Spring & Summer Flowers can take Many,Many Forms

The many varieties of vintage florals. They came out in the Spring and last all Summer, which is the ideal for a blooming plant in my garden. My fondness for these may date to the huge rose print draperies in the guest bedroom at my grandmother's house, a pre-Civil War structure, probably the overseer's home on the old farm. If memory serves, the room was probably 'done' in the 1940s, and it was the room where small children were put down for their naps during family parties. Needless to say, I was very familiar with that room. It was cozy in a 40s meets Victorian way. 

Now that I have taken us down that particular memory lane, let's look at pretty prints. Abstract 1930 tulips, realistic 1940s roses, big and bold 50s dahlias and mums, 60s abstracts and tropicals, and then back to realism in the 1980s.     

That was fun wasn't, it?

all currently available at Past Perfect Vintage.com

Last Chance to vote in Lulu's Vintage People's Choice!

Voting ends may 31, so it is getting down to your last chance to vote in 2011 Lulu's Vintage People's Choice Top 10 Vintage Clothing Website Awards. Each year, Lulu names two Top Ten Vintage Clothing lists - one the People's Choice, one her very own. And be sure to check out her own vintage clothing website: Lulus Vintage . 

As Lulu says: "You can vote for your favorite site or leave a list of your own personal Top 10 favorite vintage websites."

So to vote for Past Perfect Vintage, just Click Here and leave a comment mentioning us!

And we will still think it's darn sweet.

The Vested Gentress:Turtles on the March

 

We acquired a few more pieces of vintage fashion this week. A classic 1950s party dress, a leather 50s man's coat,a raspberry 1930s dress, a pink damask 1960s formal gown. All are very nice and good quality. Because we are picky that way. 

But this The Vested Gentress maxi dress wins the Charm award.  How could it not?  There are turtle families marching through the grass all around the hem. And with a definite snooty attitude about it. The Vested Gentress of Valley Forge, PA did sporty clothes with hand screened prints. The design and placement are wonderful. And since I find a small eastern box turtle when I weed the rock garden, this made me smile.

Coming some day to Past Perfect Vintage:

Dacron/Cotton hand screen printed Maxi Dress by The Vested Gentress

Just One More: 1930s Knit Evening Dress

When I read the words " hand knit evening dress", the metal image is none too pretty. It sounds off - like a corduroy evening gown. Or a denim formal. And possibly as dowdy as all get out. But I am so very wrong. 

Look at this. In the right yarn - stunning. Granted, today very few women could pull off the matching capelet. We aren't into matchy-matchy anymore. But still. That close-up is lovely. And beautifully accessorized with  the ruched gauntlet gloves, the ring belt and chandelier earrings. Her hair is great, too. This is classic early 1930s style. Not movie star style, but classic, well-bred style.

1933 Knit Evening Gown with capelet

 

 1933 Knit Evening Gown detail

Sporty Knit Fashions, 1937

Just a couple of posts ago, we featured knit fashions of 1933, and very stylish they were, too. Today's are from 1937. They are bit more fitted in the waist, and a good bit shorter in the hem length as you can see on the cover. Yet the interior shots don't show a length. How clever. Hem lengths were on the rise in the mid to later 30s, and this way, the styles might not look out of date as quickly. Thus they could keep selling the magazine longer, or with a different cover if lengths went up or down, or even add these patterns into later issue.   

 Another thought - the publishers already did that. The two cover outfits seem to look  a bit more toward the fashions of the 1940s than some of the other styles. Love the bigger hats -  those are very 1937.And you can't go wrong with a white swagger coat.  I am also quite fond of the small sporting silhouettes on the cover. Oddly enough, none of the pattern names are actual sport activities- they all imply weekend leisure, shopping, luncheon, or spectator activities.

 

Cotton Fashions to Knit and Crochet, 1937 from Clark's O.N.T. 

The Sea Island Dress and the Lido Coat

 

The Country Club Two Piece Dress

The Dashaway Top and Skirt

A Hat In Honor of the Bluebirds

 

There are blue birds nesting in the birdhouse by the road. This is the third year running the bluebirds have nested in our yard. There is also a Carolina wren nesting in the open box of perfectly good trash bags in the garden lean-to, and I had to be super quiet when putting up the rakes today. I can't get to my clippers because of them. But wrens, however cute, are no match for the charm of a bright blue male blue bird. We watched them feed their young today. It's great. And they run the squirrels and other birds away from the box with much vigor.

In their honor, I decided to feature  a recent acquisition. It's not up on the website yet, and most likely won't go on until June. It certainly is the bluest of blue bird hats. And undoubtedly one of the more whimsical 1940s hats we have had. I can't see this with a tailored wool suit, but a print crepe dress? Oh yes.

  

1940s Vintage Tilt Hat of 

dyed blue feathers with Perched Bird & circle clamp

   

 Coming in June to Past Perfect Vintage

Hand Knitted Chic the 1933 Version

These are a selection from Hand Knitted Chic, a pattern publication from Bucilla, published in 1933. Let's set the stage. It's the depths of the Depression. The mood is not happy. It's down right grim. Most women are in the Depression Make Do and Mend Mode, the one that came before the WWII version. An awful lot of women can't afford store bought clothing. Or even good fabric like wool and silk by the yard, at that. But if they can knit - a whole new wardrobe awaits.   

This is a silhouette ladies of a certain generation such as my mother and aunts, remember with a certain horror. All they saw was the long length, the soft waist and shoulders and it just looked so matronly to them. Actually, the word they used was Dowdy. I grant you, these are not flashy clothes. They were designed for a more mature figure, long before fashion was driven by teenagers.  They look best on the taller woman who can carry off the long hem length and isn't too curvy. In other words, the boyish flapper gal as she aged into her young married matron years. But accessorized properly and on the right figure, there is a ladylike appeal here. Not that anyone wants to be called 'ladylike' currently.

Talk about a look that has disappeared: spectator shoes, small trim hats and gloves. I actually do own a pair of black and white patent leather spectator shoes from the early 1990s. This post may inspire me to dust them off and assemble an outfit.

 The Swagger Suit

 The Stroller Suit

 Surplice Dress

 3 pc. Ribbed Suit

Surplice Dress

The Tastiest of 1920s Eye Candy

 

Couture Allure just added this exotic silk dress to their shop today and I just had to talk about it. I've been on an extended 1920s fashion kick lately, so this naturally struck me. It is one of the most fabulous combinations of color and beading design I have seen. The ombre dyeing is stunning and the shift from light to dark is carried through in the beading as well. Brilliant. I see Japanese influence and early 20s, yes? I would bet French made, too. There are condition issues, but it is a one of a kind dress. Be sure to get over to Coutureallure.com and gaze at the rest of the photos.   

Vintage 20s Beaded Silk Ombre Flapper Dress now at coutureallure.com

Bustles in The Queen: 1875

We acquired 3 bound volumes of  The Queen, the Lady's Magazine, an English periodical, some time ago. I am just getting around to looking at these. They are huge. They are heavy. And they are full of news and stories, weddings, announcements, illustrations of peoples from around the world, everything. And lots of illustrations. More lace patterns, children's clothing, bonnets and hairstyles than you can imagine. Really. It's  overwhelming. These are 2 of the full length fashion illustrations. There are dozens. The thought that these faille gowns are intended for July is a bit daunting even for a bustle dress lover like myself. 

These are of course high style,up to the minute, Paris inspired, English fashions. Dressmakers could be paid to produce these by women with means, or talented seamstresses could attempt them themselves. Patterns could be purchased. But the quantity of silk fabric and handmade lace would have been cost and labor prohibitive for the vast majority of women. Even for those with means, these gowns were investments and worn for more than one season, and restyled as fashion changed. These are like haute couture gowns today. But this type lady's magazine inspired and educated their readers. They were more than Magazines of Shopping, which is what many of the fashion mags are today.     

July10, 1875, The Queen, Carriage Toilette

"Foam of the sea" green faille and point a l'aiguille lace. Also noted that this look works in white muslin with Valenciennes lace over a colored slip. I am sure it did and was a darn sight more comfortable for summer. 

 

July 01, 1875, the Queen Promenade Toilette 

Heliotrope faille trimmed in Russian lace. Russian lace is lovely, but it's heavy. And I count 3 skirt layers plus a train and sash. So this is a rather stately dress for walking about and posing. 

Harry Angelo, Models of 1923: Worth

Just a little eye candy tonight from the venerable House of Worth. I close this series with the last two plates from the Harry Angelo Catalogue.  It's been fun. Brushed up the research skills. Learned a lot about 1920s Paris fashion houses.  Looked at pretty pictures. And if we are indeed the sum of all our experience, I have added a few bits in the fashion section of life. 

Worth, like Patou, is far too large a canvas for this blog. 

To summarize: 

The design heads of the House of Worth ( business heads are different):

1858 - 1895: Charles Frederick Worth

1895 - 1918 Jean-Phillipe Worth

1918 - 1935 Jean-Charles Worth

1935 - 1952 Roger Worth

1952 - 1954 Maurice Worth

In 1954 it is bought by Paquin, then closed in 1956. The house was on Rue de la paix unitl 1936, when it moved to 120 Rue du Fauborg St.-Honore. 

The London branch opened in 1911, and operated under separate management as of 1936,then stayed open under separate owner ship from 1946 - 1967. 

So these two 1923 models would be designs produced while Jean-Charles Worth was the head designer.  From the Costume Institute: 

"Jean-Charles Worth joined the House of Worth around 1910 and became chief designer after World War I when his uncle, Jean-Philippe Worth, retired. He transitioned the Worth style into a new era of simpler lines and silhouettes with minimal trim indicative of the 1920s and 30s. He also moved the House into the more practical styles reflecting the decrease in noble patrons. Jean-Charles retired in 1935, passing the design reins to his nephew, Roger Worth."

 

Worth no. 20

"Gown of sandalwood satin with complete overbody of embroidered net. The floral motif of the embroidery is worked in beige blending into brown at the border. the slight blouse of the bodice is held by a decorative girdle of shirred tinsel ribbon and jewels, which completely encircles the waist. " 

 

Worth no. 21

"A three piece costume of black satin brocade with front drapery. the slightly bloused jacket fastens with decorative jet buckle and shows a narrow strap collar. The bodice of the dress is made of Angelo novelty lace over beige georgette, and had wide sleeves."

Two Dresses + Two Sweaters = Pretty

We just added this 1930s tulip print cotton dress, this adorable Junior Sophisticate party dress and 2 wonderful 1950s cardigan sweaters to Past Perfect Vintage  recently. Be sure to visit and see our new The 18th Century area and the additions to The 1920s and 30s.  Remember, we always email a newsletter prior to posting up new inventory.Our subscribers not only get first notice, they get a 24 hour window before we post anything on the Blog, Twitter, Facebook, the VFG (or anywhere else for that matter). So if you want to get a first crack at the pretties, be sure to sign up for the Past Perfect Vintage newsletter on our home page. 

 

   

 left: Summery 1930s Tulip Print Cotton Dress & right:Fresh and Crisp Late 1950s White  Summer Party Dress   

 

  1950s Maize Intarsia Cardigan Sweater

 1950s Cashmere Cardigan Sweater by Ballantyne

Harry Angelo, Models of 1923: Germaine

 

Germaine, 24 Rue Pasquier
 

Let’s see: there’s Germaine Lecomte, Germaine Monteil, Germaine Krebs ( AKA Mme Gres), Germaine Bailly, L.S. Germaine Page. 

And then there is this Germaine. Not as well known, this was a short lived house. She was  located at 24 Rue Pasquier in the 1920s. The one label available online is in the Doyle New York Auction results, and it reads: : Germaine Couture/Germaine Coubit/Marthe Charlier/24 Rue Pasquier/Paris/Tel. Gutemb. 05-77.  Marthe Charlier is a complete mystery. Both a listing in L’Officiel and the A. L. Tirocchi Gowns records show the name is properly spelled Caubit, not Coubit. 

The first reference in the New York Times is April 7, 1918.  Bonwit Teller showed models in May of that year, along with models from Lanvin, Bernard, Cheruit and Paquin. This house seems to have gone through some changes. In 1918 it’s Germaine of Paris. Then in March and April of 1920, the papers refer to  “the new house of Charlotte and Germaine”. This partnership seems have had some hiccups and was short lived, as by Sept. 1920, the NY Tribune refers to “Charlotte, formerly of Charlotte et Germaine”. But then, on Nov. 21,1921, the New York Times carried an ad for Charlotte et Germaine’s “famous girdles”. From 1921 on, Charlotte is listed in L’Officiel at 55 Ave de Champs-Elysees and Germaine at 24 Rue Pasquier.
 

In addition to Bonwit Teller and Harry Angelo, models and adaptations were carried in the USA by Kurzman’s Importers, J.M. Gidding, and Gimbel’s. These were advertised in conjunction with models from Jenny, Lanvin, Agnes, Premet, Drecoll, Charlotte, and Renée. A 1924 entry in L‘ Officiel advertised Paris models by Germaine, 24, rue Pasquier, Paris, at Altman’s, New York. While this house is usually shown as Germaine, there is a 1926 listing as Germaine Caubit, 24, rue Pasquier. Perhaps there were just so many Germaines in business they felt they had to differentiate. These listings end after Sept.1928.

The only post 1928 references in L’Officiel, and they may be completely unrelated, are two 1948 advertisements for girdles by Création Germaine Paris 10-12, Avenue de la Porte-de-Saint-Ouen, Paris.

 

Germaine No 39

" A Dinner gown of bisque georgette with contrasting insertion of the material in jade green. The all over embroidered design is worked in fine gold and bronze stitcheries. The girdle is a handsome arrangement of jade and steel beads. The split front of the skirt reveals an under drop of plain georgette."

 Germaine No 40

"A formal gown of white crepe. Silver lace is used for the yoke and studded rhinestone embroidery forms a panel down the front and outlines the edge of a peplum overskirt. The girdle is made of narrow metal braid to harmonize with the silver yoke."

Accessories in Red

I tried to be inspired to cleverness. "Accessory to a ____". "Accessory after the _____". Nope. Nothing there. Or at least no inspiration that got me to these two great red accessories.So we will have to be content with pretty pictures.

Love these red shoes. I didn't squeal when I found them, because I was out in public and I try to act my age occasionally. I did vocalize an 'oooh'. Let me say, these were shoes I dreamed of back when heels were part of my life. Red 1940s Snake Platform Peep Toe Slingback shoes really does say it all. And these sweethearts are a sz 8 1/2, i.e. wearable.

Glamorous 1940s Red Snake Platform Shoes

And this hat made me smile. First, it's red. Then, it has a small curly stem on the crown. And last it has black over-stitched panels and small tails at each seam. What might have inspired this hat, do you think? 
Just another fine example of inspired 1930s millinery. And it's a Milgrim. Milgrim's was a quality ladies store in NYC and other eastern cities. Sally Milgrim was the designer for their custom lines, and her designs carried in other department stores as well. Which is why I do find a few Milgrims here in the Midwest/Upper South.

 

Distinctive 1930s Tomato Red Wide Brim Hat by Milgrim 

For details click The Hats & Accessories