Jean Muir: Butterick Patterns

August 28, 2016 § 2 Comments

Jean Muir for Jane & Jane, Butterick Home Catalog, Spring 1965.

Jean Muir for Jane & Jane, Butterick Home Catalog, Spring 1965.

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.

ARCHIVE - Personal Lecture Slides from the Jean Muir Collection

Box with slides from the Jean Muir Collection. Image: National Museum of Scotland.

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.

Jaeger advertisement illustrated by René Gruau, 1957

Jaeger advertisement illustrated by René Gruau, 1957. Image: Jaeger.co.uk.

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.

Jane & Jane "granny" dress photographed by Norman Parkinson at the Royal Hospital Chelsea, 1963

Jane & Jane “granny” dress at the Royal Hospital Chelsea, Life magazine, October 18, 1963. Photo: Norman Parkinson. Image: Google books.

Jean Muir licensed patterns with Butterick’s Young Designers line into the early 1970s.

1960s

In early 1965, Butterick introduced Jean Muir of Jane & Jane with four designs in the Spring 1965 catalogue (click to enlarge):

1960s photo of Jean Muir and her new Butterick patterns (nos. 3493 and 3492)

“From London: Designs by Jane & Jane,” Butterick Home Catalog, Spring 1965.

1960s Jean Muir Jane & Jane patterns Butterick 3495 and 3494

Butterick 3495 and 3494 by Jean Muir for Jane & Jane, Butterick Home Catalog, Spring 1965.

This simple Jane & Jane dress is accented with two narrow tucks above the hemline:

1960s Jane & Jane dress pattern by Jean Muir, Butterick 3609

Butterick 3609 by Jean Muir of Jane & Jane (ca. 1965) Image: PatternVault on Etsy.

The tucks on Butterick 3609 recall the single, broad hemline tuck on this Jane & Jane dress photographed by David Bailey in Kenya:

Jane & Jane wool dress by Jean Muir (Dolores hat; Ascher scarf) photographed in Kenya by David Bailey

Jane & Jane wool dress with secretary bird, British Vogue, February 1965. Photo: David Bailey. Model: Sue Murray. Image: Youthquakers.

This mod, A-line dress is trimmed with buttons and topstitching (click to view in the shop):

1960s Jean Muir of Jane & Jane dress pattern Butterick 3722

Butterick 3722 by Jean Muir of Jane & Jane (ca. 1965) Image: PatternVault on Etsy.

The young Grace Coddington posed in the sleeveless version for British Vogue:

Grace Coddington wears a Jane & Jane dress by Jean Muir in British Vogue, 1965

Jane & Jane dress in British Vogue, March 15, 1965. Photo: Eugene Vernier. Model: Grace Coddington. Image: Youthquakers.

Previously seen in my Celia Hammond post, this Jane & Jane dress has a standing neckline, raglan sleeves, and Muir’s trademark tiny button trim:

1960s Jean Muir Jane & Jane pattern feat. Celia Hammond, Butterick 4153

Butterick 4153 by Jean Muir of Jane & Jane (ca. 1966) Image: Vintage Patterns Wiki.

Within a year of founding her own company, Muir saw her double-breasted ‘cavalier’ coat on the cover of British Vogue:

Jean Shrimpton wears a Jean Muir coat on the cover of British Vogue, 1967 - Ph. David Bailey

Coat by Jean Muir, British Vogue, August 1967. Photo: David Bailey. Model: Jean Shrimpton. Image: Youthquakers.

"Cover: New brilliance, new romantic accessories, new cavalier look." Jean Shrimpton photographed by David Bailey for the cover of British Vogue August 1967

Burnished orange and navy blue striped cavalier coat in Garigue wool by Jean Muir, British Vogue, August 1967. Photo: David Bailey. Model: Jean Shrimpton. Image: Youthquakers.

With its shoulder yokes and double-breasted front, Butterick 5242 is a similar design:

1960s Jean Muir coat pattern Butterick 5242

Butterick 5242 by Jean Muir (ca. 1969) Image: Serendipity Vintage.

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:

1960s Jean Muir dress pattern Butterick 4937 - Butterick Fashion News illustration

Butterick 4937 by Jean Muir on the cover of Butterick Fashion News, August 1968. Image: Vintage Patterns Wiki.

The pattern envelope shows the dress with and without the low-slung belt carriers:

1960s Jean Muir dress pattern Butterick 4937

Butterick 4937 by Jean Muir (ca. 1968) Image: Etsy.

