In Wimbledon fortnight I have played no tennis but, in the heat, been flicking through my 1930s French fashion magazines. From Le Record de la Mode June 1933:
From left to right we have a Manteau de Tennis in lainage blanc a boutonnage double (rather hot for Wimbledon, I think), a Complet de tennis en shantung (I wonder if that is washable?) and finally ‘la tenue ideale pour le tennis’, a Robe en toile blanche (I reckon you could actually play in that one).
In case tennis isn’t your thing, how about a spot of golf from the cover of Modes et Traveaux February 1933, outfit by Molyneaux?
Or, for Scotland, shooting with Le Jardin des Modes, Groupe des Publications Conde Nast (still going strong with Vogue) from 15th August 1930:
Here’s a sketch from the second floor of the V&A’s Balenciaga exhibition. On the ‘big bum’ issue I’d say ‘No’ because the puffball is so big the wearer’s bum get’s lost.
The second floor of the exhibition was about the influences of Balenciaga on later designers. This sketch was twinned with a Hussein Chalayan dress with a quote from Mr C on Mr B “I think the masters of the 60s were amazing…Like old Balenciaga…in a way we’re just…regurgitating what they’ve done.”
And the twinned dress?
The bum view:
One encouraging thing is the description for the Chalayan dress says “designed 2000, made 2011” so a mere eleven years to complete it – there may be hope for some of my projects yet.
Next question, given the format of the blog. Do I have a paper dress pattern of something similar?
Er…on this one, no.
As a change from a pattern, here is a natty fifties bolero from my vintage clothes collection. It’s part of a two-piece although these days I favour the patterned jacket over a plain dress rather than busy floral on top of busy floral.
And a close-up of the collar:
I think this curve would make a super finish on the blue and white “air hostess” pattern in the previous post. How is it done? The good thing about owning a piece of vintage rather than taking a photo of Mr Balenciaga’s behind glass walls in the V & A is that I can unceremoniously turn it inside out – a lot simpler than the x-rays used by the V & A.
Solution – a piece of boning, of the sort used to ‘keep up’ strapless dresses:
A much simpler sewing fix than the lovely tools in front of Mr Balenciaga’s suit in the previous post, but effective for a light summer cotton jacket – and it has stood the test of time since the nice curve is still going strong about 60 years later.
oh, and whilst I’m turning the jacket inside out, I love the label as well:
The Balenciaga exhibition at the V & A was focussing on construction, so when we get to an elegant wool suit it is shown off with tailoring tools
and the all-important side view:
According to the talk I went to, the V & A has a healthy selection of Balenciaga as Cecil Beaton was a big fan, and somehow or other, he dragooned people into donating clothes to the V & A. For those women lacking a society photographer and a Paris couturier, there is always a trusty sewing pattern. Two interesting features of this suit are the curved seam across the front, and that rather large but controlled collar.
Here’s a 60s pattern which mimics the curved seam:
And another item from the 60s, with a decently large collar:
This looks a bit air-hostessy in the blue and white, I think. But done in that soft tweed Mr Balenciaga was using, it would be an altogether different kettle of fish.
This slowly twirling pink dress is one of the first exhibits at the Victoria and Albert Museum’s Balenciaga exhibition. I went on members’ day with the addition of a talk by the exhibition curator. The exhibition team were keen to put construction detail at the forefront of the exhibition. So, behind the Lady in Pink there is an X-ray photo showing her corset (I wonder what the original wearer would have thought of that).
Alongside her is a calico toile – not an original one from the Balenciaga house, but one made by students on the pattern cutting MA at London College of Fashion.
The students made copies of the dresses with a great deal of measuring, and according to the lecture were fascinated by the number of darts, as darts are rather out of fashion at the moment (let’s all keep manufacturing costs down and probably make things out of stretch fabric whilst we’re at it) as well as the generous seam allowances that allow for alterations in a bespoke garment.
What do I think of it? Certainly unusual. In the V&A’s exhibition of Alexander McQueen last year there was a quote from him that it is a good habit to design from the side – it is easy to make a front and back look good, but most people will have an oblique angle on what you are wearing, so it needs to look good from the side as well. Going left to right I would say this dress is a winner front and back, and in the first side photo, but the fourth photo manages to catch a rather unflattering angle on the front of the dress. I’d like to see a model walking in it before I gave it an unqualified seal of approval.
For good measure here is the line drawing from the House:
Inspired by Mr Givenchy’s relaxed dressing, I have pulled this number out of my pattern stash:
Vogue are right on the money here with “house coat OR evening wrap.” Being Vogue, producing patterns in the days of many professional seamstresses working from home, they are not compromising on top-notch sewing and luxury details. So, for a lined coat, even in a dressing gown, there needs to be a back pleat in the lining, which allows ease of movement:
Here’s one from one of my own jackets:
Outer fabrics, particularly wool, are softer than lining, and the pleat lets the lining hang not too loose, not too tight.
Then we come to embellishment.
I love the way “fur and buttons” come together in the heading. Looking at the pattern I think it might be just what Cruella de Ville had in mind for the 101 Dalmatians.
And, as the last post was looking at a touch of gender neutrality in dressing gowns, here is a man’s pattern:
Always interesting to see the difference in the way an illustrator picks accessories for a man – so we have the swotty glasses in one view, and the swotty book in a second. My favourite pose, though, is the one at the back with a distinctly macho stance. So we have Clark Kent and Superman, but in the evening at home, Clark is winning out with the bigger illustrations.
Having been all the way to The Hague to see Givenchy, what did I find when I went to see the new fashion gallery at the Museum of Scotland? This rather smart but comfy looking piece of Givenchy:
The accompanying blurb says “Reflecting the trend in the late 1960s and early 1970s for opulent, oriental inspired clothing, the silhouette of this ensemble loosely resembles the traditional Turkish set of shalwar (trousers) and entari (long sleeved dress)…”With this picture to demonstrate the genuine article:
And as the display is all about juxtaposing the old with the new they had this rather lovely man’s banyan circa 1840 – 1850 as well:
If I had to pick one I’d probably go for the man’s but then I’m a sucker for old silk.