July 1, 2015 § 5 Comments
In celebration of Canada Day, this post is devoted to Canadian fashion designer Lida Baday.
Lida Baday (b. 1957) was born to a dressmaker mother in Hamilton, Ontario. A graduate of Ryerson’s fashion design program, she worked for different companies in Toronto’s garment district before founding her own label in 1987. (Read bios here and here; see tear sheets here.) Baday soon won international success with her sophisticated, minimalist designs in luxurious fabrics such as wool jersey. Although her company closed its doors last year, The Fabric Room, which sells its surplus textiles, is still open to the public.
In the 1990s, Lida Baday designs were available through McCall’s patterns, beginning with two patterns in the November 1992 catalogue. McCall’s 6255 and 6257 are patterns for a skirt suit and separates including a flared, hooded coat:
McCall’s 6855 is a pattern for a bolero and sleeveless sheath dress in two lengths. The longer version has a high slit with underlay:
McCall’s 8256 includes a long, double-breasted jacket, a short, cap-sleeved top, and wide-legged pants:
This 1997 design for an oversized shirt, pants, and cropped leggings for stretch knits could be new today:
McCall’s 8823 is ’90s-minimalist perfection with its fitted tunic with narrow straps, slim pants, and low-backed, sleeveless dress with mock back wrap:
McCall’s 9371 includes a sleek halter top for stretch knits and a short, wrap skort:
The long, stretch-knit dresses in McCall’s 9379 are both ’90s and classic:
Just for fun, here are some more Fashion magazine covers featuring designs by Lida Baday:
Happy Canada Day, everyone!
November 28, 2014 § 6 Comments
With her Fall 2014 collection, Donna Karan celebrated the 30th anniversary of her label. This new series marks this milestone with highlights of almost three decades of Donna Karan sewing patterns.
Donna Karan (b. 1948) was born Donna Faske in Queens, New York to parents in the fashion industry. She attended Parsons School of Design before beginning her career at Anne Klein. In 1984, after over fifteen years at Anne Klein, Karan left to launch her own label. Her first collection, Seven Easy Pieces, explored the concept of layering mix-and-match pieces over a ‘body’ (a snap-crotch bodysuit) and laid the foundation for her brand. (See a New York Times timeline here.)
Vogue Patterns’ licensing began two years after Seven Easy Pieces. Karan was introduced to readers in the September/October 1987 (or Autumn 1987) issue of Vogue Patterns magazine:
In an editorial photographed by Benoit Malphettes, Suzanne Lanza models the four new patterns for a Donna Karan wardrobe. The designs were from the current, Fall/Winter 1987-88 collection (see Bernadine Morris, “Beene and Karan Redefine Today’s Luxury” or watch a runway video on YouTube):
(Scans via Top Models of the World.)
Vogue 1958 is a bias coat and draped, long-sleeved dress:
Here’s the envelope description: Misses’ Coat & Dress. Very loose-fitting, unlined, A-Line, bias coat, above mid-knee, has front extending into standing back neckline and long sleeves. No Provision for Above-Waist Adjustment. Tapered dress, above mid-knee, has draped neckline extending into collar and long sleeves, shoulder pads, front pleated and gathered waist, side front pockets, front zipper (skirt), underarm gusset and elasticized back waist (no seam).
A black, wool knit version of the Vogue 1958 dress is in the collection of the Museum at FIT, where it was featured in the 2008 exhibition Arbiters of Style: Women at the Forefront of Fashion:
Vogue 1960 is a double-breasted jacket with elasticized back detail. The design was also featured on the fall magazine cover shown above:
The envelope description reads: Misses’ Jacket. Loose-fitting, lined, below hip, double-breasted jacket has notched collar, shoulder pads, welt and buttonhole pockets, side back seams, elasticized, side back-button tab and long, two-piece sleeves with button vent. Purchased top.
Vogue 1961 may look like a set of tops, but it’s really two tops—one bias, the other for stretch knits—and a bodysuit:
Here’s the envelope description: Misses’ Top and Bodysuit. Loose fitting top has long sleeves. A: wrap, bias, draped front extends to tucked back collar, attached to tie ends. B: mock front wrap, shoulder pads, tucked front extends into single layer tie ends (wrong side may show) and back zipper. Bodysuit has notched collar, dropped shoulders, shoulder pads, mock front band, yoke with forward shoulder seams, very loose fitting blouson bodice, back pleat, elastic (seamed) waist, and lower edge, snap crotch closing and long sleeves with placket, pleats and button cuffs. Purchased trim.
