Lanvin at 125: Marie-Blanche de Polignac

March 13, 2015 § 4 Comments

Lanvin's 1950s pattern, Vogue 1120, photographed by Richard Rutledge

Vogue 1120 by Lanvin, Vogue, October 1950. Photo: Richard Rutledge.

This week, the second post in my series on Lanvin sewing patterns. (See my post on Jeanne Lanvin’s interwar patterns here.)

Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.

1940s

From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:

1940s Lanvin dress pattern - Vogue 1052

Vogue 1052 by Lanvin (1949) Image via eBay.

Clifford Coffin photographed the dress in Paris for Vogue magazine:

Lanvin dress pattern photographed by Clifford Coffin for Vogue, March 1949

Lanvin pattern Vogue 1052 in Vogue, March 1949. Photo: Clifford Coffin.

According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):

1940s Lanvin strapless evening dress pattern - Vogue 1073

Vogue 1073 by Lanvin (1949) Image via flickr.

Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:

1940s Lanvin dress pattern - Vogue 1078

Vogue 1078 by Lanvin (1949) Image via eBay.

Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):

1940s dress patterns by Lanvin and Fath - Vogue 1078 and 1077 - photographed for Vogue by Richard Rutledge

Vogue Paris Originals 1078 and 1077 by Lanvin and Fath, Vogue, November 1949. Photo: Richard Rutledge.

Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:

1940s Lanvin dress pattern - Vogue 1064

Vogue 1064 by Lanvin (1949) Image via the Vintage Patterns Wiki.

The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):

Molyneux and Lanvin patterns photographed by Cecil Beaton for Vogue, 1949

Vogue Paris Originals 1058 and 1064 by Molyneux and Lanvin, Vogue, June 1949. Photo: Cecil Beaton.

1950s

Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:

1950s Lanvin suit and blouse pattern - Vogue 1104

Vogue 1104 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:

Bettina Graziani in Lanvin at Paris' Tuileries Metro station, 1950

Vogue 1104 by Lanvin, Vogue, May 1950. Model: Bettina. Photo: Norman Parkinson.

Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:

1950s Lanvin dress pattern - Vogue 1107

Vogue 1107 by Lanvin (1950) Image via the Vintage Patterns Wiki.

The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:

1950s Lanvin dress pattern - Vogue 1120

Vogue 1120 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:

1950s Lanvin dress pattern - Vogue 1122

Vogue 1122 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Instead of the envelope’s location shot, Vogue published a studio photo of the dress:

Lanvin dress pattern Vogue 1122 photographed for Vogue by Richard Rutledge, 1951

Vogue 1122 by Lanvin, Vogue, January 1951. Photo: Richard Rutledge.

Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:

1950s Lanvin pattern - Vogue 1139

Vogue 1139 by Lanvin (1951) Image via eBay.

Anne Gunning in Lanvin ensemble Vogue 1139 photographed by Henry Clarke

Vogue 1139 by Lanvin, Vogue, May 1951. Photo: Henry Clarke.

Next in the series: Antonio del Castillo’s Vogue Paris Originals.

Patterns in Vogue: Marisa Berenson by Guy Bourdin

March 8, 2015 § Leave a comment

Vogue 6916

Detail, Vogue, August 15, 1966. Photo: Guy Bourdin.

If you’re in London, you still have a week to see Guy Bourdin: Image Maker at Somerset House before it closes next Sunday.

Bourdin shot only one Vogue Patterns editorial that I know of: a two-page editorial for Vogue magazine in 1966. The young Marisa Berenson models a shift dress and tent coat made from a single pattern, Vogue 6916, accessorized with gloves, fishnet knee socks, and hat by Lilly Daché (click to enlarge):

Vogue 6916

Marisa Berenson wears Vogue 6916, Vogue, August 1966. Photos: Guy Bourdin.

As always, details could be found in the back of the magazine:

Back views of 1960s pattern Vogue 6916

Vogue 6916, Vogue, August 15, 1966.

British Vogue later published the same editorial with the layout reversed: see youthquakers.

For more posts in this series, click the Patterns in Vogue tag.

Rock the Caftan

February 21, 2015 § 11 Comments

Vogue 15 Sept 1963 Gres

“Arab déshabillé from Grès.” Vogue, September 1963. Photo: Irving Penn.

Caftans, long, loose-fitting tunics with origins in ancient Persia, have been gaining momentum as an alternative to more structured formal dress. With any luck, there will be some caftans among the goddess gowns at tomorrow’s Academy Awards ceremony.

They say Tsarina Alexandra was the first westerner to make a fashion statement in a caftan, when she dressed as a seventeenth-century Tsarina for a costume ball in 1903. Paul Poiret also advanced the caftan cause, but it was not until the 1950s that the garment really began to influence western fashion. Here’s a look at caftan patterns from the 1950s to now.

Tsarina Alexandra Feodorovna as the 17th-century Tsarina Maria Ilyinichna. From the album of the February 1903 fancy dress ball at the Winter Palace. Image via the Hermitage Amsterdam.

Tsarina Alexandra’s Tsarina Maria Ilyinichna masquerade costume. Image via the Hermitage Amsterdam.

1950s

In the mid-1950s, Christian Dior and Cristóbal Balenciaga’s experiments with silhouette were partly inspired by eastern traditional dress. Dior’s Fall 1955 couture collection (Y line) included caftan-inspired ensembles—coats with high, side-front slits that reveal a slim dress underneath:

1950s Gruau illustration on the cover of Vogue Paris

A Dior caftan design on the cover of Vogue Paris, September 1, 1955. Illustration: Gruau. Image via Librairie Diktats.

1950s Dior caftan-inspired designs in L'Officiel

Three designs from Christian Dior’s Fall 1955 haute couture collection. L’Officiel, September and October 1955. Photos: Pottier. Images via jalougallery.com.

You can see echoes of the Dior caftan look in contemporary sewing patterns like McCall’s 3525 and 3532, both from late 1955:

1950s dress and unlined coat pattern - McCalls 3525

McCall’s 3525 (1955) Image via Etsy.

McCall’s 3532, called a “slim caftan-and-dress ensemble,” was featured on the cover of McCall’s news leaflet and in the company’s “Make the Clothes that Make the Woman” advertising campaign.  According to the ad, the design is ideal for the season’s “Oriental” fabrics, such as silk twill and raw silk tussah:

McCalls March 1956 3532

McCall’s news, March 1956. Image via eBay.

McCalls ad 1956

“Make the clothes that ‘make’ the woman”: McCall’s printed patterns ad, 1956. Model: Sunny Harnett; hat by Adolfo of Emme. Image via eBay.

A Vogue version of the Dior caftan ensemble, Vogue 8759, is available as a reproduction from EvaDress.

1960s

Caftans became popular in the 1960s in tandem with the increasing interest in eastern cultures. The Madame Grès version at the top of this post is cut on the bias, producing geometric seaming detail. The caption reads, “Coup of bias-work by Grès—because this piecing-together of bias angles is sinuous, stark, ravishingly Moroccan.”

This dress from Jean Patou by Michel Goma, Vogue 1699, has what the envelope calls a “caftan neckline.” The model is Beate Schulz:

1960s Patou caftan dress pattern - Vogue 1699

Vogue 1699 by Patou (1967) Model: Beate Schulz. Image via the Vintage Patterns Wiki.

This circa 1968 Vogue caftan pattern has optional flexible trim:

Vogue 7497

Vogue 7497 (ca. 1968) Image via Etsy.

Other patterns from the late 1960s and early 1970s also reference eastern dress. From 1967, McCall’s 9026 is labelled as an abba in two lengths. Abba is an alternate spelling of aba, commonly abaya: a traditional Arab garment, long, loose-fitting, sleeveless, and made from a single rectangle of fabric. (Today, caftans often function as abayat.) The model is Veronica Hamel:

1960s abayat pattern - McCalls 9026

McCall’s 9026 (1967) Model: Veronica Hamel. Image via Etsy.

