The slogan for McCall’s Patterns in the mid-1950s was “Make the clothes that make the woman.” The advertising campaign with this slogan shows two identical women, one dressed in McCall’s pattern pieces, the other in the finished garment. It’s a charming campaign from the Golden Age of Advertising. Here’s a selection, in roughly chronological order:

This ad from 1956 shows the model enjoying a fresh strawberry at a party. (Could it be a strawberry social?) The pattern is McCall’s 3562:

McCall’s advertisement, 1956.

The September ad shows Dovima on a trip to Paris, before a mustachioed gendarme. The pattern is McCall’s 3785 by Givenchy:

McCall’s advertisement, September 1956.

Another travel-themed ad shows McCall’s 3790 with some whimsically stacked luggage:

McCall’s advertisement, 1956.

This 1957 ad featuring McCall’s 3952 shows a well-dressed tug-of-war:

McCall’s advertisement, February 1957. Image via Allposters.com.

This Valentine’s Day-themed ad appeared in Vogue’s March 1957 issue. (The pattern is McCall’s 3967.) The model is Suzy Parker:

McCall’s advertisement, March 1957.

This spring ad shows McCall’s 4046 by James Galanos:

McCall’s advertisement, April 1957.

In the ad for May 1957, the binocular-wielding model wears an “Instant” dress, McCall’s 4070:

McCall’s advertisement, May 1957.

This late summer ad looks forward to fall’s collegiate sports games. The design is by Claire McCardell, McCall’s 4208:

McCall’s advertisement, August 1957.

Within its variations on the playfully presented scene of leisure, the campaign conveys a visual reminder of one of McCall’s long-standing technologies: the printed pattern. (McCall’s had been producing printed patterns since the 1920s, whereas Vogue only introduced printed patterns in 1956—later outside North America.) Have you seen other ads from this McCall’s campaign?

Paris Originals by Schiaparelli (left) and Jacques Heim (right). Vogue, November 15, 1949. Photo: Richard Rutledge.

This week, the second part of my series on commercial sewing patterns by Elsa Schiaparelli. (See Part 1 here.)

Schiaparelli was one of the eight couturiers who licensed designs for the first Vogue Paris Originals in 1949. Vogue’s first Schiaparelli pattern was a skirt suit with double pockets and one-sleeved blouse, Vogue 1051:

Vogue 1051 by Schiaparelli (1949) Image via the Blue Gardenia blog.

The suit was photographed in Paris by Clifford Coffin:

Vogue 1051 by Schiaparelli. Vogue, March 1, 1949. Photo: Clifford Coffin.

The photo that opens this post shows Vogue 1074, a Schiaparelli dress and shortcoat from Vogue’s fourth series of Paris Originals. The original coat was lined with astrakhan. (The suit on the right is Vogue 1076 by Jacques Heim.)

Vogue 1074 by Schiaparelli (1949) Image via Pinterest.

New Look curves characterize this Schiaparelli suit pattern from spring, 1950, which was photographed in Paris by Norman Parkinson. The short-sleeved jacket has rounded, stiffened hips, while the kimono-sleeved blouse buttons its curved fronts to one side. Vogue recommends making the blouse from the suit’s lining fabric:

Vogue 1098 by Schiaparelli (1950) Image via eBay. Photo: Norman Parkinson.

Vogue 1133 is a vampy, short-sleeved dress with hip-enhancing pocket flaps and convertible collar at both front and back:

Vogue 1133 by Schiaparelli (1951) Image via eBay.

Arik Nepo’s photograph plays up the dress’ severity:

Vogue 1133 by Schiaparelli. Vogue, February 15, 1951. Photo: Arik Nepo.

Vogue 1142 is a faux suit, an asymmetrical dress with a skirt front extension that creates the illusion of a jacket on one side. (Much like Galliano’s Givenchy jumpsuit, Vogue 1887.) The shaped projections of the big, rounded collar, skirt extension, and off-kilter double-breasted closure playfully destabilize the garment:

Vogue 1148 by Schiaparelli (1951) Image via the Vintage Patterns Wiki.

This Schiaparelli evening dress pattern, Vogue 1144, includes a petticoat and diaphanous kerchief. Look closely, and you can see that the oversized, decorative pockets extend almost the length of the skirt:

Vogue 1144 by Schiaparelli (1951) Image via the Vintage Patterns Wiki.

Here’s a closer look at Henry Clarke’s photo:

Vogue 1144 by Schiaparelli. Vogue, May 15, 1951. Photo: Henry Clarke.

In 1952 Schiaparelli showed inverted heart necklines for spring; with its pointed, stand-away neckline and narrow shawl collar, Vogue 1179 allowed the home dressmaker to be right up to date. The cocktail dress closes with not one but two side zippers:

Vogue 1179 by Schiaparelli (1952) Image via eBay.

Vogue magazine showed an alternate photo by Robert Randall:

Vogue 1179 by Schiaparelli. Vogue, May 15, 1952. Photo: Robert Randall.

Frances McLaughlin photographed Bettina in Vogue 1198, a short evening dress with what Vogue called “a big pleated bandage—like an outside order ribbon” wrapping over one shoulder and around the waist. The original was made in black silk brocade:

Vogue 1198 by Schiaparelli. Vogue, October 15, 1952. Model: Bettina. Photo: Frances McLaughlin.

Here’s a catalogue page for Vogue 1198, with illustration and alternate photo:

Vogue 1198 in a 1950s Vogue Patterns counter catalogue.

Vogue 1231 is a day dress with a single patch pocket and bloused bodice gathered to a dramatic convertible collar:

Vogue 1231 by Schiaparelli (1953) Image via Betsy Vintage.

The dress was photographed in Paris by Robert Randall:

Vogue 1231 by Schiaparelli. Vogue, August 15, 1953. Photo: Robert Randall.

Finally, Vogue 1245 is a long evening dress with an attached stole that passes through the bodice front:

Illustration for Vogue 1245 by Schiaparelli (1954)

The stunning gown was photographed by Roger Prigent:

Vogue 1245 by Schiaparelli. Vogue, January 1, 1954. Photo: Roger Prigent.

If you don’t have the budget for an original Schiaparelli pattern, a reproduction of the one-sleeved stole from Vogue 1068 is available from Decades of Style:

Vogue 1068 by Schiaparelli. Sketch by David, Vogue, August 1, 1949.

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?

If you’ve been following my blog for a while, or are a connoisseur of 1950s sewing advertising, you’ve seen images from McCall’s mid-1950s “Make the Clothes that Make the Woman” advertising campaign. (See my earlier post here.)

I’ve found another ad from the campaign. The model is Jean Patchett, and the pattern is McCall’s 3635 —an “Italian drawstring top” and “saucy in-between-length Jamaican shorts” (click to enlarge):

Advertisement for McCall’s Printed Patterns, 1956. Model: Jean Patchett.

Lissy Schaper in an ensemble by Staebe-Seger, Film und Frau 3, 1961. Photo: F.C. Gundlach. Image via Suites Culturelles.

To mark this month’s anniversary of the fall of the Berlin Wall, here’s a look at three postwar German designers who licensed their work to Vogue Patterns.

Celebrity milliner Mr. John was born Hans Harberger in Munich. He moved to New York in the 1920s, opening a salon with partner Frederick Hirst; the Mr. John salon was founded when the milliner went solo in 1948. (On the complex history of Mr. John’s name and label see my Mad Men-era millinery post, or read his obituary in the Independent.) Mr. John hat patterns were available from Vogue in the 1950s. Vogue 7909 is a beret that dips to a point on one side, with an optional chin strap:

Vogue 7909 by Mr. John (1952) Image via eBay.

Born in Hamburg, Alke Boker moved to New York City in the 1970s after the death of her husband. She spent a few years designing for Pierre Cardin before founding her own label in the early 1980s. This Vogue Individualist pattern includes a pullover, bias dress with seven-eighths sleeves and separate hood. The model is Wanakee Pugh:

Vogue 1439 by Alke Boker (1984) Image via Etsy.

Also from Hamburg, Karl Lagerfeld made his career in Paris, working as head designer at Patou and Chloé before establishing his own company in 1984. Vogue Patterns soon made a licensing agreement for Lagerfeld sewing patterns which continued into the 1990s. From 1989, Vogue 2407 is a formal dress-and-overdress ensemble that can be tied in front or back:

Vogue 2407 by Karl Lagerfeld (1989) Image via Etsy.

The Berlin fashion photos in this post are by West German photographer F.C. Gundlach. Click the link to visit the foundation devoted to his work, or the photos to read more about his fashion photography.

Kreuzberg, Berlin. Photo: F.C. Gundlach. Image via Suites Culturelles.

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.

Vogue 1120 by Lanvin, Vogue, October 1950. Photo: Richard Rutledge.

This week, the second post in my series on Lanvin sewing patterns. (See my post on Jeanne Lanvin’s interwar patterns here.)

Born Marguerite di Pietro, Marie-Blanche de Polignac (1897-1958) was the only child of Jeanne Lanvin and her first husband, Italian aristocrat Emilio di Pietro. Marie-Blanche (who is sometimes called the Comtesse Jean de Polignac) was director of Lanvin from her mother’s death in 1946 until the appointment of Antonio del Castillo in 1950.

1940s

From the earliest Vogue Paris Originals, Vogue 1052 is an elegant, short-sleeved dress with a waistcoat effect:

Vogue 1052 by Lanvin (1949) Image via eBay.

Clifford Coffin photographed the dress in Paris for Vogue magazine:

Lanvin pattern Vogue 1052 in Vogue, March 1949. Photo: Clifford Coffin.

According to Vogue, this strapless evening dress design was “sketched by David in Paris.” The caption reads, “Lanvin’s remarkable new evening line. Remarkable for the shape: a buttoned figureline from top of peaked décolletage to knee, then—outrush. Remarkable for the cutting, the angling of seams. Add the authority of ottoman or new satin piqué.” The rhinestone detail became a Marie-Blanche signature (see an earlier example in the collection of the Costume Institute):

Vogue 1073 by Lanvin (1949) Image via flickr.

Vogue 1078 is a dramatic dress with high roll collar and draped and pleated, asymmetrical overskirt. The surplice bodice belts on the left; it’s actually the slim underskirt that’s separate. The original was made in black faille:

Vogue 1078 by Lanvin (1949) Image via eBay.

Richard Rutledge photographed the dress for Vogue magazine (with Vogue 1077 by Jacques Fath):

Vogue Paris Originals 1078 and 1077 by Lanvin and Fath, Vogue, November 1949. Photo: Richard Rutledge.

Vogue 1064 is a bloused shirt dress with generous cuffs and stitched belt detail. Vogue called it a “four-season dress.” The cuffs could be made in contrast material:

Vogue 1064 by Lanvin (1949) Image via the Vintage Patterns Wiki.

The original, in black taffeta with pink cuffs, was photographed by Cecil Beaton (with Vogue 1058 by Molyneux):

Vogue Paris Originals 1058 and 1064 by Molyneux and Lanvin, Vogue, June 1949. Photo: Cecil Beaton.

1950s

Vogue 1104 is a pattern for a suit and blouse ensemble. The boxy jacket has detachable cuffs, and the short-sleeved, tie-neck blouse has lovely pleat and seam details in the back:

Vogue 1104 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Here’s a closer look at Norman Parkinson’s photo of the late Bettina in Paris:

Vogue 1104 by Lanvin, Vogue, May 1950. Model: Bettina. Photo: Norman Parkinson.

Richard Rutledge also photographed Vogue 1107, a formal dress with asymmetrically draped cowl neck and overskirt. The magazine caption reads, “Lanvin’s afternoon and little-dinner dress with an overskirt. The underline, slim, simple; the attached overskirt, fuller, drawn high on one side. One sided too, the cowl neckline. Below it here, a curved spray of embroidery, such as you might add, if you like.” The original was black flat crêpe:

Vogue 1107 by Lanvin (1950) Image via the Vintage Patterns Wiki.

The design shown in colour at the top of this post, Vogue 1120, is a button-front dress with draped bias sleeves and skirt with draped detail created by pleats and darts. Vogue called the design a “late-day coat-dress”:

Vogue 1120 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Vogue 1122 is a bias, wrap-front dress with raised neckline and sleeve variations. A zipper closure is concealed under the right front, and there’s a single, almond-shaped pocket on the right hip:

Vogue 1122 by Lanvin (1950) Image via the Vintage Patterns Wiki.

Instead of the envelope’s location shot, Vogue published a studio photo of the dress:

Vogue 1122 by Lanvin, Vogue, January 1951. Photo: Richard Rutledge.

Marie-Blanche de Polignac ended her directorship of Lanvin with the Fall 1950 couture; Antonio del Castillo’s first collection for Lanvin was the Spring 1951 couture, and during his tenure the house became known as Lanvin-Castillo. But some 1951 patterns still say Lanvin and not Lanvin-Castillo—such as Vogue 1139, an ensemble consisting of a slim dress and cropped, bloused jacket. Henry Clarke photographed Anne Gunning in the shantung original for a May 1951 issue of Vogue magazine:

Vogue 1139 by Lanvin (1951) Image via eBay.

Vogue 1139 by Lanvin, Vogue, May 1951. Photo: Henry Clarke.

Next in the series: Antonio del Castillo’s Vogue Paris Originals.

China blue velvet beret designed by Mr. John of New York; interpreted by R.M. Hats for Marshall and Snelgrove. British Vogue, April 1951. Photo: Edwin Blumenfeld. Image via Vogue UK.

Born in Munich, celebrity milliner Hans Harberger, a.k.a. Mr. John (1902-1993), founded his New York salon in 1948. (For bio see my earlier post, 25 Jahre Mauerfall; on the complex history of Mr. John’s name and label see my Mad Men-era millinery post, or read his obituary in the Independent.)

Millinery patterns by Mr. John were available from Vogue in the first half of the 1950s. There were also mail-order Mr. John patterns from Spadea and Prominent Designer, as well as garment patterns from Advance. Vogue’s later John-Frederics patterns date to the tenure of Mr. John’s former partner, Frederick Hirst.

Mr. John silk hat with hat box (ca. 1950). Image via the Metropolitan Museum of Art.

From 1952, Vogue 7908 is a cloche with elegant shaped brim. The brim could be worn down or folded up on one side:

Vogue 7908 by Mr. John (1952) Image via eBay.

Vogue 7909 is a beret that dips to a point on one side, with an optional chin strap:

Vogue 7909 by Mr. John (1952) Image via eBay.

Vogue 7909 was still available the following year, as seen in this 1953 illustration for Ladies’ Home Journal. The lower two hats are by Mr. John:

Top: Vogue 7738 and 7929. Bottom: Vogue 7962 and 7909 by Mr. John. Ladies’ Home Journal, March 1953.

Vogue 7961 is a draped cloche, striking in striped fabric:

Vogue 7961 by Mr. John (1953) Image via the Vintage Pattern Wiki.

Vogue 8441 is a shirred, draped turban, recommended for jersey:

Vogue 8441 by Mr. John (1954) Image via Etsy.

From 1955, Vogue 8546 is gathered at the sides into a narrow brim that crosses in the back:

Vogue 8546 by Mr. John (1955) Image via eBay.

Vogue 8547 is a pill box with front pleat and optional ribbon ties:

Vogue 8547 by Mr. John (1955) Image via Etsy.

In the later 1950s, Mr. John designed six spring hats for Everywoman’s magazine. Carmen (Carmine) Schiavone photographed one of them for the cover of the Easter issue:

Everywoman’s, April 1957. Photo: Carmen Schiavone. Image via Pattern Peddler.

The patterns, which were available to readers by mail order, were home-tested by a New York homemaker (click to enlarge):

Make a Mr. John hat for Easter. Photos: Carmen Schiavone. Image via Pattern Peddler.

Six Mr. John hat patterns available from Everywoman’s magazine. Photos: Carmen Schiavone. Image via Pattern Peddler.

Many of Mr. John’s hat patterns are available as reproductions on Etsy.

I’ll close with two Vogue covers featuring Mr. John hats:

Lisa Fonssagrives wears a hat by Mr. John, British Vogue, September 1951. Photo: Irving Penn. Image via Vogue UK.

Isabella Albonico wears a hat and scarf by Mr. John, Vogue, March 1961. Photo: Irving Penn.

For more hats by Mr. John, see Kristine/dovima is divine’s set on flickr.

Happy Easter, everyone!

Natalia Vodianova as Alice in Vogue, December 2003. Photo: Annie Leibovitz. Fashion editor: Grace Coddington. Image via HBO.

This year marks the 150th anniversary of Alice’s Adventures in Wonderland. Liberty London is celebrating with an Alice-inspired Spring/Summer 2015 fabric collection. At the V&A Museum of Childhood, an exhibition on Alice’s influence on fashion, The Alice Look, runs to November 1, 2015, and on Saturday the museum is also hosting a conference, Alice & Fashion. (Read the press release.) The exhibition and conference are part of curator Kiera Vaclavik’s larger research project, Addressing Alice: The Emergence of a Style Icon.

Theo C Tana Lawn cotton by Tamara de Peon. Image via Liberty London.

Checkmate A Tana Lawn cotton, inspired by an archival 1965 design. Image via Liberty London.

To celebrate Alice’s 150th, here’s a look at some rarely seen vintage Alice in Wonderland patterns.

This Alice in Wonderland doll pattern with flamingo, McCall 145, dates to 1933:

McCall 145 (1933) Image via eBay.

The costume of the McCall Alice doll seems to refer to Charlotte Henry’s Alice in Paramount’s Alice in Wonderland (1933). According to Vaclavik, the film appears to have “prompted the adoption of the Alice band as hair accessory of choice at hunt balls and wedding processions across Britain” (see her article in the Independent):

Alice (Charlotte Henry) with the King of Hearts (Alec B. Francis) in Alice in Wonderland (1933). Image: Getty Images via Caren’s Classic Cinema.

Nearly two decades later, Walt Disney’s animated Alice in Wonderland (1951) set the image of Alice as we picture her today. Disney licensed two Alice patterns with McCall’s: McCall’s 8626, a girls’ Alice ensemble, and McCall’s 1643, unisex children’s costumes for the Mad Hatter and March Hare. McCall’s 8626 includes a puff-sleeved dress, apron, coverall, and jacket with rabbit-shaped pocket:

McCall’s 8626 (1951) Image via the Vintage Disney Alice blog.

You can see the back of the pattern envelope here.

The Alice pattern was promoted in the August 1951 issue of McCall’s Style News with additional sketches of the White Rabbit, the Cheshire Cat, and Tweedledee and Tweedledum. It’s worth quoting the original description: “Alice-in-Wonderland dress, inspired by Walt Disney’s ‘Alice in Wonderland’ motion picture. Not a fancy-dress costume, but a 4-part ensemble to wear any day of the week. Straight-from-Wonderland ruffled apron that can accompany the little puff-sleeved, full-skirted dress everywhere—to school, to church, to parties. For helping Mother around the house, a jumper-like coverall. And to complete the ensemble, a reversible jacket with the ‘White Rabbit’ in pocket form”:

“Alice in Wonderland” Dress – McCall’s 8626 in McCall’s Style News, August 1951.

This photo from McCall’s Pattern Book shows the March Hare costume and Alice outfit made up:

Alice in Wonderland costume patterns in McCall’s Pattern Book, Fall 1951. Image: Wade Laboissonniere, Blueprints of Fashion: Home Sewing Patterns of the 1950s (Schiffer, 1999).

It’s interesting that the 1950s Alice pattern isn’t a costume pattern, but a set of pieces for everyday wear. The pattern adds ruffles to the pinafore, but is otherwise close to Disney’s animated Alice, whose style was based on Mary Blair’s concept art:

Alice in Wonderland concept artwork by Mary Blair. Image: Walt Disney Family Foundation.

For more on McCall’s 1950s Disney Alice patterns, including a minikin display version, see the Vintage Disney Alice blog.

Happy anniversary, Alice!

Now that wedding season is upon us, I wanted to share this bridal-themed ad for Vogue Patterns from spring, 1957. The pattern is a Vogue Special Design, Vogue S-4765 (click to enlarge):

The smartest move you can make… Vogue Printed and Perforated Patterns advertisement, April 1957.

The company had a series of these ads, each showing the model bursting out of a bunch of printed and perforated pattern pieces. (Vogue patterns were unprinted until the mid-1950s.) I love how the slogan, “The smartest move you can make,” blurs the distinction between a life decision such as marriage and the choice of pattern brand.

Vogue 1101 by Paquin, Vogue, May 1950. Model: Maxime de la Falaise. Photo: Norman Parkinson.

In honour of Paris, a selection of postwar fashion photography shot on location in the city.

Vogue’s earliest Paris Originals were photographed in Paris, by Vogue editorial photographers including Clifford Coffin and Norman Parkinson.

Vogue Pattern Book, April/May 1949. Photos: Clifford Coffin.

The eight colour photos were first seen in the March 1st, 1949 issue of Vogue magazine, to announce the new couturier patterns.

Vogue 1053 by Robert Piguet, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1055 by Jacques Fath, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1057 by Paquin, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1052 by Lanvin, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1051 by Schiaparelli, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1050 by Molyneux, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1056 by Jacques Heim, Vogue, March 1949. Photo: Clifford Coffin.

Vogue 1054 by Pierre Balmain, Vogue, March 1949. Photo: Clifford Coffin.

(Available as a print from Condé Nast.)

Vogue 1099 by Jacques Heim, Vogue, May 1950. Photo: Norman Parkinson.

Photo: Richard Avedon. Image via PatternVault on Etsy.

During his early period as a fashion photographer, Richard Avedon (1923-2004) did some work for Simplicity, including the Fall-Winter 1950 issue of Simplicity Pattern Book:

Simplicity Pattern Book, Fall-Winter 1950. Photo: Richard Avedon. Image via vintage4me2 on eBay.

The suit is Simplicity 3310, made in Botany flannels and worn with “[m]atching hat designed for Simplicity by Sally Victor,” Simplicity 3322.

Inside, the hat is shown photographed by Halley Erskine:

Make your own hat from a Sally Victor design. Simplicity Pattern Book, Fall-Winter 1950. Photos: Halley Erskine.

The back cover is a Botany ad, apparently from the same Avedon photo shoot:

Botany advertisement on the back cover of Simplicity Pattern Book, Fall-Winter 1950.

I have a Canadian copy of Simplicity 3322 in the shop, printed with a special Chatelaine magazine logo:

Simplicity 3322 by Sally Victor (1950) Image via PatternVault on Etsy.

For more on Sally Victor see my Mad Men-era millinery post.

British Vogue, January 1955. Photo: Erwin Blumenfeld. Image via Vogue UK.

Evelyn Tripp (1927-1995) was one of the most prolific models of the 1950s. Born on a farm in Missouri, she was discovered at 20 while shopping on Fifth Avenue. You may recognize her from William Klein’s photograph, Smoke + Veil. She retired in 1968. (Read her New York Times obituary here.)

Smoke + Veil, 1958. Photo: William Klein. Image via WWD.

Evelyn Tripp did modelling work for Simplicity, Woman’s Day, Butterick, and Vogue Patterns in the 1950s and early 1960s.

The Fall-Winter 1950 Simplicity catalogue includes a few photographs of the young Tripp. Here she wears tent coat Simplicity 8217:

Simplicity 8217 in Simplicity Pattern Book, Fall-Winter 1950.

Tripp also modelled an early Pauline Trigère design for Woman’s Day magazine. The portfolio was photographed by Leombruno-Bodi (full size here):

Woman’s Day 3267 by Pauline Trigère in Woman’s Day, September 1950. Photos: Leombruno-Bodi. Image via Etsy.

Woman’s Day 3267 by Pauline Trigère in Woman’s Day, September 1950. Photos: Leombruno-Bodi. Image via Etsy.

Among Tripp’s many covers are several for Vogue Pattern Book. Here she wears suit pattern Vogue S-4625:

Vogue Pattern Book, August-September 1955. Image via eBay.

On this spring cover she poses in dress-and-coat ensemble Vogue S-4659 (with matching hat):

Vogue Pattern Book, February-March 1956. Image via eBay.

Roger Prigent shot this cover featuring Tripp in Vogue 8829 made in Moygashel linen (also in Vogue):

Vogue Pattern Book, April-May 1956. Photo: Roger Prigent. Image via tumblr.

She appears on this summery Simplicity Pattern Book cover in Simplicity 1625 and Simplicity 1550, a top and skirt made in a matching print:

Simplicity Pattern Book, Summer 1956. Image via eBay.

Inside, she poses in two-piece playsuit Simplicity 1608:

Simplicity 1608 in Simplicity Pattern Book, Summer 1956. Photo: Monroe. Image via eBay.

Tripp also appeared in a 1956 Vogue Patterns advertisement promoting the new printed and perforated patterns. The evening dress pattern is Vogue S-4735:

“New Vogue Patterns are printed and perforated.” Vogue S-4735 in Vogue, 1956.

Here she wears Vogue 9607, made up in red, on the cover of the holiday 1958 issue of Vogue Pattern Book:

Vogue Pattern Book, December-January 1958-59. Image via eBay.

On this spring Butterick Pattern Book cover, she poses in a suit and flower hat, Butterick 8912 and Butterick 8880:

Butterick Pattern Book, Spring 1959. Image via Vintage Chic.

Tripp may also be seen in early 1960s Vogue Pattern Book editorials. Here she wears Vogue 4267, a one-shouldered dress in wool jersey:

Vogue 4267 in Vogue Pattern Book, October/November 1961. Photo: Leombruno-Bodi.

For more of Evelyn Tripp’s work, see MyVintageVogue or Kristine/dovima_is_devine’s set on flickr.

Vogue, January 1950. Photo: Erwin Blumenfeld. Image via jeanpatchett.com.

Today is the 90th anniversary of Jean Patchett’s birth.

Jean Patchett (1926-2002) moved to New York City from her home in Preston, Maryland to pursue a career in modelling. She signed with Ford Models in the spring of 1948, and soon became one of the new agency’s top models. Patchett appears on some of Vogue’s most iconic covers. She retired in 1963. (See Cathy Horyn’s obituary for The New York Times, “Jean Patchett, 75, a Model Who Helped Define the 50’s.”)

Vogue, April 1, 1950. (Dress by Larry Aldrich; Lilly Daché hat.) Photo: Irving Penn. Image via jeanpatchett.com.

(Read more about this cover at the Art Institute of Chicago, or see the UK version here.)

British Vogue, July 1951. Photo: Clifford Coffin. Image via Vogue UK.

(Prints available from the Condé Nast shop.)

According to a short profile in Glamour, in her off hours, Patchett enjoyed making her own clothes (Glamour, Oct. 1948). She can be seen in pattern editorials for Vogue, Simplicity, McCall’s, and Butterick from the late 1940s on.

Soon after her first Vogue cover in September, 1948 (October for British Vogue), Serge Balkin photographed the young Patchett in tone-on-tone grey flannel for the cover of Vogue Pattern Book. The patterns are Vogue 6620 (dress) and Vogue 6629 (coat):

Vogue Pattern Book, December-January 1948-49. Photo: Serge Balkin. Image via eBay.

Irving Penn’s famous Vogue editorial, “Flying down to Lima,” showing Patchett on location in Lima, Peru, is in fact a pattern editorial. In this café scene, she chews her pearls wearing Vogue S-4967, a dress and jacket ensemble (click the image for a gallery note, or see Devorah MacDonald’s blog for the full editorial):

Jean Patchett in Vogue S-4967; John-Frederics hat. Vogue, February 1949. Photo: Irving Penn. Image via the Art Gallery of New South Wales.

Patchett poses in dress and jacket Vogue S-4008 on this fall 1949 cover of Vogue Pattern Book:

Vogue Pattern Book, August-September 1949. Image via flickr.

Wearing the New Look dress and camisole Vogue S-4088:

Vogue Pattern Book, Summer 1950. Image via eBay.

Richard Avedon’s travel-themed photo was used for both Simplicity’s counter catalogue and the company’s Fall-Winter magazine (where Patchett can be seen holding a copy of André Gide’s Les faux-monnayeurs). The patterns are Simplicity 3327 (topper), Simplicity 3298 (weskit), and Simplicity 3027 (skirt):

Simplicity catalogue, ca. autumn 1950. Photo: Richard Avedon. Image via Etsy.

Here she poses in a veiled hat and elegant silk shortcoat; the text contains a typo—the pattern is Vogue 7258:

Vogue 7258 in Vogue Pattern Book, Early Summer 1951. Image via flickr.

This Holiday issue of Butterick Pattern Book features Patchett in Butterick 5941, a shirtdress with cuffed sleeves:

Butterick Pattern Book, Winter 1951. Image via jeanpatchett.com.

For the fortieth anniversary issue of McCall’s Pattern Book, Patchett posed in McCall’s 9080 alongside illustrations from past decades:

McCall’s Pattern Book, Back-to-School and Fall 1952. Image via jeanpatchett.com.

Lillian Bassman photographed Patchett in this striped summer dress from Simplicity:

Simplicity Pattern Book, Summer 1953. Photo: Lillian Bassman. Image via myvintagevogue.

Posing for the cover of Burda Moden magazine:

Burda Moden, October 1954. Image via flickr.

This strapless playsuit must be Simplicity 4715, shown in bias tartan with matching parasol:

Simplicity Pattern Book, Summer 1954. Photo: Paul Radkai. Image via myvintagevogue.

Roger Prigent photographed Patchett in Vogue S-4550, made up in Onondaga acetate brocade:

Vogue S-4550 in Vogue Pattern Book, December-January 1954-55. Photo: Roger Prigent.

Finally, Patchett appears with her own double in this resort-themed McCall’s advertisement featuring McCall’s 3635 (see my earlier post on this campaign here):

“Make the clothes that make the woman” – advertisement for McCall’s Printed Patterns, 1956.

For more of Jean Patchett’s work, see jeanpatchett.com, myvintagevogue, or skorver on flickr.

Carmen Dell’ Orefice in Ceil Chapman, Vogue, 1949. Photo: Norman Parkinson. Image via Norman Parkinson Archive.

Carmen Dell’Orefice turns eighty-five today.

Vogue, October 15, 1947. Photo: Erwin Blumenfeld. Image via Pinterest.

Often called the world’s oldest working model, Carmen Dell’Orefice (b. 1931) was discovered at thirteen on a New York City bus; at sixteen she had her first Vogue cover. In 2011, the London College of Fashion devoted an exhibition to her modelling work, Carmen: A Life In Fashion.

Vogue, May 1, 1951. Photo: Norman Parkinson. Via Pinterest

Vogue, May 1955. Photo: John Rawlings. Image via Pinterest.

Harper’s Bazaar, May 1958. Photo: Gleb Derujinsky. Image via Pinterest.

Dell’Orefice’s work with New York pattern companies may be seen in postwar publications from Vogue, McCall’s, and Simplicity, as well as more recent Vogue patterns.

A Richard Rutledge editorial for Vogue Pattern Book features the young Dell’Orefice in new patterns for spring, 1949 (jacket Vogue 6716 and blouses Vogue 6065 and Vogue 6707, all with skirt Vogue 6708):

Vogue 6716 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

Vogue 6065 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

Vogue 6707 and 6708 in Vogue Pattern Book, April/May 1949. Photo: Richard Rutledge.

On this McCall Pattern Book cover from Summer, 1957, she models McCall’s 4095 and 4097:

McCall’s Pattern Book, Summer 1957. Image: eBay.

Here, Dell’Orefice poses in an all-red ensemble for the cover of Simplicity magazine, Fall 1958:

Simplicity magazine, Fall-Winter 1958. Image: eBay.

Here she wears gown Vogue 9827 on the cover of Vogue Pattern Book’s holiday issue:

Vogue 9827 on the cover of Vogue Pattern Book, December/January 1959-1960. Image via Make Mine Vogue.

1980s

After a break, Dell’Orefice returned to modelling in the late 1970s. On these two patterns from the ’80s, she wears Vogue 8195, a caftan-style dress, and Arlene Dahl gown Vogue 8521 in gold lamé:

Vogue 8195 (ca. 1982) Image via the Vintage Pattern Wiki.

Vogue 8521 by Arlene Dahl (ca. 1980s) Image via Etsy.

1990s

In the later 1990s, Dell’Orefice posed for many patterns in The Vogue Woman line. Vogue 1972 is a seasonless wardrobe pattern, while Vogue 9821 is a dress and tunic suitable for petites:

Vogue 1972 (1997) Image via Etsy.

Vogue 9821 (1998) Image via eBay.

Happy birthday, Ms. Dell’Orefice!

Alberta Ferretti fashion show, Florence, 2011. Image: Getty / Vogue Italia.

A Scaasi design on the cover of Vogue, December 1955. Photo: Richard Rutledge. Model: Mary Jane Russell. Image via tumblr.

In celebration of Canada Day, this post is dedicated to the late Arnold Scaasi.

Scaasi earrings on the cover of Vogue, November 15, 1960. Photo: Bert Stern. Model: Deborah Dixon. Image: flickr.

Arnold Scaasi (1930-2015) was born in Montreal as Arnold Isaacs. (Scaasi is Isaacs backwards—depending who you ask, the designer changed his name either to sound more Italian or less Jewish.) His father was a furrier, his mother had studied opera, and his glamorous, Schiaparelli-loving Aunt Ida was an early inspiration. He studied in Montreal and Paris, at the Cotnoir-Capponi school and the Chambre Syndicale, then worked at Paquin and Charles James in New York before launching his own business in 1956.

Scaasi was best known for his opulent evening wear, custom-made for society and celebrity clients who appreciated the drama of his sculptural silhouettes, luxurious materials, and flamboyant use of colour. In 2002, the Museum at FIT mounted the retrospective Scaasi: Exuberant Fashion and, following his retirement in 2010, the Museum of Fine Arts, Boston hosted Scaasi: American Couturier, an exhibition structured around his couture clients.

Image: The Metropolitan Museum of Art.

Scaasi lost no time in pursuing pattern licensing. These Scaasi Spadea patterns date to 1956:

Scaasi evening skirt available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.

Scaasi jacket available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.

Scaasi housecoat available as a Spadea pattern, Life, June 4, 1956. Photo: Sharland. Image via Google Books.

A few decades later, Claire Shaeffer covered Scaasi’s couture techniques for Threads magazine:

A Scaasi gown on the cover of Threads 38 (December/January 1991-92) Photo: Yvonne Taylor. Image via vintage4me2.

It was only in the early 1990s that Scaasi licensed his work with Vogue Patterns. The designer was introduced in the November/December 1993 issue of Vogue Patterns with three patterns. The first, Vogue 1285, is a low-backed cocktail or evening dress with sheer contrast:

Vogue 1285 by Scaasi (1993) Image via Etsy.

This formal ensemble includes two-layer palazzo pants for chiffon or georgette and a top for scalloped lace:

Vogue 1286 by Scaasi (1993) Image via Etsy.

Vogue 1287 is a collarless skirt suit with caftan-style side slits:

Vogue 1287 by Scaasi (1993) Image via Etsy.

