December 17, 2014 § 9 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!
May 12, 2014 § 6 Comments
(A late Mother’s Day post since I was under the weather yesterday.)
In honour of Mother’s Day, this models post is devoted to a mother and daughter who both modelled for designer sewing patterns: Nena von Schlebrügge and Uma Thurman.
Nena von Schlebrügge (b. 1941) was born in Mexico City to German-Swedish parents who had fled Nazi Germany. In 1957, two years after she was discovered by Norman Parkinson, she moved from her native Stockholm to London to pursue modelling, later moving to New York to sign with Eileen Ford.
Nena von Schlebrügge appears on a number of Vogue Pattern Book covers and Vogue patterns from the late 1950s and early 1960s.
Here she models one of Vogue’s first Dior patterns by Yves Saint Laurent—Vogue 1472, a skirt suit and full coat with big, shaped collar:
Von Schlebrügge can also be seen on Vogue 1484 by Madame Grès, a 3-piece ensemble that includes a voluminous coat with three-quarter sleeves, loose back panel, and elegant contrast lapels and lining:
Uma Thurman (b. 1970) is the daughter of Nena von Schlebrügge and her second husband, Robert Thurman. Born and raised in Massachusetts, Uma Thurman dropped out of her prep school there to pursue acting in New York City, where she worked as a fashion model before landing her breakout roles in Stephen Frears’ Dangerous Liaisons (1988) and Terry Gilliam’s The Adventures of Baron Munchausen (1988).
Here Thurman wears Simplicity 8054, a wrap dress with halter back and capelet sleeves, in classic red:
Here she models a pure ’80s LBD with big shoulders and flutter sleeves, Simplicity 8055:
Nena von Schlebrügge later became a psychotherapist and director of Tibet House and the Menla Center; Uma Thurman is an Academy Award nominee for her role in Pulp Fiction (1994). Thurman’s presence is already evident in her Simplicity patterns. Isn’t the family resemblance striking?
June 12, 2013 § 6 Comments
Vintage bridal patterns offer a unique alternative to modern bridal designs. Even if you’re already married, they provide a glimpse into past bridal fashions’ sometimes exotic vintage details—making them tempting even for those not in need of a wedding dress. (Can we expect Debi Fry to make her 1940 bridal pattern, McCall 4004?)
Now that wedding season is in full swing, here’s a selection of vintage bridal patterns, from the Twenties to the Eighties.
In the Twenties and Thirties, bridal patterns usually did double duty as patterns for formal dresses. This 1920s Peerless Patterns sign features a wedding illustration promoting a number of patterns:
This fantastic bridal or evening dress is short, in keeping with the current fashion, and may have one or two extended side panels that give the effect of a train:
Thirties bridal patterns have the same glamour we associate with the decade’s evening wear. This pattern for a bridal gown or dinner dress dates to circa June 1934:
A reproduction version of this pattern for a bridal gown or afternoon dress is available from the Vintage Pattern Lending Library:
A copy of McCall 8331 recently seen on eBay was accompanied by this wedding portrait, which shows the dress made up:
In the Forties the bride begins to take centre stage on pattern envelopes, although evening and bridesmaid versions are still included. This bridal or evening dress was reissued in the Vintage Vogue line as Vogue 2384:
This strong-shouldered, postwar design has a sweetheart neckline and waist piping detail. The pattern also includes a bridesmaid’s dress with short, shirred sleeves (click image for the technical drawings):
By the 1950s the bride, in her full-skirted glory, dominates the pattern envelope. This Jacques Fath design for a bride’s or bridesmaid’s dress has a bustled back and tiny shawl collar. The bridesmaid’s version simply lacks a train:
John Cavanagh was known for his connection to the English court. He licensed several bridal patterns with Vogue, and designed the Duchess of Kent’s wedding dress in 1961. (See my earlier post here.) This short-sleeved Cavanagh design has a simulated train; the smaller figures show bridesmaid’s and evening versions:
Also by John Cavanagh, this 1960s bridal design with a cathedral-length Watteau train was modelled by Jean Shrimpton:
No bridal pattern survey could be complete without this Halston pattern for bridal headpieces:
From the early 1970s, this Pierre Cardin bridal gown, shown in a silk knit, has an optional overskirt with handkerchief train:
Although it isn’t for everyone, Yves Saint Laurent’s couture bridal design for a gathered, bias dress, filmy coat, and five-yard veil distinguishes itself by showing the bride as wayward Vestal virgin (see Paco Peralta’s post here):
Released in 1980, this opulent Dior design for a bell-skirted bridal gown, complete with bias necktie, cummerbund, and bow-embellished headpiece, is drawn from the Christian Dior Haute Couture collection for Fall 1979 (read Dustin’s post here):
Perfect for steampunk weddings, Vogue 2180 by Bellville Sassoon has an elaborate bustle that gives it a neo-Victorian flair:
February 20, 2013 § 16 Comments
Oscar season is upon us, and that means goddess gowns. Goddess gowns usually share elements of classical drapery and the simple construction of the toga and chiton. Here’s a selection of patterns for Greco-Roman-inspired evening wear.
