January 25, 2018 § Leave a comment
Have you seen the new designer patterns for Spring 2018?
Badgley Mischka are celebrating their fifth wedding anniversary this March, so it’s a treat to see their work on the cover of Vogue’s Spring lookbook. (Click their portrait for my 2013 Just Married post.)
The Spring collection also marks the return of Tracy Reese. (The Detroit native was last seen in Vogue Patterns in 2016.) The new Reese design is a dress with contrast yoke and sleeves—great for those matching sheer/opaque print combos:
Sew Today’s latest issue tipped us off to Reese’s comeback:
The dark floral was a signature print in her Fall 2016 collection, where it could be seen on dresses, sheer blouses, and a long, cuffed skirt:
Reese was inspired by Detroit for this collection, and she opened her presentation with a short film starring local model Catherine Nako:
The film stills are by Detroit-based cinematographer Ray Rushing.
Bonus: I published my Winter/Holiday post before the McCall’s Winter release, which included two Nicole Miller patterns. This asymmetrical top and flared trousers look to be from the Spring 2017 collection:
Miller’s Gladiator gown uses contrast binding to punctuate the classic goddess dress. (Still available in white from the designer’s retail site.)
The original was silk chiffon.
See you in the arena!
January 21, 2018 § 1 Comment
The new Design Download from SHOWstudio is an Alyx shirtdress. Alyx was founded in 2015 by Matthew M. Williams, a well-connected American designer now based in Ferrara, Italy. (For more, see Emilia Petrarca, “Kanye West and LVMH-Approved: Meet Designer Matthew Williams” and Matthew Schneier, “Matthew Williams, Renaissance Man.”)
For the Alyx Fall 2017 collection, Williams was inspired by Berlin fetish clubs. The pleat dress was shown in two versions—black leopard print:
And silver lamé:
Watch a video of Williams discussing a piece from the Alyx Spring ’18 menswear collection:
This year’s competition prize is an Alyx catalogue shot by Nick Knight. (Season unspecified.)
As before, the pattern download comes in a choice of A4 or A1 sheets, each with a test line to check the scale.
Download the dress pattern (22 pieces)
Notes: The original was silk. Skirt has bagged lining. Calls for fusible interfacing for the collar, cuffs, etc.
Notions: 3 small buttons, 7 smaller buttons + additional for concealed skirt closure; contrasting thread for edge stitching, bar tacks, piping, and belt loops.
Stay tuned for the submissions gallery: the contest closes March 1st, 2018.
October 19, 2017 § 6 Comments
From Guy Laroche to Paco Peralta, Vogue’s designer patterns for Winter/Holiday 2017 offer a range of festive looks for the coming season.
The new Guy Laroche is a skinny jean and party top, recommended for lamé:
The ensemble is the first pattern to be drawn from Adam Andrascik’s debut collection for Laroche.
Gleaming tartan jacquard is the star of this ensemble from Anne Klein, now designed by Sharon Lombardo:
Guinevere Van Seenus wore a similar look for the Fall 2016 campaign, photographed by Annemarieke van Drimmelen:
Like fall’s V1561 jacket, the two Zandra Rhodes offerings are from the Fall 2016 collection, which was sponsored by Kraftangan Malaysia. (Kraftangan is Malay for ‘handicraft.’) As always with Rhodes’ work, the focus is on textiles, here on a double-sided fabric such as metallic jacquard:
Vogue chose three of Rhodes’ Songket pieces—a dress, peplum top, and trousers—for the Winter/Holiday collection. Songket is a traditional metallic brocade produced in Southeast Asia.
Paco Peralta’s latest design for Vogue is a dolman-sleeved knit top and handkerchief skirt. Festive and versatile, the skirt even has pockets:
I have some Lurex in my stash, don’t you?
If you’re fresh out of shiny fabric, you might be interested in Gorgeous Fabrics’ farewell sale. Last weekend, owner Ann Steeves announced that she is closing shop after 11 years in business.
August 10, 2017 § Leave a comment
Betsey Johnson turns 75 today. Four decades on, the designer’s 1970s Butterick patterns are still very popular. Here’s a look at Johnson’s early work, with an emphasis on more seldom seen archival images.
Betsey Johnson (b. 1942) has made a career of creating irreverent, youth-oriented clothes that stand a bit outside the mainstream. She learned sewing and pattern drafting while running a dance school as a teen, but got her official start in the business designing for Youthquake boutique Paraphernalia. By 1970 she was the designer for Alley Cat, a junior sportswear label. (For more see Vogue.com and Anne-Marie Schiro, “Betsey Johnson: Honor for a Life of Celebrating Youth.”)
In 1971, Johnson won a Coty Award for her work at Alley Cat (see the New York Times notice). The following year, Butterick launched its Betsey Johnson patterns in the Spring 1972 catalogue. The designs were also cross-promoted (along with Cyrus Clark cotton chintz) with a Barbara Bordnick editorial in Seventeen magazine.
The earliest of Johnson’s Butterick Young Designer patterns refer to her as Betsey Johnson of Alley Cat, and most seem to predate the founding of her company in 1978. Here’s Butterick 6979 on the cover of the March 1973 issue of Butterick’s news leaflet:
The young Patti Hansen in Alley Cat:
One of the first items I sold on Etsy was this 1975 issue of Butterick Fashion News with a Betsey Johnson cover. (Click to see inside.) The same embroidered pinafore was featured on the home catalogue cover:
The pinafore also appears in this cute advertisement with Butterick 4088:
The Spring 1976 catalogue used illustrated photographs to present this DIY series, which also included a hat and shoes (1st page, Butterick 4680; 3rd page Butterick 4681, with Joyce Walker on the right):
Another 1976 Butterick ad shows a Betsey Johnson jumper (Butterick 4956) with deep ribbon trim—perfect for a late-summer Cape Cod getaway:
Happy birthday, Betsey Johnson!
