Category Archives: 1960s-1970s

Summer Halter Dresses and Pantsuit Patterns from Vogue, 1966

Cover of Vogue store flyer, June, 1966. Vogue pattern 6797.

These breezy summer fashions are fifty-one years old, but I can’t really remember a summer since then when halter styles were not worn. In 1966, Vogue patterns offered several halter-style dresses, plus a pantsuit with a halter top included.

Vogue halter dress patterns 6766 (left) and 6787 (right;) June 1966 flyer.

Alternate views of Vogue 6766 and 6787.

The only thing that separates these dresses from current styles is that they have more structure: darts, linings, interesting seams — details that we don’t find in garments mass-produced as cheaply as possible, using stretch fabrics and sewing shortcuts.

Depending on fabric choice, these two could be very dressy — cocktail dresses rather than casual dresses. Vogue patterns 6793 (left) and 6789, from 1966.

The dress on the right has a sixties’ stiffness that requires some lining or flat-lining to hold its shape. The pattern includes a matching jacket.

The pattern for the long, bare-shouldered beach cover-up on the left included a two-piece swim suit:

Vogue 6771 included a swim suit whose straps are perfect for wearing under it. Right, the short dress with a flounce, Vogue 6772, also conceals a swim suit. From 1966.

Another swim suit and “sun-shelter” dress:

Vogue 6772, a beach cover-up with bathing suit included. From 1966.

This pantsuit has a halter-topped blouse under it:

A pantsuit with long, slim trousers or conservative shorts. Vogue 6795 from 1966. The “spare little jacket, belted high in back, covers a turtleneck blouse with cut-in armholes.”

The Commercial Pattern Archive (CoPA) at University of Rhode Island has this pattern, Vogue pantsuit 6795 .  It’s illustrated in a Villager-flavored floral print. Although not mentioned in the store flyer, the pattern also includes a skirt and a dress, in day or evening length.

A caution about pantsuits in the sixties: I graduated from college in this year, 1966. Women students were not allowed to wear trousers on outdoors on campus unless they wore a coat over them. These pantsuits are sportswear, not worn to school or to the office. (The big-city bank where I worked allowed us to wear matching trousers and jackets to work in 1970.)

A “smock-like” fabric pullover top with matching above-the-knee shorts. Vogue pattern 6727, from 1966.

A  bit “kookie” is this dress trimmed with ball fringe (optional).

Vogue 6726 is a dress with a little Mod/op art influence and some hippie ball fringe…. To see it in color, click here.

To the right of 6726 is a much more sophisticated bare-backed dress — I think it has an Emma Peel flavor.

In black, Vogue 6751, a side-baring, back-baring “patio dress” from 1966.

Notice the low-heeled shoes. The hairstyles illustrated were often seen on television, worn by Marlo Thomas (“That Girl”) and Barbara Feldon (“Get Smart.”) 

 

 

 

 

 

 

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Filed under 1950s-1960s, 1960s-1970s, Bathing Suits, Sportswear, Swimsuits, Vintage patterns, Women in Trousers

Vintage Fur and Feather Update with Useful Links

Ad for Albrecht fur coats, Delineator, Nov. 1917.

Just because a fur coat is 100 years old does not necessarily mean that you can sell it without a permit. And you need to know your bird species if you are selling vintage hats. In fact, you need to know your animal products, from feathers to ivory to crocodile to tortoiseshell, snakes — and more.

I have updated my recent post about a Vintage Store that was raided by California and U.S. Federal agencies last year. The owner is currently facing prosecution. After posting, I found a useful factsheet from the U.S. government. Click here: it is a two page pdf that can be printed and posted for reference.

If you sell or collect vintage clothing, you may not realize that “antique” or vintage status does not exempt all furs, feathers, and other animal products from regulation. Some vintage items made from listed animals can be sold if you have a permit. But for some items made from endangered species, there are no permits and very limited exceptions.

“Some wildlife laws prohibit all sale or purchase of products made from a protected species. Examples include the Migratory Bird Treaty Act (which protects more than 1,000 wild birds native to the United States) and the Bald and Golden Eagle Protection Act.” — U.S Fish and Wildlife Service “Can I Sell It?” Factsheet.

Here is what the “Can I Sell It?” factsheet says about feathers from endangered and threatened species:

“Taxidermied migratory birds or migratory bird feathers and parts: With some limited exceptions, sale of any type prohibited regardless of age of the specimen. (Exceptions involve limited purchase and sale of certain captive-reared and sport-taken migratory waterfowl.)
Examples: Victorian songbird collections, vintage women’s hats, and feather boas. [My boldface]
Of course, you have to be able to recognize which feathers and furs are on the endangered or threatened list (a very long list, called CITES Appendix 1). Identifying them on vintage clothing is complicated by the very old practice of altering fur and feathers from common domestic species to resemble rare or exotic species. Is that a bald eagle feather [“Sale prohibited regardless of age”]  or a turkey feather that has been doctored to look like one? Could that vintage “jaguar skin” coat really be jaguar [prohibited,] or is it rabbit fur cleverly dyed?
The U.S Fish and Wildlife Service says,
“For us to answer your questions accurately, you must be able to tell us the species involved, including the scientific name, if possible.” — “Can I Sell It?” Factsheet.
 What kind of “wolf” fur is this? Hint: It’s probably not Manchurian, and definitely not wolf. More like Rin Tin Tin.

Manchurian Wolf Dyed Dog Fur trimmed coat from Sears, 1931.

At least it’s not a member of an endangered Canis Lupus (i.e., wolf) family….

My mother, around 1945. Was she literally “putting on the dog?” (That expression — meaning “dressing to make a display of wealth” — dates to the 19th century.)

Another passage from the “Can I Sell It?” factsheet:

“Grizzly bear, jaguar, or other U.S. species listed as endangered or threatened: No interstate or international sale of any type regardless of age, without a permit. Sale within a State allowed unless prohibited under State law. Examples: Taxidermied specimens, rugs, clothing, and other fur articles.
Sometimes a permit is needed to sell products made from protected species. Trade is regulated by state, federal, and international agencies — so you need to check with all that apply.  Investigators from both the California Department of Fish and Wildlife and the U.S. Department of Fish and Wildlife conducted the raid on Cicely Ann Hansen’s vintage clothing store.
If only it were possible to ask “The Bird on Nellie’s Hat” what species it is!
Women's hats with feathers, Delineator, Nov. 1917.

Women’s hats with feathers, Delineator, Nov. 1917. The mania for egret feathers on hats eventually led to the formation of the Audubon Society, and the Migratory Bird Treaty Act of 1918. Read about it here.

In 1905, George Bernard Shaw complained to the management of an opera house about having to sit behind women who wore dead birds on their hats. To read his entertaining letter, click here.

Some Useful Links About Threatened and Endangered Species

Here is an endangered and threatened species list from the U.S. Fish and Wildlife Service. It’s alphabetized by Latin names, but the common names are also given.
Birds protected by the Migratory Bird Treaty Act include several kinds of egrets; a full endangered and protected birds list can be found by clicking here (common English and scientific names are given.)
Click here for an overview of the CITES (Convention on International Trade in Endangered Species) program. Unfortunately, the CITES appendices are in scientific classification format, so look up the scientific name for your problematic animal before visiting CITES. For example, search “Latin name for gray wolf” and you will find it is Canis Lupus. Then you will be able to find out if the animal is on an endangered species list.
But first, before you think of buying or selling, you need to identify what the garment or object is made of. The Vintage Fashion Guild Fur Resource can help you identify furs, crocodile, alligator, etc. The listings will expand if you click on the {…} symbol. Then, checking if you need a permit to sell your garment is up to you.

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, 1930s-1940s, 1940s-1950s, 1950s-1960s, 1960s-1970s, Hats, Late Victorian fashions, Musings, Old Advertisements & Popular Culture, Resources for Costumers, Vintage Accessories, Vintage Garments: The Real Thing

Dating Butterick Patterns Site Has Been Updated

Cover of Butterick Fashion News, October 1962. Image courtesy of PatternVault at ETSY.com

Cover of Butterick Fashion News, October 1962. Image courtesy of PatternVault at ETSY.com. Butterick pattern 2452 dated 1962.

My project for dating vintage Butterick patterns using Butterick Fashion News flyers (Click here for an explanation) has some new information, thanks to the input of generous readers. I finally have some pattern numbers for 1962, thanks to Sarah at the Pattern Vault, and I’ve been able to fill in some missing information for other years, too. (Thank you, Monica, at Panhandle-Plains Historical Museum in Canyon, Texas.)

Cover of Butterick Fashion News, July 1962. Image courtesy of PatternVault at ETSY.com.

Cover of Butterick Fashion News, July 1962. Image courtesy of PatternVault at ETSY.com. Butterick pattern 2343, from 1962.

I’ve been neglecting my search for covers of Butterick Pattern News lately, because the pattern dating at the Commercial Pattern Archive (CoPA) is so comprehensive. However, if you have a vintage Butterick pattern that looks 1920’s through 1970’s and want to date it, my numerical charts  at witness2fashion.com are easy to use. If you go to witness2fashion.com, under Dating Butterick Patterns 1937 -1977 you will find a chart like this one — but larger and easier to read.

Dating Butterick Patterns 1934 -1977 chart from witness2fashion.com.

Dating Butterick Patterns 1934 -1977 chart from witness2fashion.com.

You can see from this chart that simply by listing the date of a Butterick News Flyer and the number of the pattern on its cover, a numbering sequence can be established. Of course, some patterns remain available for sale in stores for a very long time, but if you’re not sure whether a pattern is late 1930s or early 1940s, for instance, this chart can help.

At witness2fashion.com earlier patterns are listed on another page:  Butterick patterns 1920’s to 1937. Click on those charts to enlarge them.

I’m especially grateful to Sarah, because I still have a few years without any data from Butterick Fashion News covers, and she was able to supply us with numbers from 1962, an important year.  Butterick pattern numbers  reached the high 9900s by November of 1961, so re-numbering was due to begin in 1962. Thanks to Sarah, we now know that the new number sequence (1962) seems to have begun in the two thousands, skipping the one-thousands.

Some years have no information at all from Butterick Fashion News covers. witness2fashion.com

Some years — like 1953 and 1963 — have no information at all from Butterick Fashion News covers — yet. Detail of Chart from witness2fashion.com

For some years — like 1953, 1955, and 1963 — I have not found any BFN covers, but we can deduce that the 6000 series began again in 1952, since No. 5934 was for sale in January 1952. Did numbers in the 1960’s 3000 series begin in 1963 or 1964? It would be nice to fill in that two-year gap from October 1962 (No. 2452) to October 1964 (No. 3288.) If you have a cover from a “blank” year, please send the date and front cover pattern number(s) to witness2fashion at gmail.com. Sarah scanned the covers, enabling me to share them.

