Now that the temperature has dropped, I wanted to share a near-antique McCall News from winter 1917-18.
The cover illustration shows two women skating on a frozen lake. The fur-trimmed dress on the left is McCall 8125, with ‘aviation cap’ McCall 8130; the dress on the right is McCall 8121.
Inside the leaflet are some interesting patterns for war work. You may recognize overall suit McCall 7860 from my Great War post. Here we see the sleeveless view worn over a blouse:
‘The Conservation Uniform,’ McCall 7970, is a dress apron designated “Official Food Conservation Uniform; for the use of women signing the Conservation Pledge of the Food Commission.” (Often called a Hoover apron—for more, see witness2fashion’s post.) The cap and cuffs were included in the pattern:
The ‘aviation cap’ from the cover is shown with McCall 7897, a ladies’ military dress with optional cape:
Happy New Year! Vintage reissues give a taste of the pleasures of sewing vintage, without the bidding wars and grading. Here is an overview—with rarely seen archival images—of the contemporary vintage pattern lines from Vogue, Butterick, and McCall’s. (Simplicity responded to requests for comment with promotional copy.)
Deco evening dress pattern Vogue 2241 remains a favourite; I recently came across a version at Toronto’s Spadina Museum. I found an illustration of the original, Vogue S-3543, in a Vogue Patterns news leaflet from December, 1931. The description reads, “Here is a frock that expresses the newest movement of the mode, its originality and charm. It has a slender moulded look from the décolletage to the circular panels that trail slightly on the ground”:
Butterick donated the original to the Commercial Pattern Archive:
Retro Butterick and McCall’s Archive Collection
Both Retro Butterick and McCall’s Archive Collection patterns are recreated and sometimes adapted from archival materials, not the original patterns. With archival images, sticklers for accuracy can restore these adaptations to the original vintage design.
Early Retro Butterick pattern B6408 is based on Butterick 4391, a “Quick and Easy” late 1940s design for an evening gown with hooded scarf:
McCall’s introduced The Archive Collection for Early Fall, 2014. The recent 1920s coat pattern, M7259, is based on McCall 5057, a 1927 design by Agnès:
The Archive Collection’s Deco evening dress, M7154, is based on a design from spring, 1930: McCall 6057. An original copy sold on eBay in June, 2014 for over $800 US.
The McCall 6057 gown is a couture adaptation: the design is after Patou. Here is the description from McCall’s magazine: “The Patou silhouette is beautifully exemplified in a formal evening gown which has curved bands at the neckline and hipline, a short bolero and inserted panels lengthening the skirt”:
For more on the McCall Pattern Company’s vintage lines, see We Sew Retro’s interview.
I wanted to share this mid-1920s, Christmas-themed cover of McCall Style News. From December, 1925, the illustration shows two women—well-dressed in coat ensembles—accompanying a young girl carrying a wreath. I love how makes it look like she has two mothers.
This week, the second post in my series on Lanvin sewing patterns. (See my post on Jeanne Lanvin’s interwar patterns here.)
Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.
From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:
Clifford Coffin photographed the dress in Paris for Vogue magazine:
According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):
Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:
Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):
Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:
The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):
Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:
Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:
Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:
The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:
Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:
Instead of the envelope’s location shot, Vogue published a studio photo of the dress:
Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:
Next in the series: Antonio del Castillo’s Vogue Paris Originals.
Commercial sewing patterns based on Lanvin originals were produced between the 1920s and the 1970s. Four head designers presided over the house during that period; I’ll be devoting a post to each designer.
The interwar Lanvin designs available as sewing patterns are by Jeanne Lanvin (1867-1946), who was known for her romantic, youthful dresses with couture embellishment, particularly her robe de style, a full-skirted alternative to the 1920s tubular silhouette.
From McCall’s earliest couture patterns, this robe de style with a big bow at the waist and skirt with beaded appliqués was modelled by film star Hope Hampton:
McCall 4856 is a short evening or afternoon dress with sheer overlay. The version on the right is in Lanvin blue:
(McCall’s also sold transfer patterns for beading and embroidery; the catalogue illustrations show nos. 1558 and 1388.)
This simple double-breasted coat from Pictorial Review was adapted from a Lanvin design:
Pictorial Review’s catalogue illustration shows the coat with contrast lapels and fur cuffs and collar:
Trim is an important feature of this Lanvin day dress, which is shown in my 1929 Paris Pattern leaflet (available in PDF from my Etsy shop):
McCall 7711 is a day dress with drape-necked bodice and bow-trimmed sleeves. View A, with long sleeves and contrast bodice, has topstitched sleeves and belt that are characteristic of 1930s Lanvin:
Here’s the illustration from McCall’s Advanced Paris Styles catalogue:
In late 1934, McCall and Pictorial Review both produced versions of the same Lanvin afternoon dress: a slim, full-sleeved gown with back cutouts. A reproduction of the McCall version is available from Past Patterns:
In Blanche Rothschild’s illustration for McCall’s magazine, the dress is shown with McCall 7954 by Georgette Renal:
The text for McCall 7959 reads, “Lanvin’s long skirted afternoon dress has a new feeling of formality. The back of the bodice is suspended in folds from a cross shoulder band, slit in triangles to expose the back. Raglan sleeves provide material contrast. The skirt spreads, bell shape, into a hesitation hem.”
The Vintage Pattern Lending Library has a reproduction of the Pictorial Review adaptation of the dress, Pictorial Review 7363:
Here’s an illustration of the Pictorial Review adaptation from the Winter 1934 catalogue:
McCall 8591 (previously featured in my goddess gowns post) is a glamourous evening dress with pleated shoulder draperies. This illustration is from the McCall catalogue:
Marian Blynn illustrated McCall 8591 for McCall’s magazine (the other gown is by Ardanse):
The caption reads: “Long scarfs, drifting down from the shoulders, are used by Lanvin. The scarf dress here is hers, and when you dance it is supposed to make you look as though you were floating. These scarfs are also worn wound once around the arm.”
Just for fun, here are two photos by Horst P. Horst and Albert Harlingue showing Lanvin designs from the 1930s: