Category Archives: Collecting

Late 1940s Alice Stuart Travel Blouse

One thing that really determines whether or not I add an object to my collection is the condition, especially if it is a fairly common garment.  But sometimes a piece that is damaged crosses my path and I have to decide if the garment is special enough to disregard the damage.

Such was the case of this rayon blouse from the late 1940s or early 50s.  I loved the print, which is made up of ocean liner stickers.  I loved the blue, black, and lime green color scheme.  I loved the style.  But it had numerous problems.  The price was reasonable, so I bought it anyway.

Look carefully at the two photos above to spot the differences.  The bottom photo is before a few temporary repairs.  There were a series of darts that released into fullness above the waist.  This was a design trick that helped a tucked in blouse look neater because it reduced the bulk around the waist.  A previous owner had taken out all the darts, and then she hemmed the blouse about an inch and a half.

Here you can see the stitch marks that had been removed, and the fold line where the blouse had been hemmed.  Note that the stitch lines of the darts had been strained, which probably explains that they had been removed following a weight gain.  The shorter length could possibly have occurred late in the 1950s when over-blouses became popular.

Because the seamlines were somewhat compromised, I decided not to restitch the darts permanently.  Instead, I lightly basted them in place so that when displayed they had the shape of the original design, but with less stress on the dart seams.  The seams around the bottom of both sleeves had been repaired, with much of the underarm seams being broken.  Again, I used basting as these seams were also in fragile condition.

After the repairs, the blouse is still fragile, but is strong enough for display.  It has the look of its original self.

The ad above is from September, 1951, around the time my blouse was made.  One thing I love about researching old brands it that it allows a few guilt-free hours looking through vintage fashion magazines.  I did not expect to find an ad for my blouse, as I would have remembered this print from previous browsings.  But I felt confident that I would find ads for Alice Stuart.

Blouses were a very big deal in the 1940s and 50s, with there being dozens of companies that made blouses exclusively.  Every issue of magazines targeted toward the career girl, like Glamour and Mademoiselle, had plenty of blouse advertisements including those for Alice Stuart.

From the ad above you can see that the blouses were made by Alice Stuart, Inc.  By 1956 the label had become part of the Jonathan Logan dressmaking empire.  In that year Jonathan Logan registered the trademark, which the application claims that the label was first used in 1942.  That sounds about right, though sometimes the information contained in trademark applications involved a bit of guesswork by the applicant.

I have no idea when the label was discontinued, but a search on ebay produced styles from the 1980s.

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Filed under Ad Campaign, Collecting, Novelty Prints, Proper Clothing, Vintage Clothing

Collis Improved Cushion Ankle Support

Sometimes I don’t know how I manage to run across the forgotten and obscure bits of sportswear history, but I’m glad I do.  In this case, it was an item I had no idea even existed – an ankle support.  But HippieSewingMama had it for sale on ebay, and I somehow located it, and now it’s a part of my collection.

For all athletic purposes, though I suspect that even large ladies would not have been using this to help out in a football game.

The support is actually a soft brace, sturdy enough to actually help someone suffering from wobbly ankles.  It’s made from a strong cotton, and is padded.

Henry James Collis of Taunton, Massachusetts made  his first ankle brace in 1906, but the original design was rejected by the patent office as a very similar brace predated his.  He was eventually able to get his patent (note that my box reads “Design Protected”) and over the next few years he continued to patent improvements to the original design.

My ankle support does not have the vertical lines shown as numbers 14 and 15 in the drawing.  These were pockets for “removable stiffening strips” and I imagine many of them were actually removed as the idea seems a bit uncomfortable to me.

The view from the front.

I’m not sure how long Collis made his ankle supports, but here they are in a 1935 Lowe & Campbell Athletic Goods catalog.  According to this ad, the removable stiffening strips were reeds.  Like I said earlier, uncomfortable!

I have found out very little about Henry James Collis.  He was born in Great Britain in 1873, and died in Massachusetts in 1960.  He held patents not only for ankle supports, but also wrist supports, padded skate straps, an improved watch fob strap, and billfolds.  A search on ebay turned up several canvas items with a H.J. Collis label, including a fishing creel, a game bag, and a holder for fishing flies.  In other words, Collis was a manufacturer of canvas sporting accessories.

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Filed under Collecting, Curiosities, Sportswear

Shopping with the Vintage Traveler

When the going gets tough, the tough shop for vintage.  As usual, I spotted some really interesting things.  The table croquet set above is complete in the original box.  I am guessing that it dates to the 1880s, but could use some help narrowing down the date.  Click the photo to get a better look at the beautiful label.

In the same store was this cracker box lid.  I loved the big dog carrying the basket of crackers for the child.

Child clothing experts, is this a girl or a boy, or is it impossible to tell?

Progressing through time to the 1940s, I loved how a very fashionable woman was being used to sell Skrip ink.  “Individuality with Color”

This early 1940s (or very late 1930s) sure has shades of  Scarlett O’Hara wearing the drapery.  Gone with the Wind was released in 1939, and of course fashion was influenced.

WWII era instruction book for making hats, or rather, “Fascinating Toppers.”

If I were not so fascinated with clothing, I think I’d collect Edwardian books just for the decorative appeal.  1907

Tammis Keffe is probably remembered more for the whimsical hankies she designed in the 1950s, but she also did work for household linens companies.

Will you have that cocktail on ice?

I’m sorry about the quality of this photo, but windows are impossible when the sun is shining.  I simply could not pass up a vintage sewing themed window, spotted in an antique store.

Even more vintage sewing.  I’ve been tempted to actually buy and use one of these folding sewing stands.

I must have had sewing on my mind.  This box is covered with a Grandma Moses print.  In the 1950s the Riverdale Fabric Company made home furnishing fabrics using Moses’ paintings as the print.

Spotted in a photo album, this photo of a woman circa 1930 was of interest because I own a similar pyjama.

All this talk about shopping has put me in the mood for a trip out to the stores.  Who needs Black Friday!

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Filed under Collecting, Curiosities, Shopping

Textile Classification and Weave Analysis Cards, 1915

I had an interesting estate sale find recently.  The card above was only one of about one hundred cards with fabric samples.  What makes these so interesting is that these were part of the coursework at George Peabody College for Teachers in Nashville, Tennessee.  The cards were completed in 1915 by student Mamie Newman.

The cards were designed by Blanche E. Hyde.  The only information I’ve been able to gather about Ms. Hyde is that she was a teacher at Peabody.  My guess is that she was in the department of home economics.

In addition to Miss Newman’s notes, some of the cards have corrections written in by the instructor.  Ms. Hyde, perhaps?  Miss Newman misidentified the chambray, and noted that it was of average quality.  The teacher’s opinion was that this fabric was below average in quality.  I just know I’d love to find a chambray of this quality today.

The cards with their little textile swatches are delightful, and give a great view of the types of fabrics available in 1915.  Is cotton crepe even manufactured today?

Some of the card describe weave patterns, like this plaid.  Today we think of gingham as a two color, or most often white with a color, check.  Once upon a time gingham was a stripe, but gradually plaids were woven, and today, the fabric is primarily made as a check.

I wish I could say that I brought home all the cards, but that was not meant to be.  The estate company had priced these individually, and to have bought them all would have been around $300!  Still, I did think it was worth purchasing a few as great examples of the type of work  young women in home economics were required to do.  I can just picture the girls in the local dry goods store, driving the proprietor crazy with their swatch collecting.

 

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Filed under Collecting, Curiosities, Southern Textiles

Mrs. William Stock Wearing a Familiar Looking Dress

I’m in the process of organizing and making good digital copies of my photograph collection.  Actually, I’m waiting for a big snowstorm that will force me to actually stay at home and accomplish the task, but that’s another story.  Anyway, I have been reviewing and categorizing each photo, and when I came to this one, I did a bit of a double-take.  Mrs. Stock’s dress looked very familiar.  Then it hit me.  I have that dress.

The dress is a rayon print with travel tags: Paris, Salzburg, Marrakesh, Edinburgh, and Venice.

It’s 1950s in every way possible, from the pink and olive green used in the print, to the fonts of the words, to the line drawings.  And the design of the dress – actually a skirt and blouse – is also typical of the 1950s.

My dress has no label, but it was commercially made.  I’ve seen the print in another colorway, and in a different type garment – a much fuller skirt.  That’s not uncommon, as a fabric design was often not only used by more than one company, and it might have been offered to home dressmakers as well.

Click to enlarge

Here’s a closer look at Mrs. Stock and her dress.  I love that we can see how she accessorized the dress, with her pearls, bracelet, and especially, the belt.  It’s the only piece that does not match!

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Filed under Collecting, Curiosities, Novelty Prints, Vintage Clothing

Currently Reading, Textile Collections, Plus a Bit About Museums

In order to really understand the nature of this book, you have to pay close attention to the subtitle.  The words Preservation, Access, Curation and Interpretation in the Digital Age tell us that this book is not about textiles so much as it is about the ways that computers and other digital devices have opened up new possibilities in the world of textile collection management.

As such, Textile Collections by Amanda Grace Sikarskie, is not for everyone.  But I could not resist the title, and thought that at least part of it would be relevant to a private collector like me.  Not only was that thought correct, the book also contains a lot of food for thought in the area of fashion and textile exhibitions.  And if you are a regular reader, you know how that interests me.

Textile Collections has four major themes, as stated in the subtitle.  Of the four, I found the chapter on curation to be the most interesting.  The use of the word curate has, since the advent of social media, changed.  Traditionally, curators have been museum keepers who plan exhibitions and who determine what will be on view and what will be said about it.

