December 31, 2016 § Leave a comment
A Gordon Parks editorial for British Vogue features Brigitte Bauer in NYE-worthy evening patterns.
The patterns are Vogue 6628 and Vogue 6596, both Vogue Special designs. The cocktail sheath was made up in pale apple green wild silk from Dickins & Jones, the one-shouldered gown in light almond green Abraham silk crepe from Allan’s of Duke Street.
See Youthquakers for more of the November issue.
Happy New Year, all the best for 2017!
December 28, 2016 § 1 Comment
China Machado, the first mixed-race supermodel, has died. She was 86.
Born in Shanghai to Chinese and Portuguese parents, China Machado (1929-2016) was famous for working with Richard Avedon and Hubert de Givenchy. Later, she became a different kind of pioneer, as a model-turned-editor, when she succeeded Diana Vreeland as fashion director at Harper’s Bazaar.
According to a 2010 profile, Machado made most of her own clothes, having learned to sew from her aunts in Shanghai. She returned to modelling in her eighties.
In the ’70s, China Machado designed a Very Easy Vogue pattern for stretch knits, dubbed “The Shortcuts.” The collaboration was the subject of a four-page feature in Vogue Patterns magazine (click to enlarge):
The wardrobe pattern of “nine easy pieces” for resort and lounge wear included a bikini, cover-ups, a skirt and pantskirt, and even a one-shouldered toga ensemble:
Another modelling pioneer, Beverly Johnson, wore Machado’s designs in Vogue magazine:
With thanks to my mother and Nadia at Sew Exciting Needleworks.
December 16, 2016 § 3 Comments
This week, a look at the late James Galanos’ licensed Vogue patterns. (See my McCall’s post here.)
Vogue Patterns introduced James Galanos patterns in late 1967, with two dress designs modelled by Maud Adams and Lauren Hutton. The counter catalogue promotes Galanos’ “masterful touch” with an alternate shot of Vogue 1854, an A-line dress with side pleats at right front and left back:
Lauren Hutton models Vogue 1855, a coat dress with double inverted pleats in the back:
This short, wrap-effect evening dress has square armholes and front pleats concealing pockets:
Later Galanos patterns were photographed on location in New York, where the designer showed his collections. This dress goes one further than Vogue 1855 and has double inverted pleats in both front and back:
Jumpsuit Vogue 2524 features a shoulder yoke, pintucks, and wide, corded belt:
The latest Galanos pattern I’ve seen is Vogue 2639, a long-sleeved evening dress with front slit and waistline smocking detail:
A dreamy illustration made the cover of the news leaflet:
October 18, 2016 § 4 Comments
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 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 a long-sleeved jumpsuit, Vogue 1523 (click to view in the shop):
The Botanical-print 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…
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.)
September 13, 2016 § 7 Comments
Jean Muir was the only designer to ascend from Butterick Young Designer to Vogue Couturier. (See my post on Jean Muir’s Butterick patterns here.) This week, a look at Vogue’s Jean Muir patterns from the early 1970s to the mid-1980s.
Jean Muir was introduced as a new Vogue Couturier in Vogue Pattern Book’s first issue of 1972. Three Muir designs (Vogue 2663, 2664, and 2646) were pictured throughout the magazine, but only the last two appear in the designer feature: Vogue 2664’s full-sleeved dress in saffron jersey, and Vogue 2646’s evening dress and matching short shorts in bone-coloured matte jersey. The model on the right is Joyce Walker (click to enlarge):
Posing for Richard Avedon, Faye Dunaway wears a Jean Muir dress with handkerchief sleeves:
This dress with gathered centre panels and shirttail hem was featured on the counter catalogue in a lush floral print:
Vogue 2884 is an evening dress with raised waist and pintuck details. The back is particularly elegant (available in the shop):
David Bailey photographed Anjelica Huston in an olive version—with matching cloche—for British Vogue:
Muir ensembles often involve matching hats, and her patterns sometimes include a head covering. This pattern has three (click to view in the PatternVault shop):
A news cover illustrated by Michaele Vollbracht recommends wearing View C’s ‘ScarfCap’ with a ‘BigDress’ for fall ’75:
Vogue 1153 has characteristic Jean Muir dressmaker details—radiating Deco pintucks, tucked sleeves, released pleats, and contrast topstitching. The recommended fabrics include lightweight synthetic knits, matte jersey, tricot knits, and wool jersey:
On assignment for Vogue, Deborah Turbeville photographed Muir with models in her all-white apartment:
Turbeville’s legendary Bathhouse series includes a Jean Muir Liberty-print smock:
Vogue 2399’s full-sleeved dress was previously seen in my Iman post:
Vogue 2463 reinterprets Muir’s trademark cut-in sleeves and pin-tucked bodice for the early ’80s:
Vogue 1123’s two-piece dress arranges pleated volumes around smooth central panels:
The latest Jean Muir Vogue pattern I’ve seen is Vogue 1502, a jacket and skirt. The unlined jacket has deep kimono sleeves and a broad waistline tuck:
Style Patterns—by then owned by Simplicity—produced this dress pattern to accompany Channel Four’s 1993 television series, Very Jean Muir. The pattern is found in the National Museum of Scotland’s Jean Muir Collection:
Jean Muir’s dedication to the craft of fashion design gives her work a special appeal for home sewers. When Leeds Art Galleries mounted a travelling Jean Muir exhibition, dressmakers brought their Vogue patterns for her to sign.* Have you made any Jean Muir patterns?
* Maureen Cleave, “Makers of Modern Fashion: Jean Muir,” Observer supplement, September 21, 1980.
August 16, 2016 § 1 Comment
In 1965, Brian Duffy photographed Pattie Boyd for a patterns editorial, “Cotton Landscape,” in British Vogue. The editorial opens with Boyd posing in Oliver Goldsmith sunglasses and an Op Art playsuit:
Boyd’s playsuit was made using Vogue 6491, a Young Fashionables pattern for a hooded ‘jump suit,’ bikini, skirt, and pants. As the caption says, “Powerhouse zigzags, electric pattern on a beach playsuit made to dazzle, not shock. Shorts shaped with a long front zip, smashing hood, and long cuffed sleeves.” The suit was made in Cepea navy and white cotton “with a Calpreta permanent sheen finish,” available from Bourne & Hollingsworth and Civil Service Stores.
For more of the June issue, see Youthquakers.