Last year I made my own wedding dress using an Yves Saint Laurent pattern. Vogue Patterns magazine recently published a photo:

Vogue Patterns, June/July 2011. Photo: Jon Thorpe.

(Hat by Emilliner by Emily Clark. Read her fabulous millinery blog here.)

A similar shot won our photographer Jon Thorpe an ISPWP award for Best Bridal Party Portrait. (Congrats, Jon!) Our wedding was also featured on The Wedding Co. blog in June. But you’re here about the dress…

I didn’t set out to make my own wedding dress; I had been looking into custom work or something off the rack. When both of these options fell through I decided to make up a pattern in my stash, Vogue 1894 by Yves Saint Laurent:

Vogue 1894 by Yves Saint Laurent (1996) Evening or cocktail dress

Technical drawing for Vogue 1894

Here’s the envelope description: Misses’ Dress: Close-fitting, slightly A-line or slightly flared, lined dress, above mid-knee or floor length, has bust pads, foundation with inside belt, front slit and side zipper. Recommended fabrics: velvet, wool crepe, silk-like crepe. Unsuitable for obvious plaids.

**Update: The Vogue 1894 design is from Yves Saint Laurent’s Fall/Winter 1996-97 ready-to-wear collection—you can see a runway photo here (Corbis photo here).

Our friend, fashion designer and bespoke tailor Ray Wong of RayW, was making my wife’s dress. She wanted a wool tartan for it, so the three of us spent a Saturday afternoon browsing swatch books at two of the Toronto area’s Scottish shops, Cairngorm Scottish Imports and The Scottish Company. At The Scottish Company one of the mannequins caught our eye: it was wearing a kilt of grey tartan which the friendly staff told us came from a mill named House of Edgar. Among the loose swatches they brought out was a black-on-black tartan called Dark Island. Here’s a photo of the Dark Island fabric:

Black Dark Island tartan by House of Edgar. Image via mackenziefrain.com.

A tone-on-tone tartan like Dark Island is known as a ‘shadow’ tartan or solid sett tartan. (‘Sett’ refers to the pattern of a tartan.) The production process for Dark Island is really interesting: according to the Scottish Tartans Authority page for this tartan, “An ecru (white) yarn has been woven on a Jacquard loom with the sett being formed by stitches other than 2/2 twill and then the finished fabric has been piece-dyed black. The sett is highlighted because of the differing light reflecting qualities of the stitches.”

Despite my pattern’s warning about the unsuitability of plaids, I couldn’t think of a better choice, and we decided to order House of Edgar fabric for both our wedding dresses. Unfortunately I couldn’t find anyone in Canada who actually maintained stock of House of Edgar fabric. After corresponding with a number of merchants, including Kitchener’s Keltoi Gaelic Clothing and Jacobite re-enactment suppliers Mackenzie Frain, the most economical option proved to be ordering direct (through the House of Edgar retail site, tartankilts.com). Soon we had a courier package from Perth, Scotland containing several kilograms of wool fabric.

I’ll say right now that any credit for the fit must go to Ray, who very generously finished my dress for me at the last minute. I made a muslin in a size 12 (which should have been my bust size) but it was just enormous; I think I must have gone down a size or two for the final version. The foundation was a lot closer to the right fit. I got as far as having all the separate elements—dress, lining, and foundation—ready before I handed everything over to Ray, who handled the dress’ final assembly and hemming the day before the ceremony. (Eternal thanks, Ray!)

I read everything I could find on tartan matching before daring to cut into my Dark Island fabric. I ended up using a technique I first learned of from the Selfish Seamstress (read her blog post here): cutting one set of pieces from a single layer of fabric, then flipping the pieces and using them to cut out the second set. The dress is underlined with silk lining from King Textiles, which gave each piece a luscious drape. To match a tartan perfectly at the seams, The Vogue Sewing Book recommends a basting technique called slip basting… but I just crossed my fingers and basted very carefully before doing the machine sewing. I’m really happy with the results.

House of Edgar tartan swatches and the Vogue Sewing Book (1970).

The pattern called for a boned foundation with inside belt and bust pads. This meant I needed spiral steel boning and boning tips, wire cutters, and pliers to fit the tips to the boning. (I got my boning and tips from Leather & Sewing Supply Depot Ltd. in Toronto’s garment district.) I found the boning didn’t handle well with the wire cutters and ended up using our bolt cutters instead. I love the mini-arsenal of hardware and tools that goes into making this kind of evening wear.

The foundation is basically an inner bustier consisting of two layers of lining, an extra-long side zipper, and boning inserted into ribbon casings. The inside belt is an attached length of grosgrain ribbon that fastens on the side with hooks and eyes. The bust pads were sewn from layers of fleece machine-sewn together, then encased by hand in lining fabric. Here’s a photo of the finished underpinnings:

Foundation with inside belt and bust pads, Vogue 1894.

Without further ado, I’ll close with some wedding photos showing the finished dress. Here’s a closeup of those bodice points:

Finished bodice, Vogue 1894. Photo: Jon Thorpe.

Despite the front slit, the weight of the dress meant it tended not to show my shoes, so our photographer kept asking me to flash them:

Wedding shoes revealed! (Camilla Skovgaard shoes.) Photo: Jon Thorpe.

This shot shows the tartan matching best, as well as Ray’s fantastic dress for my wife, Naomi:

Left: Vogue 1894; right: dress by Ray Wong. Photo: Jon Thorpe.

Finally, here’s a shot from the ceremony showing the dress at rest:

Photo: Jon Thorpe.

From McCall’s 4046 by Halston (1974).

This week, some favourite disco patterns!

The term ‘disco’ is a little nebulous. Disco music was popular from the mid-1970s to about 1980. Its huge popularity led to an anti-disco backlash that’s come to be symbolized by Disco Demolition Night, a.k.a. the ‘Disco Riots,’ which took place in the summer of 1979 (see Jo Meek, “Earth, Wind and Pyre,” and Joe Lapointe, “The Night Disco Went Up in Smoke”). Studio 54, the famous New York City nightclub that effectively stands for disco hedonism today, was open from 1977 until 1986. In this slideshow, you can see Andy Warhol partying at the club with Bianca Jagger, Liza Minelli, and Halston, as well as Diana Ross, Deborah Harry, and even a young Tom Ford.

For the purposes of this post, I’m going by my personal definition of disco style: glam evening wear that’s more party girl than society doyenne, all from the mid-’70s to the early ’80s. As I edited down my initial list I found the best designs shared elements like fluid draping and halter necks or one-shouldered bodices. Also, of the seven patterns, three are jumpsuits or give the impression of being a jumpsuit. Here’s my disco patterns best-of, ordered chronologically:

1. Vogue 2870 – Lanvin, 1973. Modelled by Karen Bjornson. Bjornson, who is virtually ubiquitous on later ’70s Vogue Patterns, was Halston’s house model. The (fantastic) photo makes the design look like a jumpsuit, but the pattern is actually for evening separates: palazzo pants with no side seams and a halter top with a wide midriff band that gives a cummerbund effect.

Vogue 2870 by Lanvin (1973) Evening top and pants. Image via the Vintage Patterns Wiki.

2. Vogue 2014 – Givenchy, 1978. Modelled by the young Gia Carangi, the late, queer supermodel who was brought back to the spotlight by the HBO movie Gia starring Angelina Jolie. This gorgeous evening dress has a crisscrossed halter neck and calls for an eighteen-inch tassel down the back. I have this one in my collection and plan to make it sometime in a silk or viscose jersey, but I think I need to learn to make tassels first.

Vogue 2014 by Givenchy (1978). Evening dress for stretch knits. Image via the Vintage Patterns Wiki.

3. Vogue 2173 – Chloé, 1979. No disco collection could be complete without this design by Karl Lagerfeld for Chloé. The one-shouldered evening dress comes with a reversible contrast shawl. I don’t know why, but to me this is the perfect late seventies-early eighties colour combination.

Vogue 2173 by Chloé (1979). Evening dress, tie, and shawl. Image via momspatterns.

4. Vogue 2307 – Givenchy, 1979. Modelled by Tara Shannon. Another beautifully fluid Givenchy design, with the asymmetrical, one-shouldered bodice balanced by draping at the opposite hip. This is another one in my collection; I have a length of deep purple chiffon (originally used in a Hallowe’en costume) that’s just enough to make the cocktail version, but I haven’t yet found the occasion where I could get away with that much purple chiffon.

Vogue 2307 by Givenchy (1979). One-shouldered cocktail or evening dress. Image via the Vintage Patterns Wiki.

5. Vogue 2313 – Yves Saint Laurent, 1979. Modelled by Tara Shannon. A fabulous opera coat and evening dress ensemble with tie-halter and bow bodice. I love the sorbet colours, graphics and over-the-top drama of this pattern.

Vogue 2313 by Yves Saint Laurent (1979). Evening dress and coat. Image via the Vintage Patterns Wiki.

6. Vogue 2375 – Gianni Versace, 1980. Not a true jumpsuit as I thought (thanks, Dustin!) but a halter neck top and pants with tapered legs, side draping and matching jacket. Check out the illustration’s matching sandals and tone-on-tone, contrast satin cummerbund.

Vogue 2375 by Gianni Versace (1980) Jumpsuit and jacket. Image via eBay.

7. Vogue 1014 – Yves Saint Laurent, circa 1982. My notes say this is a top and pleated harem pants but, as the photo shows, it definitely has a jumpsuit effect when made in a single fabric and worn with the top tucked in. It’s interesting to see cuffed and pleated harem pants in the wake of the recent draped harem pants trend. Are we having a disco moment?

Vogue 1014 by Yves Saint Laurent (c. 1982). Top and harem pants. Image via eBay.

Image via Fondation Pierre Bergé-Yves Saint Laurent.

Yves Saint Laurent’s Fall/Winter 1965 collection, inspired by the abstract paintings of Piet Mondrian and Serge Poliakoff, included one of the most iconic garments of the twentieth century: the ‘Mondrian’ dress. David Bailey photographed the multicolour Mondrian dress for the cover of Vogue Paris’ 1965 September issue, and Saint Laurent’s Mondrian designs spawned countless knockoffs, including sewing patterns and knitting patterns. Today, Yves Saint Laurent Mondrian dresses may be viewed in museum collections such as those of New York’s Metropolitan Museum of Art, the Victoria and Albert Museum, and the Los Angeles County Museum of Art. (On the construction of the Mondrian dress and on fashion inspired by modern art, see the posts by Couture Allure and oh mighty!)

Vogue Paris, September 1965. Photo: David Bailey. Image via Rachel Wells on tumblr.

In early 1966, Vogue Patterns introduced Yves Saint Laurent with five pieces from the “Mondrian et Poliakoff” collection. The designs were photographed in mid-century splendour at Knoll International, Paris by Richard Dormer. The first page of the Vogue Pattern Book editorial shows model Merle Lynn standing before a 1954 Florence Knoll lounge chair:

Vogue 1556 by Yves Saint Laurent. Vogue Pattern Book, February/March 1966. Model: Merle Lynn. Photo: Richard Dormer.

Vogue Patterns chose a simple, red-accented Mondrian dress for the highly sought-after Vogue 1557:

Vogue 1557 by Yves Saint Laurent. Vogue Pattern Book, February/March 1966. Photo: Richard Dormer.

The photos of Vogue 1567, a dress and coat, show a 1955 Tulip Chair by Eero Saarinen (hair by Alexandre of Paris):

Vogue 1567 by Yves Saint Laurent. Vogue Pattern Book, February/March 1966. Model: Merle Lynn. Photo: Richard Dormer.

And the last page of the editorial shows what looks like one of Knoll’s signature textile wall panels:

Vogue 1569 and 1571 by Yves Saint Laurent. Vogue Pattern Book, February/March 1966. Photos: Richard Dormer.

The pattern envelopes show different, colour images from Dormer’s shoot. Here is Vogue 1557 (see Paco Peralta’s blog posts here and here for more images):

Vogue 1557 by Yves Saint Laurent (1966) Image via the Vintage Patterns Wiki.

The description reads: One-piece dress. Sleeveless shift has narrow, contrasting inserts around the hem, down center back, and crossing high in front to create a yoke.

Richard Avedon photographed Jean Shrimpton in this Mondrian dress for his final issue at Harper’s Bazaar:

Harper's Bazaar, October 1965. Model: Jean Shrimpton. Photo: Richard Avedon. Image via 'jean shrimpton' on tumblr.

Irving Penn photographed Veruschka in the same dress for Vogue U.K. (via Magdorable; see her recent post for more photos):

Vogue U.K., September 1965. Model: Veruschka. Photo: Irving Penn.

You can see a photo of Veronica Hamel in the same dress here. (Thanks to Paco Peralta for alerting me to these last two images.)

The Vogue 1567 envelope gives a better view of the Tulip Chair:

Vogue 1567 by Yves Saint Laurent (1966) Image via the Vintage Patterns Wiki.

Here’s the description: One-Piece Dress and Coat. High-waisted dress has contrasting bodice with high band collar, a button-trimmed inset, and sleeve banding to match gathered skirt. Self belt. Long sleeved, double-breasted coat with yoke seam has wide, button-trimmed belt and pockets in seams. Trim stitching.

And the bold teal of the wall panel may be seen on Vogue 1569 (I haven’t been able to find a pattern image for the fifth pattern, Vogue 1571):

Vogue 1569 by Yves Saint Laurent (1966) Image via the Vintage Patterns Wiki.

The description reads: Suit and Blouse. Long sleeved, slightly fitted jacket has wide hem band and optional purchased or self belt. Trim stitching. Tuck-in blouse has high shaped neckline, squared-off armholes, and welt pockets. Gathered skirt has pockets in seams and optional purchased or self belt.

Vogue 1557 and 1569 were both featured on the cover of the Vogue Patterns counter catalogue (photos via eBay):

Illustrations of Vogue 1557 were also commissioned for the monthly Vogue Pattern Fashion News (more illustration scans posted by Damn Good Vintage—click the image for the post):

Vogue Pattern Fashion News, February 1966. Image via the Vintage Goddess blog.

Although Yves Saint Laurent’s Mondrian collection was inspired by modern art, Vogue Patterns’ editorial at Knoll situates pieces from the collection in the context of modern design. The editorial is interesting, both for how it frames the designer’s garments and how it ignores his celebrity. The designer’s name is prominent on the news booklet and first counter catalogue—arguably more overtly promotional publications. But the name Yves Saint Laurent is not included on the magazine’s cover or even mentioned in the Editor’s letter; there’s no photo, no bio like those we see in later decades. The emphasis is firmly on the designs and their place in contemporary visual culture.

Next: My version of Vogue 1556.

I love finding pattern designs in ad campaigns. Vogue 1016 by Yves Saint Laurent is a long-sleeved, full-skirted formal dress with a dramatic décolletage and optional stretch-lace camisole:

Vogue 1016 by Yves Saint Laurent (1992) Dress and camisole. Image via PatternVault on Etsy.

The news from Paris that season was lower hemlines, with pleated skirts and tartans at Yves Saint Laurent Rive Gauche. (See Bernadine Morris, “Review/Fashion; New Tricolor in Paris: Stars and Stripes.”)

The late, great Helmut Newton photographed the Vogue 1016 dress for the Rive Gauche Fall 1991 advertising campaign:

Yves Saint Laurent Rive Gauche Fall 1991 campaign. Photo: Helmut Newton. Image via jalougallery.com.

(You can see more campaign photos in the August 1991 issue of L’Officiel—scroll about one-third down. Further 1991 campaign images by Newton may be seen in Paper Pursuits’ archive.)

Newton’s photograph shows a woman standing in the well-appointed bathroom of a Parisian hotel. (Another campaign photo shows Karen Mulder in the parking garage.) She wears the long-sleeved version of Vogue 1016, sans cami and done up in black Bucol silk. The dress is worn with big, dramatic accessories: a collar, ear clips, and a pair of gold (!) booties. On a shelf before the mirrors are two glasses of red wine; written in lipstick on one mirror is the message ‘ADIEU ET MERCI, SUSAN.’ Although the model’s elaborately coiffed head is turned away from the camera, she looks back out at us from the inscribed mirror.

The photo’s grand hotel setting and atmosphere of bad-girl mischief are pure Helmut Newton. (On the photographer and his work see Lindsay Baker, “Helmut Newton: A Perverse Romantic.”) Some might relegate its subject, the Vogue 1016 dress, to a period of post-Eighties decadence, but the interplay between photographer and designer is interesting. The two had a long-standing professional relationship, and Anna Wintour, quoted in Helmut Newton’s WWD obituary, hints that Newton’s photos of Yves Saint Laurent’s work could be as influential as the work itself. Does Newton’s photograph colour our view of Vogue 1016?

Vogue 1556 by Yves Saint Laurent (1966) Model: Merle Lynn. Photo: Richard Dormer. Image via the Vintage Patterns Wiki.

Vogue 1556, a shift dress by Yves Saint Laurent, is a design from the Fall 1965 ‘Mondrian’ collection. (See my post on the Mondrian collection patterns here.) Of the five designs Richard Dormer photographed for the February/March 1966 issue of Vogue Pattern Book, Vogue 1556 is the only one shown in colour, showing off the Florence Knoll chair in the background. When I found a copy of the pattern in my size, it went to the top of my to-sew list.

The envelope description reads: One-piece dress. Shift dress with wide contrasting yoke and hem band has long sleeves slightly gathered into contrasting band cuffs. The original was made in four-ply silk crêpe from Onondaga.

The dress can be made in cocktail or evening length. I decided to make the cocktail-length version illustrated on the envelope back, a monochrome dress with sequin contrast:

Vogue 1556 (1966) Illustration from envelope back.

I found a black wool crêpe and Bemberg lining at Designer Fabrics, and some fabulous square-sequinned fabric on sale at Fabricland. The pattern went together like a dream. The only adjustment I made was to let the hips out a bit and widen the hem band accordingly. Luckily the hem and sleeves were just the right length without any adjustment. Underlining gives the dress that typical Sixties weight; I also used the Bemberg lining to underline the sequin fabric, but I think it could have benefited from something a little heavier.

The dress fastens in the back with two separate closures: a lapped zipper for the body of the dress and buttons or snaps for the yoke. I had a lot of fun putting in my first lapped zipper. The pattern gives special instructions for the sequinned version of the dress: snaps for the upper back instead of buttons. I recommend using sturdy snaps—the light ones I used are prone to popping open.

As special fabrics go, sequins are fairly high-maintenance. The sequins needed to be removed from all seam allowances and their attaching threads caught by the stitching. This could be challenging when hand-sewing the backs of the contrast bands, but the results are worth it, I think.

Readers of We Sew Retro may have seen the photos of Vogue 1556 that Naomi took for my interview back in December. Since the original Vogue Pattern Book Yves Saint Laurent editorial was shot in the Knoll showroom in Paris, I arranged to photograph my Vogue 1556 dress in Knoll’s Toronto showroom. The new showroom is in a converted warehouse in Liberty Village (more details on the LEED-certified space here). It was a pleasure to spend a winter afternoon in their industrial space full of Knoll textiles and furniture:

On a wall near the entrance is a quote from Florence Knoll on architecture and interior design (I’m sitting on an Eero Saarinen Womb chair):

We couldn’t leave without photographing the dress beside a Florence Knoll lounge chair:

We took too many photos of Knoll chairs to include here, but here’s just one more:

We loved this textiles display featuring upholstered dots:

This last photo was taken by the showroom entrance:

A big thank you to the Knoll staff for welcoming us into their showroom. Special thanks to photographer and friend Rachel O’Neill for her fantastic work.

Originator 299 (c. 1952) Image via the Vintage Patterns Wiki.

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.

1920s

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:

McCall 4134 by Renée (1925)

And I still love the pointed yoke of this Miler Soeurs cape (see my grey version here):

McCall 4459 by Miler Soeurs (1926)

1930s

The Thirties were a good decade for capes. This 1936 copy of McCall Style News shows a matching cape and dress ensemble:

McCall Style News, February 1936. Image via Etsy.

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:

McCall 8501 (1935) Image via My happy sewing place.

Puu’s late ’30s cape has a high-collared yoke, arm slits, and rounded, gathered shoulders (click the image for her construction post and see the finished version here):

Simplicity 2522 (c. 1938) Image via puu’s door of time.

1940s

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:

McCall 4134 (1941)

The second cape shades into New Look sleekness, with a narrower collar and lower hemline:

McCall 7179 (1948)

1950s

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”:

Vogue 1089 by Robert Piguet (1949) Image via the Vintage Patterns Wiki.

Here’s an illustration of the Piguet ensemble by Bernard Blossac:

Bernard Blossac illustration of a cape and dress by Robert Piguet, 1949. Image via Hprints.

This mid-Fifties cape by Jacques Fath has big, buttoned cuffs at the arm vents. The shaped collar is part of the suit underneath:

Vogue 1358 by Jacques Fath (1956) Image via the Vintage Patterns Wiki.

1960s

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:

Vogue Pattern Book, October/November 1963. Model: Wilhelmina Cooper. Image via flickr.

This elegant cape by Nina Ricci has a wide shawl collar and is shaped by released inverted darts. The model is Maggie Eckhardt:

Vogue 1217 by Nina Ricci (1963) Image via Etsy.

Astrid Heeren models this fabulous mod cape by Pierre Cardin:

Vogue 1722 by Pierre Cardin (1967) Image via the Vintage Patterns Wiki.

This late ’60s design by Pucci is modelled by Birgitta af Klercker and was photographed in Rome at La Cisterna:

Vogue 2231 by Pucci (1969) Image via Etsy.

1970s

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:

McCall’s 3966 by Halston (1974) Image via the Vintage Patterns Wiki.

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:

Vogue 2020 by Chloé (1978) Image via PatternVault on Etsy.

1980s

In the Eighties, fluidity gained the upper hand, as seen in these full, collarless, and unstructured capes by Yves Saint Laurent:

Vogue 2790 by Yves Saint Laurent (c. 1982) Model: Terri May.

Vogue 2163 by Yves Saint Laurent (1988) Image via Etsy.

Would you wear a vintage cape, or do you prefer the cape’s more recent incarnations?

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:

McCall 4854 by Worth (1927) Evening dress.

The illustration for this 1930s Lanvin ‘scarf frock’ plays up the classical mood with a fluted pedestal and ferns:

McCall 8591 by Lanvin (1936) McCall Style News, January 1936. Image via eBay.

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:

McCall 7862 (1949) Evening dress.

Toga-like drapery distinguishes these short, Sixties evening dresses by Pauline Trigère and Jacques Heim:

McCall’s 6599 by Pauline Trigère (1962)

Vogue 1333 by Jacques Heim (1964) Image via the Blue Gardenia.

