Today is World No Tobacco Day. Here’s a look at a Virginia Slims ad that ran in Vogue Patterns magazine.
The mid-’70s ad—with the famous You’ve come a long way, baby slogan—contrasts the fashionable, contemporary Cheryl Tiegs with the Edwardian “Mrs. Florine Knauff,” caught smoking during a fox hunt. Along the lower left-hand side, the caption reads, Fashions: Vogue Patterns.
Doesn’t Tiegs’ green dress look a lot like Emanuel Ungaro’s goddess gown?
The popular design was reissued in 2001 (as V7521).
A handful of ’70s Virginia Slims ads credit Vogue Patterns, most notably this Yves Saint Laurent couture pyjama, as worn by Beverly Johnson:
There were even promotional Virginia Slims sewing kits. This one contains FDR-made upholstery needles:
Click the Beverly Johnson ad to learn more about SRITA, Stanford’s tobacco advertising project.
Yves Saint Laurent’s Chinese tunic got a lot of exposure during the 1979-80 holiday season. The cover of Vogue’s January 1980 retail catalogue also shows a version of this shot. (See Make Mine Vogue.) The pattern is Vogue 2337.
The early ’90s are back—and so are sarouel, or harem pants. Here’s a look at vintage patterns for this distinctive trouser style.
Like caftans, sarouel originated in ancient Persia. Persian sirwāl became Turkish şalvar, entering the Western fashion vocabulary via Ottoman culture and the early modern vogue for turquerie.
Şalvar were introduced to Western women’s clothing in the 19th century as part of the Rational Dress movement: Amelia Bloomer conceived her eponymous trousers as “Turkish pants.” (On cycling bloomers see Jonathan Walford, The 1890s Bicycle Bloomer Brouhaha.) Couturier Paul Poiret is usually credited with making “harem” pants fashionable in the period before World War 1.
In the mid-’60s, harem pants enjoyed renewed popularity as glam loungewear. (I Dream of Jeannie started airing in September, 1965.) This Vogue pyjama with matching, dolman-sleeved overblouse has a cuffed trouser option:
Pucci’s interest in harem pants predates the jewelled version at the top of this post: a short, blue harem ensemble was part of his 1965 Braniff flight attendant uniform. These high-waisted palazzo pyjamas also have a cuffed, harem option, as worn by Editha Dussler:
Anne de Zogheb modelled these Pucci harem pyjamas, which feature an intriguing self-lined skirt with side openings:
Bouffant knickers are a variation on the harem pant. This gold brocade, coat-and-knickers ensemble from Yves Saint Laurent’s Winter 1970 haute couture collection evokes the hippie trail. The model is Viviane Fauny:
From 1976, this Kenzo pattern includes a cuffed harem pant option. (A copy is available in the shop.)
Hot pink harem pants catch the eye on this Very Easy Vogue pattern, which also includes palazzo pants and a maxi skirt:
This gold satin pair, from Krizia, has no side seams:
In the early ’80s, the dropped-crotch, Zouave style of harem pant came to the fore. This Simplicity pattern includes Zouave pants in two lengths:
The trousers in this Versace ensemble evoke the harem silhouette, with draped volume tapering to a fitted ankle (see my Versace post for more photos):
Very Easy Very Vogue got on the dropped crotch bandwagon with three styles of Zouave pants—view C with side drape:
By the early ’90s, hip-hop musician MC Hammer had made so great an impact on popular culture that his characteristic trousers were known as “hammer pants.” Simplicity’s official MC Hammer unisex pants pattern came with not one but two iron-on transfers. (See envelope back here. There was even a doll clothes pattern for the MC Hammer action figure.) Drop-crotch pants could also be found as Butterick Classics and a unisex costume pattern.
Issey Miyake designed these lowest of the low dropped-crotch pants, as worn by Phina Oruche:
Recent patterns heralding the return of the sarouel include McCall’s 5858, Kwik Sew 3701, and the unisex Burda 7546. If the trend continues, perhaps we’ll see a pattern for Rachel Comey’s Pollock trouser…
Will you be watching the Oscars on Sunday? Here’s a roundup of my posts on red carpet dressing.
Hervé L. Leroux for Guy Laroche – Hilary Swank chose her Oscars gown from Leroux’s debut collection for Laroche. Vogue Patterns released two designs from this collection: cocktail dress V2899 and a backless evening pantsuit. (Bonus: check out this red Laroche gown on 1stdibs.)
Damian Yee for Guy Laroche – Leroux’s successor at Laroche has two evening designs with Vogue Patterns, including this gown from the house’s Jubilee collection.
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:
Similar Donna Karan dresses opened a British Vogue editorial shot by Mario Testino at Bolton Abbey, Derbyshire (headpieces by Slim Barrett):
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 Gothexhibition 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?
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:
In a 1977 Vogue Patterns editorial in Vogue magazine, the young Iman wears a top (Vogue 9798) and drawstring pants (Vogue 9493) with a Liberty-print sarong:
Iman also appears with Karen Bjornson in a Vogue Patterns blouse editorial by Patrick Demarchelier from summer, 1979. Here she wears Vogue 7413 (with Bjornson in Vogue 2185 by Renata):
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.
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: