As an amateur photographer using a DSLR camera, I have learned, the frame size makes quite a difference. The biggest difference is in shooting full length gowns, robes, or coats.
With a Nikon D80, the room I was in was not large enough. So for long dresses and robes, I would have to back up, open the sliding door, and stand on the balcony to get the full image.
If you browse various Etsy sites, you will notice that in many cases long gowns are cut in half. You don’t see the full length in the product photo because the person does not have the space.
My initial assumption was that the distance was a lens feature, not so much a camera feature, but after switching to a larger frame camera, I was pleasantly surprised to be able to get the full frame long gowns or coats without having to stand out on the balcony, and let the flies or bees in.
The larger frame 48 megapixel camera is great for being able to take pictures in a smaller studio space. It is certainly something to consider for anyone who is taking fashion photos in smaller spaces.
The drawback though, and once again, I assumed it was a lens feature, but found out is is also a camera feature on the macro photography as well. I find it much more difficult to get really good macro photos with a large beast of a camera. Ahh – but all things in life involve a certain trade-off I suppose.
Nikon cameras developed the F mount for the various different lenses in 1959. They made the very intelligent decision to use the same F mount attachment year after year on camera bodies, as they built new and improved cameras.
Unfortunately the trusty old Nikon D80 I used for many years finally bit the dust and would no longer work with any lens. It just gave a stubborn ERR message, and would not budge.
I had to get another camera. As a result, I gained a better understanding of how the camera and lens have properties that change when you change camera bodies, even if you use the same lens.
It now makes perfect sense to me why the larger frame camera does better with full frame, and not as well with the macro close-ups. The smaller frame size camera is more geared to the close ups, with better intrinsic resolution.
In my opinion, both the larger and smaller frame cameras have very strong attributes, depending on what you are using them for. I know the Nikon D80 is no longer being made, but there are a few of them out there yet, with a fairly low price tag. You can buy the D80 camera body in the range of $100 – $350 or so.
The D80 is a great camera, especially for the macro shots. It is also fairly small and easy to manage on the tripod, even with a larger lens.
With photography, there is a fair bit of trial and error involved. I guess it depends on how much of the technical material one reads, and how much you just wing it.
The most photogenic products – in my opinion, are hand painted porcelain, colourful silk scarves, and embroidered silk textiles. Artisan sterling silver, with coloured gemstones, is also a real pleasure to photograph. The superior craftsmanships shows.
Capturing the beauty, colour, artistry, and workmanship of certain vintage items is a challenge. The camera often shows things about the product you would not otherwise notice.
I think the motifs, patterns and design get framed in, and maybe it does something overall for learning. The observation of so many different patterns, has sort of an orderly mathematical aspect to the learning curve as well.
Although many aspects of photography remain elusive, and some things are more technical weaknesses, I can certainly understand why people get hooked on it!
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.
The mauve set is Bill Tice for Carolyn New York/Montreal. The burn-out velvet robe and fly-by-night feathered jacket are 1970’s Claire Haddad pieces.
Bill Tice – Although his life was cut short at age 52 due to lung cancer, thankfully some of his awesome creations live on. Bill Tice was a designer in New York from the sixties to the nineties. He died in 1995, therefore most of the designs found today are from the sixties to the eighties. He masterfully created innovative and versatile loungewear that could be worn in style at home, on a cruise, or to an evening patio party. He also did many collaborations with designers in Montreal.
Claire Haddad – A Canadian iconic fashion designer who could return to any stage with these timeless and exotic mementos. The long glamorous black robe features a burn-out velvet pattern with velvet trim. This is definitely something that could be worn as part of an evening ensemble – indoors or outdoors.
The other is a delightful feathered bed jacket by Claire Haddad. You have to see it to appreciate it!
With the rise in online sales and product photography – the ideal mannequin is as elusive as chaff in the wind. Just when you think you might have found one, it goes up in cyberspace.
The ghost mannequin is a concept that would make product photography more attractive. It would also make it easier to achieve a focus on just what you are trying to sell. You do not want to draw attention to the background, and could do without the quirks of a cheap mannequin.
Ghost mannequins are non-traditional mannequins that have multiple snap on parts, so you can remove sections that you do not want to show in the photographs. The only places to get ghost mannequins in North America – is New York and Toronto.
Unfortunately, since they have multiple magnetic parts and a metal stand, it means they are very heavy. This makes shipping a problem, because they are over seventy pounds. Plus one has to consider working with one, and the amount you have to move a mannequin around when space is limited. I am not convinced it would be worthwhile to have something so heavy to deal with.
Even without a ghost mannequin, there are ways to minimize and ghost the background, if you have the right light, angle, and camera lens. It is difficult to get even light throughout the entire image though.
In searching for a better fibreglass or plastic mannequin, based on my own experience, I think fibreglass is better. But if you drop an arm and it breaks, you have to discard the entire mannequin. They are quite tall and awkward to carry around. It looks weird to haul one around in your back seat, or sticking out of a trunk. You can’t just throw the old one away either. You have to find a home for it, or get it hauled to the landfill.
In doing product photography, you want to (at least I want to) line it up, so the garment looks symmetrical on the body. If one leg is forward, or if the mannequin is posed as though it was dressed for a shop window, it is not quite the same as a mannequin used primarily for product photography.
For anyone who pays attention to mannequins, see if you can find one that is facing straight forward, with both arms and both legs straight? They don’t seem to exist. Yet if one leg is forward, it tends to make the shoulders look off-kilter.
Another major difference between using a mannequin for display, and using it for product photography – is the number of times you dress and undress it. It is handled much more often when using it for photography. In contrast, most window mannequin outfits are only changed every four to eight weeks.
The hunt for the ideal mannequin continues. The perfect plastique photogenic dream girl is out there somewhere!
Recent Quiet West listings show some mid-century examples of one of Montreal’s best kept secrets. Diamond Tea Gown Inc. is a Montreal based company that was started in the 1920’s by Mr. Rosenfeld. The company continues to make robes and causal wear to this day.
We know that in order to survive a century of change and upheaval – a company must have good quality and design. They have a stellar reputation, and some of their earlier robes and lounging sets are drop dead gorgeous.
Initially I was not sure if these sets were from the seventies or the eighties. Research indicates the Diane Deckel designs are from the 1970’s. She is listed in the Quebec fashion encyclopedia as having designed for Diamond Tea Gown in 1974. There is another jumpsuit and jacket to be listed in the next couple of days. It is exactly like the blue set only in pink floral. The jumpsuit sets have subtle stripes in the jackets, giving a shimmering transparent illusion.
There was a period of time in Canada’s mid-century fashion history when the government promoted and assisted Canadian designers to gain recognition and sales on a world stage. We can only hope to steer clear of fast fashion, and go back to our rich heritage that can be credited to the natural and enduring creativity ingrained among Montreal designers.
Diamond Tea Gown Inc. changed hands twice over the years. In 1967 the company was sold to Ernest Saykaly, owner of the family lingerie business French Maid. In 2001 it was sold to John Souaid who was an executive with the company since 1972.
The design and quality of fabrics earned them an International reputation throughout every decade since their start-up. Their retailers include Saks Fifth Avenue, Bloomingdales, Nordstrom, and Harrods.
The following are some examples of 1970’s Diamond Tea Gown designs by Diane Deckel. The first set is a cotton combination featuring a white muslin dress that has a pleated bodice, and subtle gold trim on the neckline and belt. The robe is made of a light cotton terry cloth. The sleeves on the robe are very detailed open weave with gold metallic highlights. This set is a two-in-one outfit, as the dress by itself is quite ethereal.
After photographing the pink jumpsuit, I stand corrected. It is similar but not the same as the blue jumpsuit set. It is a larger size and has longer, wider legs. The fabric is different as well, slightly heavier. You can see the designs were made in the same time frame, and by the same person. The ivory gown is the most unique in my opinion. But the floral designs look perfect for a warm summer evening on a private patio, or even a garden party in broad daylight! They will take you seamlessly from Zoom meetings – to sipping iced tea and watching the stars.
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
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!
The tin robots, first introduced in the 1940’s – were initially for boys playing futuristic games. Those were dark green warrior looking characters with weapons. They were sort of precursors to the transformer toys that came out in the eighties. Many of the tin robots had dark helmets, goggles, and a distinctive alien look.
But this one – check it out! There are levers on the bottom of her feet. Only one of them works, as the other one is recessed in too far to reach it. The levers cause the head and arms to move, and creates a whirring sound. She was also designed to shoot sparks out of her ears – so maybe she had some bright ideas!
Well, the dress experiment with the Orvus soap has been carried out according to the instructions. On the bright side, I did not ruin the dress, and it is cleaner and fresher overall.
The Orvus soap concentrate was ordered from the Lindley General Store in Meaford, Ontario. The instructions said to use one tablespoon of the highly concentrated liquid soap, in a bath tub full of water. I used a bit more than that, probably two tablespoons. I considered soaking the dress for hours, but thought I better just follow the instructions on the bottle.
Overall, the dress tolerated the wet wash very well. It is too bad it was not washed by the original owner after wearing it to a wedding. But hindsight does not work that well on something that is over seventy years old. The dress had been hemmed, but definitely looks better as a longer dress, than it did when it was hemmed. The mannequin is over six feet tall, so on a shorter person, this dress would be a full maxi length.
Conclusion – Never one to give up easily, I think it might work to try a longer soak using the anionic soap. The dress did tolerate the first wash very well. It stands to reason that it could take several hours to permeate the fibres and lift out stains, considering the age of the dress.
From what I have read about this type of soap, it has the chemical properties to get deep into the fabric. It also makes sense that seven to ten minutes of soaking, would not be enough time to penetrate the fabric.
Interesting to note, Orvus soap is used by quilters, and for cleaning antique quilts. It is also used for cleaning and preserving certain antique linens and textiles. However, the initial and most widespread use was for washing horses. No wonder race horses have such beautiful manes and coats!
The dress looks good though, and has a beautifully designed waist band and skirt. We’re almost there. I am thinking positive – for now anyway!
The before and after pictures:
Before Orvus soap treatment. The hem had been turned up and was let down to the original length before washingBefore the Orvus soap treatmentThis photo was taken after the Orvus soap wash and letting the hem downThe underarm marks are still visible
Studying a beautiful garden party dress worn to a wedding in 1949, I have been trying to decide how to clean and restore it to its original beauty. It has been a bit of a dilemma. I certainly do not want to ruin the dress. But, it needs deep cleaning due to underarm stains. In addition, on the underside of the skirt, you can see where it was hemmed, due to dirt on the original hem.
To begin with, this dress was full length, since the hem is large, measuring eight and a half inches. I think it would be ideal to restore it to the full length. So the folded part of the skirt and hemline would have to come clean as well. My intuition tells me it is better to avoid dry cleaning chemicals on this one. It seems to need a full soak.
There are very few vintage dresses I would immerse in water. I usually do not buy anything that is not clean, and take things for a light dry cleaning when the item sells. Many vintage fabrics cannot be washed. If the dress has lining, it is even riskier because the lining or the exterior might shrink or discolour.
The only vintage items that can be washed are things with a certain kind of fabric, like cotton and some rayons. You cannot wash most luxury items to include things with lining, pleats, ruching, beadwork, laidwork, sequins, pin-tucking, etc. Nor can you wash most designer silk scarves.
Just as a word of caution, to avoid giving the wrong idea that a gentle soap with accolades for restoration of vintage textiles, does not mean its use applies to all vintage textiles.
I spot washed and soaked the under arms, and the fabric seems strong enough to take getting wet. The dress is fairly heavy overall. The fabric has woven pink flowers throughout. It is a unique style for the era, as it has a drop waist with a big bow at the back.
Since the fabric seems okay to get wet, and the dress has underarm stains that did fade with some spot washing, I decided this dress is a candidate for Orvus soap. It is the anionic and gentle properties of this soap that actually permeate and penetrate the fabric.
To share my own educational experience, I will post a before and after picture, hoping to bring this beautiful dress to a full state of restoration. Then it just might be ready to go dancing at another wedding party in 2021!
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…
The reality is, as a direct result of all the covid changes on the world stage – there has been a downward trend in apparel sales. There is not much reason for people to get dressed up these days. With a high percentage of people working from home, and no parties to attend – what is there to dress up for? In the winter time, when it is colder, we go out to get supplies without ever taking our coat off.
For now, the haute couture and glamour is on hold. But one thing to note is that historically, anytime there was a period of instability, there was also an escape into the splendour of romanticism, culture, and glamour. This phenomena is what gave rise to the film stars of the thirties and forties. Soon they were being copied, flaunting a sleek style and elegance that has added to the mystique and danger of the times.
The appeal surrounding the resale of quality vintage clothing and luxury brand items has become increasingly trendy and sought after. Macy’s and Nordstrom’s added secondhand sections in their retail outlets. From a recent CNN article “Consumers are shopping with their values,” Standish said. “They care about climate change and the impact of apparel on the environment and that’s why they’re more attracted to pre-owned and pre-loved clothing.”
The article also points out the following overview:
“Some of the trends that industry experts say fueled the secondhand market boom won’t change due to the pandemic.
Secondhand clothing stores have been around for decades, but there is a growing number of consumers and a radically diminished stigma attached to the secondhand market. Pre-loved or vintage fashion is now considered not only hip and cool, but environmentally responsible as well, says Jill Standish, senior managing director at professional services firm Accenture, and head of its global retail practice.
Millennials, she says, “want to own high-end brands, and the ability to get them for a fraction of the price in the secondhand market is especially appealing to them,” and a greater move to digital sales during Covid-19 can help the resale sector, which has a strong online presence.”
In addition to the above, there is reason for optimism for an online store as opposed to trying to maintain a brick and mortar store facing repeated lockdowns.
The most important foundational criteria for the product I have chosen for my store, is to avoid things made in China, or anything mass produced. In recent years, we have seen so much fast fashion and mass produced clothing from China filling up the landfills, it does make sense to go back to better quality, less waste, and a classier image projection. However, items made in Hong Kong in the sixties are truly astounding. They made gorgeous hand beaded evening purses, tops, and dresses. But as manufacturing and volume increased, combined with a desire to keep the prices down – we all bought into fast fashion. It does have its place, in practical, everyday wear, especially for kids. But we got way too much of it.
One of the reasons we ended up with too much is because the fashion trends changed more rapidly than they did prior to the 1980’s. The reason for the rapid changing trends, was to increase sales and materialism. It used to be the essence of a certain style or look would last around thirty-five years. Then before we knew it, the fashion trends changed dramatically every six or seven years. It makes more sense to blend the style options into a wide array, so a person can wear what they want. It also makes much more sense to look closer to home for manufacturing and design in the world of high fashion.
One of my motives is to promote Canadian designers. Especially those designers who have reached an exceptional and long-lasting level of success in the ever-changing dynamic world of fashion. Canada has a truly distinguished fashion history brought to us by the flair for fashion in Montreal. Of course there are cottage designers in every nook and cranny of our huge and great country. But Montreal definitely has the edge, with so much inborn natural talent it seems.
We might see more dress up extravaganzas filmed for private gatherings as well. Perhaps people won’t dress up to go somewhere literal – but rather they might dress up to put on a performance or get creative on film. This is already happening on apps like Tik Tok and Zoom. People might buy outfits for photo-shoots and mini-plays to enhance the creativity of their content. This is quite plausible to me because I know how much some people love fashion, and will find opportunities to express themselves.
If the small niche market online retailer of second hand luxury items can weather the covid storm, it does maintain a real person exchange. This means there is flexibility and a personal interest in customer satisfaction.
Offers are accepted on any item in the Quiet West collection. Every item is unique and has been cared for over the long term. The textiles and attention to detail in a high percentage of vintage is no longer available in contemporary apparel.
In addition, the items in a private collection are not being handled or tried on by anyone else. As a micro-enterprise the quality control and attention to detail is much easier to adhere to.
I have sold many beautiful items to International customers. The customers have been fantastic and without complaints. So, even as a recent start up with not exactly impeccable timing, I still feel optimism for the New Year and the future.
I know we are all facing a great deal of change. But now is the time to have faith. I think it makes sense to make a plan – then let each day bring the best we can glean from it. There is no point in worrying about tomorrow – if we do the best we can for today.
Nothing can take love out of this world, including the love for beautifully made apparel and decor. I think if we can remember that – we can weather (and wear) just about anything.
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.
At first I thought, what the heck is vegan leather? In the past it was more commonly known as pleather, or imitation leather, so it is nothing new. The problem with pleather is that it is made out of plastic, or oil based fossil fuels. In addition, it is not biodegradable. There is nothing vegan or natural about it. Who eats plastic? How about a vegan pleather lasagna? Hmmm.
As far as wearing pleather, since it is plastic, it does not breathe, and will stick to you in the heat. It will also crack in the cold. Growing up in freezing cold winters, I recall a comical incident as a kid with an older cousin, who was wearing a pleather skirt. We were waiting in sub-zero temperature for the school bus for at least twenty minutes. When she got on the bus and sat down, her stiff and frozen plastic skirt cracked right in half!
Wrapping ourselves in plastic does not help regulate core temperature. Imitation leather quickly ends up in the landfills, and takes forever to break down. It does not breathe well as outerwear, and does not make for long-lasting, comfortable shoes and boots. Go to any thrift store and you will see a wall of pleather purses purchased on impulse, and discarded just as quickly. Why? Because no matter how you dress it up or try to rename it – pleather is just as tacky today as it was in the seventies.
In addition to being non biodegradable in landfills, it does not make its way into many vintage collections, because it does not age well. It often gets small cracks in the surface over time, followed by a peeling and flaking of the tiny plastic paint-like particles.
Although I have never been a big fan of fur, I do think it is ethical to use the hide of an animal that was going to die anyway. It is a practical way to increase its value, if it is used as a food by-product. When animals are raised specifically for their hides, it becomes ethically a little more grey.
Perhaps the biggest takeaway for us to consider when trying to create a more environmentally sensitive world, is in the need for the reduction of waste.
For a long time, vintage fur was considered ethical to buy and wear. In many ways I agree, since the item is already in existence. Should we really destroy and waste beautiful things that have stood the test of time? I think it is important to preserve them, so those animals did not die in vain. In reality, there are ethical grey zones in all manufactured products. This includes how they were made, how the workers are treated, how the animals are treated, what chemicals are used, what kind of extraction is involved, what kind of environmental impact is involved, life cycle of a product, what conflicts surround the product, etc. etc
Even if everyone stops wearing fur and leather, it does not change the fact that we have been wearing fur and leather since the beginning of time. We cannot eradicate our history and heritage when it comes to what we wore. After all, the outfit is the presentation for so many entrances, photographs and iconic looks from the different eras.
But at the same time – who would go to a public event wearing a full length mink coat these days? At one time, making an entrance with a glamorous full length mink coat – was considered the envy of the masses. Now it is seen as gaudy, garish, and insensitive. But they still need them for Hollywood movies because there is nothing that can truly emulate the real thing.
If no one is going to buy the beautiful vintage fur and leather anymore, I do think fur coats in good condition should be sent to poor northern communities, where the winters are very cold. There is nothing warmer than real fur.
As far as substituting other materials, I think it is better to go the more natural route. I read that certain designers are experimenting with everything from corn husks to pineapple leaves, looking for ways to bond the materials into a natural material for shoes. Ideas like this are more aptly called vegan leather, since the materials are predominantly vegan. Maybe one day we will be wearing shoes from coconut shells!
In summary, as far as pleather is concerned – I have secretly mocked it ever since I witnessed my cousins pleather skirt crack in half many years ago. I bet her gold plastique skirt is still sitting in a landfill somewhere. Pleather does not age well. Leather will last a very long time, if it is taken care of. I would far rather wear a vintage leather coat from the seventies than a pleather one. From a practical perspective, fur and leather will keep you warm and dry, just as it kept the animal warm and dry for its lifetime.
When it comes to emotions and the love of animals, I know for certain that many farmers love their cows. It may sound corny, but it is true. Like humans, animals do not live forever. They have a certain role to play. I believe they should dwell in peaceful pastures, and be treated with kindness, regardless of what they are used for.
In my opinion, from practical, ethical, waste reduction perspectives, pleather is out. It is especially wasteful if used in large garments such as coats. At least with purses and shoes, it is far less plastic, than what is used in a coat.
I would venture to say that leather used as a byproduct of the meat industry, is totally fine, unless of course you don’t eat meat, and don’t want to wear leather. In addition, the tanning and dying of the leather should be done with vegetable dyes and non-toxic natural products, as opposed to the use of chromium.
Canada churns out lots of leather products, mostly using cowhide. Cowhide is a durable leather with a strong natural grain. Cowhide is good in wind, rain and even snowy conditions. If we have to abandon the use of so much leather, I think leather boots should be the last to go. Leather footwear conforms to your feet, and can’t be beat.
I also think it should be okay to preserve and take care of leather garments, and then resell them in the vintage marketplace, so they do not go to waste. I do not think pleather should be a substitute for leather for many reasons – or for any reason. It is important to have these conversations in this day and age of environmental awareness, so designers get off the vegan leather trend wagon.
I believe in natural fibres, and have always gravitated toward things made of silk, wool, cotton, linen, and flax. The natural fabrics will stay alive for a hundred years or more – and if they do end up discarded, they turn back into soil. Most importantly, they retain the intrinsic elements of their natural beauty. Imitation leather does not retain much of anything. Renaming it vegan leather, is little more than a trendy misnomer.
Textile research and development should focus on the pineapple leaves, hemp, corn husks, and other durable options for the creation of green earth clothing. At least natural textiles will go back to the earth from where they came, without polluting the ecosystem for a hundred years or more, like plastic does.
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.
This is a sampling of some of the Quiet West sold items. Check back as I will be adding more. The first item in this post was one of the very first sales. A woman in her nineties, and in palliative care – wanted to wear this beautiful 1930’s pink quilted satin bed jacket. The customers have been a pleasure to deal with, and have wonderful taste, with a unique story surrounding each piece. Their beauty lives on!
Sold to a Customer in USA1960’s Satin Robe Sold USAAlexander McQueen Silk Fox Scarf Sold – LondonPatricia Fieldwalker Silk Gown – Sold USAEmbroidered Japanese 1970’s Silk Kimono – Sold IrelandAntique Hand Made Openwork Wedding Hat Sold AustraliaAndre 1950’s Brocade Turban – To AustraliaI. Magnin & Co. 1940’s Maxi Dress – Sold CaliforniaSold To CaliforniaSold To Los AngelesSold To USARodier Cardigan – Sold USAIsabel de Pedro Jacket – Sold EuropeLeo-Danal Embroidered 1950’s Dress – Canada Sold To MontrealLeo-Danal 1940’s Coat Dress – Sold To MontrealJoop Sunglasses – Sold to USASold To AustraliaSold To AustraliaSold To AustraliaSold To AustraliaSold To AustraliaSold To Australia1950’s Clear Transparent Lucite Box Purse – Sold USASold To SwitzerlandMoschino Cheap and Chic – Sold To USASold To SingaporeSold To USASold To MontrealSold USASold – Eastern Canada
Online sales of second hand goods is experiencing steady growth, which stands to reason since many brick and mortar stores of all kinds are now going online. The sales pitch for those who want to clean out their closets, and turn expensive designer purchases into cash – is an attractive concept.
Consignment sales have many legal and accounting parameters the average person may not be aware of. As a collector myself, I have always stayed away from consignment sales. I found the items were not old enough to be vintage, and often just old enough to be outdated.
However, if an item is authentic and made by a luxury brand designer (not a licensed label made in China and passed off as authentic) – then the chances are pretty good it will retain value, or may even increase in value over time.
But if you have a closet full of stuff to sell, the selling options are limited, therefore consignment might be the option you choose to go with. The consignment contracts are lengthy, and may not reflect the best interests of the sellers. The other thing to consider is the shipping.
Logistically, how are you going to ship a blouse to Toronto, then have them authenticate it, photograph it, list it on their website, go through all the parameters of the agreement with you, and then put a retail price of $50.00? If it does not sell, eight months or a year later, are they going to ship it back to you? That means the shipping cost alone will be as much as the listed retail price, without selling anything.
In addition, the accounting for large consignment stores is an absolute nightmare. The consignment agreement typically specifies a time period to keep the items listed. If they do not sell, they claim they will return them to you. There are various commission rates, based on price or other factors. The consignee or seller does not pay for or purchase the items, yet they take possession of the items, examine, authenticate, photograph and list them. Surely there is significant cost associated with doing so. Managing inventory like that has to be labour intensive and easy to lose track of.
When you factor in the complexity of accounting, the care of inventory, storage, photography, and listing – as well as dealing with customers, potential returns, and the consignor, it could easily be a recipe for disaster.
If you are considering selling on consignment, the main objective is getting paid of course. You are being offered a platform, visibility, and a vehicle for the sale of items. Nothing will sell unless it is put in front of people so they can see it, evaluate it, and decide if the price is right, or how badly they want it, regardless of the price. Therefore, on the surface, it seems like an understandable and rational choice to make, if you have a range of expensive designer items, and want to cash in on those purchases at a later date.
The first mistake many of us make is in thinking the original retail price is a reflection of what the item is actually worth. What you paid, and what it is worth, may be two very different numbers. Some things increase in value over time. Other things – not so much.
In my opinion, the biggest problem with consignment is embodied in the old adage that possession is nine tenths of the law. Does anyone really believe a flailing consignment store, in the quagmire of filing for bankruptcy – will individually package and return all items to the original owners?
This is a topic for lawyers, but common sense would tell us the original owners could easily lose what they have consigned, if the seller goes bankrupt. After all, the consignment store will have other debts to pay. In essence, they end up having possession of a huge inventory they do not own. People tend to take greater care of a business and/or inventory if they actually own it.
The buyer of consignment goods has less to worry about than the consignor, because once the item is sold, there is a legal transfer of ownership. If the item is shipped promptly, it should be fine. But due to the accounting, inventory complexities, and difficulties for large consignment stores to manage it all, means it is guesswork, as far as estimating how long they will stay in business.
If you go to the large Canadian consignment online stores, and are considering selling your goods, you are looking for a platform that does not have one-sided legalese in their contract. Plus, you want to know if they can set up and manage a long term evolving website, since that is their method of reaching the public.
If you walked into a brick and mortar consignment store and saw a disorganized mess, you would turn around and walk out. Yet, there is no way of telling how organized or capable an online store might be. Is there?
One way to tell how organized and user friendly an online store has been set up – go to the website performance site called GT Metrix. All you have to do is type in the specific web address of any website, and it will give you a detailed performance rating.
If a website is fairly new, but carries a large amount of inventory, and scores very low on the GT Metrix analysis – what is going to happen to them as things evolve and get more complex? They are likely to become exponentially convoluted as time goes on. Quite frankly, I don’t think increasing entropy creates a sustainable website model.
On the weekend I compared some large Canadian online consignment store websites. One of them has a current performance score of 27% translating to an F. The other has a score of 35% and also gets an F. It does not bode well for the longevity prospects of those websites. At the time of this writing, the quietwest.com website is over 6000 pages, and has a GTMetrix score of 98% or an A.
When you shop on a site where all inventory is owned outright by the store owner, there is much more flexibility. Prices and shipping can be adjusted. Offers can easily be made and accepted without any legal issues. Any dissatisfaction on the part of the customer can be remedied according to what the customer thinks is fair, and so on.
When dealing with a collector who has invested time and money into their products, without stringent timelines or convoluted accounting requirements, you are dealing with a seller who has flexibility as an integral part of the transaction.
Furthermore, an online store that owns all the inventory – will not go bankrupt. A well designed website requires a great deal of time and effort. When it comes to online sales, the website is a foundational cornerstone for the stability, longevity and resale of quality products.
Most of us who embark on business ventures must persevere through a number of challenges. Those challenges are compounded for women, due to a lack of financing and resources. You have to learn to do most things on your own. Research is the best and cheapest resource.
One major advantage of building and promoting individual web shops, is to expand the niche market. We are saturated with mass produced fast fashion items. It is a breath of fresh air to see some old fashioned quality and attention to detail. The online marketplace can be like an Avenue Montaigne, or Fifth Avenue, if there is enough to attract people.
Online boutiques provide endless browsing, nostalgia, obsolete designers, textiles, and one of a kind items. A collection carries the stamp of the owner in whatever it is we choose to put into our store.
I realize 1980’s ladies suits with big shoulder pads are not likely to sell. At the same time, the exhibit of what we actually did wear then, is so much a part of the arts, culture and fashion of a particular era. The individual design elements of each time frame carry a certain intrigue and attitude. At the time, those big-shouldered jackets seemed to be quite fashionable. Whether we liked them or not, such extremes have to be part of the whole.
Images of vintage and luxury brand fashion creates a resource for those in the film industry, who may have a project set in a certain time frame. One thing about vintage – there is nothing quite like the real thing.
The good news for Quiet West, other than getting an A+ on the GT Metrix performance score, is that I managed to trouble shoot a non-functioning favourite camera lens. It has had an ERR message for at least two years, so I had to switch to a mid-range Sigma lens and set the Nikon fixed portrait lens aside.
In googling possible causes for the error message, I learned the lens is not communicating with the camera. If you switch to a different lens and the other one works, you know it is a problem with the lens, not the camera. Then I read the most likely cause, is a need to clean the camera mounts. Since I have used the lens a lot, it made sense. I carefully followed the directions to clean the camera mounts, but still got the error message.
Anyway, it went back in the camera bag. The Nikon online repair site has a huge long list of things to fill out. So I finally decided to take it to London Drugs. They have a really good camera support and repair section at the London Drugs on West Broadway in Vancouver. I think all London Drug camera departments will send the lens out for repair on the customer’s behalf.
The online repair estimate was high, because of shipping, technical expertise required, assessment, etc. The Nikon 50mm lens is not a very expensive lens compared to most, so it did not seem worth it to spend 90% of the replacement cost to fix it.
One of the amazing things about DSLR cameras is that a $300.00 lens might be as good, or better than a $1600.00 lens. Overall, I do admit to being a Nikon fan, and use a Nikon camera. I would highly recommend the Nikon 50mm fixed portrait lens at the cheaper cost. Not only is it cheaper, it is much smaller, and seems to have more creative flexibility. It is also better than most other lenses in low light. I am no pro, but those are observations based on trial and error in taking product photos.
Just yesterday, I decided to google the error code on that particular lens one more time. Lo and behold, there was more info now than the last time I checked. There was more to it than just cleaning the camera mounts. Within one minute the answer was right in front of me, and I immediately knew it was the solution to my lens problem. So pathetically simple too.
Apparently, on that particular lens, you cannot have the outside aperture ring set at a certain number. Sure enough, it was dialled onto that particular number from experimenting with bokeh imagery.
After doing without that nifty little lens for two whole years, I plucked it out of the case, turned the aperture dial to a different number, and that was it. Job done. Lucky too. I love that lens. It works like a charm!
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.”
In 1871 Samuel Carsley opened a dry goods store on Notre Dame Street in Montreal. Following that, the S. Carsley Co. Limited established Canada’s first mail order catalogue in 1882. They are credited with pioneering Canada’s retail mail order catalogue as an innovative shopping experience.
Within two years Carsley’s was shipping hundreds of products, with any order over $5.00 shipped at no charge to the nearest railroad station, up to a radius of six hundred miles.
The top shown in this blog post is labelled Desideratum S. Carsley Co. and has a most interesting and foundational history in the Montreal fashion district. The label on this Edwardian era top, is printed on the protective underarm inserts – of all places.
In 1909 Carsley’s was sold to A.E. Rea and Co. and was soon referred to simply as Rea’s. In 1911 Rea’s was sold to W.H. Goodwin. It became known as Goodwin’s of Montreal. The only known antique mail order catalogue left, is a Goodwin catalogue from the Fall-Winter of 1911-1912.
Goodwin’s was sold to T. Eaton’s in 1925 and underwent extensive and posh renovations, providing six stories of shopping intrigue. Another three stories were added in 1931. Eaton’s increased its visibility with the elegant store on St. Catherine’s Street in Montreal, and introduced a French catalogue in 1928.
This cotton and lace top with pin-tucking and rigid boning, is in very good shape considering it’s age. There is some yellowing on the lace on the upper arms. The waist is very tiny at twenty-two inches, which would have been worn with a tightly cinched corset.
It is a pleasure to present this treasure of bygone days – especially since Montreal is such a gem when it comes to the richness of Canadian fashion, arts and culture.
With it’s princess waist and time frame, it might be called a French-dart-line-top. This shapely emphasis on the waist was a signature of the famous designer Charles Worth. By the late 1870’s to 1880’s this was a most popular form. Given the sizing on the label and type of lace, this top was likely ordered from France. Carsley’s carried many high end imported garments and home decor.
I just located some information about the Toronto based Party Time Fashions on the website called romantic bridals.com. The company was formed in 1961 by Jerry Fisher and his wife: https://www.romanticbridals.com/About/
I found this delightfully complex and romantic dress a few years ago and was not sure of it was a wedding or prom dress. Apparently the company started making prom dresses in the early seventies. This dress is reminiscent of the 1970’s dress styles – with frills, ruffles and bows. These flounced romantic styles look like they belong in a field of tulips.
It is not that I blame China for the coronavirus and subsequent economic woes – since I have been dedicated to collecting items that were not made in China for many years.
The primary reason I chose to do this – is to promote the better quality items from the designer’s original country of origin. In my opinion, it enriches the style of products, retains the artistic flair, and provides a range of products with superior quality, better fabric, and attention to detail. I have stayed away from mass produced fast fashion, as it was clear to me a long time ago, that it is rapidly filling up our landfills.
As a Canadian I wish to shine the light on, and promote Canadian fashion designers, since they are rich in history, and as talented as our European fashion rivals. Our best designers come from Montreal and Toronto. Even though Vancouver and the west coast is distanced from our large Eastern cities, so much that at times it seems we have little in common – we do share some of this rich Canadian heritage.
It has been a real pleasure to collect vintage items that were made in London in the sixties, and Japanese kimonos with their beautiful silk fabrics, alongside gowns made in Paris, New York and Montreal.
The more contemporary made in China labels just never got my interest level up, to where I would want to put it on a mannequin and take multiple pictures of it. I view that as a waste of time.
Recently I sold two original vintage Leo-Danal dresses to the daughter of the original designer in Montreal. I was thrilled to get some more history and background on the designer, and she, a prolific artist and painter – was delighted to find these gems that are a part of her own artistic heritage.
The only items in the Quiet West collection that are made in China – are the vintage items made in Hong Kong with detailed bead work. These include hand beaded purses from the fifties and a stunning hand sequinned Gene Shelley dress from the sixties. Things made in Hong Kong in that era are exempt from the general rule of thumb, since they are not mass produced or labeled made in China.
More than ever – it is worthwhile to choose quality over quantity and things with long lasting value versus things that quickly end up in the land fill.
If you want to shop for Canadian made products or for items made in London, France, Italy, New York and Montreal – you have come to the right place.
Please check back for some more history on exceptional mid-century Canadian designers. Some things are worth going back to.
Whether at work, out for a walk, or dinner at your favourite restaurant – when the weather cools off, cardigans can be worn as outerwear or layered. As the weather changes, it often goes from chilly to hot within a matter of hours.
When going out on boats or hiking in the wilderness, layers can be a life saver. In my opinion, nothing beats wool (or a wool blend) when it comes to cool wet weather. The advantage of wearing layers is that you can easily remove them as the weather warms up.
Urban or city attire carries the same principles as any other outdoor adventure. It’s not much fun being out and about if you are freezing cold, or not dressed for the weather conditions.
How many times have you walked into a restaurant wearing a sleeveless dress, drawn in by the ambience and a mouth watering menu – only to discover they have the air conditioning set on “freeze”. No lingering allowed for the scantily clad summer tourist. Yet, all you need is a cardigan!
Aside from the fishing and boating layers of wool that are primarily for function and practicality – a few casual and dressy cardigans will add comfort to your life, when it comes to the more cosmopolitan escapades.
Celine Wool Cardigan With Ribbon Applique1950’s Beaded & Sequinned CardiganLady Anne 1960’s Beaded Ban-Lon Sweater – CanadaAnother 1950’s Work Of Art On WoolRodier – Knitwear Made in FranceAvagolf 1970’s Velvet Trimmed Cardigan – Italy1960’s Madame RungeBallantyne ScotlandRodier With Birds On A Branch – FranceSonia Rykiel Merino Wool Wrap Cardigan With Rhinestone Pom PomsChanel Gold Trimmed Sporty Zip Cardigan
Copyright Valerie J. Hayes and Quiet West Vintage (2020). 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.
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
The romanticism of vintage lingerie lingers long past the dates they were sewn. Perhaps not the everyday wear, which was patched and darned for practical reasons – but rather the lounging past, where one would be temporarily bedridden. She would remain close to her hairbrushes and powder room, and require some delicate habiliment as well.
Vintage bed jackets were frequently worn because while in bed, the lower part of the body was covered with blankets. In order to receive guests or sit up for a cup of tea, the bed jacket was donned for warmth as well as to create a more appealing image. Pretty things tend to cheer up a person who is sickly and shut in for periods of time.
Vintage full slips were often decorated with lace, plisse accents, fancy trim, and embroidery. It is not uncommon to find vintage slips with side or back zippers, making them more like a skimpy modern day dress than a slip. Some slips are elaborately made with lace insets and ruffled bottoms. In the thirties and forties, many of them were made with a bias cut similar to the dressmaking of the era. Other than fabrics and labels, a tip to help identify authentic full slips, is to look at the adjustable shoulder straps. The modern day reproductions have plastic hardware to adjust the straps, whereas vintage slips have metal ones.
Antique and vintage petticoats will often have a lace ruffle on the bottom, or layers of ruffles. The labels on vintage lingerie tend to be very small, often on an inside seam. Peignoir sets were common additions to the bride’s trousseau or honeymoon attire. These sets consisted of both a nightgown and a matching robe to wear over top. Both were adorned with matching ribbons and lace. Many of the peignoir sets were voluminous and flowing in style. They could be quite dangerous if worn near an open fire. One such account describes the death of the second wife of lyric poet Henry Wadsworth Longfellow. Apparently the spark from a wood stove caught her long and flowing bed clothing on fire.
In the twenties and again in the sixties, there was a surge of popularity around the Asian aesthetic. Kimonos and kaftans were high fashion for the evening soiree. There has been a recurrent fascination for ethnic and exotic textiles from faraway lands. The high fashion trends often followed along the same lines and styles of home decor, to include elaborately hand painted teapots and vases from the Orient.
Embroidered Kaftan – KuwaitMatching Ribbon Front Ties On A 1950’s Peignoir SetAntique White On White Embroidered Bed JacketDetails Such As Covered Buttons & Inset Ribbons On Peignoir Sets1960’s Hand Painted Peace & Love BraCan’t Forget The 1960’s Flower Power!1950’s Nylon Peignoir Set1950’s Bridal Peignoir Set – CanadaBill Tice Kaftan With Gold Detailing1950’s Nylon Crinoline1960’s Pucci-Like Loungewear With Matching TrousersVintage Chinese Embroidered RobePatricia Fieldwalker 1980’s Silk Set1950’s Embroidered Half SlipSilk Bed Jacket With Embroidery1950’s Full Slip1960’s Lounging Jumpsuit With Front Panel
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.
What is to love about this dress? It has so many features to praise. The fabric is a deluxe black silk velvet, top and bottom – contrasting with a crispy silk taffeta for the centre part of the skirt. It has a subdued shoulder definition, more like dresses from the forties, as opposed to being eighties or nineties. It is most likely early nineties. It does not have the original belt, so I decided to photograph it with some different options to see which one looks best.
In addition to a nicely defined shoulder and neckline, giving a perfect balance to the hips, the accents on the dress have an Edwardian touch. There is ruffled plisse trim on the cuffs, hemline, and also accenting the bottom velvet portion of the skirt. The skirt itself is lined and has a hint of the French bouffant silhouette.
This obscure Canadian designer deserves much credit for the creation of such a beautiful dress. The only other one by this designer I could find is a 1960’s empire waisted floral maxi dress (also gorgeous). It would seem this Montreal designer peaked between the sixties possibly up until the early nineties. It is a pleasure to share this beautiful and timeless dress.
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.
Every Surrey Classic coat I have come across was beautifully made, with unique buttons, contrasting lining, and luxurious natural fabric. In some cases the designs reflect our Canadian conservatism. I guess being Canadian, I might have seen more of them than the average person. I assumed they are well known, but after checking on Google a few times, I cannot find the designer history (so far).
From memory, based on what I have seen over the years – I am guessing they were making coats from the late fifties until the late seventies. Many of them are camel hair or cashmere wool blends, and often in subtle, neutral toned plaids. But in the sixties they did a series of stylish cotton velvet coats in bright colours – to include hot pink, cerulean blue, indigo and purple. Below is an example of one of their velvet classics – a double breasted hooded design. It looks like a good, all-season dress coat for Vancouver’s west coast weather!
It features a square cut hood that hooks up at the neckline, adding a practical and coveted detail, as it prevents the hood from blowing off while walking against the wind and rain. The buttons are open with small, square, lucite inserts. The back has a wide half belt as an accent, to offset the slight gathering and flare of the skirt. Best of all – it is in a rich and absorbing African Violet colour – certain to be a head turner, like walking in full bloom!
From tigers and leopards – to kittens and house cats, the mid century cat revival kept them coming back – in jewellery, belts, scarves, and clothing. The sixties was big on leopard statement pieces, such as the necklace and pins shown below, featuring pave crystals and stylistic poses.
Many bold fashionistas donned leopard print pantsuits and coats, often paired with a matching leopard print hat, bright bakelite bangles and rhinestone studded cat eye glasses. The look would be polished off, and fully attention grabbing – with a heads up narrow eyed nonchalance, sporting long scarlet nails, black winged eyeliner, and crimson lipstick. What mixed messages they give!
The figural creations of cats and the love of their imagery, has depicted them sauntering down the runway on the latest super model. The innate huntress, her grace and stealth, with an aloof independence – and soon, she makes us grateful to be noticed by her! Or the big cat might be snuggled front and centre on a coveted designer sweater. It just goes to show how popular the affection for cats can be.
From the scaredy cats to the scary cats – we seek ways to coexist. By incorporating them into fashion statement pieces, from the wildest cat in the jungle, to the sweetest little ball of fluff – they all seem to have at least nine lives!
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.
Yesterday, I wanted to learn the song “Sweet Old World” by Emmylou Harris. According to the guitar chords and lyrics in chordie.com, the song is marked as difficult to play. I transposed it to -4 semitones to find a somewhat familiar chord sequence. In that combination most of the song is in D Em and A, which is great.
There is one F#m to go with the lyrics “cradled in your arm” and “together with another one” – just a few words, twice in the whole song. But you simply cannot dance around them, or skip over them. I never play an F chord. You have to be a contortionist within limited fretting space (like a real guitar player). Now I might be motivated to figure it out, just so I can play the song. Never having taken a music lesson means you can avoid anything you want. The lyrics and the songs are the driving force. They stay alive forever. I know there is a cliche “it’s the singer not the song” but I think they got that one backwards.
I started thinking about musical notes and what they convey. How many other things are comparable (especially dresses). The notes trigger emotional responses and have a predictable harmony. As I think about what dress style goes with an F#m – I envision it would be light and wispy, very noticeable but at the same time, diaphanous and ethereal.
The personality of the F#m is mysterious. She is made of silk chiffon, fluid in movement, and neutral in tones. There is a subtle nuance to the way she flows, from a comfort zone, shifting seamlessly into an artistic resplendance. The melody is in her movement, for the undulations of rhythm, is flowing right through her.
Not everyone can wear her, because it is not easy to emulate her style. You must be limber and coordinated, to learn how deftly and quickly she changes. The embodiment of an F#m is for a special time and place – in life as it is in a song. With unwavering confidence, she slips through the crowds effortlessly. Her memory is sweet. She is like the scent of hyacinths wafting by, as fleeting and elusive as a leaf in the breeze.
It is the range of little things, the small and unexpected notes, that brings beauty to our days. Check back. As soon as I find an F#m dress – I will post it here!
Once defined – it didn’t take too long to find one. This gorgeous silk dress fits the description for an F#m. The fabric is a muted blend of gossamer-thin patchwork patterns. A jacquard coloured silk with ribbon-like accents and gold metallic threads running horizontally across the fabric (like guitar strings of the imagination)!
Meanwhile – I’m going back to playing and singing “Silver Threads & Golden Needles” in good old DAE. If a song can bridge the difference in style between Janis Joplin and Emmylou Harris – there must be a key to the room for the rest of us!
Without a belt it has a 1920’s drop waist silhouette
A melodious blend of colours…
Shown with a narrow gold tone & pave crystal snake belt. Exotic!
Gossamer silk with gold metallic thread shown in morning window light.
Copyright Valerie J. Hayes and Quiet West Vintage (2017). 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 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.
Since all the photography is done in window light – I hope the sun shines this weekend! There is no other kaftan ensemble like this one on the Internet. Although I have looked at them and studied the photos of a variety of kaftans often, I spent several hours researching vintage kaftans again last night. I enjoy looking at the range of gorgeous, exotic, and loose flowing examples of such decorated finery. Many of them are listed on the 1stdibs website, a site that brings together a collection of the most beautiful vintage items in the world. So I am very enthusiastic about sharing some photos of this amazing outfit. It is a stunning and rare example of a haute couture kaftan ensemble.
It is even more striking with the added dimensions of the hooded cape. When it comes to ethnicity – the arts is where we can see that every culture has created things with jaw dropping beauty. I believe this outfit is Moroccan, possibly with a special kind of Turkish gold thread that was used on elaborately decorated high end textiles in the Middle East. I have to do more research on the type of needlework techniques used. It may help narrow down and confirm where this outfit was made. Is it any wonder most of the famous designers created their own versions of this type of outstanding elegance?
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 1950’s dyed wool felt poodle skirts have been copied many times over the years, using a wide variety of different fabrics for both the skirt and the appliqués. They were especially popular among the swing, rockabilly and jive dance enthusiasts. The original ones are easy to spot, as they demonstrate a stand-alone authenticity. The real ones have been few and far between in vintage circle (skirts) for a long time, probably since the seventies. The reason they are so scarce is likely due to the difficulty in cleaning this type of wool. It is prone to all things that make one shudder – such as shrinkage, moths, and stains that become embedded into the fabric. To make matters worse, the colour will immediately begin to bleed out when immersed in water (death for the dogs!). I have seen a few poodle skirts over the years, but mostly they were in poor condition. This is the only one that has made it into the Quiet West collection. I love the way they managed to make the dog’s hair and tail so distinctively curly on the appliqué!
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.
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.
Missoni created some of the wildest (and coolest) outfits in the sixties and seventies. My favourite dress in the mid seventies, was a brightly striped Missoni, likely from the sixties, found at a thrift store in Calgary. I loved wearing it. It was similar to the shorts in this post, in that it was brightly coloured with shimmering vertical stripes. The stripes on these Missoni shorts are curvilinear – adding a dazzling and dizzying dimension to the design!
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!
To sum up the Canadian Designer Celebration mini series, a high percentage of Canada’s best mid-century designs and designers, have their roots in Montreal. The more I delve into the collection, and the labels – the more I realize how much of our great fashion history can be credited to Montreal. When it comes to fashion, the French do not disappoint. Toronto as a second runner-up, retains a mid-century vibrancy, with its legacy of notable designers.
The Montreal designed little black cocktail dresses from the sixties, are as sleek, and as wearable today, as they were back then. The hallmark of a great designer, is in the timelessness of their creations. I will happily share some exclusive examples…Starting with a late fifties, or early sixties Irving Nadler lace cocktail dress with a cape style top.
Irving Nadler, Montreal Late 1950’s or early 1960’s Cocktail Dress
The next 1960’s little black dress from Montreal is aptly labeled – After dark Cocktails.
After dark Cocktails, Montreal 1960’s black halter dress.
Another Montreal classic little black dress, 1960’s black velvet, with gold piping at the waist. This one has the musical label – Beau Time Melodie Frocks.
An impressive 1950’s full circle skirt by Montreal designer Val Hughes.
To end the series on a brighter note, this very artistic, abstract printed silk skirt, is labelled Cocktail Montreal. Thanks to these fabulous and talented designers of the eras – they put Canada on the runway, when it comes to mid-century chic.
Madame Runge was an upscale retail shop on South Granville Street in Vancouver, from the late thirties until the seventies. I believe most of the clothing designs they carried, were commissioned and made by Montreal designers. Some of the examples are; Harold Taub For Madame Runge, Silverworm For Madame Runge, Gerson For Madame Runge… Regardless of the different designers, vintage clothing with Madame Runge labels are of exceptional fabric, style and quality.
The last image in the post, is a 1960’s double breasted green wool coat. It shows both the Madame Runge label, as well as “Styled By Gerson Inc. Montreal”. Although Madame Runge was based out of Vancouver, it is a rarity now, to come across the label in Vancouver.
The first dress and coat set in this post has been in the Quiet West Vintage collection for about thirty years. The green silk fil coup dress below it, is a more recent purchase. One thing for certain, Madame Runge labels are, and always will be, sought after and treasured by vintage clothing connoisseurs.
Madame Runge Dress & Coat Set
Madame Runge Dress With Ruffle & Trim
Madame Runge Close Up Buttons & Trim
Madame Runge 1970’s Silk Fil Coup With Plunging Neckline
Madame Runge 1960’s Double Breasted Wool Coat Co-Labeled Styled By Gerson Montreal
This exceptional 1980’s Wayne Clark Couture dress, is made of layered silk chiffon, with rhinestone embellished lace inserts in the bodice, and sheer balloon sleeves. The dress has rows of satin piping down the length of the skirt, satin cuffs, and matching trim on the bottom layers, of an asymmetrical hemline. The back is open, plunging to the waist, and ties at the back of the neck, with a dangling satin ribbon.
For those who love the floating and fluid movement of a silk chiffon skirt, and being well covered; in a pose to behold. Those watching your back, will know… A Wayne Clark dress – is worth its weight in the folds!
Claire Haddad: Born July 17, 1924 – May 17, 2016. Her bio states she is “an Order of Canada recipient, and fashion designer to the stars”. One of her dresses was on the front cover of Vogue magazine in April 1966, worn by model Veruschka von Lendorff, and photographed by Rubartelli.
Based out of Toronto she was known for creating eclectic lounge wear, and luxurious high fashion sleepwear from the early sixties until the eighties. She was forward thinking enough to envision loungewear, worn as elegant evening attire outside the home.
From the Quiet West collection – it is a pleasure to share a fabulous 1960’s Claire Haddad kaftan featuring a desert scene on a vivd background of electrifying colours, which was so hip in the sixties. The trim is black, loopy cord, and outlines the neckline downward to the V opening on the front. The trim changes into looped cord buttonholes, for small, rounded black buttons. The two front slits and sleeves are also accented with matching trim. The overall portrayal is so sixties trippy – of swaying, shocking pink palm trees – and camels heading into a psychedelic oasis. It really is brilliant!
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.
Confezioni Di Lussi Dini 1950’s Hand Embroidered Short Robe
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.
As with many brand names, there is now an I. Magnin, making licensed product, using the I. Magnin name, without the Co. at the end, and without the same level of quality. Due to mergers and takeovers, it was bought out by Macy’s, who now uses the name or trademark, for a house brand of clothing. The original I. Magnin & Co. was a department store started by an enterprising couple in the late eighteen hundreds in San Francisco. After the earthquake and fire in 1906, the couple managed to keep the business alive by selling product out of their home during the period of rebuilding.
By 1912, the company had secured several retail locations in high end hotels. They expanded from there, creating a large, luxury brand department store footprint in the west. One of the most notable locations (they moved into in 1948) was in Union Square, and was referred to as the White Marble Palace. Once in the high end market (from 1912 on), they began importing the latest Parisian styles, attracting a growing and upscale clientele. The earliest I. Magnin & Co. items will have “Paris” or “Imported” on the label. They focused on couture, and bought from designers such as Christian Dior, Lanvin and Chanel. This was during a time when these designers were keen to get into the North American market.
The I. Magnin & Co. also designed and made luxury brand clothing in the U.S. The following link shows the many locations, and how much they expanded during the post war years:
The hat featured in this post is a gem from I. Magnin & Co. when they were still at their peak, in the Fashion Square concept that was started in 1944, following a merge with Bullocks.
The dress featured in this post is an earlier I. Magnin & Co. Imported dress. As an educated guess, I believe it is a 1930’s or early 40’s (pre-war) full length Lanvin dress with a softly draping, very wide full skirt, in a fun-ky fruit like print, with a matching hood! It’s gorgeous. The following link is a good article on the history and background of Lanvin:
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.
This 1970’s summer two piece outfit has coloured stripes of opaque red, blue and yellow – alternating with enough sheer stripes to let them – read between the lines…
1970’s Summer Lounger Made in Italy
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.
Certain designer labels seldom turn up in western Canada’s second hand clothing market, with London’s Rhonda Zilkha being one of them. I have found one item so far with her label. When I started researching her history, I was surprised to see the list of celebrities who wore her designs, in particular Princess Diana – because she was consistently gracious and model-like in the way she dressed and carried herself.
Ronit Zilkha’s story in the link below, provides us with an honest and poignant insight into the fashion industry – as she gives a detailed description of the rise and fall of her own label:
Below is a black maxi skirt with a front slit by Ronit Zilkha, likely from the nineties:
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 prodigious, heavy cotton velvet opera cape is accented with a fur trimmed hood and red satin lining. It is a perfect topper for an evening out when the weather is still cool – as it is in Vancouver in February. The vintage cape was made in Canada, shown in contrast over a more contemporary skimpy lace dress. The long sleeved lace dress would most likely be worn with a slip or undergarment, depending on how risque one wants to be. I chose the dress to go with the cape for this shot, because of the way the lace covered arms look when the cape is buttoned up. There is a label on the cape “Royal Emblem” – but so far, I have not been able to find any details on the designer. Judging by the buttons, it is estimated to be from the fifties.
In 2013, the founders of Marni Knits in Toronto, retired and closed shop after more than fifty years in business together. The story of this company is so inspirational because it shows us; not only the teamwork and longevity surrounding their union and marriage, but also, that their designs and creations came from a true “hands on” labour of love. The following CBC story provides the background and history of this sweet Canadian love story – giving us a glimpse into how they managed to knit their lives together:
Below is an example of a hand loomed dress by Marni Knits. So far, it is the only Marni Knit item in the Quiet West Vintage collection. It is estimated to be from the seventies:
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 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.
From face veils to fedoras and super sultry dresses, the film noir look is full of high tension sex appeal, intrigue and mystery. This post features an outfit that has the film noir allure with sparkles that outline your shape – even in the shadows. It is a 1950’s silver metallic jacquard weave, shimmeringly provocative, slinky party dress. The hat is a simple beaded skull cap with a silver trimmed flower and feathered hair clip attached to it. Add your jewels and stilettos – and you will be sure to leave the party without a backward glance!
The French without a doubt have the knack for fashion, with an intuitive grasp of what is ephemeral – and an even better grasp of what is timeless. To take it a step further, the style magazines tell us that the trick to developing a Parisian look is to avoid trends and work toward developing a uniquely personal signature look. The individual aesthetic is something that involves a healthy assessment of what looks and feels best, from both an objective and a subjective point of view.
Regardless of trends, true confidence involves choosing styles that flatter your figure and show what makes you distinct. For some, knee length pencil skirts look fantastic. Others look and feel better in A-line or pleated skirts. In general, the Parisian style has its foundation in quality staple items and a neutral palette. When choosing staple garments such as skirt styles, the fit is most important. Adding some French fashion pieces to your wardrobe, that are tailored to your own individual style and figure – will quite possibly become favorite wardrobe staples for many years to come. Timeless!
Philippe Salvet
M Daquin
Courreges
It’s By A.A
Lanvin
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 wiggle dress was used to describe a 1950’s dress style that has a narrow fit in the waist and torso. The defining trait is that it is narrower at the bottom than it is at the hips. It is a style that emphasizes an hourglass figure and was favoured for the pin-up girl photography.
The reason it was called the wiggle dress is because you have to take small steps while walking – thus creating a gait that causes the hips to sway. It may have been a style that rose out of a vintage inspired revival of the hobble skirt, which was in vogue from 1910 into the twenties. The hobble skirt was long and very narrow at the bottom. Even more of a challenge! When the corsets and caged hoops went out, next came a dress design that made it faster to hop than to walk! Now all that is needed with the fifties wiggle dress is five inch heels and there will be no running wild while wearing one of these outfits! It’s probably easiest to just strike a pose and look pretty.
Aside from hoops, corsets and bustles – the real wiggle dress is up there when it comes to impracticality. It feels like your legs are bound every time you take a stride. Nowadays, the wiggle dress is a term that is used to describe a variety of vintage and “vintage inspired” dresses. But, to reduce it to the origin of the actual wiggle – if it doesn’t constrict your stride – it’s not a wiggle dress! Here is an example of one. I did wear it once – and can attest to the baby steps it took to get anywhere.
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.
The next 1960’s little black dress from Montreal is aptly labeled – After dark Cocktails.
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 (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 (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.
