Category Archives: Novelty Prints

1940s SS Neptune Linen Top

It seems like I’ve been on a real nautical kick lately, as the last three items I’ve added to my collection were inspired by the sea. It’s not surprising, really, as sportswear has from its very early days been influenced by clothing traditionally worn at and on the ocean. Garments like the middy blouse were based on the sailor’s middy, and nautical motifs are really common in sports clothing.

Today’s nautical garment is a top from the post-war 1940s. The fabric is linen, and is nice and crisp.

I’ve spent a lot of time thinking about this top, and its original purpose. At first I thought it might be a beach cover-up, but the length seems a little short for that use. The presence of the pockets, and the fact that there are only three buttons keeps this from being a blouse that would tuck into pants or shorts. So I’m going with jacket. I can see this paired with a pair of white slacks, with maybe a tee shirt or halter top beneath.

I love the colors, which are not the standard nautical red, white, and navy. The rope around the life preserver is the very same color as a sash on a late 40s pants set I have. Color is fascinating, because you really can use it to help with the dating of garments.

At first I could not decide if the buttons were the originals, but a very close inspection of the thread used in the making of the buttonholes, and the thread used to sew on the buttons seems to be a match. So I’m pretty sure they are the originals.  And you can tell by the handmade button holes that the jacket was made by a home sewer, rather than manufactured commercially.

The sewer knew her (or his, possibly…) fabrics and took no chances with the linen. To eliminate raveling, the armscye was bound in bias tape, and the seams were flat felled. There are no exposed edges anywhere on the garment.

I looked to see if there was any special SS Neptune, and found a lot of photos of a sailing ship caught in the arctic ice. There have been lots of ships named Neptune, for obvious reasons, and I guess this print was named not for a real ship, but for an imaginary Neptune.

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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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Seahorse Silk Blouse: Tache, Rue de Castglione

I realize after looking at this photo that I should have taken the time to try and do a better job of showing just how lovely this late 1940s or early 1950s blouse is. I’m hoping the details will show the special-ness of it.

Every so often the question will arise on vintage clothing chat board, “What makes a garment museum quality or museum worthy?” There’s no easy answer to the question, and it depends on the museum and the collection housed within. For example, the Costume Institute at the Metropolitan Museum of Art might turn up its nose at a rather plain mid-nineteenth century dress made and worn by a woman in Kansas, but that same dress might be an important part of a museum that interprets the history of that state.

When it comes to adding something to my own collection, I have several things to think about. “Museum quality” isn’t one of them, but “collection worthiness” is. An item has to not just fit into my theme of sports and travel wear, it must fill a spot that is currently empty, or it has to be a better example of something I already own.

Blouses from the post WWII era are quite common, and I already have a few, including a navy one in rayon, so unless one is pretty special I’m not going to be interested.

I love the under-the-sea theme of the embroidery with the seaweed and seahorses.  But notice also the quality of the embroidery.  This is tambour, which is done with a hook. There is also a machine which can produce a good tambour facsimile, and I’m not enough of an embroidery person to be able to tell the difference. I’m guessing it is machine work because it is just so tiny.  I can’t imagine it being done by hand, but expert embroiderers are magicians.  All I can say is that the work is beautifully done, and the back is neat and lovely as well.

This is the arm opening, and you can see the tambour that is applied to the band that secures it.  Also note the button, which is starburst-cut mother-of-pearl.

I sort of wish the blouse were actually this color, but this is just my camera playing tricks again.  The blouse is navy.  But I included this shot because I wanted to make sure the row of tucks would be noticed.  You probably can’t tell, but they are actually stitched by hand.

This blouse was meant to be tucked into a skirt or slacks, and to help keep it looking neat, there is a series of eight tucks (in addition to these decorative ones) all around  the waist.

The label reads “Tache, Paris, 6 R. de Castiglione. The Rue de Castiglione is a shopping street that connects the Place Vendôme to the Tuileries Gardens. It’s a nice area of the city.  Unfortunately, I have found nothing at all about Tache.  I assume it was a store that sold pricey goods. Today, it appears as if there is a spa located in the space, which is across the street from a Weston Hotel.

