Lilli Ann: 1950's Jackets that Inspire

If the Lilli Ann company during the 1940's and 1950's is known for anything, it is their fearless use of eye popping details and dramatic flare for contrasting trims. These two lovely wool jackets from the 1950's are examples of how far jacket design can go.

The lavander wool crepe jacket has a swag of drapery that falls to a pom-pom of fur at the end! This is accentuated by a diagonal hemline around the jacket. It appears to move on it's own with the swing and swirl of this design. The drape with fur trim seems to be a popular Lilli Ann trim, and it can be found in other jackets as well.

The second slide shows an early tailored silhouette that is spiked with diamond shaped appliques of the same wool in various shades. These are zig-zagged onto the jacket, around the hips and at the collar points. In fact, the collar diamonds overlap into 'space' and aren't entirely bonded to the jacket structure. This style is part of a line, having seen one go up on Ebay recently, I know that the diamond appliques were used in more than one style.

Plain tailored jackets from today might take note of these two looks. Wouldn't it be fun to re-style a jacket with diamond appliques? Or a swag? Don't let plain jackets fool you, there is a wealth of possibilities, if only someone would try!

(To get a closer look, click on the image)

NOTE:
Both garments were found at Etsy in forward thinking shops who recongnized the glory of a Lilli Ann jacket, even though it might be spiked with moth holes to the point that it can't be worn. Keeping them for study and inspiration is a perfect way to use such unwearables.

top photo: lavander wool crepe with fur trim and rhinestone button, c. 1955, from Fabgabs on Etsy.com
second photo: tan wool with diamond applique trim, c. 1950, from Vintagekttn on Etsy.com

Vintage Fashion for Curvey Women: Large Sizes Do Come in Vintage Too!

Abstract Print Sheath, late 1950's - mid-1960's

The February issue of "V" fashion magazine features "size", with a much publicized viewing of large size models wearing current fashion trends.

Oddly, when it comes to vintage, most people assume that the entire population prior to 1980 was tiny and slender, without curves or any additional body padding. To the contrary, sizes for larger vintage lovers are there if you seek them out.

Shift in Tidepool patterned fabric: late 1960's

Shift in Red/White/Blue print: mid to late 1960's (sold)

It's my belief that large size vintage fashion is scarce because those sizes are in demand.
Rather than being few and far between, the size range sells quickly. Another factor may be that vintage fashion has been in and out of popularity since the late 1960's, so that some garments are just plain worn out and no longer in circulation.

Fitted Sheath in White Gold Brocade: late 1950's through mid-1960's

Don't let these photos fool you, these are large size fashions, pinned onto a whisp of a figure to show them.

Tiki Floral Luau Sarong: 1970's (sold)

Teal Blue Crystal Pleated Dress: late 1970's

Some of these great fashions are currently for sale on Etsy. Others have been sold or are waiting their turn to be listed for sale in the future.

Chiffon Knit Boho Peasant Dress: 1970's

Lace Dress by Gloria Swanson: early 1950's (sold)

If you are looking for large size vintage, check PintuckStyle on Etsy often, since these great styles sell fast!

1950's Fashion Illustrations

Dramatic strokes in black create impact and visual texture in these magazine illustrations for several Simplicity sewing patterns from the mid 1950's.

Deep black strokes of what is probably charcoal are seen on a textured paper that make for a high energy composition with rough lines. In creating the illustrations, the artist developed the color areas first, probably using opaque gouache, a water soluble paint.  Details were left out in the high light areas so that the overall effect wouldn't be flat or even.  The body and face are colorless as well, giving the garment full focus in the layout.  Over this first layer of color, black strokes were then applied.  Finer ink lines from a pen then detail the faces and garment structure.

 

This illustration technique is developed from a well defined primary illustration that is layered under the top illustration paper, creating a guide for the artist to use as the color, then black lines are applied. Often a light table is required so that a thicker, more textured illustration paper can be used for the final work.

Today fashion illustrators often use markers and marker paper, layering their primary sketch under the marker paper.  It would be used as a guide when applying marker ink strokes to the top layer of marker paper.

 

I thought it might be interesting to compare the first illustrations to these simple yet stylish versions of the same garments.  They are illustrations from the original pattern envelopes.  You can see how these versions are very simple, with clearly shown details and garment seam lines. 

 

But even so, the green shirt waist dress (Simplicity 3848) does present an 'attitude' and bring style to the garment presentation.  The more simple red candy striped dress in the first example (Simplicity 3857) uses a quick repeat of the figure stance for the second figure which allows that illustrator to 'whip' out the illustration quickly.  The white blouse in that illustration is shaded with an india ink wash (black ink, diluted to grey with water). 

The dark green sheer shirtwaist in the lower illustration also uses a wash, this time water color or gouache is diluted with water so that it appears light and sheer like the fabric.  In the first set of illustrations, the magazine illustrator presented a more dramatic interpretation of this dress, with bold red gathers and a the bodice lining that is clearly defined.

Envelope illustrations provided the backbone of the pattern industry throughout the 1950's.  Inspiring to their readership, more dramatic illustrations gave a woman's magazine the opportunity to suppliment expensive fashion photography with dreamy illustrations for their readers to view. 

Since I posted this popular article, I have added more fashion illustrations from the 1950's. You may want to check these out as well:
Cocktail dresses, 1958
Back Views of cocktail dresses, 1958
Dagmar, the illustrator
Count Rene Bouet-Willaumez (RBW)

Fashion and Fabrics: Sewing Vintage Styles from the 1960s

The image above from the early 1960's illustrates how a girl could plan her wardrobe around a single sewing pattern or style, just by using assorted fabrics and accessories.  Getting mileage out of a simple, classic silhouette was seen in many features of that time.  These examples are great ways to find inspiration today when sewing, and to help date an outfit from the early 1960's by the garment cut, silhouette, fabric and trim.

Taking simple trims, like the lace motifs shown here was popular throughout the 60's.  With only a simple sheath, a great fashion statement can be created.   These spring and summer looks sport crisp linen fabrics with sharp white lace applique and linear trim texture for an 'icing' effect.

 These fun looks are part of a 2 dart shift or 4 dart bodice dress designs.  The placement of linear applique was selected to elongate the figure and add slimming lines to looser styles.  These easy to sew silhouettes were the backbone of any girl's wardrobe--a "make it in one day" styles. 

When looking for vintage patterns, those new to sewing should seek out these styles.  They often have great instructions, which can be used with a good sewing manual to create great outfits more easily. For advanced sewing projects, upgrade the textiles, lining and trims for a sophisticated style that can be easily altered for a perfect fit. 

The pattern styles shown above may seem vintage, but they can be found currently in modern sewing patterns that have a more current fit with a wider range in sizes.  The following patterns are currently available in the Butterick catalog.  Pattern  5746 is a classic darted bodice with fitted skirt (you add the sash).   This pattern can also be used to create a perfect fit body pattern, which is something you may want to have if you sew from vintage patterns and need to make alterations.  Patterns 5277  and 5407 are also darted, but without waistline seam, and the addition of cap sleeves.  Other fitted sheath dresses can be found in  Butterick 4386 and 5235.  These have both bust and torso darts for a slender fit. A classic shift silhouette is Butterick 3880, that has a bustline dart for upper body fit.  Looser shift styles without darts can be found in Butterick 5211, and 5269.

You will find cool fabrics from the vintage sellers on Etsy and my own online vintage sewing shop: Pintuck Sew.  Drop by, you may find the inspiration to sew up a quick dress!

illustrations are from: Better Homes and Gardens Sewing Book: 1961 and 1970.

 

Bonnie Cashin: Turn locks

Bonnie Cashin turn locks are enough to make you want fall weather year round. There's something in that nifty brass setting that really gives her luxurious jackets and coats a bit of down to earth practicality. I can't begin to imagine the "Eureka" moment when she realized she could apply them to her jackets, after seeing the twist locks in a more utilitarian application.

Soft pastel suede? Sounds nice, now pop in a twist lock. It's better than a button any day. Zipper? you ask. That's an abutted front seam, but our dear twist locks allow us our overlapped front closure. Casual and elegant at the same time.

Signature loopy wool with leather binding frames a brass twister at the neckline. It seems so logical, this industrial fastening. Without it, we would have gotten bored years ago.

Now you get the picture! Sporty and simple, with a twist of fun. How brilliant, how logical. A master invention for the 20th century.


All Bonnie Cashin jackets featured are part of a private collection and are not offered for sale.
This is the first part of a series on the 20th century American fashion designer, Bonnie Cashin.
Please do not reprint these images without prior permission, thank you.


 

Lilli Ann: Vintage Suits from the 1950's & early 1960's

Two examples of Lilli Ann suits, showing the span of a decade: 1950 to 1960.


The well tailored suit jacket became an important element for Lilli Ann designs between the late 1940's and early 1960's. During this decade, the overall silhouette was not be altered significantly, but details were many and varied considerably. Jackets showed a smooth fit in the torso, with long narrow or 3/4 length sleeves. The hip was fitted and hems were short or long. In general, the suit skirt remained narrow and unadorned.

The brown wool suit pictured above from the early 1950's has a mock bolero with self bow tie. The face is framed by a wing collar. Bolero shaping sets off the small hourglass waistline which is emphasized even more by a single button.

In this creamy aqua crepe suit from about 1960, a variation in small pleating is used to frame the face with drama. The use of an asymmetrical front is seen. Lilli Ann would use this popular design devise often during this era.

A Lilli Ann advertisement from early 1960 shows several versions of suits from the collection of that year. Continuing the trend that Dior began over a decade earlier, jackets appear to be derived from a basic fitted New Look silhouette. The body is then altered with many styles of collar and neckline drapery. Overall, the look is very feminine and dignified, spiced with details in texture and trim.

Following this collection in 1960, the design of Lilli Ann makes a notable swing towards more current fashion trends of the day. This was a move to showcase a younger, exciting and innovative look to the Lilli Ann customer. An updated silhouette left behind the New Look styles that Lilli Ann had promoted for more than a decade.

This article is third in a series on Lilli Ann fashions.
Earlier articles may be found in the links to the right.


Do not copy text or images from this article without permission.
You may contact us at the email address posted on this site,
thank you

How to Clean and Press Vintage Clothing

How to Clean and Press Cotton, Linen and Rayon fashions is something that every vintage lover should master. Ironing was a skill most young girls learned as late as the 1980's, but once casual wear, polyester and Lycra fabrics dominated the wardrobe,this technique became unnecessary.

The following suggestions should help anyone wash, iron or press their fashions, along with some tips for wear. Please note that no technique is fool proof. Some fabrics and garments may appear washable, such as the blue 1950's dress above, but are not. It is important to learn how to identify delicate garments. Even so, some fashions will 'fail' when cleaned, and may not be salvageable. Select garments carefully, and learn how to work with vintage. It is worth the effort!


Vintage fashions can become very wrinkled after washing or wearing. Knowing how to keep those wrinkles under control can help maintain the garment's good looks.

Cleaning:
Garments with tailoring or delicate details should be dry cleaned, but simple dresses are often washable. Test a bit of fabric first. Avoid washing dark colors or shiny rayons (these tips are for the linen-looking rayons). Also avoid washing garments with loose or raveling seam allowances inside the garment. It is also important to identify the lining, and may be easier to send lined garments to be dry cleaned.

Whites were traditionally washed, and were often called 'wash dresses' in the early decades of the 20th century. Some vintage garments are not color fast, and contrast details such as bias trim, braid, ribbons and stitching may run or bleed into the main fabric. Avoid washing these, and use dry cleaning instead.

Washing:
Cold water and baby shampoo will make a good wash for natural fabrics. Rinse out the soap after hand washing, and hang the wet garment up to drip dry (try your shower head as a hanging 'rack'). You may find it easiest to wash in a bowl or bucket in your bath tub, then hand the dripping wet dress there.

If using a washing machine, select a gentle cycle and cold water. You may want to test your machine first with a simple garment to be certain that the agitation is not too rough on the fabric and seams. You also may want to pull it out before the spin cycle, as that can wring it with many tight wrinkles. If you want a damp garment, try rolling it in a big beach towel and pressing out the water.


Pressing:
Press natural fibers while they are damp. This might be towards the end of the hang dry period. If that is not possible, use a spray bottle with water to completely dampen the fabric again. The skirt on the brown print Mad Men era dress above was pressed from the inside for a smooth look.

Spray bottle:
Dampen the entire garment and let is sit to absorb the water. You can also use the spray bottle to dampen specific areas that need pressing. To start, press from the inside of the garment first. This will prevent shiny areas of the good side of the outfit at hems and facings.

Flip to the good side of the garment for details such as collars, bows and tucks. You may want to 'spritz' the fabric damp again before pressing these areas. Prevent shine by using a press cloth.


Press cloth:
A linen tea towel or heavy linen handkerchief is a good press cloth. This is usually placed over the area before pressing, to prevent the iron from touching the fashion fabric. The 1950's cotton plaid dress above used a press cloth to keep it clean while we pressed. Press cloths can be soaked in water and laid damp over a stubborn area. When applying the iron, clouds of hot steam may occur, which can burn if you aren't careful. Damp press cloths will be best on thick areas as well.

Hanging:
When the garment has been pressed, it may still be damp. Hang on a padded hanger to dry completely. A regular hanger with a towel folded over the top like a shawl makes a great padded hanger for damp garments. If you have a shaded area outside, that may help the drying process. Keep colored fabrics out of direct sunlight (try hanging from under a patio umbrella).


Wear:
Body heat can wrinkle these fabrics very easily. It is recommended that a full length slip be worn as a layer between the dress and body. If a linen garment is tightly fitting, traditional foundation garments are important. Correct under garments are very crucial when wearing fashions designed before about 1965. Getting a close fit will require a girdle (or Spanks) and a sleek fitting bra or bustier. Wearing these under garments will prevent most waistline and hip wrinkles.

Hanging:
Hang your dress immediately after wearing. It used to be common to hang a dress outside the closet overnight, before re-hanging in a closed closet. A padded hanger will keep many stress wrinkles from developing. Very special dresses may do well on a shaped 1/2 body used for displays. This female form has only the front half of the body, but the shoulder and bustline shaping help soft dresses keep their shape. The navy 1940's style dress above would be a good style to hang on a padded hanger or form.

Storage:
Keep your storage dark, dry, cool (think: Egyptian pyramids).
Prevent: moths and bugs, dust, mildew, and other weather problems.

Flat: some items will store better flat, than hung. Sure, you may have to iron before wearing, but keeping shoulders and bodices from stretching is worth the effort.

Lilli Ann Suits: the late 1940's, Vintage Suits with Fashion Flare

Popular vintage fashion, Lilli Ann suits from the 1940’s show style trends of that era. Fitted waistlines and peplums to the hip level were part of most jacket silhouettes. Jackets could sport double breasted buttons with wide bishop sleeves. Other suits were styled with tie belts or sashed like belted tunics.

Wide skirted coats with buttons down the full length of the back were seen, a men’s wear inspiration from the 1800’s. Wide flared peplum jackets that stood away from a narrow mid-calf length skirt grew in popularity.

Fur was often used to trim jackets. Wide sleeves of fur are shown worn with a slender skirt. $50 to $60 was an average suit price during the mid-1940’s.

After WWII, some ads show Lilli Ann suits being worn for weddings, instead of a long white wedding gown. This was a popular trend at a time when the expense for a gown was considered too high, and a new suit would be a wardrobe investment. As a special part of the bride’s life, many suits from this period are with us today, well cared for and neatly stored for decades.





Schulman actively promoted Lilli Ann’s company image as being a provider of elegance and high fashion wool suitings from San Francisco. Company advertising conveys the target customer as being a perfectionist who is sophisticated and smart.

California as well as San Francisco are mentioned in many of the advertisements in the 1940’s. Drama is also promoted within these ads. During this era, buttons and trims were produced by Lidz and H. Pomerantz & Co, and are listed in the ad copy as a significant trim. Celanse acetate linings were also advertised during this time.

French (Blin and Blin) and other European wools were imported by Schulman after WWII as part of the rebuilding efforts. This fine fabric became important in his campaign to promote Lilli Ann as a luxury suit line. Suits from the wools were priced from $70 to $80.

As the post WWII ‘New Look’ took hold, the Princess style of coat became popular. Lilli Ann coats had wide shoulders and narrow waistline over a full skirt for several years. As 1950 neared, a more slender silhouette would enter the scene, replacing wide shoulders with unpadded ones. The narrowing of shoulders would introduce the slender suit, so popular during the 1950’s.

(This is the second article in a series posted on Lilli Ann. The first article was posted on July 20, 2009. )

House Dresses: Fashion at home, cottony and cute

A stepchild of fashion, the humble house dress has been worn in one form or another for centuries. When women's fashionable gowns were silk, this was even more so. Wearing 'wash dresses' of cotton calico allowed mothers and maids to get their chores done, while wearing something cool, comfortable, and easy to launder. The sketch here is from 1928 and shows a simple to sew house dress pattern at a time when home sewing was on the upswing in a growing suburban culture.





Following World War II, a flood of changes affected fashion. The availability of fabrics, both natural and synthetic soared. Add to this the availability of the zipper. This innovation had become popular in apparel during the 1930's, but the war years put a stop to that. After the war, the zipper became a 'must have' element in all apparel. During the late 1940's and through the 1950's, zipper use was at an all time high, as women happily abandoned their buttons for the convenience of a zipper. This house dress pictured above of cotton calico sports a sweetheart neckline and pockets edged in looped trim. A long center front zipper is set between full length rows of tiny pintucks (label: Nip'N'Tuck).

House dresses changed from being softly fit to becoming more fashion aware during the 1950's and 60's. The sporty rust red version shown here is by "Swirl". This wrapped house dress has huge patch pockets embellished with large appliques of fruit, veggies and kitchen kitch. The back wraps around and snaps at the waistband for a great flexible fit.









This cute polka dot dress is by another popular label "Models Coat". Originally a cover up for fit and runway models, it has similar 'easy to wear' features as other house dresses.

As young women moved from dresses into pants for day wear during the late 1960's and 1970's, the house dress lost its position in the housewive's wardrobe. Jeans, blouses and 'T' shirts took its place to become the prefered apparel for chores and leisure activities at home.

More on House Dresses:
Fuzzy Lizzie Vintage Clothing: overview of 'Swirl' house dresses
Eda Danese: The House Dress