April 30, 2016 § 3 Comments
Happy Walpurgisnacht! On the eve of the feast of St. Walpurga, here’s a look at gothic sewing patterns.
Recent fashion exhibits have placed the gothic under increasing scrutiny. In 2008, the Museum at FIT presented Gothic: Dark Glamour. In 2014, the Costume Institute had Death Becomes Her: A Century of Mourning Attire. Now there’s Gothic to Goth: Romantic Era Fashion and Its Legacy, an exhibition at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, accompanied by a catalogue by curator Lynne Z. Bassett and a talk by Valerie Steele. For more on the show, see Susan Hodara, “The (Forever) New Romantics.”
With the advent of goth—or the New Romantics—in the late 1970s, fashion in a gothic mode began to show the influence of both romanticism and contemporary subculture. Nina Ricci’s romanticism turned dark in the early 1980s. I like to picture Vogue 2582 with granny boots and Siouxsie Sioux hair:
Vogue 2604, a floor-length strapless gown with attached sleeves, has a more Countess Bathory feel. The ruffle-trimmed version of Vogue 2604 was featured on the cover of Vogue Patterns’ holiday issue:
These early ’80s editorial photos convey the dark romantic mood:
Later in the decade, the fashionable oversized silhouette and low hemlines could express a moody romanticism. From Esprit, Simplicity 6978 is a loose jacket and long, full skirt. Shown in black, the ensemble is very Lydia from Beetlejuice:
Judging from Vogue’s September issues for 1993, Fall ’93 marked a return to the lusher side of romanticism.
Donna Karan’s Fall collection (presented just days after Eiko Ishioka won the costume design Oscar for Bram Stoker’s Dracula) featured lace accents, choker and cross accessories, and lots of black. Vogue 1293 is a long dress consisting of a body with attached, high-waisted skirt:
This cold-shoulder gown must be from the same collection:
In the later 1990s, Anna Sui showed a fall collection inspired by goth subculture. From Fall 1997, Vogue 2072 combines a historicizing, Vivienne Westwood-style mini-crini with club-kid accessories. The dress was worn by the young Sofia Coppola (previously seen in my Anna Sui series and ’90s goth post):
Another element in the romantic/gothic repertoire is tzigane or ‘gypsy’ looks. From Yves Saint Laurent Rive Gauche for Spring 1999, Vogue 2330 is a long, flowing, off-the-shoulder dress. The envelope shows a mourning-appropriate mauve, but it was also shown in sheer black:
Spring 1999 was Yves Saint Laurent’s last collection for Rive Gauche, and Mario Sorrenti’s valedictory advertising campaign for that season references great European paintings. Here the archetypically enigmatic Mona Lisa, dressed in black Rive Gauche, poses with a male model with Asian tattoos:
Finally, in the late 1990s, Simplicity licensed designs from Begotten, a historically-inspired clothing line designed by Dilek Atasu. The patterns included a cape (S8987) and men’s poet shirt (S8615). Simplicity 8619, an empire gown with optional lower sleeve flounce, channels Mary Shelley:
In the 2000s, gothic sewing patterns shift away from mainstream fashion toward subcultural costume for—as Laura Jacobs puts it—“our own Romantic Revivals: Goth, that pas de deux with death, and Steampunk, a mating of Queen Victoria and Thomas Edison” (Jacobs, Gothic to Goth exhibition review). Hammer Horror fans have “gothic costumes” McCall’s 3372 and McCall’s 3380; cybergoths can make dusters based on the costumes in The Matrix (1999) (Simplicity 5386, etc.); and Arkivestry and its offshoots cover everything from old-school gothic heroine to Loli to Steampunk.
Meanwhile, a gothic trend is predicted for Fall 2016. Are you ready?
July 25, 2015 § 1 Comment
Iman (b. 1955) turns sixty today. Born Iman Mohamed Abdulmajid in Mogadishu, Somalia, she and her family fled to Kenya after the 1969 military coup, where she was discovered while a student in Nairobi by photographer Peter Beard. She soon became the first African supermodel, later founding Iman Cosmetics. (For more on Iman’s early career, watch Vogue Italia’s video interview, or read a 2014 Guardian profile here.)
Iman can be seen on a handful of Vogue Patterns, circa 1980, as well as pattern editorials in Vogue Patterns and Vogue magazine.
From Jean Muir, Vogue 2399 is a long-sleeved, blouson dress with matching scarf:
Vogue 2400 is an Emanuel Ungaro skirt suit with striped, quilted jacket and tucked blouse:
From Yves Saint Laurent, Vogue 2404 is a skirt suit with contrast standing collar and turn-back cuffs:
(Reposted from the Fashion Spot Iman thread.)
On the left, Iman wears Vogue 7234 (the envelope shows Gia Carangi; with Bjornson in Vogue 7392); on the right, her wrap-front blouse is Very Easy Vogue 7373 (with Bjornson in Vogue 7435 – click to enlarge):
Just for fun, here’s another early Iman cover from the same period as her commercial pattern work (photographer unknown; later used by German Cosmo):
Happy birthday, Iman!
With thanks to vegas4001 for the Vogue Italia photographer credit.
June 11, 2015 § 3 Comments
Yves Saint Laurent’s Spring 1971 haute couture collection, Libération, is currently the focus of a major Paris exhibition. Curated by Olivier Saillard of the Palais Galliera, Yves Saint Laurent 1971: la collection du scandale may be seen at the Fondation Pierre Bergé – Yves Saint Laurent through July 19th, 2015. A catalogue (in French only) is available from Flammarion.
Inspired by the women of occupied Paris, Saint Laurent’s “Forties” collection interpreted vintage styles for the younger generation—subversive historicism with an edge of camp. The wartime silhouettes of thirty years previous dominated for day, with evening gowns featuring prints based on ancient Greek erotic art. (See Suzy Menkes for Vogue and Joelle Diderich for WWD.) Like the designer’s Beat collection for Dior, it brought youthful street style to couture, prompting a similar backlash but ultimately succeeding in terms of broader influence.
L’Officiel was one of the only magazines to put the collection on the cover; British Vogue and Harpers & Queen opted for related Rive Gauche looks instead:
Vogue Patterns licensed two patterns from the Spring 1971 couture. Vogue 2571 is a puff-sleeved dress trimmed down the front with tiny buttons. Frank Horvat photographed the navy original for the August/September issue of Vogue Pattern Book. The editorial text reads, “From Yves Saint Laurent, a slither of crepe. Note the new high puffed sleeves tight round the wrists, with just enough flare and tiny ball buttons”:
Here’s the envelope description: Misses’ Dress. Semi-fitted, slightly flared dress, mid-knee length, has jewel neckline, front button and loop closing, front gathered into forward shoulder seam and topstitch trim. Full length leg-o-mutton sleeves with pleated cap have zipper closing. Purchased scarf. Semi-fitted sleeveless slip has back zipper closing.
The exhibition catalogue includes this photo of the dress in the original collection presentation:
Vogue 2598 is a pattern for pleated skirt, cuffed trousers, and double-breasted jacket with optional ribbon trim (see Paco’s post here):
The envelope description reads: Misses’ Three-Piece Suit. Fitted, double-breasted blazer jacket has notched collar, wide lapels, patch pockets, extended padded shoulders, full length sleeves with buttoned vents and turn back cuffs. Topstitch or ribbon trim. Gored, pleated skirt, two inches below knee, has waistband and topstitch trim. Straight-legged pants with cuffs are darted into waistband.
Here is a ribbon-trimmed pantsuit version of Vogue 2598 in the original presentation. The pattern could be adapted to make the sleeveless variation:
These editorial photos from L’Officiel’s spring couture preview show three variations on the Vogue 2598 double-breasted suit look: a long, houndstooth coat; a jacket worn with a short, wool jersey jumpsuit; and a pinstriped pantsuit topped with a fur stole:
Jane Birkin was photographed in the long-sleeved, ribbon-trimmed jacket (can anyone identify the photographer?) and Bianca Jagger wore a white, single-breasted jacket from this collection to her wedding:
Just for fun, I’ll close with some editorial images featuring spring 1971 Yves Saint Laurent:
With thanks to Paco Peralta.
April 17, 2015 § 3 Comments
The Museum at FIT’s exhibit, Yves Saint Laurent + Halston: Fashioning the 70s, closes this Saturday. (See Bridget Foley, “That Real Seventies Show.”) If you can’t make it to New York to see it, a catalogue is available from Yale University Press.
The MFIT exhibit organizes the two designers’ 1970s work in three thematic sections: menswear influence, exoticism, and historicism. Since both Yves Saint Laurent and Halston had licensed sewing patterns in the ’70s, I thought it would be fun to present three pairs of patterns in the exhibition’s format.
From Yves Saint Laurent, Vogue 1143 is a ’70s version of the famous Le smoking. Helmut Newton photographed Charlotte Rampling in a similar, Prince of Wales check pantsuit for Vogue (with original text here):
According to the curators, Halston’s most famous garment is the Ultrasuede shirtdress. McCall’s 4391 is a zip-front shirtdress that includes special instructions for working with synthetic suede:
Yves Saint Laurent’s interest in “exotic,” non-Western dress is perhaps best remembered from his Russian collection (Fall 1976 haute couture). From Vogue’s Ballets Russes patterns, Vogue 1558 is a Russian ensemble consisting of blouse, vest, bias skirt, and braid-trimmed jacket—hat and babushka scarf not included (see more at Paco’s blog):
During the 1970s, both Saint Laurent and Halston showed non-Western influence in their caftans and pajama ensembles. Halston pattern McCall’s 3590 combines both:
Inspired by the 1940s, Yves Saint Laurent’s Spring 1971 haute couture collection, Libération, launched the decade’s vogue for vintage. Although the 1971 collection was poorly received, Saint Laurent’s subsequent vintage-inspired efforts were very influential. From 1973, Vogue 2930 is a Forties-inspired dress-and-coat ensemble:
Halston’s historicism focused on the interwar couture of the 1930s, especially the work of Grès and Vionnet. McCall’s 4046 is a slinky dress for stretchable knits. It has only one main pattern piece and is shaped by gathers and side darts:
As the curators note, Halston and Yves Saint Laurent have been seen as embodying two separate styles: minimalist ready-to-wear vs. fantasy couture. Yet comparison of their work shows how their stylistic experimentation led them to common ground, particularly in the earlier ’70s. Interestingly, some Saint Laurent and Halston garments can be hard to tell apart until you examine the construction—something home sewers can certainly appreciate.
December 17, 2014 § 8 Comments
For Paco Peralta.
Before Vogue Patterns introduced Yves Saint Laurent with patterns from the Mondrian collection, the company had already licensed the designer’s work for the house of Dior. (Read more at the Fondation Pierre Bergé – Yves Saint Laurent, or see Dustin’s post here.)
Yves Saint Laurent was appointed head designer at Dior after Christian Dior’s death in 1957. Dior had been his mentor; in 1955 he hired Saint Laurent to work at his new boutique, later promoting him to accessories and couture. Richard Avedon’s famous Dovima with Elephants shows a velvet evening dress designed by Yves Saint Laurent while he was still assistant designer:
Saint Laurent’s first collection for Dior, Trapèze (Spring 1958 haute couture), was a huge success, and his later work at the house continued its play with proportion. L’Officiel’s spring preview issue for 1958 featured an illustration of a Dior trapeze dress by René Gruau:
The young Yves Saint Laurent designed six haute couture collections for Dior; Vogue’s licensing represents his last three collections for the house, from 1959 to 1960.
1. Christian Dior Haute Couture Fall/Winter 1959
Saint Laurent’s second Fall/Winter couture collection for Dior was controversial; L’Officiel declared its aesthetic “femininity pushed to the extreme.” Suits were shown with severely cropped jackets, and the skirt silhouettes included voluminous tiers and hobble skirts.
The first Dior patterns were promoted with illustrations by Esther Larson in the late 1959 issues of Vogue Pattern Book and Vogue Printed Pattern News (thanks to the White Cabinet for the ID):
Anticipating demand for this high-profile addition to Vogue’s designer patterns, Vogue Pattern Book noted that the new patterns would be available in stores after November 10th:
The first Dior patterns were photographed by Joseph Leombruno and Jack Bodi, the couple who worked as Leombruno-Bodi. In Vogue magazine’s first issue for 1960, Isabella Albonico modelled the two dress ensembles, Vogue 1471 and 1470:
Leombruno-Bodi also photographed the new Dior patterns for Ladies’ Home Journal. The accompanying text for Vogue 1470 suggests that the hobble skirt silhouette was considered extreme: “Dior’s famous ‘hobble’ skirt makes a charming mid-season costume … The pattern also includes details on how to make the dress without the band at the bottom of the skirt for less extreme effect.” The model on the left is Anne St. Marie (click to enlarge):
Vogue 1470 is a striking dress and jacket ensemble. The short jacket has three-quarter sleeves and bow trim at the waist, while the dress has short sleeves, low V-neckline, and the collection’s distinctive pouf-hobble skirt banded at the knee. The original was navy tweed:
Here’s the envelope description: One piece dress and jacket. Skirt, with or without puffed tunic, joins the bodice at the waistline. Wide V neck-line with band finish. Short kimono sleeves. Short fitted jacket, joined to waistband, has concealed fastening below notched collar; below elbow length sleeves. Novelty belt.
Vogue 1471 is a close-fitting, double-breasted jacket with matching dress. The original was black-and-white tweed:
The envelope description reads: One piece dress and jacket. Flared skirt joins the bodice at the waist-line. Single button closing below the wide V neck-line with extension band finish. Above elbow length and short sleeves. Double breasted jacket has notched collar and below elbow length sleeves. Novelty belt for version A.
Vogue 1472 seems to have been the most popular of the three patterns. The voluminous coat and skirt suit were modelled by Nena von Schlebrügge:
Here’s the envelope description: Coat, suit and scarf. Double-breasted hip length jacket has a notched collar and below elbow length sleeves with buttoned vents. Slim skirt. Double-breasted, full coat in two lengths has a large shaped collar. Concealed pocket in side seams. Below elbow length sleeves joined to dropped shoulder armholes. Straight scarf.
In the next issue of Vogue Pattern Book, the Vogue 1472 coat is called “the newsmaking original Dior coat that tops the suit… Note the extras here: the enormous buttons, the slashed side seams, the stitched collar, the scarf to match. Your own extra: a towering cloche of the checked fabric”:
2. Christian Dior Haute Couture Spring/Summer 1960
Saint Laurent’s Spring 1960 collection for Dior was characterized by rounded silhouettes and vibrant colour. L’Officiel noted its straight suits with jackets cut on the bias to achieve the suppleness of a knitted cardigan.
Vogue 1012, introduced in the August/September 1960 issue of Vogue Pattern Book, includes a collarless, single-breasted skirt suit and sleeveless blouse with crisscross back. The jacket in view A is cut on the bias:
The envelope description reads: Suit and blouse. Short, straight jacket buttons below collarless away from normal neck-line. Welt pockets. Below elbow length kimono sleeves. Skirt has soft gathers from very shallow yoke. Easy fitting overblouse has shoulder straps crisscrossed at back.
This suit is similar to Vogue 1012, but has a more conventional button front:
These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:
3. Christian Dior Haute Couture Fall/Winter 1960
Yves Saint Laurent’s controversial final collection for Dior, le Beat look, was inspired by Left Bank icon Juliette Gréco and the Beatniks of Saint-Germain-des-Prés. It was innovative for its infusion of youthful, bohemian street style into the couture, with Beat elements including leather jackets, knitted turtlenecks, and plenty of black.
Vogue produced two patterns from this collection, drawn from the more conventional designs. Vogue 1041 is a skirt suit and matching, loose coat with a big standing collar and side slits:
Here’s the envelope description: Suit and coat. Easy fitting jacket has high buttoned closing below neck-band. Vent opening in side front seams. Bracelet length and elbow length sleeves. Slightly gathered skirt has outside stitched front panel concealing pockets. Seven eighths length loose coat has opening in side seams. Away-from-neck-line standing neck-band. Bracelet length kimono sleeves.
Philippe Pottier photographed the purple coat ensemble for L’Officiel‘s winter collections issue:
Vogue 1041 was photographed for Vogue magazine by Henry Clarke:
Vogue 1049 is a skirt suit and sleeveless overblouse. The blouse is worn over a barrel skirt with attached underbodice for a dropped-waist effect. The jacket of view A is designed to be worn open:
The envelope description reads: Suit and blouse. Box jacket has cut away fronts and simulated buttoned closing or complete buttoned closing, below standing band collar. Easy fitting overblouse with optional tied belt has bateau neck-line. Above elbow length sleeves and sleeveless. Slightly barrelled shaped skirt attached to bodice.
The dotted black ensemble in duchesse velvet was photographed for this Chatillon Mouly Roussel advertisement in L’Officiel:
I also found the black suit in a later L’Officiel composite:
These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:
For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.
July 1, 2014 § Leave a comment
In celebration of Canada Day, this models post is devoted to Canadian supermodel Linda Evangelista.
Born in St. Catharines, Ontario to Italian-Canadian parents, Linda Evangelista (b. 1965) was discovered by a scout from Elite at the 1981 Miss Teen Niagara beauty contest. (She didn’t win.) At eighteen she signed with Elite and moved to New York and later, Paris. Evangelista became one of the world’s most successful and influential models, especially after Julien d’Ys cut her hair short in 1988. (More on Voguepedia.)
Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.
The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:
She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):
Evangelista’s work with Vogue Patterns was for the Paris Originals line. Here she models a popular, pleated wrap dress by Emanuel Ungaro, Vogue 1799:
Evangelista can be seen on a number of Yves Saint Laurent patterns. Vogue 1720 is an elegant dress with blouson bodice and wide, bias roll collar. The pattern includes the contrast sash:
Here Evangelista shows off advanced-class colour blocking in Vogue 1721, a Nina Ricci pattern for a dramatic hooded blouse, mock-wrap skirt, sleeveless top, and sash:
This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:
Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:
In the mid-1990s, Evangelista’s runway work for Yves Saint Laurent reached home sewers on Vogue pattern envelopes. From the YSL Rive Gauche Spring 1996 collection, Vogue 1862 is a pattern for cropped jacket, blouse, and high-waisted pants (see a detail shot on firstVIEW):
Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:
Happy Canada Day, everyone!
June 15, 2014 § 5 Comments
It’s been some time since Vogue offered designer menswear patterns. In the 1970s and 1980s, home sewers could choose from licensed designs for everything from men’s shirts to outerwear and three-piece suits. In celebration of Father’s Day, here’s a selection of vintage menswear patterns from Vogue Patterns.
Vogue introduced designer menswear patterns in the early 1970s with designs by Bill Blass and Pierre Cardin. From Cardin, Vogue 2918 is a double-breasted coat in two lengths:
1975 saw the release of some his-and-hers Valentino patterns. Vogue 1180, a men’s jacket and pants pattern, was photographed with a women’s Valentino ensemble, Vogue 1178:
Polo by Ralph Lauren was introduced to Vogue customers in the summer of 1975. The safari-style Vogue 1237 and 1238 were photographed in India:
Also by Polo Ralph Lauren, Vogue 1581 is a double-breasted trench coat with detachable lining:
This Christian Dior shirt-jacket and pants is the only men’s Dior pattern I’ve seen:
This snappy three-piece suit is by Bill Blass:
There were two menswear patterns by Yves Saint Laurent: safari suits photographed by Chris von Wangenheim (see Paco’s related post here):
Givenchy licensed a trim three-piece suit, Vogue 2112:
In 1979 the company released a trio of menswear patterns by Calvin Klein—separate patterns for a shirt, jacket, and pants. Vogue 2256 is a pattern for slim, tapered men’s pants; view B is low-rise and flat-front:
The menswear releases tapered off in the 1980s. 1980 saw the release of two Bill Blass men’s patterns, for a three-piece suit and close-fitting shirt:
In 1988 Vogue released three menswear patterns by Perry Ellis, for a jacket, shirt, and pants. Vogue 2207 is a loose-fitting jacket:
Just for fun, I’ll close with this Pierre Cardin robe and pajamas, which included a logo appliqué:
With menswear sales catching up with womenswear, perhaps Vogue Patterns will capitalize on this trend by restoring menswear to its designer licensing. I’d be first in line for a Saint Laurent pattern…
Happy Father’s Day!