Some women love lace, some ruffles and frills. Others find joy in satins and feathers. And then there's the gauzey, floaty chiffon crowd. All good, all fine.
For me, it's good wool and tailoring. Is it because of the clean lines? The technique demanded? Because there is no room for error in tailoring. You can hide behind a ruffle or gather. But not a tailored lapel. It certainly isn't because I wear loads of suits. I haven't had a job where a skirt suit really be appropriate for 25 years. I have never been a Lady Who Lunched. My forays onto non-profit boards have not required this level of dressing.
And yet, show me a vintage suit and I am enthralled by the workmanship and interpretation of classic lines.
Let me show you 4 suits we just added to www.pastperfectvintage.com
Left: Frank Gallant 1950s suit - good wool, bound velvet collar (talk about hard to get right!) crepe lining, bound buttonholes, good details. Right: Jablow feminine 1950s suit, intricate front construction, more crepe lining and bias (these are also hard to do) bound buttonholes. Both very good well made suits that would cost a fortune today for similar quality construction.
Left: 1948 - 52 Palm Beach Suit by Sacony. This is a midprice suit, summer weight and therefore unlined with machine buttonholes. A very nice suit, but not the level of construction you will see with the better labels. Right: an unlabeled 1960s 3 piece suit in a great weight of silk with beautifully cut, flattering jacket. Fully lined skirt, covered ball buttons, crepe jacket lining and bound buttoholes: again, all the hallmarks of fine women's tailoring.