Category Archives: Designers

Relaunch of Anne Fogarty Label

 

I recently received an email from Gregory Halvorsen who was requesting to use a biography of designer Anne Fogarty I had written some time ago.  He explained that he and a partner were in the process of reviving the Anne Fogarty label, and they wanted to use my writing as part of their information packet.

You can read the old blog post that I wrote about Fogarty, so I’ll not say a lot about her here.  One of the criticisms that is often used against women designers is that they tend to design for themselves.  In the case of Anne Fogarty, that was definitely the truth.  Luckily for her, they were also the clothes many young American women wanted.  Her designs were a success from the time she began designing under her own name in 1950, until she retired in the 1970s.

The look she is most remembered for is her take on the New Look, with tiny waists and full skirts.  Fogarty worked with this look throughout the 1950s, and into the 60s, but as fashion changed, so did she.  Her work from the 1960s is a sophisticated take on the youthful fashions of the times.

At the high fashion level it is pretty common for names from the past to be revived.  For instance, there have been several attempts to revive the Schiaparelli name, including one that is currently in process.  As for American ready-to-wear, I can only think of a few examples of revivals, like Claire McCardell which was shut down by her family, and Lilly Pulitzer which has been a huge success.

I wish the new company well.  They have re-registered the trademark and have incorporated in New York.  They have also hired a designer, and a capsule collection is in the works.  They plan to launch a Kickstarter campaign in June.  It will be interesting to see what they come up with.  In the meantime you can follow their social media:

Facebook: AnneFogartyInc

Twitter: @FogartyAnne

Instagram: @FogartyAnne

Pinterest:  AnneFogartyInc

My illustration is from Fogarty’s 1959 book, Wife Dressing, which has also been re-released.

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Vera Neumann for Brighton

Saturday I was in a strange environment – a modern shopping mall.  It’s not that I never go to the mall, I do, but it’s usually when I need something specific that I know can be found there.  In this instance, I was in need of a skinny latte from Starbucks, and the only one to be found for miles was in this mall.

So I was making my way to Starbucks when I stopped dead in my tracks. There, on a shop window, was a ladybug and the Vera signature.  I was intrigued to see that the store was Brighton.  I had to go in and check it out.

Brighton is primarily a maker of leather goods, and they also make other accessories like jewelry and sunglasses.  The business dates back to the late 1960s when Jerry and Terri Kohl bought a business that made men’s belts.  In 1985 they formed Brighton as part of the company, and in 1990 started making items for women.

As I was looking at the Vera items, the sales associate came over and asked if I knew about Vera Neumann.  I resisted the urge to be Ms. Know-it-all-smarty-pants and said that I remembered her from the 1970s.  That gave her the chance to practice what she’d learned about Vera.  I was impressed.  Tonya knew all about Vera, and how important she was as an artist and as a producer of scarves and household textiles.

I’m not ashamed to admit that I fell victim to the sales pitch.  Actually, I was already in love with the nautical themed line before the pitch even started.  I was a goner at “red, white, and blue fish print.”

Like the original, vintage Vera products, all the Brighton accessories are based on a Vera scarf.  I was given their spring brochure that showed the original scarf along with the products that are based on it.  And all through the brochure are photos and information about Vera herself.

I didn’t get a photo, but there is a tote bag based on this scarf, which is in my own collection.   You can see it on the Brighton website, which is well worth a look because they have a great little video about Vera, that includes some terrific archival footage of her.

Not all the Vera items are nautical, as you can tell from the photo of the Brighton window.  There are, of course, butterflies and ladybugs as well.  One of the best adaptations was the black and white butterfly pouch bag that you can see in the window.  The motif was actually embroidered onto the canvas.

Here’s the set that I bought.  I’d been looking for some good zippered bags to organize my larger travel handbag, and these were perfect.

They are even lined in a Vera design.

I liked everything about this collaboration except for one thing – the items are made in China.  I decided to overlook this because Brighton continues to manufacture their leather goods in the USA.  Hopefully they will bring back more of their production to the States in the future.

I know that there are many vintage fans who do not like modern use of vintage designs.  I’m of the opinion that good design is good design, period.  There is some concern that these modern uses tend to muddy the waters and that in years down the road the newer designs will be confused with the originals.  It may be true, but that is a small price to pay for having access to great design.