From spring, 1994, this dress is shaped by long darts in front and back and trimmed with a flounce:

Vogue 1357 by Scaasi (1994) Image via Pinterest.

Finally, Vogue 1377’s dress has a boned bodice and slightly off-the-shoulder neckline. The original’s striped fabric was cut on a creative layout:

Vogue 1377 by Scaasi (1994) Image via Etsy.

(Seldom seen, but there is a copy at Sew Exciting Needleworks.)

In 1991, Scaasi told The Canadian Press, “When I left Canada some 30 years ago, there was no room for creative talent in dress design. At that time, the only way to really make it was to go to the United States.” A New Yorker from 1951, he met his partner, Parker Ladd, on Central Park South in the early 1960s; they married in 2011.

For more on Scaasi, see the obituaries in The New York Times, the Montreal Gazette, and WWD.

Opening image Scaasi ID thanks to Kickshaw Productions.

Evening ensemble by Arnold Scaasi for Arlene Francis, 1958. Image via the Metropolitan Museum of Art.

McCall’s 7138 by Bob Mackie on the cover of McCall’s news, July 1980.

It’s been another hot summer here in Toronto. One of my earliest blog posts, Heat Wave!, surveys vintage beachwear patterns. This summer, let’s take a look at a more elusive beast: designer swimwear patterns.

1950s

The earliest pattern I’ve seen for designer swimwear is Pucci’s strapless one-piece, McCall’s 3977. This pattern was available in Junior sizes only. The suit was lined in jersey, and could be made with or without the brightly coloured appliqués:

McCall’s 3977 by Emilio Pucci (1956) Image: eBay.

1960s

From another Italian designer, Irene Galitzine, Vogue 1288 is a pattern for a bikini, dress, and hat. The bikini consists of a cropped, cowl-neck blouse and bikini pants with side ties:

Vogue 1288 by Irene Galitzine (ca. 1963) Image: eBay.

1970s

The 1970s were the heyday of designer swimwear patterns, often with a coordinating coverup, and always for stretch knits. Vogue 1416 is an early design by Donna Karan; from Anne Klein’s collaboration with Penfold, the pattern includes both a maillot and a halter bikini:

Vogue 1416 by Donna Karan at Anne Klein for Penfold (1976) Image: Etsy.

From Bill Blass, Vogue 1455 includes a two-piece swimsuit with bra top and bikini briefs:

Vogue 1455 by Bill Blass (1976)

John Kloss licensed a number of swimwear designs with Butterick. This ad promotes his patterns with a poolside photo of Butterick 4808:

Butterick 4808 by John Kloss, Butterick advertisement, 1976. Image: eBay.

Another Butterick designer, Gil Aimbez, designed this one-piece bathing suit. Contrast bias binding outlines the cut-away sides and bodice seaming detail:

Butterick 5449 by Gil Aimbez (ca. 1977) Image: Etsy.

Like the Anne Klein Penfold pattern above, this Penfold pattern includes both one-piece and halter bikini bathing suits. The one-piece and bikini top are cut on the bias:

Vogue 1655 by Penfold (ca. 1977) Image: Vintage Patterns Wiki.

Both Penfold patterns can be seen in a Vogue Patterns editorial photographed in Antigua:

Beach beauty: halter bikini Vogue 1416 by Donna Karan at Anne Klein for Penfold, Vogue Patterns, May/June 1977. Model: Clotilde. Photo: Albert Watson. Image: the Fashion Spot.

Vogue 1655 by Penfold with Vogue 9808, Vogue Patterns, May/June 1977. Models: Lisa Cooper and Clotilde. Photos: Albert Watson. Image: the Fashion Spot.

From spring, 1978, Vogue 1893 seems to have been the only Catalina pattern. Instead of a coverup, it includes three styles of bathing suit: low-backed view A, strapless view B with built-in boning, and blouson view C is a two-piece:

Vogue 1893 by Catalina (1978) Image: Etsy.

The magazine recommended making the Catalina suits in Thompson of California’s “second skin Tic Toc warp knit polyester crepes” in various prints:

Vogue 1893 by Catalina, Vogue Patterns, May/June 1978. Image: Vintage Goodness.

1980s

From 1980, McCall’s 7109 includes three one-piece swimsuits by the Italian label Basile: a mock wrap, belted halter-neck and variations on the strapless suit with gathered bust (available in the shop):

McCall’s 7109 by Basile (1980) Image via PatternVault on Etsy.

Jerry Hall (right) seems to be wearing the view A style in this Basile ad photographed by Irving Penn:

Basile advertisement in Vogue Italia, 1980. Photo: Irving Penn. Models: Michelle Stevens and Jerry Hall. Image: the Fashion Spot.

Also from 1980, Bob Mackie’s strapless, colour-blocked swimsuit, McCall’s 7138, was photographed for the July counter catalogue and news leaflet (seen at the top of this post):

McCall’s 7138 by Bob Mackie (1980) Image: Etsy.

1990s

Finally, this early ’90s DKNY pattern, Vogue 2897, is labelled ‘dress and bodysuit,’ but was photographed as beachwear:

Vogue 2897 by DKNY (1992) Image: Etsy.

After a long swimwear pattern drought, the big pattern companies seem to have noticed the renewed popularity of sewing your own, custom bathing suit. For this summer, Simplicity reissued a 1950s bathing suit pattern, Simplicity 4307 / S8139, and The McCall Pattern Company has released a number of new swimwear designs, including one Vogue and two Lisette swimwear patterns.

Two designers with existing pattern licensing, Cynthia Rowley and Rachel Comey, both have swimwear lines. If we voice our support, perhaps we could soon see patterns for Cynthia Rowley surf wear and Rachel Comey Swim…

Wetsuit by Cynthia Rowley for Roxy, 2010. Image: Pinterest.

Willy Somma self-portrait for Rachel Comey Swim, T Magazine, May 2013. Image: nytimes.com.

Metallic evening gown by James Galanos photographed at the Costume Institute, 1954. Image: Bettmann / Getty.

James Galanos died last month. He was 92. According to his obituary in the New York Times, Galanos authorized only two licenses: furs and fragrance. But he also licensed commercial sewing patterns—first with McCall’s, and later with Vogue Patterns. This post looks at Galanos’ 1950s patterns with McCall’s.

Jean Patchett in Galanos, Life magazine, February 23, 1959. Photo: Nina Leen. Image: Life archive.

Born in Philadelphia to Greek parents, James Galanos (1924-2016) was a graduate of the Traphagen School of Fashion. He worked with Hattie Carnegie, Hollywood costume designer Jean Louis, and Robert Piguet before founding his own, LA-based label in 1951. He retired in 1998, the year after LACMA mounted a retrospective of his work. Galanos won the devotion of celebrities and socialites with his virtuoso technique and flawless craftsmanship.

Image: the Metropolitan Museum of Art.

1950s

McCall’s introduced designer exclusives by “James Galanos, brilliant young star of American fashion” with two patterns for winter 1956-57. The Galanos designs—full-skirted formal gowns in two lengths—were prominently featured in the holiday issues of McCall’s Pattern Book and the company’s monthly news leaflet.

McCall’s 3895 by Galanos on the cover of McCall’s Pattern Book, Winter 1956-57. Image: eBay.

“Holiday news: Galanos designs for McCall’s.” McCall’s news leaflet, December 1956.

According to the news leaflet, McCall’s 3894 is “a fabulous ball gown to make in brocade.” The molded bodice is a trademark Galanos touch:

McCall’s 3894 by Galanos (1956) Image: the Vintage Pattern Wiki.

McCall’s 3894 by Galanos in McCall’s Pattern Book, Winter 1956-57. Image: eBay.

McCall’s 3895 is a bow-trimmed evening gown. As the leaflet notes, “Beautifully low-cut in back, it can be cocktail length.” Recommended fabrics included heavy satin, peau de soie, brocade, and taffeta:

McCall’s 3895 by Galanos (1956) Image: eBay.

A Galanos design in the McCall’s catalogue, February 1957. Image: Etsy.

In spring, 1957, McCall’s released two more Galanos patterns: the lavishly full-skirted McCall’s 4045 and 4046.

McCall’s 4045 by Galanos (1957) Image: eBay.

Here, the back bodice extends into a front yoke. The skirt and petticoat were to be made in organdy, nylon, or silk organza:

McCalls 4046 by Galanos (1957) Image: eBay.

The new Galanos patterns were promoted in the March issue of McCall’s magazine (“Galanos designs: Black-and-white for summer evenings”) and in the company’s “Make the Clothes that Make the Woman” advertising campaign.

“Make the Clothes that Make the Woman” advertisement featuring McCall’s 4046 by Galanos, spring 1957.

In the Summer 1957 pattern book, the designs are illustrated in green linen and flower-embroidered organdy:

James Galanos patterns illustrated in McCall’s Pattern Book, Summer 1957.

Today, Galanos’ McCall’s patterns are quite scarce. Perhaps customers balked at the extravagant yardage: the skirt for one dress took over 20 yards of narrow fabric. Galanos’ work with sheer layers continued into the following decade, as seen in this 1961 editorial by Gordon Parks:

Gloria Vanderbilt in a chiffon evening dress by Galanos, Life magazine, April 14, 1961. Photo: Gordon Parks. Image: Shrimpton Couture.

Next: James Galanos’ Vogue patterns.

Dovima wears McCall’s 4425 for Celanese, 1959.

A Celanese advertising insert from the late 1950s shows McCall’s festive styles in the latest synthetic silks—top models and more than one tiara from the multinational chemical company that brought you cellulose acetate.

Celanese Contemporary Fibers advertising booklet, Fall 1959.

The booklet frames small, full-length photos of McCall’s designs with close-ups showing off the “brilliant” textiles. Here, McCall’s 4999 is shown in Belding Corticelli’s rayon-acetate matelassé, with McCall’s 5057 in Cohama’s Arnel triacetate faille. The model on the right is Simone D’Aillencourt:

Left, McCall’s 4999 in Belding Corticelli matelassé; right, McCall’s 5057 in Cohama faille. Celanese insert, Fall 1959.

The blue ensemble on the left is McCall’s 5023, made in Celanese Celaperm acetate satin faille from the David Hecht Co. Anne St. Marie poses in McCall’s 5029 in Onondaga rayon-acetate brocade:

Left, McCall’s 5023 in David Hecht Co. satin faille; right, McCall’s 5029 in Onondaga brocade. Celanese insert, Fall 1959.

Here, Dovima wears a shimmering gold version of McCall’s 4425 in Lawrence and Klauber printed crepe satin acetate, while McCall’s 4870 evokes Princess Grace in aqua acetate satin from William Skinner and Sons:

McCall’s 4425 in Lawrence and Klauber printed crepe satin; right, McCall’s 4870 in William Skinner and Sons satin. Celanese insert, Fall 1959.

Dovima closes the booklet in McCall’s 5012, an at-home trouser ensemble shown in orange and tangerine Celaperm acetate satin peau from Wedgwood Fabrics.

Dovima wears McCall’s 5012 in Wedgwood Fabrics’ satin peau. Celanese insert, Fall 1959.

For more on the history of Celanese (est. 1918), see the company website.

Happy holidays, everyone!

C’est Vous! 1959 Eastman Fibers advertisement featuring McCall’s 5020 and McCall’s 5099 by Pierre Cardin.

A 1959 Eastman Fibers ad brings a note of intrigue to McCall’s patterns by photographing them in a nightlife setting, on a pair of vampy women.

The patterns are McCall’s 5020, a strapless cocktail dress, and McCall’s 5099, a skirt suit by Pierre Cardin, both shown in Wesco Chromspun fabrics.

Chromspun is the trademark for Eastman colour-locked acetate yarn from Eastman Chemical Products Inc., then a subsidiary of Eastman Kodak—in those days headquartered on Madison Avenue.