In 1973, Butterick reached the end of the 6900s in March and began renumbering in the three thousands in April.

Renumbering begins in 1973. Cover pattern numbers from Butterick Fashion News.

A new numbering cycle began in mid-year, 1973. Cover pattern numbers from Butterick Fashion News.

Starting a new number sequence before reaching 9999 is sometimes triggered by a new logo or pattern envelope format.  Jumps in sequence (renumbering) like this are one reason that a chart is helpful in dating undated patterns. Another potential source of confusion is that the same numbers are reused every few years. (For example, Butterick pattern numbers beginning with five thousand were issued in 1924-25, 1933-34, 1949-52, the late 1960’s – early 1970’s, and again in the late 1970’s!)  I have not systematically collected numbers earlier than 1924 — so far– but a new numbering sequence, ending the 9990’s and starting again in the 1000’s, began around July 1918:

Pattern views from Delineator, July 1918. The end of the 9000's number sequence is side by side with the new 1000s sequence.

Pattern views from Butterick’s Delineator magazine, July 1918. The end of the 9000’s number sequence is side by side with the new 1000’s sequence.

 

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Filed under 1900s to 1920s, 1960s-1970s, bags, Dating Butterick Patterns, Dating Vintage Patterns, Gloves, handbags, Hats, Purses, Resources for Costumers, Vintage Accessories, Vintage patterns

Online Collections: Creators Studios, 1950’s to 1970’s

1957 dress with piping trim from Creator Studios collection at NYPL

1957 outfit with piping trim from Creators Studios collection at NYPL. “Sports Separates;” is this a two-piece outfit? There are no seams or darts shown on the top, so the company that bought the design would have to figure out how to make it.

A while ago, I wrote about The New York Public Library’s Digital Collection of design sketches from the Andre Studio, which included sketches of couture from the 1930’s, along with many designs generated for sale to clothing manufacturers in the U.S.  You can read about that collection of designs, the Andre collection from the 1930’s, here.]

1960's design from Creator Studios; A three piece outfit.

1960’s design from Creators Studios; a three piece outfit in solid and tweed knit — sleeveless top, jacket, and miniskirt. Colored tights and low-heeled shoes were very popular accessories n the sixties.

The archives at NYPL include another studio that generated sketches for the use of clothing manufacturers — Creators Studios [no apostrophe] — active from the 1950’s to the 1970’s. Over a thousand Creators Studios sketches from the 1950’s and 1960’s have been digitized and can be viewed at

http://digitalcollections.nypl.org/collections/creators-studios-fashion-illustrations#/?tab=about

Full skirted plaid dress design from Creator Studios, 1957. NYPL digital collections.

Full skirted plaid dress design from Creators Studios, 1957. NYPL digital collections.

Creators Studios Costume Sketches from the 1950’s and 1960’s

“This is a collection of 8425 fashion design drawings produced by Creators Studios, a New York City Seventh Avenue fashion business that marketed ready-to-wear designs to clothing manufacturers across the country on a subscription basis, beginning in 1957 and throughout the 1960s and 1970s.” If you go to the site’s Navigation page, you can select sketches to view by decade or by “eveningwear” or “1960’s youth”. Click here.

A design for a bouffant "Bubble dress" by Creators Studios, 1957. NYPL Digital Collections.

A design for a bouffant “Bubble dress” by Creators Studios, 1957. NYPL Digital Collections.

Dresses like this bubble dress had crinolines built in, between the inner, tightly fitted layer, and the full outer layer. They took up a lot of room in closets and on sales racks, and, once crushed, never really looked the same….

"Suit with zipper front and double breasted effect." 1963. Creators Studios at NYPL Digital Collections.

“Suit with zipper front and double breasted effect.” 1963. Creators Studios at NYPL Digital Collections. Not surprisingly, that hat style was called a “flower pot.”

These are clothes intended to be mass-produced, with variations, so the collection should be of interest to vintage collectors; it can be sorted by “date created.” (It sorts with the most recent dates first, however, so you may prefer to use the Navigation page.) As a way to skim through a decade getting a general look, collections like these are very useful. It’s also interesting to see how the style of drawing changed between the fifties and the the late sixties.

Sketch of a plaid sheath dress, Creators Studios, 1957. NYPL digital collections.

Sketch of a plaid “bib” dress, Creators Studios, 1957. NYPL digital collections.

About ten years later, the attitudes, the fashions, and the illustration style have all changed.

Sketch of a plaid dress design from Creators Studios, late 1960's. NYPL Digital Collections.

Sketch of a checked dress from Creators Studios, late 1960’s. NYPL Digital Collections. This design would have been suitable for knit fabrics.

This evening design from the 1960’s shows manufacturers two options:  the same dress in cocktail or full length.

1960's evening dress in two lengths, from Creator's Studios. NYPL Digital Collections.

1960’s evening dress in two lengths, from Creator’s Studios. NYPL Digital Collections. “Beaded embroidery and grosgrain trim on Peau de Soie.”

It’s easy to imagine this dress adapted to several price ranges, depending on materials, including a cheap taffeta version for the bridal trade. Manufacturers could make their own style variations, too — omitting the long sleeves, or using less expensive lace without beaded embroidery, for instance.

Many of the earlier sketches are signed by designer Howard Steel. He was one of the company’s three original creators.

Cocktail dress designed by Howard Steel of Creators' Studios, 1957. NYPL Digital Collections.

Cocktail dress designed by Howard Steel of Creators’ Studios, 1957. NYPL Digital Collections.

Although this bodice would have to be seamed or darted to fit this tightly, it’s left to the manufacturer to figure out where the seams go. The more seams, the higher the cost of manufacture. At the lower end of the market, you’d expect a skimpier skirt, too.

Many of the finished sketches were done by Rose Cohen, working from rough design sketches by Steel or the other “creators” who were copying original designs.

This coat and cocktail dress ensemble from the sixties looks very chic to me — the company’s designers were able to change with the times. In fact, that halter dress could have been worn just about any time in the last fifty years!

Sixties' black ottoman dress and coat, for Creator Studios.

Nineteen sixties’ black ottoman silk & faille dress and 7/8 length coat, for Creator Studios. NYPL Collections.

This 1960’s fabric and leather dress with a zip front would have been out of my price range (I couldn’t afford leather cleaning!) but seems inspired by Bonnie Cashin’s combination of those materials.

1960s zip front dress with leather trim. From Creators Studios, via NYPL Digital Collections.

1960s zip front dress with leather trim. From Creators Studios, via NYPL Digital Collections.

I settled for a similar style, probably from Joseph Magnin, in heavy unbleached cotton, with dark brown stitching and a big, brown, center front zipper; I wore it with dark brown tights in 1968 or 69. (My dress didn’t have a button at the neck — just a big zipper pull. My boss called it my “Emma Peel dress.” I was completely covered neck to wrist; it hadn’t occurred to me that men would think it was sexy.)

NOTE: please do not copy or republish these images; their copyright belongs to the New York Public Library and they have been made low resolution as required by NYPL.

 

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Filed under 1950s-1960s, 1960s-1970s, Resources for Costumers, Uncategorized, Zippers

Tangee Lipstick & Maybelline Mascara: A Pre-teen’s Makeup in the Fifties

Full page Tangee ad, Vogue, 1943.

Full page Tangee lipstick ad, Vogue, August 1943.

Tangee for the lips: This advertisement for Tangee color-changing lipstick is from Vogue’s college issue – August 15, 1943. You can see the patriotic “Buy Bonds” text at right.

Tangee Natural lipstick, right, and Tangee Theatrical, left. Vogue, Aug. 1943.

Tangee Natural lipstick, right, and Tangee Theatrical Red, left. Vogue, Aug. 1943.

“Orange in the stick, it changes to produce your own most becoming shade of blush-rose.” Body heat transformed the translucent orange Tangee Natural lipstick to a light salmon pink when I tested it on the back of my hand.

My First Cosmetic: Tangee

Tangee was the “entry level drug” of cosmetics for me and my friends, growing up in the 1950’s. In the late fifties, lipstick colors were often a frankly artificial red, but Tangee’s promise to adjust to your own lip color and give your lips a natural – but enhanced – hue, meant that I could justify “Tangee Natural” to my father. Rubbed on my hand, it was light pink and almost transparent; I could say, “See, it’s hardly any color at all!” (On your lips, it became darker.)

In this ad, the tube of Tangee lipstick looks completely colorless. Woman's Home Companion, Feb. 1937.

In this ad, the tube of Tangee lipstick looks completely colorless. Woman’s Home Companion, Feb. 1937.

My friends’ parents also gave their grudging approval for us – aged 13 or so – to wear “natural” Tangee. You could even get away with wearing it to a Catholic girl’s school – usually — if you blotted it…. I don’t know why I wanted to wear lipstick, except that my friends wanted to do it. I wasn’t interested in boys — but applying lipstick was one of those things that adult women did. (Like smoking cigarettes….)

Ad Detail, Revlon red lipstick, 1962-63.

Ad Detail for “Fire and Ice”,  a vivid red lipstick from Revlon, Elegance magazine, 1962-63.

This series of Revlon ads targeted grown women, not teens.

Dime Store Makeup in the Fifties

Tangee color changing lipstick ad, Delineator, No. 1934.

Tangee color-changing lipstick ad, Delineator, Nov. 1934.

We didn’t have a Woolworth’s Five and Dime store, so we bought our Tangee at the local Ben Franklin Variety Store. It wasn’t an expensive brand; perhaps Tangee still came in both small and large sizes.  In 1958, young teenagers (Junior High age) didn’t usually wear any other makeup. We did eventually move on to mascara in high school; Maybelline, then as now, was available in drugstores and affordable even on a very small allowance.

Top of Maybelline Mascara ad, Delineator, Feb. 1924.

Top of Maybelline Mascara ad, Delineator, Feb. 1924.

However, I have no memory of Maybelline in a liquid form.

Detail from Maybelline ad, 1929.

Detail from Maybelline ad, 1929. Waterproof liquid Mascara at right.

The Maybelline I knew came in a very small, red plastic case, with a sliding lid,  and inside was a tray of hard black or brown mascara and a small brush with one row of black bristles. I regret to say that everyone I knew, including my mother, used spit, not tap water, to activate the mascara. (Don’t! Very bad idea!)

Detail, Ad for Maybellline Mascara. Vogue, August 1943.

Detail, Ad for Maybellline Mascara. Vogue, August 1943.

Maybelline Mascara: A Family Tradition
The Maybelline product and packaging were familiar to me from my early childhood, because my mother had used it for her entire adult life. This ad is from a 1943 magazine. . .

Maybelline Mascara ad, Vogue, Aug. 1943.

Maybelline Mascara ad, Vogue, Aug. 1943.

. . . and this is from a 1924 magazine:

Maybelline Mascara Ad, Delineator, May 1924.

Maybelline Mascara Ad, Delineator, May 1924.

Maybelline Mascara was an old friend to my mother, a would-be “glamor girl” in the 1920’s.

Woman in makeup, circa 1929,

My mother. Office worker in makeup, circa 1929. In addition to applying mascara to her lashes, she has powdered over her natural lip line and created a dark red “cupid’s bow” or “beestung” lips. She’s obviously not a fan of subtle Tangee lipstick!

Maybelline also made eyebrow pencils, of course, but young teenagers I knew in the 1950’s did not use them to line their eyelids, at least not until we were in high school, and usually not while attending classes before 1960 or so. We tried to be subtle. The nuns had sharp eyes. So did our parents.

Dime Store Daze

Ad for Revlon lipstick, Elegance magazine, 1962-63 issue.

Ad for Revlon lipstick, Elegance magazine, 1962-63 issue.

I don’t think I knew there were any other manufacturers of eye makeup products until the 1960’s! The magazine ads for Revlon’s Fire & Ice lipstick (above) were memorable, but aimed at grown women. When I spoke of mascara, I said “Maybelline.”
As a working class kid in the late 1950’s, shopping for cosmetics at a department store never occurred to me. For one thing, the only department store in town was Montgomery Ward, (which we, and the adults we knew, always referred to as “Monkey Ward’s.”) I associated Ward’s with January White Sales and my uncle’s overalls, but not with cosmetics. And for another, we had very little pocket money, so we did our furtive Tangee shopping at the “Ben Frank’s.”

White Lipstick and Black Eyeliner: The Sixties.
Once our parents got used to the sight of us in our Tangee lipstick, it was time to move on to a relatively light colored Revlon lipstick called “Persian Melon.” (It was more coral than red.) Then came the mid-1960’s – the Beatles, Mary Quant in Vidal Sassoon Haircuts, the Mod Look, supermodels Jean Shrimpton and Twiggy, the glorification of all things British – and Yardley (of London!) cosmetics, which targeted the new youth market with white lipstick, tons of eye makeup, and eyeshadows in a rainbow of colors.  But I still bought Maybelline mascara in a little red box.

Mom and Dad Get the Last Laugh

"Make up your lips for kisses!" Tangee lipstick ad, 1934

“Make up your lips for kisses!” Tangee lipstick ad, 1934

We 12-year-olds thought that Tangee was a secret passed down to teen girls from their older sisters. I didn’t know until recently that our parents knew all about Tangee cosmetics:  Tangee had been around since the early 1920’s, and advertised heavily in women’s magazines in the 1930’s. According to an excellent history from the Collecting Vintage Compacts website, Tangee was the best selling lipstick in America in 1940! (That site has many vintage Tangee ads in color, too.)

Here are some black and white Tangee ads from the 1930’s, when my parents got married. Sometimes the ads were pitched to women who were still worried that wearing obvious makeup would make them look “fast.” There must have been plenty of women in small-town America whose menfolk disapproved of cosmetics (at least, on their own wives and daughters….)

Tangee ad, Delineator, March 1934.

“Wins man who said: ‘I want unpainted kisses.’ ” Tangee ad, Delineator, March 1934.

Tangee ad, Delineator, March 1934.

Tangee ad, Delineator, March 1934. “It was her own brother who guessed what was wrong … and told her the truth: … Men don’t like paint.”

For some small-town women, there was the problem of competing with younger women for the available bachelors:

Tangee lipstick ad, May 1934. "They caller her 'Old Maid...' She's Mrs. Now!"

Tangee lipstick ad, May 1934. “They called her ‘Old Maid…’ She’s Mrs. Now!”

Text of Tangee ad, May 1934.

Text of Tangee ad, May 1934. “Like all fastidious women, she refused to look painted. But for a while, she made the mistake of using no lipstick… with the result that her lips were colorless, old-maidish.”

Even conservative older women wanted to look more youthful — although the wife of a small-town mayor or local businessman couldn’t risk scandal by looking like a “painted woman.”

"For lips that never look old." Tangee lipstick ad, March 1937. Woman's Home Companion.

“For lips that never look old.” Tangee lipstick ad, March 1937. Woman’s Home Companion. “Watch the blush-rose shade of youth appear.” “Tangee isn’t paint and cannot give you a ‘painted look.’ “

Tangee lipstick ads from 1934, left, and 1937, right.

Tangee lipstick ads from 1934, left, and 1937, right. “Simply emphasize the natural color in your lips!” Notice that the lipstick appears colorless in this ad, although the model’s lips look fashionably dark.

Eventually Tangee branched out into more vividly colored products. Tangee Natural lipstick is still available – with delightful testimonials – from Vermont Country Store.  If you wonder how lipstick was made, Glamourdaze reprinted a story,”Inside the Tangee Lipstick Factory,” from 1947, when 190 million individual tubes of lipstick  — from all brands — were sold!

