jueves, 28 de junio de 2018

BIG-CULOTTES PANTS pattern.-


BIG CULOTTES-PANTS have side pockets and elastic waistband with a casing.


Cut the pattern pieces with precision and match stripes before starting to sew.


Sew in-seam pockets (Illustrated tutorial HERE). Finishing seams with bias binding strips provides a clean and beautiful inside.


Form the pleats along the front and back waistline, following the direcion of the arrows on the pattern. To balance the seams, cut bias stripes of the same facric and sew them together with the seams., then, press seam to one side and the added bias stripes to the other, as if it was an open seam. The pressing will be perfectably balanced. This technique is used both to balance seams on pleats and darts. Here for demo I used a contrast fabric.


Stitch the waistband vertical seams (on the round), leaving a small opening between the notches. This opening will allow inserting the elastic later. Fold the waistband in half lengthwise and press.

Stitch the waistband to the waistline. The vertical seams of the waistband should march the pant´s lateral seams. Turn the waistband to the inside along the fold-line and turn in the allowances., then stitch-in-the-dich from the right side, along the waistband seam, so the allowances are caught between all layers.


Insert the elastic.

 AVAILABLE PATTERN


sábado, 23 de junio de 2018

RAINBOW (Through fashion).-

Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening (Coco Chanel).

Fashion goes "hand in hand" with identity. Through the centuries we wear clothes to express ourselves. People dress to convey their history, their taste for music, their culture, their interests. RAINBOW is a symbol of freedom, progress, struggle and vindication.


Iconic photo of Eugenia Volodina in Alexander McQueen silk organza dress (Irere, SS 2003), Vogue Italia supplement, February 2003. Photo: Steven Meisel.


Linea Italiana magazine. Spring/Summer 1967. Irene Galitzine silk chiffon caftan dress (Terragni tessuti - Como/Italy). Shoes by Enzo Albanese (Albanese of Rome). Photo by Johnny Moncada.


Salvatore Ferragamo. Kidskin sandal with layered cork sole and heel covered in suede. This shoe was designed for Judy Garland, 1938.


Italian model and actress Isabella Albonico in beaded gown by Pierre Cardin, photographed by Willian Klein. Paris 1965.


Jean-Charles de Castelbajac is a french fashion designer known for his playful designs referencing futurism, sportswear and in the 1980’s ‘Wearable art'. Multicoloured mohair-wool blend stripe fringed jacket from Castelbajac. Photo ant text via FARFETCH.


Late nineties. André Courrèges in his atelier in Paris with his famous cropped vinyl jackets, interviewed by Giovanni de Borbón Dos Sicilias for Vogue Spain (from my collection).


Katy Perry in iconic 1990 Thierry Mugler Couture swirl dress for the "Prismatic" world tour.



Burberry oversized Harrington jacket in panels of brightly coloured nappa leather. RAINBOW LEGACY.

Fashion references at PATTERN VAULT last year´s post.

Always be proud of who you are. HAPPY PRIDE.!

viernes, 18 de mayo de 2018

PERTEGAZ 100th Anniversary.-

"I design from the heart. One cannot predict fashion. It is youth, with its carefree attitude, that sets the mark". Manuel Pertegaz told the New York Times in 1964.



Portrait of PERTEGAZ by ROBERT ROYAL, 1972.

"Today is the centenary of the birth of Pertegaz - with Balenciaga and Rodríguez, one of the triumvirate of great Spanish couturiers. Born in Olba, Aragon, Manuel Pertegaz Ibáñez (1918-2014), moved to Barcelona with his family as a child. After apprenticing with the city´s tailors, he presented his first couture collection at the 1er Salón de la Moda Española in spring, 1941,  opening his own atelier the following year. His classic yet modern touch soon made him one of Franco Spain´s foremost designers, with a staff of hundreds producing his couture and ready-to-wear in Barcelona and Madrid. In the late 1960s, it was Pertegaz who succeeded Rodríguez as the designer of Iberia´s flight uniforms, and he dressed the singer Salomé for her performance at the XIV Eurovision Song Contest held in 1969 in Madrid. The dress weighed 14 kg. and it was made of small chalk blue porcelain cylinders., she wore three 1-kg. necklaces lent to her by Franco´s wife. He also dressed Pat Cleveland for the opening ceremony of the 1992 Barcelona Olympics. But he already in his eighties when he took on his highest-profile commision: the wedding dress for Spain´s first commoner queen, Letizia Ortiz Rocasolano, who married Crown Prince Felipe in 2004. A century after his birth, Pertegaz is still a byword for elegance". Sarah Sheehan (writing / research / fashion).

Related post on PATTERN VAULT blog.

Manuel Pertegaz Ibáñez, well known worldwide as Manuel Pertegaz or simply as PERTEGAZ, was a Spanish fashion designer, born O.T.D. in 1918 in OLBA (Teruel - Spain). Spain and his hometown are celebrating the centenary of his brith with some commemorative events that recall the talent of the great Spanish designer and couturier. The allegorical poster shows the design of the iconic green taffeta coat worn by Suzy Parker in 1954 (below).


SUZY PARKER wearing a bow-tied green taffeta evening coat by Manuel Pertegaz at the VILLA ROSA restaurant in PLAZA DE SANTA ANA - Madrid. British Vogue, March 15th, 1954. Photo HENRY CLARKE via CONDE NAST STORE. The coat appeared in several publications of the time, and interestingly it is included in the famous Great Fashion Designs of the Fifties Paper Dolls of Tom Tierney, published in 1985.


Another shot of Suzy Parker, this time with a stunning puffed taffeta dress. 
Madrid 1954., photo by Henry Clarke.

PERTEGAZ made his first trip to the US in 1953, presenting his collection in New York, Boston, Atlanta and Philadelphia. In the sixties he started his adventure with  VOGUE PATTERNS. In his designs for VOGUE you can appreciate the unmistakable modern and refined style of the designer, and the unbeatable craftsmanship typical of mid-century Spanish couture houses.


Published in Vogue International Pattern Book October/November 1968, VOGUE 2209 is a wrap-dress, A-line step-in with front zipper and button or snap closing has fitted front bodice and loose back. Bias banding extends to standing neckline. Seven-eighths length, or short sleeves. Pockets with welts forming belt carriers. Purchased or self belts. Version B with optional purchased pin.


Featured in Vogue Pattern Book December 1969/January 1970, VOGUE 2239 is a loose-fitting top with V-neckline has set-in banding and left side front buttoned closing. Full length bias sleeves with band cuffs have button and buttonhole trim. Slightly A-line wrap skirt with waistband and side front button closing has no side seams. Top-stitch trim. Purchased belt and scarf.


Yellow linen Summer coat (detail). Bound buttonholes and matching dyed buttons. Photo by EUGENIO RECUENCO via Cadena Ser.



Featured in Vogue Pattern Book April/May 1969. VOGUE 2121 is a two-piece dress. Loose-fitting top with jewel neckline and slightly cut-away armholes, has left shoulder and side button closing. Purchased belt. A-line skirt with waistband.


Published in Vogue Pattern Book June/July 1969. VOGUE 2139 is a one-piece dress. Loose-fitting straight sleeveless dress with jewel-neckline has shoulder and side button openings. Purchased trims.


One of the constants with PERTEGAZ creations was the use of jewel buttons adorning dresses and ensembles of very simple lines. These garments were often made from fabrics like "Natté". VOGUE 2139 is a clear example of these charasteristics. Dress detail.- Photo by EUGENIO RECUENCO via VOGUE ESPAÑA.


Featured in Vogue International Pattern Book June/July 1970. VOGUE 2337 is a one-pìece dress. Loose-fitting A-line dress with jewel neckline has front seaming detail. Sleeveless.


Matching coat made of intense coral-colored wool twill with leather belt. Scanned photo from the book PERTEGAZ published in 2004 by the Sociedad Estatal de Conmemoraciones Culturales on the occasion of the tribute exhibition at the REINA SOFIA MUSEUM in 2004. Photo by Pablo Orcajo.


Featured in Vogue Pattern Book April/May 1972. VOGUE 2691 is a high-fitted A-line dress, mid-knee or evening length has bias standing collar and front and back seaming details. Sleeveless or full length sleeves.


White wool crepe dress with "stairs" cut seaming detail. Photo by Pablo Orcajo.


VOGUE 2284 one-piece dress is a representative example of the mid-to-late sixties trends. The Space Age fashion philosophy became a pool of design inspiration. Featured in Vogue Pattern Book February/March 1970. From the pattern evelope: Losse-fitting bias A-line dress with rolled neck band has front and back seaming details and top-stitch trim. Side zipper closing.


The shirt and skirt combo was present in the early seventies fashion scene. Minimalist details and a "stewardess" style for VOGUE 2567. Featured in Vogue International Pattern Book August/September 1971. Fitted pantshirt has bias front and back, contrast collar, contrast front-buttoned, snap crotch closing and short or full length sleeves with contrast bands. A-line skirt, two inches below knee, has contrast front, back and waistband.

REFERENCES.-

London College of Fashion - The Woolmark Company.

PERTEGAZ official.

VOGUE COUTURIER DESIGN PATTERNS.

Filmography.

PERTEGAZ fashion for cocktail and evening wear.

PERTEGAZ, un visionario del diseño.

All patterns from my collection.

miércoles, 25 de abril de 2018

VPO 2481 YVES SAINT LAURENT.-

"Love me forever, or never" was the final message of the Fall/Winter Haute Couture collection of 1970-71 embroidery in a multicolored silk velvet coat with applique letters forming the iconic phrase. Silk velvet is mixed with other fabrics such as crepe or satin and applications of different fabrics are present in the entire collection.


The dress is described as "Cocktail dress of black crepe and black velvet", according to the text in the book "YVES SAINT LAURENT" published in 1983 by the Metropolitan Museum of Art New York. Introduction by Diana Vereland and texts by Pierre Bergé, Paloma Picasso, Catherine Deneuve and others.


The pattern. Vogue Paris Original 2481. Misses´Evening dress and cape. 9 pieces. Semi-fitted, contrast bodice with low waistline, round neckline and full length sleeves is attached to midi length flared skirt. Separate cirular cape (lined to edge with self fabric), has back neckline slit with button and thread loop closing.

domingo, 15 de abril de 2018

SMOKING in the rain.-

Sewing for friends. CRISTINA wears a tailored tuxedo suit at the annual PASSEJADA AMB BARRET held in Barcelona's downtown on April 14, 2018. Photo by STEPHEN WHITWELL.


Although it is a daytime event, it was intended to bring the elegance of the "black tie" to the celebration. So it's actually a three-piece SUIT consisting of a jacket, pants and vest, and also a cotton shirt with classic wing collar topped with a black silk bow tie also made for the purpose. Some references herehere and here.

The beginning. Choosing fabrics, matching textures, sewing and ironing tests, this is essential for a perfect garment.


The jacket is classic single-breasted and has a DOUBLE WELT POCKET, side panel, and two-piece sleeve. It has been made in BARATHEA (Grain de poudre), wool fabric from ELPON, and lined with viscose twill. Contrast PEAK LAPEL in black silk satin duchesse from MARCO PASCALI.


Trousers are straight with IN-SEAM POCKETS, shaped waistband and side trimming (Formal pants should always have a grosgrain, silk or satin trim down the leg. "Bona fide fancy braiding" is the real classic).

The vest is a classic not-lapel WAISTCOAT, made in the same fabric as the suit with a center front three-button closure.

The shirt is also the classic DRESS SHIRT with winged collar, long sleeves with French cuffs, made of white shirting cotton fabric. Small antique buttons of black wood and made to measure bow tie in black silk satin duchesse.

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Sewing. A traditional tailoring contruction process has been followed for all garments. Some references here and here.


Padding the chest of a jacket. Pad stitches are a type of running stitch made by placing small stitches perpendicular to the line of stitching. Pad stitches secure two or more layers of fabric together and give the layers more firmness; smaller and denser stitches create more firmness. They may also be used to enforce an overall curvature of the layers (WIKIPEDIA).