En Vogue

Are you enjoying summer weather yet? (if you are in the northern hemisphere, of course) Do you have to try and keep every-day-life going in the heat or are you longing for sunshine? 
Here in the Netherlands, the weather is still only a bit summer-y and, on some days, we get quite a bit of rain. I'm not great with hot weather so I don't really mind. But I did think it was time to share some seasonal vintage goodness.

So today, I have this for you: 

French Elle from 14 July 1955 (it was a weekly magazine back then, can you imagine? Thinner than it is today but still a fairly thick magazine. And I'm surprised the magazine was published on "Quatorze Juliet". Surely printers, postmen and magazine sellers didn't have to work on the national holiday...). 

I'll mostly stick to showing you the fashion pages but I thought you might like these ads:

Playtex lingerie and a glamorous lady in a beautiful bathing suit to sell suncream.

Despite the cover which suggests sun-soaked beach holidays at the beach, the contents of the magazine are rather more normal.

There are two spreads on the practical combination of dress and jacket to get a lady properly dressed through the whole day. Some of these are really nice but to me, those jackets just look very warm for France in July.

This feature, about the influence of science on fashion (in the development of new textile fibers) is very common throughout the 1950's. Usually, they are singing the praises of things like nylon dresses... 

And we get the low-down on 1955's hit-dress-shape: the drop-waist. This style is pretty elegant and actually even better at showing off a tiny waist than the more common shape with the seam at the waistline. I always wonder about the practicality though: To make it look good, the bodice has to fit closely but how does that hold up to normal wear? 

The answer is given here, at the corner, bottom right.

I've enlarged that bit for you. This is how you wear a dress like this: closely fitted over the right kind of lingerie corset. Of course, that would work. This way, the lingerie will take the strain of your body's movements and the dress just sits on top of that. Of course it would be a bit confining for the wearer (although many ladies in 1955 were probably quite used to wearing this kind of thing). And warm.

Then, we get the sewing projects! Back in the day, Vogue offered designs for which readers could order the patterns.

In this case, there are two mix-and-match sets of four pieces each. I like the first one best because it offers the greatest variety in shapes. And who doesn't love a good stripe? 
Oh, and these pictures are blurry because of anything I did. The colour printing in these old magazines is often less than great and this particular spread really suffered from that. 

And then, finally, there is a page dedicated to holiday wear. We're still not getting anything for the beach though.

Lovely dresses for work in the garden (top left), vacation in the countryside (bottom left) and in town (right). But you could order the sewing patterns for these too!

Oh, and if you noticed the line on the cover about a "new Barbar". Here is it:

A bit more detail

Maybe it would it nice to have a closer look at some of those dresses from Vogue. 

At these in particular. Photographs of actual dresses worn by real women. Those ladies are probably models but it still gives a better idea of what these styles actually looks like than all those charming drawings... And these particular designs come with descriptions.

Confirming modes that are and hinting of modes that will be, come four gowns from Paris

A cluster of gay pink roses affords a charming foil to the dull blue of an organdy frock girdled dull blue ribbon, and a rose-toned taffeta hat brimmed with prim little roses carries out the pretty color scheme. To make this becoming frock more becoming a white lace vest is inset.

The vogue for sheer material for autumn is forecast in the costume here, from Boue. It is made of silk mousseline and taffeta in a dark shade of brown which promises to be smart. The long sleeves, high neck, taffeta hem and bow give the gown substance.

In these pictures may be seen the back and front views of a hand-embroidered white silk mousseline frock sponsored by Maurice Mayer and boasting distinctly novel features in the double collar, the odd sleeve ruffles and the corded skirt opening over a profusely ruffled underskirt. 

Possessed of the indefinable quality of effectiveness is a Rondeau model of black Chantilly lace over black taffeta, which is girdled with Nattier blue satin. High neck and long sleeves make the gown very smart and the gold strings dropping at the side provide a telling touch.

