Season of the Witch: Gothic Patterns
April 30, 2016 § 3 Comments
Dracula’s brides (Dorothy Tree, Geraldine Dvorak, and Cornelia Thaw) in Tod Browning’s Dracula (1931) Image: tumblr.
Happy Walpurgisnacht! On the eve of the feast of St. Walpurga, here’s a look at gothic sewing patterns.
Recent fashion exhibits have placed the gothic under increasing scrutiny. In 2008, the Museum at FIT presented Gothic: Dark Glamour. In 2014, the Costume Institute had Death Becomes Her: A Century of Mourning Attire. Now there’s Gothic to Goth: Romantic Era Fashion and Its Legacy, an exhibition at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, accompanied by a catalogue by curator Lynne Z. Bassett and a talk by Valerie Steele. For more on the show, see Susan Hodara, “The (Forever) New Romantics.”
Lynne Zacek Bassett, Gothic to Goth: Romantic Era Fashion & Its Legacy (Wadsworth Atheneum Museum of Art, 2016) Image: the Wadsworth.
1980s
With the advent of goth—or the New Romantics—in the late 1970s, fashion in a gothic mode began to show the influence of both romanticism and contemporary subculture. Nina Ricci’s romanticism turned dark in the early 1980s. I like to picture Vogue 2582 with granny boots and Siouxsie Sioux hair:
Detail, Vogue 2582 by Nina Ricci (1980) Image: PatternVault on Etsy.
Vogue 2562 by Nina Ricci (1980) Image: PatternVault on Etsy.
Vogue 2604, a floor-length strapless gown with attached sleeves, has a more Countess Bathory feel. The ruffle-trimmed version of Vogue 2604 was featured on the cover of Vogue Patterns’ holiday issue:
Vogue 2604 by Nina Ricci (1980) Image: eBay.
Vogue 2604 by Nina Ricci on the cover of Vogue Patterns, November/December 1980. Image: eBay.
These early ’80s editorial photos convey the dark romantic mood:
“Fascination du Noir”: Nina Ricci couture in L’Officiel, September 1980. Photo: Chris Simpson. Image: jalougallery.com.
Nina Ricci Boutique and Balenciaga in L’Officiel, August 1982. Photo: Deborah Turbeville. Image: jalougallery.com.
Later in the decade, the fashionable oversized silhouette and low hemlines could express a moody romanticism. From Esprit, Simplicity 6978 is a loose jacket and long, full skirt. Shown in black, the ensemble is very Lydia from Beetlejuice:
Simplicity 6978 by Esprit (1985) Image: Etsy.
Lydia Deetz (Winona Ryder) in Tim Burton’s Beetlejuice (1988) Image: Goth Cupcake.
1990s
Judging from Vogue’s September issues for 1993, Fall ’93 marked a return to the lusher side of romanticism.
Vogue Paris, American Vogue, and British Vogue covers, September 1993. Photos: Max Vadukul, Steven Meisel, and Mario Testino. Models: Linda Evangelista and Christy Turlington. Images: Shrimpton Couture and The Fashion Spot.
Donna Karan’s Fall collection (presented just days after Eiko Ishioka won the costume design Oscar for Bram Stoker’s Dracula) featured lace accents, choker and cross accessories, and lots of black. Vogue 1293 is a long dress consisting of a body with attached, high-waisted skirt:
Vogue 1293 by Donna Karan (1993)
Similar Donna Karan dresses opened a British Vogue editorial shot by Mario Testino at Bolton Abbey, Derbyshire (headpieces by Slim Barrett):
Nadja Auermann and Cecilia Chancellor wear Donna Karan in “Courtly Gestures,” British Vogue, December 1993. Photo: Mario Testino. Editor: Jayne Pickering. Image: The Fashion Spot.
This cold-shoulder gown must be from the same collection:
Poppy Lloyd wears Donna Karan (Yves Saint Laurent feathers), L’Officiel, December 1993. Photo: Nancy Le Vine. Image: jalougallery.com.
In the later 1990s, Anna Sui showed a fall collection inspired by goth subculture. From Fall 1997, Vogue 2072 combines a historicizing, Vivienne Westwood-style mini-crini with club-kid accessories. The dress was worn by the young Sofia Coppola (previously seen in my Anna Sui series and ’90s goth post):
Vogue 2072 by Anna Sui (1997) Dress, top and gloves.
Anna Sui FW 1997 collection. Models: Karen Elson, Tasha Tilberg. Images: Bolton, Anna Sui and firstVIEW.
Sofia Coppola in Spur, October 1997. Photo: Satoshi Saikusa. Image: Bolton, Anna Sui.
Another element in the romantic/gothic repertoire is tzigane or ‘gypsy’ looks. From Yves Saint Laurent Rive Gauche for Spring 1999, Vogue 2330 is a long, flowing, off-the-shoulder dress. The envelope shows a mourning-appropriate mauve, but it was also shown in sheer black:
Vogue 2330 by Yves Saint Laurent (1999)
Model: Astrid Muñoz. Image: firstVIEW.
Spring 1999 was Yves Saint Laurent’s last collection for Rive Gauche, and Mario Sorrenti’s valedictory advertising campaign for that season references great European paintings. Here the archetypically enigmatic Mona Lisa, dressed in black Rive Gauche, poses with a male model with Asian tattoos:
Yves Saint Laurent Rive Gauche ad campaign, Spring 1999. Photo: Mario Sorrenti. Model: Noot Seear. Image: Oystermag.
Finally, in the late 1990s, Simplicity licensed designs from Begotten, a historically-inspired clothing line designed by Dilek Atasu. The patterns included a cape (S8987) and men’s poet shirt (S8615). Simplicity 8619, an empire gown with optional lower sleeve flounce, channels Mary Shelley:
Simplicity 8619 by Begotten (1999) Image: Etsy.
In the 2000s, gothic sewing patterns shift away from mainstream fashion toward subcultural costume for—as Laura Jacobs puts it—“our own Romantic Revivals: Goth, that pas de deux with death, and Steampunk, a mating of Queen Victoria and Thomas Edison” (Jacobs, Gothic to Goth exhibition review). Hammer Horror fans have “gothic costumes” McCall’s 3372 and McCall’s 3380; cybergoths can make dusters based on the costumes in The Matrix (1999) (Simplicity 5386, etc.); and Arkivestry and its offshoots cover everything from old-school gothic heroine to Loli to Steampunk.
Meanwhile, a gothic trend is predicted for Fall 2016. Are you ready?
Rock the Caftan
February 21, 2015 § 16 Comments
“Arab déshabillé from Grès.” Vogue, September 1963. Photo: Irving Penn.
Caftans, long, loose-fitting tunics with origins in ancient Persia, have been gaining momentum as an alternative to more structured formal dress. With any luck, there will be some caftans among the goddess gowns at tomorrow’s Academy Awards ceremony.
They say Tsarina Alexandra was the first westerner to make a fashion statement in a caftan, when she dressed as a seventeenth-century Tsarina for a costume ball in 1903. Paul Poiret also advanced the caftan cause, but it was not until the 1950s that the garment really began to influence western fashion. Here’s a look at caftan patterns from the 1950s to now.
Tsarina Alexandra Feodorovna as the 17th-century Tsarina Maria Ilyinichna. From the album of the February 1903 fancy dress ball at the Winter Palace. Image via the Hermitage Amsterdam.
Tsarina Alexandra’s Tsarina Maria Ilyinichna masquerade costume. Image via the Hermitage Amsterdam.
1950s
In the mid-1950s, Christian Dior and Cristóbal Balenciaga’s experiments with silhouette were partly inspired by eastern traditional dress. Dior’s Fall 1955 couture collection (Y line) included caftan-inspired ensembles—coats with high, side-front slits that reveal a slim dress underneath:
A Dior caftan design on the cover of Vogue Paris, September 1, 1955. Illustration: Gruau. Image via Librairie Diktats.
Three designs from Christian Dior’s Fall 1955 haute couture collection. L’Officiel, September and October 1955. Photos: Pottier. Images via jalougallery.com.
