There are only two weekends left to catch Balenciaga: Master of Couture at the McCord Museum. Anne St. Marie’s look (above) was inspired by Balenciaga.
From the inside note: “The new straight-coat fashion favored by Balenciaga, fall and winter coverage for its own sheath dress and everything else in your wardrobe. In colorful Anglo tweed and coordinated red wool, interfaced with Armo hair canvas to hold its line. Earl-Glo Sanitized taffeta lining; B.G.E. buttons. Emme hat; Mark Cross bag; Superb gloves.”
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.
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:
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:
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.
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: