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 Timesnotice). 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:
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.
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:
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:
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:
Update: Getty had a few more images from the collection.
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.
Last month, Rachel Comey celebrated her label’s 15-year anniversary with an outdoor presentation of unisex looks for Spring 2017. For home sewers, Comey’s ongoing licensing with Vogue Patterns has made her one to watch. Here’s a look at highlights of her patterns so far.
Born in Manchester, Connecticut, Rachel Comey (b. 1973) originally trained as a sculptor. After moving to New York, she consulted for Theory while designing clothes for local performers like Gogol Bordello—a connection that led her and the band to the Whitney Biennial. She launched her menswear collection in September, 2001, followed by women’s wear in 2004. Comey has developed a cult following for her footwear, prints, and general “bullshit-free kookiness.”
Comey was introduced to home sewers in the February/March 2010 issue of Vogue Patterns magazine with two patterns, Vogue 1161 and 1170:
The originals showcase Comey’s leopard and man-with-umbrella prints, both from the Fall 2009 collection.
Powerhouse Vogue 1247 includes an A-line miniskirt and the Navigator top, a design that was produced over multiple seasons (available in the shop):
Vogue 1298 is a pattern for Comey’s Tippet dress. (She also designed an open-backed Tippet top.) The Tippet is an apron dress with raised hem and straps drawn together in back:
The dress was shown in a different print in the Spring 2011 collection:
Also from 2012, Vogue 1323 is a top and pants ensemble consisting of the Syndicate blouse and cuffed Saunter pant. The trousers were also produced in textured velvet and various prints:
Vogue 1406, known as the Surveillance dress, has an asymmetrical neckline, back godet, and ruched waist detail:
Here’s the original star-print Surveillance dress on the Fall 2013 runway:
Comey’s batwing Wades dress is available as Vogue 1482. The diagonal front seam conceals a pocket:
From the same collection, Vogue 1507 includes the Bowtie top and slim Expedition pants with an asymmetrical front closure:
Vogue 1501 is a pattern for the Delane dress, a sleeveless, mock two-piece dress with pleating details. The original shows off Comey’s Collage print; the design was also produced with a contrast front bodice and in a single, solid colour:
The latest Rachel Comey pattern is the long-sleeved Silt jumpsuit, Vogue 1523 (click to view in the shop):
The Botanical-print Silt jumpsuit was part of the Fall 2015 collection’s closing look:
Interestingly, Comey was quoted in the New York Times’ recent article on the McCall Pattern Company (“Needle, Thread, Instagram”):
The New York designer Rachel Comey has licensed her patterns to McCall since 2010, where they appear under the Vogue Patterns brand. She didn’t do it for the money. “I just like the tradition of it,” Ms. Comey said. “Sewing is a great craft. It’s exciting and confidence building. I wanted to support it.”
Now if only we could source those Rachel Comey prints…
This summer, after extensive renovations, the National Museum of Scotland opened its new galleries, including a Fashion and Style gallery. Jean Muir’s archive is housed in the museum, so the new gallery returns this important collection of her work to public view. To celebrate, I’ll be posting a two-part series on Jean Muir sewing patterns.
Though born in London, Jean Muir (1928-1995) is often called “the Scottish Chanel.” Muir began her career working at Liberty London. She was the designer for Jaeger before winning backing for her first label, Jane & Jane, in the early 1960s; she also designed for Morel London. In the fall of 1966 she founded her own company, Jean Muir Ltd. Acclaimed for her precise cut in jersey, leather, and suede, she preferred to be called a dressmaker.
Muir and her designs are featured in Life magazine’s 1963 portfolio (headlined “Brash New Breed of British Designers”) on what was then called the Chelsea Look.
Jean Muir licensed patterns with Butterick’s Young Designers line into the early 1970s.
In early 1965, Butterick introduced Jean Muir of Jane & Jane with four designs in the Spring 1965 catalogue (click to enlarge):
This simple Jane & Jane dress is accented with two narrow tucks above the hemline:
The tucks on Butterick 3609 recall the single, broad hemline tuck on this Jane & Jane dress photographed by David Bailey in Kenya:
This mod, A-line dress is trimmed with buttons and topstitching (click to view in the shop):
The young Grace Coddington posed in the sleeveless version for British Vogue:
Previously seen in my Celia Hammond post, this Jane & Jane dress has a standing neckline, raglan sleeves, and Muir’s trademark tiny button trim:
Within a year of founding her own company, Muir saw her double-breasted ‘cavalier’ coat on the cover of British Vogue:
With its shoulder yokes and double-breasted front, Butterick 5242 is a similar design:
Muir’s signature topstitching and shoulder yokes define the details on Butterick 4937, a sleeveless dress illustrated on the cover of the August 1968 news leaflet:
The pattern envelope shows the dress with and without the low-slung belt carriers:
David Bailey photographed a similar Jean Muir belted jumper in green Harris tweed:
The design is from Muir’s Fall 1969 collection—photographed here in cloud grey jersey:
Butterick 5954 was shown in both mini and midi lengths; the recommended fabrics include jersey, knit, and synthetic knits. The contrast cuffs and bib front give the opportunity for colour blocking or print mixing as in the Liberty-style illustration (available in the shop):
Before Butterick switched to illustrations only, there was a growing disparity in quality between pattern and editorial photography. Here it obscures the potential of Muir’s tucked and colour blocked peasant tunic:
Jeanloup Sieff photographed a similar dress-and-knickers ensemble for an editorial in Nova magazine:
The latest Jean Muir Young Designer pattern I’ve seen is Butterick 6398, a high-waisted dress with tiny self ruffles, button trim, and optional contrast sleeves and hemband:
I’ll close with this 1970 Norman Parkinson photo of a Jean Muir dress and turban in Monument Valley, in the collection of the National Portrait Gallery:
Have you heard? Vogue’s Donna Karan and DKNY patterns will no longer be available after next Wednesday, July 13th. According to the McCall Pattern Company, the licensor of the Donna Karan trademarks [the LVMH-owned Gabrielle Studio Inc.] has decided to end all pattern licensing. (Source: Facebook.)
Vogue Patterns has been publishing Donna Karan patterns since 1987. The company added DKNY patterns in 1989.
The end of both licenses makes the Spring 2016 releases the last DKNY and Donna Karan patterns.
Donna Karan announced her departure from Donna Karan International just over a year ago, saying she means to focus on her new, privately owned company, Urban Zen. Parent company LVMH will not be hiring a replacement. Instead, LVMH will be developing DKNY, which is designed by Public School’s Dao-Yi Chow and Maxwell Osborne. (See Vanessa Friedman and Jacob Bernstein, “Karan Leaving Brand That Carries Her Name.”)
After thirty years of Vogue patterns—closer to forty, if we count her work at Anne Klein—Karan’s absence will be keenly felt. But could she return soon with Urban Zen patterns? Under her agreement with LVMH, Urban Zen’s “distribution … [can]not compete with any of the Donna Karan brands.” (See Donna Fenn’s interview for Fortune.) This could account for the unprecedented end-date for the Donna Karan and DKNY patterns, just in time for the Fall 2016 pattern launch. Update (July 7): the Fall 2016 patterns were released today, too early to avoid a distribution conflict. Perhaps for Winter 2016?
It would certainly be in keeping with Karan’s ethos if July 14th marked not just an end to the old pattern licensing, but also a new beginning. As her program notes always read, To be continued…