June 14, 2016 § 3 Comments
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:
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.”
Worn with a matching suit, wouldn’t it be perfect for a day at the races?
September 24, 2015 § 3 Comments
Last week, Zandra Rhodes returned to London Fashion Week for her Spring 2016 collection. Famous for her colourful, hand-drawn prints, the bohemian cult favourite is also new to Vogue Patterns for Winter/Holiday 2015: Vogue 1472 is the first new Zandra Rhodes sewing pattern in thirty years. (Update: read a profile in Vogue Patterns magazine.) For knitters, the current issue of Rowan Knitting & Crochet has a Zandra Rhodes jacket pattern available as a free download.
Born in Chatham, Kent, Zandra Rhodes (b. 1940) trained as a textile designer at Medway College of Art, where her mother was a lecturer, and London’s Royal College of Art. Rhodes founded her own label in order to build garments around her prints. Her first, 1969 collection, Knitted Circle, was famously worn by Natalie Wood in Vogue magazine; the evening coat is now in the collection of the V&A:
Rhodes became known as the Princess of Punk following her Spring 1977 torn and safety-pinned Conceptual Chic collection, which was partly inspired by Schiaparelli’s Tears dress.
By the 1980s Rhodes was designing for Princess Diana. The princess wore this pink chiffon dress, embellished with crystal beads and pearl droplets, during her 1986 state visit to Japan (now in the collection of Historic Royal Palaces):
In 1985, Style Patterns released a handful of Zandra Rhodes sewing patterns. Rhodes was among the first designers to be included in the company’s short-lived designer line. (See my earlier posts on Bruce Oldfield and Frederick Fox.)
Style 4399 is a pattern for a wedding or evening dress in two lengths with characteristic serated frill:
Here’s the envelope description: Misses’ Lined Wedding Dress or Evening Dress in Two Lengths — Dress has shoulder yoke with serrated frill and pointed cape effect on bodice. Skirt has elasticated waistline. Model 1 bead trim is used on yoke and neck tie. Suggested fabrics: Lightweight silk types, crepe de chine, chiffon, shantung, lace, voile, batiste, organza. Lining: Jap silk, crepe de chine. Trim: wide ribbon and pearl beading or narrow ribbon.
Style 4400 is an off-the-shoulder wedding or bridesmaid’s dress with separate petticoat:
The envelope description reads: Misses’ Half-Lined Wedding Dress or Bridesmaid’s Dress and Petticoat — Dress has flounced bodice with elasticated waist. Skirt has layered net frills, with gathered net and ribbon trim. Bride and bridesmaid’s dress has petticoat in fabric and net. Suggested fabrics: Dress, Models 1 and 2: Organza, voile, silk or synthetic sheers, lightweight lace. Lining: silk types, taffeta, satin (nap irrelevant). Net or tulle: silk, nylon. Trim: wide ribbon, sequin trim, narrow ribbon.
The third dress design, Style 4400, has a low back décolletage and multi-tiered skirt:
You can see the same pattern with updated envelope here.
Here’s the envelope description: Misses’ Dress in Two Lengths — Dress has fitted bodice with elasticated waistline. Models 1 and 3 have bodice frill to waistline. Model 2 has shorter bodice frill. Models 1 and 2 have four-tiered skirt flounce. Model 3 has three-tiered skirt flounce. Suggested fabrics: Chiffon, georgette, voile, silk or synthetic sheers, organza. Also: lightweight lining fabric. Trim: wide ribbon; pearl trim (views 1 and 2).
The designs seem to be from Rhodes’ Spring 1985 collection, Images of Woman:
The trim and fabric specifications are catalogues of girliness: lightweight, floaty fabrics to be trimmed with the ribbon, sequins, and pearls. I love how Style 4495 suggests lining fabric as an alternative—perhaps with a budget-conscious youth market in mind.
For more on Zandra Rhodes, see the V&A’s article.
June 4, 2015 § 1 Comment
Now that wedding season is upon us, I wanted to share this bridal-themed ad for Vogue Patterns from spring, 1957. The pattern is a Vogue Special Design, Vogue S-4765 (click to enlarge):
The company had a series of these ads, each showing the model bursting out of a bunch of printed and perforated pattern pieces. (Vogue patterns were unprinted until the mid-1950s.) I love how the slogan, “The smartest move you can make,” blurs the distinction between a life decision such as marriage and the choice of pattern brand.
June 17, 2014 § 7 Comments
Ascot begins today. To celebrate, this post is dedicated to commercial patterns by the late milliner to the Queen, Frederick Fox.
(Last year I featured a free pattern for a Stephen Jones hat; see it here.)
Born in Australia to a large family, Frederick Fox (1931-2013) showed an early interest in millinery, refashioning hats for his mother and five sisters in rural New South Wales. After training with several milliners in Sydney, in 1958 he moved to London. By 1964, Fox had taken over Langée to open his own salon.
Fox’s royal commission for Queen Elizabeth II grew out of his work with Hardy Amies in the mid-1960s. Shortly before this commission began, he designed the white leather crash helmets in Stanley Kubrick’s 2001: A Space Odyssey (1968). Fox was known for his witty designs, made with fine materials and great technical skill; he is credited with inventing the fascinator. (For more on Frederick Fox, see the recent D*Hub article and Stephen Jones’ reminiscence for British Vogue.)
In the mid- to late 1980s, Frederick Fox millinery patterns were available from Style Patterns. Frederick Fox patterns display the Royal Warrant,* which he held from 1974 until his retirement in 2002.
Style 4788 is a pattern for bridal headpieces and veils. Included are both double- and single-layered veils, attached to three bases: a rose circlet edged with Russian braid, a beaded Juliet cap, and a twisted fabric headband. (The rose circlet may be worn alone.) View 1 was photographed with Style 4787, a bridal gown by Murray Arbeid, Fox’s companion of over 50 years:
Style 1072 is a pattern for a set of hats, including a beret, a turban, and a turban headband:
Do you remember the ’80s hair ornament trend? Style 1157 is a pattern for a set of hair ornaments: a rosette with attached veil, a hair slide with large or small bow in 2 fabrics; and a headband with 2-fabric bow with optional diamante trim:
Style 1249 is a unusual for offering a set of bridal hats: a hat with attached veil and narrow brim turned up at the back, and two wide-brimmed, crownless hats (both attached to headbands):
The original owner of my copy of Style 1249 had enclosed magazine pages showing these bridal designs; the text reads, “Head Turners: Hats for that special day by Frederick Fox exclusively for Style.” It may be that, like McCall’s designer patterns in the 1950s, these hats, veils, and headpieces were designed especially for Style Patterns.
* The Queen’s current milliner Rachel Trevor-Morgan is the only milliner on the current list of warrant holders.
June 12, 2013 § 6 Comments
Vintage bridal patterns offer a unique alternative to modern bridal designs. Even if you’re already married, they provide a glimpse into past bridal fashions’ sometimes exotic vintage details—making them tempting even for those not in need of a wedding dress. (Can we expect Debi Fry to make her 1940 bridal pattern, McCall 4004?)
Now that wedding season is in full swing, here’s a selection of vintage bridal patterns, from the Twenties to the Eighties.
In the Twenties and Thirties, bridal patterns usually did double duty as patterns for formal dresses. This 1920s Peerless Patterns sign features a wedding illustration promoting a number of patterns:
This fantastic bridal or evening dress is short, in keeping with the current fashion, and may have one or two extended side panels that give the effect of a train:
Thirties bridal patterns have the same glamour we associate with the decade’s evening wear. This pattern for a bridal gown or dinner dress dates to circa June 1934:
A reproduction version of this pattern for a bridal gown or afternoon dress is available from the Vintage Pattern Lending Library:
A copy of McCall 8331 recently seen on eBay was accompanied by this wedding portrait, which shows the dress made up:
In the Forties the bride begins to take centre stage on pattern envelopes, although evening and bridesmaid versions are still included. This bridal or evening dress was reissued in the Vintage Vogue line as Vogue 2384:
This strong-shouldered, postwar design has a sweetheart neckline and waist piping detail. The pattern also includes a bridesmaid’s dress with short, shirred sleeves (click image for the technical drawings):
By the 1950s the bride, in her full-skirted glory, dominates the pattern envelope. This Jacques Fath design for a bride’s or bridesmaid’s dress has a bustled back and tiny shawl collar. The bridesmaid’s version simply lacks a train:
John Cavanagh was known for his connection to the English court. He licensed several bridal patterns with Vogue, and designed the Duchess of Kent’s wedding dress in 1961. (See my earlier post here.) This short-sleeved Cavanagh design has a simulated train; the smaller figures show bridesmaid’s and evening versions:
Also by John Cavanagh, this 1960s bridal design with a cathedral-length Watteau train was modelled by Jean Shrimpton:
No bridal pattern survey could be complete without this Halston pattern for bridal headpieces:
From the early 1970s, this Pierre Cardin bridal gown, shown in a silk knit, has an optional overskirt with handkerchief train:
Although it isn’t for everyone, Yves Saint Laurent’s couture bridal design for a gathered, bias dress, filmy coat, and five-yard veil distinguishes itself by showing the bride as wayward Vestal virgin (see Paco Peralta’s post here):
Released in 1980, this opulent Dior design for a bell-skirted bridal gown, complete with bias necktie, cummerbund, and bow-embellished headpiece, is drawn from the Christian Dior Haute Couture collection for Fall 1979 (read Dustin’s post here):
Perfect for steampunk weddings, Vogue 2180 by Bellville Sassoon has an elaborate bustle that gives it a neo-Victorian flair: