Interestingly, the McCall’s patterns pre-date Bob Mackie’s ready-to-wear line, which was launched in 1982. It’s difficult to find details on the designer’s work outside show business; Unmistakably Mackie, the catalogue from the Museum at FIT’s 1999 Mackie retrospective, focuses mainly on his costume work. The Bob Mackie patterns could be glitzed up or down depending on the sewer’s preference. I wonder whether they were designed exclusively for McCall’s?
August 22, 2011 § 4 Comments
This week, some favourite disco patterns!
The term ‘disco’ is a little nebulous. Disco music was popular from the mid-1970s to about 1980. Its huge popularity led to an anti-disco backlash that’s come to be symbolized by Disco Demolition Night, a.k.a. the ‘Disco Riots,’ which took place in the summer of 1979 (see Jo Meek, “Earth, Wind and Pyre,” and Joe Lapointe, “The Night Disco Went Up in Smoke”). Studio 54, the famous New York City nightclub that effectively stands for disco hedonism today, was open from 1977 until 1986. In this slideshow, you can see Andy Warhol partying at the club with Bianca Jagger, Liza Minelli, and Halston, as well as Diana Ross, Deborah Harry, and even a young Tom Ford.
For the purposes of this post, I’m going by my personal definition of disco style: glam evening wear that’s more party girl than society doyenne, all from the mid-’70s to the early ’80s. As I edited down my initial list I found the best designs shared elements like fluid draping and halter necks or one-shouldered bodices. Also, of the seven patterns, three are jumpsuits or give the impression of being a jumpsuit. Here’s my disco patterns best-of, ordered chronologically:
1. Vogue 2870 – Lanvin, 1973. Modelled by Karen Bjornson. Bjornson, who is virtually ubiquitous on later ’70s Vogue Patterns, was Halston’s house model. The (fantastic) photo makes the design look like a jumpsuit, but the pattern is actually for evening separates: palazzo pants with no side seams and a halter top with a wide midriff band that gives a cummerbund effect.
2. Vogue 2014 – Givenchy, 1978. Modelled by the young Gia Carangi, the late, queer supermodel who was brought back to the spotlight by the HBO movie Gia starring Angelina Jolie. This gorgeous evening dress has a crisscrossed halter neck and calls for an eighteen-inch tassel down the back. I have this one in my collection and plan to make it sometime in a silk or viscose jersey, but I think I need to learn to make tassels first.
3. Vogue 2173 – Chloé, 1979. No disco collection could be complete without this design by Karl Lagerfeld for Chloé. The one-shouldered evening dress comes with a reversible contrast shawl. I don’t know why, but to me this is the perfect late seventies-early eighties colour combination.
4. Vogue 2307 – Givenchy, 1979. Modelled by Tara Shannon. Another beautifully fluid Givenchy design, with the asymmetrical, one-shouldered bodice balanced by draping at the opposite hip. This is another one in my collection; I have a length of deep purple chiffon (originally used in a Hallowe’en costume) that’s just enough to make the cocktail version, but I haven’t yet found the occasion where I could get away with that much purple chiffon.
5. Vogue 2313 – Yves Saint Laurent, 1979. Modelled by Tara Shannon. A fabulous opera coat and evening dress ensemble with tie-halter and bow bodice. I love the sorbet colours, graphics and over-the-top drama of this pattern.
6. Vogue 2375 – Gianni Versace, 1980. Not a true jumpsuit as I thought (thanks, Dustin!) but a halter neck top and pants with tapered legs, side draping and matching jacket. Check out the illustration’s matching sandals and tone-on-tone, contrast satin cummerbund.
7. Vogue 1014 – Yves Saint Laurent, circa 1982. My notes say this is a top and pleated harem pants but, as the photo shows, it definitely has a jumpsuit effect when made in a single fabric and worn with the top tucked in. It’s interesting to see cuffed and pleated harem pants in the wake of the recent draped harem pants trend. Are we having a disco moment?