After 99 years on the newsstand, and just as stores are receiving the new designer patterns for Spring ’19, Vogue Patterns Magazine is ceasing publication.
VPM’s final issue—and the Spring release—sees the return of Thai-American model and photographer Piyawan Chitsamran, a.k.a. Piya Wan.
The late, great Paco Peralta was promoting this pattern just days before his death. (See his design drawing at top of post.) As released, it includes the duster coat, shown in waxed polyester with a cotton poplin lining, and high-waisted gaucho pants. But as he told me, his submission also included the bias top.
Zandra Rhodes is celebrating her label’s 50th anniversary in 2019. This jumpsuit with contrast binding is a Zandra Rhodes staple. The original is silk crepe de chine.
The archival design, done in lipstick-print chiffon, was part of Rhodes’ second Archive collection for Matches Fashion.
A silver version, for Fall 2018, was shot by Bridie O’Sullivan, the filmmaker / photographer behind Rhodes’ upcoming Jubilee documentary. (More at O’Sullivan’s website.)
Badgley Mischka’s formal gown features a halter neckline with lace décolletage overlay.
Add a beaded overbodice for a variation on the V1615 look.
The striped dress on the back cover of the Spring lookbook is adapted from Carolina Herrera Resort ’18.
The sleeveless midi dress is a Vogue Easy Options Custom Fit pattern, meaning it is adjustable for 4 cup sizes.
The original is a linen-cotton denim that Vogue called “the standout material” of the collection’s casual pieces. As Nicole Phelps wrote, “Best of all was the sleeveless dress with contrast stitching, white buttons, and deep pockets.”
Chop off the bodice for a tea-length skirt:
Another Vogue Easy Options design, the hi-low V9360 is Vogue’s adaptation of young London label Palmer Harding.
The Spring 2019 runway version—called the Streep—had dolman sleeves and a gathered back. Red latex gloves optional.
Add some asymmetry to the hemline and you have the Split and Super shirts:
Roland Mouret’s navy Barwick dress was worn by a certain duchess. Vogue shot its adaptation in Mouret’s trademark Peppermint, but the envelope shows the navy dress front and centre.
The Barwick dress, from Resort 2018, is still available from the designer website (link). The original is double wool crepe.
The same front neckline is seen in Roland Mouret’s Noblethorpe dress:
For a more faithful copy, adjust the back neckline and add an exposed zipper.
Finally, although Cynthia Rowley is absent from Simplicity’s Spring release, the company has reissued a late 1940s stole dress from the Simplicity Designer’s Pattern line.
The original fabric suggestions were: Silk, rayon or wool jersey; silk or rayon crepes; monotone or figured pure silk; taffeta; faille.
In honour of Burns Night, a guide to Outlander patterns.
Outlander is now in its fourth season; it’s been renewed for two more. Adapted from the popular series by Diana Gabaldon, the time-travelling romance has plenty of source material: Gabaldon is currently working on her ninth Outlander book.
Sunday’s season finale will be the last episode to feature costumes by Terry Dresbach. Trisha Biggar is the new costume designer for season 5. Biggar, who is from Glasgow, is best known for her work on the Star Wars prequel trilogy.
In 2017, Simplicity’s unofficial Outlander patterns prompted Dresbach to take down her website. (It’s back now.) The next year, McCall’s started releasing official, licensed Outlander patterns.
Simplicity’s adapted-from-Outlander patterns are by American Duchess, a historical costuming company based in Reno, Nevada. The three patterns are based on Claire’s costumes in seasons 1 and 2: 18th-century Highland dress and an unusual court gown. There’s also a free pattern for her crocheted cowl.
It was this version of Claire’s red dress that caused such consternation online. Claire wears the original during her visit to Versailles in “Not in Scotland Anymore,” the episode that earned Outlander its first Emmy nomination for costume design. It was also seen in promotional materials for season 2 (see top of post). The pattern is still in print, but as with Simplicity’s Game of Thrones patterns, the colour was soon changed to a less provocative teal.
McCall’s started licensing official Outlander patterns in 2018. (Company founder James McCall was a Scottish immigrant, and McCall’s UK — McCalls Ltd — is not a pattern company, but a Highlandwear outfitters.) McCall’s Outlander patterns cover both women’s and men’s costumes, with many available as instant downloads. For the first few releases this meant Claire and Jamie Fraser, or 18th-century Scottish highlander garb.
Next came the couple’s wedding clothes: Jamie’s frock coat and Claire’s wedding dress.
Outerwear was the focus of the Summer release, with patterns for Claire’s fur-trimmed riding jacket and Jamie’s leather coat.
Jamie is still wearing the coat in season 2, when he joins up with Bonnie Prince Charlie. Dresbach suited the latter not in the Stuart, but the MacQueen tartan.
