Wednesday, August 11, 2010

Bergdorf Goodman Catalog - Fall 1985 #2

Yesterday, I showed you some business and dressy looks from Bergdorf Goodman's Fall 1985 catalog. Today, casual pieces from the same catalog. Would you wear any of these looks today?

Left: Ralph Lauren gold metallic lurex and wool knit hooded sweatshirt and sweat pants. Pearl choker with detachable pin by Ralph Lauren for Miriam Haskell.
Right: Cathy Hardwick purple wool jersey cropped jacket and high-waisted stirrup pants.


Left: Cilantro by Roberta Frayman Peruvian wool/mohair oversized coat in purple and black. ♥
Right: Cuddlecoat teal 3/4 coat worn over Bergdorf private label black turtleneck and skinny pants, both in wool jersey.

Left: Escada paisley pullover sweater over a silk blouse and wool flannel pants.
Right: Oversized English wool sweater worn over suede pants.

Left: Ilie Wacs tartan wool plaid coat.
Right: Abe Schrader red wool trench coat with a full skirt.


Left: Rebecca Moses ribbed lambswool layers in white. Cardigan with attached scarf, crewneck sweater, and skirt.
Right: Kikit by Maurice Sasson oversized ribbed cotton sweaters over ankle-buttons tapered jeans.

All photos by Paul Lange for Bergdorf Goodman.

Tuesday, August 10, 2010

Bergdorf Goodman Catalog - Fall 1985

I came across this mail order catalog from Bergdorf Goodman when cleaning my office the other day. While I could do without the big shoulders, I love all of these looks, which say "classic and elegant" to me. Let's look ahead to fall, shall we?

Left: Donna Karan black wool jersey sweatercoat worn over her black jersey bodysuit, white silk faille blouse, and black tube skirt. Hat, hat pin, and earrings also by Donna Karan.
Right: Calvin Klein cashmere chesterfield coat with velvet collar worn over his black wool jersey turtleneck and pants. Black alligator belt by Barry Kieselstein-Cord.

Left: Louis Dell'Olio for Anne Knein handknit black wool sweater over a wool broadcloth skirt.
Right: Mary Ann Restivo navy wool crepe jumpsuit.

Left: Castleberry Knits 3 piece suit. Pearl and charm 48" necklace by Richard Serbin.
Right: Maglia navy suede wrap jacket worn over Barry Bricken gray flannel pants.

Left: Paul Levy black wool melton coat with sheared beaver fur collar.
Right: Searle white wool fleece coat.

Left: Victor Costa black velvet sheath dress with black Norwegian fox fur at the hip. ♥
Right: Saint Romei black silk jacquard cocktail dress with back drape.

Tomorrow I'll share some more casual looks from the same catalog.

All photos by Paul Lange for Bergdorf Goodman.

Monday, August 09, 2010

An Ode to My Grandmother

Yesterday marked the 107th anniversary of the birth of my grandmother. This is a re-post of my ode to her that I wrote 2 years ago.


Hallie King with Barbara and Nancy in 1930


When asked who most influenced my life, I always answer, "My grandmother, Hallie Jessie King." Her birthday was August 8th, and this month marked the 105th anniversary of her birth. My fondest memories of my grandmother come from the summer I turned 12 years old, when she was in her 60s; a summer that changed my life, and set me on the path to where I am today.

My grandmother was born in 1903. She had two daughters; Barbara, born in 1927, and my mother Nancy, born in 1930. My grandmother was one of 13 children born to a postmaster in Walling, Tennessee. She learned to be frugal as she was growing up, and used those skills during the difficult years of the Depression. She was an RN, and worked during much of my mother's childhood. My grandmother was the ultimate example of "make do and mend". Even during later years, when times were better, I remember her darning the elbows of her sweaters and the heels of my grandfather's socks. And she would use a sewing needle until it became gently curved to the shape of thousands of stitches in her fingers.

I am the oldest of 5 sisters. For my first 6 years, we lived near my grandparents in South Bend, Indiana. I remember weekend sleepovers on my own in the built-in bed in grandma's sewing room, where I was surrounded by fabric scraps, button boxes, sewing patterns, and a myriad of notions that held a mysterious fascination to me. I remember playing in grandma's attic, where the formal gowns grandma had made for her daughters' school dances were stored, along with hats, shoes, and old clothes to dress up in.

When I was 6, my family moved to Dallas, and my grandparents were too far away to visit. The relationship waned as it became one of letter writing, often times forced by my mother who wouldn't allow me to go out and play until I had scrawled a hasty note to grandma and grandpa. I was busy being a child, and though my interest in fabric and sewing remained, it was pushed below others, like playing with Barbie dolls and learning to ride a two-wheeler.

When I was 11, my family moved to Milwaukee, which was near enough to my grandparents to allow occasional visits. They would drive up to spend time with us, and once, my pregnant mother braved a bus ride with 4 young girls to visit with her parents, whom she missed terribly. I remember Grandpa would build a fire in the outdoor grill and allow us girls to cook our "weiners" on a stick. Then we would roast marshmallows and chase fire flies in the dark until it was time to take a bath in the huge old tub and go to sleep with several of us in that bed in the sewing room.