You can see echoes of the Dior caftan look in contemporary sewing patterns like McCall’s 3525 and 3532, both from late 1955:
McCall’s 3525 (1955) Image via Etsy.
McCall’s 3532, called a “slim caftan-and-dress ensemble,” was featured on the cover of McCall’s news leaflet and in the company’s “Make the Clothes that Make the Woman” advertising campaign. According to the ad, the design is ideal for the season’s “Oriental” fabrics, such as silk twill and raw silk tussah:
McCall’s news, March 1956. Image via eBay.
“Make the clothes that ‘make’ the woman”: McCall’s printed patterns ad, 1956. Model: Sunny Harnett; hat by Adolfo of Emme. Image via eBay.
A Vogue version of the Dior caftan ensemble, Vogue 8759, is available as a reproduction from EvaDress.
1960s
Caftans became popular in the 1960s in tandem with the increasing interest in eastern cultures. The Madame Grès version at the top of this post is cut on the bias, producing geometric seaming detail. The caption reads, “Coup of bias-work by Grès—because this piecing-together of bias angles is sinuous, stark, ravishingly Moroccan.”
This dress from Jean Patou by Michel Goma, Vogue 1699, has what the envelope calls a “caftan neckline.” The model is Beate Schulz:
Vogue 1699 by Patou (1967) Model: Beate Schulz. Image via the Vintage Patterns Wiki.
This circa 1968 Vogue caftan pattern has optional flexible trim:
Vogue 7497 (ca. 1968) Image via Etsy.
Other patterns from the late 1960s and early 1970s also reference eastern dress. From 1967, McCall’s 9026 is labelled as an abba in two lengths. Abba is an alternate spelling of aba, commonly abaya: a traditional Arab garment, long, loose-fitting, sleeveless, and made from a single rectangle of fabric. (Today, caftans often function as abayat.) The model is Veronica Hamel:
McCall’s 9026 (1967) Model: Veronica Hamel. Image via Etsy.
Burnoose patterns were marketed as resort wear. A pompom-trimmed version of McCall’s 2377 was photographed for the cover of McCall’s Summer 1970 catalogue:
McCall’s 2377 (1970) Image via the Vintage Patterns Wiki.
Marola Witt models Simplicity’s burnoose in the July 1967 issue of Simplicity Fashion News (thanks to Mary of PatternGate for the reference). The text promotes the design’s ‘Arabian’ exoticism: “be exotic in a JIFFY: … the burnoose, born in Arabia, brought up to date here”:
“Be exotic in a JIFFY.” Marola Witt models Simplicity 7173 in Simplicity Fashion News, July 1967. Image via Etsy.
1970s
This Halston caftan pattern from McCall’s also includes a top and pants (you can buy yourself a copy from the shop):
McCall’s 3590 by Halston (1973)
This flowing Dior caftan, modelled by Billie Blair, has lots of neckline detail, full-length sleeve openings, and pockets:
Vogue 1346 by Christian Dior (1975) Model: Billie Blair. Image via Etsy.
Vogue 1515 by Nina Ricci is a caftan that’s open in front and attached at the neckline to a handkerchief-hemmed underdress:
Vogue 1515 by Nina Ricci (1976)
1980s
It’s harder to find post-1970s designer caftan patterns. This wide-sleeved, Oscar de la Renta caftan is trimmed with contrast bands. When worn, the side seams swing forward to raise the hemline in front:
Vogue 1027 by Oscar de la Renta (ca. 1983) Model: Alva Chinn.
1990s
From Issey Miyake, Vogue 2315 is a caftan-inspired summer dress:
Vogue 2315 by Issey Miyake (1999) Image via Etsy.
2000s
Caftan patterns started making a comeback (of sorts) in 2009. Simplicity 2584, a caftan-inspired tunic by Cynthia Rowley, is out of print but still in demand:
Simplicity 2584 by Cynthia Rowley (2009) Image via Etsy.
Ralph Rucci’s floor-length caftan, Vogue 1181 (now out of print), has an abaya silhouette and interesting construction details—overarm darts, shaped lower sections, and a hook and eye above the low neckline:
Vogue 1181 by Chado Ralph Rucci (2010)
The design is from Chado Ralph Rucci Resort 2009:
Two caftans from the Chado Ralph Rucci Resort 2009 collection. Model: Alexandra T. Images via style.com.
Matthew Williamson’s short caftan, available as a free pattern from the Guardian, is also a 2009 design:
A caftan look from Matthew Williamson’s Spring 2009 collection. Photo: Jason Hetherington. Image via the Guardian.
And Heather Lou’s printed chiffon caftan is a Fashion Star pattern by Nikki Poulos, McCall’s 6552 (now out of print):
McCall’s 6552 by Nikki Poulos (2012) Image via Etsy.
Would you sew a caftan?
Linda Evangelista
July 1, 2014 § Leave a comment
Vogue Italia, February 1990. Photo: Steven Meisel. Image via Bellazon.
In celebration of Canada Day, this models post is devoted to Canadian supermodel Linda Evangelista.
Born in St. Catharines, Ontario to Italian-Canadian parents, Linda Evangelista (b. 1965) was discovered by a scout from Elite at the 1981 Miss Teen Niagara beauty contest. (She didn’t win.) At eighteen she signed with Elite and moved to New York and later, Paris. Evangelista became one of the world’s most successful and influential models, especially after Julien d’Ys cut her hair short in 1988. (More on Voguepedia.)
Harper’s Bazaar, March 1997. Photo: Patrick Demarchelier. Image via Top Models of the World.
Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.
1980s
The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:
Burda international, Spring/Summer 1985. Image via flickr.
She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):
Linda Evangelista in Burda international, Spring/Summer 1985. Photo: Günter Feuerbacher. Image via Magdorable!
Evangelista’s work with Vogue Patterns was for the Paris Originals line. Here she models a popular, pleated wrap dress by Emanuel Ungaro, Vogue 1799:
Vogue 1799 by Emanuel Ungaro (1986) Image via the Vintage Patterns Wiki.
Evangelista can be seen on a number of Yves Saint Laurent patterns. Vogue 1720 is an elegant dress with blouson bodice and wide, bias roll collar. The pattern includes the contrast sash:
Vogue 1720 by Yves Saint Laurent (1986) Image via Paco Peralta.
Here Evangelista shows off advanced-class colour blocking in Vogue 1721, a Nina Ricci pattern for a dramatic hooded blouse, mock-wrap skirt, sleeveless top, and sash:
Vogue 1721 by Nina Ricci (1986) Image via Etsy.
This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:
Linda Evangelista wears Vogue 1721 by Nina Ricci, Vogue Patterns, Autumn 1986. Image via Magdorable!
Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:
Vogue Patterns, July/August 1987. Image via tumblr.
1990s
In the mid-1990s, Evangelista’s runway work for Yves Saint Laurent reached home sewers on Vogue pattern envelopes. From the YSL Rive Gauche Spring 1996 collection, Vogue 1862 is a pattern for cropped jacket, blouse, and high-waisted pants (see a detail shot on firstVIEW):
Vogue 1862 by Yves Saint Laurent (1996). Image via Etsy.
Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:
Vogue 1652 by Yves Saint Laurent (1995) Image via Paco Peralta.
Happy Canada Day, everyone!
Billie Blair
February 27, 2014 § 4 Comments
Billie Blair on the cover of Interview magazine, August 1974. Image: Lipstick Alley.
Born in Flint, Michigan, Billie Blair (b. 1946) worked as a model at the Detroit Auto Show before becoming one of the highest-paid fashion models of the 1970s. Moving to New York City, she got a job at Halston and soon found success as an editorial and runway model. Blair was among the African-American models at the historic 1973 fundraising event, Le Grand Divertissement à Versailles, known today as the Battle of Versailles. (The event was the subject of a recent documentary by Deborah Riley Draper, Versailles ’73: American Runway Revolution [2012)].)
Billie Blair in Donna Karan for Anne Klein, Virginia Slims advertisement, 1975. Image: Stanford University.
Billie Blair can be seen on a number of Vogue designer patterns from the mid-1970s. Here she wears a tweed skirt suit and pussy-bow blouse by Oscar de la Renta; this design was marked as ‘suitable for knits’:
Vogue 1163 by Oscar de la Renta (1975) Image: PatternVault on Etsy.
