New at Couture Allure - Vintage Designer Dresses

New at Couture Allure this week are some fabulous vintage dresses from important and highly regarded designers. Be sure to check the What's New tab for all of our new items this week!

1970s one shoulder matte jersey gown with rhinestones, possibly by Halston.

1960s Teal Traina silver brocade coat and dress set with white mink fur trim.

1970s Giorgio Sant'Angelo color block wrap dress.

1970s Sybil Connolly silk dress with ruffle collar.

1960s green and gold brocade coat and dress set with mink collar.

Not a designer piece, but one of my favorites this week. This 1950s circle skirt is fashioned of black wool felt that has an optical illusion design stenciled in gold metallic paint.

Weekend Eye Candy - Christian Dior, 1997

John Galliano for Christian Dior Haute Couture, Autumn 1997 two piece suit of gray wool tweed. The jacket peplum is padded and references the jackets of Dior's New Look of 1947. Worn with a choker made of 35 rings of silver. From the collection of the Kyoto Costume Institute.

Friday Charm School - The Art of Conversation, Part 2

Today we continue our look at the Art of Conversation.

Conversation Essential 2: Starting a Conversation

Whether meeting someone new or greeting someone you've met before, knowing how to start a conversation is an essential skill. Even the most brilliant conversations start with an easy opener. A remark about the weather, the current news, or your surroundings will break the ice and include everyone. This also allows your fellow conversationalists time to prepare a follow through topic. Before arriving at a party, have several "openers" in mind so you'll feel at ease.

If conversation lags, ask a leading question about one of the other people in the group. Something along the line of, "How do you know our hostess?" or "What do you do for a living?" will work perfectly to keep things moving. Conversation is like a ball that bounces from place to place. It is your responsibility to keep the ball moving and not let it drop. When moving from group to group, you can use the same openers or leading questions again to start a new conversation.

Jonny Herbert Dresses - 1958

"Jonny Herbert does the Capri de Havana" So goes the title of a several page ad from a 1958 magazine. Jonny Herbert was a Seventh Avenue company that specialized in junior sized cocktail and evening dresses in the 1950s and 60s. The Hotel and Casino de Capri in Havana, Cuba, was built in 1957 and opened in November of that year. The 19 story hotel and casino had a rooftop pool and was built by mobster Santo Trafficante as a draw for vacationing Americans. The ad pages feature Jonny Herbert dresses in various shots taken in the hotel, casino, and the surrounding Havana neighborhood.

Above, a Chantilly lace dress that was available in white, pink, blue, and black. Sold for $49 in 1958 (about $373 in today's dollar).

Pin dot taffeta strapless dress with matching jacket came in navy, gray, and blue. Sold for $39 in 1958 (about $296 in today's dollar).

Rose printed silk surah dress with bows at the shoulders came in green, royal, and red. Sold for $39 in 1958 (about $296 in today's dollar).

Taffeta bubble skirt dress with buttons at the front came in navy or black. Sold for $35 in 1958 (about $266 in today's dollar).

I love the composition of this photo. The model wears a silk/linen sheath dress with matching jacket and is surrounded by Cubans. The suit was available in navy, black, blue, and beige. Sold for $55 in 1958 (about $418 in today's dollar).

By the way, the Hotel de Capri closed in 2003 and today sits empty and derelict. You can see the rooftop pool in the opening scene of the 1959 film "Our Man in Havana".

Meet Lovely Bride Amanda

A couple of years ago, I sold this 1970s Hanae Mori silk evening gown to Amanda. She had been searching for a unique dress to use for her wedding. Amanda has a wonderful vision and knew she could remake this dress into her bridal gown. I normally don't advocate reworking vintage, but in this instance I think Amanda has done a brilliant job and she made a truly unique and one-of-a-kind wedding dress.

Here is Amanda on her wedding day. She changed the dress lining from coral to green, removed the long sleeves, and reworked the neckline. Isn't she beautiful?

Sir James Dress - 1958

This dress ad stopped me in my tracks this morning. I need to find this dress by Sir James from 1958. Sir James was a California designer who specialized in classic shirtwaist dresses in fun fabrics. He used lots of cottons and silks, usually in pretty prints. The dress shown above, from 1958, is made of Riegel black cotton and has a huge rose applique on the side of the skirt. I want, I want, I want. The dress sold in 1958 for $30 (about $227 in today's dollar).

Passionate About Purple

Braemar purple cashmere cowl necked pullover and cardigan twinset.
Set sold for $75 in 1958 (about $570 in today's dollar).

I've always loved the color purple. I would have fit right into the fashion mainstream in 1958-59, as purple was quite a popular color during that time. My summer garden is filled with purple flowers like irises, lavender, and violets. And of course, purple is associated with nobility and royalty because in ancient times, purple dyes were only affordable by the elite.

I would faint if I found the purple cashmere sweater set shown above. The color is incredible, don't you agree?

Christian Dior purple coat, 1958.

Finger and Rabiner wool suit from 1958.
Sold for $70 in 1958 (about $532 in today's dollar).

Jacques Griffe purple suit, 1959.

Weekend Eye Candy - Yvonne De Carlo

Actress Yvonne de Carlo in a production still from the film Scheherazade, 1947. I want that necklace!

Weekend Eye Candy - Yves St. Laurent, 1983

A silver beaded jacket worn over a silk mousseline blouse and gray flannel pants, all by Yves St. Laurent, 1983.

Friday Charm School - The Art of Conversation, Part 1

Welcome to Friday Charm School! If you were invited to a party given by an acquaintance, would you be able to walk into a room full of strangers with confidence and ease? The ability to mix and converse with friends and strangers alike is an important social skill.

In today's modern world of texting and twittering, it seems that conversation is becoming a lost art. But an evening of interesting, lively conversation can be an exhilarating and memorable one. The mere act of two or more people having the opportunity to express themselves is one of the most satisfying experiences in life.

Over the next few weeks, we'll look at five essentials of becoming a good conversationalist, both as a hostess and as a guest. Practicing these skills will help you avoid becoming the sit-in-the-corner guest or the hide-in-the-kitchen hostess.

Conversation Essential 1: Assume your conversational responsibilities.

As a hostess, one of your jobs is to ensure that all of your guests enjoy themselves. When preparing your guest list, think about the people you are inviting. Will they fit easily with one another? Do they have interests in common? Are their occupations or backgrounds similar?

On any guest list, be sure to include one or two friends you can rely on to keep the conversational ball rolling. Even so, as the hostess, you are responsible for seeing that the conversation does not develop into a series of monologues with no back and forth. You can prevent this with questions to other guests that invite their opinions.

If your party evolves into an assortment of small groups, your duties need even more attention. Be sure that every guest has part in a group discussion. Be prepared to maneuver guests from one group to another to ensure that everyone has an interesting and lively evening. Don't become so engrossed in one conversation that you ignore all else around you. Be that social butterfly that flits from group to group, starting new topics, engaging quiet or shy guests, and finessing the spotlight away from a conversation hog.

If you are a guest, be prepared to follow your hostess' lead. Better still, circulate on your own, joining and talking with everyone present at the party.

Who Doesn't Love Lilli Ann?

Really, how can you not love suits and coats from Lilli Ann? The company, owned by Adolph Schuman, was best known for it's dramatic suits and coats, especially those produced in the 1950s. Those same coats and suits still command high prices today, and are highly prized by both collectors and vintage fashion wearers. Here are a few ads for Lilli Ann that I'm sure will convince you:

1954 suit in a fabric called "Bamboo", a blend of silk chiffon, mohair, and worsted wool. The suit came in blue, cognac, fawn, green, and violet and had big rhinestone adornments at the sleeves. Sold in 1954 for $100.00 (about $817.00 in today's dollar).

