October 31, 2017 § 2 Comments
Before Gal Gadot’s Wonder Woman, there was Xena: Warrior Princess. The Hercules spinoff starring Lucy Lawless as a Thracian warrior became a cult hit, thanks partly to that iconic leather armour by Ngila Dickson.
Best known today for her work on Peter Jackson’s Lord of the Rings trilogy, Dickson won a New Zealand Film and TV Award for Xena in 1998. The same year saw both an animated Hercules and Xena and official licensed costume patterns from Butterick. (Simplicity had done unofficial Xena patterns in 1997.)
The Butterick costumes call for synthetic leather for the dress and accessories, metallic cord and marker, and cotton Lycra to make your own undershorts. Chakram not included.
October 6, 2017 § 4 Comments
Blade Runner 2049, Denis Villeneuve’s much-anticipated sequel to Ridley Scott’s Blade Runner, opens today. Here’s a look at the fashion references and influence of the 1982 cult classic. (For Blade Runner’s influence on current fashion and an interview with costume designer Renée April, see Booth Moore, “‘Blade Runner 2049’ Already a Hit on the Fashion Runways.”)
Blade Runner’s BAFTA-winning costume designers, Charles Knode and Michael Kaplan, cite 1940s film noir, with its iconic characters like Humphrey Bogart’s Sam Spade and Rita Hayworth’s Gilda, as their main inspiration. For the replicant Rachael, they also looked to the 1930s and ’40s tailoring of Hollywood costume designer-turned-couturier Adrian. (Kaplan is still in the genre-film spotlight with the new Star Wars trilogy, while the Adrian label—the subject of a recent exhibit—is being revived as Adrian Original.)
Kaplan used vintage fabrics for Rachael’s Adrian-inspired outfits: “I liked the idea of combining different shades of suiting fabrics to create patterns—something Adrian did. In this case I used amazing vintage suiting woollens in shades of grey and beige, with metallic threads that I was lucky enough to find, which created a subtle luminous quality.” (Source: AnOther mag.) This circa 1944 Butterick suit features Adrian-style piecing:
In the 1980s, Claude Montana was the go-to designer for the decade’s updated triangular silhouette. (Ridley Scott has acknowledged the decade’s ’40s revival as an important factor in the film’s aesthetic.) This Vogue Individualist design plays up the ’40s influence:
In spring, 1997, Blade Runner: The Director’s Cut was one of the first movies to be released on DVD. The following spring, working with stylist Bill Mullen and set designer Jack Flanagan, Steven Meisel photographed a Blade Runner-homage cover and editorial for Vogue Italia’s March 1998 prêt-à-porter issue. Michael Kaplan recalls mistaking the cover for a film still. The editorial features text from Roy’s climactic monologue (“I’ve seen things you people wouldn’t believe…”) with clothes from Prada’s Spring 1998 collection, which paired natural materials with synthetics like latex and plexiglass.
Meanwhile, in Paris, Alexander McQueen referenced Blade Runner in his Fall/Winter 1998 ready-to-wear collection for Givenchy. Visionaire’s Alexander McQueen memorial issue includes an image from Steven Meisel’s fall advertising campaign. (For more on this collection, see my McQueen series post.)
Sewists and Blade Runner devotees are fortunate to have two licensed patterns from this collection:
The sleeveless version of the dress seems to have been shown with a jacket on the runway. (Click the image to read about my version, which I wore to TIFF’s Cronenberg exhibit.)
Rachael’s chevron-quilted synthetic fur coat gets the most screen time, but it’s her blue brocade coat with standing fur collar that appears to have been McQueen’s main reference for the fur-trimmed coats and jackets. As the pattern reveals, the collar stands with the help of boning.
(Wool version available here.)
The weathered tones and textures of Mayan Revival—prominently seen in Deckard’s apartment, as played by Frank Lloyd Wright’s Ennis House—form a thread linking the first film, Meisel’s Givenchy campaign, and Villeneuve’s sequel. It was Kaplan’s vision of a dirty retrofuture, rather than glossy futurism, that won him the Blade Runner gig. It will be interesting to see what role revivals play in the new film.
For more production images for the new film, see the Vogue Italia gallery.