This 1920s evening dress from the House of Worth features elegant back drapery, with a beaded appliqué holding more drapery at the left hip:
The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:
This late 1940s one-shouldered evening dress has a long panel that can be worn belted in the back or wrapped around the bared shoulder:
Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:
This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:
This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):
Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:
This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:
Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:
(From the Spring 2007 Laroche collection, the pattern is
still in print now out of print.)
September 25, 2012 § 8 Comments
The cape trend of the last two years shows no sign of abating. (Read a Fashionising post about the trend here.) In terms of sewing patterns, Donna Karan’s V2924 was ahead of the trend (see Erica B’s version here) and this fall we have V1322 by DKNY. Paco Peralta has several cape designs available including the sculptural Funghi. In vintage reissues, Butterick has re-released some vintage cape patterns in their Retro line: B6329 (from 1935) and B6411 (a reissue of Butterick 4570 from 1948).
I often find myself reaching for the vintage version of a current trend, and I’ll have a cape project to share with you soon. While looking for the right pattern, I was struck by the variety of cape designs over the decades. Here’s a selection of vintage cape patterns from the Twenties to the Eighties.
Two 1920s patterns in my collection have capes with interesting details. This mid-Twenties pattern for a dress by Renée also includes a cape with button/strap closure:
And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):
The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:
Sewing bloggers’ 1930s capes show how contemporary these vintage outerwear styles can look today. Debi’s mid-Thirties cape pattern has a similar look to the ensemble illustrated above, but with a false front creating the illusion of a matching jacket. Click the image to see her finished version:
The fashion for capes continued into the Forties. The decade’s strong-shouldered silhouette is visible in these two cape patterns from my collection. The first, from the early ’40s, has a pronounced, boxy shape and optional broad stand-up collar:
The second cape shades into New Look sleekness, with a narrower collar and lower hemline:
In the Fifties, capes showed a de-emphasis on the shoulders and a fullness that carries over to the early ’60s. Vogue 1089 by Robert Piguet is actually from 1949; I thought it might really be a capelet, but the envelope description calls it a “flared cape with diagonal double-breasted closing below soft shaped collar”:
Here’s an illustration of the Piguet ensemble by Bernard Blossac:
This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:
The Sixties were another good decade for capes. On this Vogue Pattern Book cover, Wilhelmina Cooper exemplifies the “thoroughbred look” of Fall 1963 in a tailored yellow cape:
This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:
Astrid Heeren models this fabulous mod cape by Pierre Cardin:
This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:
As the Seventies progressed, capes generally kept their collars, but gained a new fluidity. This mid-Seventies Halston “poncho-cape” has a collar and button front, but is reversible:
This late ’70s Chloé design by Karl Lagerfeld, featuring Jerry Hall, includes a three-quarter length, circular cape with pointed bias collar. The cape gets its strong shoulders from an inside button and tab at each shoulder:
In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:
Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?