James Galanos: McCall’s Patterns

November 27, 2016 § 1 Comment

Gold and black metallic evening gown built over a pellon and black silk taffeta by James Galanos, 1954

Metallic evening gown by James Galanos photographed at the Costume Institute, 1954. Image: Bettmann / Getty.

James Galanos died last month. He was 92. According to his obituary in the New York Times, Galanos authorized only two licenses: furs and fragrance. But he also licensed commercial sewing patterns—first with McCall’s, and later with Vogue Patterns. This post looks at Galanos’ 1950s patterns with McCall’s.

Jean Patchett photographed by Nina Leen in Galanos, 1959

Jean Patchett in Galanos, Life magazine, February 23, 1959. Photo: Nina Leen. Image: Life archive.

Born in Philadelphia to Greek parents, James Galanos (1924-2016) was a graduate of the Traphagen School of Fashion. He worked with Hattie Carnegie, Hollywood costume designer Jean Louis, and Robert Piguet before founding his own, LA-based label in 1951. He retired in 1998, the year after LACMA mounted a retrospective of his work. Galanos won the devotion of celebrities and socialites with his virtuoso technique and flawless craftsmanship.

Galanos label

Image: the Metropolitan Museum of Art.

1950s

McCall’s introduced designer exclusives by “James Galanos, brilliant young star of American fashion” with two patterns for winter 1956-57. The Galanos designs—full-skirted formal gowns in two lengths—were prominently featured in the holiday issues of McCall’s Pattern Book and the company’s monthly news leaflet.

Clothes to make you beautiful this Christmas: Galanos gown McCall's 3895 on the cover of McCall's Pattern Book, Winter / Holiday 1956-57

McCall’s 3895 by Galanos on the cover of McCall’s Pattern Book, Winter 1956-57. Image: eBay.

"Holiday news: Galanos designs for McCall's" - illustration of McCall's 3894 and 3895, 1956

“Holiday news: Galanos designs for McCall’s.” McCall’s news leaflet, December 1956.

According to the news leaflet, McCall’s 3894 is “a fabulous ball gown to make in brocade.” The molded bodice is a trademark Galanos touch:

1950s James Galanos evening dress pattern McCall's 3894

McCall’s 3894 by Galanos (1956) Image: the Vintage Pattern Wiki.

McCall's 3894 by Galanos in McCall's Pattern Book, 1956

McCall’s 3894 by Galanos in McCall’s Pattern Book, Winter 1956-57. Image: eBay.

McCall’s 3895 is a bow-trimmed evening gown. As the leaflet notes, “Beautifully low-cut in back, it can be cocktail length.” Recommended fabrics included heavy satin, peau de soie, brocade, and taffeta:

1950s James Galnos evening dress pattern McCall's 3895

McCall’s 3895 by Galanos (1956) Image: eBay.

A Galanos design in the McCall's catalogue, February 1957

A Galanos design in the McCall’s catalogue, February 1957. Image: Etsy.

In spring, 1957, McCall’s released two more Galanos patterns: the lavishly full-skirted McCall’s 4045 and 4046.

1950s Galanos evening dress and petticoat pattern McCall's 4045

McCall’s 4045 by Galanos (1957) Image: eBay.

Here, the back bodice extends into a front yoke. The skirt and petticoat were to be made in organdy, nylon, or silk organza:

1950s Galanos evening dress and petticoat pattern McCalls 4046

McCalls 4046 by Galanos (1957) Image: eBay.

The new Galanos patterns were promoted in the March issue of McCall’s magazine (“Galanos designs: Black-and-white for summer evenings”) and in the company’s “Make the Clothes that Make the Woman” advertising campaign.

"Make the Clothes that Make the Woman - with exclusive McCall's patterns by Galanos, Givenchy, Trigère, Sybil Connolly, Emilio of Capri!" McCall's 4046 by Galanos

“Make the Clothes that Make the Woman” advertisement featuring McCall’s 4046 by Galanos, spring 1957.

In the Summer 1957 pattern book, the designs are illustrated in green linen and flower-embroidered organdy:

James Galanos patterns illustrated in McCall's Pattern Book, Summer 1957

James Galanos patterns illustrated in McCall’s Pattern Book, Summer 1957.

