Another Guy Laroche Pattern by Alber Elbaz?

November 4, 2015 § 6 Comments

Detail of Vogue 2368 by Guy Laroche, possibly by Alber Elbaz

Last week the fashion world was shocked by the news that Alber Elbaz had been dismissed as creative director of Lanvin. (See British Vogue or Bridget Foley for WWD.)

Before his positions at Lanvin and Yves Saint Laurent Rive Gauche, Alber Elbaz designed four seasons for Guy Laroche. (Fall 1997 to Spring 1999; see my earlier post here.) The recent news got me thinking about a Guy Laroche pattern that could also be by Elbaz.

Vogue 2368 is so rare that I didn’t see it in time for my first post. It’s a simple, formal design: a sleeveless dress with a big flower at the tucked, asymmetrical neckline:

1990s Guy Laroche cocktail or evening dress pattern by Alber Elbaz? - Vogue 2368

Vogue 2368 by Guy Laroche (1999) Image via PatternVault on Etsy.

Technical drawing for Vogue 2368 by Guy Laroche

Technical drawing for Vogue 2368

Here’s the envelope description: Semi-fitted, straight, lined, sleeveless dress, below mid-knee or evening length, has neckline tucks, side zipper and back hemline slit. Purchased flower. Recommended fabrics are silk-like crepe, lightweight wool crepe, and satin-backed crepe.

Vogue 2368 was released in late 1999—earlier than Vogue 2497, a design from Elbaz’ Spring 1999 farewell collection for Laroche. It doesn’t match any of the runway looks from Elbaz’ four Laroche collections, but the palette, neckline detail, and especially the flower (an Elbaz signature at Laroche and Lanvin) seem persuasive. What do you think?

15 Oct 1998 --- GUY LAROCHE: SPRING-SUMMER 1999 PRET A PORTER COLLECTION --- Image by © Thierry Orban/Sygma/Corbis

Guy Laroche SS 1999 © Thierry Orban/Sygma/Corbis.

Men's Lanvin flower pin in red wool felt

Lanvin flower pin. Image via LuisaViaRoma.

Men's Lanvin flower pin in fabric and leather

Lanvin flower pin. Image via Mr Porter.

Clash of the Titans: Goddess Gowns

February 20, 2013 § 15 Comments

Oscar season is upon us, and that means goddess gowns. Goddess gowns usually share elements of classical drapery and the simple construction of the toga and chiton. Here’s a selection of patterns for Greco-Roman-inspired evening wear.

This 1920s evening dress from the House of Worth features elegant back drapery, with a beaded appliqué holding more drapery at the left hip:

1920s Worth evening dress pattern - McCall 4854

McCall 4854 by Worth (1927) Evening dress.

The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:

1930s Lanvin evening gown illustration in McCall Style News, January 1936. Image via eBay.

McCall 8591 by Lanvin (1936) McCall Style News, January 1936. Image via eBay.

This late 1940s one-shouldered evening dress has a long panel that can be worn belted in the back or wrapped around the bared shoulder:

1940s one-shouldered evening dress pattern - McCall 7862

McCall 7862 (1949) Evening dress.

Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:

1960s Pauline Trigère evening dress pattern - McCalls 6599

McCall’s 6599 by Pauline Trigère (1962) Image via PatternVault on Etsy.

1960s Jacques Heim evening dress pattern - Vogue 1333

Vogue 1333 by Jacques Heim (1964) Image via the Blue Gardenia.

This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:

1960s Yves Saint Laurent evening dress pattern - Vogue 2093

Vogue 2093 by Yves Saint Laurent (1969) Image via the Vintage Patterns Wiki.

This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):

1960s Pucci loungewear pattern - Vogue 2249

Vogue 2249 by Pucci (1969) Image via the Vintage Patterns Wiki.

Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:

1970s Lanvin evening dress and toga pattern - Vogue 1147

Vogue 1147 by Lanvin (1975) Image via the Vintage Patterns Wiki.

