August 28, 2016 § 2 Comments
This summer, after extensive renovations, the National Museum of Scotland opened its new galleries, including a Fashion and Style gallery. Jean Muir’s archive is housed in the museum, so the new gallery returns this important collection of her work to public view. To celebrate, I’ll be posting a two-part series on Jean Muir sewing patterns.
Though born in London, Jean Muir (1928-1995) is often called “the Scottish Chanel.” Muir began her career working at Liberty London. She was the designer for Jaeger before winning backing for her first label, Jane & Jane, in the early 1960s; she also designed for Morel London. In the fall of 1966 she founded her own company, Jean Muir Ltd. Acclaimed for her precise cut in jersey, leather, and suede, she preferred to be called a dressmaker.
Muir and her designs are featured in Life magazine’s 1963 portfolio (headlined “Brash New Breed of British Designers”) on what was then called the Chelsea Look.
Jean Muir licensed patterns with Butterick’s Young Designers line into the early 1970s.
In early 1965, Butterick introduced Jean Muir of Jane & Jane with four designs in the Spring 1965 catalogue (click to enlarge):
This simple Jane & Jane dress is accented with two narrow tucks above the hemline:
The tucks on Butterick 3609 recall the single, broad hemline tuck on this Jane & Jane dress photographed by David Bailey in Kenya:
This mod, A-line dress is trimmed with buttons and topstitching (click to view in the shop):
The young Grace Coddington posed in the sleeveless version for British Vogue:
Previously seen in my Celia Hammond post, this Jane & Jane dress has a standing neckline, raglan sleeves, and Muir’s trademark tiny button trim:
Within a year of founding her own company, Muir saw her double-breasted ‘cavalier’ coat on the cover of British Vogue:
With its shoulder yokes and double-breasted front, Butterick 5242 is a similar design:
Muir’s signature topstitching and shoulder yokes define the details on Butterick 4937, a sleeveless dress illustrated on the cover of the August 1968 news leaflet:
The pattern envelope shows the dress with and without the low-slung belt carriers:
David Bailey photographed a similar Jean Muir belted jumper in green Harris tweed:
Previously seen in my Mad Men-era Butterick Young Designers post, Butterick 5657 is the kind of fluid jersey dress Muir became known for:
The design is from Muir’s Fall 1969 collection—photographed here in cloud grey jersey:
Butterick 5954 was shown in both mini and midi lengths; the recommended fabrics include jersey, knit, and synthetic knits. The contrast cuffs and bib front give the opportunity for colour blocking or print mixing as in the Liberty-style illustration (available in the shop):
Before Butterick switched to illustrations only, there was a growing disparity in quality between pattern and editorial photography. Here it obscures the potential of Muir’s tucked and colour blocked peasant tunic:
Jeanloup Sieff photographed a similar dress-and-knickers ensemble for an editorial in Nova magazine:
The latest Jean Muir Young Designer pattern I’ve seen is Butterick 6398, a high-waisted dress with tiny self ruffles, button trim, and optional contrast sleeves and hemband:
I’ll close with this 1970 Norman Parkinson photo of a Jean Muir dress and turban in Monument Valley, in the collection of the National Portrait Gallery:
Next: Jean Muir’s Vogue Couturier patterns.
August 27, 2016 § Leave a comment
Farewell to Sonia Rykiel—designer, author, queen of knitwear. She will be missed.
August 16, 2016 § 1 Comment
In 1965, Brian Duffy photographed Pattie Boyd for a patterns editorial, “Cotton Landscape,” in British Vogue. The editorial opens with Boyd posing in Oliver Goldsmith sunglasses and an Op Art playsuit:
Boyd’s playsuit was made using Vogue 6491, a Young Fashionables pattern for a hooded ‘jump suit,’ bikini, skirt, and pants. As the caption says, “Powerhouse zigzags, electric pattern on a beach playsuit made to dazzle, not shock. Shorts shaped with a long front zip, smashing hood, and long cuffed sleeves.” The suit was made in Cepea navy and white cotton “with a Calpreta permanent sheen finish,” available from Bourne & Hollingsworth and Civil Service Stores.
For more of the June issue, see Youthquakers.
August 9, 2016 § 6 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 28, 2016 § 3 Comments
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.)
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:
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?
July 18, 2016 § Leave a comment
The results of my random number generator are in! The lucky number is 10, and the winner of my blogiversary giveaway is:
Mary Helen Crowe (the 10th person to comment)
Congratulations, Mary! I’ll send you an e-mail with the details on claiming your gift certificate.
Thank you so much to everyone who entered the giveaway. It was fun hearing about your favourite pattern designers. Your most-mentioned designer was Donna Karan (9), followed by Yves Saint Laurent (7) and Issey Miyake (6), dark horse Claude Montana (4), and Halston and Ralph Rucci, who tied for fifth place (3). (Honourable mentions go to Pierre Cardin, Rachel Comey, DVF, Givenchy, Claire McCardell, Alexander McQueen, and Isabel Toledo.)
And of course, thanks for reading and commenting on this blog for the past 5 years! As a thank-you to all of you, I’m having a flash sale in my Etsy shop through this Thursday, July 21th—30% off with coupon code YEARTHEFIFTH.
July 11, 2016 § 40 Comments
The PatternVault blog turns five today. (It all started with my first post, on Alexander McQueen for Givenchy.) To celebrate my blogiversary, I’m hosting a giveaway of one $25 CAD gift certificate for the PatternVault Etsy shop.
To enter, leave a comment with your answer to the question: Of the designers who have licensed (or otherwise authorized) sewing patterns, which one is your favourite?
The giveaway closes Sunday, July 17th at midnight EDT. The winner will be chosen at random and announced on Monday, July 18th. Good luck!