David Bailey photographed a similar Jean Muir belted jumper in green Harris tweed:

Sue Murray in a Jean Muir jumper, British Vogue, fall 1967 - Ph. David Bailey

Jean Muir jumper in British Vogue, October 15, 1967. Photo: David Bailey. Model: Sue Murray. Image: Youthquakers.

1970s

Previously seen in my Mad Men-era Butterick Young Designers post, Butterick 5657 is the kind of fluid jersey dress Muir became known for:

Late 1960s / early 1970s Jean Muir dress pattern Butterick 5657

Butterick 5657 by Jean Muir (ca. 1970)

The design is from Muir’s Fall 1969 collection—photographed here in cloud grey jersey:

Moyra Swan in a jersey minidress by Jean Muir, British Vogue, 1969

Jean Muir jersey dress, British Vogue, August 1969. Photo: David Montgomery. Model: Moyra Swan. Image: Youthquakers.

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):

1970 Jean Muir dress pattern Butterick 5954

Butterick 5954 by Jean Muir (ca. 1970) Image: PatternVault on Etsy.

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:

1970s Jean Muir two-piece dress pattern Butterick 6222

Butterick 6222 by Jean Muir (ca. 1971)

Jeanloup Sieff photographed a similar dress-and-knickers ensemble for an editorial in Nova magazine:

Chiffon dress and knickers by Jean Muir, Nova, March 1972. Photo: Jeanloup Sieff. Editor: Caroline Baker. Image: Miss Peelpants.

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:

1970s Jean Muir dress pattern Butterick 6398

Butterick 6398 by Jean Muir (ca. 1971)

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:

Norman Parkinson, Jan Ward in Jean Muir, 1970

Jean Muir dress, British Vogue, January 1971 (1970). Photo: Norman Parkinson. Model: Jan Ward. Image: the National Portrait Gallery, London.

Next: Jean Muir’s Vogue Couturier patterns.

Patterns in Vogue: Cotton Landscape

August 16, 2016 § 1 Comment

Pattie Boyd photographed by Brian Duffy in sunglasses and hooded jumpsuit for Vogue UK, 1965

Detail, British Vogue, June 1965. Photo: Brian Duffy. Model: Pattie Boyd. Image: Youthquakers.

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:

"Cotton Landscape: Pretty Dazzling" - Pattie Boyd photographed by Brian Duffy, 1965

“Cotton Landscape: Pretty Dazzling” – Vogue 6491 in British Vogue, June 1965. Photos: Brian Duffy. Model: Pattie Boyd. Image: Youthquakers.

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.

Hooded jumpsuit Vogue 6491 worn by Pattie Boyd in British Vogue, June 1965. Photo: Brian Duffy.

Pattie Boyd wears hooded jumpsuit Vogue 6491, British Vogue, June 1965. Photo: Brian Duffy. Image: Youthquakers.

Halston of Bergdorf Goodman – Vogue 7082

June 14, 2016 § 3 Comments

Detail, Vogue 7082 by Halston of Bergdorf Goodman

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:

1960s Halston of Bergdorf Goodman bridal headpiece pattern - Vogue 7082

Vogue 7082 by Halston of Bergdorf Goodman (ca. 1967)

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.”

1960s bride's or bridesmaid's dress pattern Vogue Special Design 1745

Vogue 1745 (ca. 1967) Image via eBay.

Worn with a matching suit, wouldn’t it be perfect for a day at the races?

1960s dress and jacket pattern Vogue Special Design 7061

Vogue 7061 (ca. 1967) Image via Etsy.

Oscar de la Renta: Vogue Patterns, Part 1

May 29, 2016 § 4 Comments

OscardelaRenta

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.”

de Young Oscar de la Renta exibition catalogue cover

Jennifer Park, Molly Sorkin, and André Leon Talley, Oscar de la Renta (Prestel, 2016) Image: Prestel.

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.

LIFE 9 Jul 1956 p118

De la Renta fitting debutante Beatrice Cabot Lodge, Life, July 9, 1956. Photo: Nina Leen. Image: Google books.

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.)

House photograph of an evening dress of gold and pink silk damask, Elizabeth Arden by Oscar de la Renta, autumn/winter 1963.

Elizabeth Arden by Oscar de la Renta evening dress in gold and pink silk damask, Fall-Winter 1963. Model: Isabella Albonico. Image: Oscar de la Renta via the de Young Museum.

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 photo + bio on a 1980s Vogue Patterns envelope flap

1960s

Oscar de la Renta dress photographed for Vogue by Henry Clarke at Villa Boscogrande

Oscar de la Renta dress photographed at Villa Boscogrande, Sicily, Vogue, December 1967. Photo: Henry Clarke. Image via Youthquakers.

