It is Vintage Vacation Time in a big way

It's vacation time! It's a vintage vacation in two senses: a vacation from vintage clothing work and vintage clothing shopping but with lots of vintage clothing to wear. I am happy say there will be three 49er jackets and a 50s cardigan or two going along. Plus some 1930s jewelry and some fine thrift finds. However,the new to me fine 1970s leather coat will be staying - it doesn't fold well.
This will be a needed break from:

Blogging.
Steaming clothing.
Ironing clothing.
Washing clothing.
Writing about clothing.
Photographing clothing.
Tweeting about clothing.
Posting on Facebook about clothing.
Selling Etsy clothing.
Researching 1920s Paris Couture clothing.
Researching Louisville, KY Department Stores and their clothing.

In other words? A Complete Change of Pace. See you next week and here's bit of eye candy to feast on!Hawaiian Barkcloth Dress coming soon to pastperfectvintage.com

Harry Angelo, Models of 1923: Patou

Patou

It is well beyond the scope of this blog to write a full scale write up of the House of Patou. That is a book. There is a boat load of information on Jean Patou available.

Suffice it to say that in the 1920s and 30s, Patou was a dominating influence on fashion, certainly as much as Chanel. Or Vionnet. Born in 1887, he started his house in 1914, but was called up for war service. The first collection was in 1919 at 7 rue St.-Florentin. Eventually there were salons in Cannes, Biarritz, and Monte Carlo. Patou died in 1936, and the influence of the house began to lessen, but in 1948 there were still 300 employees. Raymond Barbas, Patou’s brother-in-law, took over the management of the house on Patou’s death. Marc Bohan was employed as the designer in 1954. When he left for Dior in 1958, Karl Lagerfeld was brought in from Pierre Balmain as designer. Lagerfeld left Patou in 1961. Michael Goma was the last creative director, from 1963 - 1987. Jean-Paul Gaultier and Christian LaCroix both had stints as the assistant designer. The last collection was presented 1987. This house continues today with perfumes.

Patou No. 11
"A street dress of black satin canton with colored Bonaz embroidery giving an eton line to the front and back of the bodice. Fine colored stitching in braid effect edges the inserted front panel of pleated white canton. Black crushed satin is used for a girdle and the round collar is black and white pleated georgette with satin border."


Patou No. 14
"Evening wrap pf Angelo's silver and wool lace showing a perpendicular and bayadere arrangement of the design. The entire garment is lined with silver cloth which is also used for the collar and cuffs. These are a pleated petal arrangement of the fabric.The roses on the collar are deep red and a blending shade of purple."

2011 Spring Vintage Inspirations is Here

As founding member of the Vintage Fashion Guild, it is my pleasure to bring your notice to the new VFG feature:

Spring 2011 Vintage Inspirations

"Vintage Inspiration is here! Each spring and fall the VFG loves to notice historical influence in modern fashion – the Vintage Inspiration. This spring we’ve cheered a continuing love affair with fit-and-flare, and the 1970s could not be more back. Line up some vintage stripes for a graphically current look, and look right in white from all eras."

Click the link above and see what our members have put together for you!

Harry Angelo Models of 1923: Drecoll

Drécoll

A fine and great house of the early 20th Century, there is a bit of confusion about the founding of the house. But all sources agree that there was first there was the Belgian, Baron Christophe Drécoll, who established a successful dressmaking house in Vienna c. 1896. His designer and business manager were the husband and wife team of Mme. And M. de Wagner, also Belgian. The de Wagners purchased the rights to use the name and/or the house itself, and moved it to Paris where they opened a salon at 4 Place de l’Opera in 1902. Baron Drécoll moved to Berlin where he set up a successful dressmaking concern. The NY Times mentions the Paris house as early as 1907. During WWI, Ch. Drécoll made a point of being a ‘Belgian’ house rather than a Viennese one. The NY Times reported that ‘Vienna’ was removed from the house front in 1914. Ch. Drécoll remained in the Place de l’Opera until 1923/1924 when they moved to 136 Ave des Champs-Élysées, where they stayed until 1928, when the house made its last move to 24 Place Vendome.

Pierre Besancon-de Wagner, the de Wagners’ son-in-law and husband of their daughter Maggy, took over the business administration of the house at their retirement in 1929. The house merged with Beer that year to become Drécoll-Beer, 24 Place Vendome. Most sources state that Maggy Besancon-de Wagner had been designing for the house since the end of WWI. One other, that Mlle. Madeleine, formerly of Madeleine et Madeleine, and a one time designer at Callot and Paquin, became the designer and Edmond Courtot took over the management after the Armistice. Certainly Maggy Besancon-de Wagner moved to her own house, Maggy Rouff in 1929 at the time of the merger with Beer.

In 1931 Drécoll merged with Agnes to become Agnes-Drécoll at 24 Place Vendome with Mde. Havet as Directrice. This house closed in 1963.

Drecoll No. 25

" An afternoon gown of lustrous blue silk, of the Fulgurante type, is combined with Angelo's all radium lace in blue and rubaiyat. The lace is used to form three panels on the skirt and to make the crushed girdle which drops in a looped drape over the left hip".

Drecoll No. 26
" A black satin afternoon gown trimmed in Angelo's black all over lace. The draped sleeves are part of a cape panel which drops from the shoulders in the back and which is held to the figure with a narrow girdle that is laced through the embroidered stomacher on the front. A side drape and bateau neck line are used."

Patterns a-go-go

I have used a lot of patterns in my life. Mostly my own, but that's another saga. But I have cut my share of commercial patterns , too. Simplicity, Butterick, McCalls, Advance, Folkwear, Past Patterns, etc.

And Vogue, of course. Vogues were the expensive ones. But I must say - they worked! The techniques made sense, the markings were right, the measurements were good, and the yardages were pretty accurate. And they were more stylish than most. But some were quite difficult. Hence the modern era: Very Easy Vogue.

We just added these four undated patterns to the etsy shop. The top one sold right away, despite the tiny size. Love the artwork on this one. But the rest are still available. Just click on each for more information. Enjoy!

Late 1940s, early 1950s Vogue Couturier pattern
Late early 1950s Vogue Couturier pattern
Late 1940s, early 1950s Vogue Junior pattern
Late early 1950s Vogue Infant pattern

Harry Angelo, Models of 1923: Miler Soeurs

Another obscure House of the 1920s. This one appears to have been high quality and publicized, but short lived. I give you two classic 1920 beaded dresses from The Sisters Miler.

Miler Soeurs

Miler Soeurs was located at 75, Faubourg Saint-Honoré. This appears to have been a short lived house, active in the 1920s and early 30s. Miler Soeurs was successful enough to receive coverage and be mentioned with much more recognized houses in L’Art L’Mode ( 1922) ,L’Officiel, The NY Post ( 1924), and The New Yorker (1926). Harry Angelo carried models in 1922-23, John Wanamaker in 1924, and Altman’s in 1925. By 1926, McCall’s pattern company advertised Miler Soeurs designs along side the better known houses of Patou, Lelong, Jenny, Martial et Armand and Redfern. L’Officiel carried notices of just four showings: Winter 1926, Summer and Winter 1929, then Summer and Winter 1930. By 1937, the couturier Jane is in residence at 75 Faubourg-St. Honoré.

Miler Soeurs No 3.
"A formal gown of shell pink crepe Romaine embroidered in crystal bugles and rhinestones with silver thread. The skirt which shows a front drape is straight in back, the bodices is slightly bloused. Panels of the plain georgette that drop from the shoulder are tied at the waist and hang in streamers below the hem of the skirt. "

Miler Soeurs No. 1
"A dinner gown of black crepe romaine with bateau neck line and ribbon side panel of plain material. The angular design which covers the dress is worked in glass beads of antique coloring which include dull blue, topaz, henna and amber shades."

Some new goodies at Past Perfect Vintage

I just posted a potpourri of new goodies @pastperfectvintage.etsy.com
A few things for Spring, a few for Summer. There will be more soon. Some 1950s Vogue patterns tomorrow. A Victorian bonnet. A 50s jacket by Charles Kupersmith. A patio skirt. As I said - a potpourri.

These 1950s swim trunks made me laugh out loud when I found them. They are in great shape -maybe the original owner didn't have the nerve to wear them. And the label?

AntsyPants.

This 1950s Black Organza Halter Party Dress is a summer weight and light as the proverbial feather. The white lace with rhinestone accents gives it definition.

July 4, 2011. You can be ready now. Red, white and blue leather 1960s stilettos by Balli.


1950s Black I. Miller Black Leather Sandals in a size 7. These are only available because they aren't a size 8. I. Miller made really good shoes. And these are no exception.

Harry Angelo, Models 1923: Bernard et Cie

Now this is an obscure house. In its day - a major name. But in 2011 - almost forgotten. I promise you, this is the most information you will find in one place on this house on the internet. Although, apparently someone bought and then sold the archives to this house on ebay. How sad it has been dispersed.

Bernard et Cie

Founded in 1905 at 31 Avenue de l’Opera. From Dressmakers of France: the who, how, and why of the French couture, by Picken and Miller: “He was originally a tailor, so inevitably the tendency was toward the simple, tailored lines. The firm was established in 1905 by Bernard in partnership with M. Jourda and M. Hirsch. His work was favored by the Parisienne and after the end of Word War I he was “discovered” by the American buyers.” By 1914, M. Jourda is referred to as the head of the house. The NY Times first mentions the house in 1908 - 1909. Saks and Co. carried copies, as did Macy’s, who referred to the house as one of the “leading European houses“. From the Oct. 4,1914 NY Times: “…all the men who are in business were at the war. Poiret, the two younger Worth’s, Bechoff, Martial, Bulloz, the one time head of the House of Beer, Jouda, the head of Bernard”.

Bonwit Teller carried models, with prices as high as $550. Oct 10, 1915 NY Times: “Bernard, who is always an American favorite, has a collection of more than 100 modes”. According to Fairchild’s, the house address was 33 Avenue de l’Opera in 1920. L’Officiel showed their models from 1921 - 1936. The House is listed at 33 Avenue de l’Opera until 1926, and at 35 Avenue de l’Opera in 1926 - 1927. Tres Parisien showed models in 1931 and 1933. There are no mentions after 1936. The heyday of the house would have been the Teens and 20s.

Bernard no. 42

"A decorative wrap of black crepe Elizabeth heavily trimmed. The perpendicular line is worked in flecked blue and black braid with the entire floral motif in raised black soutache embroidery. The collar is also embroidered and circular folds of the plain georgette form a tiered band on the skirt".Bernard no. 43

" Formal suit of beige crepe Elizabeth with solid embroidery of soutache braid and silk in self color. The pattern completely covers the skirt portion which shows a slight fullness over either hip, and a front ornament of tortoiseshell with steel beads. The bodice is worked in plain crepe with deep V neck and slightly frilled collar. The long coat with suggested waist line uses the selvage of the crepe to give a soft finish."

The Easter Bonnet Decision

For the first time in many many years -since childhood- I need an Easter bonnet. This is a big moment for me. Do I have a dress? Not yet. Shoes? No way. But a Hat? That has me thinking.
Easter is late this year, but it could still be suit weather. We've had people in overcoats on Derby Day*. Or it could be sleeveless cotton dress and sandals weather.
Oh the decisions.

So here are the contenders. The first three are in the Past Perfect Vintage Shop, the rest are coming some day soon. Some day soon after Easter, that is!

Plus: straw/horsehair would be cool, has a circle clamp to hold it on

Minus: big brim will be hard to control of there's breeze and at my height, I will look like a mushroom.
Plus: small and easy to wear, colorful
Minus: orange not my color, brims are my friend

Plus: love the style
Minus: not very Springy,and brown is only slightly better than orange

Plus: red is my friend, and it sure is a happy hat
Minus : That brim is very soft and hard to control


Plus: FABULOUSNESS, sturdy brim, stays on head would make a black suit
Minus: pretty wintry, a bit heavy on the head

Plus: Straw, Comfortable, easy you wear and Very Springy
Minus: Perhaps a tad young for this old face

Feel free to weigh in in the comments!

*When a person uses Derby Day as a marking day for weather, fashion, vacation dates, or planting the garden, it is a definitive indicator they are from Jefferson County, Ky.

Harry Angelo Model Gowns 1923: Martial et Armand

Never say I don't do research. Three more of the Harry Angelo Models of 1923, with a write up on the house. It was a prominent one in it's day, but like so many others is pretty much forgotten. There are a few photographs of actual garments on line in the Costume Institute/Metropolitan Museum database.

Martial et Armand

Martial et Armand appears to have been founded in 1896 at 13 Rue de la Paix and was described as a lingerie house. They were creating dresses at least by 1902, when their gowns were shown in Les Modes. M. Armand was the head of the house at least through WW I. The year for the move to 10 Place Vendome is given variously as 1902, 1903 or 1907. Often referred to as an important old house even in the 1920s, it was well established in the Teens, and mentioned as one of the top houses. The New York Times coverage starts in 1907 and continues through until 1932, when it drops off.

John Wanamaker advertised Martial et Armand models in 1913. In 1914, the NY Times reported that M. Armand in service with the French Army at the war and covered his return to his house in 1916 to supervise Spring collection. From the Mar. 19,1916 NY Times: “ Martial et Armand has always been a firm of mystery. No one seems to know who Martial was or if he ever existed. The only person ever seen in connection with the famous firm of the Place Vendome is M. Armand, a quite little man of retiring disposition, who at this critical moment of his country’s history has come home on leave from the front in order to superintend the making of his models for Spring. Armand is not afraid of any one stealing his models, because they could not copy them if they did."

The last mention in the Times is in 1946, pertaining to the Theatre d’la Mode. Martial et Armand advertised dresses, coats, suits, lingerie, furs and showed models in L’Officiel from 1925 - 1952. A 1955 Fodor’s Guide refers to Martial et Armand, 22 Rue d’Aguesseau, as does Mary Brooks Picken in the 1956 Dressmakers of France. Picken states the house was then chiefly selling boutique items.

"Martial et Armand no 18

A three piece tailleur of Titian colored wool poplin trimmed with flat silk braid and soutache to match. The back of the coat, unlike the front, is cut off in short box effect and discloses an apron sash with ties in a bow. The entire dress is made of cloth and the skirt is finished with a wide apron panel in front. The sleeves of the bodice are short. "

"Martial et Armand no 38 Entire gown of printed paisley design on mephisto georgette. The full apron panel on the front of the skirt ties in the back with a sash of self material. the ruffle trimming in the long sleeves is a point of interest. "

A Trio of Woolens

It may be Spring. There may be croci in bloom by my door . There may be jonquils down the hill. But by golly, there is a fire in the stove. And it still looks like winter. That is a wool coat on the hook. These are sweaters I am wearing. Yes - more than 1 sweater. So we are still in warm clothes mode despite all the Spring fashion news. And so it follows that we post a Trio of Woolens

1970s Red and Green Wool Plaid Pendleton 49er Jacket in a larger size 1950s Striped Wool Batwing Jacket by Smirafe

1950s Blue Wool New Look style Suit by Davidow
all now available at Past Perfect Vintage

1920s Night at Elizabeth's Timeless Attire

March 2, we had a combined sale event with Elizabeth's Timeless Attire at Elizabeth's Frankfort Ave Shop. Elizabeth invited us to join in and show the members of the Junior League of Louisville our 1920s duds and accessories in preparation for their upcoming 1920s themed fundraiser, Puttin' on the Ritz. There was wine,white of course, there were 20s dresses, there were wraps and capes, there beads agog-go, and there was the debut of our 1920s reproduction headbands and bandeaus, which were a hit.

And a big thank you to Elizabeth Schaaf for coordinating the sale!

Dresses: some 1920s, some reproduction

Accessories , accessories

A sample of the custom made bandeaus

These will be available until March 12 at Elizabeth's Timeless Attire, 2050 Frankfort Avenue
Louisville, KY 40206 (502) 895-5911

Harry Angelo Model Gowns of 1923: Agnes

After several days of research , and more hours than I care to think about, I can now tell more about than I thought possible about Maison Agnes.

I have contributed a fuller write up of Maison Agnes to the Vintage Fashion Guild, and it will go up soon on the VFG Label Resource. But until them, I can clear up several points about this fashion house. It was not affiliated with Agnes, the milliner. It did not open in 1906, but was covered in the US papers as early as 1898. There was an actual Mme. Agnes. She seems to have retired/died/been bought out by 1909, when Mme. Havet is shown as the Directrice, with her name on the label. She held this position she until 1941. The house, with Mme. Havet at the head, merged with Drecoll in 1931. It did remain open during the WW II occupation. Mention of Maison Agnes-Drecoll ends in 1952 in L'Officiel. Some internet sources say the house remained open until 1962, but I find nothing to back that up at this time.

Maison Agnes was a successful and well known house, and was popular with American buyers, but was not of the top tier of Parisian houses. Their strong suit was more along the lines of 'taste' than innovation.

Agnes no 10

" A formal wrap of embroidered black canton with bloused bodice and prominent side fastening. The fine soutache embroidery pattern with scalloped edge is worked in white on lack and an alternating use of black on white, bands the sleeves. Jet nailheads form a narrow design on the cuffs. A fine pleated edge finishes the standing collar and cuffs. Embroidery pattern No. 110"

Vintage from Head to Toe

Much as I love vintage dresses, suits and coats, sometimes it's all about the accessories. Today we feature hats and shoes recently added to Past Perfect Vintage. And in a departure, none of them are black! First up - a great brown felt 1940s hat with brass studs and a lot of attitude. This menswear fedora style crown is paired up with a studded frond? leaf? shape with the added inducement of a veil. The metaphors are decidedly mixed.

Then we have a pair of brilliantly striped silk pumps from that grand Northern Kentucky estate. Let it never be said there weren't stylish shoes in Ky. Barefoot? That's a sad,bad,tired old cliche. And finally, a trim little orange (!) beaded pillbox hat from William H. Block's in Indianapolis.

Enjoy!

1940s Brown Felt Fedora Style Hat with Brass Studs

1960s Striped Silk Stiletto Pumps by Balli SZ 7

1950s Beaded Orange Metallic Pillbox Hat

for more information: Past Perfect Vintage