April 24, 2014 § 2 Comments
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 (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:
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:
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:
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:
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.
April 14, 2014 § 1 Comment
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):
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.
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:
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:
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:
All three New York designers would later make the switch to Vogue Patterns: Blass in 1967, Beene and Klein in the 1970s.