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:

1960s Oscar de la Renta dress pattern Vogue 1909

Vogue 1909 by Oscar de la Renta (1968) Image via the Vintage Pattern Wiki.

This short evening dress has contrast bias cuffs and collar—flexible jewel trim optional:

1960s Oscar de la Renta dress pattern Vogue 2101

Vogue 2101 by Oscar de la Renta (1969) Image via the Vintage Pattern Wiki.

Vogue 2219, an evening dress in two lengths, includes a wide, contrast cummerbund and pockets in the inverted side pleats:

1960s Oscar de la Renta evening dress pattern Vogue 2219

Vogue 2219 by Oscar de la Renta (1969) Image via the Vintage Pattern Wiki.

1970s

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):

Vogue 2280

Vogue 2280 by Oscar de la Renta (1970) Image: eBay.

A 1972 editorial by Helmut Newton shows Lauren Hutton in an early Oscar de la Renta caftan:

"Adventures in Yellow": Lauren Hutton with stuntman Lance Rimmer photographed for Vogue by Helmut Newton, 1972

Oscar de la Renta caftan, Vogue, June 1972. Photo: Helmut Newton. Model: Lauren Hutton. Image via Youthquakers.

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:

1970s ruffled Oscar de la Renta dress pattern Vogue 2879

Vogue 2879 by Oscar de la Renta (1973) Image: PatternVault on Etsy.

Christie Brinkley models Vogue 1667, a blouse for two layers of sheer fabric and dirndl maxi skirt with deep hemline ruffle:

Christie Brinkley in 1970s Oscar de la Renta pattern Vogue 1667

Vogue 1667 by Oscar de la Renta in Vogue Patterns, May/June 1977. Model: Christie Brinkley. Image: Vintage Goodness.

Peasant blouse-and-skirt ensemble Vogue 1776 was featured on this winter catalogue cover:

1970s Vogue Patterns catalogue cover featuring Vogue 1776 by Oscar de la Renta

Vogue 1776 by Oscar de la Renta on the cover of Vogue Patterns catalogue, February 1978. Image: eBay.

In this photo by Deborah Turbeville—previously seen in a Patterns in Vogue post—the gold-pistachio lamé evening separates at far right were made using Oscar de la Renta pattern Vogue 2182:

Vogue Nov1979 Turbeville

From “Striking Gold,” Vogue, November 1979. Photo: Deborah Turbeville.

1980s

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:

1980s Oscar de la Renta caftan pattern Vogue 1027

Vogue 1027 by Oscar de la Renta (ca. 1983) Model: Alva Chinn.

Oscar de la Renta caftan, spring 1982. Hand-painted silk crepe de chine. Kent State University Museum, Silverman/Rodgers Collection. Photo courtesy of the Kent State University Museum, photography by Erin Burns

Oscar de la Renta caftan, Spring 1982. Photo: Erin Burns. Image: Kent State University Museum via the de Young Museum.

Vogue 1644 is a wrap-bodice dress with bias bands defining the waist:

1980s Oscar de la Renta dress pattern Vogue 1644

Vogue 1644 by Oscar de la Renta (1985) Image via Etsy.

These fashion photos by Steven Meisel and Patrick Demarchelier show how well de la Renta was suited to the Eighties aesthetic:

Michelle Eabry wears Oscar de la Renta, photographed for Vogue by Steven Meisel

Oscar de la Renta dress, Vogue, May 1986. Photo: Steven Meisel. Model: Michelle Eabry. Image via The Fashion Spot.

Cindy Crawfrod wears Oscar de la Renta on the cover of British Vogue, spring 1987

Cindy Crawford wears Oscar de la Renta on the cover of British Vogue, April 1987. Photo: Patrick Demarchelier. Image: Vogue UK.

Here, radiating pleats and a bias front godet add volume and interest:

1980s Oscar de la Renta dress pattern Vogue 1997

Vogue 1997 by Oscar de la Renta (1987). Image: Etsy.

Don’t Vogue 2185’s ruffles take the cake?

Vogue 2185 by Oscar de la Renta (1988) Model: Alexandra Aubin. Image: PatternVault on Etsy.

Next: Oscar de la Renta patterns from the 1990s and 2000s.

The Look of Courrèges

January 29, 2016 § 10 Comments

Courrèges sunglasses - Simone D'Aillencourt photographed by Richard Avedon, 1965

Courrèges glasses, February 1965. Photo: Richard Avedon. Model: Simone D’Aillencourt. Image via the Richard Avedon Foundation.

André Courrèges died early this month. He was 92. (See WWD, “André Courrèges: Space Age Couturier,” or Vanessa Friedman’s obituary for The New York Times.)

1960s Vogue cover - Astrid Heeren in a white Courrèges bonnet photographed by Irving Penn

Courrèges hat, Vogue, November 15, 1964. Photo: Irving Penn. Model: Astrid Heeren. Image via Vogue.com.

Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.

1960s Vogue Paris cover featuring Maggie Eckhardt in a Courrèges ensemble

Courrèges ensemble, Vogue Paris, March 1965. Model: Maggie Eckhardt. Image via Pinterest.

In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):

1960s Courrèges-look patterns McCall's 7938, 7932, and 7918 photographed by Edward Pfizenmaier for McCall's Pattern Fashions

“Precision… Proportion… Perfection! This is the Look of Courrèges,” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):

1960s Courrèges-look patterns McCall's 7914, 7936, and 7923 photographed by Edward Pfizenmaier for McCall's Pattern Fashions

“This is the Look of Courrèges.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:

McCall's Pattern Fashions & Home Decorating, Fall-Winter 1965-66

Seventeen Magazine Seconds the Courrèges Look.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66.

A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:

"Crompton Corduroy just acts rich" - 1960s Crompton Corduroy advert featuring Marcel Barbeau art and a McCall's pattern

Crompton Corduroy advertisement featuring McCall’s 7923 after Courrèges, 1965.

As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):

1960s party issue cover of Seventeen magazine featuring Jennifer O'Neill in McCall's 7923 after Courrèges

McCall’s 7923 after Courrèges on the cover of Seventeen, July 1965. Model: Jennifer O’Neill. Image via eBay.

Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):

7902, 7903, 7884. Seventeen Jul 1965 via eBay

7902, 7903, 7884. Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:

Seventeen Jul1965a

McCall’s after Courrèges in Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):

1960s poncho, hood, and dress pattern after Courrèges - McCall's 7884

McCall’s 7884 after Courrèges (1965) Image via PatternVault on Etsy.

In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):

1960s jumper, skirt, and blouse pattern after Courrèges - McCall's 7903

McCall’s 7903 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::

1960s dress/jumper, blouse and skirt pattern after Courrèges - McCall's 7914

McCall’s 7914 after Courrèges (1965) Image via the Vintage Pattern Wiki.

McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:

1960s dress pattern after Courrèges - McCall's 7918

McCall’s 7918 after Courrèges (1965) Image via Etsy.

McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):

1960s dress or jumper and blouse pattern after Courrèges - McCall's 7923

McCall’s 7923 after Courrèges (1965) Image via PatternVault on Etsy.

Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:

1960s top and skirt pattern after Courèges - McCall's 7932

McCall’s 7932 after Courrèges (1965) Image via Etsy.

McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):

1960s skirt suit and blouse pattern after Courrèges - McCall's 7936

McCall’s 7936 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):

1960s coat, suit, and blouse pattern after Courrèges - McCall's 7938

McCall’s 7938 after Courrèges (1965) Image via PatternVault on Etsy.

Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):

1960s dress or jumper, blouse and jacket pattern after Courrèges - McCall's 7940

McCall’s 7940 after Courrèges (1965) Image via PatternVault on Etsy.

André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.

I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):

Vogue1Mar1965_C1

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

Vogue1Mar1965_C2

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

* Dacron was known by the name Terylene in the U.K.

Patterns in Vogue: Pyjama Game

December 31, 2015 § 4 Comments

1960s Galitzine evening pyjama pattern - Vogue 1220

Detail, Vogue, November 1, 1963. Photo: Gene Laurents.

Whether you’re going out or staying in, palazzo pyjamas are perfect for New Year’s Eve. “Pyjama Game—the palazzo persuasion,” a 1963 Vogue editorial photographed by Gene Laurents, features two Vogue Couturier patterns for evening pyjama ensembles.

Both patterns are by designers based in Rome: Federico Forquet and Irene Galitzine. Vogue 1260 by Forquet is a sleeveless, draped evening dress that’s slit to reveal slim, matching pants. The original was apricot silk crêpe (click to enlarge):

1960s Forquet palazzo pyjama pattern Vogue 1260 in Vogue magazine

Vogue 1260 by Federico Forquet, Vogue, November 1, 1963. Model: Marola Witt. Photo: Gene Laurents.

From Galitzine, Vogue 1220 is a three-piece pyjama ensemble consisting of a top and skirt in black cut velvet shot with Lurex paired with trousers in white crêpe. The bold, rope necklace is by Brania:

1960s Galitzine palazzo pyjama pattern Vogue 1220 in Vogue magazine

Vogue 1220 by Galitzine, Vogue, November 1, 1963. Photo: Gene Laurents.

As always, details could be found in the back of the magazine:

"Vogue Patterns are available at important shops in every city..." back views in Vogue, Nov. 1963

Back views of Vogue 1260 and 1220 in Vogue, November 1, 1963.

All the best for 2016!

Pyjama game: Vogue 1260.

Detail, Vogue, November 1, 1963. Photo: Gene Laurents.

Evelyn Tripp

December 23, 2015 § 3 Comments

1950s British Vogue cover featuring Evelyn Tripp in red coat and hat

British Vogue, January 1955. Photo: Erwin Blumenfeld. Image via Vogue UK.

Evelyn Tripp (1927-1995) was one of the most prolific models of the 1950s. Born on a farm in Missouri, she was discovered at 20 while shopping on Fifth Avenue. You may recognize her from William Klein’s photograph, Smoke + Veil. She retired in 1968. (Read her New York Times obituary here.)

Evelyn Tripp William Klein Smoke + Veil 1958

Smoke + Veil, 1958. Photo: William Klein. Image via WWD.

Evelyn Tripp did modelling work for Simplicity, Woman’s Day, Butterick, and Vogue Patterns in the 1950s and early 1960s.

The Fall-Winter 1950 Simplicity catalogue includes a few photographs of the young Tripp. Here she wears tent coat Simplicity 8217:

Evelyn Tripp in 1950s tent coat pattern Simplicity 8217

Simplicity 8217 in Simplicity Pattern Book, Fall-Winter 1950.

Tripp also modelled an early Pauline Trigère design for Woman’s Day magazine. The portfolio was photographed by Leombruno-Bodi (full size here):

1950s Pauline Trigère dress pattern - Woman's Day 3267

Woman’s Day 3267 by Pauline Trigère in Woman’s Day, September 1950. Photos: Leombruno-Bodi. Image via Etsy.

1950s Pauline Trigère dress pattern - Woman's Day 3267

Woman’s Day 3267 by Pauline Trigère in Woman’s Day, September 1950. Photos: Leombruno-Bodi. Image via Etsy.

Among Tripp’s many covers are several for Vogue Pattern Book. Here she wears suit pattern Vogue S-4625:

1950s Vogue Pattern Book

Vogue Pattern Book, August-September 1955. Image via eBay.

On this spring cover she poses in dress-and-coat ensemble Vogue S-4659 (with matching hat):

1950s Vogue Pattern Book

Vogue Pattern Book, February-March 1956. Image via eBay.

Roger Prigent shot this cover featuring Tripp in Vogue 8829 made in Moygashel linen (also in Vogue):

1950s Vogue Pattern Book

Vogue Pattern Book, April-May 1956. Photo: Roger Prigent. Image via tumblr.

She appears on this summery Simplicity Pattern Book cover in Simplicity 1625 and Simplicity 1550, a top and skirt made in a matching print:

Evelyn Tripp on the cover of Simplicity's 1956 Summer Simplicity Pattern Book

Simplicity Pattern Book, Summer 1956. Image via eBay.

Inside, she poses in two-piece playsuit Simplicity 1608:

Evelyn Tripp on the beach in playsuit pattern Simplicity 1608

Simplicity 1608 in Simplicity Pattern Book, Summer 1956. Photo: Monroe. Image via eBay.

Tripp also appeared in a 1956 Vogue Patterns advertisement promoting the new printed and perforated patterns. The evening dress pattern is Vogue S-4735:

1950s Vogue Patterns ad featuring Evelyn Tripp in Vogue

“New Vogue Patterns are printed and perforated.” Vogue S-4735 in Vogue, 1956.

Here she wears Vogue 9607, made up in red, on the cover of the holiday 1958 issue of Vogue Pattern Book:

VPBUK DecJan1958-59

Vogue Pattern Book, December-January 1958-59. Image via eBay.

On this spring Butterick Pattern Book cover, she poses in a suit and flower hat, Butterick 8912 and Butterick 8880:

"A New Rise of Femininity" - Evelyn Tripp wears a flower hat on the cover of a late 1950s Butterick Pattern Book

Butterick Pattern Book, Spring 1959. Image via Vintage Chic.

Tripp may also be seen in early 1960s Vogue Pattern Book editorials. Here she wears Vogue 4267, a one-shouldered dress in wool jersey:

1960s Leombruno-Bodi photo of Evelyn Tripp in Vogue 4267

Vogue 4267 in Vogue Pattern Book, October/November 1961. Photo: Leombruno-Bodi.

For more of Evelyn Tripp’s work, see MyVintageVogue or Kristine/dovima_is_devine’s set on flickr.

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