Mamma Mia: Designer Maternity Patterns
May 12, 2013 § Leave a Comment
Detail of Vogue 1689 (1995) Image via Etsy.
Last year, Peter of Male Pattern Boldness posted a general survey of vintage maternity patterns. Sewing patterns for designer maternity wear have a different history. In honour of Mother’s Day, here is a selection of designer maternity patterns from the ’70s to the ’90s.
The earliest patterns for designer maternity wear that I have seen are by Lady Madonna. (Yes, it’s named for the Beatles song.) A 1971 article in Time magazine, “Modern Living: Bellies Are Beautiful,” partly credits the Lady Madonna label with changing attitudes to maternity wear:
“Maternity clothes have always been designed like the Trojan horse: to hide, disguise and deceive. The wider the dress, the more pleats and folds, the less identifiable the condition—or so traditional pregnancy fashions would have it seem. Lately, however, the shape of things to come has undergone some happy alterations, supplanting voluminous tents and overhanging blouses with jumpsuits and knickers, low-cut evening gowns and even hot pants. Largely through the intervention of the Lady Madonna Maternity Boutique, women can now look great with child.”
Vogue Patterns released Lady Madonna patterns in the late 1970s. (The label later made the switch to Simplicity patterns.) Vogue 2157 is a long, Empire-waisted slip dress; the model is Pat McGuire:
Vogue 2157 by Lady Madonna (1979) Image via Etsy.
American designer Carol Horn also licensed some maternity designs to Vogue Patterns:
Vogue 2394 by Carol Horn (c. 1980) Image via the Vintage Patterns Wiki.
Vogue 2395 by Carol Horn (c. 1980) Image via the Vintage Patterns Wiki.
Around the same time, McCall’s had maternity patterns by Evelyn de Jonge, like this one for maternity separates:
McCall’s 7193 by Evelyn de Jonge (1980) Image via the Vintage Patterns Wiki.
As Peter points out, in the Eighties, even non-maternity styles could be roomy enough to be worn during pregnancy. Style patterns released a number of patterns by Jasper Conran, including this one for a maternity dress or tunic and skirt:
Style 4751 by Jasper Conran (1986) Image via Etsy.
In the early 1990s, Vogue Patterns had designer maternity patterns by Manola, an established New York maternity boutique. This Manola design uses front yokes to control the volume of the dress:
Vogue 1124 by Manola (1993) Image via Etsy.
Designer Lauren Sara already had some non-maternity patterns with Vogue Attitudes when she licensed her maternity line, M by Lauren Sara. This design for an evening-length dress includes a formal, strapless version:
Vogue 1689 by Lauren Sara (1995) Image via Etsy.
Like swimwear, a decade’s maternity wear reveals a lot about its attitudes to the female body. The absence of designer maternity patterns before the late 1970s seems telling. Yet today, Vogue Patterns has again phased out maternity designs…
Marc Jacobs for Perry Ellis: Vogue Patterns, Part 2
April 12, 2013 § 8 Comments
Marc Jacobs’ Spring/Summer 1993 ‘grunge’ collection for Perry Ellis was a succès de scandale, a landmark collection that got him fired and continues to provoke debate. (See my earlier Marc Jacobs for Perry Ellis post here.) Shown in November 1992, the collection was inspired by the music of Seattle bands like Nirvana and the layered, mismatched, thrift-store vintage look associated with the grunge scene in the Pacific Northwest.
Kurt Cobain performs in a vintage floral print, Amherst, 1990. Image via Malibu PR Gal.
At the time, Jacobs described his interpretation of grunge as “a hippied romantic version of punk.” The collection referenced grunge style with mixed floral and tartan prints and thermal layers, but translated them for the runway through play with luxurious materials: the flannels and thermals were sand-washed Italian silk and cashmere, worn with Doc Martens and specially-made duchesse satin Converse and Birkenstocks.
Model: Christie Turlington. Image via Corbis.
Models: Kristen McMenamy and Kate Moss. Image via Couture Culture.
In December 1992, Vogue magazine published “Grunge & Glory,” a Steven Meisel editorial styled by Grace Coddington and accompanied by an essay by Jonathan Poneman, cofounder of Sub Pop (the label that released Nirvana’s first album). The shoot included pieces by Anna Sui, Ralph Lauren, and several from Marc Jacobs’ grunge collection for Perry Ellis:
“Grunge & Glory.” Vogue, December 1992. On right: Kristen McMenamy in Perry Ellis by Marc Jacobs. Photo: Steven Meisel. Fashion editor: Grace Coddington. Image via Rag Pony.
And in case you thought the flow of influence between fashion and alternative culture was unidirectional, Sonic Youth’s video for “Sugar Kane” (dir. Nick Egan) was shot in the Perry Ellis showroom during the making of the grunge collection:
In early 1994, Vogue Patterns released two patterns for designs from Marc Jacobs’ grunge collection for Perry Ellis. Vogue 1335 is a pattern for bell bottoms and a jacket and cropped vest with butterfly appliqués:
Vogue 1335 by Marc Jacobs for Perry Ellis (1994) Jacket, vest, and pants.
Technical drawing for Vogue 1335
Here’s the envelope description: Misses’ jacket, vest & pants. Semi-fitted, lined, below hip jacket has notched collar, shoulder pads, flaps, upper and lower welt pockets, side back seams and long, two-piece sleeves with mock vent and button trim. Semi-fitted, lined, above waist vest has side panels, no side seams and welts. Both have purchased appliques. Bell-bottom pants have contour waistband and back zipper.
The Vogue 1335 ensemble was photographed for this 1993 press photo:
Jacket, vest, and pants by Marc Jacobs for Perry Ellis; DKNY high-tops. Detroit Free Press, March 1993. Photo: George Waldman.
The second pattern, Vogue 1304, is for a pair of long, lightweight dresses—a princess-seamed slip dress and an ankle-length, retro style with flounces and flutter sleeves:
Vogue 1304 by Marc Jacobs for Perry Ellis (1994) Image via PatternVault on Etsy.
Technical drawing for Vogue 1304
The envelope description reads: Misses’ dress. Loose fitting, flared, pullover dress A, ankle length has front button trim, side front and back seams, sleeve and hem flounces and above elbow sleeves. Fitted and flared dress B, above ankle, has shoulder straps, princess seams, side pockets and front button/loop closing. (Recommended fabrics include chiffon, georgette, and crepe de chine.)
The Vogue 1304 floral print dress was photographed with another dress in the same print by Patrick Demarchelier for Harper’s Bazaar. The models are Shalom Harlow and Susan Holmes:
“Garden Party.” Harper’s Bazaar, February 1993. Photo: Patrick Demarchelier. Image via noirfacade.
(Click the image for the full editorial. For Vogue Patterns magazine, the Vogue 1304 Perry Ellis grunge dresses were photographed with the similarly on-trend Vogue 1293 by DKNY.)
Shalom Harlow was also photographed by Bruce Weber in a similar, vintage-style Perry Ellis dress, in a cherry-and-butterfly print chiffon—this time with Flea, the bassist for the Red Hot Chili Peppers. Vogue called the dress “this season’s signature”:
“Traveling Light.” Vogue, April 1993. Photo: Bruce Weber. Image via Herringbone and Houndstooth.
The same black floral print was also used for a silk bikini top and shorts, as seen in a Vogue summer editorial photographed by Ellen von Unwerth:
“Beauty and the Beach,” Vogue, July 1993. Photo: Ellen von Unwerth. Fashion editor: Grace Coddington. Image via Herringbone and Houndstooth.
Years later, Jacobs spoke of being inspired by the energy of grunge after hearing Nirvana on the radio in Berlin, saying:
“I liked the idea of making some visual noise through clothing. I found a two-dollar flannel shirt on St. Mark’s Place and I sent it off to Italy and had it made into a $300-a-yard plaid silk. It was like the Elsa Perretti crystal tumbler at Tiffany that was inspired by a paper Dixie Cup. I love to take things that are everyday and comforting and make them into the most luxurious things in the world.”
(Source: Mary Clarke’s interview for Index magazine.)
It’s this effect of visual noise, of dissonance, achieved by Jacob’s high fashion take on street style that makes the Perry Ellis grunge collection so influential. There’s also something very ’90s-postmodern about reverse-faux—luxury materials mimicking their more affordable counterparts. Yet, according to Voguepedia, the grunge collection was never produced, making Vogue’s Perry Ellis patterns all the more interesting to lovers of ’90s fashion.
