May 4, 2017 § Leave a comment
Pucci has been in the news this week with the announcement that Josephus Thimister will consult on the next collection, following the departure in April of head designer Massimo Giorgetti. (See WWD.) The house of Pucci is also celebrating its 70th anniversary this year.
Before becoming a Vogue Couturier in the 1960s, Emilio Pucci designed exclusive patterns for McCall’s. Howell Conant photographed Pucci’s earliest pattern designs, including the harlequin dress above, for McCall’s Pattern Book. For more on Pucci see my Mad Men-era series post, The Europeans.
Happy 70th anniversary, Pucci!
April 27, 2017 § 3 Comments
After a three-year hiatus, SHOWstudio has released a new Design Download: a skirt by Simone Rocha. The Dublin-born Central St Martins graduate won the British Womenswear Designer award for 2016, and now has stores in London and New York. (For more, see Matthew Schneier, “Simone Rocha, Born to Fashion, Makes Her Own Mark.”)
The three-bite pearl-embellished skirt is from Rocha’s Spring 2014 collection, which drew critical acclaim for its deconstructed femininity. (See Suzy Menkes’ review, “Simone Rocha, Family and Fashion.”) You can see the full collection at vogue.com, or check out the detail images at the designer’s website.
Pearl-edged slashes were a signature element of the collection, as were the pearl-trimmed knee-high stockings. (Rocha has said she is inspired by her grandmothers.)
Watch a 3D rendering video of the skirt in motion:
For their competition prize, SHOWstudio commissioned Fiona Gourlay to produce an original illustration of Rocha’s Spring 2014 ensemble:
The pattern download comes in a choice of A4 or A1 sheets, each with a test line to check the scale.
Download the skirt pattern (7 pieces)
Notes: The original was neoprene. The yoke calls for fused lining (fusible interfacing). Slashed edges are finished with binding.
Notions: 20 cm (8″) zipper.
View the submissions gallery.
March 14, 2017 § 6 Comments
Word is Guy Laroche patterns are set to return after a two-year hiatus. (The last Laroche, and last Paris Original, to be released was V1450 in Summer, 2015.) In anticipation, my ongoing Laroche series resumes with a look at the early 2000s designs of Mei Xiao Zhou.
Born in the Netherlands, Mei Xiao Zhou came to a career in fashion after working as a ballet dancer and video director in New York and Tokyo. He spent six years as an assistant to Thierry Mugler before he was hired as head designer at Guy Laroche. (See WWD, “Guy Laroche Taps Zhou.”)
Zhou designed two collections for Laroche, both presented in 2001.
1. Guy Laroche Prêt-à-porter Fall/Winter 2001 (shown March 2001)
Mei Xiao Zhou’s first collection for Laroche radiated energy, with vibrant colour and prints underlining the skillful cut. (See WWD, “Static State, Forties-Something, and the ‘Casino’ Factor.”) Here’s the collection image from L’Officiel 1000 modèles:
The hardest to find of Zhou’s Laroche patterns, Vogue 2650 is a bias-cut, halter-neck wrap dress that can be made in cocktail and evening length (both size ranges available in the shop):
Vogue 2668’s trouser suit includes a short jacket with three-quarter sleeves. On the runway, the revers on the red version revealed a flash of sequins:
Vogue 2689 is a sleek skirt suit with concealed closure and clavicle-framing standing collar. The skirt has a zippered side slit:
L’Officiel included one of Zhou’s op-art print pieces in the Sixties-inspired editorial “Mille neuf cent soixante-trois“:
2. Guy Laroche Prêt-à-porter Spring/Summer 2002 (shown October 2001)
For his romantic second collection for Laroche, Zhou covered the runway in water, sending out looks with an Asian influence in a palette of white, yellow, ochre, chocolate brown, and black. (See L’Officiel 1000 modèles and AP, “Louis Vuitton Show Goes Creative.”) Here’s the collection image:
The Spring 2002 campaign echoed the runway’s aquatic motif:
Because this collection is not well documented online, it’s difficult to identify corresponding sewing patterns. Vogue 2752 looks to be one of the canary yellow suits, with flared kimono sleeves and rounded lapels that match descriptions of the show:
Although I can’t confirm it, Vogue 2736 may also be a Spring 2002 design. The jacket has a bustier-effect bias inset, and the pants have high slits in the back seams:
Mei Xiao Zhou brought the verve of Mugler to his runway shows for Laroche. Although his first collection was well received, the house was sold to a new parent company, which hired a new designer for Fall 2002 (Laetitia Hecht). Like other designer patterns of this period, Zhou’s Laroche patterns highlight the widening gulf between catwalk and sewing-editorial styling—which is ultimately the gulf between the fashion and home sewing industries.
Previous Laroche posts:
February 5, 2017 § 2 Comments
The Museum at FIT’s current exhibition, Black Fashion Designers, showcases the often-overlooked work of more than 60 designers of African descent. (The show runs to May 16th, 2017). Monday’s symposium is sold out, but you can watch a livestream here.
Many of the designers featured in the FIT exhibit also licensed sewing patterns. Here are some highlights of patterns by designers of African descent, from the 1970s to now.
Sportswear designer Willi Smith (1948-1987) signed with Butterick’s Young Designer line in the 1970s; in the ’80s, he moved to McCall’s with his label Williwear. According to the exhibition notes, Smith branched into menswear in 1982, but this pattern is almost a decade earlier:
Stephen Burrows (b. 1943) licensed designs with McCall’s Carefree line in the mid-1970s. This pattern combines two of his signature elements, colour blocking and lettuce hems:
Scott Barrie (1946-1993) began his career at Vogue Patterns, so his introduction to home sewers was also a welcome back. Chris von Wangenheim photographed Barrie with two models for a feature highlighting his work with matte jersey. The patterns are Vogue 1976 (on Gia Carangi) and Vogue 1994:
Best known for his formal wear, British designer Bruce Oldfield (b. 1950) licensed his work with Style Patterns in the mid-1980s. (See my earlier post here). This dolman-sleeved dress could be made in cocktail or evening length:
Gordon Henderson (b. 1957) was among the first designers in the ’90s Vogue Attitudes line. (According to a 1990 profile, his mother—a psychologist and single parent—used Vogue patterns to economize.) This 1990 design shows his interest in colour and silhouette:
Tracy Reese (b. 1964) has licensed her main label with Vogue Patterns since 2009; McCall’s added bridge line Plenty by Tracy Reese in 2012. Vogue’s most recent offering, Vogue 1512, is a dress from Reese’s Fall 2015 collection.
January 19, 2017 § 1 Comment
Here, Vogue 1770, Beene’s wrap jacket and skirt, is shown in wool jersey from Jasco Fabrics, with dress Vogue 1771 in Horikoshi silk crepe (Bally briefcase; Donna Karan bags; Omega belt; bracelets by Eric Beamon):
On the left, Vogue 1771’s jacket is made reversible in red and black wool coating, with wool gabardine trousers and a silk charmeuse tank made using Vogue 1773 (wool from Anglo Fabrics; silk from Hi Fashion Fabrics). At right, Vogue 1773’s coat becomes a raincoat in cotton back polyurethane from Waldon Textiles, with a cotton corduroy contrast from Majestic Mills (Omega belt; bags, Maud Frizon and Prada):
In the back of the magazine, readers could find sewing tips for making the jacket reversible and giving the coat a contrast collar:
Pattern images: Vintage Pattern Wiki, Design Rewind Fashions.
December 16, 2016 § 3 Comments
This week, a look at the late James Galanos’ licensed Vogue patterns. (See my McCall’s post here.)
Vogue Patterns introduced James Galanos patterns in late 1967, with two dress designs modelled by Maud Adams and Lauren Hutton. The counter catalogue promotes Galanos’ “masterful touch” with an alternate shot of Vogue 1854, an A-line dress with side pleats at right front and left back:
Lauren Hutton models Vogue 1855, a coat dress with double inverted pleats in the back:
This short, wrap-effect evening dress has square armholes and front pleats concealing pockets:
Later Galanos patterns were photographed on location in New York, where the designer showed his collections. This dress goes one further than Vogue 1855 and has double inverted pleats in both front and back:
Jumpsuit Vogue 2524 features a shoulder yoke, pintucks, and wide, corded belt:
The latest Galanos pattern I’ve seen is Vogue 2639, a long-sleeved evening dress with front slit and waistline smocking detail:
A dreamy illustration made the cover of the news leaflet:
November 27, 2016 § 4 Comments
James Galanos died last month. He was 92. According to his obituary in the New York Times, Galanos authorized only two licenses: furs and fragrance. But he also licensed commercial sewing patterns—first with McCall’s, and later with Vogue Patterns. This post looks at Galanos’ 1950s patterns with McCall’s.
Born in Philadelphia to Greek parents, James Galanos (1924-2016) was a graduate of the Traphagen School of Fashion. He worked with Hattie Carnegie, Hollywood costume designer Jean Louis, and Robert Piguet before founding his own, LA-based label in 1951. He retired in 1998, the year after LACMA mounted a retrospective of his work. Galanos won the devotion of celebrities and socialites with his virtuoso technique and flawless craftsmanship.
McCall’s introduced designer exclusives by “James Galanos, brilliant young star of American fashion” with two patterns for winter 1956-57. The Galanos designs—full-skirted formal gowns in two lengths—were prominently featured in the holiday issues of McCall’s Pattern Book and the company’s monthly news leaflet.
According to the news leaflet, McCall’s 3894 is “a fabulous ball gown to make in brocade.” The molded bodice is a trademark Galanos touch:
McCall’s 3895 is a bow-trimmed evening gown. As the leaflet notes, “Beautifully low-cut in back, it can be cocktail length.” Recommended fabrics included heavy satin, peau de soie, brocade, and taffeta:
In spring, 1957, McCall’s released two more Galanos patterns: the lavishly full-skirted McCall’s 4045 and 4046.
Here, the back bodice extends into a front yoke. The skirt and petticoat were to be made in organdy, nylon, or silk organza:
The new Galanos patterns were promoted in the March issue of McCall’s magazine (“Galanos designs: Black-and-white for summer evenings”) and in the company’s “Make the Clothes that Make the Woman” advertising campaign.
In the Summer 1957 pattern book, the designs are illustrated in green linen and flower-embroidered organdy:
Today, Galanos’ McCall’s patterns are quite scarce. Perhaps customers balked at the extravagant yardage: the skirt for one dress took over 20 yards of narrow fabric. Galanos’ work with sheer layers continued into the following decade, as seen in this 1961 editorial by Gordon Parks: