Lady Gaga in Marc Jacobs’ grunge reissue, Elle, November 2018. Photo: Ruth Hogben and Andrea Gelardin. Editor: Nicola Formichetti. Image: Marc Jacobs via Twitter.
Grunge is back. Marc Jacobs has reissued looks from his Spring 1993 “grunge” collection for Perry Ellis as Redux Grunge.
Illustration by Gladys Perint Palmer in L’Officiel, February 1993. Image: editionsjalou.com.
Juergen Teller’s ad campaign shows Jacobs’ iconic grunge pieces, resurrected from vintage and available exclusively from the designer’s website.
Marc Jacobs Redux Grunge campaign by Juergen Teller. Image: Marc Jacobs.
I wrote about Vogue’s two grunge Perry Ellis patterns back in 2013, as part of my series on early Marc Jacobs.
Now that Vogue has posted the entire collection online, we can ID the other dress. The button-front slip dress was originally worn layered, Seattle-style.
Nadja Auermann in Perry Ellis Spring 1993 by Marc Jacobs. Image: Vogue Runway.Naomi Campbell in Perry Ellis Spring 1993 by Marc Jacobs. Image: Vogue Runway.
None of the three pattern looks is part of the reissue, but the short version of the maxi dress—worn by Carla Bruni in 1992—can be seen on Lili Sumner in Teller’s campaign. (There’s also a new, flower chain print version of the ’90s floral dress.) As the web store notes, the dress was inspired by 1930s nightgowns. Just shorten V1304 to sew the look.
Carla Bruni in Perry Ellis Spring 1993 by Marc Jacobs. Image: Vogue Runway.Lili Sumner in Marc Jacob’s Redux Grunge collection. Photo: Juergen Teller. Image: Marc Jacobs via Twitter.
Women in uniform on the cover of The Delineator, November 1918. Image: eBay.
This Sunday is the centenary of the Armistice of 1918, marking the end of World War I.
On the November 1918 Delineator cover shown above, two women wear military uniforms that could be sewn from a Butterick pattern. (Also pictured in the late Joy Emery’s book. Look inside the issue here.) Click the images below for my 1914 centenary post, Patterns for the Great War, and other patterns for war work.
Responding to the Country’s Call, McCall’s magazine, July 1917. Image: eBay.
Wartime skating in an aviation cap (left). McCall Fashions for January 1918.
Google doodle celebrating Eiko Ishioka, 2017. Image: Google.
In memory of Eiko Ishioka, who would have been 80 this year, a look at costume patterns based on her work.
Eiko on Stage (Callaway, 2000) Image: abebooks.
Eiko Ishioka (1938-2012) is best known as the costume designer for The Cell and Bram Stoker’s Dracula, for which she won an Academy Award in 1993. Her last film project was Tarsem Singh’s Mirror Mirror, starring Julia Roberts and Lily Collins.
Poster for Mirror, Mirror (2012). Image: IMdB.
McCall’s and Simplicity both released patterns based on the film. McCall’s 6629 came in adult and children’s sizes. (Out of print, but details still on the Cosplay by McCall’s site.)
McCall’s 6629 / 240 (2012) Image: Etsy.
On the left—view D with collar E and feathered backpiece F—is Julia Roberts’ wicked queen. Ishioka’s original gown has panniers and miles of cartridge pleating:
View B (top right) is clearly Lily Collins’ Snow White, but so is view A. It’s the dress with floral basque and skirt, seen early in the film, which Ishioka topped with one of the most memorable capes in cinema.
The Costume Designers’ Guild gave Ishioka a posthumous award for Mirror Mirror. (For more on the production, see Wired.) And since her on-screen version, all yellow capes seem to point back to Snow White’s.
Claire (Caitriona Balfe) in Outlander, season 2 (2016). Image: Starz / Life According to Jamie.
Alberta Ferretti coat, Fall 2017. Images: Moda Operandi.
A look from Cynthia Rowley Fall 2017. Photo: William Eadon. Image: Vogue Runway.
The new designer patterns for Winter/Holiday 2018 amp up the drama with sparkle and embellishment.
Vogue’s designer cover looks are by Badgley Mischka. Gracing both catalogue and magazine covers is Nadja Giramata, a Rwandan-French model represented by Elite New York.
Here and on the retail catalogue cover, she wears Badgley Mischka’s strapless popover gown with back detail. The original is stretch crepe with velvet ribbon.
