Friday, December 26, 2014

Peterson's Magazine: Victorian Fashion Resource, 1850 - 1888


Peterson's ladies magazines were an American staple during the last half of the 19th century when so many women lived in rural or isolated communities. These magazines brought serial stories, crafts, home tips and just about everything else you would expect from a home and life-style blog today. Even fashion illustrations were included, so that women could keep up their appearances, even on the prairie or at a small town wedding.

The magazine issues also recall the romantic Victorian past.  These illustrations from the winter of 1888 seem perfect for a dreamy Victorian romance film with a few Christmas holiday scenes where our leading lady is seen wrapped in rich red velvet and fur.

Owning or finding copies of these wonderful magazines is difficult, but having them available online opens up another world. Bound issues from 1850 through 1888 are there for the looking. While the magazines contain mostly fiction and written essays, each monthly magazine had an illustrated center section (the first staple center fold!). As time went by, there were more illustrations in each issue, showing colored fashion plates, accessories and home crafts popular at the time.

Today this information can be inspiring, offering new viewpoints, ideas, and concepts that can be translated into modern life, or at least adapted into Steam Punk costumes or copied for more accurate period apparel.

These illustrations are from the first six month volume from 1888. A full list of links to the 1850 through 1888 volumes are available HERE. This goes perfectly with hot chocolate on a rainy winter afternoon.

Tuesday, December 23, 2014

Tom Tierney: Fashion & Costume Illustrator



Merry Christmas! This illustration is by Tom Tierney, the card he emailed out in 2012 for the holidays.

Tom Tierney virtually changed how people saw historical costume and fashion. Through his wonderful fashion illustrations that he introduced in the 1970's, the general public found a new way to see historical costume. His were colorful illustrations that everyone could identify with and enjoy. It's from these small beginnings that many costume and fashion students got their first glimpse of the world of fashion. Tom passed away this year, and I know we will miss seeing new examples of his work in the future. Thanks Tom for sharing your gift of illustration and your love of fashion with us!

John "Tom" Thomas Tierney
(October 8, 1928 - July 12, 2014)

Read more about Tom Tierney:


INTERVIEW: New York Times

INTERVIEW with Dover Publications, his publisher

INTERVIEW with NPR radio

INTERVIEW: newspaper/online, "My San Antonio"


Friday, December 19, 2014

Best of: Don Loper, 1950's Green Silk Suit Jacket



This masterpiece was designed by Don Loper who is probably better known now for his appearance on "I Love Lucy" during the mid-1950's, where he presents a showcase of his fashions, and poor Lucy is morose, unable to wear fashion, having a severe sun burn.

This 1950's Kelly green silk suit jacket is worthy of a complete stop in conversation. An open mouth gape at the pure luxury and blatant exhibitionism of the collar. It encircles the neck like a sculptured cape. With dramatic notches far back near the shoulder seam line, it is truly regal in the crown shape of the crescent curved roll line around the shoulders.

Don Loper had a brief career as an actor during the previous decade. His resume reads like a survey of TV and film positions. There was little in Hollywood that Loper didn't give a try to. But it is the glamorous fashions he created that put his name on the map. Working with the best textiles, he demonstrated a skill and understanding far beyond what might be expected from someone with a lack of training or mentorship.



This simple green jacket, with its small bodice and 3/4 length sleeves from the mid-1950's departs from the norm in a way that sets it apart from just about any other jacket of its era.  The color, often called "Kelly Green", was very popular during the 50's and was seen in cocktail dresses and evening suits such as this one.


This article has been reprinted with larger photos from an original post on April 2, 2008, just in time for a little vintage inspiration for the holidays. Shouldn't we all have a bit of green to wear to parties right now?

Monday, December 15, 2014

Bonnie Cashin: Coat Pattern Draft for Leather and Canvas Coat



Bonnie Cashin coats like this one in leather on canvas for Sills, have a very simple, easy to draft and sew pattern. To help in understanding this 'Noh' silhouette coat, I prepared a draft to scale that shows all details involved in this coat.