Today, Galanos’ McCall’s patterns are quite scarce. Perhaps customers balked at the extravagant yardage: the skirt for one dress took over 20 yards of narrow fabric. Galanos’ work with sheer layers continued into the following decade, as seen in this 1961 editorial by Gordon Parks:

"Full-length evening dress is draped in pink and rose with a light orange hem. Like most Galanos styles, this one is deceptively simple but it is intricately and artfully constructed so that it is not bulky despite the amount of chiffon used -- 75 yards in all." Life, April 14, 1961.

Gloria Vanderbilt in a chiffon evening dress by Galanos, Life magazine, April 14, 1961. Photo: Gordon Parks. Image: Shrimpton Couture.

Next: James Galanos’ Vogue patterns.

Designer Swimwear: Vintage Patterns

August 9, 2016 § 6 Comments

1980s Bob Mackie swimsuit pattern McCall's 7138 photographed for McCall's summer news flier

McCall’s 7138 by Bob Mackie on the cover of McCall’s news, July 1980.

It’s been another hot summer here in Toronto. One of my earliest blog posts, Heat Wave!, surveys vintage beachwear patterns. This summer, let’s take a look at a more elusive beast: designer swimwear patterns.

1950s

The earliest pattern I’ve seen for designer swimwear is Pucci’s strapless one-piece, McCall’s 3977. This pattern was available in Junior sizes only. The suit was lined in jersey, and could be made with or without the brightly coloured appliqués:

1950s Emilio Pucci bathing suit pattern McCall's 3977

McCall’s 3977 by Emilio Pucci (1956) Image: eBay.

1960s

From another Italian designer, Irene Galitzine, Vogue 1288 is a pattern for a bikini, dress, and hat. The bikini consists of a cropped, cowl-neck blouse and bikini pants with side ties:

1960s Galitzine bikini, coverup, and hat pattern Vogue 1288

Vogue 1288 by Irene Galitzine (ca. 1963) Image: eBay.

1970s

The 1970s were the heyday of designer swimwear patterns, often with a coordinating coverup, and always for stretch knits. Vogue 1416 is an early design by Donna Karan; from Anne Klein’s collaboration with Penfold, the pattern includes both a maillot and a halter bikini:

Vogue 1416

Vogue 1416 by Donna Karan at Anne Klein for Penfold (1976) Image: Etsy.

From Bill Blass, Vogue 1455 includes a two-piece swimsuit with bra top and bikini briefs:

1970s Bill Blass jacket, pants, and swimsuit pattern Vogue 1455

Vogue 1455 by Bill Blass (1976)

John Kloss licensed a number of swimwear designs with Butterick. This ad promotes his patterns with a poolside photo of Butterick 4808:

Butterick Kloss ad 1976

Butterick 4808 by John Kloss, Butterick advertisement, 1976. Image: eBay.

Another Butterick designer, Gil Aimbez, designed this one-piece bathing suit. Contrast bias binding outlines the cut-away sides and bodice seaming detail:

1970s Gil Aimbez swimsuit and coverup pattern Butterick 5449

Butterick 5449 by Gil Aimbez (ca. 1977) Image: Etsy.

Like the Anne Klein Penfold pattern above, this Penfold pattern includes both one-piece and halter bikini bathing suits. The one-piece and bikini top are cut on the bias:

1970s Penfold pattern Vogue 1655

Vogue 1655 by Penfold (ca. 1977) Image: Vintage Patterns Wiki.

Both Penfold patterns can be seen in a Vogue Patterns editorial photographed in Antigua:

1970s Anne Klein / Penfold halter bikini pattern by Donna Karan, Vogue 1416 in Vogue Patterns magazine

Beach beauty: halter bikini Vogue 1416 by Donna Karan at Anne Klein for Penfold, Vogue Patterns, May/June 1977. Model: Clotilde. Photo: Albert Watson. Image: the Fashion Spot.

Vogue Patterns MayJun 1977 Penfold

Vogue 1655 by Penfold with Vogue 9808, Vogue Patterns, May/June 1977. Models: Lisa Cooper and Clotilde. Photos: Albert Watson. Image: the Fashion Spot.

