Have you heard? Vogue’s Donna Karan and DKNY patterns will no longer be available after next Wednesday, July 13th. According to the McCall Pattern Company, the licensor of the Donna Karan trademarks [the LVMH-owned Gabrielle Studio Inc.] has decided to end all pattern licensing. (Source: Facebook.)
Vogue Patterns has been publishing Donna Karan patterns since 1987. The company added DKNY patterns in 1989.
The end of both licenses makes the Spring 2016 releases the last DKNY and Donna Karan patterns.
Donna Karan announced her departure from Donna Karan International just over a year ago, saying she means to focus on her new, privately owned company, Urban Zen. Parent company LVMH will not be hiring a replacement. Instead, LVMH will be developing DKNY, which is designed by Public School’s Dao-Yi Chow and Maxwell Osborne. (See Vanessa Friedman and Jacob Bernstein, “Karan Leaving Brand That Carries Her Name.”)
After thirty years of Vogue patterns—closer to forty, if we count her work at Anne Klein—Karan’s absence will be keenly felt. But could she return soon with Urban Zen patterns? Under her agreement with LVMH, Urban Zen’s “distribution … [can]not compete with any of the Donna Karan brands.” (See Donna Fenn’s interview for Fortune.) This could account for the unprecedented end-date for the Donna Karan and DKNY patterns, just in time for the Fall 2016 pattern launch. Update (July 7): the Fall 2016 patterns were released today, too early to avoid a distribution conflict. Perhaps for Winter 2016?
It would certainly be in keeping with Karan’s ethos if July 14th marked not just an end to the old pattern licensing, but also a new beginning. As her program notes always read, To be continued…
Versatile and contemporary, jumpsuits and their cousins, playsuits and rompers, have become increasingly popular in the last few years. Jumpsuits—or all-in-ones, if you’re British—seem poised to move beyond a trend this summer.
The modern women’s jumpsuit has origins in two different garments: beach pajamas and the boiler suit. These twin origins mean jumpsuit styles range from fluid loungewear to utility-inspired or tailored designs. (See Vogue Italia for a short history of the jumpsuit.) Here are some favourite all-in-one patterns from the 1930s to the 1990s.
Beach pajamas, often worn with a matching bolero, had become one-piece by the early 1930s. This McCall’s design combines flowing trousers with geometric seaming details in the bodice and hip yoke. A reproduction is available from the Model A Ford Club of America:
The boiler suits of wartime utility wear are said to have made bifurcated clothing more acceptable for women. This Vogue pattern from ca. 1940 includes both a hooded mechanic suit with cuffed trousers and a more casual, short-sleeved version shown in a dotted print:
This early 1940s pajama ensemble with T-back halter bodice was not just for the beach—the envelope says it’s for “beach, dinner or evening”:
In the postwar period, more tailored jumpsuits emerged as a choice for casual sportswear. This early 1950s pedal-pusher coverall has cuffed sleeves and pants and a front zipper closure:
From the late 1950s, this trim, one-piece slack suit from Vogue came in two lengths and with a matching overskirt:
The jumpsuit—sometimes called a culotte or pantdress—truly comes into its own in the later 1960s. Here Birgitta af Klercker models Vogue 2249, a loungewear design by Emilio Pucci (previously featured in my goddess gown post):
In this late 1960s Butterick Young Designers pattern, Mary Quant combines a trim, zip-front jumpsuit with a low-waisted miniskirt for a sleek, futuristic look:
Both pajama and menswear-inspired styles continue into the 1970s. Famous for her palazzo pajamas, Galitzine designed this bi-coloured lounge pantdress with criss-cross halter bodice:
From Calvin Klein, Vogue 1453 marks a return to the boiler suit style. With cargo pockets, self belt, and wide, notched collar, the jumpsuit could be made long or short, with long or short sleeves:
This Bob Mackie disco jumpsuit or evening dress pattern for stretch knits dates to 1980. (See my earlier Bob Mackie post here.) The jumpsuit has a plunging neckline, waistline pleats, and tapered, bias pants designed to crush at the ankles:
An instance of the late 1980s jumpsuit trend, this shirtdress-style jumpsuit by Donna Karan has a notched collar, welt pockets, and cuffed or seven-eighths length kimono sleeves:
Also by Donna Karan, Vogue 2609, ca. 1990, is a long-sleeved, tapered jumpsuit for stretch knits with neckline variations, front pleats, and stirrups. View C has a contrast bodice with self-lined hood:
From 1996, Vogue 1821 by DKNY is almost vintage. It’s a novel suit consisting of a single-breasted jacket and wide-legged, halter jumpsuit:
Finally, this pattern is not yet vintage, but a jumpsuit collection would be incomplete without Vogue 2343, Alexander McQueen’s tailored, tuxedo jumpsuit for Givenchy haute couture Spring/Summer 1998 (earlier post here):
With their demanding fit, jumpsuits are ideal for home sewers. And they’re not just for the tall and leggy: many of the later jumpsuit patterns are marked as suitable for petites.
If you’d like to try your hand at an early all-in-one, Wearing History has a repro pattern for 1930s beach pajamas, and Simplicity 9978 includes a 1940s boiler suit.
This week, the second post in my occasional series on Vogue’s pattern editorials. (See the first post here.)
“Clean Cuts,” from the November 1997 issue, seems to have been Vogue’s last editorial to feature sewing patterns. Mario Testino photographed Guinevere Van Seenus and Amber Valetta in ’90s minimalist style in the season’s body-conscious basics—“the edgier side of Vogue Patterns,” as the headline says.
Here Guinevere Van Seenus models a white tank top made using Vogue 8062; on the right, her hooded red dress is Butterick 5088, lengthened, made sleeveless, and with an altered neckline:
The hoodie pattern, Butterick 5088, reappears on Amber Valetta, this time as a zip-up top in black Lurex. Her white silk shirt is Vogue 9501, while the red leather pants are Vogue 1982 by DKNY:
Here Van Seenus models the Vogue 9501 shirt in silk jersey with the Vogue 1982 DKNY pants in black, while Valetta wears the Vogue 8062 tank with a red leather skirt, Vogue 7074:
Butterick 5088 appears once again as a jacket in sequinned jersey with a silver lining (the tank is Butterick 8062); Valetta’s black leather tank dress is Vogue 1725 by Calvin Klein:
As always, in the back of the magazine readers could find the details of the patterns used in the shoot:
It’s curious that the text doesn’t mention the designers behind Vogue 1982 and 1725; Donna Karan and Calvin Klein would have been major advertisers. Most interestingly, in showing patterns’ potential through fabric choice and alterations, the editorial reveals Vogue editors thinking like dressmakers.
Happy Chinese new year! In honour of the Year of the Horse, here’s a selection of equestrian sewing patterns from the 1920s to the 1990s.
Like tennis wear, modern equestrian wear begins in the 1920s. Before the First World War, women generally rode sidesaddle; equestriennes wore fashionably voluminous riding skirts designed to fall flatteringly on horseback, with breeches underneath. In addition to 19th-century Harper’s Bazaar patterns for riding habits, the Commercial Pattern Archive’s “Riding” category reveals a 1909 pattern for ladies’ riding breeches (Butterick 3313), and two divided equestrian skirts from the early teens (Butterick 5792 and Pictorial Review 5003).
By 1920 the major American pattern companies were producing commercial patterns for women’s jodhpurs—often called riding breeches. As the illustration at the top of this post shows, some women continued to ride sidesaddle, even into the 1930s, but I haven’t found any modern patterns for sidesaddle riding habits.
Butterick 2255, circa 1920, is a pattern for a riding coat and breeches worthy of Lady Mary. The envelope specifies that the design is for cross saddle riding:
This 1920 McCall pattern for riding breeches shows the pattern diagram and instructions on the envelope (click to enlarge):
I have this 1923 jodhpurs pattern in my collection—for when I learn to ride, of course:
This McCall’s illustration of a riding coat and breeches is from the same year, but it shows a different breeches pattern, as well as a more streamlined riding coat than a few years previous:
Jodhpurs were not just for equestrian sports: they were the “trousers of adventure,” worn for activities like driving, hiking and camping, safaris, and aviation. This early ’30s illustration from Pictorial Review shows the latest sports styles, including beach pajamas and clothes for tennis and golf. The riding habit includes a sleeveless jacket or waistcoat (click to enlarge):
Butterick 5647 is a pattern for cuffed, fall-front jodhpurs with notched back waist and side and back pockets. Nabby at This Old Life made these for her vintage aviatrix costume (click image for post):
McCall 9412, from September 1937, looks to be a rare early pattern for western-style riding pants, with reinforced seat and inner leg. I’d love to see a better-quality image; this one was found in a lot on eBay:
Also from the late 1930s, Pictorial Review 9337 is a pattern for a tailored shirt and sleek pair of riding trousers:
Apart from children’s equestrian patterns, I couldn’t find any patterns from the major pattern companies that were specifically for riding until the 1970s, when western-style riding wear was in fashion. McCall’s 4870 includes riding pants and a shirt-jacket with contrast, embroidered yoke and cuffs. The model is Angeleen Gagliano, who was a horsewoman in real life:
This Butterick pattern by Jane Tise shows the vogue for western shirts:
Vogue even had a his-and-hers western shirt pattern, Vogue 8973/8976 (the ’70s-averse are advised not to click the links).
The influence of the western shirt is evident in this Halston dress with scalloped yoke:
Many of you will remember the 1980s jodhpurs trend, when you could dress for English-style riding far from any stable. Exhibit A is New Look 6013:
Gianni Versace and Claude Montana both showed jodhpurs in the ’80s, but unfortunately Vogue Patterns doesn’t seem to have released any patterns for them. Just for fun, here’s a Lord Snowdon photo of aristocrat Angela Rawlinson in a jacket and tweed jodhpurs by John McIntyre:
Little Vogue 7876, with its young model leaning on a stone balustrade, is interesting for showing the social ambition associated with horseback riding. The jodhpurs are a little loose for actual riding (the similarly styled Vogue 7842 also has a looser fit):
With the advent of stretch fabrics, riding pants no longer needed lots of room in the upper leg. These jodhpurs by Calvin Klein have a sleeker fit that’s more in line with late 20th-century equestrian wear. They come with detachable stirrups, and may be made in synthetic suede:
McCall’s 6737’s riding pants are for stretch fabrics, reinforced with leather or ultrasuede in the seat and inner leg. The pattern also marks a return to the waistcoat:
Vogue 1655 by DKNY brings us full circle: the riding-style jacket was photographed in traditional scarlet at a country estate:
For more on the history of women’s equestrian wear see Mackay-Smith, Druesedow, and Ryder’s Man and the Horse: An Illustrated History of Equestrian Apparel (Simon and Schuster, 1984), which was published to accompany the Polo/Ralph Lauren-sponsored Costume Institute exhibit held from December, 1984 to September, 1985.
If you’d like to sew your own sidesaddle riding habit, reproductions of early French magazine patterns for costumes d’amazone (women’s riding habits) are available from eBay shop Au fil du temps. For a modern equestrian look, Folkwear’s Equestriennes pattern, Folkwear 506, includes a riding jacket, waistcoat, and jodhpurs based on garments in the collection of the Costume Institute.
Special thanks to Naomi for acting as my in-house equestrianism consultant.