Category Archives: Collecting

Ballantyne Cashmere for 1965 at N. Peal

N. Peal was established in 1936 by Nat Peal, and was located at the prestigious address of the Burlington Arcade in London. It sold cashmere and other wool sweaters, all made in the UK. Today, N. Peal is still in business, having been bought and somewhat rebranded in 2010. A quick look on the net shows that the sweaters under the N. Peal name are sold in the N.Peal stores, but also on discount sites like Outnet. They also appear to be made in China.

At one time the name Ballantyne guaranteed a high-quality cashmere product. The factory that made Ballantyne sweaters closed in 2013, but you can still buy Ballantyne products – made in China, of course.  But in the 1960s cashmere sweaters were a true luxury, and Ballantyne was one of the best. Combine that quality with the design skills of Bonnie Cashin, and you have a collaboration made in cashmere heaven.

I’m pretty sure I’ve seen the orange, or zinnia, version of this Bonnie Cashin for sale at some time in the past.

This sweater is so typical of the way Cashin mixed colors. I love that rounded collar.

A seller on etsy actually has this sweater and skirt set in two different colors. Note the pin in the neck opening. One of the sets that is for sale still has the pin and the original tags.

The skirt was a special design by Cashin which ensured a better fit. t was available in all the colors of the various sweaters.

Not all the items in my little catalog were designed by Cashin. Sweaters like the one above were probably available for several years both before and after 1965, being such a classic design.

By 1965, the collarless Chanel jacket had been made and sold by Mademoiselle for over ten years. If a brand labeled a jacket as “Chanel style” women who followed fashion knew exactly what was meant. Chanel herself found such references to be flattering.

Today though, Chanel, Inc. takes a hard line against any other company (and that includes re-sellers on eBay) using the Chanel name to sell a non-Chanel product.

This open letter to would-be abusers of the Chanel name was first published in 2009 in fashion magazines. This is an attempt to keep control of the Chanel name. They don’t want “Chanel” to become an adjective. The Fashion Law explains it well. 

It’s a bit like trying to close the barn door after the horse is already out, seeing as how “Chanel” has been used in a descriptive manner since at least 1965, and I suspect, even earlier. But those Chanel lawyers are, as they say, serious. I’ve known eBay auctions for “Chanel-like” suits to simply disappear.

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1950s Pat Perkins Fore Action Golf Dress

For longer than I care to think about I had been meaning to drive down the mountain to Greenville, South Carolina. Greenville is one of those places that is making an effort to revitalize the downtown area, and at the same time smaller enclaves of retail and restaurant activity are springing to life.  One of these enclaves is the Village of West Greenville.  West Greenville was originally a a cotton mill village.

The nearby Brandon Mill employed over one thousand workers in the prosperous cotton mill days of the early twentieth century. The most famous person to ever work there was Shoeless Joe Jackson, who started his baseball career playing for the Brandon Mills team. For those of you who don’t know baseball history (or who don’t live with a Chicago White Sox fan) Jackson was involved in the infamous Black Sox scandal of 1919.

Today West Greenville is home to Kate DiNatale Vintage. It was there that I found this great late 1950s golf dress.

I knew the brand name Pat Perkins, but I had no idea the company made golf dresses. I knew them as a maker of affordable day dresses.

Fans of classic television know the Pat Perkins name because it is boldly featured in the opening credits of The Honeymooners. According to The Official Honeymooners Treasury, Mac Kaplan, the owner of Sunnyvale Inc. the maker of Pat Perkins dresses, gave the show a few dozen dresses for Audrey Meadows as Alice Kramden to wear on the show in exchange for a listing in the opening credits. Unfortunately, Alice always wore an apron that covered much of the dress, much to Kaplan’s chagrin.

One thing that makes a good golf dress is the presence of functional pockets. And I love these, with the top of the pocket forming a belt loop.

You can see how the breast pocket mirrors the styling of the lower ones. Because this dress is sleeveless, there is no need for adaptations in the sleeves. Do note the additional ease in the shoulders.

One place I always look for information on a brand or trademark is the Trademark Electronic Search System. It is a very handy tool, but it has to be used with caution. Even though the label has a little R for registered trademark beside “Fore Action”, I could not find it in the system. The only Pat Perkins trademark listed dates to 1962, and clearly states that the first use of the trademark is 1962. Some users might mistakenly take this to mean that the Pat Perkins label was not used before 1962, but we know that is not true. The registration is in fact referring to the brand name plus a slogan: “Pat Perkins, Reflecting America’s Most Treasured Daytime Dress.”

