September 1, 2014 § 2 Comments
In honour of Labour Day, this models post is devoted to iconic model and political activist Benedetta Barzini.
Benedetta Barzini (b. 1943) grew up in Porto Santo Stefano and New York City. She worked as a model in New York for four years after being discovered by Diana Vreeland. Here she appears on the cover of Vogue Italia’s inaugural issue:
Although Barzini returned to Italy to act, in the early 1970s she left acting and modelling to pursue Marxist-feminist teaching and political activism. She returned to modelling in the late 1980s. As of 2013 Barzini was a Professor of Fashion and Anthropology at the Polytechnic Institute of Milan. (Recent interview here.)
I have seen only one Vogue pattern with Barzini on the envelope. In 1967, Len Steckler photographed her in Vogue 1775 by Chuck Howard, a pattern from the new Vogue Americana line:
Barzini was also featured on the cover of the Vogue Patterns catalogue for August 1967:
Happy Labour Day, everyone!
July 1, 2014 § Leave a comment
In celebration of Canada Day, this models post is devoted to Canadian supermodel Linda Evangelista.
Born in St. Catharines, Ontario to Italian-Canadian parents, Linda Evangelista (b. 1965) was discovered by a scout from Elite at the 1981 Miss Teen Niagara beauty contest. (She didn’t win.) At eighteen she signed with Elite and moved to New York and later, Paris. Evangelista became one of the world’s most successful and influential models, especially after Julien d’Ys cut her hair short in 1988. (More on Voguepedia.)
Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.
The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:
She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):
Evangelista’s work with Vogue Patterns was for the Paris Originals line. Here she models a popular, pleated wrap dress by Emanuel Ungaro, Vogue 1799:
Evangelista can be seen on a number of Yves Saint Laurent patterns. Vogue 1720 is an elegant dress with blouson bodice and wide, bias roll collar. The pattern includes the contrast sash:
Here Evangelista shows off advanced-class colour blocking in Vogue 1721, a Nina Ricci pattern for a dramatic hooded blouse, mock-wrap skirt, sleeveless top, and sash:
This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:
Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:
In the mid-1990s, Evangelista’s runway work for Yves Saint Laurent reached home sewers on Vogue pattern envelopes. From the YSL Rive Gauche Spring 1996 collection, Vogue 1862 is a pattern for cropped jacket, blouse, and high-waisted pants (see a detail shot on firstVIEW):
Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:
Happy Canada Day, everyone!
May 12, 2014 § 5 Comments
(A late Mother’s Day post since I was under the weather yesterday.)
In honour of Mother’s Day, this models post is devoted to a mother and daughter who both modelled for designer sewing patterns: Nena von Schlebrügge and Uma Thurman.
Nena von Schlebrügge (b. 1941) was born in Mexico City to German-Swedish parents who had fled Nazi Germany. In 1957, two years after she was discovered by Norman Parkinson, she moved from her native Stockholm to London to pursue modelling, later moving to New York to sign with Eileen Ford.
Nena von Schlebrügge appears on a number of Vogue Pattern Book covers and Vogue patterns from the late 1950s and early 1960s.
Here she models one of Vogue’s first Dior patterns by Yves Saint Laurent—Vogue 1472, a skirt suit and full coat with big, shaped collar:
Von Schlebrügge can also be seen on Vogue 1484 by Madame Grès, a 3-piece ensemble that includes a voluminous coat with three-quarter sleeves, loose back panel, and elegant contrast lapels and lining:
Uma Thurman (b. 1970) is the daughter of Nena von Schlebrügge and her second husband, Robert Thurman. Born and raised in Massachusetts, Uma Thurman dropped out of her prep school there to pursue acting in New York City, where she worked as a fashion model before landing her breakout roles in Stephen Frears’ Dangerous Liaisons (1988) and Terry Gilliam’s The Adventures of Baron Munchausen (1988).