You can see in this photo that many of her 'signature' details are present: simple shape with sleeves cut in one with the body, leather bound edges (rather than hems), and brass twist looks (instead of buttons). This coat is lined in a cotton plaid twill. Usually a Cashin coat will have some sort of large and functional side seam pocket. In this case she applied a whimsical mock shoulder bag for each side of the body.



This draft is drawn to scale with one grid square to equal one inch. The leather trim creates mock shoulder straps that are about 1.5" wide. Rather than being straight, these straps do curve a bit at the shoulder. The big zippered 'purse' pocket is 13" across including the strap pieces. It is shifted slightly towards the front.



In this back view, the rest of the bag details are seen. The collar in center back is about 4.5" wide and 20.5" across from point to point. This collar is nearly straight, having only a slight curve to the neckline edge. There is a center back seamline.



This front view shows how the coat appears when worn and the close up view shows more details there.



The pocket has an industrial brazz zipper that is about 8" long. It is set into a slot to fit that is about 5/8" wide. The lower pocket closes with a twist lock. It is nearly 10" wide and 9.5" deep where it is 'framed' by the strap leather edge.

Here is a closer view of the front collar with it's twist lock, and the back view of this coat.

This pocket is inspiring, and I hope it gives you an idea or two for some custom sewing of your own. Don't overlook sewing with leather because it's not that difficult, especially as it is used here. A good used leather skirt could be savaged for leather, if you want to test this pocket for yourself.

For more on Bonnie Cashin Drawings and Photos--follow my Cashin board on Pinterest: Here

I have also published the following articles on Cashin in this blog, click on any title:

Cashin Coat Illustration from Spring 1966

Mohair Blanket Coat

Cashin Turn Locks and HERE

Knits and Girdles advertisement, 1961

Summer Coat, June 1950

1949 Coat Patent, Illustrated

This wonderful coat was purchased from Chelsea Harris, who curates "Femalehysteria"


Monday, December 8, 2014

Irene Lentz: Jacket c. 1949



This suit jacket by the MGM costumer and fashion designer Irene Lentz was probably sold in 1949. The label lists Bullock's Wilshire, located in Los Angeles, as the high end department store where it was shown. In July 1947, before her career at MGM terminated, Irene began a fashion business designing for a group of 25 department stores who helped to finance her business. With exclusive rights to Irene, Inc. for their stores, located across the country, they would make her fashion designs available to affluent women who patronized them.

She tried for two additional years to work for both MGM and establish her own “Irene, Inc.” business at the same time. After that she left the film industry to devote her creative energy to Irene, Inc, starting her wholesale business with 20 department stores showing her line. By 1951 she would have 37 stores that carried the Irene label.



This close up view of the jacket shows the layered crescent shaped collars that she designed which were accented by buttons. She used nine covered buttons in this design.



Crescent shapes disguised conventional darts and princess seam lines.

The business took off quickly, no doubt boosted by her reputation and well honed design and tailoring skills practiced during the years at MGM. She won the Neiman-Marcus fashion award in 1947 for her excellent work, the other recipient that year was Christian Dior.

A suit advertised for spring of 1949 shows slightly broad, but rounded shoulders on a tightly fitted jacket with long peplum skirt to cover the hips. This silhouette was typical for suits from that era.

By 1951 her business, design and showroom, had moved to a modern design and production facility at 3550 Hayden in Culver City. It had a fabric vault to store her valuable textiles, imported from the best European collections. Her fine suits used English wools and domestic textiles by such notables as Pola Stout (who also produced the graphic wools used by Adrian). She worked with a design staff that had been with her for many years. Her first pattern maker was Nancy Baker, a long time employee. Tailoring was done by John Deverling who had started with her during the Bullock’s Wilshire years.



This line drawing clearly shows the working details of the design with its dramatic crescents and over-lapping collars.

During this era, her light weight worsted wool suits had a slim, molded appearance, fitting close to the body. The shoulder line was softly tailored, not sharp, and the waistline was fitted. Early 1950’s showed face framing collars and turned back cuffs. The suiting textile she often used was all season light weight worsted wool, making it wearable year round.

It was the many couture level details, fine imported textiles, and feminine silhouette that made Irene's designs stand out from others during her era. This post WWII suit is especially dramatic and an excellent example of her fine workmanship.

Irene Lentz: Pinterest collection of images

Monday, December 1, 2014

Carl Naftal: a California label


I recently found a wonderful dress with a "Carl Naftal Originals, California" label. Because this brand was unfamiliar to me, I thought it would be fun to find out what I could about this label. Carl Naftal, owned an apparel firm in Los Angeles under his own name from the late 1940’s through the late 1960’s. I base that date on an advertisement. Records show that someone with his name was born about 1911 in New York and lived in Los Angeles until his passing in 1977. He applied for incorporation under the name “Carl Naftal Originals” in 1954, but this name as a brand was already in use before that date.



As early as 1947, I found an ad for a suit with peplum shirt in a Los Angeles area newspaper, so we know that he was manufacturing by that date.



In the mid-1950’s his fashions were sold in shops that also advertised Jonathan Logan, Berkshire, Peg Palmer, Bobbie Brooks, White Stag and Graff: labels that were in the upper middle price range. The newspaper advertisements also key in regionalism, marketing a California lifestyle, selling this image to customers outside the region.

A holiday ad from 1955 shows a white knit jersey fabric with gold threads, cut in a slender sheath silhouette.

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There are other ads that showcase knits, which seem to be a popular item for this label. His “California creations by Carl Naftal” are advertised at $22.95 to $29.95. A spring ad in 1964 reads: “from sunny California come these perfection dresses by Carl Naftal”.

His customers are usually missy, but often there seems to be a junior style, with a spring ad in 1967 listing “Oh Yes! They’re the great pant pretenders…it’s really a culotte, comfortable as a shift…discover the new “pant era” now…$20 linen look rayon and acetate, misses sizes.” In the fall of 1968 an advertisement shows a popular junior style dress of wool jersey ($39.98), so this brand seems to have maintained knits in its collections.

Here are more newspaper advertisements, which market to a young crowd:

Fall 1960: “Gently tailored jersey, key to wardrobe versatility in a deftly fitted sheath, wool jersey, $29.95”

Summer 1962: “Love what Carl Naftal does with Dacron. Checking in for an easy care flight through summer, sizes 10 to 20, $22.98”

Summer 1968: “The romantic look full of feminine appeal, another of our new romantics, cotton polyester and cotton voile, lined, $26.00”

Spring 1969: “Fresh from California, the sun country, comes these fun-loving ‘about town’ dresses of 100% cotton”

The dresses produced by this label appear to be well made (especially if they were sold on the same racks as Jonathan Logan and Bobbie Brooks). Look for the “Carl Naftal” label for a quality vintage dress.

The brown lace dress shown here is now available for sale in my Etsy shops, along with more views of it.


Wednesday, November 26, 2014

Happy Vintage Thanksgiving



Have a great Vintage Thanksgiving!

illustration by John Fernie for Pepsi-Cola, Fall 1958

Monday, November 24, 2014

Hollywood Costume: an Exhibit in Los Angeles


If you're going to be in southern California over the holidays, you may want to take in the costume exhibit: Hollywood Costume, on now through March 2, 2015 at the Academy Museum in the historic May Company building at the corner of Fairfax and Wilshire.  They don't permit photos, so this video will have to say it all, and don't miss the website, which has lots of little tidbits about this show that originated at the Victoria and Albert Museum and now includes over 150 costumes in its final exhibition showing.


Wednesday, November 19, 2014

David Crystal: Red Dress from 1959



This is the first of several David Crystal magazine advertisements from 1959 for dresses created in knits. They have such gorgeous illustrations in primary colors that I had to share and a Holiday red seems like the best place to start! (more to come)

p.s. The illustration is original, but the graphics are mine.

Monday, November 17, 2014

Lilli Ann: Mauve Jacket with Fur Trim, 1958



This Lilli Ann suit jacket dates from 1958. It's signature fur trimmed bodice drape can be found on several jackets from that era. This one is a soft wool crepe in a pastel mauve color. Dyed to match silver fox fur trims a diagonal drape that crossed the jacket hem with a pearl button detail.

I have a few detail photos to share that fill in any gaps that the general full view misses. What is always interesting about a good Lilli Ann suit jacket are the signature details, going beyond what most jackets of the era show. These jackets tend to appeal to a flamboyant, dramatic and self confidant customer who loves feminine and sexy details to her outfits.



Rather than a simple strip of fabric, the wool has been pleated from a wider shoulder down to a narrow hanging "scarf" with a "pom pom" of fur at the end. A narrow band, like a belted edge, encircles the jacket hem. Where the scarf crosses that band it has an overlapping piece that is fastened with a pearl button in a bound buttonhole.




The swag is accented by the diagonal hemline at high hip level. This diagonal hem continues around the back, creating a well integrated design from all angles that is flattering to many body types.  This diagonal is seen in several other Lilli Ann jackets, so it must have been a popular silhouette for that label.



How this jacket was accessorized can be seen in the original magazine advertisement from 1958.



The 3/4 sleeves are designed to be worn with a longer glove proportion. The original skirt was narrow and below knee length, and worn with simple heels. Small pearl earings complete the ensemble, a scale that enhances but does not overpower the pearl button accent at the left hip.

In the early 1960's we can find advertisements for for similar styles from Lilli Ann. Like those shown here, this jacket was probably designed as a cocktail suit, to be worn to formal luncheons or semi-formal evening events where pearls and fur were appropriate. The soft pastel color would be a spring look. The label photo shows the texture of the wool crepe and the type of lining typical for a Lilli Ann jacket.




PS, I have more on this Lilli Ann style in the following other blog posts:

Lilli Ann: Vintage Suits from the 1950's and early 1960's: more advertisements showing suit jackets

Lilli Ann: 1950's Jackets that Inspire: more information on this jacket

Pinterest: Follow my board "Lilli Ann of San Francisco" --an ongoing collection of dated advertisements and other Lilli Ann designs for collectors and anyone who loves this label.

Monday, November 10, 2014

Lilli Ann: Diamond Applique Jacket, c. 1955



The Lilli Ann label carries with it an aura of mid-century feminine mystic. While photos of jackets with that label are easy to find, close up details are not often shown. This example is a well fitted short body suit jacket in a silhouette that was popular during the early and mid-1950's. I have seen similar styles with the Lilli Ann label that used the same shades of wool, so it is probably part of a suit collection that was created in the same fabric.

I wanted to share the details of this jacket, showing how the diamond appliques are applied around the hemline and at the lapel of the collar in a unique extension beyond the edge.


This front view shows placement of the diamond details, with some closer views below:




The diamonds were appliqued onto the jacket body after the darts were sewn, covering up those seam lines. The edges are held in place with zig-zag stitching.



This diamond motif is carried across the back hem as well, rather than it being just a front view element.





Finishing the details are self bound buttonholes and covered buttons (rather than rhinestones) and turn back cuffs. While these details are common for the period, the textiles used and subtle fabric arrangement lend an air of quality in the mono-chromatic color scheme of the jacket, relying on graphic design rather than shiny textiles, bright color or bling to complete the jacket's details.

P.S You can find out more about this jacket and Lilli Ann in these other blog posts

1950's Jackets that Inspire: a short intro to this jacket and how I got it.

Vintage Suits from the 1950's and early 1960's: more great suit jackets and advertisements

Lilli Ann of San Francisco: follow my Pinterest board on this label where I include dates and descriptions for the collector or enthusiast.



Wednesday, November 5, 2014

Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette, by Kimberly Chrisman-Campbell


“Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette” by Kimberly Chrisman-Campbell has been getting a lot of press recently in anticipation of the book’s release this coming new year. Most recently “Mourning Attire: when black became the new black”, a review by Matt Stevens, discusses the trend in 1774 following the death of Louis XV to wear black mourning attire, but at a new level of fashion sense. This trend brought about black being worn by the high fashion society, thus introducing it into popular culture.

French: 1785-90, striped silk dress with English fichu of cotton: collection of LACMA

Ms. Chrisman-Campbell will be speaking on the topic of her new book December 6, 2014, at the Bowers Museum in Orange County, California. This is an opportunity to hear the author share her thoughts on this new book.

Europe: Redingote dress, c. 1790, of silk, with English fichu of cotton: collection of LACMA

If you love this era, you'll want to take a peak at Chrisman-Campbell’s Pinterest page on this topic, which collects images on the book’s subjects from various museums and other resources. Both gowns shown here are included in this Pinterest collection.



The Book:
Kimberly Chrisman-Campbell “Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette, Yale University Press, April 2015

The Article: page 30.
"Mourning Attire: when black became the new black", by Matt Stevens, Huntington Frontiers: Fall / Winter 2014, The Huntington Library, Art Collections and Botanical Gardens

Artwork shown in article: Black Gown: French engraving dated 1781

The Bowers Museum: lecture and museum information


My photos were taken at the Los Angeles County Museum of Art (LACMA) at the exhibition: Fashioning Fashion: European Dress in Detail: 1700 - 1915. Some of the men's costumes from this exhibit can be found here on Pintucks in an earlier post "Menswear and Dandys: 19th century Tailored Suits as Inspiration" .


Monday, November 3, 2014

Georgia Bullock: a California Fashion Designer


Georgia Bullock was a California fashion designer. She was born in the small town of Whittier, Ca. in 1918 and raised in southern California. In the mid-1930’s, while in college at USC, she worked as a floor model and sales associate at a major department store in Los Angeles. After graduating, she was hired by Bullock’s Wilshire, followed by a milliner and later an established fashion designer. Knowing that she wanted to pursue fashion design, she studied at Frank Wiggins Trade School in Los Angeles. During this time both her work experience with customers along with her technical training prepared her for a career in fashion.


About 1941, with an idea for a basic black dress and $50 in cash, she and her partner Dorothy Phillips started a dress company with this one design. This new company would give her additional experience with buying trips to New York and selling wholesale. This small business lasted two years, so that by 1943, at 25 years old, she was in business for herself. She did most of the work herself in her little factory to start, but by 1945 she was quoted in national newspapers as a California fashion designer and selling her designs nationally. Her business would grow, moving to several factory locations in Los Angeles as her needs progressed. This suit was advertised in the mid-1940's.

“In my own designing, I try constantly to stress fit and flattering lines, rather than the specious and merely startling. I want to give the ready-to-wear customer the opportunity to buy good lines in the same sort of basic costumes (as custom made fashions).

“Now that the designers, newly freed of wartime stringencies, can create radically different styles in great variety, women have an ideal opportunity to choose the unhackeyed, to insist upon buying, not what is the rage but what is exactly right for them.

“California has a background and atmosphere which promotes a new, fresh feeling in our styles” she says. “American women are so different from European women, in shape and posture, and way of life. We, in California, are, I think, particularly well equipped to interpret much that is typically American”. Her philosophy would shape the kind of fashions she designed, always keeping in mind her customer’s figure and lifestyle, working to create designs that would flatter them.

She was married with a baby by 1948, but continued to design. In the early 1950’s she had her own manufacturing plant in Hollywood. In addition, Georgia took a design position with the well known label “Nellie Don” in 1953, located in Kansas City, the largest manufacturer of women’s clothing. It appears that she was able to work from Los Angeles for this venture while still working on her own line.


The “Georgia Bullock” label would symbolize the effortless style of the well-to-do woman who could afford the best in design, fabrics and fit. During this time her style tended toward suave and sophisticated. During the early 1950’s she widened her line to include sportswear with a elegant sense of style. Catering to the country club crowd, she presented her fashion shows on her own tennis courts at her home in Holmby Estates. These fashions were carried by the high end department stores, such as Saks, I. Magnin’s, and Bullock’s Wilshire.



In 1958 her fashions were worn on the Danny Thomas television show “Make Room for Daddy”. This symbolized her connection to the entertainment industry and to her ability to self promote as well.

Her career continued to grow, with clients nationally. By the early 1960’s, she was living in Malibu, creating fashions for the California beach, country club and resort lifestyle.

In an important move, in 1963 she launched her “Miss Georgia” line. These designs were less expensive with price points around $50 (her “Georgia Bullock” label sold for twice that). They were more fitted, showing clean lines, long sleeves or capped sleeves, while her own label was more complex and fashion forward.

Career Highlights:

1961: Bright cotton prints were shown for patio, poolside and at home dresses were seen to knee or ankle length with hem flounce. Georgia kept artist smocks in her lines for at-home wear, often in gay prints. Wraparound dresses, jackets in printed cottons, pants and long slim dresses with adjustable belts were also popular.

Mid-1960’s “Barefoot styles”: she described her at-home fashions as something that should be worn barefoot, much like her own beach lifestyle. It included artist smocks, eyelet pants, and hostess dresses for the bare foot.

1964: Her high end line showed the“costume look” with a jacket or coat and dress in slim sheaths, princess lines, pleated styles, lowered waistlines. Overblouse silhouettes and longer jackets to hide hips were part of her figure flattering strategy.

In 1966 she would receive the Designer of the Year award for her work. Georgia’s final years as a designer were in the 1970’s. At that time she continued to show her lines at her home, then in Palm Springs or at the beach town of Carlsbad.

Georgia Bullock was considered a couture designer for the designs under her own label, never sacrificing quality fabrics and styling or catering to fads. She continued to live in southern California until her passing in 1991. During her career, her name was well known nationally and she had full page magazine advertisements. Overall, she will be known for her classics: designed with a good fit and in fine fabrics. Georgia’s designs were was popular for her blazers and jackets, sheath dresses and ensembles, but also the colorful casual lines, designed for her own California lifestyle.



Wednesday, October 29, 2014

Sewing a Vintage Style Wardrobe: Pendleton Style Plaid Top Coat from Vintage Pattern, McCalls 7027



The Pendleton jacket that I showed in the previous post: Plaid Top Coat by Pendleton is a classic, but finding a sewing pattern in the same shape can be difficult. This vintage pattern: McCall's 7027 is exactly the style to make a look-alike coat. It dates from 1963, and even shows what is probably a plaid mohair coat on the cover.



This simple back view shows how clean and straight the silhouette was designed.



This view of the pattern pieces shows clearly how this pattern was drafted. The side seams fall straight from the underarms, with the front having a bust dart in that side seam. The center front edge is straight, so the lapel is not extended or pointed. The back is equally straight, with shoulder darts for fit. The sleeve is cut in one piece. The collar is nearly flat, with only a slight curve.

Overall, this pattern seems to be cut in similar style to a lab coat or a long shirt, and that is a possible pattern to use when drafting or creating your own pattern for this style. It might even be cut from a pajama top pattern, if the sleeve is not too baggy or low cut in the armhole.

Another thing great about this pattern is that the style can be made in so many fabrics. Imagine a denim version with contrast top stitching!