Vogue Patterns catalogue back, September/October 1999. Image via eBay.

Happy New Year! Vintage reissues give a taste of the pleasures of sewing vintage, without the bidding wars and grading. Here is an overview—with rarely seen archival images—of the contemporary vintage pattern lines from Vogue, Butterick, and McCall’s. (Simplicity could not be reached for comment.)

Simplicity 1777 on the cover of the Simplicity catalogue, Early Autumn 2012. Image via eBay.

Vintage Vogue

Launched in time for Holiday 1998, Vogue Patterns’ Vintage Vogue line provides true reproductions of vintage patterns borrowed from private collectors. (See my earlier post and discussion, How Do You Take Your Vintage Vogue? or get the details on the Vintage Vogue Search.) Alas, the terms of the old licensing agreements mean that Vogue can’t reissue designer patterns.

Deco evening dress pattern Vogue 2241 remains a favourite; I recently came across a version at Toronto’s Spadina Museum. I found an illustration of the original, Vogue S-3543, in a Vogue Patterns news leaflet from December, 1931. The description reads, “Here is a frock that expresses the newest movement of the mode, its originality and charm. It has a slender moulded look from the décolletage to the circular panels that trail slightly on the ground”:

Vogue S-3543 and Vogue 5849 in Vogue Patterns, December 1, 1931.

Butterick donated the original to the Commercial Pattern Archive:

Vogue S-3543 (1931) Image via the Commercial Pattern Archive, URI collection. For research purposes only.

Retro Butterick and McCall’s Archive Collection

Both Retro Butterick and McCall’s Archive Collection patterns are recreated and sometimes adapted from archival materials, not the original patterns. With archival images, sticklers for accuracy can restore these adaptations to the original vintage design.

Early Retro Butterick pattern B6408 is based on Butterick 4391, a “Quick and Easy” late 1940s design for an evening gown with hooded scarf:

Butterick 4391 (1948) Image via the Vintage Pattern Wiki.

McCall’s introduced The Archive Collection for Early Fall, 2014. The recent 1920s coat pattern, M7259, is based on McCall 5057, a 1927 design by Agnès:

McCall 5057 (1927)

McCall 5057 by Agnès in McCall Quarterly, Winter 1927-28.

The Archive Collection’s Deco evening dress, M7154, is based on a design from spring, 1930: McCall 6057. An original copy sold on eBay in June, 2014 for over $800 US.

Catalogue illustration of McCall 6057, 1930. Image via PatternVault on Etsy.

The McCall 6057 gown is a couture adaptation: the design is after Patou. Here is the description from McCall’s magazine: “The Patou silhouette is beautifully exemplified in a formal evening gown which has curved bands at the neckline and hipline, a short bolero and inserted panels lengthening the skirt”:

No. 6057 after Patou, McCall’s, April 1930. Illustration: Lebrun.

For more on the McCall Pattern Company’s vintage lines, see We Sew Retro’s interview.

It’s official…

Image via Vogue Patterns magazine on Facebook.

…this month marks the third time I’ve been featured in Vogue Patterns magazine. I’m the Star Blogger in the current issue, for February/March 2016.

Thanks to Daryl Brower for the lovely profile. The issue is on newsstands now; you can see a digital preview here.

Vogue Patterns, February/March 2016.

Vibe magazine, September 1993. Model: Lois Samuels. Photo: Ruven Afanador. Image via Google Books.

Today is Byron Lars’ birthday. In lieu of cake, here’s a look at his work with Vogue Patterns.

Women’s Wear Daily, April 1991. Image via Byron Lars on Instagram.

Born in California, Byron Lars (b. 1965) studied at the Brooks Fashion Institute and New York’s Fashion Institute of Technology before dropping out to pursue freelance work; he was already an award-winning fashion illustrator when he launched his own label in 1991. His playful yet beautifully cut designs were an instant success—twists on American sportswear shown with cheeky accessories like duck-decoy purses. In a 1993 interview, Lars cites Patrick Kelly and Jean Paul Gaultier as inspirations for his approach. (See Greg Tate, “Byron Large.”)

Byron Lars illustrations in L’Officiel, August 1991. Image via jalougallery.com.

Two Byron Lars runway looks in Vogue, September 1992.

In the mid-1990s, Vogue Patterns licensed a number of Byron Lars designs in the Vogue Attitudes line. Lars was introduced to readers in the July/August 1994 issue of Vogue Patterns magazine:

Louise Vyent wears Byron Lars on the cover of Vogue Patterns, July/August 1994. Photo: Torkil Gudnason. Image via Amazon.

The first two patterns, Vogue 1419 and 1420, were modelled by Louise Vyent and photographed by Torkil Gudnason (click to enlarge):

“Introducing Byron Lars: Shape and Spirit,” Vogue Patterns, July/August 1994. Model: Louise Vyent. Photos: Torkil Gudnason.

Vogue 1419 is a pattern for a skirt, high-waisted pants, and a jacket with exposed zippers and Lars’ signature, waist-defining tie-front:

Vogue 1419 by Byron Lars (1994) Image via eBay.

Vogue 1420 presents three versions of Lars’ take on the traditional men’s shirt:

Vogue 1420 by Byron Lars (1994) Image via Etsy.

Here the twist becomes an asymmetrical, pleated drape on a tailored dress:

Vogue 1506 by Byron Lars (1994) Image via eBay.

From 1995, Vogue 1529 includes leggings and a flared shirtdress with bustline tie detail. The silhouette is similar to that seen in the Ruven Afanador photo that opens this post:

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

Vogue 1620 provides three more variations on the Byron Lars shirt:

Vogue 1620 by Byron Lars (1995) Image via PatternVault on Etsy.

Vogue 1621 includes two tie-front shirtdresses and a top for lightweight, dressier fabrics, as well as high-waisted pants:

Vogue 1621 by Byron Lars (1995) Image via Etsy.

In Vogue 1653, Lars pairs tapered pants with a fitted jacket with built-up neckline, exposed zippers, and dramatic back drape:

Vogue 1653 by Byron Lars (1995) Image via Etsy.

Vogue 1701’s fitted dress for stretch knits was photographed at the Strand’s Central Park kiosk. The pattern includes the contrast belt, which is angled to pass through the skirt’s front drape:

Vogue 1701 by Byron Lars (1995) Image via Etsy.

The jacket of this skirt suit has a surprise contrast back in synthetic suede or leather:

Vogue 1843 by Byron Lars (1996) Image via eBay.

You may have seen Erica Bunker’s version of Vogue 1846. This shirt can be made as a wrap-front with optional contrast cuffs and collar, or with a contrast dirndl bodice:

Vogue 1846 by Byron Lars (1996) Image via Etsy.

Finally, two more fashion photos: the closing shot from Ruven Afanador’s Byron Lars portfolio in the premiere issue of Vibe magazine, and a runway image from Lars’ Fall 1994 collection.

By request of Clare Nightingale.

Byron Lars in Fernando Sanchez, with Kumi in Byron Lars, Vibe magazine, September 1993. Photo: Ruven Afanador. Image via Google Books.

Courrèges glasses, February 1965. Photo: Richard Avedon. Model: Simone D’Aillencourt. Image via the Richard Avedon Foundation.

André Courrèges died early this month. He was 92. (See WWD, “André Courrèges: Space Age Couturier,” or Vanessa Friedman’s obituary for The New York Times.)

Courrèges hat, Vogue, November 15, 1964. Photo: Irving Penn. Model: Astrid Heeren. Image via Vogue.com.

Born in Pau, France, André Courrèges (1923-2016) initially became an engineer at his father’s behest. He changed careers after the Second World War, spending ten years at Balenciaga and founding his own couture house in 1961. His silver and white, spring 1964 “Space Age” collection made the Courrèges name with its futuristic, body-conscious, practical designs; a May, 1965 profile in Life magazine hailed him as “The Lord of the Space Ladies.” (See Patricia Peterson, “Courrèges Stresses Modern Look” [Spring 1964] and “Courrèges Is Star of Best Show Seen So Far” [Fall 1964]; on those otherworldly sunglasses, which reference Inuit snow-goggles, see FIDM’s note.) He retired in 1995.

Courrèges ensemble, Vogue Paris, March 1965. Model: Maggie Eckhardt. Image via Pinterest.

In North America, licensed copies and other versions of Courrèges’ work were more common than couture originals. In the summer of 1965, McCall’s released nine patterns adapted from Courrèges. Six of these were photographed by Edward Pfizenmaier for “The Look of Courrèges,” an editorial in the Fall 1965 home catalogue. On the left is coat pattern McCall’s 7938; on the right, ensemble and dress patterns McCall’s 7932 and McCall’s 7918 (click to enlarge):

“Precision… Proportion… Perfection! This is the Look of Courrèges,” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

Here, on the left, jumper and blouse pattern McCall’s 7914; on the right, skirt suit McCall’s 7936 and jumper McCall’s 7940, made in a special Carletex fabric described as the “perfect medium for the ‘go-go’ look: washable cotton with the look and texture of leather” (all boots by Golo and Capezio):

“This is the Look of Courrèges.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66. Photos: Edward Pfizenmaier.

This photo portfolio was followed by an illustrated Seventeen feature showing three more Courrèges-look patterns: jumper ensemble McCall’s 7903, dress McCall’s 7923, and hooded poncho McCall’s 7884. The textile credits are interesting: the jumper is shown in houndstooth Crompton corduroy; the dress in Burlington Dacron-cotton twill*; and the hooded poncho “in shiny make-believe black patent that’s actually vinyl-coated cotton by Landau”:

“Seventeen Magazine Seconds the Courrèges Look.” McCall’s Pattern Fashions & Home Decorating, Fall-Winter 1965-66.

A “Courrèges look” pattern also appears in the catalogue’s front pages, in a Crompton Corduroy ad that pairs McCall’s 7923 with op art by the late Marcel Barbeau:

Crompton Corduroy advertisement featuring McCall’s 7923 after Courrèges, 1965.

As the catalogue reminds readers, McCall’s 7923 was also photographed for the cover of Seventeen magazine. The cover model for the “summer party issue” is Jennifer O’Neill, who would go on to star in David Cronenberg’s Scanners (1981); the matching hat seems to be an Adolfo version of a Courrèges original (see Sotheby’s and the Costume Institute):

McCall’s 7923 after Courrèges on the cover of Seventeen, July 1965. Model: Jennifer O’Neill. Image via eBay.

Inside, a McCall’s editorial shows popular teen model Colleen Corby photographed by Carmen Schiavone; here she wears McCall’s 7902 (far left) and McCall’s 7903 and 7884 after Courrèges (Adolfo II hats):

7902, 7903, 7884. Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Corby’s version of the McCall’s 7884 hooded poncho is shown in tomato red:

McCall’s after Courrèges in Seventeen, July 1965. Model: Colleen Corby. Photos: Carmen Schiavone. Image via eBay.

Here’s a look at McCall’s Courrèges-look patterns. McCall’s 7884 includes a sleeveless dress with low-slung, drawstring belt and an ultra-mod poncho with separate hood (available in the shop):

McCall’s 7884 after Courrèges (1965) Image via PatternVault on Etsy.

In addition to a U-neck jumper and pleated skirt, McCall’s 7903 also includes a blouse with optional trompe-l’oeil collar and cuffs (available in the shop):

McCall’s 7903 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s 7914 is a pattern for a dress or jumper, blouse, and skirt. The jumper’s welt seams could be topstitched in contrasting thread to match the blouse::

McCall’s 7914 after Courrèges (1965) Image via the Vintage Pattern Wiki.

McCall’s 7918 is a dress with optional collar and sleeves cut in one with the yoke. Skinny belt included in the pattern:

McCall’s 7918 after Courrèges (1965) Image via Etsy.

McCall’s 7923, the dress from the Seventeen cover and the Crompton Corduroy ad, could be made sleeveless, as a jumper, and came with a blouse with zippers at the sleeves and back. The pattern also included the low-slung skinny belt and carriers (available in the shop):

McCall’s 7923 after Courrèges (1965) Image via PatternVault on Etsy.