Also from 1954, this princess coat was fashioned of a blend of wool and Alaskan seal, with velvet accents. Came in black, red, cognac, natural, and purple. Sold in 1954 for $100.00 (about $817.00 in today's dollar).

From 1956, an extravagant swing coat with a huge sweep, fashioned of black and white tweed accented with black velvet. Sold in 1956 for $100.00 (about $808.00 in today's dollar).

From 1958, a beige linen suit with a detachable fox fur stole. Sold in 1958 for $100.00 (about $760.00 in today's dollar).

Finally, from 1959, a wool crepe suit with dramatic ruffle detail and a large jeweled button. Available in pink, pale blue, coral, turquioise, beige, navy, and white. Sold in 1959 for $70.00 (about $529.00 in today's dollar).

On Buying Vintage Stockings - What is Denier and Gauge?

Denier? Gauge? If you love to wear vintage stockings, but you're confused about all those terms from days gone by, read on! After all, there is more to buying a stocking than the heel to toe measurement.


Denier refers to the thickness of the nylon thread. The lower the denier, the more sheer and fragile the stocking. 30 and 20 denier are multifilament and are therefore stronger. 15 denier is a single thread, which is very sheer.

Gauge refers to the number of stitches per 1 1/2 inches. The more stitches, the better the the fabric because it is denser and has more stretch.

Certain combination of denier and gauge work especially well. Each produces a particular weight and type of stocking intended for various uses.

30 denier 45 gauge stockings are sheer looking but practical for everyday use. This combination is great for women who walk a great deal in the course of a day.

30 denier 51 or 54 gauge stockings are not sheerer than 45's, but are made from a finer fabric that is stronger and longer wearing.

20 denier 51 or 54 gauge stockings are slightly more sheer than 30 denier, but still strong enough for everyday wear. This weight has a slightly more crepe-y texture and a duller finish.

15 denier 51 or 54 gauge stockings are very sheer and are considered a dressy stocking. These stockings are somewhat fragile and need to be worn with care. 15 deniers won't take the wear and tear that 30 deniers will.

15 denier 60 gauge stockings are one of the finest and most expensive stockings made. They are less fragile that 51 gauge, because they are more closely woven with finer stitches.

The History of Handmacher Suits

Alvin Handmacher was the president of the largest maker of womens suits in the US. If you love vintage suits, you're probably familiar with the Handmacher name and you know what a high quality garment a suit with this label is.

1953

Alvin Handmacher was born in Chicago into the suit business. His father started a ladies suit company in Chicago in the 1880s. Handmacher graduated from the University of Chicago. In 1939, he moved to New York and opened Handmacher-Vogel with his partner, Irving Vogel. The company's offices were located on 7th Avenue in New York.

1956

Handmacher was the first to use assembly line production methods in the garment industry, an innovation that allowed him to produce huge quantities of high quality suits at reasonable prices. The sewers were trained to become experts in one facet of the suit's construction, whether that be sewing a dart, setting in a sleeve, or adding a waistband. Each sewer had a specific job, and that is what they did day in and day out.

1956

There were 6 Handmacher factories across the US, and each was precisely in tune with the other. Patterns were cut with rigid controls and tension was minutely calibrated on all sewing machines so that a size 10 suit made in New York was exactly the same as a size 10 suit made in Tennessee.

1961

Jane Derby was the designer for Handmacher, as well as for her own couture business. Derby interpreted, but never copied, European fashion trends from year to year. Handmacher suits were available in a wide range of sizing in both women's and junior's, as well as plus sizes.

1961

Handmacher suits were sold through one exclusive store in each city. In 1952, the suits were sold in over 600 stores across the US. 25 store buyers formed a judging panel. They were shown prototypes of new designs each season. Through this process, Handmacher chose only the most popular styles to put into production, thereby insuring a high sell through of product. By 1965, sales of Handmacher suits topped $19 million.

