I find that I’m a bit of an age snob when it comes to looking for sportswear for my collection. What that means is that I find it to be a lot more exciting to look for items from the first half of the 20th century than for those from the second half.
I think part of the problems is that so much survives from the 1960s and 70s, that I’ve learned to be really picky about what I pick up. If I have got mid 1960s “scooter” dresses on my mind, I could go to etsy, Ruby Lane, and Ebay and have my pick of dozens of items. Even with high-end garments like those from Italian designer Emilio Pucci, there are hundreds of items listed for sale at any given time.
So, I don’t really search very hard for things made in the last sixty years or so, but when I run across a stellar example, I’m ready to shop. And when Melissa of Meloo Vintage posted this set on Instagram, I fell in love.
For years I’ve been looking for an older Pucci set, from his days on the Isle of Capri, but I’ve not been lucky to find what I wanted. I dumbly passed on a great ski-themed top from the late 1950s, and I’ve been kicking myself ever since. But when I saw this tunic and pants set, I knew I’d found my Pucci set.
It dates a little later, from the early to mid 1960s. Pucci can be difficult to date, as the nature of the prints are outside the whims of fashion. Older prints (from the 1950s) are often on a theme, like the skiing blouse I mentioned. The label used is a big help, and my set has the labels most commonly seen in the 1960s.
I’d love to think that some jet setter bought it in Italy, but instead there is a B. Forman of Rochester label alongside the Pucci one. I have no idea what the little “E” label means.
You can see that a metal zipper was used, but be sure to note the way it was inserted – by hand picking. This is a detail seen more commonly in couture clothing, which this is not. But it does go to show how much more handwork went into high-end ready-to-wear fifty-five years ago than you see today.
The crease in the pants is made permanent by the use of hand picking, and the side seams are secured in the same manner.
What really sold me on this set was the way the print of the tunic was designed specifically to be a top with a scalloped edge. It’s one of things that makes the set so special. Imagine, for contrast, if the tunic was made from the same print, but that it was cut in a willy-nilly manner with no thought to the scallops or to the placement of the center of the design.
What could be more Continental than three-quarters length sleeves with French cuffs?
The bateau neck is actually padded. It’s just one more great detail.
In the late 1960s mainstream fashion caught up with Pucci, and these “psychedelic” prints were everywhere. From what I’ve seen of Pucci garments from the 1970s and later, the print became the design, but in these earlier pieces you can see how Pucci was more than just a bunch of color thrown onto the fabric.