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Filed under 1920s, 1920s-1930s, 1930s, 1930s-1940s, 1940s-1950s, 1950s-1960s, 1960s-1970s, Cosmetics, Beauty Products, Makeup & Lipstick, Old Advertisements & Popular Culture, vintage photographs

Vogue Designer Suits, April 1966

I came across this Vogue Pattern Fashion News flyer for April, 1966, which interested me because that was the time in my life when I started really paying attention to clothes. I was twenty, a Senior in college, and finally realizing that I was going to be judged by the way I dressed, so I ought to study up and try to pass for middle class. [I was a blue-collar kid aspiring to a white-collar life.]

Vogue designer suit pattern by Nina Ricci, No. 1581. Vogue pattern flyer, April 1966.

Vogue designer suit pattern by Ricci, No. 1581. Vogue pattern flyer, April 1966.

Vogue patterns had a reputation for being very difficult compared to McCall’s. This was true of Vogue designer patterns, because they called for couture stitching techniques, which they described in detail. You could learn a lot from Vogue patterns, but they were not for the lazy or hurried stitcher. One of my roommates became a legend in the dormitory for making a three-piece Vogue designer suit which was rumored to have 69 pieces. [Not 69 pattern pieces.] When she finished cutting it out, the pieces did cover all three beds in our room! I never ventured beyond making Vogue dresses, but I recognized these 1966 suit styles immediately.

When I named this blog “witness to fashion,” I was thinking of the information that only people who witnessed an era of fashion can supply:  Who would wear this? What would it say about the wearer? Models are usually very young women, but would a twenty-year old really wear this outfit? By 1967, we had all heard the saying “Never trust anyone over thirty.” This was an era when young people and mature people really did dress differently.

Ricci Suit, Vogue 1581, April 1966

Vogue No. 1581, a suit by Nina Ricci, April 1966.

Vogue No. 1581, a suit by Ricci, April 1966.

If I met a woman wearing this suit, I would have known that she was middle or upper middle class, prosperous, and able to afford more than one good suit. [This one is very sporty because of the large plaid.] A woman in her twenties might very well wear this suit, but, to me, it is not especially youthful; it’s more “classic.” It’s chic, not matronly, but I can easily picture women from 25 to 65 wearing this suit. If made in a solid-color wool, it would be more versatile. Nevertheless, the suggestion of a navy pea-coat — the double breasted, rather long jacket — makes it look informal: a suit to wear shopping, not for afternoon cocktails or a funeral.

Vogue 1581 by Ricci, without the plaid. In red, or a dark color, it would look more dressy.

Vogue 1581 by Ricci, as it would look — more urbane — without the plaid.  Dated 1966.

In red, or a dark color, it looks more dressy. (Click here.) You might make the simple blouse in several colors to get more wear out of the suit.

bk cover 1966 apr 1581 ricci text

Note: Nina Ricci retired from the House of Ricci in 1954, and  Jules-François Crahay became its chief designer.

Vogue Designer Suits by Guy Laroche and Pedro Rodriguez, April 1966

Vogue designer suits featured in April 1966. No. 1580, by Guy Laroche, and No. 1583, by Rodriguez.

Vogue designer suits featured in April 1966. No. 1580, by Guy Laroche, and No. 1583, by Rodriguez. I think a very young woman would have been be more likely to choose No. 1583.

Both of these suits, on page 2 of the Vogue store flyer, are accented with top-stitching.  The patterns include interesting blouses, to be worn outside the skirt, overlapping the skirt’s waist. This produced a “dress” look, especially when made from the same wool or linen as the skirt. [It was also chic to make the blouse in silk shantung the same color as the suit.]

The reason these suits look more youthful to me than #1581 is that the jackets reach only to the high hip — a style that worked well with late sixties’ skirts, which were getting shorter. The little bow at the neck of #1580 seems fussy to me — again, I could imagine an older woman wearing this suit; however, I wouldn’t call it “dowdy.” No. 1583 is more what a young woman might wear: the skirt has a “contour” waist, with no waistband — which was a youthful fashion, the opposite of the cinched-in waists of the 1950’s and early 60’s. The envelope shows it in pink, — very young looking. Young — and rich.

966 apr p 2 suit text1580 1583

The sleeveless blouse of the Ricci suit (No. 1581) has shoulders which extend out to the point of the shoulder, but the Rodriguez blouse bares the shoulder — another look I associate with youthful women, like Audrey Hepburn.

Vogue Designer Suit Patterns 1576, 1575, and 1582, dated 1966.

On page 3, there are three great sixties’ suits, from Emilio Pucci, Federico Forquet, and the House of Ricci.

Vogue designer suit patterns from Pucci, Forquet, and Ricci. April 1966.

Vogue designer suit patterns from Pucci, Forquet, and Ricci. April 1966.

Notice the jacket length. The Forquet skirt, eased over the tummy instead of darted to fit, was called a “dirndl.” I made A-line dirndl skirts to wear with coordinating tops that just reached the high hip. The suit by Ricci also avoids fitting tightly. As the TV show Mad Men put it, this is “Jackie” versus “Marilyn.” [The “Jackie” type is not so desperate for love that she exposes her body to strangers, unlike the “Marilyn” type.]

Vogue designer patterns 1575, by Forquet, and 1576, by Pucci. April, 1966.

Vogue designer patterns 1575, by Forquet, and 1576, by Pucci. April, 1966. No. 1576 has a double line of topstitching, not solid black trim.

Both of these are jacket and dress combinations. The Forquet dress echoes the shaping of the jacket and suggests an hourglass shape without clinging tightly. It has a shaped, slightly dropped waist.  The Pucci jacket is more sporty and shown with a “helmet” hat that evokes a riding outfit. The models on the envelope look young, not middle aged. Personally, I think jacket No. 1576 would work better with a dress in the darker color of the plaid jacket, but I’m not Pucci! 966 apr p 3 suit 1576 1575 pucci forquet text

Pucci’s stewardess uniforms for Braniff Airlines also had standing collars.

