May 14, 2017 § 3 Comments
February 15, 2017 § Leave a comment
Marisa Berenson (b. 1947) turns 70 today. Though best known for her work as a film actor in movies like Visconti’s Death in Venice (1971), Cabaret (1972), and Barry Lyndon (1975), Berenson grew up wanting to be a fashion model. Her career was launched when she met Diana Vreeland at a society ball, and she became one of the most successful models of the ’60s and ’70s. For more, see the visual biography Marisa Berenson: A Life in Pictures (Rizzoli, 2011).
As far as I know, Berenson appears on only one pattern envelope: Vogue 2369 by Oscar de la Renta. Taken in a New York interior, the photo was also published in a 1970 Vogue Pattern Book feature on the designer:
Berenson can also be seen in Vreeland-era pattern editorials in Vogue magazine, like this shoot by Guy Bourdin (see my earlier post):
The issue of Vogue Pattern Book with the Berenson cover (shown above) includes more of her editorial work. In “New Evening Splendour,” she wears the cover look, caftan Vogue 7827, as well as Vogue 7834 and Vogue 7836:
Berenson also models some jumpsuits in a summer portfolio—Vogue 7697 in a groovy print:
High-waisted jumpsuit Vogue 7818:
And short jumpsuit and wrap skirt Vogue 7812:
Happy birthday, Ms. Berenson!
February 13, 2017 § Leave a comment
Galentine’s Day calls for slumber party-worthy loungewear. “The Insiders,” a mid-1970s Chris von Wangenheim editorial photographed in interior designer Angelo Donghia’s New York townhouse, includes three Vogue patterns made up in gleaming satin.
On the left, Regina Jaffrey wears robe Vogue 8888 and trousers Vogue 1127; the model on the right is wearing jacket and drawstring pants Vogue 8855. Both ensembles were made in Qiana nylon, from American Silk Mills and Jules Moskowitz. (Hair by Maury Hopson; jewels: Van Cleef & Arpels.)
See Sighs and Whispers’ repost for the full editorial.
Pattern images: Roma’s Maison, Vintage Pattern Wiki.
December 28, 2016 § 1 Comment
China Machado, the first mixed-race supermodel, has died. She was 86.
Born in Shanghai to Chinese and Portuguese parents, China Machado (1929-2016) was famous for working with Richard Avedon and Hubert de Givenchy. Later, she became a different kind of pioneer, as a model-turned-editor, when she succeeded Diana Vreeland as fashion director at Harper’s Bazaar.
According to a 2010 profile, Machado made most of her own clothes, having learned to sew from her aunts in Shanghai. She returned to modelling in her eighties.
In the ’70s, China Machado designed a Very Easy Vogue pattern for stretch knits, dubbed “The Shortcuts.” The collaboration was the subject of a four-page feature in Vogue Patterns magazine (click to enlarge):
The wardrobe pattern of “nine easy pieces” for resort and lounge wear included a bikini, cover-ups, a skirt and pantskirt, and even a one-shouldered toga ensemble:
Another modelling pioneer, Beverly Johnson, wore Machado’s designs in Vogue magazine:
With thanks to my mother and Nadia at Sew Exciting Needleworks.
December 16, 2016 § 3 Comments
This week, a look at the late James Galanos’ licensed Vogue patterns. (See my McCall’s post here.)
Vogue Patterns introduced James Galanos patterns in late 1967, with two dress designs modelled by Maud Adams and Lauren Hutton. The counter catalogue promotes Galanos’ “masterful touch” with an alternate shot of Vogue 1854, an A-line dress with side pleats at right front and left back:
Lauren Hutton models Vogue 1855, a coat dress with double inverted pleats in the back:
This short, wrap-effect evening dress has square armholes and front pleats concealing pockets:
Later Galanos patterns were photographed on location in New York, where the designer showed his collections. This dress goes one further than Vogue 1855 and has double inverted pleats in both front and back:
Jumpsuit Vogue 2524 features a shoulder yoke, pintucks, and wide, corded belt:
The latest Galanos pattern I’ve seen is Vogue 2639, a long-sleeved evening dress with front slit and waistline smocking detail:
A dreamy illustration made the cover of the news leaflet:
September 18, 2016 § 2 Comments
How to make the most of a beautiful print? As an early ’70s British Vogue editorial puts it, “Cape it… blouse it… kilt it.”
The Clive Arrowsmith editorial features Ann Schaufuss in three Vogue patterns that present the silhouettes of fall 1970 in glowing, ink-coloured prints. From Nina Ricci, Vogue 2406 is an “enveloping berber cape” and sleeveless dress made from two Staron fabrics in the same “glass-flower” print: a luxurious wool-viscose-polyamide for the cape and panne velvet for the dress, available at Harrods and Gasmey, London.
The second look pairs a yoked, full-sleeved blouse, Vogue 7538, and long Miss Vogue kilt Vogue 7889. The blouse is turquoise silk crepe de chine from Gasmey, while the kilt is Bombyx rayon panne velvet in a green and jewel-toned print, available at Liberty (boots to order at The Chelsea Cobbler):
The boho Baba Yaga look may not be to everyone’s taste, but velvet and early ’70s style are trends for fall 2016… Time to dig out some vintage prints?
(See Youthquakers for more of the October issue.)
September 13, 2016 § 7 Comments
Jean Muir was the only designer to ascend from Butterick Young Designer to Vogue Couturier. (See my post on Jean Muir’s Butterick patterns here.) This week, a look at Vogue’s Jean Muir patterns from the early 1970s to the mid-1980s.
Jean Muir was introduced as a new Vogue Couturier in Vogue Pattern Book’s first issue of 1972. Three Muir designs (Vogue 2663, 2664, and 2646) were pictured throughout the magazine, but only the last two appear in the designer feature: Vogue 2664’s full-sleeved dress in saffron jersey, and Vogue 2646’s evening dress and matching short shorts in bone-coloured matte jersey. The model on the right is Joyce Walker (click to enlarge):
Posing for Richard Avedon, Faye Dunaway wears a Jean Muir dress with handkerchief sleeves:
This dress with gathered centre panels and shirttail hem was featured on the counter catalogue in a lush floral print:
Vogue 2884 is an evening dress with raised waist and pintuck details. The back is particularly elegant (available in the shop):
David Bailey photographed Anjelica Huston in an olive version—with matching cloche—for British Vogue:
Muir ensembles often involve matching hats, and her patterns sometimes include a head covering. This pattern has three (click to view in the PatternVault shop):
A news cover illustrated by Michaele Vollbracht recommends wearing View C’s ‘ScarfCap’ with a ‘BigDress’ for fall ’75:
Vogue 1153 has characteristic Jean Muir dressmaker details—radiating Deco pintucks, tucked sleeves, released pleats, and contrast topstitching. The recommended fabrics include lightweight synthetic knits, matte jersey, tricot knits, and wool jersey:
On assignment for Vogue, Deborah Turbeville photographed Muir with models in her all-white apartment:
Turbeville’s legendary Bathhouse series includes a Jean Muir Liberty-print smock:
Vogue 2399’s full-sleeved dress was previously seen in my Iman post:
Vogue 2463 reinterprets Muir’s trademark cut-in sleeves and pin-tucked bodice for the early ’80s:
Vogue 1123’s two-piece dress arranges pleated volumes around smooth central panels:
The latest Jean Muir Vogue pattern I’ve seen is Vogue 1502, a jacket and skirt. The unlined jacket has deep kimono sleeves and a broad waistline tuck:
Style Patterns—by then owned by Simplicity—produced this dress pattern to accompany Channel Four’s 1993 television series, Very Jean Muir. The pattern is found in the National Museum of Scotland’s Jean Muir Collection:
Jean Muir’s dedication to the craft of fashion design gives her work a special appeal for home sewers. When Leeds Art Galleries mounted a travelling Jean Muir exhibition, dressmakers brought their Vogue patterns for her to sign.* Have you made any Jean Muir patterns?