Category Archives: Sportswear

Brucewood Sportswear for Women

I always consider it to be a lucky day when I spot a vintage sportswear catalog for sale. There are quite a few places to look for such catalogs, especially on ebay, but rarely do items of this sort come up for sale. The only bad thing about this one is that there is no date.  Using style clues, I’m placing this one at 1936, give or take a year.

This catalog only has ten pages, so I’ll be sharing the entire thing.

Best of all, there are swatches! Swatches make any catalog better.  Actually, I would not order the Skipper Slacks, due to the thinness of the fabric. I always think of Indian Head as a thicker duck cotton, but this is a thin poplin. I bet a lot of people were disappointed with this item.

But is Plaiddies not the best name ever?

The very wide legged slacks actually look a bit earlier than 1936.

But I’m placing my date partly based on the bathing suits. These are very similar to a Jantzen suit that I know was made in 1937.

The Brucewood bathing suits were also very stylish, and they were a dollar or more cheaper than the Jantzens.

Look at the waists of two of these suits and you can see the two-piece bathing suit starting to develop.

There are a few more dating hints in this grouping. The skirts are very long. By 1937 or so skirts started inching up toward the knee. Also, there’s no hint of the gathered shoulder that had become so popular by 1938.

And how can one not love a good bikette?

Terry and wool jersey.

Riding clothes are not always including in sportswear catalogs, so having a spread of them is a real treat.

What looks to be shorts is described as a pantie. It looks like they could have been buttoned to the shirt, and if so, would have been for wearing under the breeches.

Several of these jackets have asymmetrical openings, a common feature in the mid-1930s.

The sweater twin set is most associated with the 1950s, but they were actually popular starting in the 1920s.

Maurice L. Rothschild was born in Germany in 1964. As a teenager he came to America, and he eventually settled in Minneapolis. He started a store, the Palace Clothing House in 1887. The first store was small, and he quickly outgrew it, and after moving several times he constructed what became known as the Palace Building in 1907.  The store remained in that location at the corner of  Nicolett and Fourth Streets. A branch store was opened in Saint Paul in 1893, and one in Chicago in 1904.

Maurice died in 1941, and the business continued under the direction of his widow, Hulda, until 1949.   At that time the business merged with the  Young-Quinlan Company.

Company information is from the Hennepin County Library.

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Two Early 1960s Blouses – Emilio Pucci and Haymaker

Several years ago I wrote about a ski themed blouse by Emilio Pucci. This is not it.

This is the Pucci blouse, as it was photographed by the seller, Erawear Vintage. I had always regretted not buying it, so when the similar blouse at the top of this post was put up for sale, I decided to add it to my sports-themed collection, even though it was not the real thing.

Actually, the blouse has a pretty good label, Haymaker.  Those of us who were around in the 1960s might remember Haymaker. It was a label owned by the David Crystal company, the company that also owned Izod, and which held the American license for Lacoste crocodile shirts. Haymaker made mainly sportswear and business attire for women. I’ve looked all over, and I can’t find a connection between Haymaker and Pucci, but the Haymaker blouse can’t be an accident.  The two shirts are just too similar.

The Haymaker blouse has Sestriere in script as part of the border.  The Pucci blouse has various Alpine ski resorts in script as part of the design.

There are no actual skiers on my Haymaker blouse. It’s made of a very nice rayon, while the Pucci is silk.

I was happy to find a different Pucci blouse with a ski print. It’s a bit plain to be a typical Pucci, but not all his early work was bold and geometric.

It also has the name of, I presume, a ski resort, but I can’t quite figure it out.  I do love how the script forms the tree.

The back really is fun, with a variety of crazy skiers working their way to the hem.

One of the best skiers is this mermaid. What’s really interesting is that Pucci also made a sports themed dress that used a mermaid. You can see it on the old post.  In fact, the design of the dress fabric is very similar to my Pucci blouse in that both have a small overall scale.