Perhaps the rarest of these patterns, McCall’s 7932 is a short-sleeved top and skirt ensemble:

McCall’s 7932 after Courrèges (1965) Image via Etsy.

McCall’s 7936 is a short-sleeved blouse and skirt suit with Courrèges’ characteristic, stand-away collar (available in 2 sizes in the shop):

McCall’s 7936 after Courrèges (1965) Image via PatternVault on Etsy.

McCall’s Courrèges-look double-breasted coat, McCall’s 7938, has welt pocket flaps and a martingale and loose panel in back, with all edges accented by contrast binding. The pattern also includes a skirt suit and blouse (available in 2 sizes in the shop):

McCall’s 7938 after Courrèges (1965) Image via PatternVault on Etsy.

Finally, McCall’s 7940 is a pattern for a high-waisted dress or jumper, short-sleeved blouse, and double-breasted jacket with standing collar (available in the shop):

McCall’s 7940 after Courrèges (1965) Image via PatternVault on Etsy.

André Courrèges’ futuristic style, high hemlines, and fresh trouser looks had made him a hit with the youthquake set. In a nod to this market, the illustrations show kitten heels and go-go boots, and the three patterns shown in Seventeen magazine have the text, “SEVENTEEN says: ‘It’s Young Fashion!'” Most of the Courrèges-look patterns were available in teen and junior sizes; one (M7923) was not available in misses’ sizes at all. (Of the two patterns in misses’ sizes only, M7938 and M7940, the former was featured in McCall’s magazine, though I’m not sure which issue.) It’s surprising that the patterns include no pantsuits: Courrèges was a great proponent of pants for the woman of the future.

I’ll close with some William Klein photos of Courrèges for Vogue magazine (visit Youthquakers for the full editorial):

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

Courrèges in Vogue, March 1, 1965. Photos: William Klein. Image via Youthquakers.

* Dacron was known by the name Terylene in the U.K.

Butterick 8245 on the cover of Butterick Fashion News, February 1939.

It’s unseasonably warm here in Toronto, so instead of my planned wintry ephemera, here’s a resort-themed cover from the late 1930s.

Although it’s a winter issue, the February 1939 Butterick Fashion News shows a woman leaning off the rigging of a yacht. The pattern is Butterick 8245, a short-sleeved sports dress with matching shorts.

This is an English copy, from the John Lewis flagship on Oxford Street. On the back cover, the caption reads, “When your dirndl skirt blows wide open to the wind, let your admiring public see under it matching, brief new ‘baby shorts!’ Your shirt wears initials on its pocket and may have either the collarless or convertible neckline.” The pattern seems to call specifically for striped fabric:

“Wear ‘baby shorts’ under your play dress… See our cruise girl on the cover.” Back cover of Butterick Fashion News, February 1939.

McCall Fashions, January 1918.

Now that the temperature has dropped, I wanted to share a near-antique McCall News from winter 1917-18.

The cover illustration shows two women skating on a frozen lake. The fur-trimmed dress on the left is McCall 8125, with ‘aviation cap’ McCall 8130; the dress on the right is McCall 8121.

Inside the leaflet are some interesting patterns for war work. You may recognize overall suit McCall 7860 from my Great War post. Here we see the sleeveless view worn over a blouse:

McCall 7860 overall suit in McCall Fashions, January 1918.

‘The Conservation Uniform,’ McCall 7970, is a dress apron designated “Official Food Conservation Uniform; for the use of women signing the Conservation Pledge of the Food Commission.” (Often called a Hoover apron—for more, see witness2fashion’s post.) The cap and cuffs were included in the pattern:

The Conservation Uniform: McCall 7970 dress apron in McCall Fashions, January 1918.

The ‘aviation cap’ from the cover is shown with McCall 7897, a ladies’ military dress with optional cape:

Military dress McCall 7895 and aviation cap McCall 8130 in McCall Fashions, January 1918.

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.

Amy Poehler in Stella McCartney at the Golden Globes, January 2013. Image via bustle.com.

Will you be watching the Oscars on Sunday? In past years I’ve posted about goddess gowns and caftans. This year, a look at red carpet-worthy pantsuits.

Milena Canonero at the 87th Academy Awards, February 2015. Photo: Jason Merritt/Getty.

The Best Actress winners who have accepted their award in trousers can be counted on one hand: Barbra Streisand (1969, in Arnold Scaasi); Jane Fonda (1972, in Yves Saint Laurent); Sissy Spacek (1981); Jessica Tandy (1990, in Armani); and Jodie Foster (1992, also in Armani). But then, Katharine Hepburn never attended.

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

Celebrity style icons Gwyneth Paltrow, Angelina Jolie, and Kate Moss started appearing on the red carpet in pantsuits in the 1990s and early 2000s.

Gwyneth Paltrow in Gucci by Tom Ford at the MTV Video Music Awards, September 1996. Photo: Jeff Kravitz/FilmMagic, Inc.

Angelina Jolie in Dolce & Gabbana at the 73rd Academy Awards, March 2001. Image via Glamour.

Kate Moss, in Burberry, with Mario Testino at the Metropolitan Museum of Art Costume Institute Benefit Gala, May 2006. Photo: Peter Kramer/Getty.

Recently, more and more female celebrities have been choosing tuxedos and jumpsuits for formal events.

Kirsten Dunst in Patrik Ervell, CFDA awards, June 2011. Image via elle.com.

Lupita Nyong’o in Veronica Beard at the Toronto International Film Festival, September 2013. Image via Fashion Bomb Daily.

Angelina Jolie and Brad Pitt in Saint Laurent at the EE British Academy Film Awards, February 2014. Photo: Karwai Tang/WireImage.

Anna Kendrick in Band of Outsiders at the Grammy Awards, February 2015. Image via elle.com.

Here are some patterns—now available in the shop—that would be perfect for your next gala appearance.

The year Jane Fonda won an Oscar for her performance in Klute, Vogue Patterns released this Valentino design for an evening jumpsuit and jacket:

Vogue 2775 by Valentino (1972) Image via PatternVault on Etsy.

