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 21, 2015 § 14 Comments
Caftans, long, loose-fitting tunics with origins in ancient Persia, have been gaining momentum as an alternative to more structured formal dress. With any luck, there will be some caftans among the goddess gowns at tomorrow’s Academy Awards ceremony.
They say Tsarina Alexandra was the first westerner to make a fashion statement in a caftan, when she dressed as a seventeenth-century Tsarina for a costume ball in 1903. Paul Poiret also advanced the caftan cause, but it was not until the 1950s that the garment really began to influence western fashion. Here’s a look at caftan patterns from the 1950s to now.
In the mid-1950s, Christian Dior and Cristóbal Balenciaga’s experiments with silhouette were partly inspired by eastern traditional dress. Dior’s Fall 1955 couture collection (Y line) included caftan-inspired ensembles—coats with high, side-front slits that reveal a slim dress underneath:
You can see echoes of the Dior caftan look in contemporary sewing patterns like McCall’s 3525 and 3532, both from late 1955:
McCall’s 3532, called a “slim caftan-and-dress ensemble,” was featured on the cover of McCall’s news leaflet and in the company’s “Make the Clothes that Make the Woman” advertising campaign. According to the ad, the design is ideal for the season’s “Oriental” fabrics, such as silk twill and raw silk tussah:
Caftans became popular in the 1960s in tandem with the increasing interest in eastern cultures. The Madame Grès version at the top of this post is cut on the bias, producing geometric seaming detail. The caption reads, “Coup of bias-work by Grès—because this piecing-together of bias angles is sinuous, stark, ravishingly Moroccan.”
This dress from Jean Patou by Michel Goma, Vogue 1699, has what the envelope calls a “caftan neckline.” The model is Beate Schulz:
This circa 1968 Vogue caftan pattern has optional flexible trim:
Other patterns from the late 1960s and early 1970s also reference eastern dress. From 1967, McCall’s 9026 is labelled as an abba in two lengths. Abba is an alternate spelling of aba, commonly abaya: a traditional Arab garment, long, loose-fitting, sleeveless, and made from a single rectangle of fabric. (Today, caftans often function as abayat.) The model is Veronica Hamel:
Burnoose patterns were marketed as resort wear. A pompom-trimmed version of McCall’s 2377 was photographed for the cover of McCall’s Summer 1970 catalogue:
Marola Witt models Simplicity’s burnoose in the July 1967 issue of Simplicity Fashion News (thanks to Mary of PatternGate for the reference). The text promotes the design’s ‘Arabian’ exoticism: “be exotic in a JIFFY: … the burnoose, born in Arabia, brought up to date here”:
This Halston caftan pattern from McCall’s also includes a top and pants (you can buy yourself a copy from the shop):
This flowing Dior caftan, modelled by Billie Blair, has lots of neckline detail, full-length sleeve openings, and pockets:
Vogue 1515 by Nina Ricci is a caftan that’s open in front and attached at the neckline to a handkerchief-hemmed underdress:
It’s harder to find post-1970s designer caftan patterns. This wide-sleeved, Oscar de la Renta caftan is trimmed with contrast bands. When worn, the side seams swing forward to raise the hemline in front:
From Issey Miyake, Vogue 2315 is a caftan-inspired summer dress:
Caftan patterns started making a comeback (of sorts) in 2009. Simplicity 2584, a caftan-inspired tunic by Cynthia Rowley, is out of print but still in demand:
Ralph Rucci’s floor-length caftan, Vogue 1181 (now out of print), has an abaya silhouette and interesting construction details—overarm darts, shaped lower sections, and a hook and eye above the low neckline:
The design is from Chado Ralph Rucci Resort 2009:
Matthew Williamson’s short caftan, available as a free pattern from the Guardian, is also a 2009 design:
Would you sew a caftan?
December 24, 2014 § 3 Comments
“Striking Gold,” a 1979 editorial by the late Deborah Turbeville, includes a two-page Vogue Patterns spread that has a festive sparkle.
Turbeville’s photo shows four seated models dressed in shimmery charmeuse and lamé; two wear off-the-rack clothing. The two featured patterns (at centre and far right) were made up in gold-pistachio lamé from Bloomingdale’s (click to enlarge):
Happy holidays, everyone!
December 17, 2014 § 8 Comments
For Paco Peralta.
Before Vogue Patterns introduced Yves Saint Laurent with patterns from the Mondrian collection, the company had already licensed the designer’s work for the house of Dior. (Read more at the Fondation Pierre Bergé – Yves Saint Laurent, or see Dustin’s post here.)
Yves Saint Laurent was appointed head designer at Dior after Christian Dior’s death in 1957. Dior had been his mentor; in 1955 he hired Saint Laurent to work at his new boutique, later promoting him to accessories and couture. Richard Avedon’s famous Dovima with Elephants shows a velvet evening dress designed by Yves Saint Laurent while he was still assistant designer:
Saint Laurent’s first collection for Dior, Trapèze (Spring 1958 haute couture), was a huge success, and his later work at the house continued its play with proportion. L’Officiel’s spring preview issue for 1958 featured an illustration of a Dior trapeze dress by René Gruau:
The young Yves Saint Laurent designed six haute couture collections for Dior; Vogue’s licensing represents his last three collections for the house, from 1959 to 1960.
1. Christian Dior Haute Couture Fall/Winter 1959
Saint Laurent’s second Fall/Winter couture collection for Dior was controversial; L’Officiel declared its aesthetic “femininity pushed to the extreme.” Suits were shown with severely cropped jackets, and the skirt silhouettes included voluminous tiers and hobble skirts.
The first Dior patterns were promoted with illustrations by Esther Larson in the late 1959 issues of Vogue Pattern Book and Vogue Printed Pattern News (thanks to the White Cabinet for the ID):
Anticipating demand for this high-profile addition to Vogue’s designer patterns, Vogue Pattern Book noted that the new patterns would be available in stores after November 10th:
The first Dior patterns were photographed by Joseph Leombruno and Jack Bodi, the couple who worked as Leombruno-Bodi. In Vogue magazine’s first issue for 1960, Isabella Albonico modelled the two dress ensembles, Vogue 1471 and 1470:
Leombruno-Bodi also photographed the new Dior patterns for Ladies’ Home Journal. The accompanying text for Vogue 1470 suggests that the hobble skirt silhouette was considered extreme: “Dior’s famous ‘hobble’ skirt makes a charming mid-season costume … The pattern also includes details on how to make the dress without the band at the bottom of the skirt for less extreme effect.” The model on the left is Anne St. Marie (click to enlarge):
Vogue 1470 is a striking dress and jacket ensemble. The short jacket has three-quarter sleeves and bow trim at the waist, while the dress has short sleeves, low V-neckline, and the collection’s distinctive pouf-hobble skirt banded at the knee. The original was navy tweed:
Here’s the envelope description: One piece dress and jacket. Skirt, with or without puffed tunic, joins the bodice at the waistline. Wide V neck-line with band finish. Short kimono sleeves. Short fitted jacket, joined to waistband, has concealed fastening below notched collar; below elbow length sleeves. Novelty belt.
Vogue 1471 is a close-fitting, double-breasted jacket with matching dress. The original was black-and-white tweed:
The envelope description reads: One piece dress and jacket. Flared skirt joins the bodice at the waist-line. Single button closing below the wide V neck-line with extension band finish. Above elbow length and short sleeves. Double breasted jacket has notched collar and below elbow length sleeves. Novelty belt for version A.
Vogue 1472 seems to have been the most popular of the three patterns. The voluminous coat and skirt suit were modelled by Nena von Schlebrügge:
Here’s the envelope description: Coat, suit and scarf. Double-breasted hip length jacket has a notched collar and below elbow length sleeves with buttoned vents. Slim skirt. Double-breasted, full coat in two lengths has a large shaped collar. Concealed pocket in side seams. Below elbow length sleeves joined to dropped shoulder armholes. Straight scarf.
