Oh this old thing? Just a little doodad I picked up.

"Oh this old thing?" That was a response we were taught many years ago. Something self deprecating to say when we were complimented on a dress, a purse a, well, almost anything we wore. "Oh this old thing? I've had it forever". I know it was about being modest/humble. But it was also about a conceit that nothing we wore was New. My question now is: what was so bad about wearing new clothes? That we would seem nouveau riche? That people would think we were trying too hard to impress? Wasn't it sillier to leave clothing in the closet to 'age' before we used it?

Now that the rant of the day is over, these "old things" really are old. These are late Victorian era tortoise hair combs, the likes of which we will not see again. The care and craftsmanship for such a small doodad simply won't happen for the mass market again.

Victorian Tortoiseshell Comb with applied Silver Filigree Work

Beautiful Victorian or Edwardian Tortoise Shell Comb

both available at Past Perfect Vintage

Harry Angelo, March 1923, Agnes

The House of Agnes is certainly well represented in this catalog. I haven't made a strict count, but I would say they? she? sold Harry Angelo the most models that season. This is a house that was open 1906 -1931 and then until 1963 as Agnes-Drecoll. Not the milliner. That's a different Agnes. And here's an interesting note. These are Spring fashions. The catalogue is dated March. Today, fashions are shown almost 7 - 8 months in advance.
Correction: I just found a write up for the house of Agnes in the 9/26/1899 New York Sun.So the 1906 date is wrong.

No. 6 Agnes

"Formal coat and dress costume of white crepe romaine with heavily embroidered pattern in white soutache. The three quarter length coat is made on manadrin lines with a narrow collar of tailed ermine. The bodice of the dress is extensively embroidered and the skirt is made with four embroidered panels posed on a foundation also embroidered. Embroidery pattern No. 106"

No 7 Agnes
"An afternoon dress in navy blue and white, combining printed canton crepe with plain georgette. The apron skirt is made of the printed crepe with wide border of white georgette and overstraps of black joining it with its sheer white bodice. Black and white beads on the overlaid straps are used to give a blended appearance. The flared sleeves also combine the blue and white georgette."

Obi Wan Coatness

Japanese Obi silk meets Chinese styling for the Western Market. And this is such an opulent example of Western fascination with Asian styles. I caught the Asian bu long ago and bought this for myself - I go to the opera occasionally. Perfect, yes? Then I lost weight. Now? I must face that there is no way. Just too big. So I must move it on, even though it is bit painful.

The graphic quality is so strong with the black and gold with silver highlights. It would be as striking hanging on a wall as being worn.

Resplendent 1950s Asian Coat in Black and Gold Obi Silk
now available @pastperfectvintage.com

Harry Angelo Model Gowns, March 1923

At last. I have gotten the time to start photographing the plates from my Harry Angelo Model Gown Catalogue of March 1923. I will be posting these here for quite a while - there are 39 pages of them. A true treat. Harry Angelo: New York, Chicago, Paris was an importer of Parisian models. They would acquire a model gown and then make up a version of it in the same or very similar materials for the American market.

Up first: two Martial and Armand gowns in lace. Martial and Armand was a Paris Couture house at the place Vendome. The dates are a bit hazy. . There was a M. Armand. There was a Madame Valle by the late 1920s. As early as the teens, it was described as being a 'firm of mystery'. No one knows if there was a M. Martial. Certainly the house was prominent in the early 1900s and into the early 1930s. I am having trouble finding references to the house after 1934.

Martial and Armand No. 15
"A Dinner gown of ecru flat crepe achieving a bustle drape by use of a large bow in back. The skirt is made with an entire drop of embroidered lace. The marguerite and poppy design of the embroidery being worked in natural colors."


Martial and Armand No. 16
"Gown of bisque colored crepe romaine combined with Angelo Macrame lace to match. The lace bertha giving a cap sleeve appearance extends in a deep V collar in the back where it is finished with a silk tassel. The long fitted line of the skirt is broken by a side drapery of the lace which extends below the hem."

And the Name Dropping Continues

More Name Dropping. Sorry - I can't help myself. This first piece - a classy grey wool knit dress and peplum jacket from Bonwit Teller. I am a big fan of the blouson jacket with belted waist and peplum. Where's the name? On the inside of the matching narrow belt: Adele Simpson. There are several 'well bred lady' rules I didn't mention yesterday - and one was some ladies actually removed designer labels from their clothes. Especially if it would be exposed in the jacket lining when it was removed in public.


It was another world.

c. 1957 Grey Wool Knit Dress and Jacket Set by Adele Simpson, sold through Bonwit Teller

Now Suzy Perette is only a business name. There was no person designing clothing named Suzy Perette. Not unlike Betty Crocker and food. But a very popular, long lived line it was, incorporating Parisian lines and influences.

late 1950s - early 1960s Cream Beaded Crepe Dress from Suzy Perette
for more information on these dresses: Past Perfect Vintage

Vintage Name Dropping

Name Dropping? I plead guilty. It's been a long slow road paved with good intentions. I remember my early years, when we never mentioned the labels of our clothing - it was considered gauche. Even tacky. But at that time, another rule was to never wear a new purchase right away either. Always wait a few days. ( What was that about?? So when someone asked it it was new, we could say no, I've had it a while?) So makers and designers were only 'sold' by sales people.
And as a vintage clothing collector and dealer, I wasn't into labels at first. After all, I specialized then in 1920s and earlier, when maker's labels were rare and are now few and far between.

Now? Oh my. 'Branding' is every where. And as I have focused more on the 1940s, 50s and 60s, I must admit it. I am a Name Dropper. I didn't mean to be. I had hoped to keep substance and style in balance. I had hoped to recognize good design and construction even if namele4ss, and not to be swayed by a fancy label. But I have broken down.

1950s Pale Blue silk Elizabeth Arden Evening gown
for more information:Past Perfect Vintage

But even without a label, this would be a grand dress. Pale blue matte silk satin gown, trained overskirt with slim wrapped and draped underskirt and a draped bodice with spaghetti straps. And it is Beautifully Made.

A Tribute, albeit a small one

It is time to explain the header photo of the two small girls. It was taken in the 1920s, in Lyndon Ky. They are eldest two of my 6 aunts. The girl on the left is still living, as is their youngest sister. And both doing quite well, thank you. The girl on the right passed away this Christmas on Dec 23. She was 91.


Aunt Martha was a dress maker. Although that hardly begins to cover it. A dress maker extraordinaire. She had her own business for over 50 years and with it she supported herself and raised 3 sons. She loved sewing. She enjoyed fashion. And she appreciated fine fabrics. Her quality of work was well known in the better dress shops in Louisville, too.

When she first retired, she kept a few of her old customers. I don't think she was actually retired until she was about 80. And when we helped her move to an apartment in a retirement home, she still took her sewing machine and used it there.

I wish I had examples of her work. But no. You see, I was never a client. I did save a label in the great clean-up of her workroom. And some thread holders. All the notions went to the university costume shop, and her many Vogue patterns from the 60s and 70s went to Fuzzylizzie.

But I do have a photo of the honeymoon suit she made for my mother in 1953. So I offer these as a tiny tribute to a lovely lady.

August 1953 - I do wonder what color it was. Blue? Perhaps.

Flappers? Why yes.

Past Perfect Vintage is cooperating with our good friends at Elizabeth's Timeless Attire on Frankfort Ave in Louisville for an event this March. And it's 1920s Flapper related. That's all I can say for now. There will be more to come. I promise.

But for the moment, I couldn't resist showing off the reproduction 1920s bandeaus I finished today. They are all silk fabrics with period brooches or hardware and feathers. Plus a few buttons and gew gaws, naturally. These will have to reside next to period pieces, so these are a bit more realistic and smaller scale than many reproductions.

And of course, the always eager modeling team here at Past Perfect insisted on getting in on the action. I am proud to say I wore a 1940s plaid wool 49er jacket while I created these. It's all vintage, all the time here.