This late ’60s Yves Saint Laurent evening dress has a classical simplicity, with the bodice gathered into a boned collar:

Vogue 2093 by Yves Saint Laurent (1969) Image via the Vintage Patterns Wiki.

This Pucci loungewear has culottes on the bottom, but still has that ‘goddess’ flavour (modelled by Birgitta Af Klercker):

Vogue 2249 by Pucci (1969) Image via the Vintage Patterns Wiki.

Angeleen Gagliano models this mid-Seventies Lanvin evening dress and toga:

Vogue 1147 by Lanvin (1975) Image via the Vintage Patterns Wiki.

This Pierre Balmain evening ensemble, modelled by Jerry Hall, shows a more literal interpretation of classical dress:

Vogue 2015 by Pierre Balmain (1979) Image via the Vintage Patterns Wiki.

Finally, this jersey gown with beaded waistband, from Guy Laroche by Damian Yee, is an example of the recent trend for goddess gowns:

Vogue V1047 by Guy Laroche (2008) Evening dress.

(From the Spring 2007 Laroche collection, the pattern is still in print.)

“Goddess” was the theme of the 2003 Costume Institute exhibit; the catalogue, Goddess: The Classical Mode (Yale UP, 2003) is still available.

McCall 9284 illustration by Blanche Rothschild, ca. June 1937. Image via PatternVault on Etsy.

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.

1920s

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:

1920s Peerless Patterns advertising poster. Image via PatternVault on Etsy.

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:

McCall 4985 (1927) Image via the Commercial Pattern Archive, Kevin L. Seligman collection. For research purposes only.

1930s

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:

McCall 7852 (1934) Image via Etsy.

A reproduction version of this pattern for a bridal gown or afternoon dress is available from the Vintage Pattern Lending Library:

McCall 8331 (1935) Bridal gown or afternoon dress.

A copy of McCall 8331 recently seen on eBay was accompanied by this wedding portrait, which shows the dress made up:

1930s wedding portrait from a San Francisco estate. Image via eBay.

1940s

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:

Vogue S-4532 (1944) Image via the Vintage Patterns Wiki.

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):

McCall 6353 (1946) Image via Etsy.

1950s

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:

Vogue 1331 by Jacques Fath (1956) Image via carbonated on flickr.

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:

Vogue 148 by John Cavanagh (1958) Image via VADS.

1960s

Also by John Cavanagh, this 1960s bridal design with a cathedral-length Watteau train was modelled by Jean Shrimpton:

Vogue 1347 by John Cavanagh (1964) Image via the Vintage Patterns Wiki.

No bridal pattern survey could be complete without this Halston pattern for bridal headpieces:

Vogue 7082 by Halston of Bergdorf Goodman (c. 1965) Image via eBay.

1970s

From the early 1970s, this Pierre Cardin bridal gown, shown in a silk knit, has an optional overskirt with handkerchief train:

Vogue 2520 by Pierre Cardin (1971) Image via eBay.

Illustration and technical drawing for Vogue 2520. Image via eBay.

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):

Vogue 1590 by Yves Saint Laurent (c. 1976) Image via Patrones Costura on Etsy.

1980s

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):

Vogue 2545 by Christian Dior (1980) Image via PatternVault on Etsy.

Perfect for steampunk weddings, Vogue 2180 by Bellville Sassoon has an elaborate bustle that gives it a neo-Victorian flair:

Vogue 2180 by Bellville Sassoon (1989) Image via eBay.

For more on the history of bridal fashion, see the V&A Weddings page and Edwina Ehrman’s The Wedding Dress: 300 Years of Bridal Fashions (V&A, 2011).

Nena von Schlebrügge on the cover of Vogue Pattern Book, Autumn 1960. Image via eBay.

(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, first test shots, Stockholm, 1955. Photo: Norman Parkinson. Image via artnet.

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:

Vogue 1472 by Yves Saint Laurent for Christian Dior (1959). Image via the Vintage Patterns Wiki.

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:

Vogue 1484 by Grès (1960) Image via the Vintage Patterns Wiki.

Detail of Vogue 1484 by Grès (1960) Image via Etsy.

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).

British Vogue, December 1985. Photo: Patrick Demarchelier. Image via Vogue UK.

Uma Thurman is featured on a handful of 1980s Simplicity patterns, including two by Cathy Hardwick. (These may date to Tom Ford’s time at the company.)

Here Thurman wears Simplicity 8054, a wrap dress with halter back and capelet sleeves, in classic red:

Simplicity 8054 by Cathy Hardwick (1986) Image via Etsy.

Here she models a pure ’80s LBD with big shoulders and flutter sleeves, Simplicity 8055:

Simplicity 8055 by Cathy Hardwick (1987) Image via Etsy.

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?

Vogue 2917 by Bill Blass (1973) Image via the Vintage Patterns Wiki.

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.

1970s

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:

Vogue 2918 by Pierre Cardin (1973) Image via Etsy.

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:

Vogue 1180 by Valentino (1975) Image via the Vintage Patterns Wiki.

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:

Vogue 1237 and 1238 by Polo Ralph Lauren in Vogue Patterns, May/June 1975. Photos: Steve Horn. Image via Make Mine Vogue.

Also by Polo Ralph Lauren, Vogue 1581 is a double-breasted trench coat with detachable lining:

Vogue 1581 by Polo by Ralph Lauren (c. 1977) Image via Art Fashion Creation.

This Christian Dior shirt-jacket and pants is the only men’s Dior pattern I’ve seen:

Vogue 1609 by Christian Dior (c. 1977) Image via the Vintage Patterns Wiki.

This snappy three-piece suit is by Bill Blass:

Vogue 1620 by Bill Blass (1977) Image via patronescostura on Etsy.

There were two menswear patterns by Yves Saint Laurent: safari suits photographed by Chris von Wangenheim (see Paco’s related post here):

Vogue 1645 and 1644 by Yves Saint Laurent in Vogue Patterns, March/April 1977. Photos: Chris von Wangenheim. Image via Paco Peralta.