Stan Herman designed this casual hooded top, skirt, and pants. The illustration shows some American Hustle-worthy aviator shades:
Vogue 1169 by Stan Herman (1975) Image: Vintage Pattern Wiki.
Here Blair wears a girlish, vintage-style ensemble by Nina Ricci, a cream-coloured dress with matching cape:
Vogue 1175 by Nina Ricci (1975) Image: Vintage Pattern Wiki.
From Jean Patou, this maxi dress may date to the period when the young Jean Paul Gaultier was assistant designer. Blair brings out the glamour of this haute couture loungewear:
Vogue 1344 by Jean Patou (1975) Image: PatternVault on Etsy.
In Vogue Patterns‘ 1975 holiday issue, Jerry Hall wears the Patou dress while Blair models an off-the-shoulder party dress in an editorial devoted to evening sparkle (the headline reads, “Be a Star the Vogue Way”):
Vogue Patterns, November/December 1975. Image: eBay.
Here she models a fabulous, evening-length Dior caftan with piped neckline:
Vogue 1346 by Christian Dior (1975) Image: Etsy.
This Nina Ricci separates pattern includes a poncho with shirttail hem, convertible collar, and big patch pockets:
Vogue 1376 by Nina Ricci (1976) Image: Betsy Vintage.
Blair is the model on this rare pattern by Sonia Rykiel, Vogue 1378—check out the matching coral sandals:
Vogue 1378 by Sonia Rykiel (1976) Image: Etsy.
Billie Blair’s commanding presence and approach to modelling as performance don’t seem too unusual today. But she was unconventional for the time, and even felt the need to under-report her age when she first became famous. A 1974 profile of Blair in People magazine says she is 22 years old and remarks on her size 9 feet. (In a letter to the editor, a high school classmate wondered how Blair had stayed 22 when her peers were 28.) She continued modelling into her thirties—here she appears in a dynamic 1978 Vogue shoot by Andrea Blanch:
Billie Blair, Renée King, Toukie Smith, Iman, Alva Chinn, and Dana Dixon in Vogue, December 1978. Photo: Andrea Blanch.
Zig-Zag Glamour
October 11, 2012 § 1 Comment
Speaking of aspirational marketing, I wanted to share this early ’60s, Mad Men-era ad for Singer’s Slant-O-Matic sewing machines and Singer Sewing Centers:
What is zig-zag sewing? Singer Sewing Centers advertisement, 1961.
The ad shows a model (Dovima?) in full evening dress, complete with long gloves and glittering parure; she leans on a monumental Singer Slant-O-Matic sewing machine, a length of her gown’s green fabric rippling underneath.
According to the ad copy, zig-zag sewing is an exciting, time-saving innovation that helps you sew drapes, mend Johnny’s shirts, and choose complicated designer sewing patterns without a second thought. The eveningwear design is a Vogue Paris Original by Nina Ricci, Vogue 1499.
I love how the ad plays with scale while juxtaposing mid-century high glamour with the latest sewing technology. The other ads I’ve seen from this series promote formal sewing for the winter holidays, but this one is from the June/July Vogue Pattern Book.
Vogue 1499 by Nina Ricci. Detail, Singer Sewing Centers ad, 1961.
Caped Crusaders: Vintage Cape Patterns
September 25, 2012 § 8 Comments
Originator 299 (c. 1952) Image via the Vintage Patterns Wiki.
The cape trend of the last two years shows no sign of abating. (Read a Fashionising post about the trend here.) In terms of sewing patterns, Donna Karan’s V2924 was ahead of the trend (see Erica B’s version here) and this fall we have V1322 by DKNY. Paco Peralta has several cape designs available including the sculptural Funghi. In vintage reissues, Butterick has re-released some vintage cape patterns in their Retro line: B6329 (from 1935) and B6411 (a reissue of Butterick 4570 from 1948).
I often find myself reaching for the vintage version of a current trend, and I’ll have a cape project to share with you soon. While looking for the right pattern, I was struck by the variety of cape designs over the decades. Here’s a selection of vintage cape patterns from the Twenties to the Eighties.
1920s
Two 1920s patterns in my collection have capes with interesting details. This mid-Twenties pattern for a dress by Renée also includes a cape with button/strap closure:
McCall 4134 by Renée (1925)
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
McCall 4459 by Miler Soeurs (1926)
1930s
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
McCall Style News, February 1936. Image via Etsy.
Sewing bloggers’ 1930s capes show how contemporary these vintage outerwear styles can look today. Debi’s mid-Thirties cape pattern has a similar look to the ensemble illustrated above, but with a false front creating the illusion of a matching jacket. Click the image to see her finished version:
McCall 8501 (1935) Image via My happy sewing place.
Puu’s late ’30s cape has a high-collared yoke, arm slits, and rounded, gathered shoulders (click the image for her construction post and see the finished version here):
Simplicity 2522 (c. 1938) Image via puu’s door of time.
1940s
The fashion for capes continued into the Forties. The decade’s strong-shouldered silhouette is visible in these two cape patterns from my collection. The first, from the early ’40s, has a pronounced, boxy shape and optional broad stand-up collar:
McCall 4134 (1941)
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
McCall 7179 (1948)
1950s
In the Fifties, capes showed a de-emphasis on the shoulders and a fullness that carries over to the early ’60s. Vogue 1089 by Robert Piguet is actually from 1949; I thought it might really be a capelet, but the envelope description calls it a “flared cape with diagonal double-breasted closing below soft shaped collar”:
Vogue 1089 by Robert Piguet (1949) Image via the Vintage Patterns Wiki.
Here’s an illustration of the Piguet ensemble by Bernard Blossac:
Bernard Blossac illustration of a cape and dress by Robert Piguet, 1949. Image via Hprints.
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
Vogue 1358 by Jacques Fath (1956) Image via the Vintage Patterns Wiki.
1960s
The Sixties were another good decade for capes. On this Vogue Pattern Book cover, Wilhelmina Cooper exemplifies the “thoroughbred look” of Fall 1963 in a tailored yellow cape:
Vogue Pattern Book, October/November 1963. Model: Wilhelmina Cooper. Image via flickr.
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Vogue 1217 by Nina Ricci (1963) Image via Etsy.
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
Vogue 1722 by Pierre Cardin (1967) Image via the Vintage Patterns Wiki.
This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
Vogue 2231 by Pucci (1969) Image via Etsy.
1970s
As the Seventies progressed, capes generally kept their collars, but gained a new fluidity. This mid-Seventies Halston “poncho-cape” has a collar and button front, but is reversible:
McCall’s 3966 by Halston (1974) Image via the Vintage Patterns Wiki.
This late ’70s Chloé design by Karl Lagerfeld, featuring Jerry Hall, includes a three-quarter length, circular cape with pointed bias collar. The cape gets its strong shoulders from an inside button and tab at each shoulder:
Vogue 2020 by Chloé (1978) Image via PatternVault on Etsy.
1980s
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Vogue 2790 by Yves Saint Laurent (c. 1982) Model: Terri May.
Vogue 2163 by Yves Saint Laurent (1988) Image via Etsy.
Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?
Mad Men Era 4: Old House, New Designer
April 4, 2012 § 6 Comments
Betty Draper (January Jones) in “The Color Blue” (Mad Men, Season 3)
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.
Lanvin
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:
Vogue 1312 by Lanvin (1964) Evening dress and coat. Image via the Vintage Patterns Wiki.
(The photo credit says “The Crillon, Paris”—that is, the opulent Hôtel de Crillon.)
Patou
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:
Vogue 1377 by Patou (1964) Dress. Image via the Vintage Patterns Wiki.
Nina Ricci
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:
Vogue 1440 by Nina Ricci (c. 1965) Evening dress and jacket. Image via the Vintage Patterns Wiki.
Dior
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:
Vogue 1398 by Christian Dior (1964) Evening dress and coat. Image via the Vintage Patterns Wiki.
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?
Next: The Europeans: Rodriguez, Simonetta, Fabiani, and Pucci.
