August 9, 2016 § 5 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 6, 2016 § 8 Comments
Have you heard? Vogue’s Donna Karan and DKNY patterns will no longer be available after next Wednesday, July 13th. According to the McCall Pattern Company, the licensor of the Donna Karan trademarks [the LVMH-owned Gabrielle Studio Inc.] has decided to end all pattern licensing. (Source: Facebook.)
Vogue Patterns has been publishing Donna Karan patterns since 1987. The company added DKNY patterns in 1989.
The end of both licenses makes the Spring 2016 releases the last DKNY and Donna Karan patterns.
Donna Karan announced her departure from Donna Karan International just over a year ago, saying she means to focus on her new, privately owned company, Urban Zen. Parent company LVMH will not be hiring a replacement. Instead, LVMH will be developing DKNY, which is designed by Public School’s Dao-Yi Chow and Maxwell Osborne. (See Vanessa Friedman and Jacob Bernstein, “Karan Leaving Brand That Carries Her Name.”)
After thirty years of Vogue patterns—closer to forty, if we count her work at Anne Klein—Karan’s absence will be keenly felt. But could she return soon with Urban Zen patterns? Under her agreement with LVMH, Urban Zen’s “distribution … [can]not compete with any of the Donna Karan brands.” (See Donna Fenn’s interview for Fortune.) This could account for the unprecedented end-date for the Donna Karan and DKNY patterns
, just in time for the Fall 2016 pattern launch. Update (July 7): the Fall 2016 patterns were released today, too early to avoid a distribution conflict. Perhaps for Winter 2016?
It would certainly be in keeping with Karan’s ethos if July 14th marked not just an end to the old pattern licensing, but also a new beginning. As her program notes always read, To be continued…
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!
May 29, 2016 § 4 Comments
There’s only one day left to see Oscar de la Renta: The Retrospective, curated by André Leon Talley for the de Young Museum in San Francisco. (Show ends May 30, 2016). If you won’t be able to make it, an exhibition catalogue is available in three formats, including a floral print-bound limited edition. For more on the show see Maghan McDowell, “First Look: Five Decades of Oscar de la Renta.”
Oscar de la Renta (1932-2014) was born Óscar Aristides Ortiz de la Renta Fiallo in Santo Domingo, Dominican Republic, the only boy in a family of seven. After moving to Spain to study art at Madrid’s Real Academía de Bellas Artes de San Fernando, in 1954 he began work as a sketcher at Balenciaga; by 1959 he was assisting Antonio del Castillo at Lanvin-Castillo in Paris.
In 1963 de la Renta moved to New York to pursue a career in ready-to-wear. He was soon hired as designer for Elizabeth Arden and, in 1965, became a partner at Jane Derby, the house he would take over for his own label. (For more see official site or The New York Times’ timeline.)
De la Renta licensed his designs with Vogue Patterns from the 1960s to the 2000s. This week, a look at Oscar de la Renta patterns from the ’60s to the ’80s.
Oscar de la Renta was among the designers included in Vogue-Butterick’s new Vogue Americana line, which was launched in 1967. From 1968, Vogue 1909 is a short-sleeved evening dress with standing collar and front-dart pockets:
This short evening dress has contrast bias cuffs and collar—flexible jewel trim optional:
Vogue 2219, an evening dress in two lengths, includes a wide, contrast cummerbund and pockets in the inverted side pleats:
Shown in a rich, metallic brocade, Vogue 2280 is a short, high-waisted evening dress accented with a jewel-trimmed belt (as seen in Vogue Pattern Book here):
A 1972 editorial by Helmut Newton shows Lauren Hutton in an early Oscar de la Renta caftan:
From 1973—the year of the ‘Battle of Versailles’ fashion show—this ruffled evening dress was shown in both solid colours and a floral border print:
Christie Brinkley models Vogue 1667, a blouse for two layers of sheer fabric and dirndl maxi skirt with deep hemline ruffle:
Peasant blouse-and-skirt ensemble Vogue 1776 was featured on this winter catalogue cover:
Vogue 1027’s caftan (previously seen in my caftans post) is featured in the San Francisco exhibit. The original is hand-painted silk crêpe de chine:
Vogue 1644 is a wrap-bodice dress with bias bands defining the waist:
These fashion photos by Steven Meisel and Patrick Demarchelier show how well de la Renta was suited to the Eighties aesthetic:
Here, radiating pleats and a bias front godet add volume and interest:
Don’t Vogue 2185’s ruffles take the cake?
