July 25, 2014 § 10 Comments
Versatile and contemporary, jumpsuits and their cousins, playsuits and rompers, have become increasingly popular in the last few years. Jumpsuits—or all-in-ones, if you’re British—seem poised to move beyond a trend this summer.
The modern women’s jumpsuit has origins in two different garments: beach pajamas and the boiler suit. These twin origins mean jumpsuit styles range from fluid loungewear to utility-inspired or tailored designs. (See Vogue Italia for a short history of the jumpsuit.) Here are some favourite all-in-one patterns from the 1930s to the 1990s.
Beach pajamas, often worn with a matching bolero, had become one-piece by the early 1930s. This McCall’s design combines flowing trousers with geometric seaming details in the bodice and hip yoke. A reproduction is available from the Model A Ford Club of America:
The boiler suits of wartime utility wear are said to have made bifurcated clothing more acceptable for women. This Vogue pattern from ca. 1940 includes both a hooded mechanic suit with cuffed trousers and a more casual, short-sleeved version shown in a dotted print:
This early 1940s pajama ensemble with T-back halter bodice was not just for the beach—the envelope says it’s for “beach, dinner or evening”:
In the postwar period, more tailored jumpsuits emerged as a choice for casual sportswear. This early 1950s pedal-pusher coverall has cuffed sleeves and pants and a front zipper closure:
From the late 1950s, this trim, one-piece slack suit from Vogue came in two lengths and with a matching overskirt:
The jumpsuit—sometimes called a culotte or pantdress—truly comes into its own in the later 1960s. Here Birgitta af Klercker models Vogue 2249, a loungewear design by Emilio Pucci (previously featured in my goddess gown post):
In this late 1960s Butterick Young Designers pattern, Mary Quant combines a trim, zip-front jumpsuit with a low-waisted miniskirt for a sleek, futuristic look:
Both pajama and menswear-inspired styles continue into the 1970s. Famous for her palazzo pajamas, Galitzine designed this bi-coloured lounge pantdress with criss-cross halter bodice:
From Calvin Klein, Vogue 1453 marks a return to the boiler suit style. With cargo pockets, self belt, and wide, notched collar, the jumpsuit could be made long or short, with long or short sleeves:
This Bob Mackie disco jumpsuit or evening dress pattern for stretch knits dates to 1980. (See my earlier Bob Mackie post here.) The jumpsuit has a plunging neckline, waistline pleats, and tapered, bias pants designed to crush at the ankles:
An instance of the late 1980s jumpsuit trend, this shirtdress-style jumpsuit by Donna Karan has a notched collar, welt pockets, and cuffed or seven-eighths length kimono sleeves:
Also by Donna Karan, Vogue 2609, ca. 1990, is a long-sleeved, tapered jumpsuit for stretch knits with neckline variations, front pleats, and stirrups. View C has a contrast bodice with self-lined hood:
From 1996, Vogue 1821 by DKNY is almost vintage. It’s a novel suit consisting of a single-breasted jacket and wide-legged, halter jumpsuit:
Finally, this pattern is not yet vintage, but a jumpsuit collection would be incomplete without Vogue 2343, Alexander McQueen’s tailored, tuxedo jumpsuit for Givenchy haute couture Spring/Summer 1998 (earlier post here):
With their demanding fit, jumpsuits are ideal for home sewers. And they’re not just for the tall and leggy: many of the later jumpsuit patterns are marked as suitable for petites.
February 20, 2013 § 13 Comments
Oscar season is upon us, and that means goddess gowns. Goddess gowns usually share elements of classical drapery and the simple construction of the toga and chiton. Here’s a selection of patterns for Greco-Roman-inspired evening wear.
This 1920s evening dress from the House of Worth features elegant back drapery, with a beaded appliqué holding more drapery at the left hip:
The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:
This late 1940s one-shouldered evening dress has a long panel that can be worn belted in the back or wrapped around the bared shoulder:
Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:
This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:
This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):
Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:
This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:
Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:
(From the Spring 2007 Laroche collection, the pattern is still in print.)
September 25, 2012 § 7 Comments
The cape trend of the last two years shows no sign of abating. (Read a Fashionising post about the trend here.) In terms of sewing patterns, Donna Karan’s V2924 was ahead of the trend (see Erica B’s version here) and this fall we have V1322 by DKNY. Paco Peralta has several cape designs available including the sculptural Funghi. In vintage reissues, Butterick has re-released some vintage cape patterns in their Retro line: B6329 (from 1935) and B6411 (a reissue of Butterick 4570 from 1948).