Here Thurman wears Simplicity 8054, a wrap dress with halter back and capelet sleeves, in classic red:
Here she models a pure ’80s LBD with big shoulders and flutter sleeves, Simplicity 8055:
Nena von Schlebrügge later became a psychotherapist and director of Tibet House and the Menla Center; Uma Thurman is an Academy Award nominee for her role in Pulp Fiction (1994). Thurman’s presence is already evident in her Simplicity patterns. Isn’t the family resemblance striking?
March 27, 2014 § 3 Comments
Born in Indonesia, Celia Hammond was discovered by Norman Parkinson in the early 1960s and went on to build a career as a top model in Paris and Swinging London.
Hammond may be seen on many designer patterns from Vogue and Butterick from the mid-1960s, always by British designers.
Here she models an LBD with dropped waist and bow-trimmed overblouse by Michael of London (Michael Donéllan):
Hammond modelled for patterns by a few British designers licensed to Butterick’s new Young Designers line, including the first Mary Quant patterns. Here she poses in a Quant dress, Butterick 3288, on a Butterick catalogue cover shot by Terence Donovan:
Jean Muir designed this button-trimmed, mustard-yellow dress for her early label, Jane & Jane:
Hammond also appears on this popular Jean Muir dress pattern, Butterick 4577:
Here she models a suede-trimmed ensemble by Jo Mattli:
This evening dress from Belinda Bellville has a shaped bodice and handy pockets:
By Ronald Paterson, this three-piece ensemble with cutaway jacket is chic in white matelassé with matching buttons:
Richard Dormer photographed Hammond in these two Belinda Bellville designs. Vogue 1795 is an elegant, black-and-white day ensemble, while Vogue 1828 is a short evening dress with tiered, scalloped, bias overskirt:
Here Hammond models another dress by Michael Donéllan, its blouson bodice slashed in back to reveal an attached camisole:
Hammond retired from modelling to devote herself full-time to her work for animal welfare; she remains active for this cause as the founder of the Celia Hammond Animal Trust.
Click the models tag to see more posts in my models series.
February 27, 2014 § 4 Comments
Born in Flint, Michigan, Billie Blair (b. 1946) worked as a model at the Detroit Auto Show before becoming one of the highest-paid fashion models of the 1970s. Moving to New York City, she got a job at Halston and soon found success as an editorial and runway model. Blair was among the African-American models at the historic 1973 fundraising event, Le Grand Divertissement à Versailles, known today as the Battle of Versailles. (The event was the subject of a recent documentary by Deborah Riley Draper, Versailles ’73: American Runway Revolution [2012)].)
Billie Blair may be seen on a number of Vogue designer patterns from the mid-1970s. Here she wears a tweed skirt suit and pussy-bow blouse by Oscar de la Renta; this design was marked as ‘suitable for knits':
Stan Herman designed this casual hooded top, skirt, and pants. The illustration shows some American Hustle-worthy aviator shades:
Here Blair wears a girlish, vintage-style ensemble by Nina Ricci, a cream-coloured dress with matching cape:
From Jean Patou, this maxi dress may date to the period when the young Jean Paul Gaultier was assistant designer. Blair brings out the glamour of this haute couture loungewear:
In Vogue Patterns‘ 1975 holiday issue, Jerry Hall wears the Patou dress while Blair models an off-the-shoulder party dress in an editorial devoted to evening sparkle (the headline reads, “Be a Star the Vogue Way”):
Here she models a fabulous, evening-length Dior caftan with piped neckline:
This Nina Ricci separates pattern includes a poncho with shirttail hem, convertible collar, and big patch pockets:
Blair is the model on this rare pattern by Sonia Rykiel, Vogue 1378—check out the matching coral sandals:
Billie Blair’s commanding presence and approach to modelling as performance don’t seem too unusual today. But she was unconventional for the time, and even felt the need to under-report her age when she first became famous. A 1974 profile of Blair in People magazine says she is 22 years old and remarks on her size 9 feet. (In a letter to the editor, a high school classmate wondered how Blair had stayed 22 when her peers were 28.) She continued modelling into her thirties—here she appears in a dynamic 1978 Vogue shoot by Andrea Blanch:
November 22, 2013 § 6 Comments
Born in Rome, Alberta Tiburzi began her modelling career in Italy in the 1960s. She later moved to New York after signing a contract with American Vogue. In the 1970s Tiburzi became a professional fashion photographer, known as signora della luce for her work with light. (Read a bio here, from the 2005 exhibition Italian Eyes: Italian Fashion Photographs from 1951 to Today.)
