August 9, 2016 § 6 Comments
It’s been another hot summer here in Toronto. One of my earliest blog posts, Heat Wave!, surveys vintage beachwear patterns. This summer, let’s take a look at a more elusive beast: designer swimwear patterns.
The earliest pattern I’ve seen for designer swimwear is Pucci’s strapless one-piece, McCall’s 3977. This pattern was available in Junior sizes only. The suit was lined in jersey, and could be made with or without the brightly coloured appliqués:
From another Italian designer, Irene Galitzine, Vogue 1288 is a pattern for a bikini, dress, and hat. The bikini consists of a cropped, cowl-neck blouse and bikini pants with side ties:
The 1970s were the heyday of designer swimwear patterns, often with a coordinating coverup, and always for stretch knits. Vogue 1416 is an early design by Donna Karan; from Anne Klein’s collaboration with Penfold, the pattern includes both a maillot and a halter bikini:
From Bill Blass, Vogue 1455 includes a two-piece swimsuit with bra top and bikini briefs:
John Kloss licensed a number of swimwear designs with Butterick. This ad promotes his patterns with a poolside photo of Butterick 4808:
Another Butterick designer, Gil Aimbez, designed this one-piece bathing suit. Contrast bias binding outlines the cut-away sides and bodice seaming detail:
Like the Anne Klein Penfold pattern above, this Penfold pattern includes both one-piece and halter bikini bathing suits. The one-piece and bikini top are cut on the bias:
Both Penfold patterns can be seen in a Vogue Patterns editorial photographed in Antigua:
From spring, 1978, Vogue 1893 seems to have been the only Catalina pattern. Instead of a coverup, it includes three styles of bathing suit: low-backed view A, strapless view B with built-in boning, and blouson view C is a two-piece:
The magazine recommended making the Catalina suits in Thompson of California’s “second skin Tic Toc warp knit polyester crepes” in various prints:
From 1980, McCall’s 7109 includes three one-piece swimsuits by the Italian label Basile: a mock wrap, belted halter-neck and variations on the strapless suit with gathered bust (available in the shop):
Jerry Hall (right) seems to be wearing the view A style in this Basile ad photographed by Irving Penn:
Also from 1980, Bob Mackie’s strapless, colour-blocked swimsuit, McCall’s 7138, was photographed for the July counter catalogue and news leaflet (seen at the top of this post):
Finally, this early ’90s DKNY pattern, Vogue 2897, is labelled ‘dress and bodysuit,’ but was photographed as beachwear:
After a long swimwear pattern drought, the big pattern companies seem to have noticed the renewed popularity of sewing your own, custom bathing suit. For this summer, Simplicity reissued a 1950s bathing suit pattern, Simplicity 4307 / S8139, and The McCall Pattern Company has released a number of new swimwear designs, including one Vogue and two Lisette swimwear patterns.
Two designers with existing pattern licensing, Cynthia Rowley and Rachel Comey, both have swimwear lines. If we voice our support, perhaps we could soon see patterns for Cynthia Rowley surf wear and Rachel Comey Swim…
July 1, 2016 § 3 Comments
In celebration of Canada Day, this post is dedicated to the late Arnold Scaasi.
Arnold Scaasi (1930-2015) was born in Montreal as Arnold Isaacs. (Scaasi is Isaacs backwards—depending who you ask, the designer changed his name either to sound more Italian or less Jewish.) His father was a furrier, his mother had studied opera, and his glamorous, Schiaparelli-loving Aunt Ida was an early inspiration. He studied in Montreal and Paris, at the Cotnoir-Capponi school and the Chambre Syndicale, then worked at Paquin and Charles James in New York before launching his own business in 1956.
Scaasi was best known for his opulent evening wear, custom-made for society and celebrity clients who appreciated the drama of his sculptural silhouettes, luxurious materials, and flamboyant use of colour. In 2002, the Museum at FIT mounted the retrospective Scaasi: Exuberant Fashion and, following his retirement in 2010, the Museum of Fine Arts, Boston hosted Scaasi: American Couturier, an exhibition structured around his couture clients.
Scaasi lost no time in pursuing pattern licensing. These Scaasi Spadea patterns date to 1956:
A few decades later, Claire Shaeffer covered Scaasi’s couture techniques for Threads magazine:
It was only in the early 1990s that Scaasi licensed his work with Vogue Patterns. The designer was introduced in the November/December 1993 issue of Vogue Patterns with three patterns. The first, Vogue 1285, is a low-backed cocktail or evening dress with sheer contrast:
This formal ensemble includes two-layer palazzo pants for chiffon or georgette and a top for scalloped lace:
Vogue 1287 is a collarless skirt suit with caftan-style side slits:
From spring, 1994, this dress is shaped by long darts in front and back and trimmed with a flounce:
Finally, Vogue 1377’s dress has a boned bodice and slightly off-the-shoulder neckline. The original’s striped fabric was cut on a creative layout:
(Seldom seen, but there is a copy at Sew Exciting Needleworks.)
In 1991, Scaasi told The Canadian Press, “When I left Canada some 30 years ago, there was no room for creative talent in dress design. At that time, the only way to really make it was to go to the United States.” A New Yorker from 1951, he met his partner, Parker Ladd, on Central Park South in the early 1960s; they married in 2011.
Opening image Scaasi ID thanks to Kickshaw Productions.
June 3, 2016 § 5 Comments
Carmen Dell’Orefice turns eighty-five today.
Often called the world’s oldest working model, Carmen Dell’Orefice (b. 1931) was discovered at thirteen on a New York City bus; at sixteen she had her first Vogue cover. In 2011, the London College of Fashion devoted an exhibition to her modelling work, Carmen: A Life In Fashion.
Dell’Orefice’s work with New York pattern companies may be seen in postwar publications from Vogue, McCall’s, and Simplicity, as well as more recent Vogue patterns.
A Richard Rutledge editorial for Vogue Pattern Book features the young Dell’Orefice in new patterns for spring, 1949 (jacket Vogue 6716 and blouses Vogue 6065 and Vogue 6707, all with skirt Vogue 6708):
Here, Dell’Orefice poses in an all-red ensemble for the cover of Simplicity magazine, Fall 1958:
Here she wears gown Vogue 9827 on the cover of Vogue Pattern Book’s holiday issue:
After a break, Dell’Orefice returned to modelling in the late 1970s. On these two patterns from the ’80s, she wears Vogue 8195, a caftan-style dress, and Arlene Dahl gown Vogue 8521 in gold lamé:
In the later 1990s, Dell’Orefice posed for many patterns in The Vogue Woman line. Vogue 1972 is a seasonless wardrobe pattern, while Vogue 9821 is a dress and tunic suitable for petites:
Happy birthday, Ms. Dell’Orefice!
February 16, 2016 § 4 Comments
Today is the 90th anniversary of Jean Patchett’s birth.
Jean Patchett (1926-2002) moved to New York City from her home in Preston, Maryland to pursue a career in modelling. She signed with Ford Models in the spring of 1948, and soon became one of the new agency’s top models. Patchett appears on some of Vogue’s most iconic covers. She retired in 1963. (See Cathy Horyn’s obituary for The New York Times, “Jean Patchett, 75, a Model Who Helped Define the 50’s.”)
According to a short profile in Glamour, in her off hours, Patchett enjoyed making her own clothes (Glamour, Oct. 1948). She can be seen in pattern editorials for Vogue, Simplicity, McCall’s, and Butterick from the late 1940s on.
