Showing posts with label 50s fashion. Show all posts
Showing posts with label 50s fashion. Show all posts

Friday, November 4, 2016

Betty Barclay: Vintage 1950's Dress


This sweet 1950's dress with the "Betty Barclay" label is a follow-up to the "Hourglass Corsage Silhouettes" post on vintage dresses with fitted bodices that hint at a corset shaping.  I have a few examples of this style, and thought it might be fun to take a look.


This "Betty Barclay" design was a junior division of the Jonathan Logan group. I wrote an earlier post that included this dress, and have wanted to give it a full review ever since.


This close up view of the front and collar shows the cute butterfly print clearly. It seems to be screen printed on a fabric with some sheen that is probably acetate. Tiny rhinestones are scattered on the collar. With these details, I'm guessing it was not an everyday school dress, but something special for dates and family events.



The bodice is closely fitted in both front and back, without a belt or seam around the waist. It closes up the back with a simple metal zipper, which was common at the time. The gathered skirt is emphasized by the lower dropped level seam line. This creates the corsage fit and hourglass silhouette.

The small Peter Pan collar provides a demure look that was very popular.  The sleeves are cut in one with the bodice (small kimono style sleeves) and they have a narrow turned back cuff to compliment the collar detail.

The simple cut of this dress would have made it cheaper to manufacture for the junior budget.  While the rhinestones are few, they provide a bit of embellishment on a conservative collar.  Overall it's a very cute look, perfect for a high school girl to wear.



Measurements: 
Bust: 35" / 89
Waist: 26" / 66
Hips: full skirt 
Length: 35.5" / 90 from shoulder/over bust/to hem

Friday, October 28, 2016

1950s Vintage Fashion: Hourglass Corsage Silhouettes


1950s Vintage Fashion: Hourglass Corsage Silhouette

In the mid-1950’s, the Hourglass silhouette had a popular style termed “corsage”. This look was worn by fashionable women with slender waistlines. It had a fitted bodice or corsage that is not as tightly boned like a corset. I wanted to look closer at these dresses to learn more about how they are both similar and diverse.

When spotting this style, (such as the illustration above from 1956 advertisement for Burlington that showcases McCalls 3458), look first for a horizontal seamline, either just below the bust line, or around the upper hip level, somewhat in the same location as a corset edge. These seam lines are often accented with wide sashes, cuff-like belting, or a trim to emphasize the body fit.



This illustration shows the corsage fit in both a hip emphasis and under-bust shaping. Princess seam dresses are often part of the pattern design used to create this look without a defined waistline seam that has a strong hourglass silhouette.

The illustrations shown here again feature McCalls 3458, and come from a McCall’s spring 1956 pattern magazine, however many of the patterns in this issue seem to be dated 1955. This helps us to know that this look was a long term, strong and popular design feature.



A typical novelty print fabric with tiny houses is shown using patterns 3434, a true princess seam dress, and 3494, a drop waist corsage with an easy to sew darted bodice. The dramatic red sheath is pattern 3493, and shows an under bust seam that comes to a point at center front.


This shapely corsage style in the rose print is a separate skirt and top set, 3511 and 3512. The geometric print dress was not labeled with pattern, but it could be 3458 that has a similar cuff style hip band.

This magazine issue lists many similar patterns that create the corsage fit. I tracked down several to show original sewing pattern cover art. I find pattern covers are an excellent source for fabric color and print as well as accessories, hair and makeup.


3497: a modification of the princess seamed dress that shows a bustline seam
3434: a true princess shaped dress that has flared and shaped panels from neckline to hem


This set of patterns show the modifications of the princess pattern with addition of the hip level seam and applied gathered skirt. In this case I found both an all around skirt, 3479, and another with a smooth front and gathered sides, 3492. This style recalls the silhouette of Marie Antoinette and the 1700’s, creating a romantic air.

3492: the hip skirt has a wide sash sewn into the seam line with bows to emphasize the hips, the corsage is fit with curved bust seams into the armscye
3479: this simple version clearly shows the princess seams to shoulder in the corsage

This look was considered a youthful style, and can be found in many of the Givenchy designs for Audrey Hepburn (Sabrina, Funny Face, Love in the Afternoon).  These were among the early styles produced by 'junior' style houses that catered to the growing teenage consumer population.  Look for these additional corsage patterns by McCalls:

3499 (V front seam), 3478 (under bust seam), 3477 (fitted midriff), 3481 (knit top), 3467 (low waist, full skirt), 3355 (V waist jumper), 3432 (V waist dress), 3433 (shaped hip sash), 3523 (low waist, full skirt),

The patterns shown here are available at the following online vintage pattern shops, show your support and take a look:

3434: Pattern Shop
3479: The Perfect Pattern
3492: Midvale Cottage
3497: The Spectrum


Friday, March 11, 2016

1958 Sack Back Dress



The Sack Back dress spent a brief moment in time on the 1950s fashion scene. While couture silhouettes flirted with this silhouette earlier that decade, it wasn't until 1958 that the general public gave this style a try. Clearly it was a departure from the ongoing hour glass silhouettes that had continued for a decade. It was time for something new, and maybe a draped back might be it.

Monday, October 19, 2015

Vintage Fashions from Fall 1953


Looking at advertising from a specific year is a great way to see fashion.  This time I'm showing fall, 1953 styles available in small towns across the country at department stores and smaller owned shops on Main Street.

Friday, December 19, 2014

Best of: Don Loper, 1950's Green Silk Suit Jacket



This masterpiece was designed by Don Loper who is probably better known now for his appearance on "I Love Lucy" during the mid-1950's, where he presents a showcase of his fashions, and poor Lucy is morose, unable to wear fashion, having a severe sun burn.

This 1950's Kelly green silk suit jacket is worthy of a complete stop in conversation. An open mouth gape at the pure luxury and blatant exhibitionism of the collar. It encircles the neck like a sculptured cape. With dramatic notches far back near the shoulder seam line, it is truly regal in the crown shape of the crescent curved roll line around the shoulders.

Don Loper had a brief career as an actor during the previous decade. His resume reads like a survey of TV and film positions. There was little in Hollywood that Loper didn't give a try to. But it is the glamorous fashions he created that put his name on the map. Working with the best textiles, he demonstrated a skill and understanding far beyond what might be expected from someone with a lack of training or mentorship.



This simple green jacket, with its small bodice and 3/4 length sleeves from the mid-1950's departs from the norm in a way that sets it apart from just about any other jacket of its era.  The color, often called "Kelly Green", was very popular during the 50's and was seen in cocktail dresses and evening suits such as this one.


This article has been reprinted with larger photos from an original post on April 2, 2008, just in time for a little vintage inspiration for the holidays. Shouldn't we all have a bit of green to wear to parties right now?

Wednesday, November 19, 2014

David Crystal: Red Dress from 1959



This is the first of several David Crystal magazine advertisements from 1959 for dresses created in knits. They have such gorgeous illustrations in primary colors that I had to share and a Holiday red seems like the best place to start! (more to come)

p.s. The illustration is original, but the graphics are mine.

Monday, November 3, 2014

Georgia Bullock: a California Fashion Designer


Georgia Bullock was a California fashion designer. She was born in the small town of Whittier, Ca. in 1918 and raised in southern California. In the mid-1930’s, while in college at USC, she worked as a floor model and sales associate at a major department store in Los Angeles. After graduating, she was hired by Bullock’s Wilshire, followed by a milliner and later an established fashion designer. Knowing that she wanted to pursue fashion design, she studied at Frank Wiggins Trade School in Los Angeles. During this time both her work experience with customers along with her technical training prepared her for a career in fashion.


About 1941, with an idea for a basic black dress and $50 in cash, she and her partner Dorothy Phillips started a dress company with this one design. This new company would give her additional experience with buying trips to New York and selling wholesale. This small business lasted two years, so that by 1943, at 25 years old, she was in business for herself. She did most of the work herself in her little factory to start, but by 1945 she was quoted in national newspapers as a California fashion designer and selling her designs nationally. Her business would grow, moving to several factory locations in Los Angeles as her needs progressed. This suit was advertised in the mid-1940's.