The summer I turned 12, I was allowed to go and stay with my grandparents for an entire month all by myself. I realized years later it was a really big deal to not have to compete with my now 4 younger sisters for the attention of grown-ups. I was the center of my grandparent's world for one magical month, and it changed my life. My grandfather would take me to the grocery store and allow me to choose my favorite green grapes and Eskimo pies. And my grandmother taught me to sew.

I remember the magic of going to the fabric store, and sitting down to choose a pattern. Then learning about which fabrics were best, and being allowed to choose the one I liked, a cranberry colored corduroy. Each afternoon, grandma and I would work on sewing my dress. It was a basic shift style with long sleeves and gold buttons up the front. I remember the thrill of learning how the pattern pieces worked together to make a dress, and watching it emerge day after day. I wore that dress all through the 6th grade, and was so reluctant to let it go when I outgrew it.

After returning home, I began to save every bit of my babysitting money so I could have a sewing machine of my very own. It took me two years, and by that time, my family had moved on to Boston. When I finally got my sewing machine, I didn't have my grandmother close-by to help me, and had to learn on my own, but the basic lessons she gave served me well. I learned more through trial and error, but I perservered and sewed all my own clothing during high school. I sewed most of my children's clothing when they were little. In fact, I've never stopped sewing. It still brings me great joy.

That summer influenced me in other ways too. I wound up going to school for fashion design, and when I marched down the aisle to "Pomp and Circumstance", my grandmother received my thanks and smiled down on me from heaven. And when life brought me to a place where I could finally be my own boss and do what I loved, all my life experiences and a bit of serendipity brought me to vintage clothing, where I am surrounded every day with fabrics, buttons, hats, and special dresses that were lovingly stored in attics.

My grandmother works beside me in spirit every day, and I smiled this morning when I realized my own favorite sewing needle has a gentle curve from thousands of stitches in my fingers.


Hallie King With Me on My First Birthday

Sunday, August 08, 2010

New at Couture Allure - Vintage Dresses and the Blog Itself!

First of all, I can't do a What's New post without thanking the incredibly talented Mary Plautz of Mary's Last Chance for the beautiful make-over of this blog. I'm so happy with the changes, which have brought the design of the blog in line with the design of the website for a truly cohesive Couture Allure statement. Thank you, Mary! Mary is not currently accepting new commissions, but she is happy to put you on her waiting list. She's worth the wait!



Secondly, we've added new items to our Sale Room and taken further markdowns on others. If you're updating your fall wardrobe, now is a great time to get a fabulous deal! How about this gorgeous vintage 50s full skirted dress by Suzy Perette? Now just $225.00!

Thirdly, here are some of the new goodies at Couture Allure this week:





Saturday, August 07, 2010

Weekend Eye Candy - Balenciaga 1960

From 1960, the back of a pink shot silk "Amphora" evening gown by Balenciaga. Photo by David Seidner.

The same gown from the front, this time in black from the collection at the V&A museum. Interesting how different it looks from photo to photo, no?

Friday, August 06, 2010

Denim Head-to-Toe, 1971

Gorgeous blogger Wendy Brandes has been warning us since March that we should "never say never", because sooner or later we will all fall prey to the Double Denim trend. A search of Miss Wendy's blog brings up 6 more posts about the Double Denim craze with lots of pics of gals who are braver than me jumping onto the bandwagon.

Miss Wendy, here's how we did it the first time in 1971. Jeans were just breaking into high fashion, and Vogue did a 16 page feature on "The Blue Denim Look". I just wish they had chosen to show more than 1 photo in color, but you get the idea.

Basic Levi's jeans and jacket worn with a denim shirt, a statement belt, and espadrilles. Jeans and jacket sold for $17 in 1971 (about $92 in today's dollar).

Take those basic Levi's and have them professionally studded for $85 in 1971 (about $461 in today's dollar). Then you can wear them with a cut velvet blouse by Sibley Coffee and a belt by Gucci.

Calvin Klein jeans (tucked into boots) and midi-length vest. Set sold for $98 in 1971 (about $532 in today's dollar). Worn with a cotton stripe shirt, an ethnic sash belt, and boots by Jacques Cohen.

Denim jacket and knickers by Don Simonelli. Set sold for $100 in 1971 (about $543 in today's dollar). Worn with a white cotton shirt, Charles Jourdan chain belts, and laced sandals (over dark hose!) by Julianelli.

Zippered denim coat by Oscar de la Renta. Sold for $110 in 1971 (about $597 in today's dollar). Worn with a Trifari necklace and Vittoriana sandals.

Sorry, Wendy, but you won't see me wearing Double Denim. I did it the first time around!

All photos by Avedon for Vogue magazine.

Thursday, August 05, 2010

Geometry in Design - 1987

A look at the use of geometric angles and curves in designs from 1987. What do you think?

