Manuel Pertegaz was born on this day in 1918. Paco Peralta asked me to contribute to his post for the designer’s centenary; see it here.
Pertegaz 1918-2018
Category: in memoriam
In memoriam: Hubert de Givenchy
Farewell to Hubert de Givenchy, truly one of the greats.
Read the couturier’s Vogue Paris obituary.
In memoriam: Hervé Léger
Farewell to the great Hervé Léger. I wrote a brief tribute to the late designer for FASHION magazine.
To learn more about Léger’s work for Guy Laroche under the name Hervé L. Leroux, and the commercial patterns from his tenure, see my series.
In memoriam: Sonia Rykiel
Farewell to Sonia Rykiel—designer, author, queen of knitwear. She will be missed.
Oscar de la Renta: Vogue Patterns, Part 2
Oscar de la Renta was born in July 1932; he would have turned 84 last week. In honour of his birthday, I’ll be looking at Oscar de la Renta sewing patterns from the 1990s and 2000s. (See Part 1 here.)
1990s
The 1990s marked Oscar de la Renta’s fourth decade with Vogue Patterns. From 1990, Vogue 2500 is a dress with pleated overlay and asymmetrical bias collar, chic in a polka dot print. De la Renta was pictured with a model wearing this design in Vogue Patterns magazine (May/June issue); the photo also made the cover of the counter catalogue:
In 1992, de la Renta became the first American to take over a French couture house when he was appointed chief designer at Balmain. He had begun presenting his own collection in Paris the previous year. (See Suzy Menkes, “De la Renta Joins Balmain.”) The cover of the Assouline book pictured above shows Balmain haute couture; a similar tableau was created for the de Young retrospective.
Vogue 1638 is a brightly coloured skirt suit from Oscar de la Renta’s Spring 1995 collection (full video on YouTube here). Its tailored details, like the jacket’s back pleats and martingale belt, won it an Advanced skill rating. The design was featured in a Vogue Patterns suits article (see The Overflowing Stash) and on the cover of the counter catalogue:
This double-breasted skirt suit, shown on the runway in pink satin, must be from the Fall 1995 collection. The recommended fabrics are satin, damask, and gabardine:
Ellen von Unwerth photographed Stella Tennant in a corseted lace Oscar de la Renta dress with flamenco dancer Joaquín Cortés for Vogue’s 1996 September issue:
Two years later, Hillary Clinton wore Oscar de la Renta for her Vogue cover (more here):
Vogue 2361 is a formal dress from the Spring 1998 collection. The skirt is cut on the bias, the bodice and hemline flounces are finished with self fabric binding, and view A has an asymmetrical train. Kirsten Owen modelled the original on the runway:
Just for fun, here’s another editorial photo showing de la Renta’s couture work at Balmain. Ruven Afanador photographed this lace-embroidered gown with matching chihuahua:
2000s
This floral print evening dress is a design from de la Renta’s Spring 2000 collection. Piping defines the waist, and the bias train is trimmed with waist pleats and flounces. The original was modelled on the runway by Carmen Kass:
The Fall 2001 collection included two “decidedly gothic black opera coats,” and Vogue Patterns chose one of them for its customers. Vogue 2714 is a full-sleeved, floor-length opera coat trimmed with frog closures and pleated ruffles. The pattern is sometimes numbered “P935 – Best Seller”:
From the Spring 2005 collection, strapless gown pattern Vogue 2889 evokes flamenco with its tiered skirt and draped, drop-waist bodice. The design was shown on the runway with length and bodice variations:
Vogue 2928 is a grand, off-the-shoulder ballgown complete with boned foundation, attached petticoat, and self fabric flowers and appliqués. The gown was the penultimate look in de la Renta’s Fall 2005 collection:
For more on the late designer, see Vogue’s retrospective. Have you made any Oscar de la Renta patterns?
Oscar de la Renta: Vogue Patterns, Part 1
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.
1960s
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:
1970s
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:
In this photo by Deborah Turbeville—previously seen in a Patterns in Vogue post—the gold-pistachio lamé evening separates at far right were made using Oscar de la Renta pattern Vogue 2182:
1980s
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?
The Look of Courrèges
André Courrèges died early this month. He was 92. (See WWD, “André Courrèges: Space Age Couturier,” or Vanessa Friedman’s obituary for The New York Times.)
Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.
In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):
Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):
This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:
A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:
As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):
Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):
Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:
Update: Corby could also be seen in a Courrèges-look pattern on the cover of McCall’s retail catalogue:
Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):
In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):
McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::
McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:
McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):
Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:
McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):
McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):
Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):
André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.
I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):
* Dacron was known by the name Terylene in the U.K.
