Trigère Designs for McCall’s, 1956

August 17, 2017 § Leave a comment

Pauline Trigère, with shears, and Anne St Marie in McCall's 3827 - McCall's advertisement, fall 1956

Pauline Trigère in an ad for McCall’s Printed Patterns, Vogue, October 1956. Model: Anne St. Marie.

Pauline Trigère, who settled in America after fleeing Nazism in Europe, appears in this 1956 advertisement for McCall’s Printed Patterns.

The model wears McCall’s 3827.

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Betsey Johnson: Butterick Patterns

August 10, 2017 § Leave a comment

Betsey Johnson sketch for Paraphernalia, 1965. Image: CFDA / Pinterest.

Betsey Johnson turns 75 today. Four decades on, the designer’s 1970s Butterick patterns are still very popular. Here’s a look at Johnson’s early work, with an emphasis on more seldom seen archival images.

Betsey Johnson (b. 1942) has made a career of creating irreverent, youth-oriented clothes that stand a bit outside the mainstream. She learned sewing and pattern drafting while running a dance school as a teen, but got her official start in the business designing for Youthquake boutique Paraphernalia. By 1970 she was the designer for Alley Cat, a junior sportswear label. (For more see Vogue.com and Anne-Marie Schiro, “Betsey Johnson: Honor for a Life of Celebrating Youth.”)

Dale Fahey, Birgitta, and Renée Roberts in Betsey Johnson neon satins (Golo sandals) photographed by Howell Conant, 1966

Models wear Betsey Johnson neon satin dresses in Piper’s Alley, Chicago. Life magazine, November 11, 1966. Photo: Howell Conant. Image: LIFE archive.

Juggler stands in front of Steel Pier's mystery ride and wears fancy-sleeved mini (Betsey Johnson, $34). Life magazine, May 24, 1968

Juggling in a Betsey Johnson mini dress in front of Steel Pier’s mystery ride, Atlantic City. Life magazine, May 24, 1968. Photo: Richard Davis. Image: LIFE archive.

In 1971, Johnson won a Coty Award for her work at Alley Cat (see the New York Times notice). The following year, Butterick launched its Betsey Johnson patterns in the Spring 1972 catalogue. The designs were also cross-promoted (along with Cyrus Clark cotton chintz) with a Barbara Bordnick editorial in Seventeen magazine.

Sunny Redmond in Butterick 6530 Betsey Johnson dress

Butterick 6530 by Betsey Johnson of Alley Cat, Butterick Home Catalog, Spring 1972. Model: Sunny Redmond.

1970s Betsey Johnson Butterick editorial "The Betsey Girl," photographed by Barbara Bornick

Butterick 6533 by Betsey Johnson in “The Betsey Girl,” Seventeen, January 1972. Photo: Barbara Bordnick. Image: Gold Country Girls.

Butterick 6530 by Betsey Johnson in Seventeen, January 1972. Photo: Barbara Bordnick. Image: Gold Country Girls.

1970s Butterick 6535 by Betsey Johnson photographed by Barbara Bordnick for Seventeen

Butterick 6535 by Betsey Johnson in Seventeen, January 1972. Photo: Barbara Bordnick. Image: Gold Country Girls.

Butterick 6532 by Betsey Johnson in Seventeen, January 1972. Photo: Barbara Bordnick. Image: Gold Country Girls.

The earliest of Johnson’s Butterick Young Designer patterns refer to her as Betsey Johnson of Alley Cat, and most seem to predate the founding of her company in 1978. Here’s Butterick 6979 on the cover of the March 1973 issue of Butterick’s news leaflet:

1970s Betsey Johnson Butterick 6979

Butterick 6979 by Betsey Johnson of Alley Cat, Butterick Fashion News, March 1973. Image: eBay.

The young Patti Hansen in Alley Cat:

pink Alley Cat by Betsey Johnson acetate/cotton velvet dress with two Red Cobra necklaces, pink Lurex and stone bracelets by P.C. Designs

Patti Hansen in Alley Cat by Betsey Johnson, Glamour, December 1973. Photo: Rico Puhlmann. Image: Getty.

One of the first items I sold on Etsy was this 1975 issue of Butterick Fashion News with a Betsey Johnson cover. (Click to see inside.) The same embroidered pinafore was featured on the home catalogue cover:

The Romantic Pinafore: Butterick 4090 by Betsey Johnson of Alley Cat, Butterick Fashion News, March 1975. Image: PatternVault on Etsy.

Butterick 4090 by Betsey Johnson of Alley Cat, Butterick Home Catalog, Spring 1975

Butterick 4090 by Betsey Johnson of Alley Cat, Butterick Home Catalog, Spring 1975. Image: eBay.

