String art is created by connecting string or yarn to hammered nails, in order to create an image through the use of angles, and geometric patterns. The most common scenes are abstract pop-art, or ships and sail boats, but there are many options in modern DIY kits.
The concept was first established by Mary Everest Boole in 1909. She was a British educator who came up with the idea to use angles, and curve stitching to teach mathematics. Based on geometry and algebra, this concept gave rise to the Bezier curve, which was first used in car designs.
Mary Everest Boole was a very intelligent woman who married mathematician George Boole. She was tutored in mathematics as a young girl, and continued her studies as an adult.
She used sewing cards and curve stitching, in addition to other physical representations of mathematical concepts, as a way to help children grasp the constructs, and have fun with learning mathematics.
She expanded her methods of representation through her book “Philosophy And Fun Of Algebra”. She explained algebra in creative and interesting ways, to include fables, with bits of history, along with various associations, and comparisons.
Her central idea was to introduce logic, math concepts, and creativity, to strengthen comprehension, conceptualization, and basic understanding – as opposed to limiting the educational value to equations, and memorization.
In later life she became involved in politics, and gave the name of a publication “The Crank” using an innovative double entendre, “because small rotations cause a revolution”.
Tied into these theories, the French mathematician Pierre Bezier was inspired by the algorithm created by fellow mathematician Paul de Castejau, who developed the curve formula. Pierre Bezier was working for a car manufacturing company at the time. He applied this idea to the design and manufacturing of cars, using the principles that can define any second degree curve using only four points.
The Bezier curve concept was made public in 1962, and initially was put forth purely as a mathematical concept.
The unintended 1960’s surge of stringing mathematics into art was a secondary outcome. The popularity of string art designs continued well into the 1970’s.
Recently I came across this delightful work of art depicting the clam digger. This piece is signed by the artist, and is from New Brunswick, the east coast of Canada. You will notice she has a bucket full of clams along with her trusty spade.
Many of the vintage string art finds are abstract circles and angles, or various different types of boats, and a few owls. There are very few remaining that depict cultural scenes of a given area. I did see one of a Native American Indian on a horse, and another of a mallard duck in flight.
At the end of this post I have included a sample of a string art sail boat on a black background. The string art boats seem to be the most common.
But so far, this is the only string art clam digger shown anywhere online. It is definitely a cultural representation of the Atlantic east coast. The artist signature on the back top left corner, appears to be Ginette Robichaud.
Copyright Valerie J. Hayes and Quiet West (2024). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
If you are looking for natural, warm sheepskin slippers, these are an excellent choice, and can be ordered online from Egli’s Sheep Farm in Saskatchewan.
I came close to ordering a pair of Ugg sheepskin slippers, but did not want to wait for them to be shipped from Australia, or the US.
Plus I have seen so many knock offs of UGG products over the years, and never really liked the brand that much anyway, other than the fact they use sheepskin.
I much prefer to order from Canada if possible, as part of the support in buying local, and also in encouraging the growth of Canadian SME’s.
Canada makes some great products. Canadians tend to be detail oriented, and pragmatic, so we lean toward quality of workmanship. We have also experienced our fair share of cold weather.
Also there are many brands advertised as sheepskin on sites like Amazon, but they only have a sheepskin insole, and the rest of the slipper is synthetic.
The other factor to consider is the sole. I did not want a stiff plastic sole that makes noise when you walk. So it took awhile to find the perfect pair of real shearling slippers, that are not 80% outsourced with just enough wool to make the claim of being shearling. Or made in China, with advertising to claim they use wool from Canada, Australia or NZ, to make them sound more authentic.
Nothing beats genuine sheepskin slippers. The wool allows your feet to breathe, and the natural lanolin in the wool moisturizers and protects your feet.
Years ago I did some diabetic teaching, and during that time took a couple of diabetic foot care courses. The principles surrounding foot care applies to all age groups, and those with, and without foot problems.
For those who have healthy feet, you want to keep them healthy. We all know how much we take our feet for granted, because we hardly notice them until we get a blister. One small blister is hard to ignore.
Conditions like plantar fasciitis are made worse by the cold temperatures, because the cold causes the tissues in the joints to contract, which pulls on the nerve endings and increases the pain. This applies to most conditions of the feet, including heel and arch pain.
For those who have reduced sensation in their feet, they may not notice a blister until it is quite severe. For that reason, all those who do diabetic teaching tell people to inspect their feet every day, to make sure there are no blisters or other injuries.
For people with any sort of vascular insufficiency related to diabetes, pregnancy, heart disease, edema, prior trauma to the legs or feet, neurological disorders, etc. foot care is crucial to maintaining mobility.
One of the things the instructor warned us not to use on anyone’s feet, are those drug store packages of foot care items, like the ones you see for callouses, bunions, and other foot problems. She said more people, especially diabetics, have lost a leg from using those sticky home remedies, than will ever be realized.
She went on to explain the foot stickers for corns and callouses, are dangerous for those with reduced sensation in their feet, because they tend to wrinkle, and bunch up inside the shoe, thus increasing the likelihood of injury, or making an existing injury worse.
If you use insoles for boots, it is far better to get sheepskin, or wool felt insoles, as opposed to the foam ones you see in drug stores, usually in the same section they have all the other foot related items.
The instructor wisely told us to advise people to use fluffy sheared wool to apply to pressure points, and areas prone to injury or blistering. She even had small bags full of wool for us to take home.
In addition to the warmth, breathability, lanolin, and lack of friction to the feet, that is part of wearing sheepskin sippers, they envelop the whole foot.
In my opinion, it is important to find sheepskin slippers that cover the sides and top of your feet as well. It is the optimal type of slipper to buy.
If you do the research, you will soon find the price range for all sheepskin slippers ranges between $100 – $150, and you will also notice that not all sheepskin slippers are created equally. The more natural, the better, including the outsides, and the soles.
I was using the term shearling and sheepskin synonymously, but there is a difference between the two. Apparently shearling is made from lambs that have been shorn once, and sheepskin is made from shorn sheep. However it can be confusing, as there are different varieties of each. Yet the descriptions of both are very similar. So I guess you would have to be an expert to know both the similarities, and the differences.
And yes, it is best to wear them without socks, because all friction is avoided, and the foot gets the benefit of the lanolin.
If you do choose to wear them with socks, or seek the perfect socks for your lifestyle, another excellent Canadian company, called Great Canadian Sox Co. makes a range of socks, to include a most comfortable blend of cashmere, and merino wool, at a reasonable price.
100% cashmere socks are very expensive, and are often sold as bed socks, as they do not last long if worn for everyday walking. Therefore the merino wool blend with the cashmere, makes for a comfortable softness, combined with durability.
Some sock sellers will claim their socks are merino wool when they only have 11% merino wool. Or they will advertise them as cashmere, with only 5% cashmere, and the rest nylon or polyester.
Also some 100% merino wool socks, such as Icebreaker, make their socks with tight tops, which is not ideal for anyone with cold feet, or vascular insufficiency. Tight socks around the lower calf are not very comfortable in my opinion. But like most things, it is a matter of personal preference.
It is best to read the fabric content labels. The Great Canadian Sox Co. sells Vagden (not vegan) socks that are 55% merino and 30% cashmere. They are durable enough to wear for everyday walking, and are not too thick. They quickly become favourites, and you may not want to wear any other brand of socks during the winter months, once you try their cashmere and merino wool socks.
One of the key things for those with vascular insufficiency, diabetes, or just perpetually cold feet, especially in the winter months, is that warmth, in addition to the comfort it brings, it is also healing.
It is the reason people use heating pads, hot water bottles, saunas, hot tubs, hot spring mineral pools, and other therapies that warm the whole body, the extremities, or certain parts of the body.
The warmth increases blood supply to the area, and thus helps the muscles to relax, as well as promoting healing.
Thankfully I don’t have diabetes, but did get an injury to my achilles tendon in my youth, which required surgery. Plus, I naturally have cold hands and cold feet, even indoors, and especially in the winter.
In long term care, they use sheepskin pads to help prevent bedsores, and sheepskin booties to help prevent heel sores for those who are bedridden.
There are many reasons to put your feet into a pair of real, genuine sheepskin slippers. I have always been a big fan of wool, and sheepskin on your feet during your hours at home, or sitting at a desk, makes so much sense.
At one point I even thought of putting a space heater under my desk to keep my feet warm, but the sheepskin is a much better idea, because you keep them on if you go to check the mail, or walk around. Plus you don’t have to increase the use of electricity.
I read many reviews on Amazon, before stumbling upon this website in Saskatchewan. Many of the reviews on Amazon described certain brands as having noisy, and stiff plastic soles. Others said there were uncomfortable ridges, or seams inside the slippers. And some complained they were either too floppy, and falling off, or else to difficult to get your foot into. I wanted to avoid those issues.
Therefore I ended up avoiding Amazon, and ordering from a sheep development website called Elgi’s in Saskatchewan, and found the perfect pair.
The soles are made of suede leather, with a slight texture so they are not stiff or slippery. Flexible leather soles are a big selling point for me, almost as important as the shearling itself. I like to be able to move the bottoms of my feet when I am sitting down, without a rigid, and unnatural constraint.
They stay comfortably and securely on your feet, even when getting up and down off a step ladder. The fur around the edges keeps your entire foot warm. There are no seams, binding, or uncomfortable ridges. They are comfortable from the moment you put them on.
After trying a few brands of slippers, to include wool felt, and hand made wool, these are by far the best overall. The company also sells a wool felt slipper with a wide toe box. They would be great for travel, as they are more packable. They are also very comfortable and loose fitting, without falling off. For the budget minded, the wool felt are an excellent choice for $28.00.
Once the order was processed, they arrived in three days. I will definitely give this company a five star review. No more cold feet! The Great Canadian Sox company also sells organic cotton socks, which are hard to find these days. In fact they have a range of socks to cover your feet for every kind of activity.
So whether you are sitting at your desk, or embarking on a winter hike, ski trip, or snowmobiling – treat your feet, and your whole body will thank you!
I don’t really know how a basket can be weaved onto cloth, yet I do have an example to show you. Whoever made this small table cloth was an accomplished artist with a needle and thread.
In addition to hand crocheting the trim, and then hand stitching it around the edges, she also managed to create a basket of flowers as the centrepiece, with a realistic three dimensional looking basket weave.
The colour of the trim frames the image, perfectly matching the colour of the flowers, in the midst of the white space. It is a basket of flowers and leaves with texture, colour, symmetry and balance.
The stitching does show on the reverse for part of the featured basket with flowers, but it does not show the same as most embroidery and needlework does. Therefore, it leads me to believe she managed to create the weave of the basket on the surface of the cloth somehow.
If you examine the reverse side, you will see what I mean. From the front, it really does look like a basket weave, which is the first time I have ever seen this particular type of textile art.
It goes to show, some people are talented when they pick up a paint brush, and dip it into a dynamic range of colour choices, then work on it fastidiously. They watch their very own creation take on the form and shape of the image they hold in their mind’s eye.
The same can be said for pottery, sculptures, and wood working. Creativity is born of visualization, and is sown into an expansive construct.
Others manage to make cloth their canvas, and can create amazing art, using a needle and thread.
The rest of us get to marvel at, and enjoy their wonderful creations. We can’t say how – but we do say wow!
Although we all appreciate the rain to put the fires out, and make the smoke clear, the lighting for these photos was not great today. But even in low light, the colours and intricacies showing through in the designs, are brilliant and stunning with a high level of artistry. This post will feature a collection of twenty-eight different silk appliques from the 1920’s, with vibrant colours, and incredible attention to detail.
With some sunny breaks this weekend, I did manage to get these beautiful works of art photographed in natural light. One of my favourites, is the Phoenix looking bird in flight with bells for its wings and tail feathers. Initially, it looks like bells, until you realize the inverted stem is the bird’s head, and you can see its tiny embroidered eye. It’s kind of an optical illusion. As an added bonus, many of these embellishments feature accents done with metallic thread.
I have listed the collection of this needlework art under New Arrivals, and have added photographs of the reverse side of each one. They are also listed under Buttons & Notions, and in the 1920’s Decade. I will likely add the Art Objects tag as well. They are truly incredible works of art, over a hundred years old, in vibrant detail, and made by a very talented needle worker.
Copyright Valerie J. Hayes and Quiet West (2022). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Cultural dimension is closely tied to sustainable development. Although there are many definitions and descriptions surrounding both culture and sustainable development, essentially culture is about creativity, heritage, knowledge and diversity.
Sustainable development is defined as economic development that is conducted without depletion of natural resources.
It is the cultural aspect of our Canadian heritage that has created the drive and energy to set up, photo document, and share the Quiet West collection, which is essentially a portfolio of twentieth century design.
Costume and jewelery design has always reflected the wider movements in arts and culture in the various different eras. Therefore, we see similarities in everything from architecture, to furniture design, in the visual arts, and in costume and personal styles.
During the modernist era of influence, we see sleek lines and geometrical shapes, in sharp contrast to the turn of the century romanticism with all the floral themes, vines, and curlycues. In spite of the fact that art is highly subjective and involves personal taste, certain design themes caught on and swept the cultural stage for periods of time. What was considered avant-garde in one era, might turn into a widespread movement in a few short years.
During the post war years Canada provided many incentives for creative fashion and textile designers, many of which were developed in Montreal and Toronto. We have a rich and creative history based on the talent from Montreal, and the incentives that were provided to develop and promote this talent. It is something all Canadians can be proud of.
Thankfully, with the migration and travel to Canada’s west coast, a percentage of these stylish remnants and works of art ended up on the west coast.
In addition to the fashion design and trends throughout the twentieth century, most of the luxurious textiles and sewing techniques have become obsolete. There is a rich history and knowledge base in the textiles alone. This involves everything from hand loomed, hand and screen printing, knits, gold and silver lame costumes, and wide variety of trim, pin tucking, laid work, embroidery, laces, etc.
In addition to our own fashion development heritage, and the widespread travel during the twentieth century, we have also had access to mid-century designs from locations throughout the world. Some of the mid-century gowns had a thousand hours or more put into the embellishments using glass beads and a variety of sequins.
The best definition of culture according to a Google search is: ” Culture can be defined as all the ways of life including arts, beliefs and institutions of a population that are passed down from generation to generation. Culture has been called “the way of life for an entire society.” As such, it includes codes of manners, dress, language, religion, rituals, art.”
Culture is also considered to be the fourth pillar of sustainable development, according to UNESCO and several other organizations promoting sustainable development. It does take time, effort and money to document and preserve our cultural heritage. But it does not deplete or make demands on natural resources.
In the case of coloured gemstones used in artisan sterling silver jewelry, those designs depict the country of origin, the various artists, and gemstones that were at one time fairly abundant. A high percentage of the turquoise mines are now closed. The post war years led to a great deal of extraction of the earth’s resources. Understandably those resources have been used up, and the new locations for extracting them are increasingly difficult to access.
At least in my own lifetime, there has always been a focus on what is new. The old was considered to be junk or garbage, while the new was what was coveted and thought to be an improvement.
It seems we reached a point many years ago, where the old was often better than the new when it comes to certain cultural commodities. The reason for this is not only in the access to and abundance of these resources, but also in the values surrounding workmanship, craftsmanship, quality, and competition for excellence.
One only needs to look at some of the mid-century costume jewelery and compare it to what is made today. From the 1930’s to the 1960’s there was fierce competition to create fashion jewelery that emulated the real thing.
Designers like Gustave Sherman, Boucher, Panetta, Schreiner, and Trifari are just some examples of jewelery makers who valued high quality, and strived to make glamour more widely available by emulating Cartier and other famous designers. The goal was to make fabulous high fashion jewelery that was affordable for the average person. They did a great job of creating an appeal for glamour in the mass consumer markets.
When it comes to design, resources, and craftsmanship, there comes a point where the old will never be produced again, to the same standards it was in the past. We passed the point of creating new and improved fashion and jewelery.
In fact, if you closely examine the newer jewelery, you will find that even the expensive items are gold or silver plated. The gemstones and Swarovski crystals are often very small and highly treated, as opposed to some of the rocks we can marvel at in the earlier pieces.
Our culture is not only about obsolete textiles, hats, jewelery, and the history of fashion design during past decades, it is the soul of our nation.