1963

Handmacher also manufactured a lower priced suit called "The Weathervane". These suits were manufactured of Celanese acetate, a less expensive fabric that held up well with use and wear.

Alvin Handmacher died on April 16, 1966 at age 60. The company continued in business until around 1990, but was never as successful as it was during the years when it was run by Alvin Handmacher.

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

Cocktail Hats - 1952

Oh how I love those sweet little confections called cocktail hats from the 1950s. They consisted of sculpted caps fit tightly to the head, which were then adorned with inventive ornaments like feathers plumes, veiling, or beads. To make a hat like this work, you must have short hair, or long hair worn tight to the head in a chignon. Enjoy these examples from 1952 as inspiration.

New at Couture Allure - Vintage Evening Gowns and Suits

New at Couture Allure this week are several more vintage evening gowns and suits! Check our What's New page to see all our new items.

1970s Lilli Diamond red sequin evening gown.

1960s Mardi Gras silk chiffon beaded evening gown.

1960s black sequin evening gown.

1960s Mod wool herringbone cape and skirt set.

1960s wool boucle suit with faux fur collar.

1960s black silk evening coat.

Weekend Eye Candy - Evening Gown, 1937

A body hugging gown of midnight blue lamé has a cape of tulle appliqued with butterflies. Rosevienne, 1937.

Friday Charm School - How To Sound Like a Lady

Welcome to Friday Charm School. Up to this point, we've been studying how to move. But there is another equally important component to presenting yourself as a lady: how you sound. Every day, you reveal yourself to others not only through what you say, but how you say it. You may be exquisitely groomed from head to toe, you may present yourself as a graceful, well mannered lady, but it only takes a single sentence from your lips in a high whining tone or a phrase filled with off-color language to ruin the entire effect.

Remember the story of Eliza Doolittle in My Fair Lady? Henry Higgins realized he couldn't pass a common street vendor off as a lady until he taught her how to speak properly.



Because the voice is so deeply entwined with emotions and the expression of personality, any lack of self-confidence or fear will be communicated with your words. Hopefully all the previous lessons about sitting, walking, and moving like a lady have contributed to pride in yourself, and that will automatically translate to a more assured and pleasing speaking voice.

Have you ever listened to your voice? If not, sit in front of a video camera or tape recorder and have a conversation with a friend or family member. If using a video camera, point the lens away from you facing a plain wall so you can concentrate on the sound of your voice when watching it back, and not your movements. Listen to the conversation several times. Check for both undesirable vocal habits and speech habits.

Vocal habits to avoid:

Shrill or whining tone
Loud dominating tone
Too soft timid tone
Monotonous pitch

Speech habits to avoid:

Mumbling
Talking too fast and slurring words together
Lack of enunciation
Slang phrases
Filler sounds - uh, um, you know, like
Use of off color language or swear words

Make a list of the poor vocal and speech habits you need to work on to correct. Then start listening to yourself as you talk during the day. Become more aware of what you are saying and how you are saying it. It also helps to listen to others around you and privately analyze their vocal patterns. You'll soon learn to "hear" and start to naturally correct your poor speech habits.

When listening to the recording of your self, you may be surprised to find your speech filled with slang expressions, swear words or annoying filler sounds that you weren't aware you were using. By becoming aware of them, you are halfway toward eliminating them. If necessary, make a game of it and start "fining" yourself a dime or a quarter each time you use one. Enlist the help of family or friends to help you notice your use of these speech habits. With persistence, you'll soon find they're gone.

The best way to work on improving your voice and speech is to read aloud. Choose a quiet time and a private space. Choose reading material that requires discriminative thinking and the full use of your imagination. Try classic poetry or Shakespeare. Read Jane Eyre again, this time out loud. Buy a copy of Bartlett's Familiar Quotations and practice one in front of the mirror every morning before heading out the door. Become aware of your voice and speech patterns, and strive to sound like a lady at all times!