“In my own designing, I try constantly to stress fit and flattering lines, rather than the specious and merely startling. I want to give the ready-to-wear customer the opportunity to buy good lines in the same sort of basic costumes (as custom made fashions).

“Now that the designers, newly freed of wartime stringencies, can create radically different styles in great variety, women have an ideal opportunity to choose the unhackeyed, to insist upon buying, not what is the rage but what is exactly right for them.

“California has a background and atmosphere which promotes a new, fresh feeling in our styles” she says. “American women are so different from European women, in shape and posture, and way of life. We, in California, are, I think, particularly well equipped to interpret much that is typically American”. Her philosophy would shape the kind of fashions she designed, always keeping in mind her customer’s figure and lifestyle, working to create designs that would flatter them.

She was married with a baby by 1948, but continued to design. In the early 1950’s she had her own manufacturing plant in Hollywood. In addition, Georgia took a design position with the well known label “Nellie Don” in 1953, located in Kansas City, the largest manufacturer of women’s clothing. It appears that she was able to work from Los Angeles for this venture while still working on her own line.


The “Georgia Bullock” label would symbolize the effortless style of the well-to-do woman who could afford the best in design, fabrics and fit. During this time her style tended toward suave and sophisticated. During the early 1950’s she widened her line to include sportswear with a elegant sense of style. Catering to the country club crowd, she presented her fashion shows on her own tennis courts at her home in Holmby Estates. These fashions were carried by the high end department stores, such as Saks, I. Magnin’s, and Bullock’s Wilshire.



In 1958 her fashions were worn on the Danny Thomas television show “Make Room for Daddy”. This symbolized her connection to the entertainment industry and to her ability to self promote as well.

Her career continued to grow, with clients nationally. By the early 1960’s, she was living in Malibu, creating fashions for the California beach, country club and resort lifestyle.

In an important move, in 1963 she launched her “Miss Georgia” line. These designs were less expensive with price points around $50 (her “Georgia Bullock” label sold for twice that). They were more fitted, showing clean lines, long sleeves or capped sleeves, while her own label was more complex and fashion forward.

Career Highlights:

1961: Bright cotton prints were shown for patio, poolside and at home dresses were seen to knee or ankle length with hem flounce. Georgia kept artist smocks in her lines for at-home wear, often in gay prints. Wraparound dresses, jackets in printed cottons, pants and long slim dresses with adjustable belts were also popular.

Mid-1960’s “Barefoot styles”: she described her at-home fashions as something that should be worn barefoot, much like her own beach lifestyle. It included artist smocks, eyelet pants, and hostess dresses for the bare foot.

1964: Her high end line showed the“costume look” with a jacket or coat and dress in slim sheaths, princess lines, pleated styles, lowered waistlines. Overblouse silhouettes and longer jackets to hide hips were part of her figure flattering strategy.

In 1966 she would receive the Designer of the Year award for her work. Georgia’s final years as a designer were in the 1970’s. At that time she continued to show her lines at her home, then in Palm Springs or at the beach town of Carlsbad.

Georgia Bullock was considered a couture designer for the designs under her own label, never sacrificing quality fabrics and styling or catering to fads. She continued to live in southern California until her passing in 1991. During her career, her name was well known nationally and she had full page magazine advertisements. Overall, she will be known for her classics: designed with a good fit and in fine fabrics. Georgia’s designs were was popular for her blazers and jackets, sheath dresses and ensembles, but also the colorful casual lines, designed for her own California lifestyle.



Wednesday, October 22, 2014

Lilli Ann: 1956 Suit Advertisement



In the 1950's Lilli Ann suits were available not only at major department stores, but at locally owned shops in small towns as well. This advertisement is from the spring of 1956, and shows a suit called "Carousel" with flared peplum and longer narrow skirt.

The wool worsted fabric of gray and white has polka dots available in either white or red. This illustration can help us to see that the wide peplum was a popular silhouette in 1956 for this brand. There is a double layered collar as well.

The prices for the shop's Lilli Ann outfits ranged from $69.95 to $98.50. The advertisement is quick to point out that this store requires "no money down and 20 weeks to pay, use our budget plan", this being the way women could afford expensive clothing before credit cards made that possible.



This is the 1956 magazine advertisement for this same suit. It clearly shows all of the same elements as the illustration. It also refers to the "Carousel" as being the name of this outfit, with selling price "about $100" (around $870 today). It's ads like these that can help the Lilli Ann collector to date suit styles from this company. Besides the Lilli Ann monthly photo ad in fashion magazines, small store owners would also promote the label for their shop in local newspapers. The shop that published this fashion sketch was located in a southern California town, not far from Los Angeles.

If you want to see more on Lilli Ann, then just use the 'search' box at the top of this page to get a list of my other Lilli Ann posts, I think you'll like them.

Thank you for dropping by.  If you liked reading this, then you won't want to miss my latest posts on vintage fashion and sewing by subscribing to Pintuck Style on Bloglovn' HERE.



Monday, October 20, 2014

Betty Barclay, R & K Originals and Others: the Jonathan Logan Story

                                                             label: Betty Barclay

What do these vintage labels have in common: Betty Barclay, Butte Knit, R & K Originals, Youth Guild and Jonathan Logan? At one time all of these labels were popular divisions of the first large apparel conglomerate, Jonathan Logan. These labels were on some of the most popular dresses and sportswear from the 1950’s through 1970’s, and today they are sought out for their style and quality by vintage collectors and retro style lovers.

                                                         Label: R & K Originals 

When researching these labels and many others, the Jonathan Logan story comes up as part of their histories. At the beginning is the story of David Schwartz (1897 - 1985), a gifted business man, who entered the apparel industry at a young age, rising in manufacturing until he was ready to open his own company with $2,500 borrowed to buy new sewing machines at only 19 years old in 1918. He would partner with a friend, producing women’s dresses under such labels as “Tru Size Dress Co”, “Gladdy Dress Co” and Gladdy Tru Size” until about 1937, when he launched the “Jonathan Logan” company alone.

The first Jonathan Logan company had 10 people on its staff and was located in New York City. By 1954, the company had grown so large that it had to move to a new plant in Bergen, New Jersey. This was a dress company, producing apparel for young women 15 through 25 years old. This was a new niche in the industry that had been expanding since the 1930’s.

He is said to have produced the first rayon dresses for sale at $4 and $5 each. In 1949, he unionized his workers into the International Ladies Garment Worker’s Union, so his products after that date will contain that union label.

During this time, Schwartz was adding small labels to his core business, enlarging the company’s scope. In 1960 it became the first women’s apparel company to be on the New York Stock Exchange. At this time he entered knit apparel with “Butte Knit”, a brand with both a dress and separates line. His business sold $100 million in 1963, and was the first women’s wear company to make that record.

Schwartz stepped down from his position in 1964, turning it over to his son Richard who was only 25 at the time, but was able to run the company as chairman and maintain the high rate of sales his father had, with $203 million in sales in 1968. At that time there were 42 manufacturing plants in both the US and abroad. Many of the knits were created in Spartanburg, South Carolina for the Butte Knit and Act III lines.

To gage the size of this company, in 1969 it had over 24 divisions (labels), sold to 20,000 retailers, owned dozens of showrooms, owned 12 manufacturing plants and used 14 more to produce their lines.

The entire business was bought out in 1984 by United Merchant and Manufacturers.

                                                             label: Jonathan Logan

DESIGNERS

Probably the best know designer who worked for the company was Elizabeth “Liz” Claiborne who designed for the “Youth Guild” division from 1960 to 1975, leaving to start her own business at that time. The Jonathan Logan label had two well known designers: Doris Varnum and Jeanne Carr. Both designers often had their names included in advertisements and promotions, creating the allure of a designer produced collection for this junior label.

Doris Varnum appears in ads during the 1940’s. In an interview she stated that her designs “just happen” as she saw ideas in many things. She was born in California and lived in Los Angeles where her husband taught at Los Angeles City College before WWII. Her career began in fashion modeling (she was an auburn haired petite size) and the design position followed naturally for her. When working, she started her designs with a unique fabric, then created an idea from that. “Junior dresses are a style, not an age” she would comment.

