May 20, 2015 § 1 Comment
Did you watch the Mad Men finale Sunday night? If you aren’t ready to say goodbye, a New York exhibition, Matthew Weiner’s Mad Men, brings together sets, props, costumes, and other production materials from the show (at the Museum of the Moving Image to June 14, 2015).
Soon after launching this blog in 2011, I began a series on Mad Men-era designer patterns. Like the TV series, it shows the changes that were taking place in fashion in the 1960s. Here’s the full roundup:
- The Old Guard I – Jacques Heim, Madame Grès, Jo Mattli, and Jean Dessès
- The Old Guard II – Jacques Griffe, Pauline Trigère, Pierre Balmain, and Pierre Cardin
- London’s Old Guard – Ronald Paterson, John Cavanagh, Michael Donéllan, and Edward Molyneux
- Old House, New Designer – Lanvin, Patou, Nina Ricci, and Dior
- The Europeans – Rodríguez, Simonetta, Fabiani, and Pucci
- New Talent – Guy Laroche, Irene Galitzine, and Federico Forquet
- Millinery – Sally Victor, John Frederics, Guy Laroche, and Halston
- McCall’s New York Designers – Bill Blass, Geoffrey Beene, and Anne Klein
- Butterick’s Young Designers – Mary Quant, Jean Muir, and Emmanuelle Khanh
August 31, 2014 § 5 Comments
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):
As always, back views and yardage could be found in the back of the magazine:
Click the Patterns in Vogue tag for more posts in the series.
April 24, 2014 § 3 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 § 2 Comments
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.
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:
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.
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:
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.
June 4, 2012 § 6 Comments
This week, four milliners who licensed their designs with Vogue in the early Sixties: Sally Victor, John Frederics, Guy Laroche, and Halston.
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:
John-Frederics was founded in 1929 by partners John P. Harberger (1902-1993) and Frederick 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 Frederick 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:
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 was featured in the August/September 1961 issue of Vogue Pattern Book (second from the left):
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':
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.