If you are ever in the Greenville area, a trip to Kate’s beautiful store is most recommended.

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1920s Gingham Romper

About a year ago I went on a rant over how some vintage clothing sellers and buyers have changed the vocabulary of certain garments in order to made them seem more versatile. In particular I was irritated about the use of the word “romper” when the object in question was obviously a gym suit or a bathing suit. I even went so far as to say that women did not wear rompers, that the romper is a garment for a baby or a toddler.

I never like being wrong, but when I am it pleases me that my fellow fashion history lovers care enough to set me straight.  After posting the rant I got an email from Lynne (otherwise known as the best online researcher I know) that contained a 1920s sewing pattern for a woman that was clearly labeled a romper. She also sent along a photo of a very similar garment she has in her own collection.

Properly corrected, I then set off to find an example for my collection.  Last week I finally was able to add the one seen above. There is no doubt this is a garment for an adult, and it is also apparent that this is an outer garment, not lingerie.

Notice that there are snap closures on both shoulders and another on the front of the neck.  This made it easy for the wearer to put on the romper by stepping into it and pulling it up.

The tie belt sits on the top of the hips, giving a proper 1920s silhouette.

The inside legs and the crotch are shaped with the use of a wide gusset. There is elastic in the legs, but it is old, crunchy, and it no longer stretches. I’ll not replace it, but if this ever goes on display some new elastic can be inserted along side the old.

The shoulders have those handy little lingerie strap holders that prevented that embarrassing bra strap slip-up.

I’m quite sure this romper was made at home rather than purchased. The construction is very good, but there are a few places where alterations were made while the garment was being made. There is also quite a bit of hand-stitching.

I tried to locate the photos Lynne sent to me, but failed. I did find an example of a Butterick sewing pattern for a romper in a post at Witness2Fashion. It was included in a feature of costume party patterns. I located another, very similar one from McCall Patterns. 

So rompers definitely were a thing for women, at least in the 1920s and 1930s. Still, I don’t agree with calling a gym suit a romper, no matter how much the garment is similar. In fact, my romper here looks to be a direct descendant of my circa 1915 gym suit.

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Sportswear Innovation – Culottes, 1930s

One of my latest finds looks like a dress, but the skirt is actually culottes. I first spotted this on Instagram and then I stalked the listings of LittleStarsVintage until she listed them. We don’t think much about culottes these days unless they are undergoing one of the many revivals of the style.  But in the 1930s, culottes were news.

In 1930 pants were being worn more and more by women, but they really were still mainly for sports, the beach, and the home. Wearing pants on the street shopping was still frowned upon in most places.

In 1931 Elsa Schiaparelli designed and made a culotte skirt and she actually wore it on the streets of London. I’m so glad that moment was documented. The same year she made a pair for tennis star Lili de Alvarez who was roundly criticized for wearing them in a tournament.  These photos are from Shocking! The Art and Fashion of Elsa Schiaparelli by Dilys E. Blum. I highly recommend it.

I think Schiaparelli’s pair looks like beach pyjamas that have shrunk to just below the knees. By 1931 the straight legs of the pyjamas of the 1920s had morphed into wide-legged bell-shaped legs. Could that have been Schiaparelli’s inspiration for the shape of her culottes?

My pair dates to the second half of the 1930s, and is made from a cotton print of coins. The red rick-rack is a casual touch, and marks this as a dress that might be perfect for a picnic or as a house dress. A very brave woman might even wear it to the market.

A machine stitched hem pretty much confirms this was a commercially manufactured garment. The seller had previously sold a very similar dress which had a size tag, something this one does not have.

It also has machine-made buttonholes which points to a manufactured product.  I can’t help but wonder why black thread was chosen.

Besides the culotte skirt, this dress has another feature that makes this appropriate as sportswear – a pleated sleeve. I love this sleeve, which I first encountered in an early 1930s blouse pattern.  Sleeves made in woven fabrics often have a stiff and uncomfortable feel, but this sleeve is loose and airy without looking frilly or silly.

Culotte patterns were also available to the home sewer.  This Hollywood pattern is not dated, but the original owner wrote “May 12, 1936” on the envelope.

And I refuse to believe that anyone has legs that long!

 

 

 

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1910s – 1920 Wool Gym Suit

I started adding gym suits to my collection purely by accident.  Ten years or so ago I was trading some things with my favorite vintage shop when the owner pulled out a 1940s gym suit and insisted that I take it. I was a bit reluctant as I was trying to limit the focus of my acquiring.  I now realize she knew me better than I knew myself.

Since then I’ve actively searched for gym suits, and now have sixteen in my collection dating from circa 1870 through the 1950s.  Considering how women claim to have detested their gym suits, it is surprising how many survive. I’m pretty sure my 1970s version was destroyed decades ago!

I found my latest gym suit at the Liberty Antiques Festival back in April. I almost missed it, as it was folded in a stack of old linens. But something about the black serge caught my eye as I passed by.  The lesson is, of course, to always look through unpromising stacks of linens.

I estimate this one to date from 1915 through 1920.  The photo above is from an Aldrich & Aldrich catalog showing a 1920 gym suit from their inventory.  Mine is a different company, E.R. Moore, but the styling is very similar, with the loose belt that contains the wide pleats that fall from a yoke at the shoulders.

E.R. Moore was founded in 1907, and made not only gym suits, but also academic gowns for graduations and other ceremonies. As far as I can tell, the gym suit production ended several decades ago, but gowns continued to be made at least until 2005. The year before there was a big kerfuffle at Harvard when it rained at graduation and the dye from the gowns ruined graduates’ clothing. The factory building is now loft apartments.

 

One thing I especially love about this suit is that I know the name of the original owner.  Not only is Virginia Hooper’s name sewn into the suit, but a note was attached as well.

I have not been able to identify Ms. Hooper, but the suit came from a consolidation estate company in Indian Trail, NC, which is in the Charlotte area. Along with the gym suit and linens, several boxes of high quality fabrics came from the estate. (And yes, I bought some of them as well.)

 

After looking at the Aldrich catalog, I’m thinking I should have photographed the belt buttoning at the back.

Without the belt you can see how roomy this gym suit is.  No need for a corset here.

In my quest for more information about this particular suit, I turned to When the Girls Came Out to Play, by Patricia Campbell Warner, and I was rewarded with some nice details about this style of gym suit.  It was designed around 1910 by Florence Bolton at Stanford University, and was based on the English gym slip, but with bloomers at the bottom. It was designed to be worn with a cotton blouse beneath. Practical though it was, this design proved to be unpopular as it was too far from mainstream fashion. Warner points out, however, that before long, most women’s fashions had a similar silhouette. Once again we see the influence of sports attire.

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Saul Steinberg Novelty Border Prints

I think that at some time or another I’ve shown photos of the skirts in today’s post. But after showing these on Instagram I realized I needed to write a little about artist Saul Steinberg and this line of skirts. You may know Steinberg from the many covers he made for The New Yorker. Lesser known were the textiles he designed in the 1950s.

Starting in 1946 Steinberg designed a line of home decorator fabrics and matching wallpapers for Piazza Prints. It was supposed to be an exclusive contract, with Steinberg designing only for Piazza, but somehow he entered into agreements with at least two other firms.  One was another maker of home decorating fabrics, but the other was a producer of dress goods. Probably because he was in violation of his contract with Piazza, Steinberg’s name does not appear on the garment weight goods.

All of this information was researched for the book and exhibition Artists’ Textiles: 1940 – 1975.  The information about the two “illegal” lines was uncovered in the correspondence between Steinberg and Piazza representatives.  Piazza did not care about the dress goods fabrics, as they were not their competition. They were upset at the other lines, as it was a competing company located just blocks from them in the garment district.

The dress goods are all, as far as I know, labeled Regulated Cotton “Never Misbehaves”. Also included is the name of the print.  This modern day cowboy goes to Vegas scene is titled “Tin Horn Holiday”. I know nothing at all about that company  but some of the fabrics have been found in 1950s JC Penney catalogs. Like many of the fabrics in the past, yardage was available to both home sewers and to manufacturers of clothing.

The Steinberg prints are pretty easy to recognize, as most of them have some features in common. One end of the selvage, which is the bottom of the print, has a border that is not part of the narrative. Above you can see random lines along with scribbles that sort of look like words, but don’t actually say anything.  Above that is the story, in this case of a cowboy and bandit, two cat-eyed ladies in a big ole car, palm tree street lights, and a resort casino sign.