April 30, 2016 § 3 Comments
Happy Walpurgisnacht! On the eve of the feast of St. Walpurga, here’s a look at gothic sewing patterns.
Recent fashion exhibits have placed the gothic under increasing scrutiny. In 2008, the Museum at FIT presented Gothic: Dark Glamour. In 2014, the Costume Institute had Death Becomes Her: A Century of Mourning Attire. Now there’s Gothic to Goth: Romantic Era Fashion and Its Legacy, an exhibition at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, accompanied by a catalogue by curator Lynne Z. Bassett and a talk by Valerie Steele. For more on the show, see Susan Hodara, “The (Forever) New Romantics.”
With the advent of goth—or the New Romantics—in the late 1970s, fashion in a gothic mode began to show the influence of both romanticism and contemporary subculture. Nina Ricci’s romanticism turned dark in the early 1980s. I like to picture Vogue 2582 with granny boots and Siouxsie Sioux hair:
Vogue 2604, a floor-length strapless gown with attached sleeves, has a more Countess Bathory feel. The ruffle-trimmed version of Vogue 2604 was featured on the cover of Vogue Patterns’ holiday issue:
These early ’80s editorial photos convey the dark romantic mood:
Later in the decade, the fashionable oversized silhouette and low hemlines could express a moody romanticism. From Esprit, Simplicity 6978 is a loose jacket and long, full skirt. Shown in black, the ensemble is very Lydia from Beetlejuice:
Judging from Vogue’s September issues for 1993, Fall ’93 marked a return to the lusher side of romanticism.
Donna Karan’s Fall collection (presented just days after Eiko Ishioka won the costume design Oscar for Bram Stoker’s Dracula) featured lace accents, choker and cross accessories, and lots of black. Vogue 1293 is a long dress consisting of a body with attached, high-waisted skirt:
This cold-shoulder gown must be from the same collection:
In the later 1990s, Anna Sui showed a fall collection inspired by goth subculture. From Fall 1997, Vogue 2072 combines a historicizing, Vivienne Westwood-style mini-crini with club-kid accessories. The dress was worn by the young Sofia Coppola (previously seen in my Anna Sui series and ’90s goth post):
Another element in the romantic/gothic repertoire is tzigane or ‘gypsy’ looks. From Yves Saint Laurent Rive Gauche for Spring 1999, Vogue 2330 is a long, flowing, off-the-shoulder dress. The envelope shows a mourning-appropriate mauve, but it was also shown in sheer black:
Spring 1999 was Yves Saint Laurent’s last collection for Rive Gauche, and Mario Sorrenti’s valedictory advertising campaign for that season references great European paintings. Here the archetypically enigmatic Mona Lisa, dressed in black Rive Gauche, poses with a male model with Asian tattoos:
Finally, in the late 1990s, Simplicity licensed designs from Begotten, a historically-inspired clothing line designed by Dilek Atasu. The patterns included a cape (S8987) and men’s poet shirt (S8615). Simplicity 8619, an empire gown with optional lower sleeve flounce, channels Mary Shelley:
In the 2000s, gothic sewing patterns shift away from mainstream fashion toward subcultural costume for—as Laura Jacobs puts it—“our own Romantic Revivals: Goth, that pas de deux with death, and Steampunk, a mating of Queen Victoria and Thomas Edison” (Jacobs, Gothic to Goth exhibition review). Hammer Horror fans have “gothic costumes” McCall’s 3372 and McCall’s 3380; cybergoths can make dusters based on the costumes in The Matrix (1999) (Simplicity 5386, etc.); and Arkivestry and its offshoots cover everything from old-school gothic heroine to Loli to Steampunk.
Meanwhile, a gothic trend is predicted for Fall 2016. Are you ready?
October 9, 2015 § 8 Comments
Anticipation is high for Star Wars Episode VII: The Force Awakens, which opens in December. For fans of costume design, it helps that Michael Kaplan, who began his career with Bob Mackie and Blade Runner (1982), is designing the costumes for the new film. (Read Vanity Fair’s post here.) Here’s a look at Star Wars costume patterns.
Star Wars’ costumes must be among the most discussed in cinema. In 2005, LA’s Fashion Institute of Design & Merchandising (FIDM) organized the exhibit Dressing a Galaxy: The Costumes of Star Wars, accompanied by a book by Trisha Biggar, the costume designer for the prequel trilogy (Abrams, 2005; still in print). Last year saw the publication of Brandon Alinger’s Star Wars Costumes: The Original Trilogy (Chronicle Books, 2014). And a new travelling exhibit, Rebel, Jedi, Princess, Queen: Star Wars and the Power of Costume, will open in New York next month.
John Mollo’s costumes for Star Wars, which won an Academy Award in 1978, have immortalized a certain strand of ’70s style. Compare Princess Leia’s iconic hooded dress with a 1976 Dior evening gown available as a Vogue pattern; both were made in white silk crepe de chine:
(I’ve made the Dior in red; photos coming soon.)
The year after The Empire Strikes Back (1980), McCall’s began releasing children’s costume patterns licensed with Lucasfilm.
McCall’s 7772 includes costumes for five characters from the first two films: Chewbacca, Princess Leia, Yoda, Jawa, and Lord Darth Vader. The Vader view calls for one single serving cereal box. I have several sizes available in the shop:
After Return of the Jedi (1983), McCall’s released a children’s pattern for Ewok costumes. And not just any Ewok: the envelope back names “Wicket the Ewok”:
Update: A 1984 McCall’s Crafts counter catalogue presents both patterns with Return of the Jedi backdrops. The Wicket costume is shown with the Ewok village celebration scene, and instead of a wampa cave, the earlier costumes have Jabba the Hutt:
In the 1990s, Butterick took over the Lucasfilm licensing. Butterick 5174 and 5175, official Princess Leia and Luke Skywalker costumes for adults and children, included an order form for the wig and light sabre:
Butterick also released two official Darth Vader costume patterns for children and adults. Butterick 5176 and 5186 included instructions for breastplate appliqués made from coloured, foam sheet remnants, and an order form for the helmet and light sabre:
There were only unofficial costume patterns based on the prequel trilogy. The year of Episode I: The Phantom Menace (1999), McCall’s released McCall’s 2433, a “Space Nomads” pattern for adults and children with a version of Sith warrior Darth Maul:
Based on costumes from Episode II: Attack of the Clones (2002), Simplicity 4433 includes Padmé Amidala’s combat suit, which doubles as an Aayla Secura costume (but two-sleeved and without the headpiece):
Although Padmé’s Peacock dress was cut from Episode III: Revenge of the Sith (2005), it was widely seen in promotional materials for the film:
Andrea Schewe produced two versions of the Peacock dress and headddress for children and adults, Simplicity 4426 and Simplicity 4443. The adults’ pattern includes both Padmé and Princess Leia, while the children’s has Leia, Padmé, and young Anakin and Obi-Wan:
Men’s costume pattern Simplicity 4450/059 includes Anakin and Obi-Wan Jedi costumes, together with an unidentifiable warlock:
Based on Padmé Amidala’s nightgown in Revenge of the Sith, McCall’s 4995 is a dress with boned bodice, separate drape, chain or bead trim, and tassels made with three sizes of beads:
Now that Disney owns Lucasfilm, perhaps there will be more licensed Star Wars patterns…
Update: Irving Penn’s 1999 editorial was not the first Star Wars-themed shoot in Vogue magazine: see Ishimuro’s “The ‘Force’ of Fur” in Vogue, November 1977. (Thanks to Devorah Macdonald for the reference.) Vogue recently posted some outtakes and reminiscences.
