Free Designer Pattern: John Galliano Jacket

May 9, 2013 § 3 Comments

Louise Pedersen models the John Galliano 'Pirate' jacket, photographed by Craig McDean

Model: Louise Pedersen. Photo: Craig McDean. Image via SHOWstudio.

This week’s second punk-inspired pattern puts the ‘couture’ in Chaos to Couture. (The first punk-inspired pattern was by Junya Watanabe—see my post here.) John Galliano’s ‘Pirate’ jacket is the most challenging of SHOWstudio’s Design Downloads, with 63 pattern pieces, all hand-labelled in French. But not to worry: 11 are guide pieces, and most of the French is translated.

Here are side and back views of the jacket:

Louise Pedersen models the John Galliano 'Pirate' jacket - side viewLouise Pedersen models the John Galliano 'Pirate' jacket - back view

The ‘Pirate’ jacket is from John Galliano’s Fall/Winter 2001 collection, entitled Techno Romance. Here it is on the runway:

Angela Lindvall models the John Galliano jacket, 2001

Model: Angela Lindvall. Image via style.com.

The collection mixed glossy synthetics (techno) with delicate sheers and florals (romance): jaunty double-breasted jackets and long coats worn with sailor trousers, and long skirts and dresses, many with the same romantically skewed, off-the-shoulder, one-sleeved bodices as the SHOWstudio jacket. (See Suzy Menkes, “Techno Romance.”) In her short essay to accompany the Design Download, Jane Audas conjures an imaginary history for the SHOWstudio version of the jacket—a story of rebellion in which it was fashioned from the Union Jack, “the flag torn off a captured ship and hijacked as clothing, held together with sail rivets and ties.”

Here are the collection images from L’Officiel 1000 modèles (click to enlarge):

John Galliano Fall/Winter 2001 ready-to-wear - Techno-Romance

John Galliano Fall/Winter 2001 ready-to-wear. Image via jalougallery.

John Galliano Fall/Winter 2001 ready-to-wear - Techno Romance

John Galliano Fall/Winter 2001 ready-to-wear. Image via jalougallery.

Fashion Channel has posted runway video of the collection on YouTube in three parts (jacket at 3:50 of part 2):

Download the ‘Pirate’ jacket pattern

Fabrics requirements: approx. 3 yards of 60″ fabric and 3 yards of lining; interfacing.

Notions: grosgrain ribbon, D-rings, large metal stud, press studs, 2 buckles, eyelets, snaps, cord, elastic, 53 cm (21″) separating zipper.

See the SHOWstudio submissions gallery here. Carolyn E. Moore made the jacket twice. Weatherpixie has posted process photos of her red, white, and blue version on Flickr.

A Fourth Givenchy Pattern by Galliano

December 6, 2012 § 1 Comment

Givenchy by John Galliano ad campaign Fall 1996

Detail, Givenchy Fall 1996 advertising campaign. Image via eBay.

Thanks to a runway video posted by blogger Fubuki, I’ve been able to identify a fourth Givenchy pattern designed by John Galliano. (See my post on the other patterns here.)

For a while I’d wondered about Vogue 1887, a tailored, mock wrap jumpsuit. Caveat emptor: an unscrupulous online dealer has been selling V1887 as Alexander McQueen, but the pattern appears in Vogue Patterns magazine prior to McQueen’s first Givenchy show in January 1997. My copy is copyright 1996 and, although the fabric requirements weren’t yet available, Vogue 1887 was first shown in the November/December 1996 issue of Vogue Patterns magazine, in a trends forecast on jumpsuits. By the January/February 1997 issue it’s featured in an editorial.

John Galliano for Givenchy tailored pinstriped jumpsuit pattern, Vogue 1887 (1996)

Vogue 1887 by John Galliano for Givenchy (1996) Jumpsuit.

Technical drawing for Vogue 1887 jumpsuit

Technical drawing for Vogue 1887 jumpsuit

Here’s the envelope description: Misses’ jumpsuit. Loose-fitting, straight-legged, cuffed, mock wrap, partially lined jumpsuit has self or contrast collar, shoulder pads, upper welt, flap, lower welt pocket, side seam pockets, concealed front pleat/zipper and long, two-piece sleeves.

Fubuki’s runway video of Galliano’s Fall 1996 prêt-à-porter collection for Givenchy shows two versions of the mock-wrap jumpsuit. (For a review of the collection see Suzy Menkes, “A Neat, Cool Take on Couture for Fall.”) The Vogue 1887 version is worn under a long, white jacket; the second version has a front drape and is shown with a single, embellished gold epaulette:

runway video still, Givenchy by John Galliano FW 1996 ready-to-wear jumpsuit and coatrunway video still, Givenchy by John Galliano FW1996 ready-to-wear flannel jumpsuitrunway video still, Givenchy by John Galliano FW1996 ready-to-wear flannel jumpsuit with gold matador epaulette

This matador look gives a better view of the epaulettes:

runway video still, Givenchy by John Galliano FW1996 ready-to-wear grey suit with black montera and gold matador epaulettes

Here’s an editorial photo of another jumpsuit from the same collection, from L’Officiel’s ready-to-wear special issue. The runway version was modelled by Chrystèle Saint Louis Augustin:

Givenchy bustier jumpsuit by John Galliano in L'Officiel no. 807, August 1996.

“All in one, a bustier jumpsuit in white-striped grey tennis flannel. To be worn with an ivory silk cape, Givenchy.” L’Officiel no. 807, August 1996. Photo: Bruno Bisang.

John Galliano for Givenchy: Vogue Patterns

August 1, 2011 § 9 Comments

John Galliano’s designs for Givenchy were the first to alert me to the fact that Vogue designer patterns can replicate high fashion designs. When I saw this dress—on Shalom Harlow on the runway and later on Linda Evangelista in Vogue—

John Galliano's dress for Givenchy Haute Couture Steven Meisel photo Grace Coddington stylist Linda Evangelista model

John Galliano designs a hand-pleated, double-layered mousseline dress with Juliet sleeves. Dress by Givenchy Haute Couture by John Galliano. Vogue, December 1996. Photo: Steven Meisel. Fashion Editor: Grace Coddington.

and this Vogue Paris Original in my mother’s subscription copy of Vogue Patterns

Givenchy by John Galliano pattern Vogue 1978 empire gown

Vogue 1978 by John Galliano for Givenchy (1999) Empire dress. Image via Etsy.

I felt the thrill of discovery and rushed off to buy the sewing pattern. I still have it, and still plan to make it up. At the time, I thought Vogue Patterns had altered the design by adding the bodice inset, but it’s actually from a different collection.

John Galliano produced only four collections for the house of Givenchy before he left for Dior in late 1996. He was replaced at Givenchy by Alexander McQueen, who shared the British Designer of the Year award with him in 1997. (Read my Alexander McQueen series here.) Because of Vogue Patterns’ production schedule, Galliano was already leaving the house by the time the first Galliano/Givenchy pattern was ready. The January/February 1997 issue of Vogue Patterns magazine included an article on the Galliano-McQueen transition (“Givenchy’s Fashion Illusions”) that actually notes the collectability of the Galliano/Givenchy patterns.

During 1996 Galliano presented a full cycle of collections for Givenchy: two couture and two ready-to-wear. Vogue Patterns’ Galliano/Givenchy designs seem to be drawn from three different collections for the house. In this post I’ll review the patterns in their sequence of release.

1. Givenchy Prêt-à-porter Fall/Winter 1996–97 (shown March 1996)

Galliano’s first ready-to-wear collection for Givenchy reinterpreted motifs from his first, couture show for the house, which included gray flannel and bow pockets. (See Suzy Menkes, “A Neat, Cool Take on Couture for the Fall” and Amy M. Spindler, “Givenchy in the Galliano Era: Clean Looks, Few Surprises.”) Vogue Patterns’ first selection is a skirt suit with bow pockets (called a top and skirt on the envelope):

Givenchy by John Galliano pattern Vogue 1889 top and skirt

Vogue 1889 by John Galliano for Givenchy (1997) Bow-pocket skirt suit

Technical drawing for Vogue 1889

Here’s the envelope description: Misses’ Top & Skirt. Semi-fitted, partially interfaced, lined top has collar, slightly extended shoulders, shoulder pads, side panels, no side seams, middle front extending into bows with pleated knot, button fly closing and long, two-piece sleeves with mock vent. Semi-fitted, straight, lined skirt, above mid-knee, has waistband and back zipper/slit. Featured in the January/February 1997 issue of Vogue Patterns magazine.

Vogue 1889 was featured in the Vogue Patterns article mentioned above with the matching runway photo from the Fall 1996 ready-to-wear show.

These Corbis photos show Karen Mulder and Amber Valetta in Givenchy dresses with bow pockets; the first is couture, the second ready-to-wear:

Karen Mulder in Givenchy Haute Couture Spring/Summer 1996 Stéphane Cardinale photo

Givenchy Haute Couture Spring/Summer 1996. Photo © Stephane Cardinale.

Amber Valetta in Givenchy Prêt-à-porter FW 1996-97 Pierre Vauthey photo

Givenchy Prêt-à-porter Fall/Winter 1996-97. Photo © Pierre Vauthey.

Bow pockets also reappeared in the Fall couture, as may be seen in this WWD runway image of Guinevere Van Seenus:

Guinevere Van Seenus in Givenchy Haute Couture FW 1996

Givenchy Haute Couture Fall 1996. Photo via WWD.

As Amy Spindler observed, these “tidy little suits with bow pockets” seemed designed to meet expectations of what an established Paris house should produce. Compare the bow pockets on McCall’s 5550, an early ’60s design by Pierre Cardin:

1960 Pierre Cardin pattern McCall's 5550 jacket and skirt

McCall’s 5550 by Pierre Cardin (1960) Bow-pocket skirt suit

2. Givenchy Prêt-à-porter Spring/Summer 1997 (shown October 1996)

Vogue 1978 (1997), the Empire gown pictured at the beginning of this post, is a ready-to-wear version of an Empire gown from Galliano’s Fall couture collection for Givenchy. Here’s the technical drawing for Vogue 1978:

Givenchy by John Galliano pattern Vogue 1978 empire gown schematic

Technical drawing for Vogue 1978

The envelope description reads: Misses’/Misses’ Petite Dress. Lined dress, mid-calf or floor length, has neckbinding, contrast yokes, close-fitting bodice, raised waist, semi-fitted, bias, A-line skirt, back zipper and short sleeves. Featured in the July/August 1997 issue of Vogue Patterns.