Calvin Klein had the Annie Hall look nailed before Woody Allen’s movie started filming (in spring, 1976). Vogue 1369, a designer wardrobe pattern, highlights the three-piece pantsuit:

Vogue 1369 by Calvin Klein (1976) Image via PatternVault on Etsy.

Fast forward to 1999, when Alexander McQueen presented a futuristic millennium collection for Givenchy (Fall 1999 prêt-à-porter; post here). The long, detailed jacket was designed for shimmery fabric:

Vogue 2478 by Alexander McQueen for Givenchy (2000) Image via PatternVault on Etsy.

This tunic and pants ensemble is from Donna Karan’s Fall 2007 collection (as worn by Jessica Stam on the runway). The strapless tunic has outside darts, pockets, and foundation with padded bra and boning:

Vogue 1076 by Donna Karan (2008) Image via PatternVault on Etsy.

For more red-carpet pantsuits, see Elle magazine’s slideshow here or this People article. Or see that handy viral infographic here.

Queens of the Game in McCall’s lookbook, Spring 2014. Image: Issuu.

Dear HBO, Have you considered costume pattern licensing? With a new trailer for season 6, and season 5 out on DVD, here’s a look at completely official Game of Thrones sewing patterns sewing patterns inspired by Game of Thrones.

Fantasy Play in Simplicity’s lookbook, 2014. Image: Andrea Schewe.

Dark Faerie Tales in Simplicity’s lookbook, Summer 2015. Image: 3D Issue.

Costume designer Michele Clapton won three Emmys for her work on the first five seasons of Game of Thrones. Season 6 will see a new costume designer for the series: April Ferry, who designed the Emmy Award-winning costumes for HBO’s Rome (2005-2007)—which also starred Tobias Menzies, Indira Varma, and Ciarán Hinds. (Read a Costume Designers Guild bio here.)

Still of Ciarán Hinds as Julius Caesar in Rome (2005) Image: HBO / IMdB.

Given the two-way relationship between Game of Thrones’ costume design and fashion, the costumes are interesting even if you don’t watch the show. (Full disclosure: I’ve made more than a few Game of Thrones / A Song of Ice and Fire costumes, including S2 Daenerys, book Quaithe, and Lyanna Stark.)

Cersei Lannister costume from Game of Thrones, season 1-2. Image: Bell Media.

Alexander McQueen for Givenchy haute couture, Fall/Winter 1997-98 (Eclect Dissect). Image via the Costume Institute.

McCall’s

In spring, 2014, McCall’s released patterns for the most popular women’s Game of Thrones costumes, Daenerys Targaryen and Cersei Lannister. Both M6940 and M6941 are available as printable patterns. (I made M6940 for my Lyanna Stark costume; preview here.)

McCall’s 6940 (2014) Cersei Lannister costume.

McCall’s 6941 (2014) Daenerys Targaryen costume.

Last month, the company launched a new Cosplay by McCall’s line with three patterns including a unisex Westerosi cloak, M2016, “for those for whom winter can’t come soon enough” (press release here). Their pattern for the cross-fastened cloak worn by the people of Westeros (including Jon Snow, Eddard Stark, and the Stark children at Winterfell) includes an optional fur capelet. There’s also a hooded version similar to Sansa Stark’s hooded cloak:

McCall’s 2016 (2016) Cloak X. Image via Twitter.

Hooded view of McCall’s 2016 (2016) Image via Cosplay by McCall’s.

Simplicity

Simplicity’s Game of Thrones costume patterns emerge in full plumage, but quickly change colours to evade capture.

Andrea Schewe’s Game of Thrones adaptations for Simplicity also started appearing in 2014. Simplicity 1347 combines three Daenerys outfits—wedding dress, Dothraki Khaleesi, and Qarth court dress—with the elf Tauriel from The Hobbit: The Desolation of Smaug (2013). (Now out of print, but see S1010.)

Simplicity 1347 (2014) Daenerys Targaryen / Tauriel costume.

Simplicity 1487 includes court dresses for Cersei Lannister and Sansa Stark. (Now out of print, but see S1009.)

Simplicity 1487 (2014) Cersei Lannister and Sansa Stark costumes. Image via Etsy.

Simplicity 1246 has costumes for Margaery Tyrell and Daenerys, specifically the split dress and cape she wears as leader of the Unsullied. (This version out of print, but see S1008.)

Simplicity 1246 (2014) Margaery Tyrell and Daenerys Targaryen costumes.

Simplicity 1137 includes two Sansa Stark costumes. Michele Clapton conceived both as showing Sansa’s own handiwork: the dress with flower-embellished neckline from season 1 and ‘Dark Sansa’ from the end of season 4. The necklace refers to Sansa’s needle—“a jewelry idea of [Arya’s sword] Needle.” (See Fashionista’s interview; for more on Game of Thrones’ embroidery see Elizabeth Snead’s article in The Hollywood Reporter and embroiderer Michele Carragher’s website.) Andrea Schewe has posted tips on making the feathered neckpiece. (Still in print with new envelope, S1137.)

Simplicity 1137 (2015) Sansa Stark costumes.

Sansa Stark costume, Game of Thrones, season 1. Image via Michele Carragher.

Dark Sansa collar detail, Game of Thrones, season 4. Image via Fashionably Geek.

Game of Thrones meets Star Wars in Simplicity 8074, a pattern for season 5’s Sand Snakes Obara and Nymeria with Rey from Star Wars: The Force Awakens (2015) (still S8074):

Simplicity 8074 (2016) Warrior costumes: Sand Snakes and Rey.

Sand Snakes costumes from Game of Thrones, season 5. Image: Making Game of Thrones.

HBO is owned by Time Warner, which has existing pattern licensing for DC Comics. Do you think HBO should license Game of Thrones patterns? I’d be first in line for a King’s Landing halter dress or Varys’ kimono…

With season 6 of Game of Thrones fast approaching, it’s high time I posted about my Lyanna Stark costume.

(If you object to seeing material from season 5, or interpretation of a book published 20 years ago, read no further. Perhaps you’d prefer my post on Game of Thrones costume patterns?)

For Halloween 2014 I went as Lyanna Stark from George R.R. Martin’s A Song of Ice and Fire series. Lyanna is dead by the time of the main action in the books, and the character has not yet been seen on HBO’s Game of Thrones except as a statue in the Stark crypt.

Tomb statue of Lyanna Stark in “Winter is Coming” (Game of Thrones, season 1) Image: fandom.

Sansa Stark (Sophie Turner) visits the family crypt in “Sons of the Harpy” (Game of Thrones, season 5). Image: HBO.

Of the series’ many lost, dead women, Lyanna Stark looms the largest. Eddard Stark’s sister and Arya’s foremother-doppelgänger, Robert Baratheon’s first betrothed, Rhaegar Targaryen’s lover/abductee, and probably Jon Snow’s mother, Lyanna is the Helen of Troy / Guinevere figure behind Robert’s Rebellion against the pyromaniac King Aerys II Targaryen. She’s a ghost that haunts the present in memory, dreams, and visions, but always as the subject of competing narratives: both object of desire and swashbuckling she-wolf.

Costuming Winterfell: costume sketches for Ned, Catelyn, and Sansa. Image: Bryan Cogman, Inside HBO’s Game of Thrones: Seasons 1 & 2 (Chronicle Books, 2012).

On the show, Michele Clapton’s costumes for the Starks at Winterfell involve a lot of linen, leather, and fur in northern blues and greys. The men wear leather doublets and Japanese-inspired padded linen skirts, while the women forego jewellery in favour of embellishment and enviable padded neck pieces.* Sansa finds some to wear on her return to Winterfell.

Embroidered neck roll from Game of Thrones. Image: Michele Carragher.

Lyanna’s statue wears a Stark neck roll. But what would Lyanna have worn in the south? In A Game of Thrones, Ned Stark dreams of the statue-Lyanna crowned with pale blue roses (the prize Rhaegar awarded her at Harrenhal) and weeping tears of blood.† Later in the book series, Theon Greyjoy has a dream of the dead that includes Lyanna in a crown of blue roses and a white dress spattered with blood.‡ But blood and roses do not a costume make.

As Robert’s fiancée and a court lady attending the tourney at Harrenhal, etc., I figured she would wear some kind of court dress. To save myself the drafting, and because Lyanna is effectively the anti-Cersei, I used McCall’s Cersei pattern, McCall’s 6940:

McCall’s 6940 (2014)

Technical drawings for McCall’s 6940 (2014) Image via McCall’s.

I made View A (skipping the belt and appliqué) in dark blue with a pewter contrast, both from King Textiles. The main fabric was a malodorous synthetic; when pre-washed to remove the substantial sizing, it balled up into a wrinkly mess. Some of the wrinkles are still visible. But when a Halloween costume takes over 7 yards for the main fabric, I start with something cheap.

Based on the flat pattern measurements, I cut the 12 and made my usual length and grading adjustments. The fit is roomier than I’d like; I could go a size down. I didn’t get to the inside ribbon belt until after the photos, but even that requires a closer fit in the waist.

To give the court dress a northern, Stark touch, I trimmed the wrap bodice neckline with Mokuba faux fur banding. Naomi contributed some blue, artificial rosebuds and her wolf’s head brooch, which stood in perfectly for the Stark direwolf.

We photographed the dress one chilly November afternoon just after Halloween:

I’ve never had such a problem with wrinkles at princess and shoulder seams; I blame the synthetic. Since the lower sleeves are cut on the cross grain, nap and pattern could be an issue — as is visible in the photos. Practically speaking, the dress requires an underskirt, as it’s prone to opening dramatically with little provocation.

I would re-make this in a natural fabric like wool or linen, with some fit adjustments and tweaks to the contrast details for a smoother finish. I’m also tempted to brush up on my hand embroidery and try a Stark neck roll, as well as embroidered sleeves — sleeves to lose yourself in.

* Michele Clapton quoted in Bryan Cogman, Inside HBO’s Game of Thrones: Seasons 1 & 2 (Chronicle Books, 2012), p. 44.

† George R.R. Martin, A Game of Thrones (Bantam Books, 1996), p. 419.

‡ George R.R. Martin, A Clash of Kings (Bantam Books, 1999), p. 609.

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

Happy Walpurgisnacht! On the eve of the feast of St. Walpurga, here’s a look at gothic sewing patterns.

Recent fashion exhibits have placed the gothic under increasing scrutiny. In 2008, the Museum at FIT presented Gothic: Dark Glamour. In 2014, the Costume Institute had Death Becomes Her: A Century of Mourning Attire. Now there’s Gothic to Goth: Romantic Era Fashion and Its Legacy, an exhibition at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, accompanied by a catalogue by curator Lynne Z. Bassett and a talk by Valerie Steele. For more on the show, see Susan Hodara, “The (Forever) New Romantics.”

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

1980s

With the advent of goth—or the New Romantics—in the late 1970s, fashion in a gothic mode began to show the influence of both romanticism and contemporary subculture. Nina Ricci’s romanticism turned dark in the early 1980s. I like to picture Vogue 2582 with granny boots and Siouxsie Sioux hair:

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

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

Vogue 2604, a floor-length strapless gown with attached sleeves, has a more Countess Bathory feel. The ruffle-trimmed version of Vogue 2604 was featured on the cover of Vogue Patterns’ holiday issue:

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

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

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

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

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

Later in the decade, the fashionable oversized silhouette and low hemlines could express a moody romanticism. From Esprit, Simplicity 6978 is a loose jacket and long, full skirt. Shown in black, the ensemble is very Lydia from Beetlejuice:

Simplicity 6978 by Esprit (1985) Image: Etsy.

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

1990s

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

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

Donna Karan’s Fall collection (presented just days after Eiko Ishioka won the costume design Oscar for Bram Stoker’s Dracula) featured lace accents, choker and cross accessories, and lots of black. Vogue 1293 is a long dress consisting of a body with attached, high-waisted skirt:

Vogue 1293 by Donna Karan (1993)

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

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

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

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

In the later 1990s, Anna Sui showed a fall collection inspired by goth subculture. From Fall 1997, Vogue 2072 combines a historicizing, Vivienne Westwood-style mini-crini with club-kid accessories. The dress was worn by the young Sofia Coppola (previously seen in my Anna Sui series and ’90s goth post):

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

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

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

Another element in the romantic/gothic repertoire is tzigane or ‘gypsy’ looks. From Yves Saint Laurent Rive Gauche for Spring 1999, Vogue 2330 is a long, flowing, off-the-shoulder dress. The envelope shows a mourning-appropriate mauve, but it was also shown in sheer black:

Vogue 2330 by Yves Saint Laurent (1999)

Model: Astrid Muñoz. Image: firstVIEW.

Spring 1999 was Yves Saint Laurent’s last collection for Rive Gauche, and Mario Sorrenti’s valedictory advertising campaign for that season references great European paintings. Here the archetypically enigmatic Mona Lisa, dressed in black Rive Gauche, poses with a male model with Asian tattoos:

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

Finally, in the late 1990s, Simplicity licensed designs from Begotten, a historically-inspired clothing line designed by Dilek Atasu. The patterns included a cape (S8987) and men’s poet shirt (S8615). Simplicity 8619, an empire gown with optional lower sleeve flounce, channels Mary Shelley:

Simplicity 8619 by Begotten (1999) Image via Etsy.

In the 2000s, gothic sewing patterns shift away from mainstream fashion toward subcultural costume for—as Laura Jacobs puts it—“our own Romantic Revivals: Goth, that pas de deux with death, and Steampunk, a mating of Queen Victoria and Thomas Edison” (Jacobs, Gothic to Goth exhibition review). Hammer Horror fans have “gothic costumes” McCall’s 3372 and McCall’s 3380; cybergoths can make dusters based on the costumes in The Matrix (1999) (Simplicity 5386, etc.); and Arkivestry and its offshoots cover everything from old-school gothic heroine to Loli to Steampunk.

Meanwhile, a gothic trend is predicted for Fall 2016. Are you ready?

Yves Saint Laurent haute couture in Vogue Patterns, May/June 1979. Photo: Arthur Elgort. Image via PatternVault on Etsy.

To celebrate the five-year anniversary of my Etsy shop, I’m having a sale: 30% off everything, including new items like rare 1920s Vogue patterns.

Image via PatternVault on Etsy.

To receive the discount, use the coupon code YEARTHEFIFTH. The sale runs from today, May 28th, until midnight EDT on Friday, June 3rd. Your purchase helps support the research on this blog.

Happy shopping!

Image via PatternVault on Etsy.

There’s only one day left to see Oscar de la Renta: The Retrospective, curated by André Leon Talley for the de Young Museum in San Francisco. (Show ends May 30, 2016). If you won’t be able to make it, an exhibition catalogue is available in three formats, including a floral print-bound limited edition. For more on the show see Maghan McDowell, “First Look: Five Decades of Oscar de la Renta.”

Jennifer Park, Molly Sorkin, and André Leon Talley, Oscar de la Renta (Prestel, 2016) Image: Prestel.

Oscar de la Renta (1932-2014) was born Óscar Aristides Ortiz de la Renta Fiallo in Santo Domingo, Dominican Republic, the only boy in a family of seven. After moving to Spain to study art at Madrid’s Real Academía de Bellas Artes de San Fernando, in 1954 he began work as a sketcher at Balenciaga; by 1959 he was assisting Antonio del Castillo at Lanvin-Castillo in Paris.

De la Renta fitting debutante Beatrice Cabot Lodge, Life, July 9, 1956. Photo: Nina Leen. Image: Google books.

In 1963 de la Renta moved to New York to pursue a career in ready-to-wear. He was soon hired as designer for Elizabeth Arden and, in 1965, became a partner at Jane Derby, the house he would take over for his own label. (For more see official site or The New York Times’ timeline.)

Elizabeth Arden by Oscar de la Renta evening dress in gold and pink silk damask, Fall-Winter 1963. Model: Isabella Albonico. Image: Oscar de la Renta via the de Young Museum.

De la Renta licensed his designs with Vogue Patterns from the 1960s to the 2000s. This week, a look at Oscar de la Renta patterns from the ’60s to the ’80s.

1960s

Oscar de la Renta dress photographed at Villa Boscogrande, Sicily, Vogue, December 1967. Photo: Henry Clarke. Image via Youthquakers.

Oscar de la Renta was among the designers included in Vogue-Butterick’s new Vogue Americana line, which was launched in 1967. From 1968, Vogue 1909 is a short-sleeved evening dress with standing collar and front-dart pockets:

Vogue 1909 by Oscar de la Renta (1968) Image via the Vintage Pattern Wiki.

This short evening dress has contrast bias cuffs and collar—flexible jewel trim optional:

Vogue 2101 by Oscar de la Renta (1969) Image via the Vintage Pattern Wiki.

Vogue 2219, an evening dress in two lengths, includes a wide, contrast cummerbund and pockets in the inverted side pleats:

Vogue 2219 by Oscar de la Renta (1969) Image via the Vintage Pattern Wiki.

1970s

Shown in a rich, metallic brocade, Vogue 2280 is a short, high-waisted evening dress accented with a jewel-trimmed belt (as seen in Vogue Pattern Book here):

Vogue 2280 by Oscar de la Renta (1970) Image: eBay.

A 1972 editorial by Helmut Newton shows Lauren Hutton in an early Oscar de la Renta caftan:

Oscar de la Renta caftan, Vogue, June 1972. Photo: Helmut Newton. Model: Lauren Hutton. Image via Youthquakers.

From 1973—the year of the ‘Battle of Versailles’ fashion show—this ruffled evening dress was shown in both solid colours and a floral border print:

Vogue 2879 by Oscar de la Renta (1973) Image: PatternVault on Etsy.

Christie Brinkley models Vogue 1667, a blouse for two layers of sheer fabric and dirndl maxi skirt with deep hemline ruffle:

Vogue 1667 by Oscar de la Renta in Vogue Patterns, May/June 1977. Model: Christie Brinkley. Image: Vintage Goodness.

Peasant blouse-and-skirt ensemble Vogue 1776 was featured on this winter catalogue cover:

Vogue 1776 by Oscar de la Renta on the cover of Vogue Patterns catalogue, February 1978. Image: eBay.

In this photo by Deborah Turbeville—previously seen in a Patterns in Vogue post—the gold-pistachio lamé evening separates at far right were made using Oscar de la Renta pattern Vogue 2182:

From “Striking Gold,” Vogue, November 1979. Photo: Deborah Turbeville.

1980s

Vogue 1027’s caftan (previously seen in my caftans post) is featured in the San Francisco exhibit. The original is hand-painted silk crêpe de chine:

Vogue 1027 by Oscar de la Renta (ca. 1983) Model: Alva Chinn.

Oscar de la Renta caftan, Spring 1982. Photo: Erin Burns. Image: Kent State University Museum via the de Young Museum.

Vogue 1644 is a wrap-bodice dress with bias bands defining the waist:

Vogue 1644 by Oscar de la Renta (1985) Image via Etsy.

These fashion photos by Steven Meisel and Patrick Demarchelier show how well de la Renta was suited to the Eighties aesthetic:

Oscar de la Renta dress, Vogue, May 1986. Photo: Steven Meisel. Model: Michelle Eabry. Image via The Fashion Spot.

Cindy Crawford wears Oscar de la Renta on the cover of British Vogue, April 1987. Photo: Patrick Demarchelier. Image: Vogue UK.

Here, radiating pleats and a bias front godet add volume and interest:

Vogue 1997 by Oscar de la Renta (1987). Image: Etsy.

Don’t Vogue 2185’s ruffles take the cake?

Vogue 2185 by Oscar de la Renta (1988) Model: Alexandra Aubin. Image: PatternVault on Etsy.

Next: Oscar de la Renta patterns from the 1990s and 2000s.

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.

Royal Ascot begins today. Here’s a look at an Ascot-worthy Halston pattern.

Halston licensed millinery designs with Vogue Patterns during his time as Chief Milliner at Bergdorf Goodman. (See my earlier Mad Men-era millinery post.) Vogue 7082 is a petal headpiece with optional veil:

Vogue 7082 by Halston of Bergdorf Goodman (ca. 1967)

Here’s the envelope description: Bridal headpiece. Large or small petal headpiece with or without long or short veil is secured to hair with comb; optional ribbon bow. Recommended fabrics: organdy, organza, lace, point d’esprit. Veil: net, tulle. Notions: comb, millinery wire, 2 1/4″ ribbon.

The Halston headpiece was cross-promoted on two bridal patterns, Vogue 1744 and Vogue 1745, as an option for both brides and bridesmaids. Or as a contemporary catalogue has it, “Enchanting bouquet of graduated petals… crowning touch for any member of the bridal party by Halston of Bergdorf Goodman.”

Vogue 1745 (ca. 1967) Image via eBay.

Worn with a matching suit, wouldn’t it be perfect for a day at the races?

Vogue 7061 (ca. 1967) Image via Etsy.

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.

Ingrid Sischy, Donna Karan New York (Assouline 2005) Image via Pinterest.

Have you heard? Vogue’s Donna Karan and DKNY patterns will no longer be available after next Wednesday, July 13th. According to the McCall Pattern Company, the licensor of the Donna Karan trademarks [the LVMH-owned Gabrielle Studio Inc.] has decided to end all pattern licensing. (Source: Facebook.)

Image: voguepatterns.com.

Vogue Patterns has been publishing Donna Karan patterns since 1987. The company added DKNY patterns in 1989.

Donna Karan patterns on the cover of Vogue Patterns magazine, Autumn 1987. Image via eBay.

DKNY patterns on the Vogue Patterns catalogue cover, November 1989. Image via eBay.

The end of both licenses makes the Spring 2016 releases the last DKNY and Donna Karan patterns.

Vogue 1488 by DKNY is based on a dress from the Pre-Fall 2013 collection. Image: vogue.com.

The original for Vogue 1489 in Donna Karan’s Spring 2014 collection. Model: Kati Nescher. Image: vogue.com.

Donna Karan announced her departure from Donna Karan International just over a year ago, saying she means to focus on her new, privately owned company, Urban Zen. Parent company LVMH will not be hiring a replacement. Instead, LVMH will be developing DKNY, which is designed by Public School’s Dao-Yi Chow and Maxwell Osborne. (See Vanessa Friedman and Jacob Bernstein, “Karan Leaving Brand That Carries Her Name.”)

After thirty years of Vogue patterns—closer to forty, if we count her work at Anne Klein—Karan’s absence will be keenly felt. But could she return soon with Urban Zen patterns? Under her agreement with LVMH, Urban Zen’s “distribution … [can]not compete with any of the Donna Karan brands.” (See Donna Fenn’s interview for Fortune.) This could account for the unprecedented end-date for the Donna Karan and DKNY patterns, just in time for the Fall 2016 pattern launch. Update (July 7): the Fall 2016 patterns were released today, too early to avoid a distribution conflict. Perhaps for Winter 2016?

It would certainly be in keeping with Karan’s ethos if July 14th marked not just an end to the old pattern licensing, but also a new beginning. As her program notes always read, To be continued…

Urban Zen, Modern Souls collection. Image: Urban Zen.

Image via PatternVault on Etsy.

The PatternVault blog turns five today. (It all started with my first post, on Alexander McQueen for Givenchy.) To celebrate my blogiversary, I’m hosting a giveaway of one $25 CAD gift certificate for the PatternVault Etsy shop.

Image via PatternVault on Etsy.

To enter, leave a comment with your answer to the question: Of the designers who have licensed (or otherwise authorized) sewing patterns, which one is your favourite?

The giveaway closes Sunday, July 17th at midnight EDT. The winner will be chosen at random and announced on Monday, July 18th. Good luck!

Image via PatternVault on Etsy.

Image via PatternVault on Etsy.

The results of my random number generator are in! The lucky number is 10, and the winner of my blogiversary giveaway is:

Mary Helen Crowe (the 10th person to comment)

Congratulations, Mary! I’ll send you an e-mail with the details on claiming your gift certificate.

Thank you so much to everyone who entered the giveaway. It was fun hearing about your favourite pattern designers. Your most-mentioned designer was Donna Karan (9), followed by Yves Saint Laurent (7) and Issey Miyake (6), dark horse Claude Montana (4), and Halston and Ralph Rucci, who tied for fifth place (3). (Honourable mentions go to Pierre Cardin, Rachel Comey, DVF, Givenchy, Claire McCardell, Alexander McQueen, and Isabel Toledo.)

And of course, thanks for reading and commenting on this blog for the past 5 years! As a thank-you to all of you, I’m having a flash sale in my Etsy shop through this Thursday, July 21th—30% off with coupon code YEARTHEFIFTH.

Image via PatternVault on Etsy.

Sarah Mower, Oscar de la Renta (Assouline, 2nd ed. 2014) Photo: Peter Lindbergh. Editor: Grace Coddington. Image: my luscious life.

Oscar de la Renta was born in July 1932; he would have turned 84 last week. In honour of his birthday, I’ll be looking at Oscar de la Renta sewing patterns from the 1990s and 2000s. (See Part 1 here.)

1990s

Vogue 2460 by Oscar de la Renta on the cover of Vogue Patterns, March/April 1990. (Patricia Underwood hat.) Photo: Otto Stupakoff. Image: eBay.

The 1990s marked Oscar de la Renta’s fourth decade with Vogue Patterns. From 1990, Vogue 2500 is a dress with pleated overlay and asymmetrical bias collar, chic in a polka dot print. De la Renta was pictured with a model wearing this design in Vogue Patterns magazine (May/June issue); the photo also made the cover of the counter catalogue:

Vogue 2500 by Oscar de la Renta (1990) Image: Etsy.

Oscar de la Renta on the cover of the Vogue Patterns catalogue, June 1990. Image: Karsten Moran for the New York Times.

In 1992, de la Renta became the first American to take over a French couture house when he was appointed chief designer at Balmain. He had begun presenting his own collection in Paris the previous year. (See Suzy Menkes, “De la Renta Joins Balmain.”) The cover of the Assouline book pictured above shows Balmain haute couture; a similar tableau was created for the de Young retrospective.

Vogue 1638 is a brightly coloured skirt suit from Oscar de la Renta’s Spring 1995 collection (full video on YouTube here). Its tailored details, like the jacket’s back pleats and martingale belt, won it an Advanced skill rating. The design was featured in a Vogue Patterns suits article (see The Overflowing Stash) and on the cover of the counter catalogue:

Vogue 1638 Oscar de la Renta (1995) Image: eBay.

Vogue Patterns catalogue, October 1995. Image via Etsy.

This double-breasted skirt suit, shown on the runway in pink satin, must be from the Fall 1995 collection. The recommended fabrics are satin, damask, and gabardine:

Vogue 1863 by Oscar de la Renta (1996)

Ellen von Unwerth photographed Stella Tennant in a corseted lace Oscar de la Renta dress with flamenco dancer Joaquín Cortés for Vogue’s 1996 September issue:

Stella Tennant in Oscar de la Renta, with Joaquín Cortés, Vogue, September 1996. Photo: Ellen von Unwerth. Editor: Grace Coddington.

Two years later, Hillary Clinton wore Oscar de la Renta for her Vogue cover (more here):

Hillary Clinton in custom Oscar de la Renta, Vogue, December 1998. Photo: Annie Leibovitz. Editor: Paul Cavaco. Image: eBay.

Vogue 2361 is a formal dress from the Spring 1998 collection. The skirt is cut on the bias, the bodice and hemline flounces are finished with self fabric binding, and view A has an asymmetrical train. Kirsten Owen modelled the original on the runway:

Vogue 2361 by Oscar de la Renta (1999)

Oscar de la Renta Spring/Summer 1998. Model: Kirsten Owen. Image: firstVIEW.

Just for fun, here’s another editorial photo showing de la Renta’s couture work at Balmain. Ruven Afanador photographed this lace-embroidered gown with matching chihuahua:

Pierre Balmain haute couture by Oscar de la Renta, Vogue Paris, September 1999. Photo: Ruven Afanador. Image via The Fashion Spot.

2000s

This floral print evening dress is a design from de la Renta’s Spring 2000 collection. Piping defines the waist, and the bias train is trimmed with waist pleats and flounces. The original was modelled on the runway by Carmen Kass:

Vogue 2541 by Oscar de la Renta (2001)

Oscar de la Renta Spring/Summer 2000. Model: Carmen Kass. Image: vogue.com.

The Fall 2001 collection included two “decidedly gothic black opera coats,” and Vogue Patterns chose one of them for its customers. Vogue 2714 is a full-sleeved, floor-length opera coat trimmed with frog closures and pleated ruffles. The pattern is sometimes numbered “P935 – Best Seller”:

Vogue 2714 / P935 by Oscar de la Renta (2002) Image: Etsy.

Oscar de la Renta Fall/Winter 2001. Model: Natalia Semanova. Image via vogue.com.

From the Spring 2005 collection, strapless gown pattern Vogue 2889 evokes flamenco with its tiered skirt and draped, drop-waist bodice. The design was shown on the runway with length and bodice variations:

Vogue 2889 by Oscar de la Renta (2006)

Oscar de la Renta Spring/Summer 2005. Models: Caroline Ribeiro and Caroline Winberg. Image: vogue.com.

Vogue 2928 is a grand, off-the-shoulder ballgown complete with boned foundation, attached petticoat, and self fabric flowers and appliqués. The gown was the penultimate look in de la Renta’s Fall 2005 collection:

Vogue 2928 by Oscar de la Renta (2006) Image: ecrater.

Oscar de la Renta Fall/Winter 2005. Model: Nataliya Gotsii. Image: vogue.com.

For more on the late designer, see Vogue’s retrospective. Have you made any Oscar de la Renta patterns?

Kirsten Dunst in custom Oscar de la Renta, Vogue, September 2006. Photo: Annie Leibovitz. Editor: Grace Coddington. Image: vogue.com.