September 21, 2017 § Leave a comment
Arthur Elgort and Grace Coddington’s mid-’90s editorial, “High-Toned Tweeds” (previously seen in my Anna Sui series), features Stella Tennant in stovepipe pants made from a Vogue pattern.
Very Easy Very Vogue trouser pattern Vogue 9369 was made up for the magazine in Tessuti D.B.A. tweed from Encore Fabrics.
May 30, 2017 § 1 Comment
The World of Anna Sui opened at the Fashion and Textile Museum in London last weekend. It’s the museum’s first retrospective on a living American designer, with an accompanying book by Tim Blanks—out today from Abrams.
Anna Sui licensed her work with Vogue Patterns for some 16 years, from the mid-1990s to 2011. Read my series on Vogue patterns by Anna Sui:
I’ve just listed this pattern for two dresses from Sui’s Mudd Club collection:
For more on Sui and her work, see Tim Blanks’ essay for the Business of Fashion, “Anna Sui, America’s Most Underrated Fashion Designer.”
April 17, 2017 § 1 Comment
In 1993, von Unwerth photographed Winona Ryder for a Vogue cover feature showcasing the season’s silver trend. One of the silver looks—shown twice—was made using a Vogue pattern.
July 28, 2016 § 3 Comments
Oscar de la Renta was born in July 1932; he would have turned 84 last week. In honour of his birthday, I’ll be looking at Oscar de la Renta sewing patterns from the 1990s and 2000s. (See Part 1 here.)
The 1990s marked Oscar de la Renta’s fourth decade with Vogue Patterns. From 1990, Vogue 2500 is a dress with pleated overlay and asymmetrical bias collar, chic in a polka dot print. De la Renta was pictured with a model wearing this design in Vogue Patterns magazine (May/June issue); the photo also made the cover of the counter catalogue:
In 1992, de la Renta became the first American to take over a French couture house when he was appointed chief designer at Balmain. He had begun presenting his own collection in Paris the previous year. (See Suzy Menkes, “De la Renta Joins Balmain.”) The cover of the Assouline book pictured above shows Balmain haute couture; a similar tableau was created for the de Young retrospective.
Vogue 1638 is a brightly coloured skirt suit from Oscar de la Renta’s Spring 1995 collection (full video on YouTube here). Its tailored details, like the jacket’s back pleats and martingale belt, won it an Advanced skill rating. The design was featured in a Vogue Patterns suits article (see The Overflowing Stash) and on the cover of the counter catalogue:
This double-breasted skirt suit, shown on the runway in pink satin, must be from the Fall 1995 collection. The recommended fabrics are satin, damask, and gabardine:
Ellen von Unwerth photographed Stella Tennant in a corseted lace Oscar de la Renta dress with flamenco dancer Joaquín Cortés for Vogue’s 1996 September issue:
Two years later, Hillary Clinton wore Oscar de la Renta for her Vogue cover (more here):
Vogue 2361 is a formal dress from the Spring 1998 collection. The skirt is cut on the bias, the bodice and hemline flounces are finished with self fabric binding, and view A has an asymmetrical train. Kirsten Owen modelled the original on the runway:
Just for fun, here’s another editorial photo showing de la Renta’s couture work at Balmain. Ruven Afanador photographed this lace-embroidered gown with matching chihuahua:
This floral print evening dress is a design from de la Renta’s Spring 2000 collection. Piping defines the waist, and the bias train is trimmed with waist pleats and flounces. The original was modelled on the runway by Carmen Kass:
The Fall 2001 collection included two “decidedly gothic black opera coats,” and Vogue Patterns chose one of them for its customers. Vogue 2714 is a full-sleeved, floor-length opera coat trimmed with frog closures and pleated ruffles. The pattern is sometimes numbered “P935 – Best Seller”:
From the Spring 2005 collection, strapless gown pattern Vogue 2889 evokes flamenco with its tiered skirt and draped, drop-waist bodice. The design was shown on the runway with length and bodice variations:
Vogue 2928 is a grand, off-the-shoulder ballgown complete with boned foundation, attached petticoat, and self fabric flowers and appliqués. The gown was the penultimate look in de la Renta’s Fall 2005 collection:
For more on the late designer, see Vogue’s retrospective. Have you made any Oscar de la Renta patterns?
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.