Givenchy licensed a trim three-piece suit, Vogue 2112:

Vogue 2112 by Givenchy (1979) Image via PatternVault on Etsy.

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:

Vogue 2256 by Calvin Klein (1979) Image via Etsy.

1980s

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:

Vogue 2586 by Bill Blass (1980) Image via Etsy.

In 1988 Vogue released three menswear patterns by Perry Ellis, for a jacket, shirt, and pants. Vogue 2207 is a loose-fitting jacket:

Vogue 2207 by Perry Ellis (1988) Image via the Vintage Patterns Wiki.

Just for fun, I’ll close with this Pierre Cardin robe and pajamas, which included a logo appliqué:

Vogue 2798 by Pierre Cardin (c. 1972) Image via Etsy.

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!

Vogue Italia, February 1990. Photo: Steven Meisel. Image via Bellazon.

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.)

Harper’s Bazaar, March 1997. Photo: Patrick Demarchelier. Image via Top Models of the World.

Some of Evangelista’s early work can be seen in 1980s Vogue patterns and Burda magazine.

1980s

The young Evangelista made the cover of the Spring/Summer 1985 issue of Burda international:

Burda international, Spring/Summer 1985. Image via flickr.

She also starred in a jazz club-themed Burda editorial shot by Günter Feuerbacher (click the image for more):

Linda Evangelista in Burda international, Spring/Summer 1985. Photo: Günter Feuerbacher. Image via Magdorable!

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:

Vogue 1799 by Emanuel Ungaro (1986) Image via the Vintage Patterns Wiki.

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:

Vogue 1720 by Yves Saint Laurent (1986) Image via Paco Peralta.

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:

Vogue 1721 by Nina Ricci (1986) Image via Etsy.

This editorial photo from the Autumn 1986 issue of Vogue Patterns magazine best conveys the different colours:

Linda Evangelista wears Vogue 1721 by Nina Ricci, Vogue Patterns, Autumn 1986. Image via Magdorable!

Evangelista also appeared on the cover of the July/August 1987 issue of Vogue Patterns:

Vogue Patterns, July/August 1987. Image via tumblr.

1990s

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):

Vogue 1862 by Yves Saint Laurent (1996). Image via Etsy.

Evangelista brings out the drama of this Yves Saint Laurent Cossack-style coat, Vogue 1652:

Vogue 1652 by Yves Saint Laurent (1995) Image via Paco Peralta.

Happy Canada Day, everyone!

Detail of Vogue 1471 by Yves Saint Laurent for Christian Dior, Vogue, January 1, 1960. Photo: Leombruno-Bodi.

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:

Richard Avedon, Dovima with Elephants, Evening Dress by Dior, Cirque d’Hiver, Paris, 1955, and sketch by Yves Saint Laurent.

(Images via Enticing the Light and Encore! Life.)

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:

Christian Dior trapeze dress on the cover of L’Officiel, March 1958. Illustration: René Gruau. Image via jalougallery.com.

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.

Christian Dior label, automne-hiver 1959. Image via the Metropolitan Museum of Art.

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):

Vogue Printed Pattern News, December 15, 1959. Illustration: Esther Larson.

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:

Dior patterns in Vogue Pattern Book, December 1959-January 1960. Illustrations: Esther Larson. Image via Make Mine Vogue.

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:

Vogue patterns from designs by Dior, Vogue, January 1, 1960. Photos: Leombruno-Bodi.

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):

Nora O’Leary, “Christian Dior: Yours for the Making,” Ladies’ Home Journal, January 1960. Photos: Leombruno-Bodi. Image via the Internet Archive.

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:

Vogue 1470 by Yves Saint Laurent for Christian Dior (1959) Dress and jacket.

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:

Vogue 1471 by Yves Saint Laurent for Christian Dior (1959) Image via Make Mine Vogue.

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:

Vogue 1472 by Yves Saint Laurent for Christian Dior (1959) Image via the Vintage Patterns Wiki.

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”:

Vogue 1472 in Vogue Pattern Book, February/March 1960. Image via eBay.

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:

Vogue 1012 by Yves Saint Laurent for Christian Dior (1960) Image via the Vintage Patterns Wiki.

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:

Christian Dior’s pared-down suit, L’Officiel, April 1960. Photo: Philippe Pottier. Image via jalougallery.com.

These Guy Arsac editorial photos of a red “boule” coat and teal dress show the collection’s play with colour and silhouette:

“Boule” coat by Christian Dior, L’Officiel, March 1960. Photo: Guy Arsac. Image via jalougallery.com.

Silk dress by Christian Dior, L’Officiel, April 1960. Photo: Guy Arsac. Image via jalougallery.com.

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:

Vogue 1041 by Christian Dior (1960) Image via the Vintage Patterns Wiki.

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:

Christian Dior tweed ensemble, L’Officiel, October 1960. Photo: Philippe Pottier. Image via jalougallery.com

Vogue 1041 was photographed for Vogue magazine by Henry Clarke:

Vogue 1041 in Vogue, November 15, 1960. Photo: Henry Clarke.

Vogue 1041 in Vogue, November 15, 1960. Photo: 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:

Vogue 1049 by Yves Saint Laurent for Christian Dior (1961) Image via Etsy.

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:

Chatillon Mouly Roussel ad showing an ensemble by Christian Dior, L’Officiel, October 1960. Image via jalougallery.com.

I also found the black suit in a later L’Officiel composite:

A Dior suit by Yves Saint Laurent, L’Officiel 1000 modèles no. 81 (2007). Image via jalougallery.com.

These William Klein editorial photos featuring Dior Fall 1960 designs capture the Beat collection’s youthful spirit:

Dorothea McGowan and Sara Thom in Dior, with Little Bara. Vogue, September 1960. William Klein. Image via Pleasurephoto.

Dorothea McGowan in Christian Dior. Vogue, September 1960. Photo: William Klein. Image via the Fashion Spot.

For more of Yves Saint Laurent’s work for Dior see L’Officiel 1000 modèles’ Dior special issue.

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.

Patricia Mears and Emma McClendon, Yves Saint Laurent + Halston: Fashioning the 70s. Image via 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.

Menswear

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):

Vogue 1143 by Yves Saint Laurent (1974) Image via Etsy.

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:

McCall’s 4391 by Halston (1975) Model: Karen Bjornson.

Exoticism

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):

Vogue 1558 by Yves Saint Laurent (1976) Model: Karen Bjornson. Image via the Vintage Patterns Wiki.

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:

McCall’s 3590 by Halston (1973)

Historicism

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:

Vogue 2930 by Yves Saint Laurent (1973) Image via eBay.

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:

McCall’s 4046 by Halston (1974)

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.

Designs by Halston and Yves Saint Laurent on the cover of W magazine, September 3-10, 1976. Image via WWD.

Yves Saint Laurent 1971: la collection du scandale. Model: Willy Van Rooy. Photo: Hans Feurer.

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.

Yves Saint Laurent Spring 1971 haute couture (Libération), L’Officiel 1000 modèles hors série, 2002. Image via jalougallery.com.

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:

Yves Saint Laurent couture ensemble, L’Officiel, March 1971. Photo: Roland Bianchini. Image via jalougallery.com.

Poppy accessories from Yves Saint Laurent Rive Gauche, British Vogue, March 1971. Model: Florence Lafuma. Photo: Barry Lategan. Image via Vogue UK.

“Lips” print dress from Yves Saint Laurent Rive Gauche, Harpers & Queen, early April 1971. Model: Viviane Fauny. Photo: Helmut Newton. Image via Pinterest.

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”:

Vogue 2571 by Yves Saint Laurent (1971) Image courtesy of Paco Peralta.

Technical drawing for Vogue 2571

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:

A model shows the navy dress from Yves Saint Laurent’s Spring 1971 Libération collection. Image courtesy of Paco Peralta.

Vogue 2598 is a pattern for pleated skirt, cuffed trousers, and double-breasted jacket with optional ribbon trim (see Paco’s post here):

Vogue 2598 by Yves Saint Laurent (1971) Image courtesy of Paco Peralta.

Technical drawing for Vogue 2598

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:

A model shows a pantsuit from Yves Saint Laurent’s Spring 1971 Libération collection. Image: Fondation Pierre Bergé – Yves Saint Laurent.

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:

Yves Saint Laurent Spring 1971 couture in L’Officiel 582 (1971). Photo: Jean Louis Guégan. Image via jalougallery.com.

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:

Jane Birkin in Yves Saint Laurent. Image via tumblr.

Mick Jagger with Bianca Jagger in Yves Saint Laurent, May 1971. Image via Gaia Fishler.

Just for fun, I’ll close with some editorial images featuring spring 1971 Yves Saint Laurent:

Yves Saint Laurent couture in Vogue Paris, March 1971. Photos: Helmut Newton. Models: Viviane Fauny, Margrit Ramme. Image via Youthquakers.

Anjelica Huston in Yves Saint Laurent couture, Vogue Italia, June 1971. Photo: Bob Richardson. Image via Vogue.it.

Ingmari Lamy in Yves Saint Laurent Rive Gauche (?), 1971. Photo: Gian Paolo Barbieri. From Soie pirate (Scheidegger & Spiess, 2010) Image via little augury.

With thanks to Paco Peralta.

Iman on the cover of Vogue Italia, March 1976. Photo: Norman Parkinson. Image via eBay.

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 and David Bowie in Vogue Italia, August 1995. Photo: Bruce Weber. Image via vogue.it.

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 2399 by Jean Muir (ca. 1980)

Vogue 2400 is an Emanuel Ungaro skirt suit with striped, quilted jacket and tucked blouse:

Vogue 2400 by Emanuel Ungaro (ca. 1980) Image via Etsy.

From Yves Saint Laurent, Vogue 2404 is a skirt suit with contrast standing collar and turn-back cuffs:

Vogue 2404 by Yves Saint Laurent (1980) Image via Etsy.

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 in Vogue 9798 and 9493, Vogue, May 1977. Photo: Bob Richardson. Image via the Fashion Spot.

(Reposted from the Fashion Spot Iman thread.)

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):

Iman and Karen Bjornson in Vogue Patterns, July/August 1979. Photo: Patrick Demarchelier.

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):

Iman and Karen Bjornson in Vogue Patterns, July/August 1979. Photos: Patrick Demarchelier.

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):

Iman on the cover of Cosmopolitan Italia, June 1980. Image via Modelinia/Fashion Bomb daily.

Happy birthday, Iman!

With thanks to vegas4001 for the Vogue Italia photographer credit.

Dracula’s brides (Dorothy Tree, Geraldine Dvorak, and Cornelia Thaw) in Tod Browning’s Dracula (1931) Image: tumblr.

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.”

Lynne Zacek Bassett, Gothic to Goth: Romantic Era Fashion & Its Legacy (Wadsworth Atheneum Museum of Art, 2016) Image: the Wadsworth.

1980s

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:

Detail, Vogue 2582 by Nina Ricci (1980) Image: PatternVault on Etsy.

Vogue 2562 by Nina Ricci (1980) Image: PatternVault on Etsy.

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:

Vogue 2604 by Nina Ricci (1980) Image: eBay.

Vogue 2604 by Nina Ricci on the cover of Vogue Patterns, November/December 1980. Image: eBay.

These early ’80s editorial photos convey the dark romantic mood:

“Fascination du Noir”: Nina Ricci couture in L’Officiel, September 1980. Photo: Chris Simpson. Image: jalougallery.com.

Nina Ricci Boutique and Balenciaga in L’Officiel, August 1982. Photo: Deborah Turbeville. Image: jalougallery.com.

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:

Simplicity 6978 by Esprit (1985) Image: Etsy.

Lydia Deetz (Winona Ryder) in Tim Burton’s Beetlejuice (1988) Image: Goth Cupcake.

1990s

Judging from Vogue’s September issues for 1993, Fall ’93 marked a return to the lusher side of romanticism.

Vogue Paris, American Vogue, and British Vogue covers, September 1993. Photos: Max Vadukul, Steven Meisel, and Mario Testino. Models: Linda Evangelista and Christy Turlington. Images: Shrimpton Couture and The Fashion Spot.

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:

Vogue 1293 by Donna Karan (1993)

Similar Donna Karan dresses opened a British Vogue editorial shot by Mario Testino at Bolton Abbey, Derbyshire (headpieces by Slim Barrett):

Nadja Auermann and Cecilia Chancellor wear Donna Karan in “Courtly Gestures,” British Vogue, December 1993. Photo: Mario Testino. Editor: Jayne Pickering. Image: The Fashion Spot.

This cold-shoulder gown must be from the same collection:

Poppy Lloyd wears Donna Karan (Yves Saint Laurent feathers), L’Officiel, December 1993. Photo: Nancy Le Vine. Image: jalougallery.com.

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):

Vogue 2072 by Anna Sui (1997) Dress, top and gloves.

Anna Sui FW 1997 collection. Models: Karen Elson, Tasha Tilberg. Images: Bolton, Anna Sui and firstVIEW.

Sofia Coppola in Spur, October 1997. Photo: Satoshi Saikusa. Image: Bolton, Anna Sui.

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:

Vogue 2330 by Yves Saint Laurent (1999)

Model: Astrid Muñoz. Image: firstVIEW.

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:

Yves Saint Laurent Rive Gauche ad campaign, Spring 1999. Photo: Mario Sorrenti. Model: Noot Seear. Image: Oystermag.

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:

Simplicity 8619 by Begotten (1999) Image via Etsy.

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?

Vogue 1078 on the runway. Image: Vogue Italia.

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.

Clash of the Titans: Goddess Gowns – My first Oscars post on the Academy Awards staple. This late ’40s gown might be this blog’s most-pinned image:

Rock the Caftan – A non-Western formal alternative with origins in ancient Persia.

Red Carpet Fashion: Evening Pantsuits – A trend that continues to pick up steam (see Hannah Marriot, “Red-carpet rebels: why trousers for women are a political act“).

Jane Fonda in Yves Saint Laurent at the 44th Academy Awards, April 1972. Image: tumblr.

Pucci tunic and harem pants, Vogue Italia, January 1968. Photo: Gian Paolo Barbieri. Image: Pleasurephoto.

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.

Tilda Swinton in 18th-century Ottoman dress in Sally Potter’s Orlando (1992) Photo: Liam Longman. Image: Pinterest.

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.

The Harem Girl. Bert Green for Puck magazine, 1911. Image: Wikipedia.

Lady Sybil (Jessica Brown Findlay) on Downton Abbey, Season 1 (2011). Image: Pinterest.

1960s

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:

Vogue 6435 (ca. 1965) Image: Mermaid’s Purse.

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:

Vogue 1692 by Pucci (1967)

Anne de Zogheb modelled these Pucci harem pyjamas, which feature an intriguing self-lined skirt with side openings:

Vogue 2094 by Pucci (1969)

1970s

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:

Vogue 2501 by Yves Saint Laurent (1971) Image: Vintage Pattern Wiki.

From 1976, this Kenzo pattern includes a cuffed harem pant option. (A copy is available in the shop.)

Butterick 4793 by Kenzo (1976)

Hot pink harem pants catch the eye on this Very Easy Vogue pattern, which also includes palazzo pants and a maxi skirt:

Vogue 9633 (ca. 1977) Image: Etsy.

1980s

This gold satin pair, from Krizia, has no side seams:

McCall’s 7307 by Krizia (1980) Image: PatternVault on Etsy.

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:

Simplicity 5538 (1982) Image: Etsy.

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):

Vogue 2702 by Gianni Versace (ca. 1981) Image: PatternVault on Etsy.

Very Easy Very Vogue got on the dropped crotch bandwagon with three styles of Zouave pants—view C with side drape:

Vogue 9591 (1986) Image: Etsy.

1990s

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.

Simplicity 7455 by MC Hammer (1991) Image: Vintage Pattern Wiki.

Issey Miyake designed these lowest of the low dropped-crotch pants, as worn by Phina Oruche:

Vogue 1328 by Issey Miyake (1994) Image: Etsy.

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…

Dancers from the robbinschilds company, Rachel Comey Resort 2016. Image: Vogue.com.

Tara Shannon wears Yves Saint Laurent’s V2337 in Vogue Patterns, November/December 1979, “Glow” editorial. Photo: Albert Watson.

Perfume: Opium, of course!

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.

Happy holidays, everyone.

Detail, Virginia Slims advertisement, 1975.

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.

Virginia Slims advertisement in Vogue Patterns, January/February 1975.

Doesn’t Tiegs’ green dress look a lot like Emanuel Ungaro’s goddess gown?

Vogue 1135 by Emanuel Ungaro (1974)

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:

Virginia Slims advertisement, 1973. Image: Stanford Research into the Impact of Tobacco Advertising (SRITA).

Vogue 2912 by Yves Saint Laurent (1973) Image: Paco Peralta.

There were even promotional Virginia Slims sewing kits. This one contains FDR-made upholstery needles:

Virginia Slims needle pack cover. Image: Etsy.

Virginia Slims needle pack. Image: Etsy.

Click the Beverly Johnson ad to learn more about SRITA, Stanford’s tobacco advertising project.