I often find myself reaching for the vintage version of a current trend, and I’ll have a cape project to share with you soon. While looking for the right pattern, I was struck by the variety of cape designs over the decades. Here’s a selection of vintage cape patterns from the Twenties to the Eighties.
Two 1920s patterns in my collection have capes with interesting details. This mid-Twenties pattern for a dress by Renée also includes a cape with button/strap closure:
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
Sewing bloggers’ 1930s capes show how contemporary these vintage outerwear styles can look today. Debi’s mid-Thirties cape pattern has a similar look to the ensemble illustrated above, but with a false front creating the illusion of a matching jacket. Click the image to see her finished version:
The fashion for capes continued into the Forties. The decade’s strong-shouldered silhouette is visible in these two cape patterns from my collection. The first, from the early ’40s, has a pronounced, boxy shape and optional broad stand-up collar:
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
In the Fifties, capes showed a de-emphasis on the shoulders and a fullness that carries over to the early ’60s. Vogue 1089 by Robert Piguet is actually from 1949; I thought it might really be a capelet, but the envelope description calls it a “flared cape with diagonal double-breasted closing below soft shaped collar”:
Here’s an illustration of the Piguet ensemble by Bernard Blossac:
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
The Sixties were another good decade for capes. On this Vogue Pattern Book cover, Wilhelmina Cooper exemplifies the “thoroughbred look” of Fall 1963 in a tailored yellow cape:
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
As the Seventies progressed, capes generally kept their collars, but gained a new fluidity. This mid-Seventies Halston “poncho-cape” has a collar and button front, but is reversible:
This late ’70s Chloé design by Karl Lagerfeld, featuring Jerry Hall, includes a three-quarter length, circular cape with pointed bias collar. The cape gets its strong shoulders from an inside button and tab at each shoulder:
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?
May 2, 2012 § 4 Comments
This week, four established European designers who were based in Spain and Italy: Rodriguez, Simonetta, Fabiani, and Pucci.
Born in Valencia, Pedro Rodríguez opened his first salon in Barcelona in 1918. During the Spanish Civil War he relocated to Paris, but returned to Spain when the war ended. Although little-known outside his country, he was Franco Spain’s most celebrated designer. Rodríguez’s drawings are the focus of an exhibition running until June 17th at Madrid’s Museo del Traje, “Pedro Rodríguez: Alta Costura sobre papel. Figurines de Pedro Rodríguez, 1940-1976.”
Vogue 1338 is a slim evening dress with a uniquely shaped bodice, high-waisted in front and dipping low in the back:
A member of the Italian aristocracy, Simonetta Colonna di Cesarò was born a duchesa and made her first marriage to a Visconti. She presented her first collection in 1946, in newly liberated Rome. During the early 1960s she and her second husband, Alberto Fabiani, combined their talents to form a Paris label, Simonetta et Fabiani. Simonetta was known for youthful, dramatic designs with an emphasis on form and cut.
Vogue 1231 is a glamorous yet simple design for a formal dress with attached circular cape. The asymmetrical fall of the cape gives it a neoclassical, military air:
Alberto Fabiani was born into a family of couturiers. He trained for a few years with an Italian tailor in Paris before returning to Italy, where he soon became head of the family couture house. As mentioned above, he formed a joint label with his second wife, Simonetta, before returning to his solo label. Fabiani was known for conservative, tailored designs with impeccable cut.
Vogue 1450 is a short evening dress with waistcoat detail and deep, slashed neckline revealing an underbodice. A narrow, self-corded belt ties in a bow at the raised front waistline, above a skirt shaped by soft pleats:
The designer we know as Pucci was born Marchese Emilio Pucci di Barsento, to the aristocratic Florentine family based at the Palazzo Pucci. He obtained a doctorate from the University of Florence and also served as a pilot in the Italian Air Force before opening his first boutique in Capri in 1949. Pucci was famous for his youthful sports and resort wear in distinctive, colourful prints and new fabrics like lightweight silk jersey.