From spring, 1978, Vogue 1893 seems to have been the only Catalina pattern. Instead of a coverup, it includes three styles of bathing suit: low-backed view A, strapless view B with built-in boning, and blouson view C is a two-piece:

1970s Catalina swimsuit pattern Vogue 1893

Vogue 1893 by Catalina (1978) Image: Etsy.

The magazine recommended making the Catalina suits in Thompson of California’s “second skin Tic Toc warp knit polyester crepes” in various prints:

Vogue 1893 by Catalina, Vogue Patterns, May/June 1978. Image: Vintage Goodness.

1980s

From 1980, McCall’s 7109 includes three one-piece swimsuits by the Italian label Basile: a mock wrap, belted halter-neck and variations on the strapless suit with gathered bust (available in the shop):

1980s Basile swimsuit pattern - McCall's 7109

McCall’s 7109 by Basile (1980) Image via PatternVault on Etsy.

Jerry Hall (right) seems to be wearing the view A style in this Basile ad photographed by Irving Penn:

vogue italia 1980 penn basile

Basile advertisement in Vogue Italia, 1980. Photo: Irving Penn. Models: Michelle Stevens and Jerry Hall. Image: the Fashion Spot.

Also from 1980, Bob Mackie’s strapless, colour-blocked swimsuit, McCall’s 7138, was photographed for the July counter catalogue and news leaflet (seen at the top of this post):

1980s Bob Mackie swimsuit and cover-up pattern McCall's 7138

McCall’s 7138 by Bob Mackie (1980) Image: Etsy.

1990s

Finally, this early ’90s DKNY pattern, Vogue 2897, is labelled ‘dress and bodysuit,’ but was photographed as beachwear:

1990s DKNY bodysuit and hooded dress / coverup pattern Vogue 2897

Vogue 2897 by DKNY (1992) Image: Etsy.

After a long swimwear pattern drought, the big pattern companies seem to have noticed the renewed popularity of sewing your own, custom bathing suit. For this summer, Simplicity reissued a 1950s bathing suit pattern, Simplicity 4307 / S8139, and The McCall Pattern Company has released a number of new swimwear designs, including one Vogue and two Lisette swimwear patterns.

Two designers with existing pattern licensing, Cynthia Rowley and Rachel Comey, both have swimwear lines. If we voice our support, perhaps we could soon see patterns for Cynthia Rowley surf wear and Rachel Comey Swim

Cynthia Rowley for Roxy wetsuit, 2010

Wetsuit by Cynthia Rowley for Roxy, 2010. Image: Pinterest.

Willy Somma self-portrait for Rachel Comey Swim, 2013

Willy Somma self-portrait for Rachel Comey Swim, T Magazine, May 2013. Image: nytimes.com.

Carmen Dell’Orefice

June 3, 2016 § 5 Comments

Carmen Dell’ Orefice in Ceil Chapman, Vogue, 1949. Photo: Norman Parkinson. Image via Norman Parkinson Archive.

Carmen Dell’Orefice turns eighty-five today.

Carmen Dell'Orefice photographed by Erwin Blumenfeld for Vogue, October 1947 (British Vogue, Feb. 1948)

Vogue, October 15, 1947. Photo: Erwin Blumenfeld. Image via Pinterest.

Often called the world’s oldest working model, Carmen Dell’Orefice (b. 1931) was discovered at thirteen on a New York City bus; at sixteen she had her first Vogue cover. In 2011, the London College of Fashion devoted an exhibition to her modelling work, Carmen: A Life In Fashion.

Vogue, May 1, 1951. Photo: Norman Parkinson. Via Pinterest

Carmen Dell'Orefice photographed by John Rawlings for Vogue, spring 1955

Vogue, May 1955. Photo: John Rawlings. Image via Pinterest.

Carmen Dell'Orefice in a bathing cap, photographed by Gleb Derujinsky for Harper's Bazaar, May 1958

Harper’s Bazaar, May 1958. Photo: Gleb Derujinsky. Image via Pinterest.

Dell’Orefice’s work with New York pattern companies may be seen in postwar publications from Vogue, McCall’s, and Simplicity, as well as more recent Vogue patterns.

A Richard Rutledge editorial for Vogue Pattern Book features the young Dell’Orefice in new patterns for spring, 1949 (jacket Vogue 6716 and blouses Vogue 6065 and Vogue 6707, all with skirt Vogue 6708):

VPB AprMay1949 p28top

Vogue 6716 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

VPB AprMay 1949 p28

Vogue 6065 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

VPB AprMay 1949 p28a

Vogue 6707 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

On this McCall Pattern Book cover from Summer, 1957, she models McCall’s 4095 and 4097:

McCalls PB Summer 1957

McCall’s Pattern Book, Summer 1957. Image: eBay.

Here, Dell’Orefice poses in an all-red ensemble for the cover of Simplicity magazine, Fall 1958:

Carmen Dell'Orefice on the cover of Simplicity magazine, fall 1958

Simplicity magazine, Fall-Winter 1958. Image: eBay.

Here she wears gown Vogue 9827 on the cover of Vogue Pattern Book’s holiday issue:

Carmen Dell'Orefice wears Vogue 9827 - Vogue Pattern Book, December/January 1959-1960

Vogue 9827 on the cover of Vogue Pattern Book, December/January 1959-1960. Image via Make Mine Vogue.

1980s

After a break, Dell’Orefice returned to modelling in the late 1970s. On these two patterns from the ’80s, she wears Vogue 8195, a caftan-style dress, and Arlene Dahl gown Vogue 8521 in gold lamé:

Carmen Dell'Orefice on a 1980s Vogue pattern, V8195

Vogue 8195 (ca. 1982) Image via the Vintage Pattern Wiki.

1980s Arlene Dahl dress pattern featuring Carmen Dell'Orefice, Vogue 8521

Vogue 8521 by Arlene Dahl (ca. 1980s) Image via Etsy.

1990s

In the later 1990s, Dell’Orefice posed for many patterns in The Vogue Woman line. Vogue 1972 is a seasonless wardrobe pattern, while Vogue 9821 is a dress and tunic suitable for petites:

Carmen Dell'Orefice models 1990s The Vogue Woman pattern Vogue 1972

Vogue 1972 (1997) Image via Etsy.

Carmen Dell'Orefice models 1990s Vogue 9821

Vogue 9821 (1998) Image via eBay.

Happy birthday, Ms. Dell’Orefice!

Carmen Dell'Orefice on the runway, Florence 2011

Alberta Ferretti fashion show, Florence, 2011. Image: Getty / Vogue Italia.

Lyanna Stark Costume – McCall’s 6940

April 14, 2016 § 5 Comments

Stark pin

With season 6 of Game of Thrones fast approaching, it’s high time I posted about my Lyanna Stark costume.

(If you object to seeing material from season 5, or interpretation of a book published 20 years ago, read no further. Perhaps you’d prefer my post on Game of Thrones costume patterns?)

For Halloween 2014 I went as Lyanna Stark from George R.R. Martin’s A Song of Ice and Fire series. Lyanna is dead by the time of the main action in the books, and the character has not yet been seen on HBO’s Game of Thrones except as a statue in the Stark crypt.

Tomb statue of Lyanna Stark in the Winterfell crypt in "Fire and Blood" - Game of Thrones, season 1, episode 10

Tomb statue of Lyanna Stark in “Fire and Blood” (Game of Thrones, season 1) Image: fandom.

Sansa lights candles in the Stark crypt at Winterfell in "Sons of the Harpy" - Game of Thrones s5 e4

Sansa Stark (Sophie Turner) visits the family crypt in “Sons of the Harpy” (Game of Thrones, season 5). Image: HBO.

Of the series’ many lost, dead women, Lyanna Stark looms the largest. Eddard Stark’s sister and Arya’s foremother-doppelgänger, Robert Baratheon’s first betrothed, Rhaegar Targaryen’s lover/abductee, and probably Jon Snow’s mother, Lyanna is the Helen of Troy / Guinevere figure behind Robert’s Rebellion against the pyromaniac King Aerys II Targaryen. She’s a ghost that haunts the present in memory, dreams, and visions, but always as the subject of competing narratives: both object of desire and swashbuckling she-wolf.

Costuming Winterfell: costume sketches for Ned, Catelyn, and Sansa

Costuming Winterfell: costume sketches for Ned, Catelyn, and Sansa. Image: Bryan Cogman, Inside HBO’s Game of Thrones: Seasons 1 & 2 (Chronicle Books, 2012).

