October 19, 2017 § 5 Comments
From Guy Laroche to Paco Peralta, Vogue’s designer patterns for Winter/Holiday 2017 offer a range of festive looks for the coming season.
The new Guy Laroche is a skinny jean and party top, recommended for lamé:
The ensemble is the first pattern to be drawn from Adam Andrascik’s debut collection for Laroche.
Gleaming tartan jacquard is the star of this ensemble from Anne Klein, now designed by Sharon Lombardo:
Guinevere Van Seenus wore a similar look for the Fall 2016 campaign, photographed by Annemarieke van Drimmelen:
Like fall’s V1561 jacket, the two Zandra Rhodes offerings are from the Fall 2016 collection, which was sponsored by Kraftangan Malaysia. (Kraftangan is Malay for ‘handicraft.’) As always with Rhodes’ work, the focus is on textiles, here on a double-sided fabric such as metallic jacquard:
Vogue chose three of Rhodes’ Songket pieces—a dress, peplum top, and trousers—for the Winter/Holiday collection. Songket is a traditional metallic brocade produced in Southeast Asia.
Paco Peralta’s latest design for Vogue is a dolman-sleeved knit top and handkerchief skirt. Festive and versatile, the skirt even has pockets:
I have some Lurex in my stash, don’t you?
If you’re fresh out of shiny fabric, you might be interested in Gorgeous Fabrics’ farewell sale. Last weekend, owner Ann Steeves announced that she is closing shop after 11 years in business.
October 18, 2017 § 1 Comment
October 6, 2017 § 4 Comments
Blade Runner 2049, Denis Villeneuve’s much-anticipated sequel to Ridley Scott’s Blade Runner, opens today. Here’s a look at the fashion references and influence of the 1982 cult classic. (For Blade Runner’s influence on current fashion and an interview with costume designer Renée April, see Booth Moore, “‘Blade Runner 2049’ Already a Hit on the Fashion Runways.”)
Blade Runner’s BAFTA-winning costume designers, Charles Knode and Michael Kaplan, cite 1940s film noir, with its iconic characters like Humphrey Bogart’s Sam Spade and Rita Hayworth’s Gilda, as their main inspiration. For the replicant Rachael, they also looked to the 1930s and ’40s tailoring of Hollywood costume designer-turned-couturier Adrian. (Kaplan is still in the genre-film spotlight with the new Star Wars trilogy, while the Adrian label—the subject of a recent exhibit—is being revived as Adrian Original.)
Kaplan used vintage fabrics for Rachael’s Adrian-inspired outfits: “I liked the idea of combining different shades of suiting fabrics to create patterns—something Adrian did. In this case I used amazing vintage suiting woollens in shades of grey and beige, with metallic threads that I was lucky enough to find, which created a subtle luminous quality.” (Source: AnOther mag.) This circa 1944 Butterick suit features Adrian-style piecing:
In the 1980s, Claude Montana was the go-to designer for the decade’s updated triangular silhouette. (Ridley Scott has acknowledged the decade’s ’40s revival as an important factor in the film’s aesthetic.) This Vogue Individualist design plays up the ’40s influence:
In spring, 1997, Blade Runner: The Director’s Cut was one of the first movies to be released on DVD. The following spring, working with stylist Bill Mullen and set designer Jack Flanagan, Steven Meisel photographed a Blade Runner-homage cover and editorial for Vogue Italia’s March 1998 prêt-à-porter issue. Michael Kaplan recalls mistaking the cover for a film still. The editorial features text from Roy’s climactic monologue (“I’ve seen things you people wouldn’t believe…”) with clothes from Prada’s Spring 1998 collection, which paired natural materials with synthetics like latex and plexiglass.
Meanwhile, in Paris, Alexander McQueen referenced Blade Runner in his Fall/Winter 1998 ready-to-wear collection for Givenchy. Visionaire’s Alexander McQueen memorial issue includes an image from Steven Meisel’s fall advertising campaign. (For more on this collection, see my McQueen series post.)
Sewists and Blade Runner devotees are fortunate to have two licensed patterns from this collection:
The sleeveless version of the dress seems to have been shown with a jacket on the runway. (Click the image to read about my version, which I wore to TIFF’s Cronenberg exhibit.)
Rachael’s chevron-quilted synthetic fur coat gets the most screen time, but it’s her blue brocade coat with standing fur collar that appears to have been McQueen’s main reference for the fur-trimmed coats and jackets. As the pattern reveals, the collar stands with the help of boning.
(Wool version available here.)
The weathered tones and textures of Mayan Revival—prominently seen in Deckard’s apartment, as played by Frank Lloyd Wright’s Ennis House—form a thread linking the first film, Meisel’s Givenchy campaign, and Villeneuve’s sequel. It was Kaplan’s vision of a dirty retrofuture, rather than glossy futurism, that won him the Blade Runner gig. It will be interesting to see what role revivals play in the new film.
For more production images for the new film, see the Vogue Italia gallery.
August 10, 2017 § Leave a comment
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.”)
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.
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:
The young Patti Hansen in Alley Cat:
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 pinafore also appears in this cute advertisement with Butterick 4088:
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):
Another 1976 Butterick ad shows a Betsey Johnson jumper (Butterick 4956) with deep ribbon trim—perfect for a late-summer Cape Cod getaway:
Happy birthday, Betsey Johnson!
With thanks to Heidi at Gold Country Girls.
August 7, 2017 § 4 Comments
Have you seen the new Fall patterns? I post the designer photos to the @PatternVault Twitter. From now on, they’ll also have a more permanent home here on the blog.
(Speaking of Twitter, I’ve started posting non-fashion tweets to a new, personal account: @DrSarahSheehan.)
Simplicity’s latest Cynthia Rowley pattern came out after the Summer 2017 release and branded for the company’s 90th anniversary celebrations. The pintuck ruffle dress was seen in short and maxi lengths in Rowley’s Resort 2016 collection.
The setting for William Eadon’s photos might look familiar from The Royal Tenenbaums: the grand staircase of Brooklyn’s Grand Prospect Hall was the location where Margot went out for ice cream.
Vogue’s new Guy Laroche pattern is an off-the-shoulder dress from the Spring 2016 collection, Adam Andrascik’s second for the house.
For a biker look—an Andrascik trademark—try it in leather with chain accents:
Or cut off below the waistband to make a jacket:
Rachel Comey fans are spoiled for choice with three new Rachel Comey patterns. Vogue’s Fall lookbook cover shows Comey’s Karloff coat in Pre-Fall 2016’s floral brocade. One of the coat’s earliest incarnations was in buffalo plaid with camel contrast:
Two of the Comey patterns are from the Fall 2016 collection—which will be familiar to those of you who follow Anne at Pretty Grievances.
V1556 is a raw-hemmed, sleeveless dress shown worn as a jumper. With sleeves it becomes the Cumberland dress.
The pleated, bishop-sleeved Bartram dress is pure sewist bait in silk jersey.
Update on shopping local: Thanks to everyone who’s provided me with updated information about designer royalties from pattern sales. Since publishing this post, I’ve learned that Simplicity pays royalties to all licensed designers, including on web sales.
For other brands: if you would like to know whether royalties are being paid for online sales of designer patterns, you could contact the companies directly for more information.
July 26, 2017 § 3 Comments
This week’s post-Comic-Con models post looks at Dutch model-turned-actor Famke Janssen.
Born in Amstelveen, Famke Janssen (b. 1964) studied economics at the University of Amsterdam before moving to the United States to pursue a modelling career. She signed with Elite in 1984. Returning to university in the early 1990s, Janssen gravitated toward drama; she went on to win starring roles in Star Trek: The Next Generation, GoldenEye (1995), and the X-Men franchise.
Janssen did some modelling work for Butterick in the late 1980s: bridal and designer suits and formal wear by Ronnie Heller, Nicole Miller, and Morton Myles.
Just for fun, here’s an ’80s editorial image featuring Janssen:
July 20, 2017 § Leave a comment
A late ’60s loungewear pattern is the star of “Making Up a Legend,” photographed for British Vogue by David Bailey.
Celia Hammond wears Vogue 7430, made up in wave-patterned Schwarzenbach brocade in green and gold Lurex, with gold Mary Quant tights pulled up to cover the bare midriff. The gold belt is by the late, great Kenneth Jay Lane.
(See Youthquakers for more from this issue.)