With thanks to Heidi at Gold Country Girls.
August 7, 2017 § 4 Comments
Have you seen the new Fall patterns? I post the designer photos to the @PatternVault Twitter. From now on, they’ll also have a more permanent home here on the blog.
(Speaking of Twitter, I’ve started posting non-fashion tweets to a new, personal account: @DrSarahSheehan.)
Simplicity’s latest Cynthia Rowley pattern came out after the Summer 2017 release and branded for the company’s 90th anniversary celebrations. The pintuck ruffle dress was seen in short and maxi lengths in Rowley’s Resort 2016 collection.
The setting for William Eadon’s photos might look familiar from The Royal Tenenbaums: the grand staircase of Brooklyn’s Grand Prospect Hall was the location where Margot went out for ice cream.
Vogue’s new Guy Laroche pattern is an off-the-shoulder dress from the Spring 2016 collection, Adam Andrascik’s second for the house.
For a biker look—an Andrascik trademark—try it in leather with chain accents:
Or cut off below the waistband to make a jacket:
Rachel Comey fans are spoiled for choice with three new Rachel Comey patterns. Vogue’s Fall lookbook cover shows Comey’s Karloff coat in Pre-Fall 2016’s floral brocade. One of the coat’s earliest incarnations was in buffalo plaid with camel contrast:
Two of the Comey patterns are from the Fall 2016 collection—which will be familiar to those of you who follow Anne at Pretty Grievances.
V1556 is a raw-hemmed, sleeveless dress shown worn as a jumper. With sleeves it becomes the Cumberland dress.
The pleated, bishop-sleeved Bartram dress is pure sewist bait in silk jersey.
Update on shopping local: Thanks to everyone who’s provided me with updated information about designer royalties from pattern sales. Since publishing this post, I’ve learned that Simplicity pays royalties to all licensed designers, including on web sales.
For other brands: if you would like to know whether royalties are being paid for online sales of designer patterns, you could contact the companies directly for more information.
May 30, 2017 § 1 Comment
The World of Anna Sui opened at the Fashion and Textile Museum in London last weekend. It’s the museum’s first retrospective on a living American designer, with an accompanying book by Tim Blanks—out today from Abrams.
Anna Sui licensed her work with Vogue Patterns for some 16 years, from the mid-1990s to 2011. Read my series on Vogue patterns by Anna Sui:
I’ve just listed this pattern for two dresses from Sui’s Mudd Club collection:
For more on Sui and her work, see Tim Blanks’ essay for the Business of Fashion, “Anna Sui, America’s Most Underrated Fashion Designer.”
March 14, 2017 § 6 Comments
Word is Guy Laroche patterns are set to return after a two-year hiatus. (The last Laroche, and last Paris Original, to be released was V1450 in Summer, 2015.) In anticipation, my ongoing Laroche series resumes with a look at the early 2000s designs of Mei Xiao Zhou.
Born in the Netherlands, Mei Xiao Zhou came to a career in fashion after working as a ballet dancer and video director in New York and Tokyo. He spent six years as an assistant to Thierry Mugler before he was hired as head designer at Guy Laroche. (See WWD, “Guy Laroche Taps Zhou.”)
Zhou designed two collections for Laroche, both presented in 2001.
1. Guy Laroche Prêt-à-porter Fall/Winter 2001 (shown March 2001)
Mei Xiao Zhou’s first collection for Laroche radiated energy, with vibrant colour and prints underlining the skillful cut. (See WWD, “Static State, Forties-Something, and the ‘Casino’ Factor.”) Here’s the collection image from L’Officiel 1000 modèles:
The hardest to find of Zhou’s Laroche patterns, Vogue 2650 is a bias-cut, halter-neck wrap dress that can be made in cocktail and evening length (both size ranges available in the shop):
Vogue 2668’s trouser suit includes a short jacket with three-quarter sleeves. On the runway, the revers on the red version revealed a flash of sequins:
Vogue 2689 is a sleek skirt suit with concealed closure and clavicle-framing standing collar. The skirt has a zippered side slit:
L’Officiel included one of Zhou’s op-art print pieces in the Sixties-inspired editorial “Mille neuf cent soixante-trois“:
2. Guy Laroche Prêt-à-porter Spring/Summer 2002 (shown October 2001)
For his romantic second collection for Laroche, Zhou covered the runway in water, sending out looks with an Asian influence in a palette of white, yellow, ochre, chocolate brown, and black. (See L’Officiel 1000 modèles and AP, “Louis Vuitton Show Goes Creative.”) Here’s the collection image:
The Spring 2002 campaign echoed the runway’s aquatic motif:
Because this collection is not well documented online, it’s difficult to identify corresponding sewing patterns. Vogue 2752 looks to be one of the canary yellow suits, with flared kimono sleeves and rounded lapels that match descriptions of the show:
Although I can’t confirm it, Vogue 2736 may also be a Spring 2002 design. The jacket has a bustier-effect bias inset, and the pants have high slits in the back seams:
Mei Xiao Zhou brought the verve of Mugler to his runway shows for Laroche. Although his first collection was well received, the house was sold to a new parent company, which hired a new designer for Fall 2002 (Laetitia Hecht). Like other designer patterns of this period, Zhou’s Laroche patterns highlight the widening gulf between catwalk and sewing-editorial styling—which is ultimately the gulf between the fashion and home sewing industries.
Previous Laroche posts: