Detail, Vogue, August 1986. Photo: Denis Piel.

“On the move” is the concept for a mid-’80s Denis Piel pattern editorial featuring designs from Geoffrey Beene’s career line.

Here, Vogue 1770, Beene’s wrap jacket and skirt, is shown in wool jersey from Jasco Fabrics, with dress Vogue 1771 in Horikoshi silk crepe (Bally briefcase; Donna Karan bags; Omega belt; bracelets by Eric Beamon):

Vogue 1770 and 1771 by Geoffrey Beene, Vogue, August 1986. Photos: Denis Piel.

On the left, Vogue 1771’s jacket is made reversible in red and black wool coating, with wool gabardine trousers and a silk charmeuse tank made using Vogue 1773 (wool from Anglo Fabrics; silk from Hi Fashion Fabrics). At right, Vogue 1773’s coat becomes a raincoat in cotton back polyurethane from Waldon Textiles, with a cotton corduroy contrast from Majestic Mills (Omega belt; bags, Maud Frizon and Prada):

Vogue 1771 and 1773 by Geoffrey Beene, Vogue, August 1986. Photos: Denis Piel.

In the back of the magazine, readers could find sewing tips for making the jacket reversible and giving the coat a contrast collar:

Details on Vogue 1770, 1771, and 1773 by Geoffrey Beene, Vogue, August 1986.

Pattern images: Vintage Pattern Wiki, Design Rewind Fashions.

Scott Barrie dress, ca. 1973, in MFIT’s exhibition Black Fashion Designers. Image: Museum at FIT.

The Museum at FIT’s current exhibition, Black Fashion Designers, showcases the often-overlooked work of more than 60 designers of African descent. (The show runs to May 16th, 2017). Monday’s symposium is sold out, but you can watch a livestream here.

Butterick 6680 by Willi Smith (ca. 1979) Image: PatternVault on Etsy.

Many of the designers featured in the FIT exhibit also licensed sewing patterns. Here are some highlights of patterns by designers of African descent, from the 1970s to now.

Sportswear designer Willi Smith (1948-1987) signed with Butterick’s Young Designer line in the 1970s; in the ’80s, he moved to McCall’s with his label Williwear. According to the exhibition notes, Smith branched into menswear in 1982, but this pattern is almost a decade earlier:

Butterick 3254 by Willi Smith (1973) Image: Vintage Pattern Wiki.

Stephen Burrows (b. 1943) licensed designs with McCall’s Carefree line in the mid-1970s. This pattern combines two of his signature elements, colour blocking and lettuce hems:

McCall’s 4091 by Stephen Burrows (1974) Image: Etsy.

Scott Barrie (1946-1993) began his career at Vogue Patterns, so his introduction to home sewers was also a welcome back. Chris von Wangenheim photographed Barrie with two models for a feature highlighting his work with matte jersey. The patterns are Vogue 1976 (on Gia Carangi) and Vogue 1994:

Scott Barrie in Vogue Patterns, September/October 1978. Photo: Chris von Wangenheim.

Best known for his formal wear, British designer Bruce Oldfield (b. 1950) licensed his work with Style Patterns in the mid-1980s. (See my earlier post here). This dolman-sleeved dress could be made in cocktail or evening length:

Style 4494 by Bruce Oldfield (1985) Image: Etsy.

Patrick Kelly (1954-1990) first appeared on the pattern scene in the late 1980s with this dramatic peplum suit. (Read my Patrick Kelly post here, or download the free one-seam coat pattern.)

Vogue 2077 by Patrick Kelly (1988) Image: PatternVault on Etsy.

Gordon Henderson (b. 1957) was among the first designers in the ’90s Vogue Attitudes line. (According to a 1990 profile, his mother—a psychologist and single parent—used Vogue patterns to economize.) This 1990 design shows his interest in colour and silhouette:

Vogue 2566 by Gordon Henderson (1990) Image: Etsy.

Also in the Vogue Attitudes line, patterns by Byron Lars (b. 1965) remain popular today. (See my earlier post.) This shirt dress and leggings ensemble was photographed on the street in New York City:

Vogue 1529 by Byron Lars (1995) Image: Etsy.

Tracy Reese (b. 1964) has licensed her main label with Vogue Patterns since 2009; McCall’s added bridge line Plenty by Tracy Reese in 2012. Vogue’s most recent offering, Vogue 1512, is a dress from Reese’s Fall 2015 collection.

McCall’s 6506 from Plenty by Tracy Reese (2012) Image: PatternVault on Etsy.

Vogue 1512 by Tracy Reese (2016) Image: eBay.

Tracy Reese, Fall 2015 collection. Image: Vogue Runway.

For more on the Black Fashion Designers exhibit, see the museum notes and Alexandra Jacobs’ article in The New York Times.

Detail, Vogue, November 1974. Photo: Chris von Wangenheim. Image: The Fashion Spot.

Galentine’s Day calls for slumber party-worthy loungewear. “The Insiders,” a mid-1970s Chris von Wangenheim editorial photographed in interior designer Angelo Donghia’s New York townhouse, includes three Vogue patterns made up in gleaming satin.

“The insiders… make their own gleam”: loungewear patterns in Vogue, November 1974. Photos: Chris von Wangenheim. Image: The Fashion Spot.

On the left, Regina Jaffrey wears robe Vogue 8888 and trousers Vogue 1127; the model on the right is wearing jacket and drawstring pants Vogue 8855. Both ensembles were made in Qiana nylon, from American Silk Mills and Jules Moskowitz. (Hair by Maury Hopson; jewels: Van Cleef & Arpels.)

Detail, Vogue, November 1974. Photo: Chris von Wangenheim. Image: The Fashion Spot.

See Sighs and Whispers’ repost for the full editorial.

Pattern images: Roma’s Maison, Vintage Pattern Wiki.

Marisa Berenson on the cover of Vogue Pattern Book, June/July 1970. Photo: Otto Storch.

Marisa Berenson (b. 1947) turns 70 today. Though best known for her work as a film actor in movies like Visconti’s Death in Venice (1971), Cabaret (1972), and Barry Lyndon (1975), Berenson grew up wanting to be a fashion model. Her career was launched when she met Diana Vreeland at a society ball, and she became one of the most successful models of the ’60s and ’70s. For more, see the visual biography Marisa Berenson: A Life in Pictures (Rizzoli, 2011).

Marisa Berenson as the Countess of Lyndon on the cover of Andy Warhol’s Interview, January 1975. Image: eBay.

As far as I know, Berenson appears on only one pattern envelope: Vogue 2369 by Oscar de la Renta. Taken in a New York interior, the photo was also published in a 1970 Vogue Pattern Book feature on the designer:

Vogue 2369 by Oscar de la Renta (1970) Image: Etsy.

Berenson can also be seen in Vreeland-era pattern editorials in Vogue magazine, like this shoot by Guy Bourdin (see my earlier post):

Marisa Berenson in Vogue, August 15, 1966. Photos: Guy Bourdin.

Irving Penn’s “Look Marvellous” editorial, showcasing clothes in American fabrics, included Berenson in Vogue 7017 and Vogue 7022 (via Youthquakers):

“Look Marvellous”: Marisa Berenson in Vogue, January 15, 1967. Photos: Irving Penn. Image: Youthquakers.

This Gianni Penati editorial shows two Vogue Paris Originals by Marc Bohan for Dior, Vogue 1787 and Vogue 1792:

“Hit Knits: the geometric jerseys.” Marisa Berenson in Vogue, June 1967. Photos: Gianni Penati.

The issue of Vogue Pattern Book with the Berenson cover (shown above) includes more of her editorial work. In “New Evening Splendour,” she wears the cover look, caftan Vogue 7827, as well as Vogue 7834 and Vogue 7836:

Vogue 7836 caftan, Vogue Pattern Book, June/July 1970. Photo: Otto Storch.

Vogue 7827 caftan, Vogue Pattern Book, June/July 1970. Photo: Otto Storch.

Vogue 7834 poncho and pants, Vogue Pattern Book, June/July 1970. Photo: Otto Storch.

Berenson also models some jumpsuits in a summer portfolio—Vogue 7697 in a groovy print:

Vogue 7697 in Vogue Pattern Book, June/July 1970.

High-waisted jumpsuit Vogue 7818:

Vogue 7818 in Vogue Pattern Book, June/July 1970.

And short jumpsuit and wrap skirt Vogue 7812:

Vogue 7812 in Vogue Pattern Book, June/July 1970.

Happy birthday, Ms. Berenson!

Marisa Berenson on the runway for Tom Ford’s Spring 2011 collection. Photo: Terry Richardson. Image: Harper’s Bazaar.

Guy Laroche advertising campaign, Fall 2001.

Word is Guy Laroche patterns are set to return after a two-year hiatus. (The last Laroche, and last Paris Original, to be released was V1450 in Summer, 2015.) In anticipation, my ongoing Laroche series resumes with a look at the early 2000s designs of Mei Xiao Zhou.

Born in the Netherlands, Mei Xiao Zhou came to a career in fashion after working as a ballet dancer and video director in New York and Tokyo. He spent six years as an assistant to Thierry Mugler before he was hired as head designer at Guy Laroche. (See WWD, “Guy Laroche Taps Zhou.”)

Zhou designed two collections for Laroche, both presented in 2001.

1. Guy Laroche Prêt-à-porter Fall/Winter 2001 (shown March 2001)

Mei Xiao Zhou’s first collection for Laroche radiated energy, with vibrant colour and prints underlining the skillful cut. (See WWD, “Static State, Forties-Something, and the ‘Casino’ Factor.”) Here’s the collection image from L’Officiel 1000 modèles:

Guy Laroche Fall 2001 collection by Mei Xiao Zhou in L’Officiel 1000 modèles. Image: jalougallery.com.

The hardest to find of Zhou’s Laroche patterns, Vogue 2650 is a bias-cut, halter-neck wrap dress that can be made in cocktail and evening length (both size ranges available in the shop):

Vogue 2650 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Guy Laroche Fall 2001 runway. Images: firstVIEW.

Vogue 2668’s trouser suit includes a short jacket with three-quarter sleeves. On the runway, the revers on the red version revealed a flash of sequins:

Vogue 2668 by Mei Xiao Zhou for Guy Laroche (2002) Image: Etsy.

Guy Laroche Fall 2001 runway. Images: firstVIEW.

Vogue 2689 is a sleek skirt suit with concealed closure and clavicle-framing standing collar. The skirt has a zippered side slit:

Vogue 2689 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Guy Laroche Fall 2001 runway. Images: firstVIEW.

L’Officiel included one of Zhou’s op-art print pieces in the Sixties-inspired editorial “Mille neuf cent soixante-trois“:

Guy Laroche, L’Officiel, October 2001. Model: Mariacarla Boscono. Photo: Nicolas Hidiroglou. Editor: Jennifer Eymère. Image: jalougallery.com.

2. Guy Laroche Prêt-à-porter Spring/Summer 2002 (shown October 2001)

For his romantic second collection for Laroche, Zhou covered the runway in water, sending out looks with an Asian influence in a palette of white, yellow, ochre, chocolate brown, and black. (See L’Officiel 1000 modèles and AP, “Louis Vuitton Show Goes Creative.”) Here’s the collection image:

Guy Laroche Spring 2002 collection by Mei Xiao Zhou in L’Officiel 1000 modèles. Image: jalougallery.com.

A look from Mei Xiao Zhou’s Spring 2002 collection for Guy Laroche. Model: Raquel Zimmerman. Image: livingly.

The Spring 2002 campaign echoed the runway’s aquatic motif:

Guy Laroche advertising campaign, Spring 2002.

Because this collection is not well documented online, it’s difficult to identify corresponding sewing patterns. Vogue 2752 looks to be one of the canary yellow suits, with flared kimono sleeves and rounded lapels that match descriptions of the show:

Vogue 2752 by Mei Xiao Zhou for Guy Laroche (2002) Image: PatternVault on Etsy.

Although I can’t confirm it, Vogue 2736 may also be a Spring 2002 design. The jacket has a bustier-effect bias inset, and the pants have high slits in the back seams:

Vogue 2736 by Guy Laroche (2003) Image: Etsy.

Mei Xiao Zhou brought the verve of Mugler to his runway shows for Laroche. Although his first collection was well received, the house was sold to a new parent company, which hired a new designer for Fall 2002 (Laetitia Hecht). Like other designer patterns of this period, Zhou’s Laroche patterns highlight the widening gulf between catwalk and sewing-editorial styling—which is ultimately the gulf between the fashion and home sewing industries.

Previous Laroche posts:

• Alber Elbaz
• Hervé L. Leroux (Hervé Léger)
• Damian Yee

Ellen von Unwerth – Heimat at the Taschen Gallery, Los Angeles, 2017. Image: Taschen.

If you’re in LA this month, you can catch Ellen von Unwerth’s new show, Heimat, at the Taschen Gallery (to May 1st, 2017). A catalogue is available in two limited editions.

Ellen von Unwerth, Heimat (Taschen, 2017) Image: Taschen.

In 1993, von Unwerth photographed Winona Ryder for a Vogue cover feature showcasing the season’s silver trend. One of the silver looks—shown twice—was made using a Vogue pattern.

Winona Ryder in Vogue, October 1993. Photo: Ellen von Unwerth. Editor: Camilla Nickerson.

Winona Ryder in V1446 silver leather coat, Vogue, October 1993. Photo: Ellen von Unwerth. Editor: Camilla Nickerson.

Winona Ryder in a Betsey Johnson silver lamé suit and Converse sneakers. Vogue, October 1993. Photo: Ellen von Unwerth. Editor: Camilla Nickerson.

Winona Ryder wears a silver leather coat made using Vogue 1446. Vogue, October 1993. Photo: Ellen von Unwerth. Editor: Camilla Nickerson.

Ryder’s duster is the long, view D version of Vogue 1446, made up in silver leather from Libra Leather.

Vogue 1446 (ca. 1984) Image: Sew Exciting Needleworks.

Vogue 7952 in Vogue Pattern Book, August/September 1971. Photo: Art Barclay.

In honour of Mother’s Day, some maternity images from an early ’70s Vogue Pattern Book.

That’s Vogue 7952 by the red Volkswagen bug. (Shoes: Charles Jourdan.) The other maternity patterns are Vogue 7382 and Vogue 8079.

Happy Mother’s Day!

Vogue 7382 in Vogue Pattern Book, August/September 1971. Photo: Art Barclay.

Vogue 8079 in Vogue Pattern Book, August/September 1971. Photo: Art Barclay.

“Motherhood” in Vogue Pattern Book, August/September 1971. Photos: Art Barclay.

Tim Blanks, The World of Anna Sui (Abrams, 2017). Image: Abrams.

The World of Anna Sui opened at the Fashion and Textile Museum in London last weekend. It’s the museum’s first retrospective on a living American designer, with an accompanying book by Tim Blanks—out today from Abrams.

Image: Joshua Jordan / Fashion and Textile Museum.

Anna Sui licensed her work with Vogue Patterns for some 16 years, from the mid-1990s to 2011. Read my series on Vogue patterns by Anna Sui:

• Anna Sui: Vogue Patterns, Part 1
• Anna Sui: Vogue Patterns, Part 2

Vogue Patterns introduces Anna Sui for Vogue Attitudes: Vogue Patterns catalogue, September 1995. Image: eBay.

I’ve just listed this pattern for two dresses from Sui’s Mudd Club collection:

Vogue 2551 by Anna Sui (2001) Image: PatternVault on Etsy.

For more on Sui and her work, see Tim Blanks’ essay for the Business of Fashion, “Anna Sui, America’s Most Underrated Fashion Designer.”

Faux Mongolian lamb coat by Anna Sui, Harper’s Bazaar, August 1995. Photo: Peter Lindbergh.

Kirsty Hume wears Anna Sui in Vogue, September 1995. Photo: Arthur Elgort. Editor: Grace Coddington.

Karen Elson in Anna Sui, Vogue, June 2003. Photo: Tim Walker. Editor: Grace Coddington. Image: Vogue.com.

Tania Mallet wears Mary Quant and James Wedge on the cover of British Vogue, October 1, 1963. Photo: Brian Duffy. Image: eBay.

Model and Bond girl Tania Mallet (b. 1941) was born in Blackpool to English and Russian-English parents. (Her mother, Olga Mironoff, was Helen Mirren’s paternal aunt.) She began working as a model in the late 1950s after taking a course at the Lucie Clayton Charm Academy. You may recognize her from her role as Tilly Masterson in Goldfinger (1964).

Tania Mallet as Tilly Masterson in Goldfinger (1964). IMDb image ©Metro-Goldwyn-Mayer Studios Inc.

Mallet’s modelling work in the 1960s included editorials for Vogue patterns and Vogue Knitting Book.

Tania Mallet in Vogue Knitting Book no. 60 (Jubilee edition), 1962. Image: Etsy.

The earliest patterns I’ve found featuring Mallet are by French and Italian designers—Jacques Heim and Simonetta:

Vogue 1258 by Jacques Heim (1963) Image: Pinterest.

Vogue 1265 by Simonetta (1963) Image: eBay.

Later patterns are by London designers like Ronald Paterson and Jo Mattli:

Vogue 1391 by Ronald Paterson (1964) Image: Vintage Pattern Wiki.

Vogue 1407 by Jo Mattli (1964) Image: Etsy.

Vogue 1661 by Jo Mattli (ca. 1967) Image: Etsy.

This daffodil evening ensemble was featured in my Bellville Sassoon post:

Vogue 1677 by Belinda Bellville (ca. 1966) Image: Etsy.

Here Mallet wears a goddess gown by John Cavanagh:

Vogue 1687 by John Cavanagh (ca. 1966) Image: eBay.

In this ad for Sekers Fabrics, she wears Forquet gown Vogue 1693 in striped ‘Hero’ lurex:

Tania Mallet wears Vogue 1693 by Federico Forquet (with Vogue 1758 by Ronald Paterson and Vogue 7158). Sekers Fabrics advertisement, 1967.

Full marks for hats and coiffure, don’t you think?

Tania Mallet in Pucci on the cover of British Vogue, July 1961. Photo: Eugene Vernier. Image: Vogue UK.

Tania Mallet in Pierre Cardin on the cover of Jardin des Modes, March 1962. Photo: Harry Meerson. Image: Jardin des Modes Covers.

Tania Mallet on the cover of British Vogue, July 1962. Photo: Henry Clarke. Image: eBay.

Eight ways to wear an infinite dress. Sketch by Lydia Silvestry in Vogue, October 1976.

Summer means weddings and infinity dresses—or, if a couple is particularly on-trend, infinity bridesmaid jumpsuits.

TwoBirds bridesmaid jumpsuits, 2016. Image: Instagram.

China Machado’s summer 1973 resort set was a precursor to the infinity garments of the mid-1970s. Like the infinity dress and its cousins, Machado’s pieces call for two-way stretch knits; but Grace Mirabella’s Vogue featured the design in muslin, as worn by Beverly Johnson:

Very Easy Vogue 2881 by China Machado (1973) Image: Sew Exciting Needleworks.

Beverly Johnson in Vogue, May 1973. Photos: Kourken Pakchanian. Image: Youthquakers.

Lydia Silvestry trademarked “The Infinite Dress” and licensed it with McCall’s in 1976. As the pattern envelope says, “One size dress can be worn an infinite number of ways. See enclosed guide sheet illustrating 13 ways dress can be worn, or try creating your personal version.”

McCall’s 5360 by Lydia Silvestry (1976) Image: PatternVault on Etsy.

Silvestry also licensed her infinite jumpsuit as a pattern featuring Maud Adams. I think this pattern has my favourite fabric note: For best results use a Lightweight, Non-cling Stretchable Jersey-type Knit Fabric such as Rosewood Fabric’s LA GRAND QUE of 100% QIANA, Burlington’s AMBROSIA of 100% Dacron Polyester, Millikin’s SURE THING of 100% Dacron Polyester. (Click to view in the shop.)

McCall’s 5529 by Lydia Silvestry (1977) Image: PatternVault on Etsy.

From Carol Horn, this dress has strapless and colour blocking options:

Vogue 1573 by Carol Horn (ca. 1977) Image: Etsy.

Also one-size, the Seven Way Wonder Dress seems to have been Butterick’s answer to the Infinite Dress. A winter retail catalogue shows the Wonder Dress as black tie wear:

Butterick 5230 (ca. 1977) Image: Vintage Pattern Wiki.

The Wonder Dress – Wear It 7 Smashing Ways! Back cover of the Butterick retail catalogue, February 1977. Image: eBay.

Meanwhile, Simplicity had the Wonder Wrap Jiffy Jumpsuit and Jiffy Multi-Wrap Dress:

Simplicity 7957 (1976) Image: Etsy.

Simplicity 8086 (1977) Image: Etsy.

Vogue released two Very Easy infinite dress patterns in spring, 1977:

Vogue 1640 (1977) Image: Sew Exciting Needleworks.

Vogue 1641 (1977) Image: Etsy.

Vogue 1641 is seldom seen, despite being illustrated by Antonio and photographed in Antigua for Vogue Patterns magazine:

Vogue 1641, Very Easy Vogue Patterns, May 1977. Illustration: Antonio. Image: Patterns from the Past.

Vogue 1641 in Vogue Patterns, May/June 1977. Model: Clotilde. Photo: Albert Watson. Image: The Fashion Spot.

Is that Patti Hansen modelling the Glamour Plus Dress?

Butterick 5683 (ca. 1977) Image: Vintage Pattern Wiki.

Fast forward to 2000, when McCall’s released an infinite dress by Debra Moises (Debra and Moises Diaz). The envelope shows 5 variations:

McCall’s 2781 by Debra Moises (2000) Image: eBay.

In 2011, Butterick featured an infinite dress (now out of print) on the cover of their Spring catalogue:

Butterick 5606 on the cover of the Butterick catalogue, Spring 2011. Image: Issuu.

Butterick 5606 in the Butterick catalogue, Spring 2011. Image: Issuu.

Last summer, as part of their Archive Collection, McCall’s reissued their 1970s-era infinite dress and jumpsuit as a single pattern (still in print). These patterns are usually adapted somewhat from the vintage originals:

’70s Chic with Infinite Looks: M7384 in McCall’s lookbook, Early Summer 2016. Image: Issuu.

It’s easy to see why infinity dresses remain popular, with their carefree resort vibe and minimal fitting requirements. And on the pattern envelopes, the hall of mirrors effect never gets old, does it?

For more discussion and links, see Michelle Lee’s post.

Bobby Breslau in Vogue Patterns, May/June 1979. Photo: Charles Tracy.

“Our Man in Leather”: Vogue Patterns introduced Bobby Breslau, one of the company’s rare designers of accessories, with a winking acknowledgement of the gay community.

Bobby Breslau biographical note, Vogue 2184 (1979). Image: Etsy.

Bobby Breslau (ca. 1943-1987) was a friend of Halston, Stephen Burrows, and Keith Haring; photographer Charles Tracy, who took Breslau’s portrait, was a member of the same social circle. Breslau’s training was in the garment industry, but a toy commission from Halston set him on the path of accessory and furniture design. His tactile, unstructured style of bag showed a sculptor’s eye for colour and texture; the New York Times called it “the handbag of the 1970’s.” (See Robin Givhan’s The Battle of Versailles and Suzanne Slesin, “Beyond the Fringe: A Designer’s Zany World in Leather.”) Breslau was the manager of Keith Haring’s Pop Shop until his death from complications of AIDS in early 1987.

Breslau bag for Halston in Elaine Gross and Fred Rottman, Halston: An American Original (1999) Image: Behind the Seams.

In 1979, Breslau licensed two bag patterns with Vogue. Each design could be made in three sizes. Vogue 2153 is a “draw-stringer and scarf tie-up”:

Vogue 2153 by Bobby Breslau (1979) Image: Etsy.

Vogue 2184 is a saddlebag and roll pouch:

Vogue 2184 by Bobby Breslau (1979) Image: Etsy.

Just as Breslau’s unconstructed bag is back, so too are the brights of ’79. As Hannah Marriott writes, a trend for Lego colours is predicted for spring 2019…

Model with Breslau bag, Vogue Patterns, May/June 1979.

Simplicity 9376 (1971) Image: Etsy.

Happy Pride! This year you can celebrate all summer with 2017’s rainbow trend. (See Lauren Cochrane, “The rainbow’s not over – it’s the style symbol of the season.”) It’s a vintage motif with roots in the ’70s and ’80s.

The ’70s rainbow trend was well underway before Gilbert Baker created the rainbow flag in 1978. (Read MoMA’s interview.) The groovy teens’ pattern shown above came with rainbow appliqués. Maija Isola’s Sateenkaari (Rainbow) print for Marimekko appeared the same year as Pink Floyd’s Dark Side of the Moon:

Maija Isola Sateenkaari printed fabric for Marimekko, 1973. Image: Etsy.

As did this Time-Life sewing book entitled Shortcuts to Elegance:

Shortcuts to Elegance: The Art of Sewing (1973) Image: Etsy.

From McCall’s Carefree line, this iron-on alphabet transfer pattern lets you spell whatever you like in rainbow caps:

McCall’s 5567 (1977) Set of full colour iron-on transfers.

Meredith Gladstone’s circa 1980 children’s décor pattern, “Cloud Room,” includes a rainbow pillowcase and rainbow-lined sleeping bag:

Vogue 2360 by Meredith Gladstone (ca. 1980) Cloud Room. Image: Etsy.

With the right print, home dressmakers could sew everything from rainbow dresses to coverups:

Butterick 3767 (1981) Image: Etsy.

Butterick 3902 (1981) Image: Etsy.

For those making their own Cheer Bear Care Bear, Butterick’s envelope explained the rainbow’s significance as a “traditional symbol of hope,” as well as “a cheerful reminder that things are getting better and even bad times can bring something beautiful”:

Butterick 6230 (1983) Cheer Bear. Image: Etsy.

Envelope back, Butterick 6230 (1983). Image: Etsy.

Hallmark’s Rainbow Brite licensing with McCall’s included a children’s costume, Rainbow Brite and Twink toys, and a set of mobiles.

Rainbow Brite patterns on the cover of McCall’s Crafts catalogue, ca. 1984.

With a Rainbow Brite doll—share in the power of the rainbow. McCall’s 9238 (1984) Image: Etsy.

With a Twink doll—create some color of your own. McCall’s 9231 (1984) Image: Etsy.

McCall’s 9254 (1984) Rainbow Brite costume. Image: ecrater.

A rainbow for your own—McCall’s 9523 / 769 (1985) Image: Etsy.

Of course, there’s no need to find the perfect rainbow fabric. All it takes is the right array of colours…

Alexander McQueen dress (Irere, SS 2003), Vogue Italia supplement, February 2003. Photo: Steven Meisel. Model: Eugenia Volodina. Image: The Fashion Spot.

Butterick 3110 jumpsuit, Butterick catalogue, June 1980.

The PatternVault blog turns six today. To celebrate, I’m doing something a little different—I’m hosting a giveaway linked to a poll:

Vogue 2366 by Bill Kaiserman. Vogue Patterns catalogue, April 1980.

To enter the giveaway: (1) Vote in the poll, and (2) Comment to let me know you voted. The winner, chosen at random, will win one $25 CAD gift certificate for the PatternVault Etsy shop.

Poll closes Monday, July 17th. Poll results and winner will be announced Tuesday, July 18th.

With thanks to Elizabeth C., who made sure the two 1980 retail catalogues pictured reached me all the way from Amherst, Massachusetts!

Celia Hammond in British Vogue, October 1968. Photo: David Bailey.

A late ’60s loungewear pattern is the star of “Making Up a Legend,” photographed for British Vogue by David Bailey.

Celia Hammond wears Vogue 7430, made up in wave-patterned Schwarzenbach brocade in green and gold Lurex, with gold Mary Quant tights pulled up to cover the bare midriff. The gold belt is by the late, great Kenneth Jay Lane.

Vogue 7430 in British Vogue, October 1968. Photo: David Bailey. Model: Celia Hammond. Image: Youthquakers.

(See Youthquakers for more from this issue.)

Vogue 7430 (1968) Image: Vintage Pattern Wiki.

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.

Vogue 8206 and 8204 in Vogue Pattern Book, 1972. Photo: Horn/Griner.

Horn/Griner photographed this military-inspired ensemble for an early ’70s issue of Vogue Pattern Book: the shirt, Vogue 8206, in camo voile and the pleated skirt, Vogue 8204, in khaki gabardine. The vest was available as a knitting pattern in the magazine. (Printed voile by Aquarius Fabrics; Rosewood Fabrics double woven polyester gabardine.) The scene captures the late-summer mood.

This Labour Day weekend, from Thursday, August 31st through Monday, September 4th, customers will receive 15% off everything in the PatternVault shop as part of Etsy’s first Labour Day sale. No coupon required—the new system will show the discounted price. And if you’re new to Etsy, you can use the new guest checkout.

Happy Labour Day, everyone. See you in September.

Detail from “High-Toned Tweeds,” Vogue, October 1995. Photo: Arthur Elgort. Editor: Grace Coddington.

Arthur Elgort and Grace Coddington’s mid-’90s editorial, “High-Toned Tweeds” (previously seen in my Anna Sui series), features Stella Tennant in stovepipe pants made from a Vogue pattern.

Stella Tennant in Vogue, October 1995. Photo: Arthur Elgort. Editor: Grace Coddington.

Very Easy Very Vogue trouser pattern Vogue 9369 was made up for the magazine in Tessuti D.B.A. tweed from Encore Fabrics.

Vogue 9369 (1995) Image: Etsy.

Eugenia Silva wears Prada on the cover of Vogue Italia, March 1998. Photo: Steven Meisel. Editor: Bill Mullen. Image: The Fashion Spot.

Blade Runner 2049, Denis Villeneuve’s much-anticipated sequel to Ridley Scott’s Blade Runner, opens today. Here’s a look at the fashion references and influence of the 1982 cult classic. (For Blade Runner’s influence on current fashion and an interview with costume designer Renée April, see Booth Moore, “‘Blade Runner 2049’ Already a Hit on the Fashion Runways.”)

Ryan Gosling in Blade Runner 2049 (2017) Image: Stephen Vaughan/Warner Bros.

Thierry Mugler “Angel” fragrance advertisement, 2003. Image: eBay.

Blade Runner’s BAFTA-winning costume designers, Charles Knode and Michael Kaplan, cite 1940s film noir, with its iconic characters like Humphrey Bogart’s Sam Spade and Rita Hayworth’s Gilda, as their main inspiration. For the replicant Rachael, they also looked to the 1930s and ’40s tailoring of Hollywood costume designer-turned-couturier Adrian. (Kaplan is still in the genre-film spotlight with the new Star Wars trilogy, while the Adrian label—the subject of a recent exhibit—is being revived as Adrian Original.)

Rachael costume sketches by Michael Kaplan for Blade Runner (1982). In Dressed: A Century of Hollywood Costume Design (Collins, 2007).

Kaplan used vintage fabrics for Rachael’s Adrian-inspired outfits: “I liked the idea of combining different shades of suiting fabrics to create patterns—something Adrian did. In this case I used amazing vintage suiting woollens in shades of grey and beige, with metallic threads that I was lucky enough to find, which created a subtle luminous quality.” (Source: AnOther mag.) This circa 1944 Butterick suit features Adrian-style piecing:

Butterick 6286 from 1944 (2015)

In the 1980s, Claude Montana was the go-to designer for the decade’s updated triangular silhouette. (Ridley Scott has acknowledged the decade’s ’40s revival as an important factor in the film’s aesthetic.) This Vogue Individualist design plays up the ’40s influence:

Vogue 1927 by Montana (1987)

In spring, 1997, Blade Runner: The Director’s Cut was one of the first movies to be released on DVD. The following spring, working with stylist Bill Mullen and set designer Jack Flanagan, Steven Meisel photographed a Blade Runner-homage cover and editorial for Vogue Italia’s March 1998 prêt-à-porter issue. Michael Kaplan recalls mistaking the cover for a film still. The editorial features text from Roy’s climactic monologue (“I’ve seen things you people wouldn’t believe…”) with clothes from Prada’s Spring 1998 collection, which paired natural materials with synthetics like latex and plexiglass.

Prada Spring ’98 in Vogue Italia, March 1998. Photo: Steven Meisel. Editor: Bill Mullen. Image: Vogue Italia Archive.

Meanwhile, in Paris, Alexander McQueen referenced Blade Runner in his Fall/Winter 1998 ready-to-wear collection for Givenchy. Visionaire’s Alexander McQueen memorial issue includes an image from Steven Meisel’s fall advertising campaign. (For more on this collection, see my McQueen series post.)

Two looks from Alexander McQueen’s Fall 1998 prêt-à-porter collection for Givenchy. Images: firstVIEW, Corbis.

V2228 and V2248 (under jacket) on the runway – Alexander McQueen for Givenchy, Fall 1998 prêt-à-porter. Images: Corbis.

Givenchy Fall 1998 by Alexander McQueen in Visionaire 58: Spirit (2010). Photo: Steven Meisel. Image: 1stdibs.

Sewists and Blade Runner devotees are fortunate to have two licensed patterns from this collection:

Vogue 2228 by Alexander McQueen for Givenchy (1998) Image: PatternVault on Etsy.

Vogue 2248 by Alexander McQueen for Givenchy (1999) Image: PatternVault on Etsy.

The sleeveless version of the dress seems to have been shown with a jacket on the runway. (Click the image to read about my version, which I wore to TIFF’s Cronenberg exhibit.)

In V2248 by Alexander McQueen for Givenchy at David Cronenberg: Evolution, 2014.

Rachael’s chevron-quilted synthetic fur coat gets the most screen time, but it’s her blue brocade coat with standing fur collar that appears to have been McQueen’s main reference for the fur-trimmed coats and jackets. As the pattern reveals, the collar stands with the help of boning.

Rachael (Sean Young) in her quilted faux-fur coat. Image: Vogue Italia.

Rachael’s blue brocade coat. Images: Pinterest, Christies/BladeZone.

Charles Knode fur-trimmed coat sketches for Blade Runner. Image: BladeZone.

Blue leather coat with standing fur collar, Alexander McQueen for Givenchy, Fall 1998 prêt-à-porter collection. Images: eBay.

(Wool version available here.)

The weathered tones and textures of Mayan Revival—prominently seen in Deckard’s apartment, as played by Frank Lloyd Wright’s Ennis House—form a thread linking the first film, Meisel’s Givenchy campaign, and Villeneuve’s sequel. It was Kaplan’s vision of a dirty retrofuture, rather than glossy futurism, that won him the Blade Runner gig. It will be interesting to see what role revivals play in the new film.

Rachael (Sean Young) in Blade Runner (1982) Image: Restless Things.

Givenchy Fall 1998 ad campaign featuring Alexander McQueen’s Blade Runner collection. Photos: Steven Meisel. Models: Erin O’Connor and Jade Parfitt.

K (Ryan Gosling) in Blade Runner 2049 (2017) Image: Vogue Italia.

For more production images for the new film, see the Vogue Italia gallery.

A look from Adam Andrascik’s Fall 2015 collection for Laroche. Photo: Yannis Vlamos. Image: Vogue.com.

From Guy Laroche to Paco Peralta, Vogue’s designer patterns for Winter/Holiday 2017 offer a range of festive looks for the coming season.

The new Guy Laroche is a skinny jean and party top, recommended for lamé:

Vogue 1573 by Adam Andrascik for Guy Laroche (2017) Image: McCall’s

The ensemble is the first pattern to be drawn from Adam Andrascik’s debut collection for Laroche.

V1573 by Adam Andrascik for Guy Laroche on the Fall 2015 runway. Photo: Yannis Vlamos. Image: Vogue.com.

Gleaming tartan jacquard is the star of this ensemble from Anne Klein, now designed by Sharon Lombardo:

Vogue 1571 by Sharon Lombardo for Anne Klein (2017) Image: McCall’s.

Guinevere Van Seenus wore a similar look for the Fall 2016 campaign, photographed by Annemarieke van Drimmelen:

Anne Klein Fall 2016 ad campaign. Photo: Annemarieke van Drimmelen. Model: Guinevere Van Seenus. Image: Behance.

Like fall’s V1561 jacket, the two Zandra Rhodes offerings are from the Fall 2016 collection, which was sponsored by Kraftangan Malaysia. (Kraftangan is Malay for ‘handicraft.’) As always with Rhodes’ work, the focus is on textiles, here on a double-sided fabric such as metallic jacquard:

Vogue 1566 by Zandra Rhodes (2017) Image: McCall’s.

Shot by Andrew Woffinden, the collection lookbook was styled by Grace Woodward with Nicholas Kirkwood shoes and a turban by Piers Atkinson:

Zandra Rhodes’ Songket dress, FW 2016. Photo: Andrew Woffinden. Editor: Grace Woodward. Image: Zandra Rhodes.

Vogue chose three of Rhodes’ Songket pieces—a dress, peplum top, and trousers—for the Winter/Holiday collection. Songket is a traditional metallic brocade produced in Southeast Asia.

Vogue 1572 by Zandra Rhodes (2017) Image: McCall’s.

Zandra Rhodes’ Songket top, FW 2016. Photo: Andrew Woffinden. Editor: Grace Woodward. Image: Zandra Rhodes.

Zandra Rhodes’ Songket trousers, FW 2016. Photo: Andrew Woffinden. Editor: Grace Woodward. Image: Zandra Rhodes.

Paco Peralta’s latest design for Vogue is a dolman-sleeved knit top and handkerchief skirt. Festive and versatile, the skirt even has pockets:

Vogue 1567 by Paco Peralta (2017) Image: McCall’s.

I have some Lurex in my stash, don’t you?

If you’re fresh out of shiny fabric, you might be interested in Gorgeous Fabrics’ farewell sale. Last weekend, owner Ann Steeves announced that she is closing shop after 11 years in business.

Amanda Murphy wears Laroche by Adam Andrascik, Miss Vogue supplement, Vogue Paris, September 2015. Photo: Lachlan Bailey. Editor: Géraldine Saglio. Image: Guy Laroche.

Paco Peralta sketch for Vogue 1567 ©McCall’s/Paco Peralta.

Paco Peralta has seen some major milestones lately. Last fall, the Barcelona couturier became Vogue Patterns’ first Spanish designer in half a century, and this year his blog, BCN – UNIQUE Designer Patterns, is celebrating a decade online. (Like Toronto’s YYZ, BCN is both the airport code for Barcelona and shorthand for the city itself.)

The licensing deal brings a new audience to Peralta’s precision-cut designs. Peralta himself was already a pillar of the online sewing community, both for his fine sewing tutorials and as a purveyor of couture patterns, all hand-traced in his studio not far from Gaudí’s Sagrada Família basilica.

Born in Huesca, Aragon, Peralta studied at Barcelona’s Institut Català de la Moda before apprenticing in some of the city’s couture ateliers, who kept alive the traditions of Balenciaga and Rodríguez. He became interested in commercial patterns in the 1980s, when a friend gave him a copy of Vestidal; his first pattern purchase was a Vogue Individualist design by Issey Miyake.

Vogue 1476 by Issey Miyake (1984) Model: Ariane Koizumi. Image: Etsy.

Peralta may also be the world’s foremost collector of Yves Saint Laurent patterns, and his blog doubles as a window into this private archive. As regular readers of this blog will recognize, any high fashion sewing history owes much to his work.

Couture designs from Yves Saint Laurent’s Mondrian and Libération collections. Images: Etsy / Paco Peralta.

Vogue Patterns introduced Peralta with two designs in last year’s holiday issue. (Click to enlarge.)

Introducing Paco Peralta, Vogue Patterns, December/January 2016-17. Photo (L): Eric Hason. Image: Issuu.

You can skip the buttonholes with this short-sleeved jacket: it has a midriff inset instead. For the original ensemble, Peralta used a double-sided Italian wool twill-crepe for the jacket, wool-cashmere for the trousers, and for the shirt, a sturdy Egyptian cotton.

Vogue 1526 by Paco Peralta (2016) Photos: Eric Hason. Image: PatternVault shop.

Paco Peralta sketch for Vogue 1526 ©McCall’s/Paco Peralta.

Peralta also used Italian satin-backed wool twill-crepe for his wrap skirt and coat-length jacket. The latter sports a tuxedo-style shawl collar, while the pussy-bow blouse, made in silk crepe de Chine, has French cuffs:

Vogue 1527 by Paco Peralta (2016) Photos: Eric Hason. Image: PatternVault shop.

Paco Peralta sketch for Vogue 1527 ©McCall’s/Paco Peralta.

This tunic and pants ensemble was the summer bestseller. The long version is a heavy linen, while the short, gaucho version is a lightweight silk/rayon. Both have silk organza insets.

Vogue 1550 by Paco Peralta (2017) Photos: Tim Geaney.

Paco Peralta sketch for Vogue 1550 ©McCall’s/Paco Peralta.

For the holiday season, mix and match with party separates: a dolman-sleeved top and winter-weight handkerchief skirt, shown in cotton knit and silk-viscose duchesse satin.

Vogue 1567 by Paco Peralta (2017) Photo: Tim Geaney.

Image: McCall’s.

Coming soon: even more Paco Peralta designs exclusive to Vogue Patterns.

With thanks to my friend, Paco Peralta.

Image: Tany’s Couture et Tricot.