February 25, 2017 § 2 Comments
Will you be watching the Oscars on Sunday? Here’s a roundup of my posts on red carpet dressing.
Hervé L. Leroux for Guy Laroche – Hilary Swank chose her Oscars gown from Leroux’s debut collection for Laroche. Vogue Patterns released two designs from this collection: cocktail dress V2899 and a backless evening pantsuit. (Bonus: check out this red Laroche gown on 1stdibs.)
Damian Yee for Guy Laroche – Leroux’s successor at Laroche has two evening designs with Vogue Patterns, including this gown from the house’s Jubilee collection.
Clash of the Titans: Goddess Gowns – My first Oscars post on the Academy Awards staple. This late ’40s gown might be this blog’s most-pinned image:
Rock the Caftan – A non-Western formal alternative with origins in ancient Persia.
Red Carpet Fashion: Evening Pantsuits – A trend that continues to pick up steam (see Hannah Marriot, “Red-carpet rebels: why trousers for women are a political act“).
September 18, 2016 § 2 Comments
How to make the most of a beautiful print? As an early ’70s British Vogue editorial puts it, “Cape it… blouse it… kilt it.”
The Clive Arrowsmith editorial features Ann Schaufuss in three Vogue patterns that present the silhouettes of fall 1970 in glowing, ink-coloured prints. From Nina Ricci, Vogue 2406 is an “enveloping berber cape” and sleeveless dress made from two Staron fabrics in the same “glass-flower” print: a luxurious wool-viscose-polyamide for the cape and panne velvet for the dress, available at Harrods and Gasmey, London.
The second look pairs a yoked, full-sleeved blouse, Vogue 7538, and long Miss Vogue kilt Vogue 7889. The blouse is turquoise silk crepe de chine from Gasmey, while the kilt is Bombyx rayon panne velvet in a green and jewel-toned print, available at Liberty (boots to order at The Chelsea Cobbler):
The boho Baba Yaga look may not be to everyone’s taste, but velvet and early ’70s style are trends for fall 2016… Time to dig out some vintage prints?
(See Youthquakers for more of the October issue.)
April 14, 2016 § 5 Comments
With season 6 of Game of Thrones fast approaching, it’s high time I posted about my Lyanna Stark costume.
(If you object to seeing material from season 5, or interpretation of a book published 20 years ago, read no further. Perhaps you’d prefer my post on Game of Thrones costume patterns?)
For Halloween 2014 I went as Lyanna Stark from George R.R. Martin’s A Song of Ice and Fire series. Lyanna is dead by the time of the main action in the books, and the character has not yet been seen on HBO’s Game of Thrones except as a statue in the Stark crypt.
Of the series’ many lost, dead women, Lyanna Stark looms the largest. Eddard Stark’s sister and Arya’s foremother-doppelgänger, Robert Baratheon’s first betrothed, Rhaegar Targaryen’s lover/abductee, and probably Jon Snow’s mother, Lyanna is the Helen of Troy / Guinevere figure behind Robert’s Rebellion against the pyromaniac King Aerys II Targaryen. She’s a ghost that haunts the present in memory, dreams, and visions, but always as the subject of competing narratives: both object of desire and swashbuckling she-wolf.
On the show, Michele Clapton’s costumes for the Starks at Winterfell involve a lot of linen, leather, and fur in northern blues and greys. The men wear leather doublets and Japanese-inspired padded linen skirts, while the women forego jewellery in favour of embellishment and enviable padded neck pieces.* Sansa finds some to wear on her return to Winterfell.
Lyanna’s statue wears a Stark neck roll. But what would Lyanna have worn in the south? In A Game of Thrones, Ned Stark dreams of the statue-Lyanna crowned with pale blue roses (the prize Rhaegar awarded her at Harrenhal) and weeping tears of blood.† Later in the book series, Theon Greyjoy has a dream of the dead that includes Lyanna in a crown of blue roses and a white dress spattered with blood.‡ But blood and roses do not a costume make.
As Robert’s fiancée and a court lady attending the tourney at Harrenhal, etc., I figured she would wear some kind of court dress. To save myself the drafting, and because Lyanna is effectively the anti-Cersei, I used McCall’s Cersei pattern, McCall’s 6940:
I made View A (skipping the belt and appliqué) in dark blue with a pewter contrast, both from King Textiles. The main fabric was a malodorous synthetic; when pre-washed to remove the substantial sizing, it balled up into a wrinkly mess. Some of the wrinkles are still visible. But when a Halloween costume takes over 7 yards for the main fabric, I start with something cheap.
Based on the flat pattern measurements, I cut the 12 and made my usual length and grading adjustments. The fit is roomier than I’d like; I could go a size down. I didn’t get to the inside ribbon belt until after the photos, but even that requires a closer fit in the waist.
To give the court dress a northern, Stark touch, I trimmed the wrap bodice neckline with Mokuba faux fur banding. Naomi contributed some blue, artificial rosebuds and her wolf’s head brooch, which stood in perfectly for the Stark direwolf.
We photographed the dress one chilly November afternoon just after Halloween:
I’ve never had such a problem with wrinkles at princess and shoulder seams; I blame the synthetic. Since the lower sleeves are cut on the cross grain, nap and pattern could be an issue — as is visible in the photos. Practically speaking, the dress requires an underskirt, as it’s prone to opening dramatically with little provocation.
I would re-make this in a natural fabric like wool or linen, with some fit adjustments and tweaks to the contrast details for a smoother finish. I’m also tempted to brush up on my hand embroidery and try a Stark neck roll, as well as embroidered sleeves — sleeves to lose yourself in.
* Michele Clapton quoted in Bryan Cogman, Inside HBO’s Game of Thrones: Seasons 1 & 2 (Chronicle Books, 2012), p. 44.
† George R.R. Martin, A Game of Thrones (Bantam Books, 1996), p. 419.
‡ George R.R. Martin, A Clash of Kings (Bantam Books, 1999), p. 609.
March 15, 2016 § 9 Comments
Dear HBO, Have you considered costume pattern licensing? With a new trailer for season 6, and season 5 out on DVD, here’s a look at
completely official Game of Thrones sewing patterns sewing patterns inspired by Game of Thrones.
Costume designer Michele Clapton won three Emmys for her work on the first five seasons of Game of Thrones. Season 6 will see a new costume designer for the series: April Ferry, who designed the Emmy Award-winning costumes for HBO’s Rome (2005-2007)—which also starred Tobias Menzies, Indira Varma, and Ciarán Hinds. (Read a Costume Designers Guild bio here.)
Given the two-way relationship between Game of Thrones’ costume design and fashion, the costumes are interesting even if you don’t watch the show. (Full disclosure: I’ve made more than a few Game of Thrones / A Song of Ice and Fire costumes, including S2 Daenerys, book Quaithe, and Lyanna Stark.)
In spring, 2014, McCall’s released patterns for the most popular women’s Game of Thrones costumes, Daenerys Targaryen and Cersei Lannister. Both M6940 and M6941 are available as printable downloads. (I made M6940 for my Lyanna Stark costume; preview here.)
Last month, the company launched a new Cosplay by McCall’s line with three patterns including a unisex Westerosi cloak, M2016, “for those for whom winter can’t come soon enough” (press release here). Their pattern for the cross-fastened cloak worn by the people of Westeros (including Jon Snow, Eddard Stark, and the Stark children at Winterfell) includes an optional fur capelet. There’s also a hooded version similar to Sansa Stark’s hooded cloak:
Simplicity’s Game of Thrones costume patterns emerge in full plumage, but quickly change colours to evade capture.
Andrea Schewe’s Game of Thrones adaptations for Simplicity also started appearing in 2014. Simplicity 1347 combines three Daenerys outfits—wedding dress, Dothraki Khaleesi, and Qarth court dress—with the elf Tauriel from The Hobbit: The Desolation of Smaug (2013). (Now out of print, but see S1010.)
Simplicity 1487 includes court dresses for Cersei Lannister and Sansa Stark. (Now out of print, but see S1009.)
Simplicity 1246 has costumes for Margaery Tyrell and Daenerys, specifically the split dress and cape she wears as leader of the Unsullied. (This version out of print, but see S1008.)
Simplicity 1137 includes two Sansa Stark costumes. Michele Clapton conceived both as showing Sansa’s own handiwork: the dress with flower-embellished neckline from season 1 and ‘Dark Sansa’ from the end of season 4. The necklace refers to Sansa’s needle—“a jewelry idea of [Arya’s sword] Needle.” (See Fashionista’s interview; for more on Game of Thrones’ embroidery see Elizabeth Snead’s article in The Hollywood Reporter and embroiderer Michele Carragher’s website.) Andrea Schewe has posted tips on making the feathered neckpiece. (Still in print with new envelope, S1137.)
Game of Thrones meets Star Wars in Simplicity 8074, a pattern for season 5’s Sand Snakes Obara and Nymeria with Rey from Star Wars: The Force Awakens (2015) (still S8074):
HBO is owned by Time Warner, which has existing pattern licensing for DC Comics. Do you think HBO should license Game of Thrones patterns? I’d be first in line for a King’s Landing halter dress or Varys’ kimono…
February 23, 2016 § 6 Comments
The Best Actress winners who have accepted their award in trousers can be counted on one hand: Barbra Streisand (1969, in Arnold Scaasi); Jane Fonda (1972, in Yves Saint Laurent); Sissy Spacek (1981); Jessica Tandy (1990, in Armani); and Jodie Foster (1992, also in Armani). But then, Katharine Hepburn never attended.
Celebrity style icons Gwyneth Paltrow, Angelina Jolie, and Kate Moss started appearing on the red carpet in pantsuits in the 1990s and early 2000s.
Recently, more and more female celebrities have been choosing tuxedos and jumpsuits for formal events.
Here are some patterns—now available in the shop—that would be perfect for your next gala appearance.
The year Jane Fonda won an Oscar for her performance in Klute, Vogue Patterns released this Valentino design for an evening jumpsuit and jacket:
Calvin Klein had the Annie Hall look nailed before Woody Allen’s movie started filming (in spring, 1976). Vogue 1369, a designer wardrobe pattern, highlights the three-piece pantsuit:
Fast forward to 1999, when Alexander McQueen presented a futuristic millennium collection for Givenchy (Fall 1999 prêt-à-porter; post here). The long, detailed jacket was designed for shimmery fabric:
This tunic and pants ensemble is from Donna Karan’s Fall 2007 collection (as worn by Jessica Stam on the runway). The strapless tunic has outside darts, pockets, and foundation with padded bra and boning:
November 10, 2015 § 8 Comments
Whether you call it fake or faux, this season’s fur trend is only fashion’s latest take on synthetic fur.
Many vintage sewing patterns call for fur banding and fur cloth. The reversible coat shown above, Vogue 1019 by Jacques Griffe, is fully lined with the latest black, synthetic fox fur. (Hover for full caption.) More recently there’s Donna Karan’s coat for low-pile fake fur, Vogue 1365, from the Fall 2012 collection:
Here’s a look at vintage patterns that call for fur trim or fur cloth, with an emphasis on the trendy, unusual, and outrageous.
From Winter 1926, this dolman coat by Martial et Armand has a deep fur collar and narrow fur banding at the cuffs:
This opulent, late 1920s evening wrap calls for a length of 4.5″ fur banding. A reproduction is available from EvaDress:
Thirties patterns show many creative uses of fur trim. These two ca. 1933 coats both call for fur cloth accents. McCall 7206 has an attached scarf and contrast lower sleeves, shown in synthetic Persian lamb, while McCall 7207 has a deep fur collar and matching, triangular sleeve patches:
Simplicity 1541’s dramatic, curving collar and pointed cuffs can be made in contrast fur cloth; the fur-trimmed version was illustrated on the cover of the holiday 1934 issue of Simplicity Pattern Magazine. A reproduction is available from the Vintage Pattern Lending Library:
From the autumn of 1939, McCall 3420 is a swagger coat with built-up neckline and optional, tapered lower sleeves and semi-circular shoulder insets. View A is shown in faux Astrakhan (matching hat unfortunately not included):
McCall 3875, a World War 2-era swing coat, can be made with elbow-deep fur cuffs:
This wartime cape pattern, previously featured in my vintage capes post, includes an evening cape with stand-up fur collar:
High-end postwar sewing patterns sometimes assume natural fur will be used and direct the home dressmaker to a specialist. From November 1949, Vogue 1075 is one of the earliest Balmain patterns. The voluminous “melon” sleeves can be made in fur contrast; the envelope back says, “Note: Have fur sleeves made by furrier”:
This Vogue Couturier design includes a wide-necked evening coat with big fur collar and elbow-length sleeves:
From Nina Ricci, Vogue 1217’s cape has a broad shawl collar that can be made in faux fur:
Vogue 1897 is a design from Yves Saint Laurent’s Fall/Winter 1967-68 haute couture collection, inspired by Queen Christina (see Paco’s post here). The fur-trimmed evening cape requires a taffeta stay for the fur trim unless made by a furrier:
David Lean’s Doctor Zhivago (1965) seems to have prompted a fashion for Cossack coats and hats. Vogue-Butterick had Vogue 1983, and McCall’s had this fur-trimmed coat pattern:
There was even a pattern for fur hats for men, women, and children, McCall’s 2966:
Eighties excess brought the more-is-more aesthetic to designs for synthetic fur. McCall’s 7736 is a raglan-sleeved jacket for lightweight fake fur or woolens:
From the Connoisseur Collection, Simplicity 7078 is for fake fur only:
In addition to a hat and stole for fur-like fabrics, accessories pattern Vogue 9981 includes a muff with concealed pocket:
The 1990s were another good time for synthetic fur—so good that Vogue Patterns licensed a designer specializing in faux fur outerwear. Not quite vintage, this reversible coat pattern by Issey Miyake calls for high pile fake fur:
From Alexander McQueen’s Fall 1998 ready-to-wear collection for Givenchy, Vogue 2228’s jacket has a fur-trimmed hem and large, standing fur collar that recalls the 1940s evening cape shown above. (See my earlier McQueen post here.) I have one copy for sale in the shop:
Vogue 2233’s fur-trimmed dress and jacket are from Anna Sui’s Fall/Winter 1998 collection (click to purchase from the shop):
Vogue 2233 is one of the most ’90s patterns ever: Björk meets Britpop. The jacket was worn on the runway by Kirsty Hume—hat by James Coviello:
There was also a pattern for Anna Sui faux-fur accessories, Vogue 7950 (see my earlier Anna Sui series).
Tips for sourcing synthetic fur
- Tissavel: This luxury French faux fur mill is unfortunately now closed, but ends can be found on Etsy.
- Faux Persian lamb/Astrakhan: Available as a special order from Emma One Sock.
- Fur banding: Mokuba carries high-quality synthetic fur banding in various widths.
Working with vintage furs and synthetic fur
Vintage patterns often direct the home dressmaker to a furrier; old sewing books and magazines also provide tips for refashioning vintage furs. (Woman’s Day 5045 came with a special instruction booklet and fur needle.) Claire Shaeffer’s Fabric Sewing Guide includes a chapter on fur.
May 4, 2015 § 7 Comments
This year marks the 150th anniversary of Alice’s Adventures in Wonderland. Liberty London is celebrating with an Alice-inspired Spring/Summer 2015 fabric collection. At the V&A Museum of Childhood, an exhibition on Alice’s influence on fashion, The Alice Look, runs to November 1, 2015, and on Saturday the museum is also hosting a conference, Alice & Fashion. (Read the press release.) The exhibition and conference are part of curator Kiera Vaclavik’s larger research project, Addressing Alice: The Emergence of a Style Icon.
To celebrate Alice’s 150th, here’s a look at some rarely seen vintage Alice in Wonderland patterns.
This Alice in Wonderland doll pattern with flamingo, McCall 145, dates to 1933:
The costume of the McCall Alice doll seems to refer to Charlotte Henry’s Alice in Paramount’s Alice in Wonderland (1933). According to Vaclavik, the film appears to have “prompted the adoption of the Alice band as hair accessory of choice at hunt balls and wedding processions across Britain” (see her article in the Independent):
Nearly two decades later, Walt Disney’s animated Alice in Wonderland (1951) set the image of Alice as we picture her today. Disney licensed two Alice patterns with McCall’s: McCall’s 8626, a girls’ Alice ensemble, and McCall’s 1643, unisex children’s costumes for the Mad Hatter and March Hare. McCall’s 8626 includes a puff-sleeved dress, apron, coverall, and jacket with rabbit-shaped pocket:
You can see the back of the pattern envelope here.
The Alice pattern was promoted in the August 1951 issue of McCall’s Style News with additional sketches of the White Rabbit, the Cheshire Cat, and Tweedledee and Tweedledum. It’s worth quoting the original description: “Alice-in-Wonderland dress, inspired by Walt Disney’s ‘Alice in Wonderland’ motion picture. Not a fancy-dress costume, but a 4-part ensemble to wear any day of the week. Straight-from-Wonderland ruffled apron that can accompany the little puff-sleeved, full-skirted dress everywhere—to school, to church, to parties. For helping Mother around the house, a jumper-like coverall. And to complete the ensemble, a reversible jacket with the ‘White Rabbit’ in pocket form”:
This photo from McCall’s Pattern Book shows the March Hare costume and Alice outfit made up:
It’s interesting that the 1950s Alice pattern isn’t a costume pattern, but a set of pieces for everyday wear. The pattern adds ruffles to the pinafore, but is otherwise close to Disney’s animated Alice, whose style was based on Mary Blair’s concept art:
Happy anniversary, Alice!