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.
June 6, 2017 § 1 Comment
Model and Bond girl Tania Mallet (b. 1941) was born in Blackpool to English and Russian-English parents. (Her mother, Olga Mironoff, was Helen Mirren’s paternal aunt.) She began working as a model in the late 1950s after taking a course at the Lucie Clayton Charm Academy. You may recognize her from her role as Tilly Masterson in Goldfinger (1964).
Mallet’s modelling work in the 1960s included editorials for Vogue patterns and Vogue Knitting Book.
The earliest patterns I’ve found featuring Mallet are by French and Italian designers—Jacques Heim and Simonetta:
Later patterns are by London designers like Ronald Paterson and Jo Mattli:
This daffodil evening ensemble was featured in my Bellville Sassoon post:
Here Mallet wears a goddess gown by John Cavanagh:
Full marks for hats and coiffure, don’t you think?
January 12, 2017 § 1 Comment
A 1959 Eastman Fibers ad brings a note of intrigue to McCall’s patterns by photographing them in a nightlife setting, on a pair of vampy women.
Chromspun is the trademark for Eastman colour-locked acetate yarn from Eastman Chemical Products Inc., then a subsidiary of Eastman Kodak—in those days headquartered on Madison Avenue.
December 21, 2016 § 2 Comments
A Celanese advertising insert from the late 1950s shows McCall’s festive styles in the latest synthetic silks—top models and more than one tiara from the multinational chemical company that brought you cellulose acetate.
The booklet frames small, full-length photos of McCall’s designs with close-ups showing off the “brilliant” textiles. Here, McCall’s 4999 is shown in Belding Corticelli’s rayon-acetate matelassé, with McCall’s 5057 in Cohama’s Arnel triacetate faille. The model on the right is Simone D’Aillencourt:
Here, Dovima wears a shimmering gold version of McCall’s 4425 in Lawrence and Klauber printed crepe satin acetate, while McCall’s 4870 evokes Princess Grace in aqua acetate satin from William Skinner and Sons:
Dovima closes the booklet in McCall’s 5012, an at-home trouser ensemble shown in orange and tangerine Celaperm acetate satin peau from Wedgwood Fabrics.
For more on the history of Celanese (est. 1918), see the company website.
Happy holidays, everyone!
September 18, 2016 § 2 Comments
How to make the most of a beautiful print? As an early ’70s British Vogue editorial puts it, “Cape it… blouse it… kilt it.”
The Clive Arrowsmith editorial features Ann Schaufuss in three Vogue patterns that present the silhouettes of fall 1970 in glowing, ink-coloured prints. From Nina Ricci, Vogue 2406 is an “enveloping berber cape” and sleeveless dress made from two Staron fabrics in the same “glass-flower” print: a luxurious wool-viscose-polyamide for the cape and panne velvet for the dress, available at Harrods and Gasmey, London.
The second look pairs a yoked, full-sleeved blouse, Vogue 7538, and long Miss Vogue kilt Vogue 7889. The blouse is turquoise silk crepe de chine from Gasmey, while the kilt is Bombyx rayon panne velvet in a green and jewel-toned print, available at Liberty (boots to order at The Chelsea Cobbler):
The boho Baba Yaga look may not be to everyone’s taste, but velvet and early ’70s style are trends for fall 2016… Time to dig out some vintage prints?
(See Youthquakers for more of the October issue.)
January 29, 2016 § 10 Comments
Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.
In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):
Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):
This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:
A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:
As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):
Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):
Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:
Update: Corby could also be seen in a Courrèges-look pattern on the cover of McCall’s retail catalogue:
Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):
In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):
McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::
McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:
McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (
available in the shop):
Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:
McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available
in 2 sizes in the shop):
McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (
available in 2 sizes in the shop):
Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (
available in the shop):
André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.
I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):
* Dacron was known by the name Terylene in the U.K.
November 29, 2015 § 5 Comments
During his early period as a fashion photographer, Richard Avedon (1923-2004) did some work for Simplicity, including the Fall-Winter 1950 issue of Simplicity Pattern Book:
The suit is Simplicity 3310, made in Botany flannels and worn with “[m]atching hat designed for Simplicity by Sally Victor,” Simplicity 3322.
Inside, the hat is shown photographed by Halley Erskine:
The back cover is a Botany ad, apparently from the same Avedon photo shoot:
I have a Canadian copy of Simplicity 3322 in the shop, printed with a special Chatelaine magazine logo:
For more on Sally Victor see my Mad Men-era millinery post.