Monday, November 17, 2014

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.

Monday, November 10, 2014

Lilli Ann: Diamond Applique Jacket, c. 1955



The Lilli Ann label carries with it an aura of mid-century feminine mystic. While photos of jackets with that label are easy to find, close up details are not often shown. This example is a well fitted short body suit jacket in a silhouette that was popular during the early and mid-1950's. I have seen similar styles with the Lilli Ann label that used the same shades of wool, so it is probably part of a suit collection that was created in the same fabric.

I wanted to share the details of this jacket, showing how the diamond appliques are applied around the hemline and at the lapel of the collar in a unique extension beyond the edge.


This front view shows placement of the diamond details, with some closer views below:




The diamonds were appliqued onto the jacket body after the darts were sewn, covering up those seam lines. The edges are held in place with zig-zag stitching.



This diamond motif is carried across the back hem as well, rather than it being just a front view element.





Finishing the details are self bound buttonholes and covered buttons (rather than rhinestones) and turn back cuffs. While these details are common for the period, the textiles used and subtle fabric arrangement lend an air of quality in the mono-chromatic color scheme of the jacket, relying on graphic design rather than shiny textiles, bright color or bling to complete the jacket's details.

P.S You can find out more about this jacket and Lilli Ann in these other blog posts

1950's Jackets that Inspire: a short intro to this jacket and how I got it.

Vintage Suits from the 1950's and early 1960's: more great suit jackets and advertisements

Lilli Ann of San Francisco: follow my Pinterest board on this label where I include dates and descriptions for the collector or enthusiast.



Wednesday, November 5, 2014

Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette, by Kimberly Chrisman-Campbell


“Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette” by Kimberly Chrisman-Campbell has been getting a lot of press recently in anticipation of the book’s release this coming new year. Most recently “Mourning Attire: when black became the new black”, a review by Matt Stevens, discusses the trend in 1774 following the death of Louis XV to wear black mourning attire, but at a new level of fashion sense. This trend brought about black being worn by the high fashion society, thus introducing it into popular culture.

French: 1785-90, striped silk dress with English fichu of cotton: collection of LACMA

Ms. Chrisman-Campbell will be speaking on the topic of her new book December 6, 2014, at the Bowers Museum in Orange County, California. This is an opportunity to hear the author share her thoughts on this new book.

Europe: Redingote dress, c. 1790, of silk, with English fichu of cotton: collection of LACMA

If you love this era, you'll want to take a peak at Chrisman-Campbell’s Pinterest page on this topic, which collects images on the book’s subjects from various museums and other resources. Both gowns shown here are included in this Pinterest collection.



The Book:
Kimberly Chrisman-Campbell “Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette, Yale University Press, April 2015

The Article: page 30.
"Mourning Attire: when black became the new black", by Matt Stevens, Huntington Frontiers: Fall / Winter 2014, The Huntington Library, Art Collections and Botanical Gardens

Artwork shown in article: Black Gown: French engraving dated 1781

The Bowers Museum: lecture and museum information


My photos were taken at the Los Angeles County Museum of Art (LACMA) at the exhibition: Fashioning Fashion: European Dress in Detail: 1700 - 1915. Some of the men's costumes from this exhibit can be found here on Pintucks in an earlier post "Menswear and Dandys: 19th century Tailored Suits as Inspiration" .


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 29, 2014

Sewing a Vintage Style Wardrobe: Pendleton Style Plaid Top Coat from Vintage Pattern, McCalls 7027



The Pendleton jacket that I showed in the previous post: Plaid Top Coat by Pendleton is a classic, but finding a sewing pattern in the same shape can be difficult. This vintage pattern: McCall's 7027 is exactly the style to make a look-alike coat. It dates from 1963, and even shows what is probably a plaid mohair coat on the cover.



This simple back view shows how clean and straight the silhouette was designed.



This view of the pattern pieces shows clearly how this pattern was drafted. The side seams fall straight from the underarms, with the front having a bust dart in that side seam. The center front edge is straight, so the lapel is not extended or pointed. The back is equally straight, with shoulder darts for fit. The sleeve is cut in one piece. The collar is nearly flat, with only a slight curve.

Overall, this pattern seems to be cut in similar style to a lab coat or a long shirt, and that is a possible pattern to use when drafting or creating your own pattern for this style. It might even be cut from a pajama top pattern, if the sleeve is not too baggy or low cut in the armhole.

Another thing great about this pattern is that the style can be made in so many fabrics. Imagine a denim version with contrast top stitching!

Monday, October 27, 2014

Sewing a Vintage Style Wardrobe: Plaid Topcoat by Pendleton





These plaid coats date from the late 1950's and early 1960's and were made by Pendleton.  They were a yearly classic that was created in several styles and in many seasonal plaids.



It could be designed to be part of a dress set, matching a slim sheath that was worn under it. Or the plaid could be a key accent, bringing together colors from a wardrobe, so that any item worn under it had a color connection.

Matching plaids is always a problem in fit and flare or princess seamed coat styles. In looking for a current coat pattern for this simple silhouette that would lend itself to plaid, it's important to steer clear of vertical or horizontal seam lines that will need to be matched. This includes princess seam lines and other fitting seams that run from shoulder to hem. If you find a jacket with the right collar, shoulder and sleeve fit, it's possible to lengthen that down from the underarm for a full length coat. Some princess seamed coat patterns can be taped together from the hip to hem level by laying the pattern pieces together, matching the grainline, then paing them together to create a seamless coat pattern for front and back views.

In published patterns, Vogue 8841, is a lean cut coat style. It does not show buttons, so those would need to be added after checking how much overlap there is in center front. Of course, vintage patterns can be used. Keep in mind the shoulder width and armhole depth found in patterns from the mid-80's through 2000 in the least, since this coat should have a lean fit and smaller armhole than patterns from that era.

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

Wednesday, October 15, 2014

1960 Fashion Illustration: Brian Stonehouse



This dramatic fashion illustration from the fall of 1960 shows a tunic shaped over blouse and gathered skirt in an eye popping black and brown stripe. It was designed by Bud Kilpatrick for I. Magnin in California. This type of graphic fashion pattern was gaining in popularity as a modern, sophisticated trend towards a newer, more urban style. Clean simple styles and bolder prints were starting to dominate the lingering prints and silhouettes of the post-New Look era.

Brian Stonehouse, 1918 to 1998, was the fashion illustrator. Born in England, he was trained in fine art in the late 1930's and entered the fashion illustration field soon after graduating. Following WWII, he returned to fashion illustration, working for both "Vogue" and "Harper's Bazaar" in the US between 1946 and 1979. After that time, he retired to England where he produced fine art and portraits of important personalities, including the Queen.

More on Brian Stonehouse can be found HERE.