February 15, 2017 § Leave a comment
Marisa Berenson (b. 1947) turns 70 today. Though best known for her work as a film actor in movies like Visconti’s Death in Venice (1971), Cabaret (1972), and Barry Lyndon (1975), Berenson grew up wanting to be a fashion model. Her career was launched when she met Diana Vreeland at a society ball, and she became one of the most successful models of the ’60s and ’70s. For more, see the visual biography Marisa Berenson: A Life in Pictures (Rizzoli, 2011).
As far as I know, Berenson appears on only one pattern envelope: Vogue 2369 by Oscar de la Renta. Taken in a New York interior, the photo was also published in a 1970 Vogue Pattern Book feature on the designer:
Berenson can also be seen in Vreeland-era pattern editorials in Vogue magazine, like this shoot by Guy Bourdin (see my earlier post):
The issue of Vogue Pattern Book with the Berenson cover (shown above) includes more of her editorial work. In “New Evening Splendour,” she wears the cover look, caftan Vogue 7827, as well as Vogue 7834 and Vogue 7836:
Berenson also models some jumpsuits in a summer portfolio—Vogue 7697 in a groovy print:
High-waisted jumpsuit Vogue 7818:
And short jumpsuit and wrap skirt Vogue 7812:
Happy birthday, Ms. Berenson!
June 3, 2016 § 5 Comments
Carmen Dell’Orefice turns eighty-five today.
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.
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):
Here, Dell’Orefice poses in an all-red ensemble for the cover of Simplicity magazine, Fall 1958:
Here she wears gown Vogue 9827 on the cover of Vogue Pattern Book’s holiday issue:
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:
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:
Happy birthday, Ms. Dell’Orefice!
February 16, 2016 § 4 Comments
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.”)
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):
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):
Patchett poses in dress and jacket Vogue S-4008 on this fall 1949 cover of Vogue Pattern Book:
Wearing the New Look dress and camisole Vogue S-4088:
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):
Here she poses in a veiled hat and elegant silk shortcoat; the text contains a typo—the pattern is Vogue 7258:
This Holiday issue of Butterick Pattern Book features Patchett in Butterick 5941, a shirtdress with cuffed sleeves:
For the fortieth anniversary issue of McCall’s Pattern Book, Patchett posed in McCall’s 9080 alongside illustrations from past decades:
Lillian Bassman photographed Patchett in this striped summer dress from Simplicity:
Posing for the cover of Burda Moden magazine:
This strapless playsuit must be Simplicity 4715, shown in bias tartan with matching parasol:
Roger Prigent photographed Patchett in Vogue S-4550, made up in Onondaga acetate brocade:
December 23, 2015 § 3 Comments
Evelyn Tripp (1927-1995) was one of the most prolific models of the 1950s. Born on a farm in Missouri, she was discovered at 20 while shopping on Fifth Avenue. You may recognize her from William Klein’s photograph, Smoke + Veil. She retired in 1968. (Read her New York Times obituary here.)
Evelyn Tripp did modelling work for Simplicity, Woman’s Day, Butterick, and Vogue Patterns in the 1950s and early 1960s.
The Fall-Winter 1950 Simplicity catalogue includes a few photographs of the young Tripp. Here she wears tent coat Simplicity 8217:
Tripp also modelled an early Pauline Trigère design for Woman’s Day magazine. The portfolio was photographed by Leombruno-Bodi (full size here):
Among Tripp’s many covers are several for Vogue Pattern Book. Here she wears suit pattern Vogue S-4625:
On this spring cover she poses in dress-and-coat ensemble Vogue S-4659 (with matching hat):
Inside, she poses in two-piece playsuit Simplicity 1608:
Tripp also appeared in a 1956 Vogue Patterns advertisement promoting the new printed and perforated patterns. The evening dress pattern is Vogue S-4735:
Here she wears Vogue 9607, made up in red, on the cover of the holiday 1958 issue of Vogue Pattern Book:
Tripp may also be seen in early 1960s Vogue Pattern Book editorials. Here she wears Vogue 4267, a one-shouldered dress in wool jersey:
July 25, 2015 § 1 Comment
Iman (b. 1955) turns sixty today. Born Iman Mohamed Abdulmajid in Mogadishu, Somalia, she and her family fled to Kenya after the 1969 military coup, where she was discovered while a student in Nairobi by photographer Peter Beard. She soon became the first African supermodel, later founding Iman Cosmetics. (For more on Iman’s early career, watch Vogue Italia’s video interview, or read a 2014 Guardian profile here.)
Iman can be seen on a handful of Vogue Patterns, circa 1980, as well as pattern editorials in Vogue Patterns and Vogue magazine.
From Jean Muir, Vogue 2399 is a long-sleeved, blouson dress with matching scarf:
Vogue 2400 is an Emanuel Ungaro skirt suit with striped, quilted jacket and tucked blouse:
From Yves Saint Laurent, Vogue 2404 is a skirt suit with contrast standing collar and turn-back cuffs:
(Reposted from the Fashion Spot Iman thread.)
On the left, Iman wears Vogue 7234 (the envelope shows Gia Carangi; with Bjornson in Vogue 7392); on the right, her wrap-front blouse is Very Easy Vogue 7373 (with Bjornson in Vogue 7435 – click to enlarge):
Just for fun, here’s another early Iman cover from the same period as her commercial pattern work (photographer unknown; later used by German Cosmo):
Happy birthday, Iman!
With thanks to vegas4001 for the Vogue Italia photographer credit.
November 2, 2014 § 2 Comments
“Hush,” one of the strongest and spookiest episodes of Buffy the Vampire Slayer, stars a model-turned-actor who appeared on Vogue patterns in the mid-1990s. Giles’ girlfriend Olivia is played by Phina Oruche (b. 1972). Born in Toxteth, Liverpool to Nigerian parents, Oruche was a successful model in London and New York before she won her first role in Sydney Pollack’s remake of Sabrina (1995).
Here Oruche models Vogue 1328, Issey Miyake’s jacket, top, and hammer pants:
Vogue 1344 is an ensemble consisting of a top, high-waisted pants, and jacket with custom closures from Anne Klein II:
Here Oruche shows off the lace-up back of Vogue 1353, a summer dress by Betty Jackson:
Ornate trim highlights the seam detail on Vogue 1354, a top and skirt by Geoffrey Beene:
Just for fun, here’s a recent portrait of Oruche by Paul Jones:
The Gentlemen are coming…
September 1, 2014 § 2 Comments
In honour of Labour Day, this models post is devoted to iconic model and political activist Benedetta Barzini.
Benedetta Barzini (b. 1943) grew up in Porto Santo Stefano and New York City. She worked as a model in New York for four years after being discovered by Diana Vreeland. Here she appears on the cover of Vogue Italia’s inaugural issue:
Although Barzini returned to Italy to act, in the early 1970s she left acting and modelling to pursue Marxist-feminist teaching and political activism. She returned to modelling in the late 1980s. As of 2013 Barzini was a Professor of Fashion and Anthropology at the Polytechnic Institute of Milan. (Recent interview here.)
I have seen only one Vogue pattern with Barzini on the envelope. In 1967, Len Steckler photographed her in Vogue 1775 by Chuck Howard, a pattern from the new Vogue Americana line:
Barzini was also featured on the cover of the Vogue Patterns catalogue for August 1967:
Happy Labour Day, everyone!