Burnoose patterns were marketed as resort wear. A pompom-trimmed version of McCall’s 2377 was photographed for the cover of McCall’s Summer 1970 catalogue:

1970s burnoose pattern - McCall's 2377

McCall’s 2377 (1970) Image via the Vintage Patterns Wiki.

Marola Witt models Simplicity’s burnoose in the July 1967 issue of Simplicity Fashion News (thanks to Mary of PatternGate for the reference). The text promotes the design’s ‘Arabian’ exoticism: “be exotic in a JIFFY: … the burnoose, born in Arabia, brought up to date here”:

“Be exotic in a JIFFY.” Marola Witt models Simplicity 7173 in Simplicity Fashion News, July 1967. Image via Etsy.

1970s

This Halston caftan pattern from McCall’s also includes a top and pants (you can buy yourself a copy from the shop):

1970s Halston caftan, top, and pants pattern - McCall's 3590

McCall’s 3590 by Halston (1973)

This flowing Dior caftan, modelled by Billie Blair, has lots of neckline detail, full-length sleeve openings, and pockets:

Vogue 1346

Vogue 1346 by Christian Dior (1975) Model: Billie Blair. Image via Etsy.

Vogue 1515 by Nina Ricci is a caftan that’s open in front and attached at the neckline to a handkerchief-hemmed underdress:

1970s Nina Ricci caftan pattern - Vogue 1515

Vogue 1515 by Nina Ricci (1976)

1980s

It’s harder to find post-1970s designer caftan patterns. This wide-sleeved, Oscar de la Renta caftan is trimmed with contrast bands. When worn, the side seams swing forward to raise the hemline in front:

1980s Oscar de la Renta caftan pattern - Vogue 1027

Vogue 1027 by Oscar de la Renta (ca. 1983) Model: Alva Chinn.

1990s

From Issey Miyake, Vogue 2315 is a caftan-inspired summer dress:

1990s Issey Miyake dress pattern - Vogue 2315

Vogue 2315 by Issey Miyake (1999) Image via Etsy.

2000s

Caftan patterns started making a comeback (of sorts) in 2009. Simplicity 2584, a caftan-inspired tunic by Cynthia Rowley, is out of print but still in demand:

Cynthia Rowley dress or tunic pattern - Simplicity 2594

Simplicity 2584 by Cynthia Rowley (2009) Image via Etsy.

Ralph Rucci’s floor-length caftan, Vogue 1181 (now out of print), has an abaya silhouette and interesting construction details—overarm darts, shaped lower sections, and a hook and eye above the low neckline:

Chado Ralph Rucci caftan pattern - Vogue 1181

Vogue 1181 by Chado Ralph Rucci (2010)

The design is from Chado Ralph Rucci Resort 2009:

Rucci Resort 2009 caftans

Two caftans from the Chado Ralph Rucci Resort 2009 collection. Model: Alexandra T. Images via style.com.

Matthew Williamson’s short caftan, available as a free pattern from the Guardian, is also a 2009 design:

A caftan look from Matthew Williamson’s Spring 2009 collection. Photo: Jason Hetherington. Image via the Guardian.

And Heather Lou’s printed chiffon caftan is a Fashion Star pattern by Nikki Poulos, McCall’s 6552 (now out of print):

Nikki Poulos caftan pattern - McCall's 6552

McCall’s 6552 by Nikki Poulos (2012) Image via Etsy.

Would you sew a caftan?

Schuss! Vintage Skiwear Patterns

February 11, 2015 § 5 Comments

Couverture ski - Vogue Paris décembre 1951 janvier 1952

Vogue Paris, December 1951-January 1952. Image via Etsy.

Winter carnival festivities are underway at Winterlude and the Carnaval de Québec. Here’s a look at vintage skiwear patterns—perfect for hitting the slopes, sleigh racing, or snow golf.