Update 2: Simplicity 8074, a Game of Thrones / Star Wars costume pattern (Sand Snakes / Rey) adapted by Andrea Schewe, suggests that Disney hasn’t licensed costumes from The Force Awakens (yet).
September 24, 2015 § 3 Comments
Last week, Zandra Rhodes returned to London Fashion Week for her Spring 2016 collection. Famous for her colourful, hand-drawn prints, the bohemian cult favourite is also new to Vogue Patterns for Winter/Holiday 2015: Vogue 1472 is the first new Zandra Rhodes sewing pattern in thirty years. (Update: read a profile in Vogue Patterns magazine.) For knitters, the current issue of Rowan Knitting & Crochet has a Zandra Rhodes jacket pattern available as a free download.
Born in Chatham, Kent, Zandra Rhodes (b. 1940) trained as a textile designer at Medway College of Art, where her mother was a lecturer, and London’s Royal College of Art. Rhodes founded her own label in order to build garments around her prints. Her first, 1969 collection, Knitted Circle, was famously worn by Natalie Wood in Vogue magazine; the evening coat is now in the collection of the V&A:
Rhodes became known as the Princess of Punk following her Spring 1977 torn and safety-pinned Conceptual Chic collection, which was partly inspired by Schiaparelli’s Tears dress.
By the 1980s Rhodes was designing for Princess Diana. The princess wore this pink chiffon dress, embellished with crystal beads and pearl droplets, during her 1986 state visit to Japan (now in the collection of Historic Royal Palaces):
In 1985, Style Patterns released a handful of Zandra Rhodes sewing patterns. Rhodes was among the first designers to be included in the company’s short-lived designer line. (See my earlier posts on Bruce Oldfield and Frederick Fox.)
Style 4399 is a pattern for a wedding or evening dress in two lengths with characteristic serated frill:
Here’s the envelope description: Misses’ Lined Wedding Dress or Evening Dress in Two Lengths — Dress has shoulder yoke with serrated frill and pointed cape effect on bodice. Skirt has elasticated waistline. Model 1 bead trim is used on yoke and neck tie. Suggested fabrics: Lightweight silk types, crepe de chine, chiffon, shantung, lace, voile, batiste, organza. Lining: Jap silk, crepe de chine. Trim: wide ribbon and pearl beading or narrow ribbon.
Style 4400 is an off-the-shoulder wedding or bridesmaid’s dress with separate petticoat:
The envelope description reads: Misses’ Half-Lined Wedding Dress or Bridesmaid’s Dress and Petticoat — Dress has flounced bodice with elasticated waist. Skirt has layered net frills, with gathered net and ribbon trim. Bride and bridesmaid’s dress has petticoat in fabric and net. Suggested fabrics: Dress, Models 1 and 2: Organza, voile, silk or synthetic sheers, lightweight lace. Lining: silk types, taffeta, satin (nap irrelevant). Net or tulle: silk, nylon. Trim: wide ribbon, sequin trim, narrow ribbon.
The third dress design, Style 4400, has a low back décolletage and multi-tiered skirt:
You can see the same pattern with updated envelope here.
Here’s the envelope description: Misses’ Dress in Two Lengths — Dress has fitted bodice with elasticated waistline. Models 1 and 3 have bodice frill to waistline. Model 2 has shorter bodice frill. Models 1 and 2 have four-tiered skirt flounce. Model 3 has three-tiered skirt flounce. Suggested fabrics: Chiffon, georgette, voile, silk or synthetic sheers, organza. Also: lightweight lining fabric. Trim: wide ribbon; pearl trim (views 1 and 2).
The designs seem to be from Rhodes’ Spring 1985 collection, Images of Woman:
The trim and fabric specifications are catalogues of girliness: lightweight, floaty fabrics to be trimmed with the ribbon, sequins, and pearls. I love how Style 4495 suggests lining fabric as an alternative—perhaps with a budget-conscious youth market in mind.
For more on Zandra Rhodes, see the V&A’s article.