Collection images from L’Officiel show Nadja Auermann in the black version of the Vogue 1978 design and what looks like Eva Herzigová (who was the face for a couple Givenchy fragrances) in the floral print version:

Nadja Auermann in Givenchy ready-to-wear SS 1997

L’Officiel 1000 modèles 1996 no. 3 via jalougallery.com

Eva Herzigová in Givenchy ready-to-wear SS 1997

L’Officiel 1000 modèles 1996 no. 3 via jalougallery.com

A more casual variation, photographed for L’Officiel, has pockets, self belt, and the bodice inset in the main dress fabric:

L’Officiel, février 1997. Photo: Hiromasa. Stylist: Anne Dupas de Vertamy.

The Vogue 1978 dress was even featured in the summer advertising campaign:

Galliano's black empire dress in Givenchy advertising campaign SS 1997

Givenchy Summer 1997.

Suzy Menkes noted the echoes of Galliano’s first, couture collection for the house in the Spring ready-to-wear collection’s “empire dresses with puff sleeves, high waists and a sweet flower print, inspired from the Empress Josephine look in Givenchy’s January haute couture show” (Suzy Menkes, “Yamamoto Steals Couture Crown: Galliano Strikes Out“). Of course, Galliano’s second couture collection had also featured Empire silhouettes, the most photographed of which seems to have been the white pleated gown at the top of this post. Here are a couple L’Officiel images from the Fall 1996 couture collection; the dress on Naomi Campbell in the first image (with stole: bottom, centre right) seems closest to the Vogue 1978 design:

L’Officiel 1000 modèles 1996 no. 1 via jalougallery.com

L’Officiel 1000 modèles 1996 no. 1 via jalougallery.com

Just for fun, here are a couple editorial images of Fall 1996 Givenchy Couture. The first, from W magazine, features Esther De Jong (slightly cropped by my scanner), the second is from an editorial in L’Officiel showcasing the season’s Givenchy couture:

Esther De Jong in Givenchy Haute Couture by John Galliano Mario Sorrenti photo Alex White stylist

Givenchy’s hand-embroidered mousseline Empire dress with floral appliqué, by John Galliano. W magazine, October 1996. Photo: Mario Sorrenti. Stylist: Alexandra White.

Givenchy couture in L'Officiel William Laxton photo Monica Pilozzo stylist

L’Officiel, septembre 1996. Photo: William Laxton. Stylist: Monica Pilozzo.

(You can see a quirkier British Vogue/Steven Meisel editorial photo of this dress here.)

3. Givenchy Haute Couture Fall/Winter 1996 (shown July 1996)

Vogue Patterns’ third selection, a blue velvet evening dress with bow bodice and bias back, was featured in their holiday issue:

Givenchy by John Galliano pattern Vogue 2061 evening gown 1997

Vogue 2061 by John Galliano for Givenchy (1997) Gown with bow bodice

Technical drawing for Vogue 2061

Here’s the envelope description: Misses’ dress. Fitted and flared, lined dress, above mid-knee or floor length, has front pleated bodice forming bow effect, center front pleated skirt with asymmetrical seam, bias back and side zipper. B: back seam detail. No provision for above-waist adjustment. Featured in the November/December 1997 issue of Vogue Patterns.

I’m not certain, but Vogue 2061’s bow bodice and velvet fabric make me think it’s from the Fall/Winter 1996-97 couture collection. The bow bodice is very similar to that on a dress shown on Kirsty Hume in the Fall 1996 couture:

Kirsty Hume in Givenchy Couture by John Galliano

L’Officiel 1000 modèles 1996 no. 1 via jalougallery.com

One other Givenchy pattern appeared during the time frame matching Galliano’s tenure at the house, but it’s from Hubert de Givenchy’s final collection, Givenchy Prêt-à-porter Spring/Summer 1996:

Givenchy pattern Vogue 1931 final Hubert de Givenchy

Vogue 1931 by Givenchy (1997) Off-the-shoulder dress

Vogue 1931 was featured in the May/June 1997 issue of Vogue Patterns (Shop Vogue). Details of the pattern’s runway photo match images from the Spring 1996 ready-to-wear show, including this Corbis image of the models with Hubert de Givenchy.

Although Galliano produced only a handful of collections for Givenchy, with a correspondingly small number of licensed designs for Vogue Patterns, his Givenchy designs are clearly consistent with his other work—both for his own label and for the house of Dior. It’s interesting to see Galliano’s trademark bias dresses and Directoire references in designs available to home sewers.

Update: I’ve identified a fourth Galliano/Givenchy pattern—see my post here.

Bonus: SHOWstudio also has a free Galliano pattern download, an intricate jacket from Techno Romance (FW RTW 2001-2).

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