On the show, Michele Clapton’s costumes for the Starks at Winterfell involve a lot of linen, leather, and fur in northern blues and greys. The men wear leather doublets and Japanese-inspired padded linen skirts, while the women forego jewellery in favour of embellishment and enviable padded neck pieces.* Sansa finds some to wear on her return to Winterfell.

Fish neckroll embroidered by Michele Carragher for Game of Thrones

Embroidered neck roll from Game of Thrones. Image: Michele Carragher.

Lyanna’s statue wears a Stark neck roll. But what would Lyanna have worn in the south? In A Game of Thrones, Ned Stark dreams of the statue-Lyanna crowned with pale blue roses (the prize Rhaegar awarded her at Harrenhal) and weeping tears of blood.† Later in the book series, Theon Greyjoy has a dream of the dead that includes Lyanna in a crown of blue roses and a white dress spattered with blood.‡ But blood and roses do not a costume make.

As Robert’s fiancée and a court lady attending the tourney at Harrenhal, etc., I figured she would wear some kind of court dress. To save myself the drafting, and because Lyanna is effectively the anti-Cersei, I used McCall’s Cersei pattern, McCall’s 6940:

Cersei Lannister pattern - McCall's 6940 (2014)

McCall’s 6940 (2014)

Technical drawings for McCall's 6940 Game of Thrones Cersei pattern (2014)

Technical drawings for McCall’s 6940 (2014) Image via McCall’s.

I made View A (skipping the belt and appliqué) in dark blue with a pewter contrast, both from King Textiles. The main fabric was a malodorous synthetic; when pre-washed to remove the substantial sizing, it balled up into a wrinkly mess. Some of the wrinkles are still visible. But when a Halloween costume takes over 7 yards for the main fabric, I start with something cheap.

Based on the flat pattern measurements, I cut the 12 and made my usual length and grading adjustments. The fit is roomier than I’d like; I could go a size down. I didn’t get to the inside ribbon belt until after the photos, but even that requires a closer fit in the waist.

To give the court dress a northern, Stark touch, I trimmed the wrap bodice neckline with Mokuba faux fur banding. Naomi contributed some blue, artificial rosebuds and her wolf’s head brooch, which stood in perfectly for the Stark direwolf.

We photographed the dress one chilly November afternoon just after Halloween:

Lyanna Stark costume, front view (McCall's 6940)

Lyanna Stark costume, side view (McCall's 6940)

Lyanna Stark costume, back view (McCall's 6940)

I’ve never had such a problem with wrinkles at princess and shoulder seams; I blame the synthetic. Since the lower sleeves are cut on the cross grain, nap and pattern could be an issue — as is visible in the photos. Practically speaking, the dress requires an underskirt, as it’s prone to opening dramatically with little provocation.

I would re-make this in a natural fabric like wool or linen, with some fit adjustments and tweaks to the contrast details for a smoother finish. I’m also tempted to brush up on my hand embroidery and try a Stark neck roll, as well as embroidered sleeves — sleeves to lose yourself in.

* Michele Clapton quoted in Bryan Cogman, Inside HBO’s Game of Thrones: Seasons 1 & 2 (Chronicle Books, 2012), p. 44.
† George R.R. Martin, A Game of Thrones (Bantam Books, 1996), p. 419.
‡ George R.R. Martin, A Clash of Kings (Bantam Books, 1999), p. 609.

Game of Thrones Costume Patterns

March 15, 2016 § 9 Comments

Game of Thrones costume patterns M6941 and M6940 in McCall's Spring 2014 lookbook

Queens of the Game in McCall’s lookbook, Spring 2014. Image: Issuu.

Dear HBO, Have you considered costume pattern licensing? With a new trailer for season 6, and season 5 out on DVD, here’s a look at completely official Game of Thrones sewing patterns sewing patterns inspired by Game of Thrones.

Game of Thrones / The Hobbit: The Desolation of Smaug costume pattern S1347 in a 2014 lookbook

Fantasy Play in Simplicity’s lookbook, 2014. Image: Andrea Schewe.

