Patterns in Vogue: Helmut Newton at the Beach

August 31, 2014 § 5 Comments

Vogue May 1964

Detail, Vogue, May 1, 1964. Photo: Helmut Newton.

In the mid-1960s, Helmut Newton photographed a two-page Vogue Patterns editorial for Vogue magazine on location at Wanda Beach, near Sydney, Australia.

The editorial features two pieces from a single beachwear pattern: Vogue 6211. The cowl-neck coverup is shown in white terry cloth, the one-piece drawstring bathing suit in double-knit Orlon; the linen hats are by Adolfo and Halston (click to enlarge):

Vogue 6211 coverup and bathing suit photographed by Helmut Newton - Vogue 1 May 1964

Vogue 6211 in Vogue, May 1, 1964. Photos: Helmut Newton.

As always, back views and yardage could be found in the back of the magazine:

Vogue 1May1964 219

Vogue, May 1, 1964.

Click the Patterns in Vogue tag for more posts in the series.

Mad Men Era 9: Butterick’s Young Designers

April 24, 2014 § 2 Comments

Megan Draper (Jessica Paré) in a Mad Men season 7 promotional photo. Image via AMC.

My series on Mad Men-era designer patterns concludes this week with three Butterick Young Designers: Mary Quant, Jean Muir, and Emmanuelle Khanh.

In 1964, Butterick launched its Young Designers line, appealing to the youth market by licensing the work of up-and-coming, international fashion designers. The line would continue through the 1970s with the addition of new designers like Betsey Johnson, Jane Tise, and Kenzo. (For more on the Young Designers line see The Vintage Traveler’s Butterick Young Designers page.)

Mary Quant

Mary Quant (b. 1934) was the first designer to be signed to the new pattern line. Born in London, Quant met Archie McNair and her future husband, Alexander Plunket Greene, at art school; together they opened a boutique on the King’s Road, Bazaar, in 1955, selling Quant’s fun, youthful designs. Quant is perhaps most famous as a pioneer of the miniskirt. Butterick released its first Quant patterns, featuring Celia Hammond photographed by Terence Donovan, in the fall of 1964.

Butterick 5475 is a mini-length shirt dress with plenty of details including epaulets, side slits, and a self-buttoned belt:

1960s Mary Quant mini dress pattern - Butterick 5475

Butterick 5475 by Mary Quant (1969) Mini dress.

Jean Muir

Also born in London, Jean Muir (1928-1995) showed an early talent for dressmaking and needlework. During the 1950s, after working her way up from the stockroom at Liberty, she was hired as designer for Jaeger; she stayed with Jaeger until 1962, when she founded her first label, Jane & Jane. She launched her eponymous label in 1966. Muir was known for her fluid dresses with charming dressmaker details.

Butterick introduced Jean Muir patterns in the spring of 1965. This short, high-waisted dress dates to the late 1960s; the bodice front and slashed, modified raglan bell sleeves fasten with rows of tiny buttons:

1960s Jean Muir dress pattern - Butterick 5657

Butterick 5657 by Jean Muir (c. 1969) Image via eBay.

Emmanuelle Khanh

Born in Paris as Renée Mésière, Emmanuelle Khanh (b. 1937) married avant-garde industrial designer Quasar Khanh in the late 1950s, around the same time that she began working as a house model for Balenciaga and Givenchy. Turning her hand to fashion design, Khanh was soon at the forefront of yé-yé fashion (Paris’ answer to Youthquake), designing for brands including Cacharel and Missoni before launching her own label in 1969. (Read a 1964 LIFE magazine article about Khanh here.) Today her company focuses on accessories, particularly eyewear.

Butterick introduced Emmanuelle Khanh sewing patterns in the fall of 1965. This turquoise, suit-effect dress creates interesting effects with topstitching and collar details:

1960s Emmanuelle Khanh suit pattern on the cover of the Butterick Home Catalog, Fall 1965

Emmanuelle Khanh dress on the cover of the Butterick Home Catalog, Fall 1965. Image: myvintagevogue via Freshly Given.

The pattern is Butterick 3718. (Thanks to Jessica Hastings of myvintagevogue for confirming the number.) This photo shows a full-length view of the dress:

An Emmanuelle Khanh dress made from a Butterick sewing pattern in heavy turquoise blue wool jersey. The striped blue, grey and black stockings are by Corah and the suede buttoned gaiters and shoes by Rayne. The white stitched crepe hat is by Simone Mirman.

An Emmanuelle Khanh dress made from a Butterick sewing pattern in heavy turquoise blue wool jersey (1965) Image via Amazon.

It’s interesting to see an established company like Butterick responding to contemporary Sixties youth culture, facilitating access to Youthquake and yé-yé fashion in the process.