Jeanne Carr would follow as the Jonathan Logan designer. She also began her career as a model, later working for the 1955 Coty award designer for the label “Sportwhirl”, Jeanne Campbell (an interesting designer as well). Campbell began that label in 1951, and hired her staff of 10 at that time. As a young designer, she had worked previously for “Loomtogs” from 1946 to 1951. If we look at Campbell’s career, she did not hire assistants until 1951, so Carr would have had to work for her after that date. This leaves the mid-1950’s as Carr’s probable start with Jonathan Logan as designer. Advertising with her name appears in 1956 and shows as late as 1960. She also prepared a patent document in 1956, so we know she was working there by that year.

LABELS

The following is a short list of the most popular and wide selling labels that were produced by the Jonathan Logan company. Most of these brands began as regional or local small businesses before being bought out by the company and later produced as a division.

Act III, Alice Stuart, Amy Adams, Beach Party, Betty Barclay, Bleeker Street, Butte Knit, Davis of Boston, Etienne Aigner, Harbor Master, Immerman Corp, Jonathan Logan, Junior Accent, Misty Harbor, Modern Juniors, R & K Originals, Rose Marie Reid, Trebor Knit, Turtle Bay, Villager, YouthGuild

The dresses shown in this article are currently listed for sale in my Pintucks Style shop on Etsy.



Sources:

Fashion & Merchandising Fads, F. Hoffman, B. Ramirez, 1994

Herald Journal, Spartanburg, South Carolina, April 5, 1970

Jeanne Campbell.com

Jewish Virtual Library.org 


Luther, Marylu, article: January 9, 1960

Pittsburgh Press, B. Byron, May 20, 1944

The Self-made Man: Success and Stress, American Style, Isadore Barmash, 1969 


This is an original article on Jonathan Logan published on Pintuckstyle.blogspot.com. The contents of this article are the intellectual property of this blog and the author. 

Please do not copy any content, written or photos, to another blog or digital media without contacting me first. I will ask that you link back to this article and give reference to this source within your feature. If you are using content for a research paper or project, please link back to this page in the traditional academic format, thank you!  Jennifer Orsini

Monday, September 22, 2014

Sewing a Vintage Style Wardrobe: 1952 Dress


When I saw this Lobell's advertisement in "Charm" magazine, spring 1952, I thought those amazing pockets seemed very familiar. It only took a quick look through the Butterick pattern's set of retro styles to find this exact dress! How often does that happen? So in the interest of fun sewing and vintage styles, here is a great project that is easy to sew as well.


This is the original 1952 ad, and in it you can see all of the fun details that make this dress unique. The only departure from this original design in the sewing pattern is the lack of buttons down the front, but those are easy to add.


Here is Butterick 6055, the pattern that captures this vintage look perfectly. The bodice has an easy fitting kimono shoulder and sleeve, which makes any alterations easier too.


This close up of the pocket details shows how similar the dresses are, and it also gives a better idea of how the pockets are sewn. These could have contrasting ties, or even be a contrast color as well.

When sewing a dress with this type of kimono sleeve bodice, I recommend fabrics that aren't too stiff, thick or crisp, since this will make the sleeve look and feel like wings. Any moderate woven will do, even sheers like organdy or organza sew up well in this style (plan on a co-ordinated color full length slip instead of lining). For fall or winter, a dark plaid cotton with white collar is a classic look, both in the 50's and now as well.

Advertisement copy:
Pocketeer, in flower fresh zephyr cotton…Just $8.95
So smart…this combed zephyr cotton step-in that takes a day’s labors in its stride…goes blithely on to an evening’s date!
Pockets on the grand scale…a skirt that billows free and full! Sanforized to launder perfectly!
Raspberry, green, navy, aqua, charcoal grey, maise, lilac
Sizes 10 – 18, 9 – 17, $8.95.
Lobells, Inc., Hanover, Penn.


 

Thursday, October 24, 2013

Rene Bouche: Fashion Illustration from 1956



It's time to be thinking ahead about the holidays, so I am posting this fashion illustration as a reminder to all of us: plan ahead!

This terrific 50s fashion illustration is by Rene(RR) Bouche and it certainly gets one in the mood for holiday elegance and sophistication. For me, while I personally won't try to re-capture this look, a rich red pashmina might be just the thing to add to my wardrobe this year.