The pinafore also appears in this cute advertisement with Butterick 4088:

Butterick 4090 and 4088 by Betsey Johnson, 1975

Butterick Betsey Johnson ad in Seventeen, February 1975. Image: Carmen and Ginger.

This Butterick ad shows three Betsey Johnson designs that came with transfers for DIY embellishment (dress Butterick 4679, knit tops Butterick 4676, and skirt/pants Butterick 4678):

Butterick 4676, 4678, 4679 by Betsey Johnson

Butterick ad for Betsey Johnson patterns in Seventeen, 1976. Image: Gold County Girls.

The Spring 1976 catalogue used illustrated photographs to present this DIY series, which also included a hat and shoes (1st page, Butterick 4680; 3rd page Butterick 4681, with Joyce Walker on the right):

Butterick 4680 by Betsey Johnson in the Butterick Home Catalog, Spring 1976

Butterick 4680 by Betsey Johnson, Butterick Home Catalog, Spring 1976.

1970s Betsey Johnson patterns in Butterick 4679, 4676, 4678; 4676, 4681

Betsey Johnson patterns in the Butterick Home Catalog, Spring 1976.

Another 1976 Butterick ad shows a Betsey Johnson jumper (Butterick 4956) with deep ribbon trim—perfect for a late-summer Cape Cod getaway:

Butterick ad for Betsey Johnson patterns in Seventeen, August 1976. Image: Pinterest.

Happy birthday, Betsey Johnson!

Cotton ad feat. Alley Cat by Betsey Johnson in Seventeen magazine, August 1973

Cotton ad featuring Alley Cat by Betsey Johnson in Seventeen, August 1973. Models: Sunny Redmond, Betsey Johnson. Image: FinnFemme.

With thanks to Heidi at Gold Country Girls.

Our Man in Leather: Bobby Breslau for Vogue Patterns

June 18, 2017 § 1 Comment

Vogue 2184, 2153.

Bobby Breslau in Vogue Patterns, May/June 1979. Photo: Charles Tracy.

“Our Man in Leather”: Vogue Patterns introduced Bobby Breslau, one of the company’s rare designers of accessories, with a winking acknowledgement of the gay community.

Bobby Breslau designs the softest leather in the world. His BigPouch and family of Little Pouches sensualized the bag world, becoming classics in their own time! Soft, sensuous, supple and totally functional, with a size and design for every occasion.

Bobby Breslau biographical note, Vogue 2184 (1979). Image: Etsy.

Bobby Breslau (ca. 1943-1987) was a friend of Halston, Stephen Burrows, and Keith Haring; photographer Charles Tracy, who took Breslau’s portrait, was a member of the same social circle. Breslau’s training was in the garment industry, but a toy commission from Halston set him on the path of accessory and furniture design. His tactile, unstructured style of bag showed a sculptor’s eye for colour and texture; the New York Times called it “the handbag of the 1970’s.” (See Robin Givhan’s The Battle of Versailles and Suzanne Slesin, “Beyond the Fringe: A Designer’s Zany World in Leather.”) Breslau was the manager of Keith Haring’s Pop Shop until his death from complications of AIDS in early 1987.

Breslau bag in Halston: An American Original (1999)

Breslau bag for Halston in Elaine Gross and Fred Rottman, Halston: An American Original (1999) Image: Behind the Seams.

In 1979, Breslau licensed two bag patterns with Vogue. Each design could be made in three sizes. Vogue 2153 is a “draw-stringer and scarf tie-up”:

1970s Bobby Breslau handbag pattern Vogue 2153

Vogue 2153 by Bobby Breslau (1979) Image: Etsy.

Vogue 2184 is a saddlebag and roll pouch:

1970s Bobby Breslau handbag pattern Vogue 2184

Vogue 2184 by Bobby Breslau (1979) Image: Etsy.

Just as Breslau’s unconstructed bag is back, so too are the brights of ’79. As Hannah Marriott writes, a trend for Lego colours is predicted for spring 2019…

Vogue Patterns May Jun 1979

Model with Breslau bag, Vogue Patterns, May/June 1979.

The World of Anna Sui

May 30, 2017 § 1 Comment

Tim Blanks, The World of Anna Sui (Abrams, 2017)

Tim Blanks, The World of Anna Sui (Abrams, 2017). Image: Abrams.

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.

The World of Anna Sui, 26 May - 1 October 2017, London

Image: Joshua Jordan / Fashion and Textile Museum.

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:

1990s Anna Sui dress pattern V1619 on the cover of Vogue Patterns catalogue, September 1995

Vogue Patterns introduces Anna Sui for Vogue Attitudes: Vogue Patterns catalogue, September 1995. Image: eBay.