But  Sikarskie points out that this idea – that museums dispense knowledge without taking anything back from the exhibition’s viewers – is quite old-fashioned.  In other words, it can be a passive activity, much like watching TV or listening to a recording, as opposed to enacting a play or creating music.  But the computer has made it easy to not just watch or read, but to interact with web content.  Blogs and Instagram and even newspaper articles allow the reader or viewer to voice his or her opinion, or even better, to add to the knowledge presented.

Silarskie argues that people on the web “curate” all the time.  We choose which photos to post on Instagram.  We create outfits on Polyvore.  We choose articles and images to reblog on Tumblr.  Of course, museum curators tend to dislike the appropriation of their job title.  But, the meanings of words are not static, and changes happen all the time.  And while I was a teacher, that term can be applied to anyone who teaches.  Might not the same be said of anyone who “curates”?

Much of the issue as laid out by Sikarskie centers around how a traditional museum that is used to having complete control of their collection and how it is displayed can adjust to a generation of young museum-goers who are used to interacting with things they see displayed on the internet.  In a way web users have moved past the old model of having information fed to us.  We have become used to posting replies on blogs, commenting on Instagram, liking on Facebook, and re-tweeting on Twitter.

As I’ve said many times, the comments here are often the very best part of The Vintage Traveler.  I’m praised for sharing my knowledge, but I can tell you I learn just as much from you readers.We interact and share and ask questions.  We find answers and go deeper.  I value every email and reply I get, as I know that is how we increase the body of information concerning clothing history.

So, how is this sort of interaction to be achieved in a museum setting?   Sikarskie used the example of how some museums are putting  i-pads or computer stations in exhibitions with which visitors can “interact.”  But the goal is not accomplished because the information on the device is also static.  I started thinking about how when I encounter an ipad in an exhibition, I tend to flip through the photos, and that is pretty much it.

Then I remembered how ipads are being used at SCADFASH.  Instead of having ipads stationed around the room, they are carried by docents who use them to engage visitors in a conversation about the objects on display.  This gives the visitor a chance to tell his or her stories, and I’m sure the students at SCADFASH have heard some great ones.

We are all historians.  Yes, some know more history than others, and have worked very hard to develop this knowledge.  But one does not need to have a history degree in order to share important stories about the past.

I’ll finish this up with a link to an interview with fashion curator Timothy Long.  Long tells about how he got into curation, and a bit about his job at the Museum of  London.  He works directly with the fashion collection at the museum, which he shares on social media.  His Instagram posts are like  treasure boxes being opened.   But what I found to be really interesting was that Long was not originally  in favor of using social media in his job, and that the museum actually had a policy forbidding it.  But things change, and now the Museum of London has a growing audience through Mr. Long’s creative posts.

 

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Filed under Collecting, Currently Reading

Real Silk Costume Color Harmony Charts for Spring & Summer 1925

 

I have gone on and on about color, and finding this 1925 color chart has just made me more determined to learn more about historical colors.  This one was produced by Real Silk Hosiery Mills, which used it to help consumers pick out the correct color of stocking.  Real Silk was like Avon, being sold only through representatives who called on women at home.  Their slogan was “From Mill to Millions.”

The color consultant and fashion director at Real Silk was Miss Katherine Harford.  As you can see, she was formerly with Harper’s Bazar, but it does not tell us what her job there was.  The only references I could find to Miss Harford were in Real Silk ads.

Unfortunately it appears that one/third of this folder is missing.  In other examples I’ve found there was another section labeled “Street”.  Still, there is enough here to give us a good idea of fashionable colors in 1925.

In today’s anything goes world women might find the advice of how to match costume, hose, shoes and accessories to be a bit quaint.  But in 1925, the showing off of one’s legs was a big deal, one that many women were still unaccustomed to doing.

If you are up on internet social causes, you might have noticed the “nude” color.  Today most people have come to recognize that people are not all the same color, and one “nude” does not fit all.  The same thing goes for “flesh.”

Of course, in 1925 it was okay to use such terms as “Indian Skin” and “Mulatto”.  Sometimes when I feel discouraged about the lack of progress in our own society, I can always look to the past to see that in some areas, at least, improvement has been made.

But societal issues aside, we can see on this chart some of the best and most popular colors of the mid 1920s.  Salmon, of course, as orange was so much in favor, but also Bluet, Blush Rose, and Melon.  I find it interesting that black is not in the evening costume category, as it had really gained in favor.

I look for old color charts, and buy any that are dated and reasonably priced.  Thread and needlework companies also did color charts, but I’ve found they are rarely dated.  Maybe they didn’t change the colors so often, as needlework requires a large range of colors, many of them not of the mode.

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Filed under Collecting, Curiosities