The pattern envelope for No. 1575 shows the [not very attractive] scarf. Click here. Sixties’ suits, like Nos. 1575 and 1581, often were accented with a large costume jewelry pin on the lapel or yoke.

Ricci Suit, Vogue Pattern 1582 from 1966

Vogue designer pattern 1582 by Nina Ricci, April 1966.

Vogue designer pattern 1582 by Ricci, April 1966.

I love this suit. You got a lot for your $3.50 with this pattern:  dress, jacket, and a wrap blouse. It’s elegant; the velvet collar makes it very dressy, and it skims the body — nothing overtly sexy about it. But it screams “self-confidence” and “self-respect.” In my twenties, I didn’t have any reason to wear such a beautiful suit, no matter how much I wanted one. It speaks of afternoon fund-raisers, museums, art galleries, fine restaurants, opera and ballet matinees; possibly cocktails at a hotel bar…. Not days spent working in a bank or teaching high school. Would it look good on a woman in her mid-twenties? Yes. Would it look equally good on a woman in her thirties? Her forties? Her sixties? Yes.

And now for something completely different….

Vogue “Special Design” Suit Pattern 6747

From the same Vogue pattern flyer, a suit without a designer label:

Vogue pattern No. 6747, April 1966.

Vogue suit pattern No. 6747, April 1966.

To my twenty-tear-old eyes, this suit screamed, “Middle aged. Long married. Dull.”

Yes, do “note the little belt at the sides of the jacket” — designed to make a woman with a thick waist look even more shapeless. I must have seen dozens of versions of this outfit made of polyester doubleknit. Even the blouse would make you look round-shouldered and dowager-humped; and those sleeves are the perfect length to make your arms look chubby and your bust look wider.  The width of the skirt’s center panel is a lot less flattering than a single, central pleat would be. You would have to make this suit out of very fine quality wool, indeed, to give the impression of wealth and elegance. Even the pattern envelope, in color, can’t convince me that anyone but a middle-aged woman would want to wear it. It does look better with a straight skirt. The model wearing the black and white version seems to have white hair. (So do I, now. But this is about 1966. The aristocratic “Mrs. Exeter” never had to appear in this pattern!) You can read many entertaining posts about “Mrs. Exeter” at American Age Fashion, What Older Women Wore, 1900 to Now.  

There’s not a hint of Carnaby Street or “the Youthquake” in Vogue 6747.

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Filed under 1950s-1960s, 1960s-1970s, Vintage Couture Designs, Vintage patterns

Maids’ Uniforms

Housemaid receiveing orders from her mistress via the new in-house telephone. Bell Telephone ad from Better Homes and Gardens, 1930.

Housemaid receiving orders from her mistress via the new in-house telephone. Bell Telephone ad from Better Homes and Gardens, 1930. “

p9 bell telephoneTEXT desk maid uniform ad BHG 193066

“Conversations with your cook or maid can be so conveniently carried on by telephone from your bedroom or your living-room . . . without so much as one unnecessary step.” 1930.

Maid's daytime uniform from B. Altman, probably latter half of 20th c.

Maid’s daytime uniform from B. Altman, probably latter half of 20th c.

For theatrical costumers, pictures of maid’s uniforms are as interesting — and probably more useful — than pictures of couture. Here is a sampling of maids’ uniforms from 20th century magazine ads, followed by a couple of vintage uniforms sold by department stores. Some of them follow the Victorian tradition of gray, print, and/or colored uniforms for day wear, and black uniforms for afternoon and evening, when the maid was more likely to be seen by dinner guests. These ads are in chronological order, but the most noticeable changes are variations in hem length, which can’t always be seen in the ads.

In the boudoir; lady's maid, Oct. 1917; Ladies' Home Journal.

In the boudoir; a lady’s maid laces her high-top shoe. Oct. 1917; Ladies’ Home Journal. The maid’s cap, with streamers, is very old-fashioned — almost an 18th c. mopcap, and her dress is satin, like many day dresses of the WW I era.

Ad for O Cedar furniture polish, June 1924. Delineator.

Ad for O-Cedar furniture polish, June 1924. Delineator. She’s not wearing a cap.

Even in Victorian times, maids rolled up their sleeves and bared their arms for hard scrubbing and other daytime chores. However, maids usually saved their good, black uniforms for waiting at table and evening duties, when they rolled down the sleeves to the wrists. [In many households, maids were given a break around four o’clock, so they could rest a bit, and change uniforms.]

Maid serving dinner to a husband and wife, Nov. 1924. Ad for laxatives. Delineator.

Housemaid serving dinner to a husband and wife, Nov. 1924. Ad for laxatives. Delineator.

In January of 1925, the illustrator of this ad for laundry soap imagined a princess and her ladies’ maid examining the lace on an evening wrap.

Ladies' Maid and princess, soap Ad, 1925. Delineator.

Ladies’ Maid and princess, soap Ad, 1925. Delineator.

In the twenties, maids’ caps have become just a ribbon headband trimmed with ruffles, more symbolic than useful.

Butterick illustration for its embroidery page. Maid setting the table, Feb. 1929. Delineator.

