Paco Peralta, the beloved Spanish couturier and mentor to the online sewing community, died on Saturday in Barcelona. He was 57.
Adéu, Paco, dear friend. You will be greatly missed.
Francisco Peralta Rovira, known as Paco Peralta, born February 1, 1962, Huesca, Aragon, died February 2, 2019, Barcelona.
Paco Peralta’s close friend, the milliner Cristina de Prada, wearing his designs in a 2013 millinery feature for S Moda. Photos: Germán Saiz. Images: El País.
Callot Soeurs lounging pyjamas, ca. 1913. Image: LACMA.
This week, a free couture pattern from Callot Soeurs.
Callot Soeurs was one of the old couture houses of Belle Époque Paris, founded in 1895 by the four Callot sisters. Not many Callot Soeurs garments survive, and the house is best remembered for its role in the early career of Madeleine Vionnet. But in 2015, the New Yorker published an article on a collection of Callot Soeurs dresses found stored in Villa La Pietra, a Florentine villa that was once home to American heiress Hortense Mitchell Acton. (See Jessamyn Hatcher, “Twenty-One Dresses.”) Click the image below to see the gallery of Acton’s Callot Soeurs gowns.
Callot Soeurs label inside one of Hortense Mitchell Acton’s commissions found at Villa La Pietra, Florence. Photo: Pari Dukovic. Image: The New Yorker.
LACMA’s Callot Soeurs pyjama ensemble includes a delicate top and harem pants—a radical element of the new women’s silhouette. (See my sarouel post here.)
Here are the museum notes:
This thoughtfully crafted hand-sewn and machine-stitched lounging pajama was made bifurcated by the attachment of the skirt length from the center front of the waist to the center back through the legs. Vertical side-front seams of the skirt were sewn with openings for the feet to create a stylized harem pant. The silk charmeuse skirt draped and outlined each leg while silk tassels at the foot openings would have drawn attention to the wearer’s ankles as she walked. A bifurcated garment of any style during the early 1900s was a provocative fashion that challenged ideas about established gender-appropriate dress.
Detail, Callot Soeurs lounging pyjamas, ca. 1913. Image: LACMA.Detail, Callot Soeurs lounging pyjamas, ca. 1913. Image: LACMA.Callot Soeurs sketch by Thomas John Bernard. Image: LACMA.
Pertegaz (Centro de Arte Reina Sofía, 2004) Model: Laura Ponte. Photo: Antoni Bernad. Image: The Cary Collection.
Manuel Pertegaz was born on this day in 1918. Paco Peralta asked me to contribute to his post for the designer’s centenary; see it here.
Suzy Parker wearing a coat by Pertegaz, Vogue, March 15, 1954. Photo: Henry Clarke. Image: Condé Nast.Rosa Real, made-to-measure Iberia flight uniform by Manuel Pertegaz, 1968. Image: Iberia.Moyra Swan wears a Pertegaz caftan gown in the Alhambra, Vogue, October, 1968. Photo: Henry Clarke. Image: Condé Nast.
Shalom Harlow in a gown from Hubert de Givenchy’s final couture collection, British Vogue, October 1995. Photo: Nick Knight. Editor: Lucinda Chambers. Image: TFS.
Farewell to Hubert de Givenchy, truly one of the greats.
Paco Peralta has seen some major milestones lately. Last fall, the Barcelona couturier became Vogue Patterns’ first Spanish designer in half a century, and this year his blog, BCN – UNIQUE Designer Patterns, is celebrating a decade online. (Like Toronto’s YYZ, BCN is both the airport code for Barcelona and shorthand for the city itself.)
The licensing deal brings a new audience to Peralta’s precision-cut designs. Peralta himself was already a pillar of the online sewing community, both for his fine sewing tutorials and as a purveyor of couture patterns, all hand-traced in his studio not far from Gaudí’s Sagrada Família basilica.
Born in Huesca, Aragon, Peralta studied at Barcelona’s Institut Català de la Moda before apprenticing in some of the city’s couture ateliers, who kept alive the traditions of Balenciaga and Rodríguez. He became interested in commercial patterns in the 1980s, when a friend gave him a copy of Vestidal; his first pattern purchase was a Vogue Individualist design by Issey Miyake.
Peralta may also be the world’s foremost collector of Yves Saint Laurent patterns, and his blog doubles as a window into this private archive. As regular readers of this blog will recognize, any high fashion sewing history owes much to his work.
Couture designs from Yves Saint Laurent’s Mondrian and Libération collections. Images: Etsy / Paco Peralta.
Vogue Patterns introduced Peralta with two designs in last year’s holiday issue. (Click to enlarge.)
You can skip the buttonholes with this short-sleeved jacket: it has a midriff inset instead. For the original ensemble, Peralta used a double-sided Italian wool twill-crepe for the jacket, wool-cashmere for the trousers, and for the shirt, a sturdy Egyptian cotton.
Peralta also used Italian satin-backed wool twill-crepe for his wrap skirt and coat-length jacket. The latter sports a tuxedo-style shawl collar, while the pussy-bow blouse, made in silk crepe de Chine, has French cuffs:
This tunic and pants ensemble was the summer bestseller. The long version is a heavy linen, while the short, gaucho version is a lightweight silk/rayon. Both have silk organza insets.
For the holiday season, mix and match with party separates: a dolman-sleeved top and winter-weight handkerchief skirt, shown in cotton knit and silk-viscose duchesse satin.
Vogue 1567 by Paco Peralta (2017) Photo: Tim Geaney.Image: McCall’s.
Coming soon: even more Paco Peralta designs exclusive to Vogue Patterns.
Courrèges hat, Vogue, November 15, 1964. Photo: Irving Penn. Model: Astrid Heeren. Image: 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.
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):
“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):
“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”:
“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 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):
McCall’s 7923 after Courrèges on the cover of Seventeen, July 1965. Model: Jennifer O’Neill. Image: 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):
McCall’s 7902, 7903, and 7884. Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image: eBay.
Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:
McCall’s after Courrèges in Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image: eBay.
Update: Corby could also be seen in a Courrèges-look pattern on the cover of McCall’s retail catalogue:
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):
McCall’s 7884 after Courrèges (1965) Image: PatternVault shop.
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):
McCall’s 7903 after Courrèges (1965) Image: PatternVault shop.
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::
McCall’s 7914 after Courrèges (1965) Image: 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:
McCall’s 7918 after Courrèges (1965) Image: 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):
McCall’s 7923 after Courrèges (1965) Image: PatternVault shop.
Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:
McCall’s 7932 after Courrèges (1965) Image: 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):
McCall’s 7936 after Courrèges (1965) Image: PatternVault shop.
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):
McCall’s 7938 after Courrèges (1965) Image: PatternVault shop.
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):
McCall’s 7940 after Courrèges (1965) Image: PatternVault shop.
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):
Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image: Youthquakers.Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image: Youthquakers.
* Dacron was known by the name Terylene in the U.K.
The eight colour photos were first seen in the March 1st, 1949 issue of Vogue magazine, to announce the new couturier patterns.
Vogue 1053 by Robert Piguet, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1055 by Jacques Fath, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1057 by Paquin, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1052 by Lanvin, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1051 by Schiaparelli, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1050 by Molyneux, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1056 by Jacques Heim, Vogue, March 1949. Photo: Clifford Coffin.Vogue 1054 by Pierre Balmain, Vogue, March 1949. Photo: Clifford Coffin.