Nina Ricci

Pierre Cardin

Givenchy

Serge Lepage

Nina Ricci

Pierre Cardin

Louis Feraud

Wednesday, August 04, 2010

Line Vautrine, Jeweller and Sculptor

Line Vautrin, 1938

Artist and jeweller Line Vautrin was born in France in 1913. She did not perform well in school and left at age 15. Her parents suggested that she find a job and she went to work at the house of Schiaparelli, where it was her job to open the door and greet customers as they entered. She lasted 4 days. After a second attempt at working as a sales representative, Line decided to become her own boss.


Little Fishes gilt bronze necklace, 1950-55.

Her father had been a metal-founder, and Line started her own company by making bracelets and peddling them door-to-door. She continued that, with marginal success for 4 years. It was in 1937, when she took a booth at the Paris International Exposition, that she attracted enough clientele to open her first shop in the Rue de Berri.

Talosel resin brooch and Drops of Honey necklace
in gilt mirror glass with resin and nickel-silver wire.


After the war, Vautrin's success continued to grow and she opened a shop at No. 63 Rue du Faubourg Saint-Honoré, near the Elysée Palace. There she sold her jewelry and buttons, as well as belts, shoes, and powder compacts.

Two necklaces of red on black Talosel.

She liked to work with many different materials including metal, ceramic, spun glass, mother-of-pearl, and ivory. Her favorite became resin, and in the 1950s, Vautrin patented a material she called "Talosel". It was based on synthetic resin encrusted with pieces of colored mirror glass. The use of this material brought her into the world of decorative objects for the home - lamp bases, mirrors, and frames.

Leap Sheep necklace in gilt bronze with white enamel and
Curly Sheep brooch in gilt bronze relief with white enamel. Both 1950-55.


After turning 50, Line found she was becoming bored with business and retired to become a teacher of her craft. She retired from teaching in the early 1980s. Later that decade, a chance meeting with a London collector, David Gill, led to exhibitions of Vautrine's work all over the world. She received the National Arts and Crafts prize in 1992. Line Vautrine died in April 1997.

The images shown here are all from the book, Line Vautrin: Sculptor, Jeweller, Magician by Line Vautrin and Patrick Mauries. For more information about the artist and a wealth of images of her work, visit www.line-vautrin.fr. The site is maintained by Line's daughter, Marie-Laure, who is also a jeweller. Be sure to visit her site as well!

Please note: Biographical information about Line Vautrin is copyright of Couture Allure and may not be copied without permission.

Tuesday, August 03, 2010

Baby Doll Looks of 1968

In the late 1960s, the baby doll look was hugely popular in fashion. Inspired by dresses worn by little girls, designers showed short hemlines, high waists, lots of lace, Peter Pan collars, and puffed sleeves. Words like innocent, girly, and childlike were used to describe these fashions. All the looks shown here are from 1968.

Above, actress Katharine Ross models a pale blue eyelet and dotted Swiss dress by Gregory that came with matching bloomers. These dresses were often so short, women wore bloomers underneath to avoid showing off too much! Set sold for $58 in 1968 (about $366 in today's dollar).



A tiny textured cotton dress by Dorothy Cox for Tanner is worn with knee socks and Mary Jane shoes. Sold for $60 in 1968 (about $379 in today's dollar). Sunglasses by Tropic-Cal.

Lace was used in abundance, as seen here in this dress by Carlye. Sold for $90 in 1968 (about $568 in today's dollar).

Katharine Ross again, wearing a stripe dirndl jumer over a white pique blouse/romper with bloomers. By Gregory. Set sold for $58 in 1968 (about $278 in today's dollar).

Hair was worn pulled back with ringlets around the face. Make-up was young looking with pale colors and doe-eyes.

Mary Jane and T-strap shoes, another little girl style, were hugely popular as were lacy and pale stockings and knee socks.

Even high end designers like Anne Fogarty were influenced by the baby doll look. Here, her take made with rows and rows of lace in short or long lengths. Both dresses were available in black, white, or champagne and came with a nude colored slip. Sold for $110 for the short length and $140 for the long in 1968 (about $694 and $884 in today's dollar).

Monday, August 02, 2010

Copy or Inspiration?

When I came across this Liliane Romi white evening gown in a magazine from 1987, my immediate thought was, "I've seen that dress before." And I knew exactly where. The image at the left, by George Hoyningen-Huene was featured on my blog back in February of 2009. He photographed the white gown for Bergdorf Goodman in 1940.

My question is, where do you draw the line between a design being a copy or simply an inspiration? Romi had to have been staring right at this Hoyningen-Huene image when she designed these gowns in 1987. And, while they're not line for line copies, they surely are close. I wouldn't call her work original.....

....would you?

Sunday, August 01, 2010

New at Couture Allure - Vintage Dresses and Coats

New at Couture Allure this week are some fabulous vintage dresses and coats. Coats are flying out the doors here, so don't miss your chance! Speaking of chances, just a few short days remain to shop our Last Chance Sale and grab a great vintage dress for just $50!