I’ve just listed this pattern for two dresses from Sui’s Mudd Club collection:

2000s Anna Sui stretch knit dress pattern Vogue 2551

Vogue 2551 by Anna Sui (2001) Image: PatternVault on Etsy.

For more on Sui and her work, see Tim Blanks’ essay for the Business of Fashion, “Anna Sui, America’s Most Underrated Fashion Designer.”

Anna Sui coat in Peter Lindbergh Factory-themed shoot for Bazaar, 1995

Faux Mongolian lamb coat by Anna Sui, Harper’s Bazaar, August 1995. Photo: Peter Lindbergh.

Kirsty Hume in Anna Sui, with Donovan Leitch, photographed by Arthur Elgort for "Seasoned Simplicity," 1995

Kirsty Hume wears Anna Sui in Vogue, September 1995. Photo: Arthur Elgort. Editor: Grace Coddington.

Karen Elson in Anna Sui, photographed by Tim Walker for "Under the Boardwalk," 2003

Karen Elson in Anna Sui, Vogue, June 2003. Photo: Tim Walker. Editor: Grace Coddington. Image: Vogue.com.

Pucci 70th Anniversary

May 4, 2017 § Leave a comment

McCall's 3980 by Emilio of Capri photographed on the beach by Howell Conant, McCall's Pattern Book, Spring 1957

A dress by Emilio of Capri in McCall’s Pattern Book, Spring 1957. Photo: Howell Conant.

Pucci has been in the news this week with the announcement that Josephus Thimister will consult on the next collection, following the departure in April of head designer Massimo Giorgetti. (See WWD.) The house of Pucci is also celebrating its 70th anniversary this year.

Before becoming a Vogue Couturier in the 1960s, Emilio Pucci designed exclusive patterns for McCall’s. Howell Conant photographed Pucci’s earliest pattern designs, including the harlequin dress above, for McCall’s Pattern Book. For more on Pucci see my Mad Men-era series post, The Europeans.

Happy 70th anniversary, Pucci!

1960s Pucci Vogue Couturier sewing pattern Vogue 1351

Vogue 1351 by Pucci (1964) Image: PatternVault on Etsy.

Mei Xiao Zhou for Guy Laroche: Vogue Patterns

March 14, 2017 § 6 Comments

Guy Laroche advertising campaign, Fall 2001

Guy Laroche advertising campaign, Fall 2001.

Word is Guy Laroche patterns are set to return after a two-year hiatus. (The last Laroche, and last Paris Original, to be released was V1450 in Summer, 2015.) In anticipation, my ongoing Laroche series resumes with a look at the early 2000s designs of Mei Xiao Zhou.

Born in the Netherlands, Mei Xiao Zhou came to a career in fashion after working as a ballet dancer and video director in New York and Tokyo. He spent six years as an assistant to Thierry Mugler before he was hired as head designer at Guy Laroche. (See WWD, “Guy Laroche Taps Zhou.”)

Zhou designed two collections for Laroche, both presented in 2001.

1. Guy Laroche Prêt-à-porter Fall/Winter 2001 (shown March 2001)

Mei Xiao Zhou’s first collection for Laroche radiated energy, with vibrant colour and prints underlining the skillful cut. (See WWD, “Static State, Forties-Something, and the ‘Casino’ Factor.”) Here’s the collection image from L’Officiel 1000 modèles:

Guy Laroche Fall 2001 collection by Mei Xiao Zhou

Guy Laroche Fall 2001 collection by Mei Xiao Zhou in L’Officiel 1000 modèles. Image: jalougallery.com.

The hardest to find of Zhou’s Laroche patterns, Vogue 2650 is a bias-cut, halter-neck wrap dress that can be made in cocktail and evening length (both size ranges available in the shop):

Fall 2001 Mei Xiao Zhou for Guy Laroche bias dress pattern Vogue 2650

Vogue 2650 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Vogue 2650 by Mei Ziao Zhou for Guy Laroche - two runway versions

Guy Laroche Fall 2001 runway. Images: firstVIEW.

Vogue 2668’s trouser suit includes a short jacket with three-quarter sleeves. On the runway, the revers on the red version revealed a flash of sequins:

Fall 2001 Mei Xiao Zhou for Guy Laroche pantsuit pattern Vogue 2668

Vogue 2668 by Mei Xiao Zhou for Guy Laroche (2002) Image: Etsy.

Vogue 2668 - white and red versions on the Guy Laroche Fall 2001 runway

Guy Laroche Fall 2001 runway. Images: firstVIEW.