We don’t lose our soul to fast fashion or slapstick designs. We are wise to carry the cultural soul and reflections of our past forward. After all – we want to keep our soul. It is not something to damage, disregard, or downplay.
In my opinion, all of our cultural gems are captivating and deserving of our care and attention.
On this note, I will soon promote and share a sample of the Montreal fashion designer Hugh Garber. In the 1960’s he studied fashion design in London, and then returned to Canada to develop the “holiday line” for Margo Dress Co. in Montreal.
The Hugh Garber outfit I have to list next, is from the 1968-1969 holiday line, and is made of a deluxe heavy vertically aligned gold lame. It has the appearance of a full length glamour gown, but it is actually a hot pants set. There are covered buttons down the front that open up to short, high waisted gold lame hot pants. It’s really quite a delightful ensemble!
The Hugh Garber gold lame hot pants will be featured under New Arrivals, and also in a blog post once the photography is done. I am fairly certain there is not another one like this one to be found.
David E. Rea Dresses from the 1960’s and 1970’s are made of beautifully embellished fabrics. There is also a gorgeous 1960’s pink satin gown to be listed in the near future, embellished with silver embroidery by David Rea for The Mirror Room Hudson’s Bay.
Today I listed this delightful late sixties, or early seventies David Rea palazzo pant jumpsuit. It has a yellow toned overall floral theme, with an overlay of hand painted daisies. It looks like an outfit for doing cartwheels in a meadow on a spring day! If outfits have personality – this one is exuberant, perky, breezy, optimistic, chirpy, carefree, and spirited. What can possibly go wrong in a getup like this!
David E. Rea Toronto For The Mirror Room Hudson’s Bay
As a Canadian and a collector, when I say “our cultural heritage” it means – the expression of art from a divergent range of people. In Canada this includes influences, artifacts, writings, and beautiful hand made works or designs that were brought here from other countries.
On an individual level, we are more likely to resonate with, and remember the culture of our ancestors. We also learn about and share different cultures among families, friends, neighbours, communities, and travel. We all know how much food and music influences culture in every country of the world. So we can begin to recognize the patterns contained within a wide variety of cultural influences and designs.
We all come from a unique perspective, beginning with the family we are born into. This expands into a curiosity and awareness of the things around us that intrigue us or influence our senses. How many of us recall playing with the hand-painted Russian wooden nesting dolls? There was one on the shelf in our Swedish grandparents house. As a small child, I knew it came from somewhere far away.
In my opinion, one of the benefits of culture to society is in what we can learn from thier labours. It lets us examine how they did things, what they wore, and what came out of the lifestyles of the past. The range of patterns and design is intriguing, inspirational, and thought provoking.
I have been trying to create a material landscape of the dispossessed – to show that throwaways, and things from the past, are often much better than what is new.
Through the long process of establishing an online store, especially doing all the product photography, I have learned to appreciate the designs of some of the most talented designers and jewelry makers of this century. Even though it is a fairly humble collection compared to museums and rich people, it still shows who we are and where we came from. This collection has roots.
The Quiet West collection was gathered from the west coast of Canada over four decades. Even so, the items in the store come from all over the world. It is especially thrilling for me, when I come across some of the famous Canadian designers from Montreal and Toronto.
I can clearly see that Montreal has gifted Canada with a reputation for excellence in fashion and the arts. Canada may not be seen as the epicentre of the Parisian French fashion flair. But we do have a significant and impressive mid-century contribution to the world of fashion from Eastern Canada.
As time goes by, the material remnants of the previous century begin to disappear. People tend to look at old photographs to see both style, and lifestyle.
Although I have a long way to go to become more consistent with the photos, I do believe an online collection of art and fashion from the past can contribute much toward education, design, pattern recognition, care and preservation, textiles, and appreciation of the arts. If each country had such a collection, it would be very interesting to peruse. Of course, so much of it depends on what the collector is looking for.
But most of all, it’s the nostalgia it creates that connects us to the past, and to each other in a positive way. Our world has changed quite dramatically this past couple of years.
We can look to the past without clinging to it. We can seek what is good, and get our heads out of the dark shadows when they pass overhead. We can turn our focus toward aesthetics, learning and labours of love.
Over the years, so many things get lost in time – through fires, floods, and the migration of people from one location to another.
Some of the past is worth hanging onto, and some of the past should be let go. But nevertheless – it is what we know. Tangible is touchable – and it keeps us in touch with the remnants and the roots of our past.
This terrific one-of-a-kind 1960’s Sally Gee poncho just sold, and is off to renewed adventures in California. May your travels be fun, and bring to fruition a time of excitement and new beginnings! Good-bye Sally Gee. It sounds like a song waiting to be written!
Like most intangible definitions in life, luxury is embodied in a lifestyle that some take for granted – yet others have never experienced. Or is there some kind of luxury for all people? Is love a luxury? If it is, then maybe some of the poor have experienced more of it than the most opulent people on earth. Of course that’s pure speculation on my part.
But really, what is luxury? Expensive clothes and art? In my opinion, it is about comfort and peace of mind. An aesthetic and pleasing ambiance is part of luxury. In every way, luxury is a perspective, not a brand.
If you are lost on a mountain for hours on end or overnight, and it starts to rain and blow sleet, you lack luxuries, no matter how wealthy you are. If unprepared for such an excursion, the wealthy might have fancier gear, but will still suffer the discomforts, the elements, and the fear of death.
From such a perspective, a hot bath and cup of tea are longed for, in your mind, and viewed as the epitome of luxury. If you are lost in a hot desert, the oasis represents a luxury powerful enough to cause you to hallucinate the sight of one.
I remember reading somewhere that those who spent extended times in the wilderness after surviving a plane crash, fared better if they imagined food in detail, as opposed to those who tried not to think about food at all.
In cases of hypothermia, it is common for people to undress before they die. If they do not take off all clothing, they often remove just their footwear. Search and rescue are stymied when they find a missing person’s hiking boots, with no evidence of animal predation, or obvious reason for taking them off.
Humans are paradoxical in so many ways. There is much speculation about the reasons for undressing in the final stages of hypothermia. It is probably something instinctual in relation to the skewed electrical signals in the body, and decreasing level of consciousness. Some say it is a survival mechanism to increase vasoconstriction, in order to preserve the core temperature. But that doesn’t really make sense to me, since the core needs warming, not more exposure. The skin is the bodies largest organ, so our basic instinct is to protect and cover our skin when it is cold.
Luxury seems to be more closely related to warmth, stability, and relaxation. It is something you can hold close, like a warm stone. It is natural to slip into, easy to hug close around you, but not too sloppy to answer the door. Luxury is merino wool and cashmere socks inside your favourite pair of old and worn leather boots. Luxury is making it another few miles when you are tired, without stumbling and doing a face plant. It is reaching a destination, the one you have in your mind long before you get there.
In the past couple of years, pomposity has gone by the wayside. Luxury has been humbled. Over indulgence is rapidly becoming a garish and wasteful form of luxury. Huge carbon footprints are no longer idolized.
But what about our obsession with textiles and fashion? Has society ever abandoned the concept of adding art to enhance comfort, colour and beauty? Style is part of self expression and personal identity. Everyone has a certain style, which seems to match their personality.
Luxury, in one form or another is for everyone. If we have gratitude, we know a hot bath is a luxury. I believe we are very fortunate to have so much luxury. I also believe it is far better to buy quality and keep it for a long time, as opposed to fast fashion. Fast fashion fills up the landfills with excessive waste. It also exacerbates the use of petrochemicals, since most cheap things are made of polyester. Some polyester is superior to other polyesters, but even so…
Luxury leans toward natural fibres, in my opinion. Natural fibres make so much more sense, both for comfort and for the environment. This includes the use of leathers that are byproducts of the food industry. Natural fibres last longer, protect us better, and are less harmful to the environment. Nothing beats merino wool in cold weather.
High fashion is somewhat like music, art and other memorabilia. Some things are worth keeping and preserving, since they will never be made again. Who makes hats with intricate rows of contrasting feathers in this day and age? If they do try to make something similar, it certainly does not look like a 1950’s Ellen Faith hat. Quality and fashionable items have lasting value, if they are taken care of. They are part of the arts and culture of every era, and every country in the world.
Luxury is thought of as being everything from fancy cars, and python bags, to jet-setting, and indulging in seven course meals. Yet, luxury can just as easily be donning a warm pair of slippers, and pouring a steaming dark roast coffee, to watch the sun rise over the mountains. It is even better if you can sit quietly and listen to the trill, the distinctive woo woo sounds of the Mourning doves.
Whatever your luxuries this holiday season – May you have the luxury of peace of mind. Also, the luxury of seeing loved ones without rigid controls, rejections, restrictions, or conflicts.
Freedom is a luxury now. I hope we can all be encouraged to know our minds are free. We can question things, disagree or agree. We can talk to each other, research, read, observe, and formulate our own opinions. Freedom to think, is the way it has always been.
In so many ways, the battle for ultimate freedom has already been won. We just have to be patient, and carry on like normal people. Who would have ever believed normal would become the new luxury?
I wish all people a normal Christmas, with all the comforts and luxury of love, warmth and acceptance.
We can “safely” acknowledge that no one can cast out, or separate us from the bonds of love that bind a family together, no matter how great the intrusion or abuse of power.
May the downcast be blessed. May the arrogant be brought to their senses, in the midst of abundance and luxuries. May all of our hearts hold love – in spite of it all.
This Christmas wish is for blessings to all polarized people. Unity would be a true luxury. It brings harmony. Harmony can do no harm.
What are ideas, but words given to thoughts and expressions? We are free to undress words before the final stages of system failure – ’cause they don’t freeze, yet they freeze in time. We can examine words for truth, and draw our own conclusions. We don’t have to bury them on the hillsides. We can embrace and share words, as one of the luxuries of living in a democratic country.
Our values are strong. We weather the storms. Love is a constant. Truth is important. And luxury? It is a changing look.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
We are becoming more cognizant of things like sustainability, reduction of waste, and caring for things of the past. In my opinion, we especially want to care for things that will never be made again. There is no modern substitute for vintage fabrics that are now obsolete. Nothing is made the same now as it was back then.
Things that are made now with lustrous fabrics, stitching, hand painting, fancy needlework, etc. are labor intensive and very expensive. In fact, you can find comparable or better textiles in the second hand market, than you can in high end stores.
Although I have yet to try this idea – it seems quite plausible and easy to figure out. A person could migrate an individual category, create a different website, and sell it as a turnkey E-Commerce site. For someone who does not have product and wants to set up a home based business, they could buy a ready made store and product.
In order to offer unique products to customers all over the world, we have to get things in front of people and find a way to attract them to the online stores. I believe a large store with multiple categories could be turned into a multi-vendor site as well.
Key challenges for E-Commerce start ups. First of all you need a product or service. The web development is really based on basic publishing skills. In the past I did a fair bit of print publishing, mostly satellite image maps. In the late eighties and nineties you had to get typesetting done, then run to another location to look at colour separations, and then back for proofs and corrections.
When it came time to print a map, you had to do the same thing at the printers. Basically be on call to do a press approval when they did the print run. If you made a mistake, it could be printed on a run of 10,000. There was always a focus on per unit cost since the price per unit dropped as the volume went up.
Now, it is much different. You can publish on the Internet for the cost of a host. If you make mistakes, you can delete or change them. The range of colours and fonts is endless. But the basic principles are the same.
I know I am obviously an amateur with regards to photography. But I do think it is very important, and I love taking pictures of beautiful things. I only use window light, so it is a constant challenge to get the detail in reds, as well as to avoid certain background hues. The biggest mistake I see in online listings, is in not paying attention to taking good product pictures.
Even without much photography experience, the item must be shown fully, and without a cluttered back drop. That goes back to the publishing experience. If you are trying to sell something, in my opinion – show that something to the best of your ability. If there is clutter, or different items shown in the photo, it detracts from the item. If someone wants to buy something, they don’t care about the lacy drapes, and dog bowl in the background.
If there is one mantra to develop when taking product photos, it is “do not be lazy”. I must have told myself that a thousand times. I think we have to view online stores in the same way we might view a shop in a fashion district. You do not see things wrinkled, hanging crooked, or partially shown – or it would look shoddy. It is even more important for online collections, because unless you want to backtrack and do thousands of retakes, you have to do your best up front to avoid that.
Central to all of this preaching, is that people in general like to look at something that is aesthetically pleasing. They also need to be able to see detail in the item, so they can verify or authenticate it for themselves.
Vintage and antique textiles, as well as art objects, jewelery, and designer pieces – are a reflection of our culture and heritage. Many beautiful things have been brought to Canada from different countries, especially during the second world war and post war years. Thousands of hours went into the textile art, drawing on the historical and artistic aptitudes of many cultures of people.
It is worthwhile to share. I realize everything is not going to sell. I am also open to offers on all items, and once the store is ready, and the marketing launched – will offer regular sales.
The B2B idea is an idea for a large store to divide and sell a category or two. The concept of creating a multi-vendor site could create a sort of Avenue Montaigne, or Bond Street, Rodeo Drive – type of Internet fashion district.
The creation of an upscale second hand fashion district on the west coast, is quite appealing. We have so many remnants to treasure. It comes from those who have migrated here, and brought beautifully crafted items unique to the era. The online antique and vintage textiles are showcasing some of the artistic beauty in the various ethnic groups. It also serves to highlight a wide range of mid-century fashion houses in Europe and North America.
This idea would go a long way in helping niche market entrepreneurs attract traffic. It would also help the customers find one of a kind things they are interested in. It creates a resource for fashion designers and historians as well. I have had several Universities and experts request the use of images for talks, youtube presentations and other publications. Also – the labels on items are very important. Those labels authenticate, and add to a broader Internet resource for the textile and fashion industry as well. Therefore, it is important to get those photographed as well as any other identifying marks, serial numbers, etc.
Finally, we are returning to a longer lasting, less waste mentality. And with that, we slow down. There are so many things already in existence, out there for the plucking. Some of those things are just practical everyday textiles like t-shirts and jeans, plus a 99% plethora of fast fashion made in China.
But there is a percentage of things that turn up in the second hand market that are absolutely gorgeous. In my opinion, they deserve to be assigned a higher value.
This incredible dress has the most densely layered patterns of sequins I have ever seen on a garment. I have had this dress for about thirty years, maybe a bit longer. In hindsight I have only seen it on a couple of people.
A friend of mine, who looked like Michelle Pfeiffer was visiting once and tried it on. The most amazing thing about it, to me anyway, was the way the cat’s expression changed when she walked. The bust fills out its cheekbones, and it changes with both movement and light. The bones down the front make it look kind of skeleton-like. She is definitely a full grown cat, not a kitty…
Hand woven and hand loomed silk, wool, and cotton from India with metallic threads and incredible artistry, demonstrates some of the most beautiful textiles in the world. The following excerpt from the Indian Textile History gives us an idea how rich and interwoven the history of textiles has been throughout India and the rest of the world:
“There is archaeological evidence of a cotton textile industry at Mohenjo-Daro in the IndusValley around 3000 B.C., and a few fragments survive from much later periods. Most of the extant textiles are dated after the seventeenth century, because the monsoon climate has been very destructive to early specimens. The Greeks with Alexander the Great wrote of the fine flowered muslins and robes embroidered in gold they had seen in India. They may also have seen the cotton fiber that grew on trees.”
“Marco Polo left detailed accounts of the people and industries of the coastal regions of India in the late thirteenth century. He mentioned seeing on the Coromandel Coast the finest and most beautiful cloth in all the world-buckrams like the tissues of spider webs, and he observed dyeing with indigo in the great textile center of Cambay and spinning of cotton in Gujarat.”
The maxi skirt in this post is a sample of antique Indian textile art. It is all cotton embellished with a variety of needlework patterns and images. The lining has some quilted patterns as well. I am not sure of the age, but from having experience with other vintage and antique textiles, I am guessing it is seventy-five to a hundred years old.
Beautiful Sample of Antique/Vintage Textile Art From IndiaThe underside of the skirt
More info from the Indian Textile History to explain some of the techniques they use:
“Embroidery is important in India and there are many regional styles. Sometimes it is the work of village women; other times it is done by male professionals. There is a vast difference between the work that reaches western markets and the fine embroidery, important for its symbolism, that was made for the courts and temples of old India.
Phulkari (flower work) is a specialty of Punjab embroiderers. Bright-colored floss silk is worked on cotton with a darning stitch (Plate 50). Phulkari is sometimes combined with the mirror work that originated when blue and green beetle backs were sewn onto wedding garments of the hill tribes of southern India. Orthodox Hindus disapproved the practice and so pieces of mica were substituted. Eventually the mica was replaced by bits of glass or mirrors.
A type of chain stitch is worked with a hook in Gujarat to make birds, animals, humans, and flowers in bold colors. In the valley of the Ganges plant designs are worked in white on soft fabrics using satin stitch, and near Bombay running stitches make delightful animal figures on loosely woven cotton. The cross stitch is popular all across India.”
The shawls of Kashmir exhibit some of the most beautiful needlework and artistry of all time. By the beginning of the nineteenth century the shawls were in high demand world-wide, and their creation involved several different specialties. The wool is combed from the underside of Tibetan and Central Asian goats that are raised in Kashmir. This type of cashmere wool is known to be the softest and warmest wool in the world. Once the wool was gathered, the warp maker was tasked with cutting the yarn into lengths.
Once the yarn was ready, the warp threader prepared the loom. The pattern designer created the design in black and white to begin with. The colourist made the decisions on the colours and thread count, which was written down in a form of shorthand.
The weavers wound the yarn on many different bobbins, taking several days to complete. After weaving, the shawl was turned over to the cleaner who cut loose threads and touched up the needlework.
“Kashmir shawl designs were mostly floral until the middle of the eighteenth century, when they began to take on the characteristic cone arrangements. Cones were rather short and fat until the 1830s, when they became elongated with slender tips. By the 1850s they were almost abstract scrolls. Many shawl designs originated in Europe, and at one time Frenchmen went to Kashmir with the purpose of improving the patterns.
“Famine struck Kashmir periodically, but never devastated the weavers as completely as in the 1870s when the Franco-Prussian War closed the French market and the fashion for Kashmir shawls died.”
Although I have always thought of these tailored and highly versatile tops simply as vests – they are also referred to as waistcoats, sleeveless jackets, and gilets. The down filled, leather and wool varieties might be worn as jackets, or under a coat to keep your core warm. They are great when layered over a sweater or hoodie if you want a less bulky freedom of movement for an active lifestyle.
There are people who are naturally warm blooded, and can wear a tank top almost anywhere and not be cold – but some of us unfortunately are just the opposite. Another vest advantage, is if you must take your coat off, yet worry about being cold, such as going out for dinner – a padded gilet is like a comfort measure you can add, to avoid freezing while indoors. They do not have any trailing parts that might dip into the food, like some bell sleeves and large wrap scarves do.
Regardless of whatever fashion trend is happening, I have always loved vests. They can be worn over a skimpy top to add a looser layer, or buttoned up to accent the waist and cover the tummy. In the summer months lighter vests can be worn buttoned up as a sleeveless top. They can be paired with skirts or blue jeans, with western wear, or to jazz up an evening outfit. In addition to being practical and comfortable, the coolest thing about them is how much intrigue they can add to almost any outfit.
Once you like the fit and look of a certain vest, you will be certain to hang onto it for a long time. Vests add warmth, colour and contour – and often have a much coveted extra pocket or two for a cell phone or keys.
Whether you are looking to a kick up an outfit for a night of line dancing, or like the cut and comfort of a certain style, there are many to choose from. The zippered and snap fronts are among my favourites. Have a look at the samples below to see what type of vest might suit your own fashion repertoire. Whether you lean toward comfortable chic, feminine toppers, jazzy western, outdoorsy layers, or dinner at the Ritz – these stylish additions are sure to have your back!
Isadora Paris Beaded LeatherIceberg Leather With Blue Wool Back Covered With Images of Origami Bats?Iceberg Jacket Back – ItalyA Touch Of Black Silk – FranceCache Natural Suede Leather – CanadaHairston Roberson Ropa Embellished Denim – Dallas TexasDonna Karan Soft Black Suede – USASee By Chloe Feathery Wool VestGallant Gaumont Montreal Sleeveless Jacket – Montreal, CanadaVersus Versace Bright Garden Theme – ItalyKenzo Wool Wrap Style
Highly decorative shawls and wraps date back to India and Persia in the third century. The earliest known manufacturing began with the looms of the fourteenth and fifteenth centuries. The original Kashmir shawls are made of goat hair, and were often elaborately woven and decorated. By the eighteen hundreds these shawls became increasingly popular in Europe as well. They were a subject of much fascination, and became coveted outerwear for the most fashion conscious, as well as creative individuals attracted to wearable art. They were especially popular to be seen wearing at the live performance theatres and operas.
To keep up with the rising demand for beautifully designed shawls, France and Great Britain developed a mechanized shawl industry, in order to imitate the famous Kashmir shawls. Known as Paisley workshops, they were able to create a price competition for the shawls, which forced the original Kashmir production to cut costs and compromise on quality.
The shawl industry peaked in the eighteen hundreds and early nineteen hundreds before there was dip in the demand. The loss of interest at the time can ironically be attributed to the mass production. Regardless, from the twenties onward, shawls have continued to be worn by discerning and creative individuals. The sixties in particular, brought about a revival in decorative shawls, from Kashmir goat wool, to fringed piano shawls, and all kinds of capes and ponchos.
Just as it was hundreds of years ago, shawls can be worn over a plain wool jacket or sweater, or to offset a certain type of skirt. They can be draped over dresses and evening wear. A casual chic look with a hippie flair shows them worn with jeans, boots, and tank tops. They have been popular in warmer climates with cooler evenings, to drape over the shoulders as the temperature falls. They can be an elaborate addition to the little black dress instead of wearing a coat.
Below are some samples of different types of shawls and wraps. The Persian method of draping is shown in some of the pics below. To wear it this way you put one third of the shawl to one shoulder, and then drape the rest so the fringe or edge falls to one side.
Wool Shawl With Hand Knotted FringeClose Up Of The Weaving & KnottingRuffled Wool Cape Shawl With A Tight Weave – ItalyLavishly Embellished Wool ShawlClose Up Of Needlework On Embellished ShawlThis Image Shows The Extensive Amount Of Embroidery & VibrancyWoven Shawl With Vibrant ColoursThe Reverse Side Of This Unique Woven ShawlBeautifully Embroidered Silk ShawlClose Up Of Floral Embroidery On Silk ShawlChanel 1980’s Shawl Decorated On Both SidesMid-Century Embroidered Kashmir Shawl
The twentieth century left a trail of embellishments that will never be re-created except in couture fashion houses for the elite. As we look back at some of the beadwork, laid work, embroidery, hand-painted wonders, sequins and stitch work – we see a reflection of the times. There was no Internet or cell phones for a good part of the twentieth century. More time was devoted to the application of ideas, colour, buttons, beads, sequins, embroidery – all to enhance the aesthetic appeal. Everything from the most elegant of dresses to radical looking blue jeans, to aprons, table cloths, and bedding – were needled into some shape or form; decorated as such for the sole purpose of beautification. Some fine examples of time consuming embellishments are shown in the pictures below.
Close Up Of A 1920’s Small Beaded Flapper BagFull Circle Maxi Skirt 1940’s Or 1950’s IndiaEmbroidered On SilkBeaded & Sequinned SleeveHand Painted 1920’s1980’s Dress With Embroidered Bow1940’s Cropped Velvet Jacket1950’s Black On Black Sequinned Cardigan1960’s Embellished BlouseScene On A 1930’s Japanese Kimono1970’s Batik Maxi Skirt1930’s Or 1940’s Peasant Style With Decorative Stitching1990’s Light Jacket 1970’s With Embroidery & Sequins1960’s Embellished Trim On Silk Dress1990’s Casadei Cocktail Dress
London in the sixties and seventies brought us some of the most incredible fashion pieces – outfits that matched the arts and culture of the time. Alice Pollock was a London fashion designer and retailer who opened a boutique called Quorum. She teamed up with fellow designer Ossie Clark and featured other up and coming designers. They brought together an eccentric and creative group of designers and flourished. Their fashion shows were known for visual extravagance and theatrics.
The boutique was opened in 1964 and went strong until the 1970’s. Celia Birtwell was part of the partnership as a textile and fashion designer, known for her bold styling and attention to detail. In the late sixties they adapted to another look when the designs became more subtle, and mini skirts were replaced with maxi skirts. Tragically, many years later in 1996, Ossie Clark was stabbed to death by a former lover.
The Alice Pollock blouse featured in this post is part of the Quiet West collection. It is made of a rich creamy sunglow coloured synthetic fabric with a deep crinkling throughout. The style and attention to detail is quite remarkable. It has covered buttons down the front and on both sleeves. The most distinguishing feature of this blouse is the collar.
This animated linen dress is reminiscent of sock hops, Kool-aid, sunny days, and doing the twist. The needlework is a combination of hand stitched edges with machine sewn centres. It is definitely an eye catching 1960’s emblematic dress for a nostalgic photo-shoot or event.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
These awesome Cynthia Rowley lambskin trousers are decorated from the knees down in a vivid floral brocatelle fabric. Bright enough to create a buzz around bee-ing so evocative and animated in these “dancing garden digs”. Check them out!
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
This silk kimono features a mountain scene with people – some walking, and others on donkeys or horseback, others with carts, as they wind their way down the mountainside. The scene is on the back of the kimono only. It is in a dark grayish-green base colour, with other muted blues and some luminescent colours blended into the grandiosity of the mountain scenery. Underneath the main image – there are abstract looking gold tone trees, giving an appearance of being uprooted and blowing in the wind. It is lined in a muted, lighter coloured silk.
Thankfully it has a label dating it to the Shirokiya department store in Japan somewhere between 1903 and 1940’s. It looks to be twenties or thirties to me. The store burned down in the thirties. Apparently the women in the building on the upper floor did not want to jump because they wore no underwear underneath the kimonos. As they looked down upon the growing crowd of onlookers – they could not bear to be so exposed. The story might be myth though – however widespread. Regardless – it led to a surge in the sales of western undies and pantaloons!
After doing a little more reading – this kimono would be from the Showa era 1929-80’s placing it in the thirties or forties, based on the label and artwork. Once you examine the imagery on this kimono – and then compare it to the earlier period kimonos depicting wealth, stability, prosperity and brightness – you can see this one has a more somber tone. Instead of having bright floral scenes and birds – it shows people leaving an area. It represents being dispossessed as opposed to being carefree, happy, stable – and able to demonstrate the artistic elements of a fanciful existence. There are no signs of light-hearted whimsy on this one. They are not chasing butterflies.
In looking at the political time frame that brought about the upheaval – it makes sense. This kimono would be from the thirties or possibly the forties – as displacement and unrest became increasingly prevalent in Japan, and the rest of the world. Nevertheless – it is a poignant and beautiful scene. Whatever emotions reside in the human spirit – will be expressed in the art of the time period. It is a deftly transposed reflection of their experience – and the overwhelming power that looms larger than they are. It creates a majesty all around them in the mountains as they weave their way to a destination on a downward journey.
It is a depiction of just one stream of humanity in our human history – as they were caught up and swept along by external forces beyond their control. It is another reminder, as we approach this Remembrance Day weekend – that peace and democracy has great value to all of us, regardless of what culture or historical time frame we come from.
This artful textile is labelled along one side “Stroheim Romann Inc. Exclusive Hand Print Fantasy Garden” and shows the colour palette with a dozen colours. Thinking in terms of offset printing – this is one expensive printing job! It never ceases to amaze me how some textiles can stay so vibrantly alive, almost increasingly so – as they age. The aliveness is in direct proportion to the time and effort that went into creating it.
This open front sheer silk jacket is a delicacy of refinement. It is enhanced with richly coloured raised velvet pussy willows. The label as shown at the bottom of this post, is mostly unknown and enigmatic. The colours and textured shapes used on the black silk create an optical illusion with an alluring – yet subtle interplay. It is one of the finest examples of something that “flows”. This jacket scores high in artistic merit. It is among the top ten per cent of the most beautiful items in the Quiet West collection.
With a voice, boots and a guitar – this would be a great outfit for a Western or Bluegrass performer in any era. If this outfit could sing – she would sound like Emmylou Harris!
Cape Like Top With Studded Pattern & Patterned Cut & Stitching
The French designer Rodier has maintained a certain obscurity or subtlety over the past century. But once acquainted with some of their product, this brand is worthy of accolades for its long tradition of excellence in knitwear.
The House of Rodier was formally established in France during the mid eighteen hundreds. With a primary focus on knitwear, they began redesigning shawls of the Kashmir, which brought them acclaim for their creative divergency. The elaborately decorated shawls from the late eighteen hundreds through to the twenties, created stunning examples of the arts and culture of the time.
During the 1920’s and 1930’s Rodier assisted Jean Patou as he embarked on his career in fashion design. They also redesigned a fine knit jersey commonly used in undergarments, which was later made famous by Chanel. The looms of Rodier attracted much inspiration from other cultures. Like a laboratory of looms, they experimented with a variety of fabrics to include spun rayon called senellic. Some articles claim Rodier made sweaters for Chanel, Patou, Lanvin and other luxury brands during the post war years. Since inception – they were central to the “sweater and knitwear source” coming out of France.
Rodier created its first ready to wear line in 1956, and like all luxury brand companies has gone through many changes over the years. In the 1980’s they did an expansion with a focus on the US market. Over the following decade they spiced up their line and sold to multiple luxury boutiques.
As the century came to a close Rodier opted to do a number of licensing agreements. Alas, the tradition of excellence may now be compromised, which makes the earlier Rodier knitwear as distinctive and coveted as it was during Napoleon’s reign.
Below are some pre-millennial examples of Rodier sweaters:
This one needs some retakes to show the detailed needle work better. When I bought it I was told that it was brought back to Canada by the wife of a Canadian diplomat in Africa. It is a heavy garment with yards of fabric in the skirt to create a wide sweep. The lower portion of the skirt also has the detailed couching and beadwork patterns.
This hand woven silk damask textile by Raja is absolutely stunning. It is very large, with an ivory backdrop, rich in depth and texture, yet vibrantly reflective. The pictures below show each side of the design, as well as some close ups. Although there are many hand woven rugs from India and Pakistan, hand woven silks, and beautiful hand embellished saris – so far, I cannot find anything comparable to this on Ebay, 1stdibs, or any of the other sites on vintage textiles. From the Antique Textile History, the following information sheds some light on the origin of such a textile, not including the selection and preparation of the silk, or colours, but enough to enhance our appreciation:
“BROCADES – THE TRADITION OF BRINGING SILK TO LIFE
Brocade weaving, especially with gold and silver, has been an age-old tradition in India. There are two broad classes of brocades. Brocades of pure silk or silk and cotton blends and zari brocades with gold and silver threads. The most important material in brocade weaving is silk. It facilitates lovely weaves, is durable, strong, fine and smooth. There are several varieties of raw silk of which the chief ones used for brocades are Tanduri, Banaka and Mukta. Tanduri is imported from Malda and other places in Bengal. Banaka is thinner and finer variety and is mostly used to weave soft fabrics such as turbans and handkerchiefs. Mukta is a coarse and durable silk used for kimkhabs, as fine silk would not withstand heavy gold patterns.”
“MAKING NAKSHAS (DESIGNS) ON BROCADES
Making of nakshas (designs) forms an important part of brocade weaving. Banaras is the main center where the nakshabandha (designer) tradition prevails. The skill and imagination of nakshabandha plays a prominent part in making of designs. Designs are associated with legends and symbolism. The most popular motifs are drawn from nature. In Banaras, it is said that nakshabandha families were brought to this country during the reign of Muhammed Tughlak (1325-1350 A.D.). They were supreme masters of the art of tying designs into the loom. Local artisans and weavers learned this art from these great craftsmen. Some of these craftsmen were also great poets-perhaps they wove their poetry into their designs. One such renowned poet was Ghias-I-Naqsband, mentioned in Abul Fazl’s ‘Ain-I-Akbari’. The nakshas are first worked on paper. This part of the work is called likhai (writing). The nakshabandha then makes a little pattern of it in a framework of cotton threads like a graph. This pattern gives guidance to the working of that design into weaving.”
The example in this post, is a much heavier silk than most. The design on one side does not show through or impact on the other side. I am guessing it was part of a special ordered bridal trousseau, and estimate it to be from the sixties or seventies. It is truly extraordinary – with many components in the design and fabric, from dimensional rose floral outlines, to small raised slubs on the fabric, and a periwinkle contrast. The centre on one side features a large round design, a bouquet, outlined in coloured lines. In the very centre, there is a small red symbol or signature. The condition is pristine. It is one of the most beautiful textiles I have ever handled and photographed. It is visually tactile, a fascinating sight to behold, with a luminescent glow and vibrant colour and synchronization. It creates an exhibit with features unique to the richly exotic and historical textile artistry from faraway lands.
It demonstrates how the non-material world – beginning with the vision of a poet or artist, can be woven into the material world – and will always retain the beauty and vision of the soul that went into it. Initially as a concept it may seem overwhelming and elusive. Eventually it turns out to be, a fine representation – of soulful materialism and poetic realism.
Couching or laid work is an embroidery technique dating back to 1070. It was one of two main techniques used in the Bayeux tapestry, a European historical work of art, consisting of fifty different scenes, and measuring 230 feet long. Laid work was also used traditionally on textiles in medieval England and Japan, with extensive use of metallic thread. Another location with a strong tradition for this intricate embellishment, was in Palestine, with production centred in Bethlehem. The Wikipedia definition is:
In embroidery, couching and laid work are techniques in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn.[1]
Once you take a closer look at this type of embellishment, as shown in the last picture of the post, it is mind boggling to absorb; how much time and attention to detail, goes into this type of needle work.
Check out this fabulous Lemay seventies embroidered denim shirt. It is heavy enough to be worn as a jacket. The scene on the front depicts sprigs of flowers only; but on the back, the mushrooms are taking over! The logo on the label, is of a dog (at least I think it’s a dog) smoking a pipe. Overall – this shirt is happy and well done. I bet she was donned, and danced like a diva – at a few hippie music festivals over the years!
Leah Gottlieb (1918-2012) and her family, were the founders of Gottex. The company was started in 1956, in Tel Aviv. Her vision was to design luxury brand swimwear and beachwear; with the relaxed versatility, enabling seamless meandering – from the beach or poolside, to luncheons, cocktails, and romantic summer evenings.
Gottex swimsuits have graced such figures as Diana Princess of Wales, Elizabeth Taylor and Brooke Shields. In 1975, the company was approached by Yves Saint Laurent and Pierre Cardin, with a request to design swimwear lines for them. Instead, she chose to remain independent and grow her own brand. Vintage Gottex resort wear, made in Israel, is deluxe in artistry, colour, and uniqueness. True to her word – it is an all around uplifting brand!
This 1920’s silk chiffon dress ensemble, is remarkable in how it is made, and even more so, in that the condition is near mint. The base dress was originally without a zipper, and would slip over your head to put it on. Wisely, this dress had a back zipper put in, to avoid stretching and pulling the delicate fabric, when putting it over your head, especially so, given the dress has sleeves. The zipper was put in professionally and stitched by hand. The entire dress is made by hand, to include all of the embroidery and beadwork, as well as the edging and seams. It is rolled and hand stitched, similar to a luxury scarf. The base dress is sheer, and is also covered in the same complex pattern of embroidery and beadwork.
The second layer, like the base layer, is extensively embroidered and beaded. It slips over your head, and attaches at one shoulder, draping diagonally over the dress. This makes one side semi sheer, and risqué, while the other side is draped in folds of silk, like a Roman goddess. The other minor change that was made, was on the left shoulder, where the second layer of the dress is attached. It was changed to a narrow strip of velcro. This too, saved the dress, since the weight of the fabric pulling on hook and eye fasteners, would have eventually torn the fabric. Thankfully, the dress has maintained all of its original glory and design, without damage, which is a rarity in 1920’s clothing.
It is of the calibre of the Callot Soeurs dress designs, when life was seen to imitate art and drama. A few breathtaking poses, show the remaining posies, of the most intricate dresses – ever put on the stage.
Another beautiful vintage/antique dress to share, with a handkerchief hemline, and the 1920’s stylish silhouette. The pattern on the front is both magical and mesmerizing. Many of the 1920’s dresses are lavishly beaded and embroidered. This dress features a hand painted design so avant-garde – it vacillates between sophistication and the desires of her heart. A damsel so charmed, she fans the coquettish. One would suppose – she is a wee bit standoffish, and so very hard to get – as to command a chic nonchalance. For she knows when she arrives she will steal all the glances. The buttons are so done up. With little carved faces, heart shaped lips, and wild red hair, standing straight up on end. What an eloquent way to dress for a smile. She scores a ten on being a classy and fanciful exclusive. She is an original and we get to admire – another fine example of how Art marries Style.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
This beautiful vintage robe boasts breathtaking distinction. It is embellished and embodied in the warmth of the Mt. Fuji silk patterned textile. The luminescent textile is further enhanced by an extensive amount of pin tucking around the lapel, collar, sleeves, and pockets. The embroidery is done on a backdrop of black velvet, contrasting with the gold, to enhance the vibrant colours of the embroidered floral accents. It is completed with a black trimmed, gold tasseled belt. It has a western design, with the artistry and beauty of the Japanese aesthetic. This robe, like the Cantonese piano shawl in the previous post – captures the culture and talent of an era, to give us another shining snap shot of the rich history and artistry in textiles.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
I realize vintage clothing hunting is an addiction, but ironically it can’t get the best of you, because you are looking for the best in it. Every score is a fix. Unlike gambling and certain other addictions – you don’t lose itbefore you get (it) home. You can wake up in the morning and look at it without regret. Certain things can be marvelled at every time you look at them. There is the initial amazement when you first spot it. Following that, the enthusiasm and desire to get it home and spread it out, or put it on a mannequin to photograph and examine it more carefully from different angles.
The Cantonese piano shawl featured in this post, is in my top ten highest of vintage fixes. The biggest rush is in the colourful array of embroidered birds. The embroidery technique used to make the feathers looks so real, vibrant and alive. It features several different kinds of birds, some perched, others in flight. The macrame around the edges and long silk fringe, is almost like extravagant long hair. It is a large and most impressive work of Cantonese textile art, which was so avant-garde in the fashion circles of the twenties. There was another flurry of dramatic piano shawl poses in the sixties.
It is a show don’t tell – true treasure from the archives of the past. The first picture in the post represents the 1960’s iconic comeback of the piano shawl. It is a stunning photo of Raquel Welch taken by Franco Rubartelli for Italian Vogue magazine in 1969. She is wearing a Valentino 1920’s inspired piano shawl, complemented with an amazing sterling silver and turquoise squash blossom necklace.
Photo by Franco Rubartelli for Italian Vogue Magazine 1969 Raquel Welch Wearing A Valentino Piano Shawl & A Squash Blossom Necklace
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Featuring French couturier Roger Freres – a stunning late sixties or early seventies formal gown, made of a most unique and decorative textile. The fabric resembles blue and white string, wound and looped into a lace-like theme pattern. It may be described as macrame or guipure – but is not like any other fabric I have seen. The material and design is enhanced with a concentric floral motif to accentuate the hemline, bodice and sleeves. The patterned, open weave fabric is draped and fitted over a thick ivory satin – which makes the dress fairly heavy.
When I bought this dress, I was fascinated by the fabric and design, but was not familiar with the designer. I soon learned that vintage Roger Freres dresses are a vintage rarity. The few I have seen in doing research on this designer – are listed on 1stdibs. Each dress is exquisitely unique – made with the highest standards and most incredible fabrics. Check this one out and see for yourself – if you have ever seen anything like it!
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
This funky 1960’s red linen mini dress features a gold hand painted rose, that goes from the shoulder to the thigh. If you love roses – why not wear one? It’s guaranteed not to wilt!
1960’s Hand Painted Gold Rose on Red Linen Mini Dress
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
For those who have done extensive needlework, embroidery and beading on fine garments – they can readily see the time and craftsmanship involved in these creations from the past. However – it is hard for most of us to imagine the time and patience required to bead such a sweater as the one featured in this post. The fifties era holds claim to some of the most beautifully artistic beaded sweaters of all time. These fine beaded sweaters have what it takes to hob nob with the most cherished mid-century vintage and luxury designer pieces. It is rare to find them in good condition (especially the lighter coloured ones) – that have survived the rigours of the past sixty five years to age as gracefully as this!