This fall, we finally saw a costume for British officer Jonathan “Black Jack” Randall, plus Claire’s blue riding jacket-and-waistcoat combo from season 3’s Emmy-nominated episode, “Freedom & Whisky.” The title is a Burns quote, and the episode sees Claire sewing the outfit herself, for time travel. A costume book lies open by her sewing machine, and her ensemble looks to be based on a memorable riding habit in Janet Arnold’s classic, Patterns of Fashion.
This year, McCall’s Outlander patterns caught up to the show with this caraco jacket and skirt. The jacket looks to be one of Claire’s remade outfits, courtesy of Jamie’s aunt Jocasta.
Slàinte! To freedom and whisky.
Update (April 2019): This new release includes Claire’s peplum jacket and fichu (scarf), plus a chemise:
In memory of Eiko Ishioka, who would have been 80 this year, a look at costume patterns based on her work.
Eiko Ishioka (1938-2012) is best known as the costume designer for The Cell and Bram Stoker’s Dracula, for which she won an Academy Award in 1993. Her last film project was Tarsem Singh’s Mirror Mirror, starring Julia Roberts and Lily Collins.
McCall’s and Simplicity both released patterns based on the film. McCall’s 6629 came in adult and children’s sizes. (Out of print, but details still on the Cosplay by McCall’s site.)
On the left—view D with collar E and feathered backpiece F—is Julia Roberts’ wicked queen. Ishioka’s original gown has panniers and miles of cartridge pleating:
The gown features white peacock embroidery and a molded basque with four-piece cups.
View B (top right) is clearly Lily Collins’ Snow White, but so is view A. It’s the dress with floral basque and skirt, seen early in the film, which Ishioka topped with one of the most memorable capes in cinema.
Simplicity also offered Snow White’s dress from the film’s Bollywood finale, moving the giant bow down from the shoulders.
The Costume Designers’ Guild gave Ishioka a posthumous award for Mirror Mirror. (For more on the production, see Wired.) And since her on-screen version, all yellow capes seem to point back to Snow White’s.
Finetti also showed a longer, front-zip version of V1587. Just trim down the A-line skirt and add a midriff panel:
This season’s backless showpiece is by Adam Andrascik for Laroche: a long-sleeved dress with front bodice drape and slim, layered skirt. Use a semi-sheer fabric for the full effect.
The original is textured silk georgette in a chartreuse-tinged shade of La La Land yellow.
Andrascik showed two takes on the backless V1589 dress. (A famously backless, ’70s Guy Laroche gown is a perennial inspiration for today’s Laroche designers. French actor Mireille Darc’s gown, worn in the 1972 comedy Le grand blond avec une chaussure noire, also informed Hilary Swank’s Oscar dress.) Here, the V1589 dress is seen backstage:
On a black, sleeveless version, bead chains dangled from silver appliques:
Judging from the pattern number, the second Laroche may have been delayed from Vogue’s spring release. From Marcel Marongiu, it’s a long-sleeved dress with contrast collar, cuffs, and curved contrast panels in front and back.
Revered American designer Claire McCardell was the inspiration for Marongiu’s last collection for Laroche. The V1577 dress was shown both long-sleeved and sleeveless:
As a grey and white coat dress, it swaps the button placket for jumbo exposed zippers:
Marongiu’s shift dress version, with giant paillettes, was featured in the Laroche advertising campaign by Steve Hiett. Hiett also photographed the V1589 dress for Spring ’17:
New from Rachel Comey: the Popcorn dress. The Comey staple is shown in Spring 2017’s seersucker.
The pullover dress works for both solids and prints—even print-mixing with contrast skirt inserts. The current version is black rayon.
In her Spring 2007 collection, presented at the Altman building during New York Fashion Week, Comey showed the dress both loose and belted.
A closer look reveals the print-mixing. There are only two prints here, with one, reminiscent of Biba’s famous banana print, in three colourways:
The Summer patterns include two lace looks from Rebecca Vallance: a cutout dress and the Dolce Vita jumpsuit. (There’s one dress left at the Outnet.) The Dolce Vita is a cropped, wide-leg jumpsuit tied with grosgrain ribbon:
The jumpsuit is from Rebecca Vallance Summer 2016.
Simplicity’s latest from Cynthia Rowley is a flounce-sleeved lace dress with two neckline variations. Choose from off the shoulder or scoop neck.
Rowley presented her Spring 2017 collection in a “feathered snow globe” at her West Village townhouse. (See WWD.) As photographed by frequent collaborator William Eadon, the S8599 dress is layered, maximalist-style, under an appliquéd satin smock:
The original dress had a contrast back bodice:
Seeing designers’ alternate looks for the Spring/Summer pattern designs, it’s striking how Vogue no longer provides variant views in their designer line, whereas for Simplicity, it’s built in to the business. But armed with reference photos, it’s easy to transform a design.