1960s ski resort fashions in The Pink Panther

Fran Jeffries and other spectators at Cortina d’Ampezzo in The Pink Panther (1963).

1920s

The first Winter Olympics in 1924 contributed to the growing popularity of skiing, which had been around since the late nineteenth century. I have not yet seen any 1920s skiwear patterns, but contemporary magazine covers attest to the sport’s fashionability. Helen Dryden illustrated this ski-themed cover for Delineator magazine:

1920s ski illustration by Helen Dryden for the cover of Delineator magazine

Delineator, January 1928. Illustration: Helen Dryden. Image via EasyArt.

The following winter, Jean Pagès illustrated a ski scene for the cover of Vogue’s holiday issue:

1920s ski illustration by Jean Pagès for the cover of Vogue magazine

Vogue, December 22, 1928. Illustration: Jean Pagès. Image via Condé Nast.

1930s

This McCall skiwear pattern for ski jacket, pants, and separate hood dates to winter 1932-33. The catalogue text reads, “The hood fits cozily about the throat. The jacket gains freedom through two pleats in the back”:

A 1930s skiwear illustration - McCall 7195

Skiwear illustration in McCall Fashion Book, Spring 1933.

McCall 7195 was also illustrated on the cover of the McCall Style News for January 1933:

1930s skiwear illustration - McCall Style News January 1933

McCall Style News, January 1933. Image via Etsy.

The 1936 Winter Games were the first to include Alpine skiing, and we see an increase in skiwear patterns from the mid-1930s. (Before 1936, Olympic ski events were limited to Nordic, or cross-country, skiing and ski jumping.) A page in the December 1936 issue of Butterick Fashion News shows women’s and children’s patterns for winter sports, complete with fabric recommendations—wool, suede cloth, snow cloth, and corduroy. The patterns are Butterick 7033, 5927, and 7062 (click to enlarge):

1930s winter sports illustration - Butterick Fashion News December 1936

“Wear ski clothes for all outdoor sports.” Butterick Fashion News, December 1936.

EvaDress has a reproduction of a 1930s snow suit pattern, Hollywood 1236. (The original is a Ruby Keeler pattern.)

1940s

The cover of Butterick Fashion News for February 1940 shows an alpine chalet scene featuring a ski suit pattern, Butterick 8793. The text inside reads, “Snow fun in a ski suit… When you zip off the reversible jacket, your monogrammed suspenders will be muchly admired.” (More scans at witness2fashion.) The pattern calls for snow cloth with poplin lining:

1940s ski resort illustration - Butterick Fashion News February 1940

Butterick Fashion News, February 1940. Image via witness2fashion.

A copy of Butterick 8793 is found in the Commercial Pattern Archive, where it is dated to 1939. The pattern includes the cap:

Late 1930s ski suit pattern - Butterick 8793

Butterick 8793 (1939) Image via the Commercial Pattern Archive. For research purposes only.

Postwar skiwear retained the slimmer silhouette that had been prompted by wartime fabric rationing. From 1946, Butterick 3985 is a ski suit with jaunty cropped jacket and detachable hood:

1940s ski suit pattern - Butterick 3985

Butterick 3985 (1946). Image via vintage4me2 on eBay.

1950s

From the later 1950s, Vogue 9332 is a ski suit consisting of hooded overblouse and slim stirrup pants, for flannel, worsted, gabardine, alpaca, and poplin. I plan to make this one up for après-ski purposes:

1950s skiwear pattern - Vogue 9332

Vogue 9332 (1957) Image via the Vintage Patterns Wiki.

McCall’s 4788 is a ski jacket with drawstring hem, stirrup pants, and separate hood. Recommended fabrics are corduroy, poplin, serge, jersey, and twill:

1950s ski suit and hood pattern - McCall's 4788

McCall’s 4788 (1958) Image via the Vintage Patterns Wiki.

Unfortunately, no-one seems to have licensed Emilio Pucci skiwear patterns. This British Vogue cover features a Pucci ski ensemble:

Vernier photo of a 1950s Pucci ski suit on the cover of British Vogue

A ski suit by Emilio Pucci, British Vogue, January 1959. Photo: Vernier. Image via Vogue UK.

1960s

The only 1960s skiwear pattern I’ve seen is Vogue 6044, a hooded parka and slim stirrup pants for stretch fabrics. The envelope back notes that, for the view A parka, allowance has been made for quilting narrow fabrics. The fur cloth version is a fun alternative:

1960s ski suit pattern - Vogue 6044

Vogue 6044 (ca. 1963) Image via the Vintage Patterns Wiki.

1970s

From Daniel Hechter, Butterick 4370 is a designer ski suit consisting of straight leg pants and a belted jacket with drawstring hood. The fabric recommendations range from pinwale corduroy and double knits to synthetic leather and suede:

1970s ski suit pattern - Butterick Young Designer 4370

Butterick 4370 by Daniel Hechter (ca. 1976) Image via Etsy.

Butterick also had two his and hers skiwear patterns, Butterick 5110/5111, a jacket or sleeveless jacket and jumpsuit (really overalls) for water repellent, quilted fabrics. The jacket and overalls have elasticized snow guards at the wrists and ankles and contrast yokes and front bands in poplin or ciré:

1970s men's skiwear pattern - Butterick 5111

Butterick 5111 (ca. 1977) Image via the Vintage Patterns Wiki.

1980s

From 1980, Simplicity 9785 includes overalls in full or knicker length, a ski jacket with detachable sleeves, and legwarmers—all for quilted, double-faced, water-resistant fabrics:

1980s skiwear pattern - Simplicity 9785

Simplicity 9785 (1980) Image via Etsy.

I’ll close with this mid-1980s, ski-themed Vogue Knitting cover:

1980s Nordic ski sweater on the cover of Vogue Knitting magazine

Vogue Knitting magazine, Fall/Winter 1985. Image via eBay.

For more on the history of skiwear, see Lizzie Bramlett’s post, A Short History of Ski Clothing, or the recent Guardian gallery.

John Galliano Patterns: Roundup

January 12, 2015 § 3 Comments

Maison Martin Margiela Spring 2015 couture by John Galliano

The closing look from John Galliano’s Maison Martin Margiela Spring 2015 couture collection. Image via style.com.

Today John Galliano presented his first collection as creative director at Maison Martin Margiela: the Spring/Summer 2015 couture. It was the first time Margiela showed in London; the collection will also be viewable by appointment during Paris couture week. (See Suzy Menkes, “Galliano for Maison Martin Margiela” and Melanie Rickie, “John Galliano: penitent return of an enfant terrible.”)

The show comes four years after Galliano’s last runway presentation. It’s been nineteen years since his first couture collection, for the house of Givenchy in January, 1996.

vogue paris mars 1996

Shalom Harlow in Givenchy Haute Couture by John Galliano, Vogue Paris, March 1996. Photo: Mario Testino. Image via Vogue Paris.

To celebrate the designer’s return, here’s a roundup of my posts on sewing patterns by John Galliano, both for Givenchy and his own label:

1990s Vogue Patterns by John Galliano for Givenchy: 1887, 1889, 1978, 2061

.GallianoFW2001_look35Galliano_SHOWstudio_FW2001

For a retrospective look at Galliano’s career, see this Vanity Fair slideshow or British Vogue’s editorial gallery.

Patterns in Vogue: Striking Gold

December 24, 2014 § 2 Comments

Vogue Nov1979 Turbeville detail

Detail, Vogue, November 1979. Photo: Deborah Turbeville.

“Striking Gold,” a 1979 editorial by the late Deborah Turbeville, includes a two-page Vogue Patterns spread that has a festive sparkle.