Here's the full 1956 illustration, so you can see the rest of this page:



Friday, January 6, 2012

RBW: Count Rene Bouet-Willaumez, Fashion Illustrations: June 1950

RBW
1950s illustrations
50s fashion illustrations
The three fashion illustrations here are editorial drawings from the June 1950 issue of "Vogue" magazine painted by Count Rene Bouet-Willaumez (RBW). He was a top fashion illustrator from the pre-WWII era, along with Carl Erickson, better known as "Eric", Christian Berard and Rene Bouche. Having built a strong reputation during the 1930's, RBW would continue to provide drawings for Vogue and Bazaar into the early 1950's.

His loose, Asian inspired brush work illustation style was part of the "Expressionist" movement. He was proficient in creating a dynamic illustration using black india ink on rough cotton paper. The 1950's would mark the end of fashion illustration editorials in glossy fashion magazines. Photography moved quickly into the dominant editorial position.

Drawing from a live model wearing the dress, his technique can be seen in the use of a wet paper to flow on the gray shaded areas. When that had dried, he painted the illustration, probably using a tapered asian paint brush or similar shaped water color brush dipped in deep black india ink. The textured areas are 'dry brush' painted with a brush that has had the ink pressed out, so the brush is damp. This style had a sensitive line that was popular through out the magazine and newspaper industry during this era.

Friday, February 11, 2011

Gloria Swanson: A 20th century 'New Woman'







Gloria Swanson was an early film actress, born in 1899, she lived through the boom years of the film industry. By today's standards, Gloria was far ahead of most women in her day. Her acting career brought fame and wealth to her, giving her the flexibility to work on many projects that would benefit women and others. One of these was her ongoing design partnership with an American fashion company, Puritan Fashion Corp, from 1950 through 1982 (she would have been 83 years old at the time). For Purtain, Gloria designed for the "Forever Young" label, traveling around the country showcasing her styles and giving women advice on style and beauty.









Gloria Swanson's interests were wide: the arts, politics and inventions are included in her roster or achievements. A champion of natural foods, she campaigned in the 1950's for product labeling and food additive legislation. She also championed women on many levels. Politically she would protest tax rates for single people (1972) and supported the rights of senior citizens (1980's).

Overall, many of her achievements are unknown. In the end, she was obviously an amazing 'New Woman' of the 20th century!

The "Forever Young" labeled dresses seen here show Gloria's best fashion design technique: have texture and visual interest at the neckline, and widen the shoulders so that the hips appear more narrow. Add to that a flared skirt or hipline pockets as artful drapery. The pink lace dress above has a trim in bias cording that is scrolled around the neckline and around a flared skirt hem. The blue linen dress has a neckline trim of dyed to matched textured lace with rhinestone details.

Gloria would design dresses to flatter the average woman's figure. She didn't try to cinch in a waist to tightly or cut sleeve too short. These flattering dresses have a great fit for most women, and continue today to be sought after for their 1950's vintage styling that fit a modern contemporary figure.

Find out more about Gloria Swanson:
Harry Ransom Humanities Research Center, University of Texas, Austin:

The Blue dress is currently offered for sale in our shop.
The Pink dress has been sold.

Saturday, November 13, 2010

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

Monday, August 2, 2010

Vintage Fashion: 1950's Shelf Bust


The shelf bust in vintage fashion is always a fun style to see. It is nearly daring, a bit outrageous, and always eye-catching. A recent blog post by Gertie on shelf bustlines presented a great gallery of styles that show a variety of versions. Many are draped, a few are pleated.

I remembered this dress from my California collection, and decided to share it with you. Maybe you will get some inspiration from seeing it up close and personal.

The dress itself is a heavy, crisp black faille, with the same fabric used for the bustline. Its late 1940's or early 1950's flange hip pockets help to balance out this imposing shelf bust and collar in white.

The label says it is "A Filmland Creation" by "Miss Hollywood". I"m guessing if you wear it, you will get discovered, or in the very least mistaken for Jane Russell or Marilyn's cousin, new in town and ready to be cast in a leading roll.