Sansa Stark / Game of Thrones costume pattern S1137 in Simplicity Summer 2015 lookbook

Dark Faerie Tales in Simplicity’s lookbook, Summer 2015. Image: 3D Issue.

Costume designer Michele Clapton won three Emmys for her work on the first five seasons of Game of Thrones. Season 6 will see a new costume designer for the series: April Ferry, who designed the Emmy Award-winning costumes for HBO’s Rome (2005-2007)—which also starred Tobias Menzies, Indira Varma, and Ciarán Hinds. (Read a Costume Designers Guild bio here.)

Ciarán Hinds as Julius Caesar in HBO's Rome (2005) - costumes by April Ferry

Still of Ciarán Hinds as Julius Caesar in Rome (2005) Image: HBO / IMdB.

Given the two-way relationship between Game of Thrones’ costume design and fashion, the costumes are interesting even if you don’t watch the show. (Full disclosure: I’ve made more than a few Game of Thrones / A Song of Ice and Fire costumes, including S2 Daenerys, book Quaithe, and Lyanna Stark.)

Cersei Lannister's red and gold court dress - Game of Thrones season 1-2

Cersei Lannister costume from Game of Thrones, season 1-2. Image: Bell Media.

Givenchy ensemble, fall/winter 1997–98 silk, feathers, metal, synthetic; The Metropolitan Museum of Art, New York, Purchase, Friends of the Costume Institute Gifts, 2013 (2013.564a, b)

Alexander McQueen for Givenchy haute couture, Fall/Winter 1997-98 (Eclect Dissect). Image: the Costume Institute.

McCall’s

In spring, 2014, McCall’s released patterns for the most popular women’s Game of Thrones costumes, Daenerys Targaryen and Cersei Lannister. Both M6940 and M6941 are available as printable downloads. (I made M6940 for my Lyanna Stark costume; preview here.)

Game of Thrones / Cersei costume pattern McCall's 6940 (2014)

McCall’s 6940 (2014) Cersei Lannister costume.

Game of Thrones / Daenerys costume pattern McCall's 6941 (2014)

McCall’s 6941 (2014) Daenerys Targaryen costume.

Last month, the company launched a new Cosplay by McCall’s line with three patterns including a unisex Westerosi cloak, M2016, “for those for whom winter can’t come soon enough” (press release here). Their pattern for the cross-fastened cloak worn by the people of Westeros (including Jon Snow, Eddard Stark, and the Stark children at Winterfell) includes an optional fur capelet. There’s also a hooded version similar to Sansa Stark’s hooded cloak:

Cloak X: Jon Snow / Night's Watch / Sansa Stark cosplay pattern, Cosplay by McCall's 2016

Cosplay by McCall’s 2016 (2016) Cloak X

Hooded view of McCall's 2016 - Sansa Stark cloak

Hooded view of McCall’s 2016 (2016) Image: Cosplay by McCall’s.

Simplicity

Simplicity’s Game of Thrones costume patterns emerge in full plumage, but quickly change colours to evade capture.

Simplicity Game of Thrones costume patterns, before and after - S1347 / S1010 and S1246 / S1008

Simplicity Game of Thrones costume patterns, before and after - S1487 / S1009 and S1137

Andrea Schewe’s Game of Thrones adaptations for Simplicity also started appearing in 2014. Simplicity 1347 combines three Daenerys outfits—wedding dress, Dothraki Khaleesi, and Qarth court dress—with the elf Tauriel from The Hobbit: The Desolation of Smaug (2013). (Now out of print, but see S1010.)

Simplicity 1347 (2014) Daenerys Targaryen / Tauriel costume

Simplicity 1347 (2014) Daenerys Targaryen / Tauriel costume.

Simplicity 1487 includes court dresses for Cersei Lannister and Sansa Stark. (Now out of print, but see S1009.)

Game of Thrones Cersei / Sansa costume pattern S1487

Simplicity 1487 (2014) Cersei Lannister and Sansa Stark costumes. Image via Etsy.

Simplicity 1246 has costumes for Margaery Tyrell and Daenerys, specifically the split dress and cape she wears as leader of the Unsullied. (This version out of print, but see S1008.)

Game of Thrones / Margaery Tyrell and Daenerys costume pattern Simplicity 1246

Simplicity 1246 (2014) Margaery Tyrell and Daenerys Targaryen costumes.

Simplicity 1137 includes two Sansa Stark costumes. Michele Clapton conceived both as showing Sansa’s own handiwork: the dress with flower-embellished neckline from season 1 and ‘Dark Sansa’ from the end of season 4. The necklace refers to Sansa’s needle—“a jewelry idea of [Arya’s sword] Needle.” (See Fashionista’s interview; for more on Game of Thrones’ embroidery see Elizabeth Snead’s article in The Hollywood Reporter and embroiderer Michele Carragher’s website.) Andrea Schewe has posted tips on making the feathered neckpiece. (Still in print with new envelope, S1137.)

Game of Thrones Sansa Stark / Dark Sansa pattern Simplicity 1137

Simplicity 1137 (2015) Sansa Stark costumes.

Sansa Stark dress, bodice flower detail

Sansa Stark costume, Game of Thrones, season 1. Image: Michele Carragher.

Dark Sansa collar detail - goth Sansa / Alayne Stone costume in "The Mountain and the Viper," episode 8 of Game of Thrones S4

Dark Sansa collar detail, Game of Thrones, season 4. Image: Fashionably Geek.

Game of Thrones meets Star Wars in Simplicity 8074, a pattern for season 5’s Sand Snakes Obara and Nymeria with Rey from Star Wars: The Force Awakens (2015) (still S8074):

Game of Thrones + Star Wars / Sand Snakes + Rey costume pattern Simplicity 8074

Simplicity 8074 (2016) Warrior costumes: Sand Snakes and Rey.

Sand Snakes costumes from Game of Thrones S5

Sand Snakes costumes from Game of Thrones, season 5. Image: Making Game of Thrones.

HBO is owned by Time Warner, which has existing pattern licensing for DC Comics. Do you think HBO should license Game of Thrones patterns? I’d be first in line for a King’s Landing halter dress or Varys’ kimono…

Jean Patchett

February 16, 2016 § 4 Comments

Jean Patchett photographed by Erwin Blumenfeld for the cover of Vogue magazine, January 1950.

Vogue, January 1950. Photo: Erwin Blumenfeld. Image via jeanpatchett.com.

Today is the 90th anniversary of Jean Patchett’s birth.

Jean Patchett (1926-2002) moved to New York City from her home in Preston, Maryland to pursue a career in modelling. She signed with Ford Models in the spring of 1948, and soon became one of the new agency’s top models. Patchett appears on some of Vogue’s most iconic covers. She retired in 1963. (See Cathy Horyn’s obituary for The New York Times, “Jean Patchett, 75, a Model Who Helped Define the 50’s.”)

Jean Patchett photographed by Irving Penn for the cover of Vogue magazine, April 1950

Vogue, April 1, 1950. (Dress by Larry Aldrich; Lilly Daché hat.) Photo: Irving Penn. Image via jeanpatchett.com.

(Read more about this cover at the Art Institute of Chicago, or see the UK version here.)

British Vogue, July 1951. Photo: Clifford Coffin. Image via Vogue UK.

(Prints available from the Condé Nast shop.)

According to a short profile in Glamour, in her off hours, Patchett enjoyed making her own clothes (Glamour, Oct. 1948). She can be seen in pattern editorials for Vogue, Simplicity, McCall’s, and Butterick from the late 1940s on.

Soon after her first Vogue cover in September, 1948 (October for British Vogue), Serge Balkin photographed the young Patchett in tone-on-tone grey flannel for the cover of Vogue Pattern Book. The patterns are Vogue 6620 (dress) and Vogue 6629 (coat):

Jean Patchett photographed in Vogue 6620 and 6629 for Vogue Pattern Book (Chanda hat)

Vogue Pattern Book, December-January 1948-49. Photo: Serge Balkin. Image via eBay.

Irving Penn’s famous Vogue editorial, “Flying down to Lima,” showing Patchett on location in Lima, Peru, is in fact a pattern editorial. In this café scene, she chews her pearls wearing Vogue S-4967, a dress and jacket ensemble (click the image for a gallery note, or see Devorah MacDonald’s blog for the full editorial):

"Flying down to Lima"

Jean Patchett in Vogue S-4967; John-Frederics hat. Vogue, February 1949. Photo: Irving Penn. Image via the Art Gallery of New South Wales.

