A Vreeland-era Vogue Patterns editorial shows Lauren Hutton with silver, helium-filled pillows by Andy Warhol, who would have been 90 this year.
The Mylar pillows were the stars of Warhol’s Silver Clouds show at the Leo Castelli Gallery in New York. (More here.) The patterns are Vogue 6733 and Vogue 6928, both “Easy to Make.” Shown in silver cloqué, the short dress was adapted as a dancing dress; the long dress was designed as a nightgown. (Regina Novelty earrings; Bernardo sandals. Hair by Marc Sinclaire.)
This week, a look at the late James Galanos’ licensed Vogue patterns. (See my McCall’s post here.)
Vogue Patterns introduced James Galanos patterns in late 1967, with two dress designs modelled by Maud Adams and Lauren Hutton. The counter catalogue promotes Galanos’ “masterful touch” with an alternate shot of Vogue 1854, an A-line dress with side pleats at right front and left back:
Lauren Hutton models Vogue 1855, a coat dress with double inverted pleats in the back:
This short, wrap-effect evening dress has square armholes and front pleats concealing pockets:
Later Galanos patterns were photographed on location in New York, where the designer showed his collections. This dress goes one further than Vogue 1855 and has double inverted pleats in both front and back:
Jumpsuit Vogue 2524 features a shoulder yoke, pintucks, and wide, corded belt:
The latest Galanos pattern I’ve seen is Vogue 2639, a long-sleeved evening dress with front slit and waistline smocking detail:
A dreamy illustration made the cover of the news leaflet:
Oscar de la Renta (1932-2014) was born Óscar Aristides Ortiz de la Renta Fiallo in Santo Domingo, Dominican Republic, the only boy in a family of seven. After moving to Spain to study art at Madrid’s Real Academía de Bellas Artes de San Fernando, in 1954 he began work as a sketcher at Balenciaga; by 1959 he was assisting Antonio del Castillo at Lanvin-Castillo in Paris.
In 1963 de la Renta moved to New York to pursue a career in ready-to-wear. He was soon hired as designer for Elizabeth Arden and, in 1965, became a partner at Jane Derby, the house he would take over for his own label. (For more see official site or The New York Times’timeline.)
De la Renta licensed his designs with Vogue Patterns from the 1960s to the 2000s. This week, a look at Oscar de la Renta patterns from the ’60s to the ’80s.
Oscar de la Renta was among the designers included in Vogue-Butterick’s new Vogue Americana line, which was launched in 1967. From 1968, Vogue 1909 is a short-sleeved evening dress with standing collar and front-dart pockets:
This short evening dress has contrast bias cuffs and collar—flexible jewel trim optional:
Vogue 2219, an evening dress in two lengths, includes a wide, contrast cummerbund and pockets in the inverted side pleats:
Shown in a rich, metallic brocade, Vogue 2280 is a short, high-waisted evening dress accented with a jewel-trimmed belt (as seen in Vogue Pattern Bookhere):
A 1972 editorial by Helmut Newton shows Lauren Hutton in an early Oscar de la Renta caftan:
From 1973—the year of the ‘Battle of Versailles’ fashion show—this ruffled evening dress was shown in both solid colours and a floral border print:
Christie Brinkley models Vogue 1667, a blouse for two layers of sheer fabric and dirndl maxi skirt with deep hemline ruffle:
Peasant blouse-and-skirt ensemble Vogue 1776 was featured on this winter catalogue cover:
In this photo by Deborah Turbeville—previously seen in a Patterns in Vogue post—the gold-pistachio lamé evening separates at far right were made using Oscar de la Renta pattern Vogue 2182:
Vogue 1027’s caftan (previously seen in my caftans post) is featured in the San Francisco exhibit. The original is hand-painted silk crêpe de chine:
Vogue 1644 is a wrap-bodice dress with bias bands defining the waist:
These fashion photos by Steven Meisel and Patrick Demarchelier show how well de la Renta was suited to the Eighties aesthetic:
Here, radiating pleats and a bias front godet add volume and interest:
This week my new series on fashion models and sewing patterns continues with the great American model, Lauren Hutton. (See the first instalment, on Gia Carangi, here.)
World traveller, former Playboy Bunny, and daredevil Lauren Hutton (b. 1943) is an iconic figure in late Sixties and Seventies fashion. (Read Voguepedia’s bio here.) She was also a pioneer in transforming modelling into a lucrative career, signing the first exclusive, six-figure, annual cosmetics contract (with Revlon) in 1973. Hutton returned to modelling in her forties, so hers is still a familiar face, even for those who weren’t around for her early work. Recently she has been coming up as a forerunner for the current trend for gap-toothed models.
In the late 1960s, around the time her modelling career was taking off, Hutton did some work for McCall’s and Vogue Patterns. She posed for a few McCall’s New York Designers patterns that were released in 1967, including these designs by Larry Aldrich and Jacques Tiffeau:
In the same year Hutton also modelled for Vogue patterns. Here she opens a two-page feature introducing Bill Blass to the new Vogue Americana line:
Hutton appears on two more Bill Blass designs released in early 1969:
I also found two editorials featuring Hutton in a 1968 issue of Vogue Pattern Book. (My copy is the oversize international edition, so the scans are slightly cropped.) Both editorials promote non-designer patterns, so Hutton doesn’t appear on the pattern envelopes.
The first editorial shows the new wrap look. Here Hutton wears a wool fleece wrap coat, Vogue 7448:
(A quick search for this coat pattern turned up not one but two versions by sewing bloggers: Zoe of So, Zo and Tanit-Isis.)
The photo that opens this post is from the second, country-themed editorial, which was photographed by Ray Solowinski. (The design Hutton models beside the horse is Vogue 7426, “a biscuit coloured jumper in fabulously fake leather … lightly shaped to the body and loosely belted.”) In the first two photos Hutton models a tweed dress and fringed stole, Vogue 7439, and a camel-hair coat, Vogue 7416:
The last photo shows Vogue 7417, a wool flannel dress with “a perky sailor collar and bias binding of white flannel. The self-belt rides low on the hips, over a slightly A-lined skirt.”
With its earth tones and natural look (despite the wig) this last shoot illustrates how, heading into the Seventies, Hutton’s strengths were the perfect fit.