Sunday, September 17, 2017
This patio dress from the 1950's is a classic type. It features the signature tiered skirt in tiny pleats lined with rows of silver and turquoise rickrack and woven trim, called a 'broomstick' style. The top is a separate blouse, 3/4 length kimono sleeves, and decorated with a mock-necklace "V" silver rickrack and woven trim. This has a typical turn-up collar with "V" open neckline.
These dresses were very popular for casual wear during the post WWII years. At that time, there was a strong interest in ethnic inspired fashions with a casual style. Soft, loose and comfortable looks were created by many Arizona and California regional designers to wear as hostess dresses and for special occasions. This tiered skirt played perfectly with the crinoline "New Look" silhouette of that era. Although many women wore the skirt without a petticoat, it could be worn quite full. Later this style would merge with square dance dresses to create that extra circle skirt fullness.
This department store advertisement from Phoenix, Arizona shows a similar patio dress look with the "V" emphasis on the bodice. Many of these were designed and produced by Hispanic designer Dolores Gonzales and her brother in Tucson, Arizona. They created a local industry with a huge demand. She is often credited with launching this south/west garment, made to worn for special occasions and fiestas locally, becoming emblematic for the region, and adopted by tourists who saw them and wanted their own.
A cotton set by Alex Coleman, California designer, was part of a 1951 collection that emphasized native american influences in the outfit. It shows a tiered gathered fiesta skirt that has a color shift with each ruffle from a darker bottom to a lighter top. The top is embellished with appliques.
The terms used to describe this dress often include the use of the word "Squaw". For a look into this topic, as well as the history of this dress as it was originally founded by Dolores Gonzales in Tucson, Arizona, you will want to refer to "The Squaw Dress: Tucson's controversial but unique fashion history" with comments from Dr. Nancy Parezo of the University of Arizona, professor of American Indian studies and anthropology.
Dress shown is currently available online at Pintuck Style.
Tuesday, September 12, 2017
American Fabrics magazine has a wealth of information on fabrics and fashions from the era. This 1961 publication says alot about the 1960's. At the top of the list would be the increased use of synthetic fibers and finishes to create better performing, color retention and easy care apparel.
Fashion designers such a Pauline Trigere, available at Lord and Taylor, were used to illustrate a fabric by Coosa that boasted bright colors.
Featured within an editorial, this cotton and dacron blended gingham plaid by Galey & Lord, features costumes worn on Broadway in "The Unsinkable Molly Brown". This trend would influence cotton day dresses, blouses and men's shirt plaids.
This is a color forecast for Fall, 1962 presented by the Franklin Process textile company. It boasts "business stimulating colors and color combinations for fashion minded designers in the men's, women's and children's fields. It was here that the fashion industry could locate the latest developments in color.
More than forecasts, this publication also presented industry innovations and brand developments. Fiber and finishes were being brought into the market at a fast pace, so keeping up with the newest textile trend was important. Unlike our current textile and fiber scene, these were processes that were bridging the gap between all natural fibers and the new age of synthetics.
Creslan was an acrylic fiber with bulk, whose advantages were the ability to be brightly colored, and warm although light weight. It was often used in blends. Acrylics were most often used to imitate wools without the higher cost of natural fibers, along with the ability to easily wash and dry.
Vycon was a unique polyester developed by Goodyear. In general is was used used in blends to make the fabric colorfast and bright, sturdy, wrinkle proof and washable. This pages shows most blends with cotton, however rayon is also used.
Syl-mer was a fiber finish developed to create softer synthetic fibers and make them resemble natural fibers in shine and texture. The diversity of fabrics that could be treated is shown here: from pile weaves to flat nylons, as well as an Aplaca made waterproof.
Zantrel is a rayon fiber, woven most often in blends. Here it is blended with polyesters, nylon, and acrylics. This was often used to imitate a cotton fiber, but with a more consistent manufactured strand (rather than the short natural cotton fiber strand).
Creslan acrylic fibers are shown here to create soft pile weaves without traditional wool fibers. The coat is lined in a washable light fleece, and the blue blanket is soft on both sides of this fabric.
American Fabrics helps us to see past textile and fashion trends, innovations and products used in all industries that require textiles, including home decor, automotive, and other industries. It also has information useful in dating and describing vintage apparel that most collectors and historicans should be familiar with.
I currently have this edition listed for sale in my Etsy shop, it is one of several offered that contain a wealth of information.
Monday, May 22, 2017
This 1950's newspaper advertisement for suits is a great showcase for fashion designer Gilbert Adrian. This regional ad appeared in 1951 while he was at the very height of his career as a fashion designer with a salon that catered to Hollywood's young and fabulous. The fashion illustration is drawn to capture all of the style details that Adrian was famous for, in a layout that uses two suits in different scale, thus calling attention to the larger image. As was common at the time, the artist is not credited.
The silhouette for these suits is very slim, with some shoulder emphasis. Most women were choosing soft shoulders at this time, and the look shown here would not last much longer. These suits resemble the featured suit by Adrian posted earlier here. It is helpful in showing what the skirt must have looked like, along with fashionable accessories of the early 1950's.
The decorative seamlines that integrate darts and a close body fit are signature for Adrian, who was a master of pattern design by this time. While his suits would seem to be 'simple', upon closer examination, they are fitted with creative seam lines that departed from the usual bust darts for fit. He was also using custom made striped textiles and exploring the optical illusion and mitred lines in his work.
The ad copy reads: "British Samer...unsurpassed fabric achieving its perfect conclusion in these Adrian suits. Solid colors as well as a variety of intriguing weaves. $230" department store: Robinson's of California." In current economy, this price tag would be over $2,000.
Monday, May 15, 2017
This black wool jacket by the California designer Gilbert Adrian represents a significant contribution to twentieth century fashion design. By all of its details, along with the silhouette, this design is a classic Adrian piece. The wide shoulders still reflect the Joan Crawford styling that Adrian would ‘invent’ for her movie characters in the early 1930's, long before Paris showed the wedge silhouette.
The style influence is military, with what might be considered military pockets set at up-beat angles. These quirky patch pockets and asymmetrical front closure also exhibit the kind of individuality in fashion design that separates an Adrian suit from others of its era.
Probably the most interesting aspect of the pattern design is how Adrian manipulated the front. He created a 'bowing'out center front line that shaped bust fullness when it was buttoned.
The heavy gold coin buttons are not set down the traditional center front line, rather their are set in the curve of the bustline. Additional fullness is created with a princess line panel inserted with what appears to be side front darts because the bottom seamline for this applied piece is hidden beneath the mock pocket flaps at the hips.
The sleeves have a seam line that appears to join a cuff with the sleeve body, although there is no functional reason for this seam. There are no plackets or buttons on the sleeves.
The lack of cuffs and the 24 inch center front length may be a hold-over from the days of government restrictions, but where patch pockets had once been forbidden due to the war, here they are in evidence.
The semi-circle back peplum skirt is set into the jacket back creating hip fullness only in the rear. This allows the front silhouette to appear very slender and snug. He applied a mock belt in the back with two buttons to add visual interest and visual relief from the solid black back silhouette.
Adrian was able to capture the spotlight with his innovations. Asymmetry and unusual draping appear in his suits and gowns, and were popular with his customers. His consistency in fashion design and his ability to work outside conventional Paris styles give his work a timeless quality that makes it difficult to date or place most styles in a time frame.
His attention to drape, silhouette and detail earned him a devoted class of customer who would remain with him until his early retirement in 1952.
This is the second post on a jacket from the designs of Gilbert Adrian.
Friday, May 12, 2017
Finding a good vintage swimsuit pattern is hard to do. How to sew a retro style swim suit has just been made easier with modern sized Vogue 9255. It seems to offer just the right style for sewing up a two piece bathing suit in a retro style. This vintage reprint sewing pattern is perfect for cottons and quilting fabrics too.
I've done the work and found some gorgeous vintage Hawaiian fabrics for inspiration too. These are sourced from easy to find Etsy shops so you can order where every you live. This suit would also be great in any tiny gingham check to look like a Lanz vintage swim suit, or in a more mid-century modern abstract Pucci print.
This close up look at the pattern shows how it is darted and the actual cut of the pattern. First thing to notice is that this style does not have any elastic or stretch areas. It means there may be some fitting issues if the suit is going to fit smoothly.
Background fabric: Black and White floral
BRA BACK: Make the back adjustable, and add extra room
Create a tie back: it is be possible to change the button back to a tie back by adding long 1/4" ties. Insert these at the back where the button panel narrows down, about 4" to 6" from the side seam.
BRA FRONT: For stretch in the banding under the bust
Create a stretch band: it's possible to add about 1/2" to 1" to the length across the front. Add 1/8" to 1/4" to seam allowance on the lower bustline seam in each cup. Tunnel elastic through this band across front between side seams and it will now have a stretch fit in the chest.
BOTTOMS BACK: Leg room stretch
Create back leg stretch: remove the lower leg darts, create a tunnel using the leg facing, and run elastic through that in back.
BOTTOMS WAISTLINE: More room in the waistline
Create stretch in the waistline: narrow the back waistline darts to about half the pattern's dart depth. Sew casing using the waistline facing and fun elastic run through this across the back.
BOTTOMS WAISTLINE: 'Straight' waistline fix
Create a looser waistline: add 1/4" to 1/2" to the side seam allowance from waist down about 8" tapering into hips. Sew the waistline facing all the way around to create a casing and insert elastic into this tunnel.
Front Darts: Some slender or straight waistlines will fit better without the front darts and don't need to have the side seams adjusted.
DRESSES: use the bra top with a dress pattern
This bra top is also an excellent 'bustline piece' to use as the top in a vintage Shaheen style sarong or 50s style dress. Below this bra, add a midriff panel much like the McCalls 6019 fitted dress has.
So if this pattern captures your imagination, try it first in a muslin or 1" gingham check to work out the fit issues first. That will create a pattern that's a keeper!
ETSY VINTAGE FABRIC SHOPS:
This post features fabrics from the following shops on Etsy, drop by and see what they have.
Cute Bright Fun
Neon Pony Fabric
Ranch Queen Vintage
Monday, May 8, 2017
Looking closely at a 1940s vintage jacket by Gilbert Adrian can help us understand its style and silhouette. Originally from a 40s suit, this press photo of designer Adrian’s black wool jacket from 1947 shows fashionable accessories on the model, such as her dark gloves. At that time, hair and hats were often small and fit close to the head for a more modern post-war look.
This jacket was selected by the regional fashion magazine "California Stylist" along with only three other styles to represent Adrian’s designs for 1947. The design must have been an influential and popular model from his collection that year (Calif. Stylist, 1950).
The ‘tubular suit’ as shown in "Vogue" magazine, April 1947, was usually seen with a straight and narrow skirt that is below the knee in length.
In a study of the garment structure, the shoulders are structured with ¾ inch thick shoulder pads. Although this seems extreme for 1947, the shoulder width does not extend dramatically from the natural shoulder width. It is evident from close examination from the outside, that the upper torso is heavily hand tailored. The lower front of the body, sleeve hems and peplum are left soft and un-reinforced with heavy interfacing.
Hand sewing is evident in the bound buttonholes, and patch pocket applications. The faille lining is hand sewn to the facings. Overall, the methods used are traditional for women’s tailoring. This suit would have been produced in a downtown Los Angeles factory, rather than custom made at his Beverly Hills salon.
This is Part 1 of a 3 part series on this Jacket.
(click on the photos to see them enlarged)
Please contact me if you would like to use these photos, thank you.
Monday, May 1, 2017
Valentino, the couture fashion designer, has an amazing website and virtual museum full of beautiful couture fashions and inspirations. The designer's web site shares some great visuals in keeping with the creative traditions of the house, along with press releases, interviews and published articles.
The Valentino Gravani Virtual Muserm with over 5000 photos and documents.
(Have fun with this--and let me know what you liked the best!)
Wednesday, April 26, 2017
1930's Dress from Bruyere Couture of Paris
This 1930's dress was designed by a French woman who had formed her own couture house in about 1929. Madame Bruyer (1881 – 1961) was raised in rural France, moving into Paris when she grew older. As a young woman she worked for several known couture houses, Lanvin being the most famous.
Although her business was young in 1932, she had a large enough following to be mentioned in an article in "Fortune" magazine that year. At that time, the top couture designers were Vionnet, Lanvin, Chanel, Patou, Augustabernard, Mainboucher and Schiaparelli. Bruyer was followed by the American crowd, becoming well known in New York, as official "adaptions" such as this dress were sold at the best stores on Fifth Avenue.
Her first salon was on Rue De Mondovi, as her label lists. An informal survey made in New York stores in the fall of 1931 showed that while Vionnet and Lanvin were the most popular labels for these "adaptions", the Bruyere label placed third. This was more popular than Mainbocher, Schiaparelli or Chanel. It was clear that Americans had their own look and preferred styles that differed from the well publicized top design houses.
These copies were gained by American store buyers in a complex process involving not only the couturier, but also an assistant called an commissionaire who steered the buyer though the purchase process. Buying agencies were just beginning to be formed where the commissionaire's commission could be avoided. The average price those department store buyers paid during the 1920's was often $500 cash for a dress design. Then buyers would bring their couture design back to the U.S. and have it reproduced here for retail sale. Those design purchases were the couture designer's main profit for that design, as they did not earn percentages for sales in the overseas market. Parisian salon customers and long time celebrity customers would pay much less than that for their designs, and seldom in cash in a Paris salon.
At one time Madame Bruyere stated that it took two months to create a collection. She presented two shows annually. Each garment in the nearly 200 garment group was given a name. Later with her success, she would open a salon in 1937 at 22 place Vendome.
In 1947, after the war ended, she participated in a U.S. gift presentation by the French called the Gratitude Train. She was part of a project where fashion dolls were dressed in outfits from specific eras. Her's was an 19th century style design. At that time her employees numbered 328.
In 1951, Madame Bruyere was contracted with an American dress company: Baron-Peters. She would design outfits for this company that appealed to the U.S. customer, yet retained her design style, known for its simplicity. This was her first pre-a-porter experience. The retail prices ranged from $50 for a dress to $90 for a suit. She achieved the price reduction by removing costly handwork and details usually found in couture. In 1958 she was known for her "flowing lines and lady like clothes". Her clients being well know celebrities and social matrons.
As for this dress, the silhouette is very like those worn in the early 1930's. The brown crepe back satin and net embroidered in chinelle textiles have colors that seem to be like those in her collection for November 1932: inspired by a mountain scene, with maple brown, mist gray and cedar green.