March 12, 2026
| Valerie Hayes
| Business & Web Development, Fashion Research, My Story, Textile Art, Valerie Hayes, View All Articles & Photos, Vintage Outfits
Authenticating vintage and designer clothing, can be quite challenging, and admittedly takes some time to learn. It is usually not that difficult to identify fakes and knock-offs because of the inferior quality, and country of origin on the label. But there are exceptions.
All the diffusion lines, licensing agreements, and the belief that authentic items can be made in China, tends to blur the lines. Personally I have stayed away from designer labels with Made in China as the country of origin. When you see a shift from the original country of origin to mass production in China, you can see a decline in the quality.
I am not suggesting that all clothing Made in China is not worth buying. But I do believe that with the exception of a few famous designers, or 1960’s made in Hong Kong, you are not likely to find high quality clothing, hand bags, or shoes that are made in China.
Many of the diffusion lines are made in Romania, Turkey, Ukraine, and Portugal. They may, or may not have the same quality as items made in Italy and France. Diffusion lines tend to lose some quality, although they are still considered authentic brands. Some vintage diffusion lines are better quality than the new products by the same designer.
Not long ago I came across a Coach vintage bag from the early 1990’s. It was nylon messenger bag with leather trim and handles. There was an official leather Coach Creed inside the bag, so initially I thought it was authentic.
The other Coach bags I am familiar with were Made in the US, but apparently they are now made in Vietnam, Dominican Republic, and China. I checked a Coach authentication site that gives details on all aspects of authentication. It did not pass the test.
It is not too difficult to determine if an item is vintage, because the term vintage is used for clothing that is between twenty and one hundred years old. Less than twenty years, and it is called contemporary. Once it is a hundred years old, it is antique.
For vintage clothing, the fabrics, the zippers, the buttons, and the sewing techniques all contribute to the identification. Many mid-century fabrics are now obsolete, and certain embellishments, such as couching, or laid work, are seldom used today.
Extensive use of embroidery, hand beading, sequins, metal zippers, bakelite buttons, hand finishing on seams, and certain types of trim all help to identify the era from which an item came from. The style is also an important consideration.
In the 1930’s-1940’s dresses typically had metal zippers on the side that go from the hip to under the arm. These dresses are often hard to put on because of the narrower opening, and limitations based on the side zipper not going all the way to the top of the dress.
In the 1920’s it was not uncommon for there to be no zipper at all. The dress was put on over your head. 1920’s dresses are often very fragile, although I do have a spectacular dress and shawl from the 1920’s that is made of wound silk ribbon. It is much stronger than the beaded flappers on a sheer backing.
By the 1950’s the majority of dresses had back zippers, and in most cases, they were still metal zippers. The 1940’s dress designs were not as full circle, or as flared as the 1950’s dresses. Many vintage dresses have keepers, or snaps for the bra straps, and some of the 1930’s-1940’s dresses have shoulder pads. This was especially so in the 1930’s. The shoulder pads were not like the later 1980’s and 1990’s shoulder pads, but were smaller, and sloped, instead of squared off.
Almost all jackets from the 1930’s to the 1950’s and even into the 1960’s, have shoulder pads for definition. They are not large shoulder pads, but rather provide definition and structure. The 1970’s is really the only decade between the 1930’s and 2000’s to have jackets without shoulder pads.
There is no decade with larger shoulder pads than the 1980’s. By the 1990’s they were less dramatic, but still prevalent. In some of today’s designs, we are seeing a comeback of the shoulder pads. Byblos has created a design that looks squared off, and theatrical. It remains to be seen if those designs will be embraced by the general public again, like they were in the 1980’s.
When it comes to designer clothes, they were often identified as Rive Gauche, especially for Yves Saint Laurent. Laws were not passed to force manufacturers to include fabric composition labels until 1971. Therefore in clothes made prior to that time, the fabric is often guesswork.
The couture houses for designer clothing for the most part, started making ready wear clothing in the 1960’s and 1970’s. YSL has a distinctive vintage Rive Gauche label, which is similar across most garments.
Chanel and Dior do not have consistent labels on their vintage items. Their structure, country of origin, and quality are evident in order to help authenticate them, and determine the date.
The Christian Dior Coordonnees label was a higher end ready wear label that was released in the 1960’s and active until the 1980’s. This label was seen in knitwear, and in separates like skirts.
A Dior label with a red 2 over top the word Dior on the label was a line that was created in 1987, and finished in 1996.
The Dior label that has a row of Ds at the top and bottom of the label, is from the 1960’s-1970’s.
Two of the most diverse, and often confusing designer labels, are Versace, and Escada. Versace introduced many different lines, with different labels. Some examples are Gianni Versace, Gianni Versace Couture, Versace Jeans Couture, Versus Versace, Istante Versace, and a few others.
Escada is confusing because it seems after they stopped the primary production in Germany, they set up multiple licensing agreements. Some of the labels have country of origin as Romania or Hungary, and others do not have the country of origin at all. When Escada was made in Germany, all items had Made in Germany labels. Therefore the German made Margaretha Ley Escada labels are the easiest to authenticate with confidence.
Other brands that may not have the country of origin are Anna Sui, with origins in New York, Jil Sander, with origins until 2005 in Germany, and following that in Italy. Apparently many items are now made in Portugal.
Over the years I have come across several Jil Sander items that do not have a country of origin label. They are of good quality, and show no sign of a label being removed. I also have Jil Sander items with a Made in Italy label.
One of the most important aspects when it comes to authenticating designer items, is the country of origin label. This of course, is not the only important aspect, but it is key.
Both Italy and France have very strict laws surrounding counterfeit goods. The penalties surrounding violation of these laws is very high, which is a major deterrent. It also aids in authenticating the items.
As it is with vintage clothing, the zippers, buttons, stitching, and all other labels, are important when assessing the item. The Swiss made Riri zipper on a garment or hand bag, is a very good sign of authentication. It is considered the Rolls Royce of zippers. The Swiss partnered with Italian designers to use these zippers in high end luxury goods.
Other high end zippers are Lampo, and Excella. The YKK zipper is the industry standard for durability, and functionality.
Another thing to take note of is the buttons, and whether or not they are imprinted with logos, or branding. In my experience I have noted that designer and vintage garments with covered buttons, are often of superior quality. Logo imprinted buttons and studs are also signs of authentication, and are not easy to replicate. The finishing around the buttonholes is also an important factor, and is part of the overall straight and, even stitching to be examined.
Dating vintage pieces can be difficult. Lightening zippers affiliated with Gideon Sundback, are high quality zippers that were created in Ontario, and can be found in vintage clothing dated from the 1950’s-1970’s.
The archive of vintage and designer clothing, and textiles over the past century, is a huge contributor to helping preserve the arts and culture, as well as the history of fashion design.
We are all well aware that many fakes and knock-offs have permeated the markets. However, with careful evaluation, one can help reduce the chances of picking up the fakes and knock-offs in the second hand market.
There is a cost associated with everything, and that includes mistakes, and having to discard those mistakes. Not only is there the initial cost, but also time and energy spent on steaming, photographing, and storage. There is an additional investment of time and energy to constantly examine every detail.
Fortunately, you can now use reputable sites to do third party authentication, on items that are higher cost, or that have some uncertainty surrounding authenticity. The third party assessment will determine if the item is authentic, and provide certificates of authentication, along with a detailed analysis to support their claims.
So far, nine out of ten items I submitted came back as certified authentic. The one that was not confirmed met all criteria, with the exception of the country of origin label. This confirms the importance of country of origin labels.
It is more difficult when it comes to obscure diffusion lines, especially if they are made in Japan, with labels written in Japanese. We have to keep in mind that often diffusion lines are not made to the same quality as the original. They are also not made in the same country of origin as the original garments were.
Does this mean they are fakes? No, it does not mean they are fakes, because diffusion lines are considered to be authentic. But at the same time, the item could potentially be a fake. Once again, you have to check the overall design, structure, labels, buttons, stitching, and quality of craftsmanship.
Another somewhat grey area is the many licensing agreements that were set up by the major designers over the years. These are to be differentiated from the diffusion lines, which originate as spin-offs from the main designer. Licensing agreements happen when the designer gives permission to use their labels for a certain range of items, or during a certain time frame. The licensing brands are usually not to the same standard as the original designer.
However there are a few exceptions. Christian Dior had a licensing agreement with Canada. Some very high quality items came from that agreement. From the Quiet West collection, a Made in Canada Christian Dior woman’s pantsuit was sold to a collector in New York City.
Some tell-tale signs to help avoid the fakes – Number one is the quality. Is the garment well made, well constructed, made of a good fabric? Is it lined? Check the label, and see how it is applied. Check for the country of origin, wash labels, fabric composition, and whether or not any labels have been removed. Check the buttons, studs etc. for imprinting or branding. Check online to see if there are any similar garments with that label, country of origin and time frame. Check the overall design to see if it matches what the label was about (ie catering to youth, business, evening, or causal wear).
Some designers items can be recognized right away. Thierry Mugler is an example due to the strong structure and geometric lines. Others, like Betsey Johnson, are more likely to have trendy, shapely, and often whimsical elements.
St. John is another recognizable brand across several decades. The knitwear itself is a branding that you can see before even looking at the label. The vintage St. John designs do have some variations in fabric, with some items being heavily embellished, or trimmed with leather, and occasionally made of silk. But their staple St. John Basic knitwear is classic, and similar across the decades.
At the end of the day, we will all make some mistakes. Often modern day items were designed based on inspiration taken from a previous era. If for example a 1980’s hat design was inspired by the 1960’s aesthetic, then it is easy to mistake that hat to be from the 1960’s.
From the perspective of buying vintage designer clothing, especially timeless classics, chances are you will be getting a superior product at a fraction of the price. A new Dior, YSL, or D&G skirt now would cost you $3000 or more. In my opinion, you can get a much better quality vintage designer skirt for anywhere between $100-$800.
According to multiple YouTube channels, the quality of luxury brand designer clothing and hand bags, is nowhere near what it used to be. This is understandable because the cost of materials and labour has sky-rocketed, especially for clothing made in Europe. Also the focus on hand finishing items, as opposed to mass produced items, has changed the quality control in the past thirty years or so.
Many of the designs, fabrics, embellishments, prints, and obsolete fabrics, belong in a textile museum. Not only do we recognize and give accolades to famous designers, but also to obscure designers, whose remnants can still be put up in a fashion hall of fame.
Canada may not have the reputation of Italy and France when it comes to high fashion. But we do have some gems, most of which came from Montreal and Toronto in past decades.
Part of what has motivated me to put so much time, energy, and money into building a collection, and putting it online, is to preserve, share, and honour the brilliant designers, artists, and fabrics that are part of a rich history, and heritage.
Copyright Valerie J. Hayes and Quiet West (2026). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
November 19, 2023
| Valerie Hayes
| Business & Web Development, Valerie Hayes, View All Articles & Photos, Vintage Jewelry
Many countries do have laws surrounding hallmarking of sterling silver. For instance, in the UK a law was passed in 1973 making it illegal to call items sterling silver unless they are hallmarked. In some countries, the hallmarking is overseen by a national assayer’s office.
The UK and Ireland have among the most sophisticated and long term systems surrounding the silver hallmarking. In addition to the silver purity, there is often a symbol as well.
France has also been legally hallmarking silver since the 1800’s, and have a grading system to identify the standards such as 950, 925, and 800 silver. They also use symbols, the head of Mercury, and the shape of a lozenge, which is a diamond shape, but can also be a thin rhombus shape.
In the US the assay marks were not fixed like they were in Europe. Baltimore was one of the first to implement hallmarks in the early to mid 1800’s. In the absence of specific regulations surrounding hallmarking, several companies like Tiffany & Co., Gorham, and International Silver Co., adopted their own systems of marking and symbols.
Canada does not have any mandatory laws to hallmark silver and gold. However most jewelry makers will stamp their products with the purity of the metal, as well as with maker’s initials, in order to confirm their value. There are many exceptional pieces of Aboriginal carved artisan jewelry, in silver and gold, that are made without hallmarks.
Birks is one of Canada’s earliest known companies to hallmark sterling silver starting in 1879. Some of the earlier items are marked H.B & Co. Later the mark became Birks, or a B logo, and sometimes had a lion symbol as well. Some of the items are simply marked Birks Sterling.
In the late 1800’s and early 1900’s Hungary adopted a complex system of marking both gold and silver. They used the symbol of a crescent moon crowned by the head of the ancient Greek heroine Diana. In addition, the way the head was framed indicates the purity.
Japan adopted a symbol of the Japanese flag as a silver hallmark in 1929.
The hallmarking of Mexican sterling silver is also very complex, and dates back to 1946 when the Eagle system was used, but proved to be inefficient. By 1979 they developed a letter-number hallmarking system.
China also stamped their sterling silver for export, often with symbols similar to the European symbols. In the more modern jewelry, you will often see 925 China on the items.
India does not have mandatory laws surrounding silver hallmarks. However people can make a request to have it stamped, in which case it is taken to the assayer’s office for testing. If it meets the regulatory standards, it will then be stamped.
Pieces from Thailand will often be marked 925 Thai.
All 925 silver should be of the same quality, at least one would think so, because the purity has been established. However, different alloys are used, which can change the sheen, durability, tarnishing etc.
In spite of all the more recent developments in hallmarking, the actual stamping and marking of precious metals began as early as 1300 A.D when Edward 1 King of England proclaimed that all silver must be tested, and stamped.
During Biblical times sterling silver was represented by sheaves of wheat symbols. A shekel of silver was a coin weighing about a half an ounce. It is estimated the value would have been equivalent to two or three days labour. Silver was used the same as money, and often land was purchased with silver.
The topic of silver hallmarking, and all the various symbols is vast, with Encyclopedias of silver marks from many locations throughout the world.
My thoughts on the topic, are to stick to what is hallmarked. However, as with all things, there are a few cases where the item is sterling silver but is not marked. In the case of pendant necklaces, sometimes just the original chain is marked, and if the two get separated, the pendant might not have a hallmark.
The separation of jewelry pieces in a set can lead to unsigned pieces. This can also happen with vintage costume jewelry, because sometimes only one or two of the items in a set are signed.
The same thing can occur with earrings. Sometimes only one earring is hallmarked, therefore some of the single earrings floating around, are sterling silver, but are not stamped.
Occasionally the sterling silver mark or maker’s mark is placed on a hang tag, that later becomes lost, or is removed.
Sterling silver and gold can be tested using a slate pad, and nitric acid. The drawbacks are that the chemicals are very toxic, and must be used with great care. In addition, at the end of the day, the buyer only has the seller’s word for it anyway.
Therefore, sterling silver that is not hallmarked is likely to be sold at a lesser value, simply because whoever makes the purchase has the same problem of authenticating it, if they try to resell it.
Over time, if the price of silver happens to increase in value, there will be a melt value for all that tests positive, similar to what it is for gold today.
But for now, most of the silver value is in the workmanship, artistry, and gemstones used by the various silversmiths over the years.
Like all things that are vintage and antique, the artistry of the silversmiths from throughout the world, is of cultural and historical importance. Therefore to see all that labour, artistry, and archival representation of their creations, go into a melting pot, would be kind of sad.
As far as dating jewelry is concerned, there is some good information on the Internet to help with this, and also some information that is false or mistaken.
Recently I read that the roll over clasp on pins was not used before the 1960’s, which I know is is not true. There are certain rollover clasp styles that were used on pins, and brooches since the late 1920’s and 1930’s.
Over time, many people have had the attitude to toss what is old, and go for what is new, and presumed to be improved. However, creativity is not new.
Plus the cost of labour, and materials, has increased exponentially in all countries over the years. Therefore, the new is not made with the same standards, time, attention to detail, etc. because anything that is labour intensive, will cost much more.
In addition, all products must go through several layers of mark-ups before reaching the consumer. There are price increases from the manufacturing and materials, to the distribution and marketing.
All the steps incurred to get the product in front of the consumer, or public, requires time and money. Therefore each of those steps increases the cost of the goods.
If we are honest with ourselves, few things are truly original. Almost all designs have been made in some capacity or another, somewhere along the line. Innovation is a rather elusive concept. Things have to be captured and nailed down, in order to become tangible.
I believe the photography does help contribute to the knowledge base of design and hallmarks, even though it may not be perfect.
In addition, many of the designs, although trendy at some point in history, were lost or destroyed due to the various wars, disasters, breakage, and concept of getting rid of things that are old, to bring on the new.
Yet we are always traversing the richness of the landscape, from what is behind us, to what is ahead of us…So we have to learn from the past, in order to increase our appreciation for all art.
It is not just the famous, or the high falutin’ well-known artists who have created beautiful art. Art comes from all locations, and all walks of life.
Giftedness is not based on fame or self importance, but rather on dedication, and the ability to contribute time and effort to a labour of love.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
August 9, 2023
| Valerie Hayes
| Fashion Research, Health & Wellness, Thoughts & Ideas, View All Articles & Photos
When we look back at times of rapid societal change, no other time in recent history, was as wild as the jazz era turned out to be. Also known as the roaring twenties, and the flapper era – they let loose without much restraint.
It came about during a post war rebellion, and desire to break free of the prim, and often stifling structures of the Victorian era. During this time, radio and film began to emerge as a primary influence, so the music as well as the glamour, became far reaching, and spread like a prairie wildfire. The winds of change brought about a whirlwind of excess, dancing, partying, drinking, opiates, barbiturates and outright revolt.
As much as things change, human nature seems to be quite predictable. If people are stifled and oppressed, it is followed by a break out phase. If not taken to excess, it could be almost therapeutic, and redefining. But sadly, it has a dark side.
One thing for certain is that the 1920’s brought about some of the most creative expressions in music, fashion, film, architecture, and all other forms of art. Their disinhibition did not have a disregard for detail. Quite the opposite in fact.
We have heard a great deal about freedom lately. Few things capture the concept better than creativity without boundaries, because the imagination, when applied to some kind of medium, or form, can churn itself into dizzying accomplishments. But the letting loose of rules and constraints is not without its perils.
Too much freedom has a downside, and perhaps there is no greater example of this than what can be found in the life and writings of F. Scott Fitzgerald. He not only captured this era, he also lived it, so he knew what he was talking about.
When you read his biography, it becomes a bit more sad and sobering. He and his rich, spoiled, creative and flamboyantly artistic wife Zelda, partied like there was no tomorrow. It is quite incredible how he managed to write as much as he did.
The couple became associated with the introduction of the flapper era, and were also dubbed as the “enfants terribles” of the Jazz Age in the various newspapers.
Even though they lived a rich life of excess, they faced many trials and hardships. They got kicked out of numerous hotels, did outrageous things at parties, moved multiple times, and before long, Zelda was admitted to a psychiatric hospital. She was treated at various facilities, and by the time she was in her thirties, was permanently institutionalized.
Fitzgerald remained married to her, and continued to write to her until his death, even though he was living with another woman. He too, was plagued with addiction and substance abuse. He drank copiously throughout his life. He tried rehab often, and relapsed at least eight times.
Then he attempted to cure his gin habit by switching to beer, and drank forty to fifty bottles of beer each day. In addition, he took barbiturates, and choral hydrate to sleep. By the time he was in his early forties, he had cardiomyopathy, and could not walk up a flight of stairs.
F. Scott Fitzgerald died at the age of forty four of a heart attack. He became known as one of the greatest American writers, who captured the era, because in many ways, his stories were autobiographical.
Apparently, his father was also an alcoholic, so it points to a genetic vulnerability that he probably did not fully acknowledge during his lifetime.
The 1920’s was a time of opulence and excess, paradoxically tied to prohibition. Fitzgerald rubbed shoulders with many other famous writers, to include Ernest Hemingway, and Gertrude Stein.
Ernest Hemingway was another writer who was plagued with mental health disorders, and was said to have never met a martini he didn’t like. He developed paranoid delusions and bipolar disorder. His friendship with Fitzgerald did not last.
The struggles brought about by addiction, are not always known or documented in the lives of those who are less famous. But it is no less tragic, regardless of whose lives fall into the unhealthy spiral, and cycle of addiction. The outcome is evident, and becomes more and more obvious with the deterioration of both physical and mental health.
The famous writers give us a glimpse of reality, because not only do they lay bare their inmost thoughts to the world, but their lives, and struggles became a part of public knowledge.
They could not hide their demons, as they came out into the open, and pranced about at cocktail parties. Their antics also found their way to the pages of gossip columns, to be salaciously recorded for all time.
Of all the things we can learn about the various eras, upheaval, and times of rapid societal change and rebellion, we can see human nature in all of its nakedness, and the wretchedness of excess.
Poverty brings one set of problems, and excess brings another. Sometimes the two intermingle. Countless lives of famous writers, musicians and creatives, went down the tumultuous path of addiction.
Today, as I write this, we are no different, and many of us are just as vulnerable. More and more people fall into the depths of addiction, and unlike Hemingway and Fitzgerald, they are largely unknown. Their struggles are not documented, other than in the memories of those who loved them.
I think one of the takeaways when we study the historical writings and biographies of famous people, we can know that addiction is not only for the homeless, or the hobos, or those who are judged to be lesser human beings.
But rather it has no respecter of persons, and can grab ahold of, and lock anyone into its’ grip. It does not matter how rich, brilliant, talented, or creative one is. On the flip side of the coin, it also does not matter how poor, wretched, or downtrodden a person is.
For unknown reasons, for some people, there is a vulnerability, leading to a profound difficulty in overcoming the cycle of addiction.
The Jazz era was reckless and wild. The historical depiction of addiction, is something to look back on, as well as to give us an opportunity to reflect, to understand, to have compassion for, and to try to figure out how to avoid the loss of life associated with addiction.
At the core, there is a sadness, a void, and an attempt to fill that void with the wrong remedy. Yet once the cycle has begun, it is like the person has been hijacked.
I know many will say, “no one told a person to drink or party, or do drugs.” That’s true. Others rigidly adhere to the concept of taking responsibility for oneself, which is also true.
However, for those who do not have the propensity for addiction, they do not understand it is like being grabbed by a crocodile. Every time you try to get a breath, it drags you down and rolls you over again. The mind understands it is a death trap, but the will cannot wrestle it into submission.
This problem goes back to the beginning of time. In my opinion, it is only by the grace of God that we can escape addiction. We are prone to stumbling. We cannot see what is within us, to show us the way out.
Surely for the afflicted, there has to be a way out. Paradoxically, addiction is based on an attempt to escape painful emotions, but it becomes a self inflicted prison instead.
For those who are prone to addiction, due to genetics, prior trauma, neurochemistry, the lack of a shut off valve of some sort, the loss of control – whatever the reason, it is a death trap. They don’t deserve it. No one does.
Ironically, highly addictive people are often highly productive and creative, as the story about the lives of people like Hemingway, Fitzgerald, numerous musicians, and countless others can attest to.
If only the way to the exit was better lit. Not the exit out of this life, but rather the exit out of the addiction, as it continues to rob and drain the lifeblood of so many people.
If we manage to find the truth, we also see the light. Finally we can discern, there is just one door we should be knocking on. We are spiritual beings. Addiction, perhaps more than any other struggle known to humans, is a spiritual battle.
One way or another, eventually the yoke is off, and the burden is removed. In my opinion, we will never fully comprehend it.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
August 3, 2023
| Valerie Hayes
| Business & Web Development, Health & Wellness, Thoughts & Ideas, Valerie Hayes, View All Articles & Photos
The Arts & Crafts movement emerged in England in the late 1800’s as a form of resistance to the mass production of lesser quality products, due to the first industrial revolution. The movement was preceded by the writings of influential writers, designers, and art critics.
Art critic John Ruskin, and his many followers, were convinced that the rapid advancement of industrialization had adverse effects on society and the arts in general. He believed it alienated labour, was dehumanizing, and created a gulf between the designer and the manufacturer.
They also believed this caused a widespread reduction of quality of workmanship, and artistic achievement. As a result of the writings, and influential followers of this movement, they advocated to unite all the arts within the decoration of the home especially, with an emphasis on nature, quality of workmanship, and simplicity of form.
By the early 1900’s the movement had spread to the US, and took on a life of its own. It was not as pervasive as it was in Britain, however the British influence was promoted for awhile throughout the US, but did not develop the full scope of socialist underpinnings. They focused on furnishings, pottery, metalwork, woodwork, and bookbinding.
In the US urban areas, the socialist aspect of the experimentation was geared toward offering young women education in craftwork and simplicity, as it applied to various decorative works. Quality of design was the cornerstone. By 1908 Paul Revere pottery in Boston was offering women the opportunity to earn a good wage in the community.
Newcomb pottery in New Orleans was part of an educational advancement for women using local flora and fauna as inspiration for designs in pottery, metalwork, textiles and jewelry. When it came to jewelry, natural stones were chosen carefully for their unique features, and were noted for promoting “truth to materials”.
Soon these creative entrepreneurs were teaching china painting, and one well known artisan Marie Zimmerman, began to expand, and take inspirations from foreign cultures abroad, such as Greece and Asia. The movement diversified into silversmiths, and many other handmade items.
Roseville pottery was introduced in Ohio around 1890. They made a wide range of pottery designs between 1904 until their closure in 1954. This pottery surpassed the Arts & Crafts movement, as it carried on for thirty years after the Arts & Crafts movement died down in the 1920’s.
To summarize the progression of things, and why it is applicable in today’s world: The first industrial revolution began in 1784 with steam, water, and mechanical production equipment.
The second industrial revolution began in 1870, with the division of labour, electricity and a trend toward mass production (which in turn, led to the Arts & Craft movement).
The third industrial revolution is said to have begun in 1969, with electronics, IT, and automated production.
That brings us to the introduction of the fourth industrial revolution, which is promoted extensively by the World Economic Forum.
This is a fluid concept, and is far less tangible than the previous industrial revolutions. It is very much tied to AI, robotics, connectivity through mobile devices, digital technology, knowledge, and rapid advancement in all these areas. It fuels changes to the various global systems; from business, to manufacturing, to banking, to the labour market, and to governance.
There is no historical precedent, and apparently it is developing exponentially, therefore unlike the steam train, and the Arts & Crafts movement, there is no linear pathway, to track this development.
Although technological advancement has many advantages, it also disrupts the various labour markets. The changes are rapid, growing in multiple directions, and geared toward the restructuring of all systems on a global level. What could possibly go wrong?
When the Arts & Crafts movement began, its grassroots concepts were founded, and developed within the context of the social anxieties caused by rapid industrialization.
The current fourth industrial revolution, by their own WEF admission, is a rampant development. This in turn leads to social anxiety.
Therefore, I think it is entirely possible that people will gravitate toward what is tangible, what is utilitarian, and what things worked in the past to develop labour markets, diversity and trade. These are the simpler things in life, and much easier to grasp hold of.
As a tongue in cheek metaphor on the need for a resurgence of some of the past concepts, to help quell the anxieties resulting from rapid mass industrialization, maybe we need to slow down.
If we turn toward something we can take hold of, and pour out, in a more relaxed, and tangible manner, we can look back, and realize our ancestors also went through rapid industrialization. It caused them to take a step back, and reevaluate, from a more philosophical point of view.
The following simple Roseville pottery jug from the early 20th century, has a form, and function, that can remind us about tangible things, in order to keep us grounded during tumultuous times of rapid change.
We can appreciate technology, but you cannot get a glass of iced tea out of AI or ChatGPT, to cool your senses in a heat wave.
https://quietwest.com/shop/accessories/roseville-antique-pottery-2-5-litre-chocolate-brown-jug-with-a-dripping-colour-contrast-ohio-usa/
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
December 20, 2020
| Valerie Hayes
| My Story, Poetry By Valerie Hayes, Thoughts & Ideas, View All Articles & Photos
When I steam and photograph dresses from the thirties to the fifties, I often wonder who wore the dress and how she was affected by the events surrounding the Second World War.
So many people migrated to North America during that period of time. I knew Stalin had ordered poets and writers to be murdered, and shuddered at the thought. Over the years I have written an anthology of lyric poetry – and could not see what the reason could possibly be, to execute people for writing poetry.
I mean, 1952 is not in the same historical time frame as the Salem witch trials, but these atrocities do have certain commonalities. When I examine a vintage dress, I often think, “This dress existed and was worn by a real person during the war, and post war time frame.”
Just ponder for a moment, what human conversations, deeds, deceptions, hope, and suffering had developed in the world. Imagine for a moment what inanimate objects could bear witness to. It makes me consider what was going on in Europe and the Soviet Union following the Second World War.
Although Stalin ordered the execution of an unknown number of writers and poets during his reign, the most notorious is “The Night of the Murdered Poets” August 12th, 1952, and is remembered by the Jewish communities and writer’s groups each year on August 12th.
It began with a group of Yiddish intellectuals and writers who were a part of, or in support of the Jewish Anti-Fascist Committee.
The committee was formed in 1942 to support the Jewish people during the threat of Nazi Germany. They soon became overwhelmed by the plight of the Jewish people throughout Europe, which led to an appeal to the Kremlin. The Jewish Anti-Fascist Committee (JAC) was started, and led by renowned Yiddish actor and theatre director Solomon Mikhoels.
It appears the primary objective of the JAC was to create, write and deliver material to influence Western public opinion.
After the war, with the onset of the Cold War and the establishment of Israel – Stalin became increasingly paranoid of a US invasion.
The JAC was accused of “slandering Soviet reality”. Stalin came to believe the Soviet Jews had stronger loyalties to the US. The JAC could not survive under these tensions. Mikhoels was murdered in January of 1948 under Stalin’s orders.
Although there are reports those who were murdered on August 12, 1952, were all writers and poets, only five of the defendants were known literary figures, one who wrote children’s literature.
The remaining people held prominent positions, and had become influential within the committee and beyond. The group of writers and intellectuals were arrested in 1948, imprisoned, tortured, forced to sign false confessions – and ultimately executed in the basement of the Lubyanka prison.
The charges were false accusations surrounding espionage, treason and bourgeois nationalism. All were convicted in a secret trial. The trial transcripts are painful to read. There are in-depth descriptions of the methods used to force the confessions, and how each of the accused handled the torture and trial.
How did we get the idea the fifties was a time of innocence?
The year the JAC was dismantled with the murder of its leader – is the same year Canadian lawyer John Humphreys’ (and others) drafted the Universal Declaration of Human Rights. It is the most widely translated document in Canada’s legal history (over 300 languages). It is considered the Magna Carta for all mankind. It revolutionized, and provided the baseline for International law.
The Universal Declaration of Human Rights was written after a colossal amount of human suffering, and violations of fundamental human rights.
People saw the progression to the atrocities after the fact. First, they took away economic and property rights. Then, they took away the right to freedom of expression and freedom of association.
They aim for absolute control – including thought reform. The outcome of the Universal Declaration of Human Rights on a global level, brought recognition of, and defined the equal and inalienable rights of all people. Every single person who attains power over the lives of others should become familiar with this document.
When we see a rise in fascism, along with human rights violations – we cannot deny what happened in 1952. We can only hope history will not repeat itself.
If walls and furniture, and dresses could speak – what judgment there would be on those who deceive, and abuse power over the lives of others?
Copyright Valerie J. Hayes and Quiet West (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 with appropriate and specific direction to the original content.
November 28, 2014
| Valerie Hayes
| Business & Web Development, Fashion Research, View All Articles & Photos
In the eighties and nineties I organized a few vintage fashion shows and did some basic research in order to do the narration for each show. What I learned then, is that fashion has traditionally had a thirty-five year cycle, where the styles of one era would be revived and re-created again, with some innovative variations. Because of this, there were distinctive things that “dated” clothing. For example, in the seventies, we wore bell-bottoms that were so wide and long that the bottoms became frayed and you tripped over them while crossing the street. Or, when those high-rise jeans that fit snugly around your waist went to the other extreme, followed by several years with clothing racks full of jeans and slacks that were so low in the rise that they had a one-inch long zipper. If you wore the style from a previous decade – it was ridiculed. But, let’s face it – some styles are ridiculous. Absurd actually. But, it’s not necessarily their age that makes them absurd.
Sometime into the eighties the fashion cycle began to shrink. During that time the frequency of the changes in fashion began to increase. The thirty-five year cycle went to twenty years, then ten, and early in the millennium, I recall reading that it had shrunk to seven years. This rapid cycling has become known as fast fashion. The mass produced disposable end of the clothing market has been churning out vintage inspired trends faster than we can follow. The underlying reason for this is that constantly changing trends and low prices will drive volume sales and increase the fashion industries profits. But ironically, what it has also done, is to increase individual freedom and create a much broader horizon for individual style and choice. Sort of an “anything goes” scenario that is a fairly new concept in the scope of fashion history. Therefore, this rapid spin of fast fashion might be losing its point, or its sustainability, as others predicted would happen years ago. On the up side, it has resulted in a significant blurring of the line between what’s in and what’s not in style. Since things so often swing to extremes, and fast fashion is filling up the landfills – maybe now we can swing back to the foundational quality and garment care that our wiser forefathers embraced.
To be rational about all the vintage buzz, a high percentage of vintage clothing is not worth keeping or copying. Just because it is vintage doesn’t mean it has style. And just because it is second hand doesn’t mean it is vintage. When clothing is advertised as vintage inspired or vintage styled – it is simply a capitalization of a now popular buzz-word, in order to increase the sales of their mass produced clothing. The other thing to be aware of – is that a percentage of authentic vintage clothing is made with exceptional style, quality of workmanship and material – yet it may not have a designer label. I know this statement seemingly contradicts a previous post I wrote about licensing brands, fakes and knock-offs, but in that case, the reference is to designer and contemporary clothing. Vintage has a different knowledge base regarding fabrics and sewing techniques, with some unusual quirks in the placement and types of labels used. Some of the beautiful and professionally made dresses from the thirties, forties and fifties don’t have designer labels.
There will always be trends. I believe the trend that is developing now is one of a much more sophisticated consumer. One who is inclined to research, to be more environmentally aware – and will wear what suits her personality and body type without being swayed so much by the spin surrounding fashion trends. Perhaps another off the grid trend is a reduced willingness to sacrifice comfort or mobility for style. After all, it’s pretty difficult to look effortlessly chic with a grimace on your face, or by tripping over twenty-four inch wide bell-bottoms. The truly fashion savvy women will seek both form and function – without sacrificing too much of either.
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.