If I remember correctly, the Pucci sold by Erawear did not have the Emilio name in the print. Mine, does, as you can see above.

Pucci is so representative of the late 1960s and the 70s aesthetic, but I love these early examples more. I love how he showed one of his passions – skiing – in the print. I may not be typical of what we today envision as “Pucci”, but how clever are these print?

 

 

 

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Filed under Collecting, Designers, Novelty Prints, Sportswear, Winter Sports

Moore Gymwear, 1968

I have a nice little collection of gymsuit catalogs dating back to 1940, but this new-to-me catalog is not only the latest, it is from the year I bought my gymsuit as a seventh grader in junior high. Six years later, as a senior, I was still wearing it, and I’m still waiting on that last growth spurt.

The cover is interesting in that it makes a stab at racial diversity.  Considering that US Vogue did not have a Black model on its cover until 1974, I’d say good for Moore. Inside the catalog, the “models” are mostly white blondes and redheads, but this is still a good step forward, as the 1965 Moore catalog has no girls of color.

I love how the catalog designer used Op Art to show how “hip” Moore gymsuits are. Considering that the only persons who actually used the catalog (at least at my school) were the gym teachers. I imagine the only reason they looked at the catalog was to see the price of the same suit they have been ordering for years.

And here is my suit, the Waist Hugger. You can see it sold to schools for $4.35, which meant someone at the school made .65 on each suit they resold to the students. As I remember that mine cost $5.  So .65 times 150 girls meant a profit of $97.50 every year.

I wish our suits had been this nice blue. Ours were white, which meant one had to be careful about the underpants she wore on gym day. The suits were thin enough to see through, especially after a few year’s wear.

I guess I shouldn’t complain as it could have been worse. We would have really hated these bloomer legs.

This style, the Matadora, was “smasheroo news” when it was introduced in 1961. It looks a bit dated for 1968. Gymsuits aren’t high fashion, of course, but to a teenage girl, looking current is important.

There were two dresses with bloomers styles, the type my mother said she wore in school in the 1940s. I think I would have liked this one, as we could have pretended it was a mini dress. But NOT in white, please.

There were several pages of gym clothes for the teachers. This kilt was to be worn over the gymsuit for when teachers had to leave the gym. Even in 1968 girls and women teachers were not allowed to wear pants on campus, and certainly not shorts.

Look at all these great colors. So why were we forced to wear white? It seems like a mean trick to me.

There was a brochure included with this catalog, titled, “The Psychological Effects and Benefits of a Color and/or Style Change in Uniform Gymwear”.  It seems as if getting girls to spend $5 on a new and different gymsuit each year was good for them.

As a side note, I have quite a few gymsuits in my collection, ranging from Victorian styles to the late 1970s. I started buying when I found them years ago, when I could guy a great example for a few dollars. Today, there seems to be a fad for them, if the prices on etsy and the posts on Instagram can be believed. One girl’s misery is another’s cute outfit.

I’ve written a lot about gymsuits over the years, and I’m always rewarded with women sharing their own experiences with this garment, mostly negative. I’m not surprised.

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Filed under Gymnasium, Sportswear

Tom Brigance Waterclothes 1970s Bathing Set

Having lived through the 1970s doesn’t make collecting the clothing from that decade easier. If anything, the waters are muddied by memories, some of which are not representative of the era. I once went to an exhibition that showed handbags from different eras, along with what women might have carried in each. I was loving the show until I got to the 1970s bags, and for some reason, the contents the curator had chosen seemed all wrong to me. After all, I was there, and I know what I carried in my bag.

But in some ways the more recent decades are easier to collect. For one thing, there’s more choice. And often the choices include high quality items at a reasonable price which in earlier decades would be priced out of sight. This set from sportswear designer Tom Brigance is a great example.