Vogue 1962 provides the bottoms shown on Vogue 1961: a high-waisted skirt and softly pleated skirt or pants:
The envelope description reads: Misses’ Skirt, Pants & Stole. Straight or tapered skirt (no side seams), above mid-knee or tapered pants have back zipper. No provision for shortening or lengthening for skirt B. A: bias front, no waistband, and side back seams. B: lined. Skirt B, Pants: front pleats, partially elasticized waistband and pockets. Single layer stole has narrow hem. Purchased top.
Just for fun, here’s a Patrick Demarchelier editorial photo of Paulina Porizkova in an ensemble from the Fall 1987 collection:
Next in the series: Donna Karan patterns from the late 1980s and early 1990s.
August 28, 2014 § 5 Comments
Krizia was already an established label when McCall’s licensed Krizia patterns in the late 1970s. Designer Mariuccia Mandelli (b. 1933) co-founded the company with her friend Flora Dolci in the 1950s, naming it after Plato’s unfinished dialogue Κριτίας (Critias)—Crizia in Italian. The label is known for eclectic, youthful designs that play with pattern and contrast. (For recent coverage of the brand and its influence see the W article, Crazy for Krizia.)
From spring 1979, this two-page spread in L’Officiel shows three Krizia trouser ensembles featuring magenta, orange, and fuchsia satins (click to enlarge):
This Krizia sweater set (short-sleeved pullover, bolero, and skirt) appeared in a Vogue editorial on the new knitwear:
Between 1979 and 1981, McCall’s released a number of Krizia patterns, including a few children’s patterns. Here’s a selection of Krizia patterns for women’s wear.
McCall’s 6624 is a bias wrap skirt and playsuit with shorts and bodice pleated into a midriff band:
McCall’s 6629 combines a short-sleeved, V-neck bodysuit with a midi-length trouser skirt and wrap shorts:
This pattern is a set of four tops for stretch knits:
McCall’s 6805 is Krizia’s take on the wrap dress, with soft pleats at the shoulder and neckline and lightly puffed sleeves in long and three-quarter lengths:
This sleek skirt suit, reminiscent of AMC’s Halt and Catch Fire, pairs a straight skirt with a fitted jacket with shaped hemline and two-piece sleeves with pleated caps. The notched collar has an optional lapel buttonhole:
From 1980, this casual summer ensemble includes bias shorts or culottes and two tops trimmed with tubular knit:
The more formal McCall’s 7307 is a pattern for polished separates: a jacket with two-piece sleeves, skirt in 2 lengths, and flowing, cuffed pants with matching camisole:
Just for fun, here are two more images from Krizia’s Fall 1979 advertising campaign, photographed by Barry Ryan:
Coming soon: my version of the Krizia playsuit.
April 29, 2014 § 6 Comments
This past weekend, the exhibition Patrick Kelly: Runway of Love opened at the Philadelphia Museum of Art. (Read WWD’s coverage here.) The show is the second Patrick Kelly retrospective since the designer’s death from AIDS in 1990. (The first was the Brooklyn Museum’s Patrick Kelly: A Retrospective in 2004.)
Born in Vicksburg, Mississippi, Patrick Kelly (1954-1990) found success as an expatriate in Paris: he was the first American, and also the first black designer, to be elected to the Chambre syndicale du prêt-à-porter. Much of Kelly’s work references his southern, African-American heritage through the use of vibrant colour, buttons and bows, and reappropriated black memorabilia motifs such as watermelons and golliwogs. (Patrick Kelly shopping bags emblazoned with his golliwog logo, as seen in the above photo, were deemed too controversial to be used in the United States.)
Between 1988 and 1991, Vogue Patterns licensed Patrick Kelly designs, first in the Individualist line and later as Paris Originals. Here is a selection of Patrick Kelly sewing patterns, grouped by collection.
1. Patrick Kelly Spring/Summer 1988 prêt-à-porter
Vogue Patterns’ licensing began with Kelly’s Spring/Summer 1988 collection, his first under contract with Warnaco. This collection played with the culture and racial stereotypes of the American south. (Watch a YouTube video of the collection starting here.) Vogue 2077, the first of several Patrick Kelly patterns featuring African-American model Gail O’Neill, is a flamboyant peplum suit with back bow:
The suit seems to have made the cover of Vogue Patterns magazine:
Vogue 2078 is a tiered, off-the-shoulder dress for stretch knits:
More knit dresses from this collection can be seen in this photo by Oliviero Toscani, the photographer best known for his controversial Benetton ads:
2. Patrick Kelly Fall/Winter 1988-89 prêt-à-porter
Variations on the heart motif characterized Kelly’s Fall 1988 collection, entitled More Love; the collection was later included in “Heart Strings,” a touring fundraiser for the Design Industries Foundation Fighting AIDS (DIFFA). Vogue 2165 is a long-sleeved, colour-blocked dress with heart-shaped bodice:
A version with red contrast can be seen in Toscani’s ad campaign; the red bodice also appeared in the bridal look that closed the collection. Given the ‘love’ theme, it’s surprising that the red version was not photographed for the Vogue pattern:
Vogue 2304, a stretch-knit dress with Kelly’s trademark buttons applied in a rainbow triangle, is visible in the Toscani photo at the top of this post:
3. Patrick Kelly Spring/Summer 1989 prêt-à-porter
Having just been elected to the Chambre syndicale in June 1988, Kelly showed a Mona Lisa-themed collection for Spring 1989 in the courtyard of the Louvre. Vogue 2286 is a pattern for a full skirt, wide-legged pants, and a double-breasted top with notched shawl collar:
The red version of the top can be seen in this campaign photo by Oliviero Toscani:
4. Patrick Kelly Fall/Winter 1989 prêt-à-porter
Presented the year of the bicentenary of French Revolution, Kelly’s final collection was conceived as a celebration of France and America. Vogue 2385 is a shawl-effect dress designed for stretch knits; the contrast front inset extends into a shoulder drape. The illustration’s red drape version may be seen in Runway of Love:
The grey stripe version was featured in the Fall/Winter 1989 ad campaign:
Vogue 2556 is a button-studded ensemble consisting of jacket, skirt, and coat. The design requires forty-one buttons for the jacket alone:
The Vogue 2556 jacket and skirt were photographed for this Apollo Landing-themed campaign image:
A hot pink version, included in the Philadelphia exhibit, has a matching hat and cape, and rainbow buttons:
Despite covering only two years, the sewing patterns are an excellent sample of Kelly’s bold and playful work.
Patrick Kelly: Runway of Love runs through
November 30th, 2014. Update: show extended to December 7th, 2014.
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.
January 19, 2014 § 11 Comments
I had planned to make the dress in my default black, and had even bought some mesh for the contrast cowl neck. But when I started looking back over runway photos from Givenchy’s neo-noir Fall 1998 ready-to-wear collection, I was struck by the palette of neutrals, electric blue, and especially the combination of oxblood with red.
(There’s a blue version of the original sleeveless dress on eBay. The dress fabric is a nylon/acetate/elastane blend, with acetate lining, and the back zipper reaches all the way up through the cowl.)
I made View B, the sleeveless, mid-calf version, in oxblood with a red cowl neck. I hit Designer Fabrics and found some oxblood wool, red mesh for the contrast cowl, and Bemberg for the lining. The pattern recommends chiffon for the contrast, but I wanted to stick with the mesh used for the runway version. I was a little stumped as to interfacing for the contrast, and even bought some tomato red tricot to use before learning that the best interfacing for mesh is more mesh.
I wanted a close fit, so I ignored the sizing and went by the finished garment measurements printed on the pattern, including 1″ ease at bust and waist and a little more in the hips. I also lengthened the skirt by 1.5″ to achieve the correct length.
This was my first dart-fitted dress, and I had fun sewing my very first contour darts—eventually realizing the virtues of even a makeshift tailor’s ham. The cowl neck is cut on the bias, but this didn’t pose any problems, since the mesh handles much better than chiffon.
With the full lining and absolutely no stretch, the dress feels very old-fashioned to wear. One thing I misjudged was the bodice/cowl part of the bodice—I cut the right size in the bust, but didn’t distribute the extra waist length I was adding between the above-waist and shoulder areas, so it’s a bit on the high side and the cowl neck has a closer fit than in the runway photo. It would have been simpler to cut a size up and take the bodice in at the sides. The “interfaced” mesh is also a little bulky; the extra layer was probably unnecessary.
Since the Fall 1998 collection was inspired by Blade Runner, it seemed appropriate to take photos of the dress at the David Cronenberg: Evolution exhibition at TIFF Bell Lightbox. In the Interzone area, devoted to Naked Lunch (1991), visitors could have their photo taken with a Mugwump:
Naomi took some photos of me upstairs at an extension of the Cronenberg show called Body/Mind/Change (BMC). Visitors to the biotech facility BMC Labs can observe the production of personalized POD (Personal On-Demand) implants, which are held awaiting pickup by their hosts. The BMC Labs facility is still open if you’d like to create your own POD implant:
Here I am in the POD holding area:
A closer view of the mesh cowl neck:
The cowl fastens in the back with hooks and thread eyes:
The lab staff let me hold a brand-new red POD (rara avis—most are colourless):
We were delighted to find BMC Labs at the end of our visit: it was the perfect backdrop for the dress given McQueen’s futuristic, sci-fi inspiration for his collection for Givenchy. I’m crossing my fingers for a red POD of my own…