Early 60's Fabric & Fashion: American Fabrics Magazine, 1961: Creslan, Vycon, Zantrel, Syl-mer

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.

Lilli Ann: Mauve Jacket with Fur Trim, 1958

This Lilli Ann suit jacket dates from 1958. It's signature fur trimmed bodice drape can be found on several jackets from that era. This one is a soft wool crepe in a pastel mauve color. Dyed to match silver fox fur trims a diagonal drape that crossed the jacket hem with a pearl button detail.

I have a few detail photos to share that fill in any gaps that the general full view misses. What is always interesting about a good Lilli Ann suit jacket are the signature details, going beyond what most jackets of the era show. These jackets tend to appeal to a flamboyant, dramatic and self confidant customer who loves feminine and sexy details to her outfits.

Rather than a simple strip of fabric, the wool has been pleated from a wider shoulder down to a narrow hanging "scarf" with a "pom pom" of fur at the end. A narrow band, like a belted edge, encircles the jacket hem. Where the scarf crosses that band it has an overlapping piece that is fastened with a pearl button in a bound buttonhole.

The swag is accented by the diagonal hemline at high hip level. This diagonal hem continues around the back, creating a well integrated design from all angles that is flattering to many body types.  This diagonal is seen in several other Lilli Ann jackets, so it must have been a popular silhouette for that label.

How this jacket was accessorized can be seen in the original magazine advertisement from 1958.

The 3/4 sleeves are designed to be worn with a longer glove proportion. The original skirt was narrow and below knee length, and worn with simple heels. Small pearl earings complete the ensemble, a scale that enhances but does not overpower the pearl button accent at the left hip.

In the early 1960's we can find advertisements for for similar styles from Lilli Ann. Like those shown here, this jacket was probably designed as a cocktail suit, to be worn to formal luncheons or semi-formal evening events where pearls and fur were appropriate. The soft pastel color would be a spring look. The label photo shows the texture of the wool crepe and the type of lining typical for a Lilli Ann jacket.

PS, I have more on this Lilli Ann style in the following other blog posts:

Lilli Ann: Vintage Suits from the 1950's and early 1960's: more advertisements showing suit jackets

Lilli Ann: 1950's Jackets that Inspire: more information on this jacket

Pinterest: Follow my board "Lilli Ann of San Francisco" --an ongoing collection of dated advertisements and other Lilli Ann designs for collectors and anyone who loves this label.

Mad Men: 1960's Fashion Trends for Season 5

This season's "Mad Men" episodes should continue moving forward into the later half of the 1960's. We can expect to see a more diverse styles in that era. Probably the most consistent looks will be prints and color. It's hard to imagine this era without bold pattern or color.

The first dress shown here has "the look": a Mod style "A" line shift in classic houndstooth pattern, it has a bow accent with low peter pan collar that would have seemed very British is style to an American customer. This look would appeal to a junior shopper who was looking for a bold fashion statement.


This dress is a more sophisticated silk chiffon style. It would have been custom ordered from I.Magnin's on the west coast. The sleeves are sheer with jeweled cuffs and collar (which were so popular then).

The shifts below follow the trend with abstract prints on a smooth shift silhouette. Worn by all age groups, the shift would be the most common look during that era. The changing scene would create a rising look in hemlines, moving up to finger tip length by 1969.






Pucci-style bold patterns dominated both junior and women's apparel. Here copies of the iconic look are seen in bright, dramatic color designs.



Both dresses have engineered prints which were custom made to be cut and sewn into dresses with balanced patterns and borders. Both are also jersey knits, which were becoming wildly popular. This type of long dress would be increasingly popular for casual wear. Worn at parties, picnics and proms, the longer length was brought on to the scene by the hippie styles seen in San Francisco and elsewhere worn by the youth movement.


For the more mature or conservative woman who still wanted to emphasize her waistline, there were still styles with fitted bodices. Although this silhouette might seem dated, the fabric design would be strictly late 60's with bold pattern and bright florals.

The longer dress in chiffon might have been worn during an afternoon party, barbeque or wedding. It has a trailing scarf that floats from the left shoulder. The short blue floral print dress was custom ordered from I.Magnin's which catered to a wealthy customer who wanted top quality textiles but often with a more conservative look.


At a career and professional level, the shirt dress assumed the required shift silhouette, but it might be belted by the woman who wore it. A younger customer would have worn it without a belt, but snug around the hipline.


The three shirt dresses here all have bold patterned fabric, in keeping with the era. The top dress is a mock plaid with floral overlay. These 'happy flowers' would be a dominate pattern, seen all over the fashion scene.

The middle dress by Lanvin, uses that logo on the textile in an engineered print to create the contrast hem detail.



The final dress is clearly influenced by abstract art. All dresses are synthetic fiber. Many are polyester. This 'miracle' textile would be 'wash and wear', releasing women from ironing chores that could have taken one day each week to perform.


Now it's time to decide who will wear what. Will aging characters like Joan and Betty opt out for the latter fashions here, or go forward with current trends? At that time, married women were expected to assume a certain level of decorum, especially if they were over 21.

And what about Peggy? Her fashion sense has never been spot-on, so she can probably be expected to keep her career wear conservative and slightly outdated. But in her free time she might swing over into the more ethnic and experimental looks of the youth movement. Will she choose batik Indian print wrap skirts with peasant tops?

Megan was last seen in current mod silhouettes, so being one of the younger women she should continue to be fashion current. Will her marriage affect that youthful look? Will she try to assume a more mature style, or stay on trend?

As for Trudie, she has leaned toward a feminine junior silhouette. Her ongoing style has been to wear quality textiles with very modern silhouettes in girly prints and colors. Will that keep up as she stays at home?

What's your take in predicting what we'll be seeing?

Mad Men Era: Green Silk Cocktail Coat

Vintage fashion from the late 1950's or early 1960's can be created in silhouettes that stop traffic. Mad Men style, it's something to wear this winter.

Sometimes something perfect comes along, and this emerald green cocktail coat from Sak's Fifth Avenue is one of those moments in fashion history. Sculptural and refined, it's waiting for an evening on the town or keeping off the sea breeze when you admire the view of Hollywood from a hillside terrace.

Green Silk Satin Cocktail Coat: Sak's Fifth Avenue

Never on Sunday: Vintage 1960, How to dress like Melina Mercouri as Ilya

In 1960, Theoni V. Aldredge (Deni Vachliotov) as costumer, designed fabulous outfits for Melina Mercouri, the leading lady in "Never on Sunday" (Pote tin Kyriaki). Ilya, the smart and sexy character played by Melina Mercouri is a Greek sea port's leading lady of the evening. To showcase her long, lean build, Ms. Aldredge created simple yet dramatic garments designed to make an impact and support the character's profile as a happy hooker with a heart of gold.

It is possible today to revive these terrific looks, as the styles are so currant. There is also a tone of sophistication and drama that is hard to find in most fashion. The first dress is a smashing 'little back dress' that fits like a dream (possible when you have a staff of studio seamstresses to make that happen). It has a plunging "V" neckline in front, which may have been held together by a decorative band at the bra level (or is that the bra we are seeing?). A "V" neckline is one that appears several times in Ilya's wardrobe. This first dress is simply a well fit sheath, with a deep "V" neckline. Altering an existing round or square neck on a dress is always possible if you want to create this well cut neckline.

If you are creative, I have collected sewing patterns that approximate the looks best.

We can create our own version using a form fitting sheath without a waistline sash or belt. Depending on your figure type, either princess seam lines or darted body patterns are available. The dramatic deeply cut "V" neckline will have to be of your own design, as it does not exist in commercial patterns.

For the fitted sheath dress, we like the straight forward cut of darted body line in New Look 6643. The princess seamlines in Burda 7972, would make fitting curvy shapes better than darts. Vogue has two wonderful versions of "V" necklines in slender silhouettes. Vogue 9668 has a great midriff panel, that adds to the visual interest of the sheath look. Vogue 8532 has a dramatic collar at the "V" neckline, with an empire waistline to throw focus to the upper body (and skim any waistline flaws).


The second outfit is simply a tank top and a soft circle skirt. The skirt has sunburst pleating to create a smooth fit over the hips and accent movement. A wide white belt pulls this look together. Blanket stitch in white edges the top for a cute style detail.


For Ilya's birthday party, she has chosen a shiny white blouse that is wraped across the front for a neat fit. The slender skirt in black is cinched by a wide black belt with a large black buckle for a super small waistline.


This amazing matte jersey dress symbolizes Ilya's Greekness, in its use of lovely draping. She IS a goddess! This sheath has a narrow flat panel down the center front, from the neckline to the hem. Along this edge, the dress is shirred to drape over her curves. A cute beaded fringe tassel is set into the narrow band at the dress hemline. The shoulders have a narrow double strap, that often falls off her shoulder in a sweet way.


Did a striped tank top ever look this good? Ilya's take on the sailor's jersey, this fitted knit top is exactly waist length, and worn with a contrast straight skirt. This low square neckline is possible with careful cutting to fit the demi bra that is worn under it.


This black knit top has elbow length sleeves cut in one with the body. A "V" neckline in cut in both front and back, for dramatic exposure. Probably bodice darts make it fit neatly into the waistline of her skirt. The vintage sewing patterns I have seen in this cut have zippers in the side seams and bra strap snap loops at the shoulder seam to keep the neckline from sliding down the shoulder. As accents, her bracelets and jewelry really give this outfit punch.

So what is the overall idea in trying to get this sophisticated vintage look?
Fit, fit, fit.
Achieving a great fit is the start of a dramatic silhouette. By working with slender garments, mostly solid fabrics, limited details, and punched up jewelry, a great 1960's look is possible!

Movie:
Pote tin Kyriaki (Never on Sunday)
1960

Costume: Theoni V. Aldredge (Deni Vachliotov)
Melina Mercouri: Ilya