In the next issue of Vogue Pattern Book, the Vogue 1472 coat is called “the newsmaking original Dior coat that tops the suit… Note the extras here: the enormous buttons, the slashed side seams, the stitched collar, the scarf to match. Your own extra: a towering cloche of the checked fabric”:
2. Christian Dior Haute Couture Spring/Summer 1960
Saint Laurent’s Spring 1960 collection for Dior was characterized by rounded silhouettes and vibrant colour. L’Officiel noted its straight suits with jackets cut on the bias to achieve the suppleness of a knitted cardigan.
Vogue 1012, introduced in the August/September 1960 issue of Vogue Pattern Book, includes a collarless, single-breasted skirt suit and sleeveless blouse with crisscross back. The jacket in view A is cut on the bias:
The envelope description reads: Suit and blouse. Short, straight jacket buttons below collarless away from normal neck-line. Welt pockets. Below elbow length kimono sleeves. Skirt has soft gathers from very shallow yoke. Easy fitting overblouse has shoulder straps crisscrossed at back.
This suit is similar to Vogue 1012, but has a more conventional button front:
These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:
3. Christian Dior Haute Couture Fall/Winter 1960
Yves Saint Laurent’s controversial final collection for Dior, le Beat look, was inspired by Left Bank icon Juliette Gréco and the Beatniks of Saint-Germain-des-Prés. It was innovative for its infusion of youthful, bohemian street style into the couture, with Beat elements including leather jackets, knitted turtlenecks, and plenty of black.
Vogue produced two patterns from this collection, drawn from the more conventional designs. Vogue 1041 is a skirt suit and matching, loose coat with a big standing collar and side slits:
Here’s the envelope description: Suit and coat. Easy fitting jacket has high buttoned closing below neck-band. Vent opening in side front seams. Bracelet length and elbow length sleeves. Slightly gathered skirt has outside stitched front panel concealing pockets. Seven eighths length loose coat has opening in side seams. Away-from-neck-line standing neck-band. Bracelet length kimono sleeves.
Philippe Pottier photographed the purple coat ensemble for L’Officiel‘s winter collections issue:
Vogue 1041 was photographed for Vogue magazine by Henry Clarke:
Vogue 1049 is a skirt suit and sleeveless overblouse. The blouse is worn over a barrel skirt with attached underbodice for a dropped-waist effect. The jacket of view A is designed to be worn open:
The envelope description reads: Suit and blouse. Box jacket has cut away fronts and simulated buttoned closing or complete buttoned closing, below standing band collar. Easy fitting overblouse with optional tied belt has bateau neck-line. Above elbow length sleeves and sleeveless. Slightly barrelled shaped skirt attached to bodice.
The dotted black ensemble in duchesse velvet was photographed for this Chatillon Mouly Roussel advertisement in L’Officiel:
I also found the black suit in a later L’Officiel composite:
These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:
For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.
September 1, 2014 § 2 Comments
In honour of Labour Day, this models post is devoted to iconic model and political activist Benedetta Barzini.
Benedetta Barzini (b. 1943) grew up in Porto Santo Stefano and New York City. She worked as a model in New York for four years after being discovered by Diana Vreeland. Here she appears on the cover of Vogue Italia’s inaugural issue:
Although Barzini returned to Italy to act, in the early 1970s she left acting and modelling to pursue Marxist-feminist teaching and political activism. She returned to modelling in the late 1980s. As of 2013 Barzini was a Professor of Fashion and Anthropology at the Polytechnic Institute of Milan. (Recent interview here.)
I have seen only one Vogue pattern with Barzini on the envelope. In 1967, Len Steckler photographed her in Vogue 1775 by Chuck Howard, a pattern from the new Vogue Americana line:
Barzini was also featured on the cover of the Vogue Patterns catalogue for August 1967:
Happy Labour Day, everyone!
May 12, 2014 § 6 Comments
(A late Mother’s Day post since I was under the weather yesterday.)
In honour of Mother’s Day, this models post is devoted to a mother and daughter who both modelled for designer sewing patterns: Nena von Schlebrügge and Uma Thurman.
Nena von Schlebrügge (b. 1941) was born in Mexico City to German-Swedish parents who had fled Nazi Germany. In 1957, two years after she was discovered by Norman Parkinson, she moved from her native Stockholm to London to pursue modelling, later moving to New York to sign with Eileen Ford.
Nena von Schlebrügge appears on a number of Vogue Pattern Book covers and Vogue patterns from the late 1950s and early 1960s.
Here she models one of Vogue’s first Dior patterns by Yves Saint Laurent—Vogue 1472, a skirt suit and full coat with big, shaped collar:
Von Schlebrügge can also be seen on Vogue 1484 by Madame Grès, a 3-piece ensemble that includes a voluminous coat with three-quarter sleeves, loose back panel, and elegant contrast lapels and lining:
Uma Thurman (b. 1970) is the daughter of Nena von Schlebrügge and her second husband, Robert Thurman. Born and raised in Massachusetts, Uma Thurman dropped out of her prep school there to pursue acting in New York City, where she worked as a fashion model before landing her breakout roles in Stephen Frears’ Dangerous Liaisons (1988) and Terry Gilliam’s The Adventures of Baron Munchausen (1988).
Here Thurman wears Simplicity 8054, a wrap dress with halter back and capelet sleeves, in classic red:
Here she models a pure ’80s LBD with big shoulders and flutter sleeves, Simplicity 8055:
Nena von Schlebrügge later became a psychotherapist and director of Tibet House and the Menla Center; Uma Thurman is an Academy Award nominee for her role in Pulp Fiction (1994). Thurman’s presence is already evident in her Simplicity patterns. Isn’t the family resemblance striking?
February 27, 2014 § 4 Comments
Born in Flint, Michigan, Billie Blair (b. 1946) worked as a model at the Detroit Auto Show before becoming one of the highest-paid fashion models of the 1970s. Moving to New York City, she got a job at Halston and soon found success as an editorial and runway model. Blair was among the African-American models at the historic 1973 fundraising event, Le Grand Divertissement à Versailles, known today as the Battle of Versailles. (The event was the subject of a recent documentary by Deborah Riley Draper, Versailles ’73: American Runway Revolution [2012)].)
Billie Blair may be seen on a number of Vogue designer patterns from the mid-1970s. Here she wears a tweed skirt suit and pussy-bow blouse by Oscar de la Renta; this design was marked as ‘suitable for knits’:
Stan Herman designed this casual hooded top, skirt, and pants. The illustration shows some American Hustle-worthy aviator shades:
Here Blair wears a girlish, vintage-style ensemble by Nina Ricci, a cream-coloured dress with matching cape:
From Jean Patou, this maxi dress may date to the period when the young Jean Paul Gaultier was assistant designer. Blair brings out the glamour of this haute couture loungewear:
In Vogue Patterns‘ 1975 holiday issue, Jerry Hall wears the Patou dress while Blair models an off-the-shoulder party dress in an editorial devoted to evening sparkle (the headline reads, “Be a Star the Vogue Way”):
Here she models a fabulous, evening-length Dior caftan with piped neckline:
This Nina Ricci separates pattern includes a poncho with shirttail hem, convertible collar, and big patch pockets:
Blair is the model on this rare pattern by Sonia Rykiel, Vogue 1378—check out the matching coral sandals:
Billie Blair’s commanding presence and approach to modelling as performance don’t seem too unusual today. But she was unconventional for the time, and even felt the need to under-report her age when she first became famous. A 1974 profile of Blair in People magazine says she is 22 years old and remarks on her size 9 feet. (In a letter to the editor, a high school classmate wondered how Blair had stayed 22 when her peers were 28.) She continued modelling into her thirties—here she appears in a dynamic 1978 Vogue shoot by Andrea Blanch: