August 28, 2017 § 3 Comments
The early ’90s are back—and so are sarouel, or harem pants. Here’s a look at vintage patterns for this distinctive trouser style.
Like caftans, sarouel originated in ancient Persia. Persian sirwāl became Turkish şalvar, entering the Western fashion vocabulary via Ottoman culture and the early modern vogue for turquerie.
Şalvar were introduced to Western women’s clothing in the 19th century as part of the Rational Dress movement: Amelia Bloomer conceived her eponymous trousers as “Turkish pants.” (On cycling bloomers see Jonathan Walford, The 1890s Bicycle Bloomer Brouhaha.) Couturier Paul Poiret is usually credited with making “harem” pants fashionable in the period before World War 1.
In the mid-’60s, harem pants enjoyed renewed popularity as glam loungewear. (I Dream of Jeannie started airing in September, 1965.) This Vogue pyjama with matching, dolman-sleeved overblouse has a cuffed trouser option:
Pucci’s interest in harem pants predates the jewelled version at the top of this post: a short, blue harem ensemble was part of his 1965 Braniff flight attendant uniform. These high-waisted palazzo pyjamas also have a cuffed, harem option, as worn by Editha Dussler:
Anne de Zogheb modelled these Pucci harem pyjamas, which feature an intriguing self-lined skirt with side openings:
Bouffant knickers are a variation on the harem pant. This gold brocade, coat-and-knickers ensemble from Yves Saint Laurent’s Winter 1970 haute couture collection evokes the hippie trail. The model is Viviane Fauny:
From 1976, this Kenzo pattern includes a cuffed harem pant option. (A copy is available in the shop.)
Hot pink harem pants catch the eye on this Very Easy Vogue pattern, which also includes palazzo pants and a maxi skirt:
This gold satin pair, from Krizia, has no side seams:
In the early ’80s, the dropped-crotch, Zouave style of harem pant came to the fore. This Simplicity pattern includes Zouave pants in two lengths:
The trousers in this Versace ensemble evoke the harem silhouette, with draped volume tapering to a fitted ankle (see my Versace post for more photos):
Very Easy Very Vogue got on the dropped crotch bandwagon with three styles of Zouave pants—view C with side drape:
By the early ’90s, hip-hop musician MC Hammer had made so great an impact on popular culture that his characteristic trousers were known as “hammer pants.” Simplicity’s official MC Hammer unisex pants pattern came with not one but two iron-on transfers. (See envelope back here. There was even a doll clothes pattern for the MC Hammer action figure.) Drop-crotch pants could also be found as Butterick Classics and a unisex costume pattern.
Issey Miyake designed these lowest of the low dropped-crotch pants, as worn by Phina Oruche:
Recent patterns heralding the return of the sarouel include McCall’s 5858, Kwik Sew 3701, and the unisex Burda 7546. If the trend continues, perhaps we’ll see a pattern for Rachel Comey’s Pollock trouser…
May 4, 2017 § Leave a comment
Pucci has been in the news this week with the announcement that Josephus Thimister will consult on the next collection, following the departure in April of head designer Massimo Giorgetti. (See WWD.) The house of Pucci is also celebrating its 70th anniversary this year.
Before becoming a Vogue Couturier in the 1960s, Emilio Pucci designed exclusive patterns for McCall’s. Howell Conant photographed Pucci’s earliest pattern designs, including the harlequin dress above, for McCall’s Pattern Book. For more on Pucci see my Mad Men-era series post, The Europeans.
Happy 70th anniversary, Pucci!
August 9, 2016 § 6 Comments
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.
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:
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:
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:
From Bill Blass, Vogue 1455 includes a two-piece swimsuit with bra top and bikini briefs:
John Kloss licensed a number of swimwear designs with Butterick. This ad promotes his patterns with a poolside photo of Butterick 4808:
Another Butterick designer, Gil Aimbez, designed this one-piece bathing suit. Contrast bias binding outlines the cut-away sides and bodice seaming detail:
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:
Both Penfold patterns can be seen in a Vogue Patterns editorial photographed in Antigua:
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:
The magazine recommended making the Catalina suits in Thompson of California’s “second skin Tic Toc warp knit polyester crepes” in various prints:
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):
Jerry Hall (right) seems to be wearing the view A style in this Basile ad photographed by Irving Penn:
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):
Finally, this early ’90s DKNY pattern, Vogue 2897, is labelled ‘dress and bodysuit,’ but was photographed as beachwear:
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…
July 25, 2014 § 10 Comments
Versatile and contemporary, jumpsuits and their cousins, playsuits and rompers, have become increasingly popular in the last few years. Jumpsuits—or all-in-ones, if you’re British—seem poised to move beyond a trend this summer.
The modern women’s jumpsuit has origins in two different garments: beach pajamas and the boiler suit. These twin origins mean jumpsuit styles range from fluid loungewear to utility-inspired or tailored designs. (See Vogue Italia for a short history of the jumpsuit.) Here are some favourite all-in-one patterns from the 1930s to the 1990s.
Beach pajamas, often worn with a matching bolero, had become one-piece by the early 1930s. This McCall’s design combines flowing trousers with geometric seaming details in the bodice and hip yoke. A reproduction is available from the Model A Ford Club of America:
The boiler suits of wartime utility wear are said to have made bifurcated clothing more acceptable for women. This Vogue pattern from ca. 1940 includes both a hooded mechanic suit with cuffed trousers and a more casual, short-sleeved version shown in a dotted print:
This early 1940s pajama ensemble with T-back halter bodice was not just for the beach—the envelope says it’s for “beach, dinner or evening”:
In the postwar period, more tailored jumpsuits emerged as a choice for casual sportswear. This early 1950s pedal-pusher coverall has cuffed sleeves and pants and a front zipper closure:
From the late 1950s, this trim, one-piece slack suit from Vogue came in two lengths and with a matching overskirt:
The jumpsuit—sometimes called a culotte or pantdress—truly comes into its own in the later 1960s. Here Birgitta af Klercker models Vogue 2249, a loungewear design by Emilio Pucci (previously featured in my goddess gown post):
In this late 1960s Butterick Young Designers pattern, Mary Quant combines a trim, zip-front jumpsuit with a low-waisted miniskirt for a sleek, futuristic look:
Both pajama and menswear-inspired styles continue into the 1970s. Famous for her palazzo pajamas, Galitzine designed this bi-coloured lounge pantdress with criss-cross halter bodice:
From Calvin Klein, Vogue 1453 marks a return to the boiler suit style. With cargo pockets, self belt, and wide, notched collar, the jumpsuit could be made long or short, with long or short sleeves:
This Bob Mackie disco jumpsuit or evening dress pattern for stretch knits dates to 1980. (See my earlier Bob Mackie post here.) The jumpsuit has a plunging neckline, waistline pleats, and tapered, bias pants designed to crush at the ankles:
An instance of the late 1980s jumpsuit trend, this shirtdress-style jumpsuit by Donna Karan has a notched collar, welt pockets, and cuffed or seven-eighths length kimono sleeves:
Also by Donna Karan, Vogue 2609, ca. 1990, is a long-sleeved, tapered jumpsuit for stretch knits with neckline variations, front pleats, and stirrups. View C has a contrast bodice with self-lined hood:
From 1996, Vogue 1821 by DKNY is almost vintage. It’s a novel suit consisting of a single-breasted jacket and wide-legged, halter jumpsuit:
Finally, this pattern is not yet vintage, but a jumpsuit collection would be incomplete without Vogue 2343, Alexander McQueen’s tailored, tuxedo jumpsuit for Givenchy haute couture Spring/Summer 1998 (earlier post here):
With their demanding fit, jumpsuits are ideal for home sewers. And they’re not just for the tall and leggy: many of the later jumpsuit patterns are marked as suitable for petites.
February 20, 2013 § 16 Comments
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.)
September 25, 2012 § 8 Comments
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.
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:
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
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:
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:
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
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”:
Here’s an illustration of the Piguet ensemble by Bernard Blossac:
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
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:
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
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:
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:
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?
May 2, 2012 § 6 Comments
This week, four established European designers who were based in Spain and Italy: Rodriguez, Simonetta, Fabiani, and Pucci.
Born in Valencia, Pedro Rodríguez opened his first salon in Barcelona in 1918. During the Spanish Civil War he relocated to Paris, but returned to Spain when the war ended. Although little-known outside his country, he was Franco Spain’s most celebrated designer. Rodríguez’s drawings are the focus of an exhibition running until June 17th at Madrid’s Museo del Traje, “Pedro Rodríguez: Alta Costura sobre papel. Figurines de Pedro Rodríguez, 1940-1976.”
Vogue 1338 is a slim evening dress with a uniquely shaped bodice, high-waisted in front and dipping low in the back:
A member of the Italian aristocracy, Simonetta Colonna di Cesarò was born a duchesa and made her first marriage to a Visconti. She presented her first collection in 1946, in newly liberated Rome. During the early 1960s she and her second husband, Alberto Fabiani, combined their talents to form a Paris label, Simonetta et Fabiani. Simonetta was known for youthful, dramatic designs with an emphasis on form and cut.
Vogue 1231 is a glamorous yet simple design for a formal dress with attached circular cape. The asymmetrical fall of the cape gives it a neoclassical, military air:
Alberto Fabiani was born into a family of couturiers. He trained for a few years with an Italian tailor in Paris before returning to Italy, where he soon became head of the family couture house. As mentioned above, he formed a joint label with his second wife, Simonetta, before returning to his solo label. Fabiani was known for conservative, tailored designs with impeccable cut.
Vogue 1450 is a short evening dress with waistcoat detail and deep, slashed neckline revealing an underbodice. A narrow, self-corded belt ties in a bow at the raised front waistline, above a skirt shaped by soft pleats:
The designer we know as Pucci was born Marchese Emilio Pucci di Barsento, to the aristocratic Florentine family based at the Palazzo Pucci. He obtained a doctorate from the University of Florence and also served as a pilot in the Italian Air Force before opening his first boutique in Capri in 1949. Pucci was famous for his youthful sports and resort wear in distinctive, colourful prints and new fabrics like lightweight silk jersey.
Vogue 1351 is a chic casual ensemble consisting of a boxy jacket, simple blouse, and tapered pants with optional stirrups. The model was photographed in Florence rather than Rome:
I always find it interesting how the Vogue Couturier line drew attention to the designer’s nationality or the European city where they were based—Pucci of Italy, Rodríguez of Madrid—drawing attention to the not-Paris of emerging fashion centres in London and on the Continent. Although Rodríguez was somewhat isolated in Franco Spain, the Italian couturiers were designing for the international jet set.