In the mid-1960s Tiburzi did some modelling for Vogue Patterns in Rome, for Couturier patterns by Italian designers. My mother made this Galitzine ensemble in fuchsia bouclé:
In this design by Federico Forquet, the shaped hem of the cutaway jacket matches the waistline seam on the dress:
Tiburzi brings out the drama of this double-breasted tent coat by Fabiani:
Tiburzi was also photographed in the dress from the same pattern:
Here she models a red Simonetta dress with tucks radiating from the collar:
Once in New York, Tiburzi did some work for McCall’s. Here she models a purple dress with heavily embellished collar by Pauline Trigère:
February 7, 2013 § 2 Comments
It’s almost forty years since Beverly Johnson (b. 1952) became the first black woman to appear on the cover of American Vogue, in 1974. (Donyale Luna had appeared on the cover of British Vogue in 1966.) One of the decade’s most successful models, Johnson had moved to New York City to pursue modelling after losing her summer job; she had been a pre-law student at Northeastern University.
To be accurate, Beverly Johnson was the first model of mixed black/Native American background to make the Vogue cover, as her father’s ancestry is part Blackfoot (see story and slideshow at Vogue Italia). Whereas her first agent told her she would never make the cover of Vogue, Johnson also faced obstacles with “the leading black magazines, Ebony and Essence, [who] wouldn’t put me on their covers at first, because I wasn’t ethnic-looking enough” (read her recollection at Vogue online).
As far as I know, Johnson was also the first black model to be photographed for Vogue’s designer patterns. Johnson’s relationship with the pattern company seems to have begun the year before her first Vogue cover. This Sybil Connolly pattern, from October/November 1973, is the earliest pattern I’ve seen featuring her:
These three designs featuring Johnson, by Ungaro and Bill Blass, were released in May 1974. Instead of their usual sandy-haired male model, Vogue 1011 pairs her with another black model:
Here she models for a McCall’s pattern by Halston:
Johnson appears on several early Calvin Klein patterns, including this set of casual separates (in series with the pantsuit modelled by Angeleen Gagliano):
You may recognize these two patterns, from Dior and Balmain, which seem to have been quite popular:
In terms of high-profile, evening dress patterns, the only ones I could find featuring Johnson were these two, by Teal Traina and Belinda Bellville:
Beverly Johnson also modelled for Simplicity, as well as Vogue magazine’s features on Vogue patterns. (Although Vogue Patterns was by then owned by Butterick, Vogue magazine continued to run editorials featuring Vogue patterns—see my Gia Carangi post for more.) Here Johnson appears in a 1972 advertisement for the Simplicity Catalog:
In this 1976 patterns feature, Johnson models linen tops with Karen Bjornson (the patterns, left to right, are Vogue 9544, Vogue 9635, and Vogue 9559):
In this Vogue shoot, Johnson’s cardigan is Vogue 2924 by Fabiani:
The caftan shot at the top of this post is from a four-page patterns editorial photographed by Kourken Pakchanian. Here is the full editorial:
The patterns are: top left, Vogue 8585; top right, Vogue 8573; bottom left, Vogue 2881; bottom right, Vogue 8587. (The halter top, sarong, and bikini are all from V2881; the envelope photo shows deeply tanned, Caucasian models.) Corbis had the full image of Johnson in the V2881 bikini: