Pucci 70th Anniversary
May 4, 2017 § Leave a comment
A dress by Emilio of Capri in McCall’s Pattern Book, Spring 1957. Photo: Howell Conant.
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!
Vogue 1351 by Pucci (1964) Image: PatternVault on Etsy.
Bad Girls Do It Well
January 12, 2017 § 1 Comment
C’est Vous! 1959 Eastman Fibers advertisement featuring McCall’s 5020 and McCall’s 5099 by Pierre Cardin.
A 1959 Eastman Fibers ad brings a note of intrigue to McCall’s patterns by photographing them in a nightlife setting, on a pair of vampy women.
The patterns are McCall’s 5020, a strapless cocktail dress, and McCall’s 5099, a skirt suit by Pierre Cardin, both shown in Wesco Chromspun fabrics.
Chromspun is the trademark for Eastman colour-locked acetate yarn from Eastman Chemical Products Inc., then a subsidiary of Eastman Kodak—in those days headquartered on Madison Avenue.
Create Your Brilliant Season
December 21, 2016 § 2 Comments
Dovima wears McCall’s 4425 for Celanese, 1959.
A Celanese advertising insert from the late 1950s shows McCall’s festive styles in the latest synthetic silks—top models and more than one tiara from the multinational chemical company that brought you cellulose acetate.
Celanese Contemporary Fibers advertising booklet, Fall 1959.
The booklet frames small, full-length photos of McCall’s designs with close-ups showing off the “brilliant” textiles. Here, McCall’s 4999 is shown in Belding Corticelli’s rayon-acetate matelassé, with McCall’s 5057 in Cohama’s Arnel triacetate faille. The model on the right is Simone D’Aillencourt:
Left, McCall’s 4999 in Belding Corticelli matelassé; right, McCall’s 5057 in Cohama faille. Celanese insert, Fall 1959.
The blue ensemble on the left is McCall’s 5023, made in Celanese Celaperm acetate satin faille from the David Hecht Co. Anne St. Marie poses in McCall’s 5029 in Onondaga rayon-acetate brocade:
Left, McCall’s 5023 in David Hecht Co. satin faille; right, McCall’s 5029 in Onondaga brocade. Celanese insert, Fall 1959.
Here, Dovima wears a shimmering gold version of McCall’s 4425 in Lawrence and Klauber printed crepe satin acetate, while McCall’s 4870 evokes Princess Grace in aqua acetate satin from William Skinner and Sons:
McCall’s 4425 in Lawrence and Klauber printed crepe satin; right, McCall’s 4870 in William Skinner and Sons satin. Celanese insert, Fall 1959.
Dovima closes the booklet in McCall’s 5012, an at-home trouser ensemble shown in orange and tangerine Celaperm acetate satin peau from Wedgwood Fabrics.
Dovima wears McCall’s 5012 in Wedgwood Fabrics’ satin peau. Celanese insert, Fall 1959.
For more on the history of Celanese (est. 1918), see the company website.
Happy holidays, everyone!
James Galanos: McCall’s Patterns
November 27, 2016 § 4 Comments
Metallic evening gown by James Galanos photographed at the Costume Institute, 1954. Image: Bettmann / Getty.
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.
Jean Patchett in Galanos, Life magazine, February 23, 1959. Photo: Nina Leen. Image: Life archive.
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.
Image: the Metropolitan Museum of Art.
1950s
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.
McCall’s 3895 by Galanos on the cover of McCall’s Pattern Book, Winter 1956-57. Image: eBay.
“Holiday news: Galanos designs for McCall’s.” McCall’s news leaflet, December 1956.
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 3894 by Galanos (1956) Image: the Vintage Pattern Wiki.
McCall’s 3894 by Galanos in McCall’s Pattern Book, Winter 1956-57. Image: eBay.
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:
McCall’s 3895 by Galanos (1956) Image: eBay.
A Galanos design in the McCall’s catalogue, February 1957. Image: Etsy.
In spring, 1957, McCall’s released two more Galanos patterns: the lavishly full-skirted McCall’s 4045 and 4046.
McCall’s 4045 by Galanos (1957) Image: eBay.
Here, the back bodice extends into a front yoke. The skirt and petticoat were to be made in organdy, nylon, or silk organza:
McCalls 4046 by Galanos (1957) Image: eBay.
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.
“Make the Clothes that Make the Woman” advertisement featuring McCall’s 4046 by Galanos, spring 1957.
In the Summer 1957 pattern book, the designs are illustrated in green linen and flower-embroidered organdy:
James Galanos patterns illustrated in McCall’s Pattern Book, Summer 1957.
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:
Gloria Vanderbilt in a chiffon evening dress by Galanos, Life magazine, April 14, 1961. Photo: Gordon Parks. Image: Shrimpton Couture.
Arnold Scaasi: Vogue Patterns
July 1, 2016 § 3 Comments
A Scaasi design on the cover of Vogue, December 1955. Photo: Richard Rutledge. Model: Mary Jane Russell. Image via tumblr.
In celebration of Canada Day, this post is dedicated to the late Arnold Scaasi.
Scaasi earrings on the cover of Vogue, November 15, 1960. Photo: Bert Stern. Model: Deborah Dixon. Image: flickr.
Arnold Scaasi (1930-2015) was born in Montreal as Arnold Isaacs. (Scaasi is Isaacs backwards—depending who you ask, the designer changed his name either to sound more Italian or less Jewish.) His father was a furrier, his mother had studied opera, and his glamorous, Schiaparelli-loving Aunt Ida was an early inspiration. He studied in Montreal and Paris, at the Cotnoir-Capponi school and the Chambre Syndicale, then worked at Paquin and Charles James in New York before launching his own business in 1956.
Scaasi was best known for his opulent evening wear, custom-made for society and celebrity clients who appreciated the drama of his sculptural silhouettes, luxurious materials, and flamboyant use of colour. In 2002, the Museum at FIT mounted the retrospective Scaasi: Exuberant Fashion and, following his retirement in 2010, the Museum of Fine Arts, Boston hosted Scaasi: American Couturier, an exhibition structured around his couture clients.
Image: The Metropolitan Museum of Art.
Scaasi lost no time in pursuing pattern licensing. These Scaasi Spadea patterns date to 1956:
Scaasi evening skirt available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.
Scaasi jacket available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.
Scaasi housecoat available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.
A few decades later, Claire Shaeffer covered Scaasi’s couture techniques for Threads magazine:
A Scaasi gown on the cover of Threads 38 (December/January 1991-92) Photo: Yvonne Taylor. Image via vintage4me2.
It was only in the early 1990s that Scaasi licensed his work with Vogue Patterns. The designer was introduced in the November/December 1993 issue of Vogue Patterns with three patterns. The first, Vogue 1285, is a low-backed cocktail or evening dress with sheer contrast:
Vogue 1285 by Scaasi (1993) Image via Etsy.
This formal ensemble includes two-layer palazzo pants for chiffon or georgette and a top for scalloped lace:
Vogue 1286 by Scaasi (1993) Image via Etsy.
Vogue 1287 is a collarless skirt suit with caftan-style side slits:
Vogue 1287 by Scaasi (1993) Image via Etsy.
From spring, 1994, this dress is shaped by long darts in front and back and trimmed with a flounce:
Vogue 1357 by Scaasi (1994) Image via Pinterest.
Finally, Vogue 1377’s dress has a boned bodice and slightly off-the-shoulder neckline. The original’s striped fabric was cut on a creative layout:
Vogue 1377 by Scaasi (1994) Image via Etsy.
(Seldom seen, but there is a copy at Sew Exciting Needleworks.)
In 1991, Scaasi told The Canadian Press, “When I left Canada some 30 years ago, there was no room for creative talent in dress design. At that time, the only way to really make it was to go to the United States.” A New Yorker from 1951, he met his partner, Parker Ladd, on Central Park South in the early 1960s; they married in 2011.
For more on Scaasi, see the obituaries in The New York Times, the Montreal Gazette, and WWD.
Opening image Scaasi ID thanks to Kickshaw Productions.
Evening ensemble by Arnold Scaasi for Arlene Francis, 1958. Image via the Metropolitan Museum of Art.
Carmen Dell’Orefice
June 3, 2016 § 5 Comments
Carmen Dell’ Orefice in Ceil Chapman, Vogue, 1949. Photo: Norman Parkinson. Image via Norman Parkinson Archive.
Carmen Dell’Orefice turns eighty-five today.
Vogue, October 15, 1947. Photo: Erwin Blumenfeld. Image via Pinterest.
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.
Vogue, May 1, 1951. Photo: Norman Parkinson. Via Pinterest
Vogue, May 1955. Photo: John Rawlings. Image via Pinterest.
Harper’s Bazaar, May 1958. Photo: Gleb Derujinsky. Image via Pinterest.
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):
Vogue 6716 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.
Vogue 6065 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.
Vogue 6707 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.
On this McCall Pattern Book cover from Summer, 1957, she models McCall’s 4095 and 4097:
McCall’s Pattern Book, Summer 1957. Image: eBay.
Here, Dell’Orefice poses in an all-red ensemble for the cover of Simplicity magazine, Fall 1958:
Simplicity magazine, Fall-Winter 1958. Image: eBay.
Here she wears gown Vogue 9827 on the cover of Vogue Pattern Book’s holiday issue:
Vogue 9827 on the cover of Vogue Pattern Book, December/January 1959-1960. Image via Make Mine Vogue.
1980s
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:
Vogue 8195 (ca. 1982) Image via the Vintage Pattern Wiki.
Vogue 8521 by Arlene Dahl (ca. 1980s) Image via Etsy.
1990s
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:
Vogue 1972 (1997) Image via Etsy.
Vogue 9821 (1998) Image via eBay.
Happy birthday, Ms. Dell’Orefice!
Alberta Ferretti fashion show, Florence, 2011. Image: Getty / Vogue Italia.
Jean Patchett
February 16, 2016 § 4 Comments
Vogue, January 1950. Photo: Erwin Blumenfeld. Image via jeanpatchett.com.
Today is the 90th anniversary of Jean Patchett’s birth.
Jean Patchett (1926-2002) moved to New York City from her home in Preston, Maryland to pursue a career in modelling. She signed with Ford Models in the spring of 1948, and soon became one of the new agency’s top models. Patchett appears on some of Vogue’s most iconic covers. She retired in 1963. (See Cathy Horyn’s obituary for The New York Times, “Jean Patchett, 75, a Model Who Helped Define the 50’s.”)
Vogue, April 1, 1950. (Dress by Larry Aldrich; Lilly Daché hat.) Photo: Irving Penn. Image via jeanpatchett.com.
(Read more about this cover at the Art Institute of Chicago, or see the UK version here.)
British Vogue, July 1951. Photo: Clifford Coffin. Image via Vogue UK.
(Prints available from the Condé Nast shop.)
According to a short profile in Glamour, in her off hours, Patchett enjoyed making her own clothes (Glamour, Oct. 1948). She can be seen in pattern editorials for Vogue, Simplicity, McCall’s, and Butterick from the late 1940s on.
Soon after her first Vogue cover in September, 1948 (October for British Vogue), Serge Balkin photographed the young Patchett in tone-on-tone grey flannel for the cover of Vogue Pattern Book. The patterns are Vogue 6620 (dress) and Vogue 6629 (coat):
Vogue Pattern Book, December-January 1948-49. Photo: Serge Balkin. Image via eBay.
Irving Penn’s famous Vogue editorial, “Flying down to Lima,” showing Patchett on location in Lima, Peru, is in fact a pattern editorial. In this café scene, she chews her pearls wearing Vogue S-4967, a dress and jacket ensemble (click the image for a gallery note, or see Devorah MacDonald’s blog for the full editorial):
Jean Patchett in Vogue S-4967; John-Frederics hat. Vogue, February 1949. Photo: Irving Penn. Image via the Art Gallery of New South Wales.
Patchett poses in dress and jacket Vogue S-4008 on this fall 1949 cover of Vogue Pattern Book:
Vogue Pattern Book, August-September 1949. Image via flickr.
Wearing the New Look dress and camisole Vogue S-4088:
Vogue Pattern Book, Summer 1950. Image via eBay.
Richard Avedon’s travel-themed photo was used for both Simplicity’s counter catalogue and the company’s Fall-Winter magazine (where Patchett can be seen holding a copy of André Gide’s Les faux-monnayeurs). The patterns are Simplicity 3327 (topper), Simplicity 3298 (weskit), and Simplicity 3027 (skirt):
Simplicity catalogue, ca. autumn 1950. Photo: Richard Avedon. Image via Etsy.
Here she poses in a veiled hat and elegant silk shortcoat; the text contains a typo—the pattern is Vogue 7258:
Vogue 7258 in Vogue Pattern Book, Early Summer 1951. Image via flickr.
This Holiday issue of Butterick Pattern Book features Patchett in Butterick 5941, a shirtdress with cuffed sleeves:
Butterick Pattern Book, Winter 1951. Image via jeanpatchett.com.
For the fortieth anniversary issue of McCall’s Pattern Book, Patchett posed in McCall’s 9080 alongside illustrations from past decades:
McCall’s Pattern Book, Back-to-School and Fall 1952. Image via jeanpatchett.com.
Lillian Bassman photographed Patchett in this striped summer dress from Simplicity:
Simplicity Pattern Book, Summer 1953. Photo: Lillian Bassman. Image via myvintagevogue.
Posing for the cover of Burda Moden magazine:
Burda Moden, October 1954. Image via flickr.
This strapless playsuit must be Simplicity 4715, shown in bias tartan with matching parasol:
Simplicity Pattern Book, Summer 1954. Photo: Paul Radkai. Image via myvintagevogue.
Roger Prigent photographed Patchett in Vogue S-4550, made up in Onondaga acetate brocade:
Vogue S-4550 in Vogue Pattern Book, December-January 1954-55. Photo: Roger Prigent.
Finally, Patchett appears with her own double in this resort-themed McCall’s advertisement featuring McCall’s 3635 (see my earlier post on this campaign here):
“Make the clothes that make the woman” – advertisement for McCall’s Printed Patterns, 1956.
For more of Jean Patchett’s work, see jeanpatchett.com, myvintagevogue, or skorver on flickr.
