August 17, 2017 § Leave a comment
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!
January 12, 2017 § 1 Comment
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.
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.
December 21, 2016 § 2 Comments
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.
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:
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:
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.
For more on the history of Celanese (est. 1918), see the company website.
Happy holidays, everyone!
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:
July 1, 2016 § 3 Comments
In celebration of Canada Day, this post is dedicated to the late Arnold Scaasi.
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.
Scaasi lost no time in pursuing pattern licensing. These Scaasi Spadea patterns date to 1956:
A few decades later, Claire Shaeffer covered Scaasi’s couture techniques for Threads magazine:
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:
This formal ensemble includes two-layer palazzo pants for chiffon or georgette and a top for scalloped lace:
Vogue 1287 is a collarless skirt suit with caftan-style side slits:
From spring, 1994, this dress is shaped by long darts in front and back and trimmed with a flounce:
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:
(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.
Opening image Scaasi ID thanks to Kickshaw Productions.
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!