Vogue 2689 is a sleek skirt suit with concealed closure and clavicle-framing standing collar. The skirt has a zippered side slit:

Fall 2001 Mei Xiao Zhou for Guy Laroche skirt suit pattern Vogue 2689

Vogue 2689 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Vogue 2689 - two versions on the Guy Laroche Fall 2001 runway

Guy Laroche Fall 2001 runway. Images: firstVIEW.

L’Officiel included one of Zhou’s op-art print pieces in the Sixties-inspired editorial “Mille neuf cent soixante-trois“:

Mariacarla Boscono in Guy Laroche by Mei Xiao Zhou photographed by Nicolas Hidiroglou, 2001

Guy Laroche, L’Officiel, October 2001. Model: Mariacarla Boscono. Photo: Nicolas Hidiroglou. Editor: Jennifer Eymère. Image: jalougallery.com.

2. Guy Laroche Prêt-à-porter Spring/Summer 2002 (shown October 2001)

For his romantic second collection for Laroche, Zhou covered the runway in water, sending out looks with an Asian influence in a palette of white, yellow, ochre, chocolate brown, and black. (See L’Officiel 1000 modèles and AP, “Louis Vuitton Show Goes Creative.”) Here’s the collection image:

Guy Laroche Spring 2002 collection by Mei Xiao Zhou

Guy Laroche Spring 2002 collection by Mei Xiao Zhou in L’Officiel 1000 modèles. Image: jalougallery.com.

Raquel Zimmerman in an all-white look from Mei Xiao Zhou's Spring 2002 collection for Guy Laroche

A look from Mei Xiao Zhou’s Spring 2002 collection for Guy Laroche. Model: Raquel Zimmerman. Image: livingly.

The Spring 2002 campaign echoed the runway’s aquatic motif:

A backless dress in Guy Laroche advertising campaign, Spring 2002

Guy Laroche advertising campaign, Spring 2002.

Because this collection is not well documented online, it’s difficult to identify corresponding sewing patterns. Vogue 2752 looks to be one of the canary yellow suits, with flared kimono sleeves and rounded lapels that match descriptions of the show:

Vogue 2752 by Mei Xiao Zhou for Guy Laroche

Vogue 2752 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Although I can’t confirm it, Vogue 2736 may also be a Spring 2002 design. The jacket has a bustier-effect bias inset, and the pants have high slits in the back seams:

2000s Guy Laroche pinstriped pantsuit pattern Vogue 2736

Vogue 2736 by Guy Laroche (2003) Image: Etsy.

Mei Xiao Zhou brought the verve of Mugler to his runway shows for Laroche. Although his first collection was well received, the house was sold to a new parent company, which hired a new designer for Fall 2002 (Laetitia Hecht). Like other designer patterns of this period, Zhou’s Laroche patterns highlight the widening gulf between catwalk and sewing-editorial styling—which is ultimately the gulf between the fashion and home sewing industries.

Previous Laroche posts:

Patterns in Vogue: On the Move

January 19, 2017 § 1 Comment

1980s Geoffrey Beene dress pattern Vogue 1771 photographed for Vogue by Denis Piel

Detail, Vogue, August 1986. Photo: Denis Piel.

“On the move” is the concept for a mid-’80s Denis Piel pattern editorial featuring designs from Geoffrey Beene’s career line.

Here, Vogue 1770, Beene’s wrap jacket and skirt, is shown in wool jersey from Jasco Fabrics, with dress Vogue 1771 in Horikoshi silk crepe (Bally briefcase; Donna Karan bags; Omega belt; bracelets by Eric Beamon):

Vogue 1770 and 1771 by Geoffrey Beene, photographed for Vogue by Denis Piel

Vogue 1770 and 1771 by Geoffrey Beene, Vogue, August 1986. Photos: Denis Piel.

On the left, Vogue 1771’s jacket is made reversible in red and black wool coating, with wool gabardine trousers and a silk charmeuse tank made using Vogue 1773 (wool from Anglo Fabrics; silk from Hi Fashion Fabrics). At right, Vogue 1773’s coat becomes a raincoat in cotton back polyurethane from Waldon Textiles, with a cotton corduroy contrast from Majestic Mills (Omega belt; bags, Maud Frizon and Prada):

Vogue 1771 and 1773 by Geoffrey Beene, photographed for Vogue by Denis Piel.

Vogue 1771 and 1773 by Geoffrey Beene, Vogue, August 1986. Photos: Denis Piel.

In the back of the magazine, readers could find sewing tips for making the jacket reversible and giving the coat a contrast collar:

Details on Vogue 1770, 1771, and 1773 by Geoffrey Beene

Details on Vogue 1770, 1771, and 1773 by Geoffrey Beene, Vogue, August 1986.

Vogue 1770, 1771, 1773 by Geoffrey Beene

Pattern images: Vintage Pattern Wiki, Design Rewind Fashions.

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