Vogue 1604 by Badgley Mischka (2018) Image: McCall’s.
The popover gown is from Badgley Mischka’s Fall 2017 collection, which was inspired by the women of the interwar period.
A look from Badgley Mischka’s Fall 2017 collection. Image: Vogue Runway.
Other versions of the gown omit the grommets and embellish the flounce with lace or appliqué. The white dress is cocktail length:
Guipure lace and appliqué details on two dresses from Badgley Mischka. Images: The Outnet.
The second Badgley Mischka pattern is a top and skirt ensemble with pearl-embellished cuffs.
Nadja Giramata in V1605 by Badgley Mischka, Vogue Patterns, December/January 2018-19. Photo: Jack Deutsch. Image: McCall’s.
The designers used stretch velvet for the top and a lustrous satin for the draped evening skirt with bow accent.
Vogue 1605 by Badgley Mischka (2018) Image: McCall’s.
Photographer Jack Deutsch shared another shot of the ensemble on Instagram.
Ana Kondratjeva in Vogue 1605 by Badgley Mischka, 2018. Photo: Jack Deutsch via Instagram.
Combine the two looks and you get this current-season design:
New from Paco Peralta: a three-quarter sleeved top and high-waisted skirt, shown in brown, sequinned tweed. The sculpted shapes reference early Pierre Cardin.
Vogue 1602 by Paco Peralta (2018) Image: McCall’s.
Look closely and you’ll see that all the side seams line up. This drawing shows an earlier version, without the princess seams:
From Sharon Lombardo for Anne Klein, an open-front tuxedo jacket and skinny stretch pants. The originals were crepe and ponte knit.
Vogue 1606 by Anne Klein (2018) Image: McCall’s.
The minimalist jacket was available in colours including claret, bright red, and basic black. Here’s a similar stitched shawl collar as seen in the Spring 2016 campaign.
Vivien Solari in Anne Klein’s Spring 2016 ad campaign. Photo: Nathaniel Goldberg. Editor: Laura Ferrara. Image: Instagram.
Simplicity’s latest Cynthia Rowley design is a bell-sleeved dress with whimsical appliqués. The pattern also includes a top.
Simplicity 8733 by Cynthia Rowley (2018) Image: Simplicity.
The Rowley original is wool with metallic leather appliqués. William Eadon photographed it against a giant satin bow for the seasonal lookbook (at top of post).
Cynthia Rowley dress with appliqué detail, Fall 2017. Images: Moda Operandi.
The rose appliqués made other appearances in the collection: on a jumper and wide-leg trousers.
Cynthia Rowley Fall 2017. Photo: William Eadon. Image: vogue.com.
Bonus: From Vogue’s Fall release, a version of Alberta Ferretti’s Venetian coat:
Very Easy Vogue 9340 after Alberta Ferretti (2018) Image: McCall’s.
The version shown in Milan was midi length (view C) in unlined, mustard cashmere.
Yoon Young Bae in Alberta Ferretti FW 2017. Image: Vogue Runway.
The pattern’s centre-seam hood is adapted from the original.
Alberta Ferretti hooded bow tie coat, Fall 2017. Images: Moda Operandi.
The coat features in Tim Walker’s ad campaign, which was styled by none other than Carine Roitfeld, the former editor of Vogue Paris.
Lexi Boling in Alberta Ferretti’s Fall 2017 ad campaign. Photo: Tim Walker. Editor: Carine Roitfeld. Image: Alberta Ferretti.
Hack the pattern for a hooded cape—in opulent velvet for festive soirées:
Lineisy Montero, Lexi Boling, and Kiki Willems in Alberta Ferretti’s Fall 2017 ad campaign. Photo: Tim Walker. Editor: Carine Roitfeld. Image: Alberta Ferretti.
Anne St. Marie in McCall’s 3793, McCall’s Pattern Book, Fall 1956. Photo: The Dodenhoffs.
There are only two weekends left to catch Balenciaga: Master of Couture at the McCord Museum. Anne St. Marie’s look (above) was inspired by Balenciaga.
From the inside note: “The new straight-coat fashion favored by Balenciaga, fall and winter coverage for its own sheath dress and everything else in your wardrobe. In colorful Anglo tweed and coordinated red wool, interfaced with Armo hair canvas to hold its line. Earl-Glo Sanitized taffeta lining; B.G.E. buttons. Emme hat; Mark Cross bag; Superb gloves.”
Tania Mallet wears Mary Quant (hat by James Wedge) on the cover of British Vogue, October 1, 1963. Photo: Brian Duffy. Image: eBay.
Nothing says Swinging London like Mary Quant. The pioneer of the Chelsea Look will receive a major retrospective at the Victoria and Albert Museum in 2019. (An earlier exhibit, Manchester Art Gallery’s Mary Quant: Fashion Icon, had to close early due to conservation issues.)
Mary Quant sketch, ca. 1967. Image: V&A.
The V&A is seeking vintage Quant for the show, including garments — or even photos of garments — made with Mary Quant patterns. See here for more details, or email the curators at maryquant@vam.ac.uk.Update: submissions are now closed.
Celia Hammond and Jean Shrimpton in Mary Quant, ca. 1964. Photo: John French. Image: V&A.
Image: Metropolitan Museum of Art.
Butterick licensed Mary Quant patterns from the mid-’60s to the early ’70s. (See my Mad Men-era post.)
Right: Mary Quant pantdress pattern 4779 in the Butterick retail catalogue, November 1969. Image: Etsy.
For knitters, there were also ultra-mod knitting patterns. Some of these vintage booklets are available as official reissues, like these ones from Mary Maxim. (More on Ravelry.)
1960s Patons Courtelle knitting patterns by Mary Quant. Images: Mary Maxim.
Mary Quant and her husband were profiled in Life magazine as early as 1960. (View story here.)
Mary Quant and Alexander Plunket Greene on Park Avenue, LIFE, December 5, 1960. Photo: Ken Heyman. Image: LIFE archive.
For his 1963 Life feature on the Chelsea Look, Norman Parkinson photographed Melanie Hampshire and Jill Kennington in these Mary Quant dresses:
Melanie Hampshire and Jill Kennington in Mary Quant’s Bank of England and Eton dresses, LIFE, October 18, 1963. Photo: Norman Parkinson. Image: Iconic Images.
Butterick released its first Mary Quant patterns in fall, 1964. Here’s Celia Hammond on the cover of the retail catalogue:
Butterick 3288 by Mary Quant. Butterick catalogue, October 1964. Photo: Terence Donovan. Model: Celia Hammond. Image: eBay.
The Butterick Home Catalog hailed Quant as the originator of the Chelsea Look.
Mary Quant in the Butterick Home Catalog, Fall 1964.
The earliest Mary Quant patterns pre-date the Young Designer line. This dress pattern even includes the rosette:
Butterick 3499 by Mary Quant (1965) Image: PatternVault shop.
British copies of this dress pattern say “featured in Queen magazine.” Jill Kennington wore this and other Butterick Young Designers in what was billed as “The Queen’s first ever make-it-yourself fashion.”
Butterick 3716 by Mary Quant (ca. 1965)
“How to be a self made sensation.” Right, Jill Kennington in Butterick 3716 by Mary Quant. Queen magazine, August 11, 1965. Image: eBay.
Here Moyra Swan models a mod scooter dress. Suggested fabrics include linen, jersey, lightweight wool, and knits.
Butterick 4578 by Mary Quant (ca. 1967) Image: PatternVault shop.
This jumpsuit or playsuit came with a matching mini skirt — “the latest put-togethers”:
Butterick 5404 by Mary Quant (1969) Image: Etsy.
What to wear with a Mary Quant mini dress? Why, go-go boots, of course:
Butterick 5475 by Mary Quant (1969)
By 1970, a Quant jumpsuit was more fluid, with a pointed collar; this pattern also includes a maxi-length cardigan. The catalogue gives a better view of the inflatable chair:
Butterick 5857 by Mary Quant (1970) Image: Etsy.
Mary Quant’s Butterick 5857 jumpsuit in the Fall 1970 catalogue. Image: tumblr.
Mary Quant in a more romantic mode means a sheer tunic worn with knickers. View B is a maxi dress.
Butterick 6256 by Mary Quant (ca. 1971)
After 1971 or so, Butterick Young Designer patterns had illustrations, not photos. This Mary Quant dress dates to circa early ’73.
Butterick 6916 by Mary Quant (ca. 1973) Image: Etsy.
Have you made anything from a Mary Quant pattern?
Butterick 4128 by Mary Quant, Butterick catalogue, October 1966. Model: Maren Greve. Image: Instagram.