Mad Men Era 8: McCall’s New York Designers

April 14, 2014 § 1 Comment

Jane and Roger at the Drapers' party, Mad Men season 5, episode 1-2

Jane and Roger Sterling (Peyton List and John Slattery) in Mad Men, season 5. Image via AMC.

With Mad Men entering its final season, my Mad Men-era series concludes with two posts on fashion designers whose work became available to home sewers in the mid-Sixties. (Browse the series by clicking the Mad Men era tag, or start at the beginning.)

Before the Vogue Americana line there was McCall’s New York Designers’ Collection. In the fall of 1965, McCall’s introduced a new pattern line: New York Designers’ Collection plus 1. (The “plus 1” refers to one foreign designer, Digby Morton; later, as McCall’s added designers to the line, it became “New York Designers’ Collection Plus.”)

The Fall/Winter 1965 issue of McCall’s Pattern Fashions & Home Decorating introduced readers to the new designers. According to the catalogue, the new line featured “the most outstanding fashions of seven leading American designers and one famous London couturier” (click to enlarge):

Meet McCalls New Designers 1965

Meet McCall’s new designers. McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965–66.

The original list of designers consisted of Larry Aldrich, Geoffrey Beene, Bill Blass, Laird-Knox, Digby Morton, Originala, Mollie Parnis, and Pauline Trigère, whose agreement with McCall’s dated to the mid-1950s. (Trigère was already featured in an earlier Mad Men era post.) Later additions would include Anne Klein, Jacques Tiffeau, and Rudi Gernreich.

This post looks at three of the best-known American designers in McCall’s new line: Bill Blass, Geoffrey Beene, and Anne Klein.

Bill Blass

Born in Fort Wayne, Indiana, Bill Blass (1922-2002) showed an early talent for fashion design, studying briefly at Parsons before enlisting in the U.S. military in 1942. After the war he returned to New York to work in the fashion industry; by 1959 he was head designer for Maurice Rentner—then a conservative, established Seventh Avenue label. (McCall’s patterns credit the designer as ‘Bill Blass for Maurice Rentner, Ltd.’) In 1970 he purchased the company and renamed it Bill Blass Ltd. Blass was known for his sophisticated but youthful designs favoured by high society. He retired in 1999.

McCall’s 8927 is an asymmetrical, sleeveless shift dress with applied bands and an inverted pleat on the left-hand side:

1960s Bill Blass dress pattern - McCall's 8927

McCall’s 8927 by Bill Blass (1967) Image via Etsy.

Geoffrey Beene

Born in Louisiana as Samuel Robert Bozeman Jr., Geoffrey Beene (1924-2004) trained at the Traphagen School of Fashion in New York and École de la Chambre Syndicale in Paris, where he also apprenticed with a tailor. Returning to New York, he worked at Harmay and Teal Traina before founding his own company in 1963. Beene was renowned for his innovative, modern designs, as well as his iconoclasm.

Veronica Hamel models McCall’s 1028, a dress cut in seven panels with seven-eighths kimono sleeves and triangular, bias collar:

McCalls 1028 (1968)

McCall’s 1028 by Geoffrey Beene (1968) Image via Etsy.

Anne Klein

Born in Brooklyn as Hannah Golofsky, Anne Klein (1923-1974) also trained at the Traphagen School of Fashion. The pioneer in American sportswear worked in petites and juniors before founding Anne Klein and Company in the late 1960s. Her final collection was completed by Donna Karan, who had begun work at the company in the summer of 1967 as Klein’s intern.

McCall’s 1020 is a sleeveless shift dress with angular armholes and fabulous standing (and convertible) collar. The model is Hellevi Keko:

McCalls 1020 (1967)

McCall’s 1020 by Anne Klein (1967) Image via MOMSPatterns.

All three New York designers would later make the switch to Vogue Patterns: Blass in 1967, Beene and Klein in the 1970s.

Next: Butterick’s Young Designers: Mary Quant, Jean Muir, and Emmanuelle Khanh.

Slant-O-Matic for the Holidays

December 27, 2012 § Leave a comment

I wanted to share this holiday-themed, Mad Men-era advertisement for Singer Slant-O-Matic sewing machines and Singer Sewing Centers:

Singer advert 1960 showing Sara Thom in a Pauline Trigère evening gown, McCall's 5588

What’s the newest slant on holiday sewing? Singer Sewing Centers advertisement, 1960.

Like the other ads in the series (see my earlier post here), the ad plays with scale while serving up some mid-century aspirational marketing. The copy promotes the Slant-O-Matic’s slanted needle and how it helps dressmakers sew special fabrics into submission.