Soon after her first Vogue cover in September, 1948 (October for British Vogue), Serge Balkin photographed the young Patchett in tone-on-tone grey flannel for the cover of Vogue Pattern Book. The patterns are Vogue 6620 (dress) and Vogue 6629 (coat):
Irving Penn’s famous Vogue editorial, “Flying down to Lima,” showing Patchett on location in Lima, Peru, is in fact a pattern editorial. In this café scene, she chews her pearls wearing Vogue S-4967, a dress and jacket ensemble (click the image for a gallery note, or see Devorah MacDonald’s blog for the full editorial):
Patchett poses in dress and jacket Vogue S-4008 on this fall 1949 cover of Vogue Pattern Book:
Wearing the New Look dress and camisole Vogue S-4088:
Richard Avedon’s travel-themed photo was used for both Simplicity’s counter catalogue and the company’s Fall-Winter magazine (where Patchett can be seen holding a copy of André Gide’s Les faux-monnayeurs). The patterns are Simplicity 3327 (topper), Simplicity 3298 (weskit), and Simplicity 3027 (skirt):
Here she poses in a veiled hat and elegant silk shortcoat; the text contains a typo—the pattern is Vogue 7258:
This Holiday issue of Butterick Pattern Book features Patchett in Butterick 5941, a shirtdress with cuffed sleeves:
For the fortieth anniversary issue of McCall’s Pattern Book, Patchett posed in McCall’s 9080 alongside illustrations from past decades:
Lillian Bassman photographed Patchett in this striped summer dress from Simplicity:
Posing for the cover of Burda Moden magazine:
This strapless playsuit must be Simplicity 4715, shown in bias tartan with matching parasol:
Roger Prigent photographed Patchett in Vogue S-4550, made up in Onondaga acetate brocade:
December 23, 2015 § 3 Comments
Evelyn Tripp (1927-1995) was one of the most prolific models of the 1950s. Born on a farm in Missouri, she was discovered at 20 while shopping on Fifth Avenue. You may recognize her from William Klein’s photograph, Smoke + Veil. She retired in 1968. (Read her New York Times obituary here.)
Evelyn Tripp did modelling work for Simplicity, Woman’s Day, Butterick, and Vogue Patterns in the 1950s and early 1960s.
The Fall-Winter 1950 Simplicity catalogue includes a few photographs of the young Tripp. Here she wears tent coat Simplicity 8217:
Tripp also modelled an early Pauline Trigère design for Woman’s Day magazine. The portfolio was photographed by Leombruno-Bodi (full size here):
Among Tripp’s many covers are several for Vogue Pattern Book. Here she wears suit pattern Vogue S-4625:
On this spring cover she poses in dress-and-coat ensemble Vogue S-4659 (with matching hat):
Inside, she poses in two-piece playsuit Simplicity 1608:
Tripp also appeared in a 1956 Vogue Patterns advertisement promoting the new printed and perforated patterns. The evening dress pattern is Vogue S-4735:
Here she wears Vogue 9607, made up in red, on the cover of the holiday 1958 issue of Vogue Pattern Book:
Tripp may also be seen in early 1960s Vogue Pattern Book editorials. Here she wears Vogue 4267, a one-shouldered dress in wool jersey:
November 29, 2015 § 5 Comments
During his early period as a fashion photographer, Richard Avedon (1923-2004) did some work for Simplicity, including the Fall-Winter 1950 issue of Simplicity Pattern Book:
The suit is Simplicity 3310, made in Botany flannels and worn with “[m]atching hat designed for Simplicity by Sally Victor,” Simplicity 3322.
Inside, the hat is shown photographed by Halley Erskine:
The back cover is a Botany ad, apparently from the same Avedon photo shoot:
I have a Canadian copy of Simplicity 3322 in the shop, printed with a special Chatelaine magazine logo:
For more on Sally Victor see my Mad Men-era millinery post.
November 16, 2015 § 3 Comments
In honour of Paris, a selection of postwar fashion photography shot on location in the city.
Vogue’s earliest Paris Originals were photographed in Paris, by Vogue editorial photographers including Clifford Coffin and Norman Parkinson.
The eight colour photos were first seen in the March 1st, 1949 issue of Vogue magazine, to announce the new couturier patterns.
(Available as a print from Condé Nast.)