Patchett poses in dress and jacket Vogue S-4008 on this fall 1949 cover of Vogue Pattern Book:

Vogue Pattern Book, August-September 1949. Image via flickr.

Wearing the New Look dress and camisole Vogue S-4088:

Jean Patchett wears Vogue S-4088 dress + cami on the cover of Vogue Pattern Book

Vogue Pattern Book, Summer 1950. Image via eBay.

Richard Avedon’s travel-themed photo was used for both Simplicity’s counter catalogue and the company’s Fall-Winter magazine (where Patchett can be seen holding a copy of André Gide’s Les faux-monnayeurs). The patterns are Simplicity 3327 (topper), Simplicity 3298 (weskit), and Simplicity 3027 (skirt):

Fall-Winter 1950 Simplicity Pattern magazine. Green topper coat, Simplicity 3327. Red vest, Simplicity 3298. Plaid skirt, Simplicity 3027

Simplicity catalogue, ca. autumn 1950. Photo: Richard Avedon. Image via Etsy.

Here she poses in a veiled hat and elegant silk shortcoat; the text contains a typo—the pattern is Vogue 7258:

Jean Patchett in Vogue 7258 (not 7528) in Vogue Pattern Book

Vogue 7258 in Vogue Pattern Book, Early Summer 1951. Image via flickr.

This Holiday issue of Butterick Pattern Book features Patchett in Butterick 5941, a shirtdress with cuffed sleeves:

Jean Patchett wears Butterick 5941 on the cover of Butterick Pattern Book

Butterick Pattern Book, Winter 1951. Image via jeanpatchett.com.

For the fortieth anniversary issue of McCall’s Pattern Book, Patchett posed in McCall’s 9080 alongside illustrations from past decades:

Jean Patchett wears McCall's 9080 on the 40th anniversary issue of McCall's Pattern Book, 1952

McCall’s Pattern Book, Back-to-School and Fall 1952. Image via jeanpatchett.com.

Lillian Bassman photographed Patchett in this striped summer dress from Simplicity:

Jean Patchett photographed in a halter dress for Simplicity Pattern Book

Simplicity Pattern Book, Summer 1953. Photo: Lillian Bassman. Image via myvintagevogue.

Posing for the cover of Burda Moden magazine:

Jean Patchett on the cover of Burda Moden, Oktober 1954

Burda Moden, October 1954. Image via flickr.

This strapless playsuit must be Simplicity 4715, shown in bias tartan with matching parasol:

Simplicity Pattern Book, Summer 1954. Photo: Paul Radkai. Image via myvintagevogue.

Roger Prigent photographed Patchett in Vogue S-4550, made up in Onondaga acetate brocade:

VPM1954-55_Prigent

Vogue S-4550 in Vogue Pattern Book, December-January 1954-55. Photo: Roger Prigent.

Finally, Patchett appears with her own double in this resort-themed McCall’s advertisement featuring McCall’s 3635 (see my earlier post on this campaign here):

Jean Patchett wears McCall's 3635 in a McCall’s Printed Patterns ad

“Make the clothes that make the woman” – advertisement for McCall’s Printed Patterns, 1956.

For more of Jean Patchett’s work, see jeanpatchett.com, myvintagevogue, or skorver on flickr.

McCall Fashions for January 1918

February 11, 2016 § 4 Comments

Illustration of two women skating on the cover of a McCall Pattern Company news leaflet, winter 1918 (McCall 8125, 8130, and 8121)

McCall Fashions, January 1918.

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:

World War 1 McCall 7860 overall suit pattern in McCall Fashions leaflet

McCall 7860 overall suit in McCall Fashions, January 1918.

‘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:

World War 1 dress apron / conservation uniform pattern McCall 7970 in McCall Fashions leaflet

The Conservation Uniform: McCall 7970 dress apron in McCall Fashions, January 1918.

The ‘aviation cap’ from the cover is shown with McCall 7897, a ladies’ military dress with optional cape:

World War 1 patterns: Military dress McCall 7895 and aviation cap McCall 8130 in McCall Fashions leaflet

Military dress McCall 7895 and aviation cap McCall 8130 in McCall Fashions, January 1918.

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