Butterick illustration for Delineator’s embroidery page. Maid setting the table, Feb. 1929. Note her below-the-waist apron.

The difficulty of tying and keeping a half-apron’s waist at the 1920’s hip level can be seen in all of these 1920’s illustrations, including the one just above. But maids were never supposed to rival the chic of their employers; in 1866, this maid was in trouble for leaving off her full crinoline, just as her “ladies” did.

“I understood they was a goin’ out,” [of fashion] explains the maid, whose hairstyle also mimics the style of her “betters.”

In 1929, this maid is wearing a light colored uniform -- and no apron or cap -- while discussing the laundry with her mistress. Fels Naptha Soap ad; Delineator, June 1929.

In 1929, this maid is wearing a light colored uniform — and no apron or cap — while discussing the laundry with her mistress. Note the maid’s chic short skirt. Fels Naptha Soap ad; Delineator, June 1929.

After the Crash: these 1931 illustrations are from an article on how to “Be Your Own Maid.” [The article explained the importance of keeping your closets and dresser drawers tidy.]

After the Crash: Illustrations for the article "Be Your Own Maid." November, 1931. The maid wears a print dress. Delineator.

November, 1931. The maid seems to be wearing  a print day dress, with different collars and aprons. This is not the lady of the house; notice her maid’s cap. Delineator.

This story illustration from 1934 shows a woman lounging (the caption suggests that she is “in a delicate condition,”) while her maid keeps busy while acting as her confidant. In this story, the maid, Karen, is the heroine.

Lady and maid, Delineator, Jan. 1934. Story illustration by Baumgartner.

Lady and maid, Delineator, Jan. 1934. Story illustration by Baumgartner.

“Ruth said, ‘Shall I have a son, Karen?’  Karen smiled. ‘Does it greatly matter?’ ”

[Digression:  Karen is probably a Scandinavian immigrant. In 1948, Loretta Young won an Oscar for playing a Swedish-American farmer’s daughter who works as a servant.]

Maids' or waitresses' uniforms from the Berth Roberts catalog, Summer 1934.

J 40 & J 41:  Maids’ or waitresses’ uniforms from the Berth Robert catalog, Summer 1934.

berth roberts catalog text p 21 waitress maid housedress879

The sheer lawn apron is for maids, not waitresses. It creates “that trim, precise look all well dressed maids desire.” The straps forming a “V” were seen in the illustration from 1924, and in the thirties, and still seen on the much later vintage uniform from Altman’s, shown in detail later in this post.

The maids (or housewives) in this Baking Soda ad are wearing aprons and dresses like the Berth Robert models:

Arm and Hammer Baking Soda ad, 1937.

Maids in an Arm and Hammer Baking Soda ad, 1937.

It’s not always easy to tell a servant in striped dress and white apron from a homeowner in the same work clothes, but housewives usually wore colored or embroidered aprons:

Woman washing dishes with Chipso dish soap, Better Homes and Gardens, April 1930.

Woman washing dishes with Chipso dish soap, Better Homes and Gardens, April 1930.

[Remembered Summers wrote about pink sinks and other 1920’s-1930’s kitchen innovations here.]

The wealthy woman in the article illustrated here suffered physical illness until she consulted a psychologist. Her long-suffering maid is alarmingly thin, but elegantly dressed in a rickrack-trimmed apron set. At least the illustrator avoided the most common 1930’s racist imagery; this maid is neither plump nor grinning:  she’s an individual.

"A constant state of indecision made her seek escape in seclusion. " Illustration for mental health article, Woman's Home Companion, Feb. 1937.

“A constant state of indecision made her seek escape in seclusion. ” Illustration for mental health article, Woman’s Home Companion, Feb. 1937.

Two Vintage Maid’s Uniforms

Maid's uniforms sold in department stores.

Maid’s uniforms sold in department stores. Both have natural waists and sheer accessories. A waitress uniform would use more sturdy, opaque apron and collar fabrics.

There’s a Bloomingdale’s label in one of these uniforms, and a B. Altman label in the other.  I had no idea that top department stores did such a thorough job of supplying their customers’ every need! (And I hope the employers footed the bill for the uniforms.)

Bonne Maid uniform from Bloomingdale's. Date unknown.

“Bonne Maid” uniform from Bloomingdale’s. Date unknown. The apron would have had stripes matching the sheer collar and cuffs.

“Bonne” is the French word for a maid, as well as the feminine form of “good,” so the company name is a pun.

Gray maid's uniform from B. Altman.

A gray Balta brand maid’s uniform from B. Altman.

Gray Balta Maid's Uniform without apron. It has a side button closing.

Gray Balta maid’s uniform shown without its apron. It has a side button closing at the waist.

I wrote about a 1930’s waitress uniform which also had a front placket, a waistband, and buttoned to the side. The cut of the dress itself is very similar to this much later one.

Details, Balta brand maid's uniform.

Details and label, Balta brand maid’s uniform.

The workmanship is good, as seen in the mitred collar and cuffs. The dress fabric has a synthetic sheen, possibly a cotton/rayon acetate blend, which places it later in the 20th century. The apron and trim is polyester organza.

An identical gray Balta brand uniform, new, in a Bergdorf Goodman box, can be seen here. Apparently the Balta brand was carried by more than one upscale department store.

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, 1930s-1940s, 1940s-1950s, 1950s-1960s, 1960s-1970s, Old Advertisements & Popular Culture, Uniforms and Work Clothes, Vintage Garments: The Real Thing