Parts of the motif are carried upward into the background. Here you see lots of little cars, probably traveling in for a holiday. As was common, this print came in at least five different colorways.

This print is, I think, called Casbah. Steinberg had spent time in North Africa, and he made a similar drawing during his visit.  This print follows the pattern of hem border, the main story, and then the palm tree motif repeated near the top.

This print also came in white, with red, gold, and blue accents.

This print had the selvage removed during its construction, so I can only guess at a name.  How about Cuckoo?  And I love that goat so much.

In making this skirt, the sewer used the bottom border to make the waistband.  A complete version has sea turtles at the hem.  I’ve seen this print with a black background with bright colors, and someday this skirt will be replaced with that version.

Instagram user gday321 posted a photo of himself wearing a cabana set – swim trunks and matching shirt – made from this print in white with bright colors.  He found his set pictured  in a 1958 Sears catalog. I’ve seen this print referred to as Calypso, though I do not know if that is the actual name.

This last print has been identified as a Saul Steinberg design, and it does look like his work.  It is a bit different in that the background is not filled in with a smaller motif.

All the Steinberg prints seem to have travel based themes, or at least travel destinations for American tourists.  There are several more besides the ones in my collection. An English fox hunting scene has the fox sitting on a “No Hunting” sign while surrounded by hunters on horseback and their hounds.  A Florida themed skirt called “Cypress Gardens” has water skiers and speed boats.  There are two prints that feature trains, “Paddington Station” and one known as simply “Train.” One of the most elaborate designs is a scene in an opera house. There is one that features a roller coaster in an amusement park.  There is one that looks like Innsbruck, with a procession of antique fire engines, and another that looks like Switzerland with people in folk costume and a Saint Bernard dog with his little cask of rum. There could be others, as some of these are rarely seen.

I’m thinking Steinberg must have made more than a little pocket change from these fabrics, as some of them were obviously very popular, especially Tin Horn Holiday. Hopefully more research will be made and more details will come to light about these fantastic fabrics.

Artists’ Textiles 1940 – 1976by Geiff Rayner, Richard Chamberlain and Annamarie Phelp is a great book.  Read it.

 

 

 

 

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1940s Made in Hawaii Bathing Suit from Kahala

This recently acquired halter and shorts set sent me down a rabbit hole of Hawaiian textiles.  The beginnings of the Hawaiian shirt are a bit obscure, but the first ones were probably made from silk fabrics from Japan in the 1920s.  Most of them were made by small shops in small batches. The large scale manufacture of shirts from Hawaiian fabrics started in the mid 1930s.

My set was made by Kahala, one of the first companies to manufacture “Hawaiian” garments.  It was started in 1936 by Nat Norfleet and George Brangier, neither of whom was a native Hawaiian. Their company, Branfleet, was using the Kahala name and label by 1937.  From what I’ve been able to find out, women’s garments were not made until after World War II, but then clothing for women became a major part of their business.

It is possible that my set is actually a bathing suit. It is completely lined in cotton jersey.

What Norfleet and Brangier discovered was that men would buy a shirt made from their Hawaiian fabrics to wear while in Hawaii, but women would continue to wear their Kahala garments after returning home.  I’d say this was much better than today’s not so subtle brag of the souvenir tee shirt.  You could remind the neighbors of your Hawaiian trip while looking fabulous.

I don’t find a lot of older Hawaiian garments here in the Southeast. People here were much more likely to vacation in Florida, or if a little more affluent, Cuba. But from the few older Hawaiian shirts I have been able to closely examine, I can tell you that the fabric is very different from the newer rayons made in the 1980s up through the present time.  My set is rayon, but it is lightly textured, though smooth at the same time.

The button is made from coconut shell, and adds another layer of Hawaiian authenticity.

But the star of this set is the print.  The richness is achieved with the use of at least fourteen colors.  I especially love the light blue used with so much red.

According to my one and only book on Hawaiian shirts, the very earliest prints were tropical flowers and tapa cloth prints. Scenics like mine soon became popular as well.

The Hawaiian Shirt, by H. Thomas Steele, was one of the very first fashion books I bought.  I can remember looking through it in the local B. Dalton book store and trying to justify the purchase. It was published in 1984, so I’m sure it was shortly after than that I added this to my very small, but growing, fashion history library.

 

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Filed under Collecting, Novelty Prints, Proper Clothing, Summer Sports