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A Pucci for the Californians

I was all ready to leave the topic of Pucci behind and move on when a set of photos appeared in my inbox.  Sent by a reader who wishes to remain anonymous, they are of another early Pucci, this one a blouse made from Pucci fabric with a California theme.

The style of the blouse is very much like the last one I posted.  I can picture either of them worn over a pair of capris accessorized with sandals and a big sun hat. Both blouses have the same label, though with a different color printing.  As I pointed out in my earlier post, this is the second Pucci label, after he expanded to Florence, but before he added “Pucci”  to the label.

There is also an I. Magnin label.  I. Magnin was a San Francisco based department store that carried luxury lines and high fashion clothing.  Not only was this blouse sold at I. Magnin, it was specially designed for the store.

I think it is interesting that the blouse is signed Emilio of Capri, while the label is the later Capri/Florence one.

There is also something else interesting about this blouse, and the other two early Pucci pieces that I showed before.  One clue that people use to help identify an authentic Pucci is the squiggly “Emilio” signature found scattered within the print.  But none of these early examples have the signature.  It was not until the 1960s when Pucci turned to more abstract designs that were very easy to copy  that the signature was added.  Upon the advice of his buyer at Lord & Taylor, Marjorie Griswold, the signature was added in the mid 1960s.

I hate to think that vintage buyers might have passed on unsigned pieces because they suspected that they might be fakes.

As for the design of the print, does anyone have a clue as to the possible meaning behind those mermaid Indian girls?

If you want to know more about Emilio Pucci, tomorrow I’ll have a link to the best article on his life that I’ve ever read.

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Emilio Pucci for Formfit Rogers

Not long ago I spotted the half slip pictured above in my not-so-secret shopping place.  My first thought was that it was an Emilio Pucci for Formfit Rogers so I started looking for the evidence:  the initials EPFR printed within the print.  I was just about to give up and call it a good copy when I spotted them.

In 1959 Pucci decided that he wanted to expand into lingerie.  Rather than do the production in-house, he was advised to look for an established lingerie company that would handle production.  Pucci came to the United States, and signed a deal with Formfit Rogers, a Chicago company.  Pucci provided the designs which were printed onto nylon tricot.   Much of the production took place in a factory in Tennessee.

I’ve seen the uncut fabric.  They printed it in big squares, about 72 inches, with an overall print surrounded by a small , about three inches, border.  The pieces were cut, using the border at the hem.  Sometime the border was cut and sewn, for a detail like a V-neckline.

We tend to think of designer “collaborations” as being a new scheme, but this is a good example of how even in the 1960s designers were finding ways to get their designs into the hands of people who could not afford their regular designs.  In 1969, a Pucci for Formfit half slip was priced at $9, or about $55 today.  Years ago I bought a bra and matching slip from a woman in Asheville.  She told me that she was living in New York City in 1969, working at her first job.  When she got that first paycheck she wanted to go out and splurge, and she ended up buying the Pucci set.

The line was quite successful, and lasted into the 1970s.  Still, the pieces are relatively hard to find, probably because people recognize them for what they are and snap them up.

In the early days of ebay, these Pucci Formfit pieces were very inexpensive.  I once bought a lot of six pieces for around $30.  Then the fabrics in modern ready-to-wear got thinner and thinner, and people started buying the lingerie to wear as outerwear.  They are no longer a bargain.

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This Is Not a Schiaparelli But…

In 1928 the great Elsa Schiaparelli designed knit bathing suits which were based on her famous trompe l’oeil sweaters.  These were imported into the USA by Saks Fifth Avenue.  This suit, while not made by Schiaparelli, was certainly inspired by her designs.  It was probably made in the US, and was sold by Saks Fifth Avenue’s lower-cost cousin, Saks and Co.

The above photos and text are from my long-neglected website, Fuzzylizzie.com.   I have a page that shows off some of the swimsuits in my collection, including this one.  I bought this suit because it was so clearly influenced by the Schiaparelli bow sweaters.  Had it been a real Schiaparelli, I’d have never been able to afford it.

While browsing Pinterest today, I found my photo with the caption Elsa Schiaparelli Swimsuit.  I knew the pinner – she’s a good vintage friend – and knew she’d never have misconstrued my writing in such a way.  Sure enough, she had found my photo on another blog, with the caption, Elsa Schiaparelli Swimsuit.  And to make matters worse, lots of other people have pinned it from that site.

So now the misinformation is out there, and there is no way to get it back.  I did ask the blogger to make the correction on her blog, but the damage has been done.

I know that people love Pinterest.  I’ll admit to wasting a bit of time on the site now and then.  But there are some huge problems as far as photos getting separated from their context.   Not only is my photo all over Pinterest with no mention of my site, but now people are seeing the photo and are giving it an attribution it does not deserve.

Was my original paragraph so long and involved that people can’t read past the first sentence?  Perhaps I should change the beginning to read, “This is not a Schiaparelli but…”

I want to make it clear that I do not have a problem with the blogger taking the photos from my site.  Under the rules of Fair Use, I feel she has the right to use them.  It would have been nice had she asked first.  And it would have been really nice had she read what I actually wrote about the swimsuit.

On a lighter note, is it not just the best swimsuit ever?

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Currently Reading: Christian Dior and I

I keep an ongoing list of vintage books that I want to acquire, and this one, Christian Dior and I, has been on it for a while.  The book was actually reprinted several years ago (and in the UK as Dior by Dior), but I was hoping to find a reasonably priced copy of the original.  And I did.

The book is marketed as Dior’s autobiography, but it really is not so much the story of his life as it is the story of the House of Dior.  He does tell bits about his childhood, and about how he became a designer, but the bulk of the book is concerned with telling how a couture house operates.  It’s a fascinating and personal look inside fashion at the highest level.

Dior starts with how he conceives the ideas for a collection.  A collection’s development began the day after the first showing of the last collection.  Dior would leave Paris for his country home where he would try to not even think of fashion for several weeks.  After that, he began the process by doodling, scribbling, drawing on individual sheets of paper which he kept stacked.  From these sketches, his ideas for the new collection emerged.

The finished sketches then went to the premiere of the atelier, where she and Dior would analyze and discuss the designs.  Then the workshops went to work on the toiles, or muslin patterns.  Dior and the head of each workroom would then tweak the design, and sometimes discard the idea completely.  Fabrics were chosen for the successful designs, and the work began on the models.

Over the next weeks, Dior would study each dress, and make changes, and then the day came when all the finished work was viewed, studied, analyzed, and altered.  No wonder Monsieur Dior did not want to look at the dresses after the first official showing!

Dior also explained how sales operated in his house.  He actually had nothing at all to do with the sales, and usually was not there when women came in to view the collection (which was done in the form of a show every afternoon).  A couture customer would pick out the models she wanted, and then the workshops would make the dress to her measurements.  A retail customer, like Neiman Marcus, would buy the toile so that the dress could be reproduced for sale in the US.

I read this book slowly, as to absorb the details of the workings of the House of Dior, but there is a lot of material, and I’ll be rereading this one very soon.

The book was published in 1957.  In the last lines of the book Dior talked about how he hoped to someday retire to his home in Provence.  “I think of this house as my real home, the home to which, God willing, I shall one day retire…”  But it was not to be.  That same year, Dior died of a heart attack.

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Key West Hand Prints: When It Looks Like a Lilly, But It’s Not

When I spotted this 1970s knit shirt recently, I immediately thought it was a Lilly Pulitzer.  But then I looked at the label and found that instead it was made by  Key West Hand Prints.

That was not surprising because Key West was the company that designed and screen-printed the fabrics for the Lilly Pulitzer company.

This print is so Lilly-like that I actually looked for the trademark “Lilly” that was contained within the prints designed for Pulitzer.   In a Lilly Pulitzer print the signature can often be found in flower pistils and stamens.  Many of the Lilly Pulitzer prints were designed by artist Suzie Zuzek Depoo, and it is likely that she designed the print for this shirt.

Prints like these, especially in such a simple style, can be hard to date.  It could be that this blouse is from the early 1980s, soon after Lisa Birnbach’s Official Preppy Handbook declared that pink and green was the prep color combo of choice.

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