British model-turned-photographer Jill Kennington turns 75 today.
Born and raised in Lincolnshire, Jill Kennington (b. 1943) moved to London at 18, working at Harrods and staying with her aunt, who was a buyer there. Scouted by Michael Whittaker, the founder of the Whittaker Enterprises agency, she was hired as a house model at Norman Hartnell before she could finish the agency course.
Kennington was one of two models in John Cowan’s famous shoot in the Canadian Arctic. (See the full editorial at vogue.com.) You might recognize her from Michelangelo Antonioni’s Blow-Up. (Read her reminiscences in Vanity Fair.)
That’s Kennington in Emmanuelle Khanh’s dress pattern in Queen magazine. (Previously seen in my Butterick Young Designers post.)
Here she models some mod knitwear by Mary Quant:
Kennington can be seen on some of Vogue’s earliest Givenchy patterns. This evening dress was also featured on the cover of the February retail catalogue:
In Vogue 1707 by Fabiani:
More Vogue Paris Originals and Couturier patterns featuring Kennington:
In a flight-themed British Vogue editorial, wearing Young Fashionables hooded jumpsuit Vogue 6376:
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:
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:
The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:
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:
Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:
This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:
This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):
Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:
This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:
Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:
(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.
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.
Mad Men has finally returned to the air with the first episodes of Season 5. This week my Mad Men-era series continues with four established Paris houses whose mantles, by 1960, had passed to new designers: Lanvin, Patou, Nina Ricci, and Dior.
When I started this series, I mentioned that the Mad Men costume department used some vintage patterns purchased online. Patterns from the Past owner Michelle Lee let me know she’s posted on her blog about the Mad Men order: it consisted of maternity patterns.
The house of Lanvin was founded in 1909 by Jeanne Lanvin (1867-1946). Between 1950 and 1963, while its creative director was Antonio Canovas del Castillo, the house was known as Lanvin-Castillo. Castillo (1908-1984) had worked at Piguet, Paquin, and Elizabeth Arden in the 1940s; he left to found his own couture house. Lanvin-Castillo reverted to Lanvin when Jules-François Crahay came to the house from Nina Ricci. Crahay (1917-1988), who held the post of head designer into the 1980s, was known for his skill in cut and construction.
Vogue 1312 is an evening ensemble consisting of a dress and coat. (Click image for back views.) The sleeveless sheath dress has a draped, crisscrossed bodice extending into a lavish cowl/hood in back. The stand-away collar of the sculptural, straight coat serves to frame the draped hood:
(The photo credit says “The Crillon, Paris”—that is, the opulent Hôtel de Crillon.)
Jean Patou (1887-1936) established the house of Patou in 1914. For our period, Karl Lagerfeld (b. 1933) was designer until 1961, and Michel Goma from 1963. Goma (b. 1932) came to Patou after the closure of his own house, Michel Goma (formerly called Jeanne Lafaurie). It was during his tenure that Jean Paul Gaultier was assistant designer at Patou. Goma would later design for the newly revived Balenciaga in the late ’80s.
Vogue 1377 is a dress with three-quarter dolman sleeves, slit neckline, and seam detail on the bodice front. I’m fascinated by the tension between the simple, bold silhouette and the geometric details of the seams and neckline:
Maria ‘Nina’ Ricci (1883-1970) established the house of Nina Ricci in 1932. From 1951 to 1963 Nina Ricci’s head designer was Jules-François Crahay; Crahay collaborated with Mme Ricci until her retirement in 1959. When Crahay left for Lanvin in 1963 he was replaced by Gérard Pipart, a graduate of L’École de la Chambre Syndicale and former assistant designer at Balmain, Fath, and Patou. Pipart (b. 1933), who designed for the house for decades, was known for his skill with fabric and close but supple fit.
Vogue 1440 is a pattern for a one-piece evening dress and jacket. (Click image for illustration and back views.) The slim, sleeveless dress has a V-neck and wrapped overblouse effect, with the belted waistline slightly raised in the front; the long version of the dress has a deep back pleat. The matching jacket has a curved, notched collar and bracelet-length sleeves:
Christian Dior (1905-1957) established the house of Dior in 1946. Dior’s head designer from 1960 onward was Marc Bohan. Bohan (b. 1926) had worked as design assistant at Robert Piguet and Molyneux before he was hired as designer at Patou in the 1950s. Bohan had already worked at Dior’s London branch for a couple years when he was appointed head designer for the house, a position he held into the late 1980s. He was best known for his innovative tailoring and elegant, wearable eveningwear.
Vogue 1398 is a design for an evening dress and coat. The dress has a shaped, plunging neckline and an ultra-curvy silhouette achieved by long darts and a stiffened petticoat. (See the envelope back here.) The coat has bracelet-length sleeves and a rolled loop and tie collar. Both dress and coat may be made in two lengths—the long version in the illustration is very grand:
Each of these four venerable Paris houses had a new head designer in the early Sixties—1960 for Dior, and around 1963 for Lanvin, Patou, and Nina Ricci. In the spring of 1963 a New York Times article noted that “the Paris couture is in the throes of spring housecleaning, hiring new designers left and right.” What would come from these fresh-scrubbed couture houses?