An Exploration into the World of Designer Sewing Patterns

Month: August, 2013

Paris Enthusiasms: Introducing Pierre Cardin.

The April-May 1962 issue of the Vogue Pattern Book.
On the cover: Dior’s crepe day dress, Vogue 1100, which also comes with a coat (see the ‘Other Views of Patterns’ pages further down the post).

Here’s a look into the April-May 1962 issue of the Vogue Pattern Book. This issue marks the introduction of haute couturier Pierre Cardin’s designs to the Vogue Patterns catalogue. The Cardin designs are from his Autumn-Winter 1961/62 Haute Couture collection. Cardin’s first Haute Couture collection was produced in 1953 and by 1962 he was already well-established as an important couturier in Paris.

Below are the pages from the ‘Paris Enthusiasms’ segment from the magazine, beginning with the two Cardin patterns, and followed further down with the back-view drawings for all patterns featured in the issue. All of you pattern enthusiasts out there  may find this useful for dating some of your vintage Vogue patterns.

 

 

 

 

Vogue 1144 by Pierre Cardin; Vogue 1112 by Guy Laroche; Vogue 1133 by Lanvin-Castillo.
(How cute is that dress by Laroche?!)

 

Also relevant to this issue of the Vogue Pattern Book and the ‘Paris Enthusiasms’ segment is the 1963 edition of The Vogue Sewing Book. This edition has a strong focus on high fashion, with an opening chapter entitled ‘High Fashion and You’. The final chapter is a ‘Couturier Supplement’ and below you will find the couturier profiles from this section who, at that point in time, were licensing their designs to The Vogue Pattern Service. Directly after is a special segment entitled ‘Construction of a Paris Original’, which demonstrates  the construction process of the Pierre Cardin suit of pattern 1142 from the ‘Paris Enthusiasms’ segment above.

The Vogue Sewing Book, 1963 Edition.

Below: I like that this supplement tells us which couturier was leading which couture house, if not their own, at the time.

The Vogue Sewing Book, 1963 Edition, Couturier Profiles.  The Vogue Sewing Book, 1963 Edition, Couturier Profiles.

The Vogue Sewing Book, 1963 Edition, Construction of Vogue 1142 by Pierre Cardin.  The Vogue Sewing Book, 1963 Edition, Construction of Vogue 1142 by Pierre Cardin.

The Vogue Sewing Book, 1963 Edition, Construction of Vogue 1142 by Pierre Cardin.  The Vogue Sewing Book, 1963 Edition, Construction of Vogue 1142 by Pierre Cardin.

To finish, below you’ll see a few pages from the September 1961 issue of Harper’s Bazaar magazine, with designs by Cardin, Dior, Nina Ricci and Lanvin Castillo. The Cardin ensemble that Vogue 1144 is based on can be seen in the first page. You may even see a few of your other Vogue Paris Originals in the other pages… (hint: Nina Ricci).

Harpers Bazaar September 1961 - Cover

Harpers Bazaar September 1961 - Cardin  Harpers Bazaar September 1961 - Nina Ricci

Harpers Bazaar September 1961 - Dior  Harpers Bazaar September 1961 - Lanvin-Castillo

(Editorial pages from the September 1961 issue of Harper’s Bazaar courtesy of http://devorahmacdonald.blogspot.com.au)

An Eye-Opening Trip to India.

From 'Jerry Hall - My Life In Pictures'.

Everyone’s already seen the spread of Jerry Hall in India from the May/June 1975 issue of Vogue Patterns magazine, right? Maybe not, but even if you have I’ve got an interesting piece of info here that you may not have seen before.

So before I show you the pages from the magazine I thought I would share this amusing excerpt from Jerry Hall’s book ‘My Life In Pictures’, published in 2010, where Jerry shares her memory of that trip to India during the early years of her modelling career. It’s amusing because the photo-shoot portrays a romantic view of India, whereas Jerry recounts some of the realities. Here it is:

“During this time I went on a three-week trip to India with Vogue Patterns and photographer Steve Horn. We did some enchanting photos but the dresses were pretty awful! I was happy to do it, because my mother used to make us dresses from Vogue patterns, before she discovered the Frederick’s of Hollywood catalogue. The dresses we took to India were very simple, which is why they put them in exotic locations, to make them look glamorous.

For one shot, Steve made me climb up onto the edge of a building and hang on. I really could have killed myself – we sometimes had to do crazy things while modelling.

We travelled around India by train and I remember breakfast was made by a guy wearing what looked like a rag diaper, squatting down scrambling eggs over a little fire. Those Indian trains were pretty primitive. We took about 30 trunks of clothes and had porters to carry them around. Everywhere we went we saw examples of extreme poverty. I’d never seen anything like it and it was a shock.

It was in India that I took up yoga for the first time. I’ve done it ever since; I made a yogacise video back in the eighties. I also tried vegetarianism in India, but after three days spent meditating and having a strange out of body experience I knew it just wasn’t for me – I’m Texan and I need my steak.”

I guess that after a few years of modelling in Paris, naturally, Jerry couldn’t help but notice the difference between the dresses made from ‘Very easy, Very Vogue’ patterns and the Haute Couture and designer prêt-a-porter outfits she’d become familiar with.

Below is the “Magic India” content from the magazine:

May June 1975 - Cover.

May June 1975 - Index.  May June 1975 - Editors Letter.

1  2

Below: ‘Caftan Magic’

Such beautiful backgrounds. The turbans and accessories also help to create the ‘magic’ of the caftans.

3  4

5  6

7  8

9  10

Below: ‘White Magic’

A romanticized and nostalgic take on train travel. No rag-diapers in frame, of course.

11  12

13  14

15  16

Below: ‘Moolight Magic’-

Evening ensembles with even more stunning background locations.

17  18

19  20

21  22

I wonder what Jerry thought about the one and only women’s designer pattern in the shoot, Vogue 1228 by Jerry Silverman (above, left). Probably just another dress, right? Anyhow, I’ve always liked that pattern, and the design is quite similar to a dress designed by Halston in 1972 (pictured below), except for a different front bodice, which came several years before the Jerry Silverman version. Vogue 1228 looks so good on the pattern envelope, and it’s likely to be the designer original that was photographed, which was usually, if not always, the case with designer patterns. The orange version photographed in India was made up from Qiana, a synthetic nylon jersey, and I suspect that the designer original was also made from Qiana because of an advertisement I found in an issue of L’Officiel from 1978 for Qiana featuring a dress by Jerry Silverman (see below). Also shown here is an ad from the same issue of Vogue Patterns magazine for Qiana with Vogue 1228 made-up from a soft pink color of the fabric.

1228  1228 Back Envelope.

Advertisement for Qiana featuring Vogue 1228 by Jerry Silverman.

An advertisement for Qiana, featuring a dress made from Vogue 1228 by Jerry Silverman with the nylon knit fabric. This ad was taken from the first few pages in the May/June 1975 issue of Vogue Patterns magazine.

An ad for Quiana with a dress by Jerry Silverman made from the nylon knit fabric, taken from L'Officiel USA, Holiday 1978, Volume III, No 7.

An ad for Qiana with a dress by Jerry Silverman made from the nylon knit fabric, taken from L’Officiel USA, Holiday 1978, Volume III, No 7.

Halston, 1972.

Halston’s design in silk jersey from 1972 preceeded the similar Jerry Silverman design by several years. That’s Karen Bjornson modelling on the right (Images taken from the book ‘Halston’ by Steven Bluttal, first edition from 2001 by Phaidon Press Ltd).

Below is the introduction of American designer Giorgio di Sant’Angelo to Vogue Patterns in Vogue Patterns magazine. The Sant’Angelo spread didn’t feature Jerry Hall but the other model from the India shoot (does anyone know her name?). The robes and two of the dresses were evidently photofraphed on the India shoot, but the other two dresses were photographed elsewhere with a different model. I love how the prints on the robes tie so beautifully with the colourful tiling in the background! I have the pattern for the robe in my collection and I hope to make it up some day as a gift for a friend or relative. I’ve been on the lookout for suitable fabrics when out fabric shopping (which isn’t often) and  I’ve been meaning to check-out the clearance bins at the local manchester shops for colourful and attractive flat-sheets to use, but I haven’t got round to it yet.

Sant Angelo Page 1  Sant Angelo Page 2

Sant Angelo Page 3  Sant Angelo Page 4

1232  1232 Back Envelope.

Here is another introduction of a designer in this issue of Vogue Patterns magazine, in this instance it is Polo Ralph Lauren for men! I get especially excited over designer patterns for men, as there weren’t that many ever produced compared to women’s. The seventies was the period when the most were produced, with designs by Bill Blass, Pierre Cardin, Givenchy, Dior, Saint Laurent, Valentino, Calvin Klein and Ralph Lauren.

Polo Ralph Lauren Page 1  Polo Ralph Lauren Page 2

1237  1237 Back Envelope.

I like the oversized belt carriers on the pants of pattern 1237. You can see another good view of the outfit for this pattern in the ‘Caftan Magic’ spread.

1238  1238 Back Envelope.

Anyhow, the India photo shoots make for a very special issue of Vogue Patterns magazine. There are some stunning photos here, and I’m not sure that any other location shoots by Vogue Patterns ever topped it.

Below is the front dust jacket of the book ‘Jerry Hall – My Life In Pictures’ by Quadrille Publishing Ltd, 2010 (ISBN: 978 184400 880 3). I obtained my second-hand copy very cheap on abebooks.com. It’s a very entertaining read with MANY fabulous images and is a more up-to-date and slightly more detailed version of Jerry’s ‘Tall Tales’ from 1985, which is also in my library (I love Jerry!).

'Jerry Hall - My Life In Pictures' Cover.