June 14, 2016 § 3 Comments
Royal Ascot begins today. Here’s a look at an Ascot-worthy Halston pattern.
Halston licensed millinery designs with Vogue Patterns during his time as Chief Milliner at Bergdorf Goodman. (See my earlier Mad Men-era millinery post.) Vogue 7082 is a petal headpiece with optional veil:
Here’s the envelope description: Bridal headpiece. Large or small petal headpiece with or without long or short veil is secured to hair with comb; optional ribbon bow. Recommended fabrics: organdy, organza, lace, point d’esprit. Veil: net, tulle. Notions: comb, millinery wire, 2 1/4″ ribbon.
The Halston headpiece was cross-promoted on two bridal patterns, Vogue 1744 and Vogue 1745, as an option for both brides and bridesmaids. Or as a contemporary catalogue has it, “Enchanting bouquet of graduated petals… crowning touch for any member of the bridal party by Halston of Bergdorf Goodman.”
Worn with a matching suit, wouldn’t it be perfect for a day at the races?
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?
May 28, 2016 § Leave a comment
To celebrate the five-year anniversary of my Etsy shop, I’m having a sale: 30% off everything, including new items like rare 1920s Vogue patterns.
To receive the discount, use the coupon code YEARTHEFIFTH. The sale runs from today, May 28th, until midnight EDT on Friday, June 3rd. Your purchase helps support the research on this blog.
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?
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 patterns. (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…