Southern beauty queen and model Angeleen Gagliano (1950-2009) is a familiar face to vintage pattern aficionados. Born Angelina Marie Gagliano, she was also a keen equestrian—she is the model in Chris von Wangenheim’s circa 1975 series Untitled(Woman with horse). (It’s her horse. See prints at Christie’s and Staley-Wise Gallery.) Her son, Jason Storch, has posted a short bio here.
Angeleen did a lot of work for Simplicity, McCall’s, and especially Vogue Patterns in the mid-1970s. Here she is on the cover of a Very Easy Vogue catalogue:
Angeleen can be seen on some of the earliest Vogue patterns from Sonia Rykiel, Chloé, and Calvin Klein:
Here she models Halston’s spiral-cut dress for McCall’s (see Dustin’s recent post on this pattern here):
My personal favourite patterns featuring Angeleen are the ones for ’70s evening wear, like these designs from Balmain and Lanvin:
See youthquaker’s blog and facebook for more photos of Angeleen from British Vogue. Thanks to Jason Storch for his assistance.
The cape trend of the last two years shows no sign of abating. (Read a Fashionising post about the trend here.) In terms of sewing patterns, Donna Karan’s V2924 was ahead of the trend (see Erica B’s version here) and this fall we have V1322 by DKNY. Paco Peralta has several cape designs available including the sculptural Funghi. In vintage reissues, Butterick has re-released some vintage cape patterns in their Retro line: B6329 (from 1935) and B6411 (a reissue of Butterick 4570 from 1948).
I often find myself reaching for the vintage version of a current trend, and I’ll have a cape project to share with you soon. While looking for the right pattern, I was struck by the variety of cape designs over the decades. Here’s a selection of vintage cape patterns from the Twenties to the Eighties.
Two 1920s patterns in my collection have capes with interesting details. This mid-Twenties pattern for a dress by Renée also includes a cape with button/strap closure:
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
Sewing bloggers’ 1930s capes show how contemporary these vintage outerwear styles can look today. Debi’s mid-Thirties cape pattern has a similar look to the ensemble illustrated above, but with a false front creating the illusion of a matching jacket. Click the image to see her finished version:
Puu’s late ’30s cape has a high-collared yoke, arm slits, and rounded, gathered shoulders (click the image for her construction post and see the finished version here):
The fashion for capes continued into the Forties. The decade’s strong-shouldered silhouette is visible in these two cape patterns from my collection. The first, from the early ’40s, has a pronounced, boxy shape and optional broad stand-up collar:
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
In the Fifties, capes showed a de-emphasis on the shoulders and a fullness that carries over to the early ’60s. Vogue 1089 by Robert Piguet is actually from 1949; I thought it might really be a capelet, but the envelope description calls it a “flared cape with diagonal double-breasted closing below soft shaped collar”:
Here’s an illustration of the Piguet ensemble by Bernard Blossac:
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
The Sixties were another good decade for capes. On this Vogue Pattern Book cover, Wilhelmina Cooper exemplifies the “thoroughbred look” of Fall 1963 in a tailored yellow cape:
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
As the Seventies progressed, capes generally kept their collars, but gained a new fluidity. This mid-Seventies Halston “poncho-cape” has a collar and button front, but is reversible:
This late ’70s Chloé design by Karl Lagerfeld, featuring Jerry Hall, includes a three-quarter length, circular cape with pointed bias collar. The cape gets its strong shoulders from an inside button and tab at each shoulder:
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?
This week, four milliners who licensed their designs with Vogue in the early Sixties: Sally Victor, John Frederics, Guy Laroche, and Halston.
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:
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:
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 was featured in the August/September 1961 issue of Vogue Pattern Book (second from the left):
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’:
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:
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.
The term ‘disco’ is a little nebulous. Disco music was popular from the mid-1970s to about 1980. Its huge popularity led to an anti-disco backlash that’s come to be symbolized by Disco Demolition Night, a.k.a. the ‘Disco Riots,’ which took place in the summer of 1979 (see Jo Meek, “Earth, Wind and Pyre,” and Joe Lapointe, “The Night Disco Went Up in Smoke”). Studio 54, the famous New York City nightclub that effectively stands for disco hedonism today, was open from 1977 until 1986. In this slideshow, you can see Andy Warhol partying at the club with Bianca Jagger, Liza Minelli, and Halston, as well as Diana Ross, Deborah Harry, and even a young Tom Ford.
For the purposes of this post, I’m going by my personal definition of disco style: glam evening wear that’s more party girl than society doyenne, all from the mid-’70s to the early ’80s. As I edited down my initial list I found the best designs shared elements like fluid draping and halter necks or one-shouldered bodices. Also, of the seven patterns, three are jumpsuits or give the impression of being a jumpsuit. Here’s my disco patterns best-of, ordered chronologically:
1. Vogue 2870 – Lanvin, 1973. Modelled by Karen Bjornson. Bjornson, who is virtually ubiquitous on later ’70s Vogue Patterns, was Halston’s house model. The (fantastic) photo makes the design look like a jumpsuit, but the pattern is actually for evening separates: palazzo pants with no side seams and a halter top with a wide midriff band that gives a cummerbund effect.
2. Vogue 2014 – Givenchy, 1978. Modelled by the young Gia Carangi, the late, queer supermodel who was brought back to the spotlight by the HBO movie Gia starring Angelina Jolie. This gorgeous evening dress has a crisscrossed halter neck and calls for an eighteen-inch tassel down the back. I have this one in my collection and plan to make it sometime in a silk or viscose jersey, but I think I need to learn to make tassels first.
3. Vogue 2173 – Chloé, 1979. No disco collection could be complete without this design by Karl Lagerfeld for Chloé. The one-shouldered evening dress comes with a reversible contrast shawl. I don’t know why, but to me this is the perfect late seventies-early eighties colour combination.
4. Vogue 2307 – Givenchy, 1979. Modelled by Tara Shannon. Another beautifully fluid Givenchy design, with the asymmetrical, one-shouldered bodice balanced by draping at the opposite hip. This is another one in my collection; I have a length of deep purple chiffon (originally used in a Hallowe’en costume) that’s just enough to make the cocktail version, but I haven’t yet found the occasion where I could get away with that much purple chiffon.
5. Vogue 2313 – Yves Saint Laurent, 1979. Modelled by Tara Shannon. A fabulous opera coat and evening dress ensemble with tie-halter and bow bodice. I love the sorbet colours, graphics and over-the-top drama of this pattern.
6. Vogue 2375 – Gianni Versace, 1980. Not a true jumpsuit as I thought (thanks, Dustin!) but a halter neck top and pants with tapered legs, side draping and matching jacket. Check out the illustration’s matching sandals and tone-on-tone, contrast satin cummerbund.
7. Vogue 1014 – Yves Saint Laurent, circa 1982. My notes say this is a top and pleated harem pants but, as the photo shows, it definitely has a jumpsuit effect when made in a single fabric and worn with the top tucked in. It’s interesting to see cuffed and pleated harem pants in the wake of the recent draped harem pants trend. Are we having a disco moment?