Brigance’s name isn’t as well known as some of his peers, like  Claire McCardell, Tina Leser, and Rose Marie Reid. But when it comes to beachwear, Mr. Brigance was hard to beat. He started out designing in Europe in the 1930s, but went to New York in 1939 where he designed at Lord & Taylor. Like so many others, his career was interrupted by World War II, but when the war ended, he returned to Lord & Taylor. In 1949 he opened his own design business, designing sportswear and swimsuits for various companies.

I have a Tom Brigance halter dress from the 1950s, but I’d had a Brigance bathing suit on my wishlist for some time. I was thinking that I wanted one from the 1950s, but when this set showed up on eBay, I changed my mind. I see this as a great representation of the type of things Brigance designed. He often used interesting necklines, and bare but covered lines.  The seller described this as being from the 1960s, and I didn’t disagree until I looked at the close-up photos. After all, it does that the mid 1960s Cole of California Scandal Suit vibe.

The soft interior of the bra section tells me this is not likely to be a 1960s suit. Until the early 1970s, most makers were designing bathing suits with rigid bras, and many even had boning. Things began to soften at the end of the 1960s with bras made of a bonded fabric that was soft but that held its shape. Many of these have deteriorated into dust. This suit simply has a shelf bra made of thick nylon.

The guessing game ended when I spotted this label.  The ILGWU switched to this label in 1974, using the colors of the American flag. Was this part of their campaign to get Americans to “Always look for the union label, it says we’re able to make it in the U.S.A.!”

Someone paid a lot for this set, though I don’t know exactly how much because the prices have been removed. And as you can see, it was never worn as the paper tags are still attached. I have detached the tags and have stored them, as the garments do not need any more exposure to the acidic paper.

As a buyer, I don’t expect sellers to always know everything about what they are selling. But the best sellers put in enough photos so people like me can make a determination on our own. That means lots of label shots. In  this case, I knew exactly what I was buying because of the union label.

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Filed under Collecting, Designers, Sportswear, Summer Sports, Vintage Clothing

A Tale of Two Jumpsuits

Anyone who collects or sells old clothing will tell you that most old garments come with a flaw or two. Clothes were worn, and they were often improperly stored. To get a piece with no issues is a real treat.  I acquire pieces with that in mind, because sportswear was especially subject to rough wear.

I decided to buy the pajama jumpsuit above because of the outstanding textile design. This type jumpsuit, which was made from around 1930 through about 1935, was a bit of a fad, and as such, many of the ones I’ve seen are made from cheap cotton materials. This one is no exception, as the fabric seems to be a printed cotton muslin.

But the print was just so good, I decided to get this one from an online dealer.  From the photos in the listing I could guess the pajama had been shortened at the waist. I was right.

Can you see the lines of the old stitches I removed? This had been taken up five inches.  A former owner must have worn this as at shin-length, because I am 5’1′, and the length after removing the stitches is perfect for me.

This brings up the question of when is it best to remove old stitching, and when should it just be left alone. In this case the decision was easy, as the alteration completely changed the original design of the garment as it was intended to be worn in the 1930s.

And the shoddy state of the alterations was another consideration.  Sellers, this is not normal.

And the only reference to this mess in the sales listing was that there was a bit of hand stitching. I’ll say!  To be completely truthful, the seller offered to take the pajamas back, as there were other undisclosed issues, but I was so in love with the fabric print that I decided to invest the work in restoring it and to keep it.

There were also belt loops, which had been concealed in the alteration. I’m guessing that the belt was black, and I’ll be making a reproduction belt for display purposes.

I also recently acquired this 1940s jumpsuit from Susan at NorthStarVintage. She had seen the two other 1940s jumpsuits in my collection that I posted on Instagram and she wisely figured I might be interested in this one as well. (I know this is a woman’s garment because of the way the zipper fold laps, right over left)

I was especially interested in this jumpsuit because it was made by White Stag. I know that White Stag made WWII era workwear for women, as I have a wartime catalog. But the label used in the work attire was White Stag Function Alls. And the Play Alls label is not shown at all in the catalog.

So, where do these fit in? I’d like to think they are from around 1940 or 41, as companies were already starting to make military-inspired clothing for women.  After the US entered the war, it’s not likely that so much metal would have been used. The catalog shows buttons instead of zippers and snaps.

At any rate this jumpsuit shows signs of being used for work. I think the woman who wore this must have been an auto mechanic, as there are tiny little grease stains on the knees. I can see her on her knees changing a tire!

Interestingly, this jumpsuit was also altered at the waist, but this time, the garment was made longer. The waist band was removed and the double thickness of it was made single, adding about an inch and a half to the length.  The alteration was so well done that I didn’t notice it until I was giving the piece a close examination.

Not only did the alterer have to remove and reattach the waistband, the zipper section below the waist had to be removed and reattached. This was the work of an experienced sewer, and it has the feel of having been done in the 1940s instead of later.

Because of that, I’ll be leaving this jumpsuit as it is. It’s more important to me to have the jumpsuit as it was worn, rather than how it was purchased.  It’s a great piece of women’s history, and I love it just as it is.

 

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Filed under Collecting, Shopping, Sportswear, World War II

Bradley High Quality Knit Garments – 1908

Bradley Knitting Company is one of those companies that no longer exists, but still its wares are well-known to vintage sellers and collectors due to the consistent release of consumer catalogs and their large volume of production. The company was renamed as Bradley in 1905, and so this 1908 is from the very early years of the company. At that date they were already producing the garments which made Bradley famous – sweaters and bathing suits.

You might have noticed the use of the word “coat” to describe what we today in the United States would call a sweater or cardigan. Bradley continued to use “knit coats” until the late 1920s when the catalogs switched to the more modern “sweater”.

I’m not familiar with the term, “pony jacket.” Could it have been appropriate for riding?

Even though sweaters were considered to be sportswear, the catalog stylist could not resist adding a bit of fashion with the huge hats.

I’ve seen this style of knit vest advertised as a golf vest. It would have been an excellent choice to wear for the sport because of the increased mobility of the arms which it would allow.

Bradley also made knits for men and for children. The cardigan above is very similar to what sweater companies made all through the 1920s, but it is a bit shorter in the body.

Heavy wool knits were very casual attire, and the association with sports was strong. I really love this baseball coat. I do wonder if the monogram was machine embroidered or if it was made separately and then attached.

In spite of the large, impractical hat (or is it a bow?), this little girl is dressed to play with her knit coat, short skirt, and softball.

Thanks to this catalog I now know that Bradley first made bathing suits in 1907.  Be sure to read the copy, as it is so unintentionally hilarious!

A note about men’s bathing suit styles: in 1908 men’s suits were still very modest, with the long top having a high neck and small armholes. The trunks are to the knees. By the 1920s the armholes and neck in men’s bathing suits were scooped, and the trunks were mid thigh.

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Filed under Advertisements, Collecting, Sportswear

Currently Reading – Southern Tufts by Ashley Callahan

Southern Tufts: The Regional Origins and National Craze for Chenille Fashion is one of those books for which one would  have thought there was not enough information to fill two hundred plus pages. But Ashley Callahan has proved me wrong with this publication. Actually, I heard Ashley speak on the topic in 2012 at the national Costume Society of America symposium in Atlanta, and I’m amazed at how much she uncovered in the time between her presentation and the book’s publication in 2015.

This is a great example of a seemingly small story of what is pretty much one product that was produced for a short time in a specific place. In today’s world when so much is written about Chanel and Dior, it’s great learning about how a small town industry made a product that became popular across the USA.  The product was cotton chenille and the bedspreads and garments made from it, and the small town is Dalton, Georgia.

I think that one reason I enjoyed this book so much is because so many of my interests are addressed in it. The story begins with the early twentieth century crafts revival, tells about an obscure sector of the Southern textile industry, brings in the early tourist industry in the USA, and includes the making of sportswear.

Tufting is a form of candlewick work, where thick cotton threads are stitched in rows to produce designs, and then the threads are cut on the front of the fabric, and the threads separated to form tufts. The end result is called chenille.

The chenille industry that was centered around the little town of Dalton in Northwest Georgia began with Catherine Evans Whitener, who in 1895 took up hand tufting to make a bedspread after seeing an antique one in a neighbor’s house. Catherine continued with the craft, and began selling them. As other women saw the spreads, Catherine began getting orders for more. By 1910 she was selling her tufted bedspreads to department stores, and other women in the area were recruited to help make the spreads.

By the mid 1920s the industry was firmly established with many women and men involved in the making and distribution of tufted spreads. The craft spread across North Georgia and even into neighboring states.

The earliest products are all hand stitched, but in the 1920s experiments with machine tufting began. By the mid-1930s the use of tufting machines was widespread in Georgia’s chenille industry. It’s fairly easy to tell a hand tufted fabric from a machine tufted one. On machine made tufts, the lines are very uniform, but hand tufting can be very irregular.

With the improving of highways and the growing popularity of the automobile in the 1920s, American hit the road and the tourist industry boomed. The Dixie Highway which started in Michigan and ended in Florida was begun in 1915, with one branch going through the Dalton area. It didn’t take long for the tufters to realize there was money to be made from all the people traveling to Florida on vacation. Roadside stands selling chenille goods sprang up all over Northwest Georgia.

Chenille clothing was advertised as early as 1921, but it was not until the single needle machine tufter was invented that clothing became a major product. Most of the clothing made was suitable for wear at the beach, with capes and robes being the most widely available. This chenille dress is a rare early example of a garment made by a single needle machine.

In these examples of beach capes, look closely at the one on the right to see that the cape was made first, then it was tufted.  Some makers made the tufted fabric first, then cut it out and made the garment. This became more prevalent after 1941 when multi-needle machines were patented, making the process much faster.

Here’s a cape from my collection. You can see the regular stitches on the interior of the cape, a sign of machine tufting. Note also that the lines of chenille are fairly far apart, with probably means this cape was tufted using a single needle machine.

This example from my collection is later. See how close the rows of tufts are? This points to the use of a multi-needle tufting machine. Also, the anchors and ropes are tufted over the white tufting. This is a process that was developed after the multi-needle machine came into use.

Another way to tell the later multi-needle garments is that often the lines of the tufts run horizontally around the garment. Note how in my earlier cape the lines of tufts are diagonal, a process that was easier with the single-needle machine.

This was not addressed in the book, but many of the later examples are made using lighter colors, like the green seen around the border of my cape. Starting in 1957, rayon was sometimes added to the threads, and in 1963, nylon was used. I’ve seen plenty of the nylon tufted bedspreads. They have a very different look and feel from the cotton ones.

And just when you think you have seen it all, photos of the most amazing chenille pants appear. These were made around 1940. I’ve never seen a pair, and now I must find one for my collection.

During the 1950s, long chenille bathrobes were the most popular garment produced by the tufters. But by the 1960s, terry cloth robes were gaining in popularity, with chenille being thought to be an old-fashioned option.  Even worse, the chenille companies were having a difficult time figuring out how to comply with the fire prevention laws that were passed in the 1950s. Times grew tough for the chenille industry. Many of the companies closed, but others survived by switching production to carpets. Today Dalton calls itself the Carpet Capital of the World.

There were dozens of companies making chenille products in the mid twentieth century, and Callahan has documented the history of many of them. Unfortunately, chenille garments tend to not be labeled. I have four examples in my collection, none of which have labels, and from looking at them obsessively on Etsy and Ebay, I rarely ever see one with a maker’s label.

I really loved reading this book, especially since I learned so much about how to date my examples. My thanks to Liza at Better Dresses Vintage for knowing I’d love the book, and for loaning her copy to me.

 

 

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Filed under Currently Reading, Sportswear, Textiles