This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:

1970s Pierre Balmain evening dress and cape pattern - Vogue 2015

Vogue 2015 by Pierre Balmain (1979) Image via the Vintage Patterns Wiki.

Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:

2008 Guy Laroche pattern - Vogue V1047

Vogue 1047 by Guy Laroche (2008) Image via PatternVault on Etsy.

(From the Spring 2007 Laroche collection, the pattern is still in print now out of print.)

Goddess” was the theme of the 2003 Costume Institute exhibit; the catalogue, Goddess: The Classical Mode (Yale UP, 2003) is still available.

Mad Men Era 7: Millinery

June 4, 2012 § 7 Comments

Carolyn model Cassandra Jean Tomorrowland Mad Men Season 4

Carolyn (Cassandra Jean) in “Tomorrowland” (Mad Men, Season 4)

This week, four milliners who licensed their designs with Vogue in the early Sixties: Sally Victor, John Frederics, Guy Laroche, and Halston.

Sally Victor

Sally Victor (1905-1977) was one of the United States’ most prominent and successful milliners. She began her career as a department store buyer in the 1920s; after her marriage to the milliner ‘Serge’ (Sergiu Victor) she turned to designing hats, first for her husband’s salon and, from 1934, at her own custom millinery studio. Victor was known for her wearable yet sophisticated designs showing a diversity of influences.

Vogue 9992 is a pillbox hat with a large bow on the right-hand side:

1960s Sally Victor pillbox hat pattern - Vogue 9992

Vogue 9992 by Sally Victor (c. 1960) Pillbox with bow. Image via the Vintage Patterns Wiki.

John Frederics

John-Frederics was founded in 1929 by partners John P. Harberger (1902-1993) and Frederick Hirst (1906-1964). The duo designed hats for Hollywood productions including Gone With the Wind (1939), in which Vivien Leigh wore their straw hat. The label has a confusing history because of the partners’ subsequent name-changes: John P. Harberger changed his name twice, first to John Frederics and later, after the partnership dissolved in 1948, to John P. John; he designed solo as Mr. John, and Frederick Hirst as Mr. Fred. (Vogue also had Mr. John patterns in the 1950s.) It was Hirst who continued the John-Frederics label into the early 1960s.

Vogue 5384 is a simple but dramatic toque with fold-over detail and jewel embellishment:

1960s John Frderics hat pattern - Vogue 5384

Vogue 5384 by John Frederics (1961) Toque. Image via the Vintage Patterns Wiki.

Guy Laroche

Guy Laroche (featured in my previous Mad Men era post) started out as a millinery designer. I have seen one hat pattern by Laroche: Vogue 5336, described on the envelope back as a ‘profile toque’ trimmed with knot-tied ends. Version B has contrast trim:

Vogue 5336 by Guy Laroche 1960s hat pattern

Vogue 5336 by Guy Laroche (1961) Toque. Image via eBay.

Vogue 5336 was featured in the August/September 1961 issue of Vogue Pattern Book (second from the left):

Vogue Pattern Book illustration August/September 1961 hats

Illustration from Vogue Pattern Book, August/September 1961.


Born Roy Halston Frowick, Halston (1932-1990) also started out as a millinery designer. In 1957 he opened his own hat shop in Chicago; by 1959 he had relocated to New York to design hats for Bergdorf Goodman. He achieved fame as a milliner when Jacqueline Kennedy wore his pillbox hat to John F. Kennedy’s 1961 presidential inauguration. Vogue’s hat patterns refer to him as Halston of Bergdorf Goodman.

Vogue 7082 is a set of flower-like bridal headpieces made of soft fabric ‘petals’:

1960s Halston pattern: Vogue 7082 by Halston of Bergdorf Goodman 1960s bridal headpieces pattern

Vogue 7082 by Halston of Bergdorf Goodman (c. 1965) Bridal headpieces. Image via eBay.

Vogue 7082 was promoted with the wedding dress pattern Vogue 1745 (see pattern images here). The bridal headpieces are similar to this green one, pictured in Vogue magazine in April 1963:

Vogue ad Halston hat headpiece 1963

Halston headpiece, Vogue, 1 April 1963. Image via Etsy.

This group of milliners, old and new, seem to reflect the fortunes of millinery in the twentieth century. By the Sixties, Sally Victor and John-Frederics were established labels run by senior designers nearing the ends of their careers, while the younger designers, Guy Laroche and Halston, were to leave millinery to focus on fashion design.

Next: McCall’s New York Designers: Bill Blass, Geoffrey Beene, and Anne Klein.

Mad Men Era 6: New Talent

May 27, 2012 § 1 Comment

Jessica Paré as Megan Draper sings Zou Bisou Bisou

Megan Draper (Jessica Paré) sings “Zou Bisou Bisou” (Mad Men, Season 5) Image via

This week, three newer designers who established their companies in the late 1950s and early 1960s: Guy Laroche, Irene Galitzine, and Federico Forquet.

Guy Laroche (1921-1989)

Guy Laroche worked as assistant to Jean Dessès for seven years before founding his own couture house in 1957. He had an early success with his ready-to-wear line, founded in 1961, helped by a brief stint in New York’s garment industry. Laroche was known for his accessible, youthful designs and use of colour.

Vogue 1102 is a slim, one-shouldered cocktail or evening dress with off-the-shoulder neckline and loose back panel. (Click image for back view.) The dress has a boned underbodice and looped self-trimming at the shoulder:

Vogue 1102 by Guy Laroche 1960s one-shouldered evening dress pattern

Vogue 1102 by Guy Laroche (1961) Cocktail or evening dress. Image via Etsy.

Galitzine (1916-2006)

Irene Galitzine was a Russian-born princess whose mother had fled the Bolshevik Revolution with her and settled in Rome. A former model, she presented her first collection in 1959. Galitzine was famous for her ‘palazzo pajamas,’ evening ensembles featuring wide-legged pants; she also designed part of Claudia Cardinale’s wardrobe for her role as Princess Dala in The Pink Panther (1963). Amusingly, Claudia Cardinale is actually this blog’s top search (she’s mentioned briefly in my first Mad Men Era post). Here she wears a white Galitzine tunic and pants in the film’s first party scene:

Princess Dala (Claudia Cardinale) wearing Galitzine pants and tunic in The Pink Panther (1963)

Claudia Cardinale wears Galitzine as Princess Dala in The Pink Panther (1963)

At first glance, Vogue 1393 looks like a jumpsuit, but it’s really a chic halter blouse and culotte. The sleeveless blouse has a wrap-around construction and gathers into a high, standing band collar. The matching culotte has a gathered skirt that forms wide palazzo pants in the front:

1960s Galitzine halter and culotte pattern - Vogue 1393

Vogue 1393 by Galitzine (1964) Halter and culotte. Image via Etsy.

Federico Forquet (1931-)

Federico Forquet was also born to a family of aristocratic emigrés: his ancestors had settled in Naples after fleeing the French Revolution. The young Forquet worked with Balenciaga, Fabiani, and Galitzine before opening his own studio in 1961. He was known for his elegant, sculptural cut. Forquet also designed the costumes for the early Bertolucci film “Prima della rivoluzione” (1964).

Adriana Asti in Bernardo Bertolucci's Prima della rivoluzione (1964)

Adriana Asti in Bernardo Bertolucci’s Prima della rivoluzione (1964) Image via the Italian Cultural Institute in Sydney.

Vogue 1315 is a bow-trimmed sheath dress and jacket ensemble. The dress has a neckline that’s square in the back and scooped in the front with notched detail; contrast bow trim gives a high-waisted effect. The jacket has three-quarter kimono sleeves and a fabulous raised neckline curving up into points at the throat. It seems that, when worn together, the dress’ bow sits outside the jacket. The original was photographed at the Palazzo Annibale Scotti:

Vogue Couturier 1315 by Federico Forquet 1960s dress and jacket pattern

Vogue 1315 by Federico Forquet (1964) Dress and jacket. Image via Etsy.

With the exception of Guy Laroche, these new designers were based in Rome, reflecting Italy’s burgeoning fashion industry, with its alternatives to the Paris couture, as well as the rise of ready-to-wear.

Next: Mad Men-era milliners including Sally Victor, John Frederics, and Halston.

Damian Yee for Guy Laroche: Vogue Patterns

February 27, 2012 § 2 Comments

When Hervé L. Leroux resigned from his position at Guy Laroche, the company chose Damian Yee, an assistant designer at Laroche, to take the helm. (See my earlier posts on Leroux at Laroche here and here.) According to his LinkedIn profile, Yee graduated from Toronto’s Ryerson University and worked at Martine Sitbon, Karl Lagerfeld, and Barbara Bui before joining the staff at Guy Laroche. He is currently a faculty member of École de la Chambre Syndicale de la Couture Parisienne and the Fashion Studies program at École Parsons à Paris.

Damian Yee designed two collections for Guy Laroche, including the Jubilee collection celebrating the house’s fiftieth anniversary. Vogue Patterns licensed two of Yee’s designs for Laroche, one from each collection.

1. Guy Laroche Prêt-à-porter Spring/Summer 2007 (shown October 2006)

Damian Yee’s first collection for Guy Laroche was inspired by the Mireille Darc’s Laroche dress, worn by the actor in Yves Robert’s comedy Le grand blond avec une chaussure noire (1972). (See Yee’s interview here.) You can view this collection at Vogue Italia here; there’s also a FashionTV YouTube video here.

The first Yee/Laroche pattern, Vogue V1047, is an evening gown for stretch knits. This pattern is still in print:

Vogue V1047 by Damian Yee for Guy Laroche evening dress for stretch knits

Vogue V1047 by Damian Yee for Guy Laroche (2008) Evening dress for stretch knits.

Vogue V1047 schematic

Technical drawing for Vogue V1047

The envelope description reads: Misses’ Dress. Self-lined, gathered, floor length evening dress with keyhole front drape, waistband with wide beaded trim, asymmetrical seam skirt (angled at right side) and left side invisible zipper closing.

Here is a runway photo of the V1047 gown, shown with matching silver sandals:

Damian Yee for Guy Laroche SS 2007 evening dress Damian Yee for Guy Laroche SS 2007 evening dress

Image via Vogue Italia.

2. Guy Laroche Prêt-à-porter Fall/Winter 2007-8 (shown March 2007)

Yee’s second collection for the house marked Guy Laroche’s Jubilee. The anniversary collection had a red carpet theme, with luxurious textures, lots of red, and a runway covered in what looks like red PVC. You can view the entire collection online at Vogue Italia, or watch the FashionTV YouTube video here. The show’s sound designer has posted a clearer video (with French program text) here.

Here is the collection image from L’Officiel 1000 modèles:

Damian Yee for Guy Laroche FW 2007-08 RTW collection L'Officiel 1000 modèles no. 74 (2007)

L'Officiel 1000 modèles no. 74 (2007) Image via

Vogue Patterns’ selection from the Jubilee collection, Vogue V1078, is a draped jersey evening dress:

Vogue V1078 (2008)

Vogue V1078 by Damian Yee for Guy Laroche (2008) Evening dress for stretch knits.

Vogue V1078 schematic

Technical drawing for Vogue V1078

The envelope description reads: Misses’ dress. Dress is fitted, self-lined, with front and back gathers, front drape, all in one front and back detail, back zipper, back drape panels and spaghetti straps.

You may have seen Vogue Patterns contributor Kathryn Brenne’s version of V1078 on her blog, Kathryn’s Fine Sewing.

Here is a runway photo of the V1078 evening dress:


Image via Vogue Italia.

When Dior celebrated its fortieth anniversary, Vogue Patterns issued a commemorative pattern, Vogue 1919. (Paco Peralta has a copy on Etsy.) But the Laroche Jubilee pattern is unmarked. Maybe the Laroche anniversary was overshadowed by Dior’s sixtieth anniversary, which also took place in 2007.

It’s hard not to compare Damian Yee’s work at Laroche with Leroux’s. To my eye, the younger designer’s two collections look unfocused, perhaps especially after four seasons of Leroux’s cohesive work. Vogue Patterns seems to have responded by choosing two of Yee’s designs that clearly show his predecessor’s influence. Still, the two draped evening looks are standouts in Vogue’s recent catalogue.

Hervé L. Leroux (Hervé Léger) for Guy Laroche: Vogue Patterns, Part 2

February 21, 2012 § 3 Comments

Guy Laroche campaign SS 2006 with Angelle Boucher

Guy Laroche campaign, SS 2006. Model: Angelle Boucher. Image via The Fashion Spot.

This week, more Guy Laroche patterns by Hervé L. Leroux, the designer formerly known as Hervé Léger. (See Part 1 here.) Toward the end of Leroux’s tenure, the fashion press seems to have lost interest in Guy Laroche, making it more difficult to find commentary on the house’s collections.

3. Guy Laroche Prêt-à-porter Spring/Summer 2006 (shown October 2005)

Hervé L. Leroux’s second spring collection for Laroche echoed his first in its neutral palette, this time brightened with pops of yellow. The clothes had a more relaxed fit, with draping and smocking details and big belts to emphasize the waist. (See Jessica Michault, “At Guy Laroche, Cutting to the Chase.”)

Here is the collection image from L’Officiel 1000 modèles:

L'Officiel 1000modeles no58 2005

L’Officiel 1000 modèles no. 58 (2005) Image via

Vogue Patterns’ selection from this collection, Vogue 2955, is a loose jacket and pants:

Vogue V2955 suit by Hervé L. Leroux for Guy Laroche

Vogue 2955 by Hervé L. Leroux for Guy Laroche (2007) Jacket and pants. Image via Vogue Patterns.

(You can see the technical drawing here.)

Here’s the envelope description: Misses’/Misses’ Petite Jacket and Pants: Loose-fitting, unlined, waist-length jacket has collar, dropped shoulders, flaps and welt pockets, stitched pleats creating a blouson effect, attached belts with D-rings and long sleeves with buttoned cuffs. Straight-legged, loose-fitting pants have waistband, fly zipper closure, stitched pleats, side seam pockets and wide, turn back hem cuffs.

The V2955 design is visible in L’Officiel’s composite above (at bottom left) and this Corbis image.

4. Guy Laroche Prêt-à-porter Fall/Winter 2006-7 (shown March 2006)

For his last collection for Guy Laroche, Leroux showed dramatic, sculpted silhouettes in velvet, satin, and lace as well as his trademark jersey. The models walked a dark, glittering parterre, with smoky eyes and broad velvet headbands doubled back around their chignons. You can watch a video of the show on FashionTV’s YouTube channel; there’s also free access to this collection on firstVIEW.

Here is the collection image from L’Officiel 1000 modèles:

L'Officiel 1000 modeles number 63 (2006) Guy Laroche by Herve L Leroux Herve Leger

L’Officiel 1000 modèles no. 63 (2006) Image via

Vogue Patterns’ selection is Vogue 1016, a slinky, halter-necked evening gown:

Vogue V1016 evening dress pattern by Hervé L. Leroux for Guy Laroche

Vogue 1016 by Hervé L. Leroux for Guy Laroche (2007) Evening dress.

Vogue V1016 schematic

Technical drawing for Vogue 1016

The envelope description reads: Misses’ Dress: Close-fitting, halter dress with lined gathered draped bodice and topstitched trim princess seam midriff, gathered skirt forming drape around hipline. Hooks and eyes, invisible zipper closing and floor length. View A has a contrast midriff.

Here’s a runway image of the V1016 evening dress:

Image via YouTube.

You can see a closeup of the dress on firstVIEW here.

Vogue 1016 was featured on the cover of the December 2007/January 2008, ‘holiday’ issue of Vogue Patterns. The velvet contrast midriff is most clearly visible on the magazine cover:

Vogue Patterns magazine December 2007 January 2008

Vogue 1016 on the cover of Vogue Patterns, Dec/Jan 2007-2008. Image via Vogue Patterns.

Today, unlike the current Hervé Léger by Max Azria, Hervé L. Leroux’s own label keeps a low profile. Still, online images of Leroux’s recent designs show predominantly celebrities on the red carpet, wearing gowns that are hard to distinguish from his work at Laroche. No wonder V1016 stayed in print for years…

Hervé L. Leroux (Hervé Léger) for Guy Laroche: Vogue Patterns, Part 1

February 6, 2012 § 5 Comments

Hilary Swank in Guy Laroche by Hervé L. Leroux / Hervé Léger, 2005

Hilary Swank in Guy Laroche, 2005. Image via Miss_fashionmix.

Only a few weeks til the Oscars! One dress that’s consistently included in ‘Best Oscars Dresses’ lists is the Guy Laroche gown Hilary Swank wore to accept her Academy Award in 2005. Between 2004 and 2006, Guy Laroche collections were designed by Hervé L. Leroux. You’ve probably heard of Leroux under his original name: Hervé Léger. Léger studied sculpture and art history before leaving school to pursue a career in fashion, working as assistant to Karl Lagerfeld at Fendi and at Chanel, Lanvin, and Chloé. Léger established his own label in 1985 and soon made his name with his sexy bandage dresses.

In 1999 Hervé Léger lost control of his company after its acquisition by BCBG Max Azria; he also lost the right to business use of his name. (Hervé Léger is now designed by Max Azria.) Within six months the designer founded a new company as Hervé L. Leroux. (Karl Lagerfeld provided the new name—a reference to the designer’s red hair. See Suzy Menkes, “Customers, Old and New, Track Down Fashion’s Hidden Assets: The Comeback Kids.”) Hervé L. Leroux opened a boutique in Paris the following year, showing ready-to-wear privately and providing clients with made-to-measure draped jersey dresses.

Leroux was hired to design for Guy Laroche after the house changed hands for the second time that decade. (See the WWD article here.) His tenure ended with his resignation in January 2006, making the Fall/Winter 2006-7 ready-to-wear his final collection for the house. Vogue Patterns’ Guy Laroche license allowed the company to release designs from all four of Hervé Leroux’s collections for Laroche.

1. Guy Laroche Prêt-à-porter Spring/Summer 2005 (shown October 2004)

For his first collection for Guy Laroche, Hervé L. Leroux presented a strong collection of body-conscious designs, with sleek tailoring and torso-hugging jersey dresses in silk and viscose. Black, white, and taupe predominated, with the addition of blue and burgundy for evening. The models, with natural makeup and minimal accessories, entered through a giant gilt frame rimmed with acid yellow light. (See Jessica Michault, “The Collections / Paris: Guy Laroche.”) The collection’s finale was the dress Swank wore to accept her Oscar for Million Dollar Baby; dubbed the Hilary, it was still available to customers three seasons later. You can see thumbnails of the collection here; there’s also a video of the show on FashionTV’s YouTube channel.

Here is the collection image from L’Officiel 1000 modèles:

L'Officiel 1000 modeles number 48 (2004) Guy Laroche Herve Leger Herve L Leroux

Guy Laroche Prêt-à-porter, Spring/Summer 2005. L’Officiel 1000 modèles no. 48 (2004). Image via

Vogue Patterns chose two designs from the Spring collection. Vogue V2899 (which is still in print now out of print) is a low-backed cocktail dress, shown as an LBD:

Vogue 2899 Guy Laroche cocktail dress pattern by Herve L. Leroux

Vogue V2899 by Herve L. Leroux for Guy Laroche (2006) Cocktail dress for stretch knits. Image via PatternVault on Etsy.

Vogue 2899 Guy Laroche by Herve L Leroux schematic

Technical drawing for Vogue V2899

Here’s the description from the pattern envelope: Misses’ Dress. Close-fitting, tapered, self-lined dress, below mid-knee has front drape and concealed front neck band which extends into back shoulder straps (one gathered and one concealed), princess seams with ruched detail (no pocket), and back zipper.

You may have seen Erica B.’s version of V2899 (see her post here). Here is the runway image of the dress:

Runway version of Vogue V2899 by Guy Laroche Herve Leger Herve L Leroux

The second pattern, Vogue V2937, is for a pantsuit with backless jacket:

Vogue V2937 Guy Laroche Herve Leger Herve L Leroux backless jacket pants suit.

Vogue V2937 by Guy Laroche (2006) Backless jacket and pants for stretch knits.

Vogue V2937 Guy Laroche schematic

Technical drawing for Vogue V2937

The envelope description reads: Misses’ jacket & pants. Loose-fitting, lined jacket (fitted at waist and through hips) has low neckline and partially backless back, neck band, contrast back and front drapes, raised waistline, inside belt, exposed separating zipper closure and two-piece sleeves. Slightly flared pants, floor length has wide raised waistband and back zipper. The pattern calls for a sheer stretch knit for the jacket contrast and lining.

Here are a couple runway images of the V2937 design:

Runway version of Vogue V2937 by Guy Laroche Herve Leger Herve L LerouxRunway version back view of Vogue V2937 by Guy Laroche Herve Leger Herve L Leroux

2. Guy Laroche Prêt-à-porter Fall/Winter 2005-6 (shown March 2005)

The Guy Laroche Fall 2005 collection alluded to the fashions of the late 1930s and 1940s: the models wore Forties-inflected hairstyles to present Leroux’s slim, strong-shouldered silhouettes and belted jackets and trenches. (See Jessica Michault, “From the red carpet to an enchanted forest.”) You can watch the FashionTV video of the show here.

The collection image from L’Officiel 1000 modèles shows the day wear’s sombre colours:

L'Officiel 1000 modeles number 53 (2005) Guy Laroche Herve Leger Herve L Leroux

Guy Laroche Prêt-à-porter, Fall/Winter 2005-6. L’Officiel 1000 modèles no. 53 (2005). Image via

Vogue Patterns’ selection from the Fall collection, Vogue V2922, is a belted pantsuit with military styling:

Vogue V2922 Vogue 2922 Guy Laroche Hervé Léger Hervé L Leroux jacket pants belt

Vogue V2922 by Guy Laroche (2006) Jacket, belt, and pants. Image via Etsy.

Here’s the envelope description: Misses’/Misses’ Petite Jacket, Belt and Pants: Double-breasted, lined jacket has princess seams, back inverted pleat, self belts and epaulets with buttonhole closure. Pants have front pleats, fly front, slanted side seam pockets, back darts and wide waistband.

The runway photo shows the fluidity of the original design:

runway version of V2922: Chiara Baschetti modelling Guy Laroche Prêt-à-porter, Fall/Winter 2005-6

Guy Laroche Prêt-à-porter, Fall/Winter 2005-6. Model: Chiara Baschetti. Image via The Fashion Spot.

Leroux had left bandage dresses in the past with the Hervé Léger name; his work for Laroche shows a more mature glamour. It’s nice to see the kind of elegant, red carpet-friendly eveningwear he designs for his own, Hervé L. Leroux label in pattern form. And I’ve gained an appreciation for his relaxed yet vampy tailoring after seeing the runway versions.

Next: Hervé Léger Hervé L. Leroux’s second year at Guy Laroche.

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