Turbeville’s photo shows four seated models dressed in shimmery charmeuse and lamé; two wear off-the-rack clothing. The two featured patterns (at centre and far right) were made up in gold-pistachio lamé from Bloomingdale’s (click to enlarge):

Striking Gold: Vogue Patterns photographed in gold-pistachio lamé by Deborah Turbeville, 1979

Striking Gold: Vogue Patterns. Vogue, November 1979. Photo: Deborah Turbeville.

The patterns are Vogue 2105 by Christian Dior and Very Easy Vogue 2182 by Oscar de la Renta.

You can see the rest of the shoot at Sighs and Whispers (larger scans at the Fashion Spot).

Happy holidays, everyone!

Yves Saint Laurent for Dior: Vogue Patterns

December 17, 2014 § 7 Comments

Isabella Albonico photographed by Leombruno-Bodi in Dior pattern 1471 for Vogue, January 1st, 1960

Detail of Vogue 1471 by Yves Saint Laurent for Christian Dior, Vogue, January 1, 1960. Photo: Leombruno-Bodi.

For Paco Peralta.

Before Vogue Patterns introduced Yves Saint Laurent with patterns from the Mondrian collection, the company had already licensed the designer’s work for the house of Dior. (Read more at the Fondation Pierre Bergé – Yves Saint Laurent, or see Dustin’s post here.)

Yves Saint Laurent was appointed head designer at Dior after Christian Dior’s death in 1957. Dior had been his mentor; in 1955 he hired Saint Laurent to work at his new boutique, later promoting him to accessories and couture. Richard Avedon’s famous Dovima with Elephants shows a velvet evening dress designed by Yves Saint Laurent while he was still assistant designer:

Avedon's Dovima with Elephants and YSL sketch for Dior, 1955

Richard Avedon, Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, 1955, and sketch by Yves Saint Laurent.

(Images via Enticing the Light and Encore! Life.)

Saint Laurent’s first collection for Dior, Trapèze (Spring 1958 haute couture), was a huge success, and his later work at the house continued its play with proportion. L’Officiel’s spring preview issue for 1958 featured an illustration of a Dior trapeze dress by René Gruau:

L'Officiel mars 1958: Gruau illustration of a black Dior trapeze dress

Christian Dior trapeze dress on the cover of L’Officiel, March 1958. Illustration: René Gruau. Image via jalougallery.com.

The young Yves Saint Laurent designed six haute couture collections for Dior; Vogue’s licensing represents his last three collections for the house, from 1959 to 1960.

Christian Dior label, fall-winter 1959 at the Metropolitan Museum of Art

Christian Dior label, automne-hiver 1959. Image via the Metropolitan Museum of Art.

1. Christian Dior Haute Couture Fall/Winter 1959

Saint Laurent’s second Fall/Winter couture collection for Dior was controversial; L’Officiel declared its aesthetic “femininity pushed to the extreme.” Suits were shown with severely cropped jackets, and the skirt silhouettes included voluminous tiers and hobble skirts.

The first Dior patterns were promoted with illustrations by Esther Larson in the late 1959 issues of Vogue Pattern Book and Vogue Printed Pattern News (thanks to the White Cabinet for the ID):

Vogue 1472 on the cover of Vogue Pattern news for December 15th, 1959

Vogue Printed Pattern News, December 15, 1959. Illustration: Esther Larson.

Anticipating demand for this high-profile addition to Vogue’s designer patterns, Vogue Pattern Book noted that the new patterns would be available in stores after November 10th:

Dior patterns in Vogue Pattern Book, December 1959-January 1960. Illustrations: Esther Larson. Image via Make Mine Vogue.

The first Dior patterns were photographed by Joseph Leombruno and Jack Bodi, the couple who worked as Leombruno-Bodi. In Vogue magazine’s first issue for 1960, Isabella Albonico modelled the two dress ensembles, Vogue 1471 and 1470:

For the first time Vogue patterns from designs by Dior. Vogue 1 Jan 1960

Vogue patterns from designs by Dior, Vogue, January 1, 1960. Photos: Leombruno-Bodi.

Leombruno-Bodi also photographed the new Dior patterns for Ladies’ Home Journal. The accompanying text for Vogue 1470 suggests that the hobble skirt silhouette was considered extreme: “Dior’s famous ‘hobble’ skirt makes a charming mid-season costume … The pattern also includes details on how to make the dress without the band at the bottom of the skirt for less extreme effect.” The model on the left is Anne St. Marie (click to enlarge):

Nora O'Leary, "Christian Dior: Yours for the Making," with hats by Vincent-Harmik, Maria Pia, and John Frederics - Ladies' Home Journal Jan 1960

Nora O’Leary, “Christian Dior: Yours for the Making,” Ladies’ Home Journal, January 1960. Photos: Leombruno-Bodi. Image via the Internet Archive.

Vogue 1470 is a striking dress and jacket ensemble. The short jacket has three-quarter sleeves and bow trim at the waist, while the dress has short sleeves, low V-neckline, and the collection’s distinctive pouf-hobble skirt banded at the knee. The original was navy tweed:

1950s Christian Dior dress and jacket pattern - Vogue 1470

Vogue 1470 by Yves Saint Laurent for Christian Dior (1959) Dress and jacket.

Here’s the envelope description: One piece dress and jacket. Skirt, with or without puffed tunic, joins the bodice at the waistline. Wide V neck-line with band finish. Short kimono sleeves. Short fitted jacket, joined to waistband, has concealed fastening below notched collar; below elbow length sleeves. Novelty belt.

Vogue 1471 is a close-fitting, double-breasted jacket with matching dress. The original was black-and-white tweed:

1950s Christian Dior dress and jacket pattern - Vogue 1471

Vogue 1471 by Yves Saint Laurent for Christian Dior (1959) Image via Make Mine Vogue.

The envelope description reads: One piece dress and jacket. Flared skirt joins the bodice at the waist-line. Single button closing below the wide V neck-line with extension band finish. Above elbow length and short sleeves. Double breasted jacket has notched collar and below elbow length sleeves. Novelty belt for version A.

Vogue 1472 seems to have been the most popular of the three patterns. The voluminous coat and skirt suit were modelled by Nena von Schlebrügge:

1950s Christian Dior coat and suit pattern - Vogue 1472

Vogue 1472 by Yves Saint Laurent for Christian Dior (1959) Image via the Vintage Patterns Wiki.

Here’s the envelope description: Coat, suit and scarf. Double-breasted hip length jacket has a notched collar and below elbow length sleeves with buttoned vents. Slim skirt. Double-breasted, full coat in two lengths has a large shaped collar. Concealed pocket in side seams. Below elbow length sleeves joined to dropped shoulder armholes. Straight scarf.

In the next issue of Vogue Pattern Book, the Vogue 1472 coat is called “the newsmaking original Dior coat that tops the suit… Note the extras here: the enormous buttons, the slashed side seams, the stitched collar, the scarf to match. Your own extra: a towering cloche of the checked fabric”:

Photo of Nena von Schlebrügge in Vogue 1472 in Vogue Pattern Book Feb/Mar 1960

Vogue 1472 in Vogue Pattern Book, February/March 1960. Image via eBay.

2. Christian Dior Haute Couture Spring/Summer 1960

Saint Laurent’s Spring 1960 collection for Dior was characterized by rounded silhouettes and vibrant colour. L’Officiel noted its straight suits with jackets cut on the bias to achieve the suppleness of a knitted cardigan.

Vogue 1012, introduced in the August/September 1960 issue of Vogue Pattern Book, includes a collarless, single-breasted skirt suit and sleeveless blouse with crisscross back. The jacket in view A is cut on the bias:

1960s Christian Dior suit and blouse pattern - Vogue 1012

Vogue 1012 by Yves Saint Laurent for Christian Dior (1960) Image via the Vintage Patterns Wiki.