Vogue 1351 is a chic casual ensemble consisting of a boxy jacket, simple blouse, and tapered pants with optional stirrups. The model was photographed in Florence rather than Rome:
I always find it interesting how the Vogue Couturier line drew attention to the designer’s nationality or the European city where they were based—Pucci of Italy, Rodríguez of Madrid—drawing attention to the not-Paris of emerging fashion centres in London and on the Continent. Although Rodríguez was somewhat isolated in Franco Spain, the Italian couturiers were designing for the international jet set.
August 8, 2011 § 7 Comments
It’s been a very hot summer here in Toronto. The Toronto Standard’s recent article on nearby Sunnyside Beach is a reminder of how Torontonians coped with high temperatures in the days before air conditioning. The stretch of Lake Ontario shoreline known as Sunnyside Beach was a popular bathing spot from the early 20th century on, and the beach’s popularity was given a boost with the opening of Sunnyside Amusement Park in 1922. The amusement park was mostly demolished in 1955 to make room for the Gardiner Expressway, but some of the original structures remain, including the boat house and dance hall Palais Royale and the Sunnyside Bathing Pavilion.
Vintage beachwear patterns open a similar window onto summers past. What women wore to the beach can seem to encapsulate an era, both because beachwear is an especially trend-driven category of women’s wear and because of the attitudes to the female body it often reveals. In this post you’ll find a selection of beachwear patterns from the 1930s to the 1980s.* Enjoy!
Here’s a late thirties Vogue pattern from the Commercial Pattern Archive (CoPA). Follow the image link for CoPA’s virtual exhibition on swimwear patterns.
The 1930s also saw a fashion for beach pajamas, lounge wear for days at the beach. This illustration from McCall’s magazine shows new patterns for beach fashions. The first pattern is for a kerchief top, dolman jacket and beach trousers, the second makes a gorgeous beach wrap:
- (You can see the accompanying text in this Etsy listing.) Here are a couple early ’30s McCall patterns for beach pajamas:
Simplicity’s promotional material calls this late ’30s halter design “a pajama ensemble for sun-tan fans.” (See linked wiki page for repro information.)
The forties saw the rise of two-piece bathing suits with pinup-style, high-waisted skirts or tap pants for the bottoms. Vogue 9046 is an early but typical ’40s swimsuit. (See linked wiki page for repro information.)
This McCall design is for a cute tie-back, halter top style with pleated bottoms:
I found this transitional late ’40s pattern through Oodles and oodles’ series on the patterns of sisters Alice and Edna. It’s one of my favourites:
Fifties beachwear shows the same silhouettes and details as the decade’s women’s wear. The cover-up in this mid-’50s pattern is basically a shorter version of a wasp-waisted, full-skirted fifties day dress (but check out the crazy tiki hat):
In 1957 Emilio Pucci did a series of designs for McCall’s that included this skirted, strapless bathing suit:
(Wade Laboissonniere includes a McCall’s photo of the Pucci pattern in his Blueprints of Fashion: Home Sewing Patterns of the 1950s, p. 127.)
This sarong style of swimsuit carried over into the early ’60s:
Early sixties swimsuit patterns tend to be variations on the modest two-piece with shorts or boy-cut briefs. Here’s the pattern image for the early ’60s beach kimono pictured at the top of this post. The pattern also included a one- or two-piece bathing suit:
Vogue 6212 includes a babydoll beach dress and a hat similar to the one worn by Jessica Paré as Megan in Season 4 of Mad Men:
Two-pieces seem to have made the decisive shift to bikinis in the later 1960s:
Seventies swimwear showed sleeker lines, still with a lower-cut leg. Maxi cover-ups came into fashion as the decade progressed. Here’s a fabulous early ’70s Vogue one-piece (with a ’60s-style hat and cover-up):
During the ’70s Vogue Patterns also released designer swimwear patterns by Catalina and Penfold (including Anne Klein for Penfold). The bikinis are actually pretty classic:
Eighties swimwear had a new, higher-cut leg and favoured the high-contrast brights and prints typical of the decade. Oleg Cassini’s line of patterns for Simplicity included this one-piece swimsuit with pareo:
Brooke Shields also licensed some designs with McCall’s, including a few swimwear patterns. Here’s the one that hits the most ’80s trends:
And in case you needed instruction in swimwear sewing techniques, Vogue Patterns had a book for you:
*For those interested in pre-1930s swimwear patterns, you can see a repro pattern for a 19th century bathing costume here; some early 20th century bathing suit patterns here and here; and some 1920s swimsuit patterns here and here.