As would be expected on a garment of this quality, there is a mixture of machine stitching and hand finishing.  The hem is hand stitched, as are the bindings at the neck and arms.  The machine-stitched side and shoulder seams are finished with a hand overcast stitch.

I also consider condition when deciding on a purchase.  I can deal with a bit of less-than-perfect-ness, especially if the garment is really good. Rarity also is considered.  I’d want a 1960s sportswear piece to be almost perfect, but I’m willing to be a little less picky when it comes to a piece from the 1910s. In this case, the condition is very good, with one light spot and a tiny repaired hole.  There are also some seams that have come loose.  Those I’ll fix with basting.

This was an item I spotted on Instagram, from Ballyhoo Vintage Clothing.  Sellers, if you are not on Instagram, you might be missing opportunities to sell your stuff.

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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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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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Super Find Becomes Albatross Becomes Happy Memory

I recently found a stack of wonderful old linens at my favorite shopping place.  As so often happens, a load of donations go in after the closing of an estate, or maybe a move to a smaller house.  Anyway, I sometimes find the entire contents of the linen closet, and that usually means at least a few great novelty prints.

This souvenir tablecloth from Cuba was the best of a really sweet group of printed tablecloths.  These tablecloths were very popular in the post WWII era, and I imagine that most homes had at least one – a Christmas theme cloth perhaps.  I still have the one my mother used on our holiday table.

Tablecloths were also a great vacation souvenir, and I’ve seen printed ones with destinations from Alaska to Florida and beyond.  Most that I’ve found are not labeled, but I know of one company, California Handprints, that made novelty and printed tablecloths.  My guess is that this one, though sold in Cuba in the 1940s or 50s, was actually made in the USA.

I was really happy to find the Cuba one, especially after checking the prices on Ebay.  So I took a few photos, wrote up my listing, and put it on Etsy to sell.  I also posted a photo on Instagram, where a fellow vintage travel enthusiast saw it.  She emailed with the great news that she and her husband are traveling to Cuba soon.  I clicked over to review my listing, but found it had disappeared.  After a long search, I discovered that Etsy had deactivated the listing.

That was a bit puzzling, but the next day I got an email that stated that the tablecloth was in violation of the US embargo against Cuban products!  I sent an email back explaining that the tablecloth was made before the Cuban Revolution and the embargo.  It was probably made in the US, and then imported to Cuba where a tourist bought it and brought it back to the States.  In other words, it is not an illegal Cuban product.

No matter, as the diligent people at Etsy can’t take a chance that the selling of my tablecloth might be the very thing that allows the Cuban government to break the (already weakened by US law) embargo.  So my option was to stick it on eBay where there are several similar ones up for sale.

But it just left a sad feeling, with my happy find turning into a problem.  I had to find a way to break the evil spell cast upon my innocent tablecloth.  So now the tablecloth is on its way north, to the lucky Beth who will soon be traveling to Cuba.

And by the way, the email from etsy’s legal department asked me to please keep our email exchange a secret.  They are probably embarrassed for the world to know that legal communications are headed with “Hi there” and are signed with a first name only.  Seriously.

But enough of that!  I’m not one to hold a grudge so instead of making fun of Etsy Legal, let’s look at the great details of this print.  Aside from the sleeping guy under the sombrero in which the designer got his Latin American countries confused, the print is full of references to the fun things one would encounter in the “Holiday Isle of the Tropics.”

Cruise ships! Tennis! Skiing! Rum! Sailing!

Dancing! Show girls! Tobacco fields!

And a whole corner of the US Naval Station at Guantanamo Bay!

I have opened my annual Etsy pop-up shop, in which I try to make a few bucks to support my collecting habit.  I sell vintage sewing patterns and other vintage finds from the past year that I’ve decided not to keep.

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