The model is Sara Thom; her evening gown in grape and fuchsia taffeta is a McCall’s exclusive by Pauline Trigère, McCall’s 5588.

1960 Pauline Trigère pattern modelled by Sara Thom, McCall's 5588. Singer Sewing Centers ad, 1960.

McCall’s 5588 by Pauline Trigère. Detail, Singer Sewing Centers ad, 1960.

Zig-Zag Glamour

October 11, 2012 § 1 Comment

Speaking of aspirational marketing, I wanted to share this early ’60s, Mad Men-era ad for Singer’s Slant-O-Matic sewing machines and Singer Sewing Centers:

1960s Singer Sewing Centers ad showing a woman in evening wear leaning on a giant Singer Slant-O-Matic sewing machine

What is zig-zag sewing? Singer Sewing Centers advertisement, 1961.

The ad shows a model (Dovima?) in full evening dress, complete with long gloves and glittering parure; she leans on a monumental Singer Slant-O-Matic sewing machine, a length of her gown’s green fabric rippling underneath.

According to the ad copy, zig-zag sewing is an exciting, time-saving innovation that helps you sew drapes, mend Johnny’s shirts, and choose complicated designer sewing patterns without a second thought. The eveningwear design is a Vogue Paris Original by Nina Ricci, Vogue 1499.

I love how the ad plays with scale while juxtaposing mid-century high glamour with the latest sewing technology. The other ads I’ve seen from this series promote formal sewing for the winter holidays, but this one is from the June/July Vogue Pattern Book.

Singer 1961 detail

Vogue 1499 by Nina Ricci. Detail, Singer Sewing Centers ad, 1961.

Mad Men Era 7: Millinery

June 4, 2012 § 3 Comments

Carolyn model Cassandra Jean Tomorrowland Mad Men Season 4

Carolyn (Cassandra Jean) in “Tomorrowland” (Mad Men, Season 4)

This week, four milliners who licensed their designs with Vogue in the early Sixties: Sally Victor, John Frederics, Guy Laroche, and Halston.

Sally Victor

Sally Victor (1905-1977) was one of the United States’ most prominent and successful milliners. She began her career as a department store buyer in the 1920s; after her marriage to the milliner ‘Serge’ (Sergiu Victor) she turned to designing hats, first for her husband’s salon and, from 1934, at her own custom millinery studio. Victor was known for her wearable yet sophisticated designs showing a diversity of influences.

Vogue 9992 is a pillbox hat with a large bow on the right-hand side:

Vogue 9992 1960s hat pattern Sally Victor

Vogue 9992 by Sally Victor (c. 1960) Pillbox with bow. Image via the Vintage Patterns Wiki.

John Frederics

John-Frederics was founded in 1929 by partners John P. Harberger (1902-1993) and Frederic Hirst (1906-1964). The duo designed hats for Hollywood productions including Gone With the Wind (1939), in which Vivien Leigh wore their straw hat. The label has a confusing history because of the partners’ subsequent name-changes: John P. Harberger changed his name twice, first to John Frederics and later, after the partnership dissolved in 1948, to John P. John; he designed solo as Mr. John, and Frederic Hirst as Mr. Fred. (Vogue also had Mr. John patterns in the 1950s.) It was Hirst who continued the John-Frederics label into the early 1960s.

Vogue 5384 is a simple but dramatic toque with fold-over detail and jewel embellishment:

Vogue 5384 1960s John Frederics hat pattern

Vogue 5384 by John Frederics (1961) Toque. Image via the Vintage Patterns Wiki.

Guy Laroche

Guy Laroche (featured in my previous Mad Men era post) started out as a millinery designer. I have seen one hat pattern by Laroche: Vogue 5336, described on the envelope back as a ‘profile toque’ trimmed with knot-tied ends. Version B has contrast trim:

Vogue 5336 by Guy Laroche 1960s hat pattern

Vogue 5336 by Guy Laroche (1961) Toque. Image via eBay.

Vogue 5336 was featured in the August/September 1961 issue of Vogue Pattern Book (second from the left):

Vogue Pattern Book illustration August/September 1961 hats

Illustration from Vogue Pattern Book, August/September 1961.

Halston

Born Roy Halston Frowick, Halston (1932-1990) also started out as a millinery designer. In 1957 he opened his own hat shop in Chicago; by 1959 he had relocated to New York to design hats for Bergdorf Goodman. He achieved fame as a milliner when Jacqueline Kennedy wore his pillbox hat to John F. Kennedy’s 1961 presidential inauguration. Vogue’s hat patterns refer to him as Halston of Bergdorf Goodman.

Vogue 7082 is a set of flower-like bridal headpieces made of soft fabric ‘petals':

1960s Halston pattern: Vogue 7082 by Halston of Bergdorf Goodman 1960s bridal headpieces pattern

Vogue 7082 by Halston of Bergdorf Goodman (c. 1965) Bridal headpieces. Image via eBay.

Vogue 7082 was promoted with the wedding dress pattern Vogue 1745 (see pattern images here). The bridal headpieces are similar to this green one, pictured in Vogue magazine in April 1963:

Vogue ad Halston hat headpiece 1963

Halston headpiece, Vogue, 1 April 1963. Image via Etsy.

This group of milliners, old and new, seem to reflect the fortunes of millinery in the twentieth century. By the Sixties, Sally Victor and John-Frederics were established labels run by senior designers nearing the ends of their careers, while the younger designers, Guy Laroche and Halston, were to leave millinery to focus on fashion design.

Next: McCall’s New York Designers: Bill Blass, Geoffrey Beene, and Anne Klein.

Mad Men Era 6: New Talent

May 27, 2012 § Leave a comment

Jessica Paré as Megan Draper sings Zou Bisou Bisou

Megan Draper (Jessica Paré) sings “Zou Bisou Bisou” (Mad Men, Season 5) Image via Papermag.com.

This week, three newer designers who established their companies in the late 1950s and early 1960s: Guy Laroche, Irene Galitzine, and Federico Forquet.

Guy Laroche (1921-1989)

Guy Laroche worked as assistant to Jean Dessès for seven years before founding his own couture house in 1957. He had an early success with his ready-to-wear line, founded in 1961, helped by a brief stint in New York’s garment industry. Laroche was known for his accessible, youthful designs and use of colour.

Vogue 1102 is a slim, one-shouldered cocktail or evening dress with off-the-shoulder neckline and loose back panel. (Click image for back view.) The dress has a boned underbodice and looped self-trimming at the shoulder:

Vogue 1102 by Guy Laroche 1960s one-shouldered evening dress pattern

Vogue 1102 by Guy Laroche (1961) Cocktail or evening dress. Image via Etsy.

Galitzine (1916-2006)

Irene Galitzine was a Russian-born princess whose mother had fled the Bolshevik Revolution with her and settled in Rome. A former model, she presented her first collection in 1959. Galitzine was famous for her ‘palazzo pajamas,’ evening ensembles featuring wide-legged pants; she also designed part of Claudia Cardinale’s wardrobe for her role as Princess Dala in The Pink Panther (1963). Amusingly, Claudia Cardinale is actually this blog’s top search (she’s mentioned briefly in my first Mad Men Era post). Here she wears a white Galitzine tunic and pants in the film’s first party scene:

Princess Dala (Claudia Cardinale) wearing Galitzine pants and tunic in The Pink Panther (1963)

Claudia Cardinale wears Galitzine as Princess Dala in The Pink Panther (1963)

At first glance, Vogue 1393 looks like a jumpsuit, but it’s really a chic halter blouse and culotte. The sleeveless blouse has a wrap-around construction and gathers into a high, standing band collar. The matching culotte has a gathered skirt that forms wide palazzo pants in the front:

Vogue 1393

Vogue 1393 by Galitzine (1964) Halter and culotte. Image via the Vintage Patterns Wiki.

Federico Forquet (1931-)

Federico Forquet was also born to a family of aristocratic emigrés: his ancestors had settled in Naples after fleeing the French Revolution. The young Forquet worked with Balenciaga, Fabiani, and Galitzine before opening his own studio in 1961. He was known for his elegant, sculptural cut. Forquet also designed the costumes for the early Bertolucci film “Prima della rivoluzione” (1964).

Adriana Asti in Bernardo Bertolucci's Prima della rivoluzione (1964)

Adriana Asti in Bernardo Bertolucci’s Prima della rivoluzione (1964) Image via the Italian Cultural Institute in Sydney.

Vogue 1315 is a bow-trimmed sheath dress and jacket ensemble. The dress has a neckline that’s square in the back and scooped in the front with notched detail; contrast bow trim gives a high-waisted effect. The jacket has three-quarter kimono sleeves and a fabulous raised neckline curving up into points at the throat. It seems that, when worn together, the dress’ bow sits outside the jacket. The original was photographed at the Palazzo Annibale Scotti:

Vogue Couturier 1315 by Federico Forquet 1960s dress and jacket pattern

Vogue 1315 by Federico Forquet (1964) Dress and jacket. Image via Etsy.

With the exception of Guy Laroche, these new designers were based in Rome, reflecting Italy’s burgeoning fashion industry, with its alternatives to the Paris couture, as well as the rise of ready-to-wear.

Next: Mad Men-era milliners including Sally Victor, John Frederics, and Halston.

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