If you happen to have a hand beaded sweater from the fifties that needs cleaning; the following description is a common-sense method of care and cleaning that I use for beaded woollens:
– Rule number one is to handle it very gently, for the sake of the beadwork as well as the wool. Create a bath of water that is blood warm or body temperature, not quite tepid. Add and mix Zero and then gently insert the sweater.
– If the sweater has a stain, you can put some Oxiclean directly on the stain and see if it will lift it out. Swirl gently. Don’t soak it for very long.
– Empty the bath and add water to rinse two or three times until the soap is rinsed out. Lay it flat on a rack with a big towel over it and gently shape it.
– If the lining has stains or colour bleed from the exterior, in my experience, they are less likely to come out than stains in the wool.
– However, if the lining is white cotton and lifts away from the sweater, you can insert a white linen hankie between the lining and the wool. This enables you to treat the stain on the lining without coming in contact with the wool on the sweater.
In the case of the sweater shown in this post, the lining is synthetic. It appears that the colour from the surface beading and thread, over time, has leeched onto the lining in certain spots. I have not attempted to treat that, because it is not visible, and is not likely to come out. It is not worth taking any risk that might damage the exterior of the sweater.
The other tip to share with those of you who have an interest in preserving this type of artwork on textiles, especially with wool – is to put the item in a snap lid plastic container and freeze it for 24 hours. You can do this even before washing it. Freezing kills moth larva and is a good practice for maintaining fine vintage woollens. But, don’t wash it immediately after freezing it. Let it return to room temperature first. The idea is not to shock it too much. Also, a drop or two of neem oil can be mixed with the Zero for washing certain woollens – as an extra prophylaxis.
This gorgeous silk hand embroidered piano shawl is still luxurious and vibrant, almost a hundred years after it was made with painstaking patience. This one, fortunately, has been stored away from dust and direct sunlight over the years. Piano shawls have to be handled with great care to avoid knotting and tangling the fringe. Originally made to cover pianos, these shawls were used in elaborate fashion photo shoots in the twenties with a revival featured in Vogue magazine in the late sixties. The last two pictures in the post show the reverse side of some of the embroidery.
1920’s Hand Embroidered Silk Fringed Piano Shawl
Reverse Side
Reverse Side
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
For those of us who love the intrigue and beauty of vintage fashion, it often extends beyond the way we dress to the way we decorate our homes. The linens, lace, artwork, and furniture are part of the quintessential blend of vintage expression and reflection. The use of textiles with the varied patterns, stained glass to catch the changing light, hand made Persian carpets, and fine hand-painted Asian porcelain are among my favourite things for home decor. Whatever attracts us to a bygone era, whether it is a form of escapism, or the realization that some things, especially things that are created as a labor of love – are worth our appreciation and care.
Creative efforts generally produce positive values. Every creative endeavour that has lasting value requires intensive effort. For some, it is an immeasurable effort that may never bring recognition to the individual in his or her lifetime. But, as we all know – creative effort and energy, freely shared, as a labor of love – provides returns that are rich in intrinsic enjoyment and fulfilment. Once an idea is captured and turned into something tangible – it takes on a life of its’ own, often outliving the person who created it.
The best summary of creative effort that I read many years ago, simply stated that “creativity is judged by the number of people who are moved by it.” It brings joy to the individual and has the potential to make a lasting impression. Of all the things I have collected and studied closely, marvelling at the time and attention to detail that went into creating it, I feel gratitude toward whoever made it. It makes me think of the philosophical aspects of materialism and how it paradoxically (in my mind) contrasts and competes with idealism. Because essentially, without idealism – nothing matters.
Vintage Reflections In Sunlight & Shadows
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
There are scarves everywhere. Hundreds of them steadily turn up in every thrift store. A high percentage of them are boring. By boring, I mean there is no sensation that is evoked from the fabric. That, combined with a lack of strong visual appeal, is what creates the first impression. As part of the hunt, I have developed some shortcuts, based on the first impression. Although it sounds crazy – I skim the masses and look for a scarf that is alive. Alive with the sensation of the fabric, vibrant colours and an intriguing design. Then I check the hem, labels, corners, and look for signatures.
And sure enough, sooner or later, out of hundreds – one stands out in vibrancy and touch. It feels luxurious and the colors interplay beautifully within the canvas of the design. The edges are hand rolled and hand stitched. Such a scarf, when folded and draped, still captures and blends the components of the design.
To share a few things I have learned about luxury scarves:
Consider the fabric – Natural fabric is the most luxurious. It absorbs and captures the colors more vibrantly than synthetics. Silk and cashmere are also the warmest and softest to wear around your neck.
Consider the design – When laid flat, a scarf is like a canvas. The more colors and complexity, that which embodies detailed and sophisticated artwork – the more luxurious the scarf. The identification of artists among the famous scarf makers like Hermes, is a specialty of its own. What makes a luxury scarf really stand out in my opinion, is the way the fabric drapes and folds, bringing out smaller components of the design, that seem to blend beautifully no matter how you fold, drape or tie it.
Consider the colours – The most expensive scarves have the most number of colours, usually in a dynamic and vibrant range. Similar to offset printing, the more colour, the more expensive it is to set up and run the press.
Consider the finishing – No matter how you fold or tie a scarf, the finishing or edging is apparent. Luxury scarves have hand rolled and hand stitched hems. This complements and frames the scarf with a rounded softness and impeccable corners that do not have loose threads and linear flatness. I have read that it takes a good seamstress at least an hour to hand sew the hem of a scarf. But the time it takes would vary quite a bit, depending on the size of the scarf.
Expanding fashion horizons – Some scarves are truly beautiful works of art. The little bit that I have learned does not delve into the artistry of individual designers too much. But the artistry captures the imagination and makes you realize that it is an entire arena of fine arts, with much to be learned and appreciated.
The first two images in the post feature a silk Hermes scarf by H d’Origny, an artist well known for designing silk ties. He is now in his eighties. The two scarves featured below the Hermes, are scarves that in my opinion, are among the finest examples of luxury scarves. Both are vintage signed Louis Feraud scarves. The others are some more examples of beautiful scarves with interesting designs.
The Impressionistic Image
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
The other night I was talking to a woman about how certain aptitudes seem to come down through the generations, like it is in your blood. She was telling me about her own history in Prince Edward Island coming from a background of artists and how she learned about, and developed an appreciation for beautiful things.
My earliest recollection of my Swedish grandmother, is of watching her spend hours upon hours, spinning and carding wool. I knew she found solace in the rhythmic constancy of the spinning. She also made beautiful quilts. She fashioned bits of satin into flowers of all different colours, to create a big bouquet in the center. Then she would embroider stems and apply the leaves. Sometimes she made the flowers out of a combination of fabrics – brocades, velvet or printed cottons. The quilt, with its layers of wool in the center, was her canvas.
The spinning looked simple enough. As an adult, I have not had a chance to study many spinning wheels. When I did, I realized it is not that simple. I chatted with a woman who does spin, and is quite passionate about it. She said she had learned how to spin from watching You Tube videos, which makes a great deal of sense, since you can pause it and go over sections, you don’t yet grasp. She also explained, how at first it is a real struggle, like you want to tear your hair out. But then – when you get it, you can’t understand why you found it so difficult. I told her about my grandmother and how it almost seemed like spinning was an escape for her, and a way to relax – while shutting the world out.
From what I have read, spinning is an art form. Like other art forms, there is a variety of ways to approach it. In essence it is the art of twisting fiber, fleece, wool, silk, alpaca, angora, mohair, flax, etc. into a continuous thread. It can be spun thick or thin, plyed or unplyed, dyed, or left natural.
The You Tube website is called “The Joy of Spinning”. It turns out spinning does have an effect on the limbic system, and pathways in the brain, to create a sort of Zen-like state. You get into a flow, yet at the same time, you have to maintain concentration.
Although I don’t know how to spin yarn in the real sense, I am most convinced there is joy and relaxation to be found in doing so.
Because my Grandma proved something to me long ago…Our brains like to spin!
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
