September 11, 2012 § 4 Comments
How many pattern models can say they’ve been a Bond girl? Since the Toronto International Film Festival is underway, this instalment in my models series focuses on Swedish model-turned-actor Maud Adams, whose film credits include The Man with the Golden Gun (1974), Rollerball (1975), and Octopussy (1983). (To see the other series posts, click the ‘models’ tag below.)
Before getting into film acting in the 1970s, former Miss Sweden Maud Adams (née Wikström, b. 1945), worked as a model in Paris and New York for publications including Vogue, McCall’s, and Vogue Patterns. McCall’s 1044 sees her modelling a check suit by Laird-Knox:
Maud Adams appears on many Vogue designer patterns of the later ’60s, such as this one for a dress by Patou:
Here she wears a dress and matching scarf by James Galanos:
And here Adams models the maxi version of Vogue 1847, a fabulous halter dress by Pierre Cardin:
Maud Adams also appears on several late Sixties covers of Vogue Pattern Book. Here’s a selection:
April 4, 2012 § 5 Comments
Mad Men has finally returned to the air with the first episodes of Season 5. This week my Mad Men-era series continues with four established Paris houses whose mantles, by 1960, had passed to new designers: Lanvin, Patou, Nina Ricci, and Dior.
When I started this series, I mentioned that the Mad Men costume department used some vintage patterns purchased online. Patterns from the Past owner Michelle Lee let me know she’s posted on her blog about the Mad Men order: it consisted of maternity patterns.
The house of Lanvin was founded in 1909 by Jeanne Lanvin (1867-1946). Between 1950 and 1963, while its creative director was Antonio Canovas del Castillo, the house was known as Lanvin-Castillo. Castillo (1908-1984) had worked at Piguet, Paquin, and Elizabeth Arden in the 1940s; he left to found his own couture house. Lanvin-Castillo reverted to Lanvin when Jules-François Crahay came to the house from Nina Ricci. Crahay (1917-1988), who held the post of head designer into the 1980s, was known for his skill in cut and construction.
Vogue 1312 is an evening ensemble consisting of a dress and coat. (Click image for back views.) The sleeveless sheath dress has a draped, crisscrossed bodice extending into a lavish cowl/hood in back. The stand-away collar of the sculptural, straight coat serves to frame the draped hood:
(The photo credit says “The Crillon, Paris”—that is, the opulent Hôtel de Crillon.)
Jean Patou (1887-1936) established the house of Patou in 1914. For our period, Karl Lagerfeld (b. 1933) was designer until 1961, and Michel Goma from 1963. Goma (b. 1932) came to Patou after the closure of his own house, Michel Goma (formerly called Jeanne Lafaurie). It was during his tenure that Jean Paul Gaultier was assistant designer at Patou. Goma would later design for the newly revived Balenciaga in the late ’80s.
Vogue 1377 is a dress with three-quarter dolman sleeves, slit neckline, and seam detail on the bodice front. I’m fascinated by the tension between the simple, bold silhouette and the geometric details of the seams and neckline:
Maria ‘Nina’ Ricci (1883-1970) established the house of Nina Ricci in 1932. From 1951 to 1963 Nina Ricci’s head designer was Jules-François Crahay; Crahay collaborated with Mme Ricci until her retirement in 1959. When Crahay left for Lanvin in 1963 he was replaced by Gérard Pipart, a graduate of L’École de la Chambre Syndicale and former assistant designer at Balmain, Fath, and Patou. Pipart (b. 1933), who designed for the house for decades, was known for his skill with fabric and close but supple fit.
Vogue 1440 is a pattern for a one-piece evening dress and jacket. (Click image for illustration and back views.) The slim, sleeveless dress has a V-neck and wrapped overblouse effect, with the belted waistline slightly raised in the front; the long version of the dress has a deep back pleat. The matching jacket has a curved, notched collar and bracelet-length sleeves:
Christian Dior (1905-1957) established the house of Dior in 1946. Dior’s head designer from 1960 onward was Marc Bohan. Bohan (b. 1926) had worked as design assistant at Robert Piguet and Molyneux before he was hired as designer at Patou in the 1950s. Bohan had already worked at Dior’s London branch for a couple years when he was appointed head designer for the house, a position he held into the late 1980s. He was best known for his innovative tailoring and elegant, wearable eveningwear.
Vogue 1398 is a design for an evening dress and coat. The dress has a shaped, plunging neckline and an ultra-curvy silhouette achieved by long darts and a stiffened petticoat. (See the envelope back here.) The coat has bracelet-length sleeves and a rolled loop and tie collar. Both dress and coat may be made in two lengths—the long version in the illustration is very grand:
Each of these four venerable Paris houses had a new head designer in the early Sixties—1960 for Dior, and around 1963 for Lanvin, Patou, and Nina Ricci. In the spring of 1963 a New York Times article noted that “the Paris couture is in the throes of spring housecleaning, hiring new designers left and right.” What would come from these fresh-scrubbed couture houses?