The envelope description reads: Suit and blouse. Short, straight jacket buttons below collarless away from normal neck-line. Welt pockets. Below elbow length kimono sleeves. Skirt has soft gathers from very shallow yoke. Easy fitting overblouse has shoulder straps crisscrossed at back.

This suit is similar to Vogue 1012, but has a more conventional button front:

L'Officiel 457-58 Dior

Christian Dior’s pared-down suit, L’Officiel, April 1960. Photo: Philippe Pottier. Image via jalougallery.com.

These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:

L'Officiel 455-56 Dior Arsac

“Boule” coat by Christian Dior, L’Officiel, March 1960. Photo: Guy Arsac. Image via jalougallery.com.

LOfficiel 457-58 Diorb

Silk dress by Christian Dior, L’Officiel, April 1960. Photo: Guy Arsac. Image via jalougallery.com.

3. Christian Dior Haute Couture Fall/Winter 1960

Yves Saint Laurent’s controversial final collection for Dior, le Beat look, was inspired by Left Bank icon Juliette Gréco and the Beatniks of Saint-Germain-des-Prés. It was innovative for its infusion of youthful, bohemian street style into the couture, with Beat elements including leather jackets, knitted turtlenecks, and plenty of black.

Vogue produced two patterns from this collection, drawn from the more conventional designs. Vogue 1041 is a skirt suit and matching, loose coat with a big standing collar and side slits:

1960s Christian Dior suit and coat pattern - Vogue 1041

Vogue 1041 by Christian Dior (1960) Image via the Vintage Patterns Wiki.

Here’s the envelope description: Suit and coat. Easy fitting jacket has high buttoned closing below neck-band. Vent opening in side front seams. Bracelet length and elbow length sleeves. Slightly gathered skirt has outside stitched front panel concealing pockets. Seven eighths length loose coat has opening in side seams. Away-from-neck-line standing neck-band. Bracelet length kimono sleeves.

Philippe Pottier photographed the purple coat ensemble for L’Officiel‘s winter collections issue:

Christian Dior tweed ensemble photographed by Philippe Pottier for L'Officiel octobre 1960

Christian Dior tweed ensemble, L’Officiel, October 1960. Photo: Philippe Pottier. Image via jalougallery.com

Vogue 1041 was photographed for Vogue magazine by Henry Clarke:

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1041 by Dior photographed by Henry Clarke - Vogue Nov 15th, 1960

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1049 is a skirt suit and sleeveless overblouse. The blouse is worn over a barrel skirt with attached underbodice for a dropped-waist effect. The jacket of view A is designed to be worn open:

1960s Christian Dior suit pattern - Vogue 1049

Vogue 1049 by Yves Saint Laurent for Christian Dior (1961) Image via Etsy.

The envelope description reads: Suit and blouse. Box jacket has cut away fronts and simulated buttoned closing or complete buttoned closing, below standing band collar. Easy fitting overblouse with optional tied belt has bateau neck-line. Above elbow length sleeves and sleeveless. Slightly barrelled shaped skirt attached to bodice.

The dotted black ensemble in duchesse velvet was photographed for this Chatillon Mouly Roussel advertisement in L’Officiel:

Ensemble de Christian Dior en duchesse velours de Chatillon Mouly Roussel

Chatillon Mouly Roussel ad showing an ensemble by Christian Dior, L’Officiel, October 1960. Image via jalougallery.com.

I also found the black suit in a later L’Officiel composite:

A Dior suit by Yves Saint Laurent - Dior 1000modèles Beat

A Dior suit by Yves Saint Laurent, L’Officiel 1000 modèles no. 81 (2007). Image via jalougallery.com.

These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:

Dorothea McGowan and Sara Thom in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan and Sara Thom in Dior, with Little Bara. Vogue, September 1960. William Klein. Image via Pleasurephoto.

Dorothea McGowan in Dior, with Little Bara, photographed for Vogue by WIlliam Klein

Dorothea McGowan in Christian Dior. Vogue, September 1960. Photo: William Klein. Image via the Fashion Spot.

For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.

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