Lovely aren't they?

Seen in Vogue

Today, I have some images for you from an issue of American Vogue from a hundred years ago.

 The issue from 15 July 1915, to be precise (the magazine appeared two times per month back then). I just love that colourfully illustrated cover...

One thing which stood out was how much focus there was on French fashion, despite the war. 

This article makes that very clear: "Paris with one eye on fashion". With a photograph of hospital soldiers and Red Cross dogs sharing a page with the latest fashion in swimwear...

The rest of it is normal fashion news though. 

Then there was this announcement: 

as well as a short article about the atelier of Jeanne Lanvin,

some attention for high-quality French linen,

and dresses from various Parisian designers.

 

Vintage Vogue patterns...

While reading the wonderful issues of American Vogue from 1915, I came across this page which explained the various kinds of patterns (you should be able to enlarge the pictures by clicking them, so can read the original text, but I will also type it out) available to the readers:

1. Vogue Stock Patterns

These are the models which Vogue itself has selected from the smartest designs, and made up in stock sizes only. Stock patterns are illustrated in each number of Vogue. They come flat, not pinned, and with each one comes a printed slip which tells the amount of materials to use. Though smart and advanced in line, Vogue Stock Patterns are exceptionally easy to use.

Vogue Stock Patterns are uniformly prices at 50 cents for waist or skirt, and $1 for complete costume. Sizes 34, 36, 38 and 40.

2. "Non-Stock Specials"

Cut only from the very practical designs illustrated in Vogue's famous "Smart Fashions for Limited Incomes", these patterns, as a rule, lean rather to the simple and conservative and are planned to remain in style for many months. they represent the ideal of the woman who must dress fashionably on a limited outlay. When reading "Smart Fashions for Limited Incomes" remember you may have the pattern for any garment there described.

"Non-Stock Patterns" are cut to order in stock sizes only (34 to 40 bust). Three-quarter-length coat, wrap or negligee, $1.50; skirt or waist, $1; complete costume $2.

3. Cut-To-Individual Measure

The ultimate in patterns. Vogue will cut to your own individual measurements a special pattern for any Vogue gown, waist, skirt or suit that appeals to you. Simply clip and send the sketch or photograph from Vogue, with a full list of your measurements. (Vogue supplies a special measurement form. A post-card request will bring you a year's supply.) The pattern will come pinned together - it is a replica in tissue paper of the model you have chosen.

Vogue's Cut-To-Individual Measure Patterns at a small cost insure absolute distinction in dress. Three-quarter length coat or negligee, $3; waist or skirt, $2; complete costume, $4; children's dresses, $2.

You may notice that none of the pattern options includes instructions... I guess the reason is that a lady was supposed to have any of these made by a professional seamstress or servant with a lot sewing experience. 

But still, a pattern of any garment featured in Vogue, made to your own measurements...

Now I understand why, despite the good condition of the paper, there is the occasional torn-out fashion picture in these magazines.

So, you could have beauties like these, the latest fashion from France. Work from notable designers like the Callot sisters...

That is a far cry from Dior who banished anyone, who was caught sketching, from his shows.

Ironically, in the same issue there is this article about the beginning of copyright in fashion design. An initiative by Paul Poiret after he saw counterfeit versions of his designs sold in American stores. However, the efforts of the Syndicat seem to have been focussed on stopping the manufacture of fake labels which allowed sub-standard copies to be sold as their designs. Despite the headline, the article announces surprisingly little action against the actual copying of designs. I guess that wouldn't happen until later...

En Vogue part 2

Quite a few of you liked the images from the American Vogue magazine from 15 May 1915, so I thought I'd show you the rest of the fashion-related pictures from it.

Here, we see society ladies play model for their designers for a charity event.

Ladies like this one.

These pictures have to do with the 'Vogue fashion fete' which, by the looks of it, was about fashion history as well.

And these lovely ladies were actresses.

Oh, and it's still the May issue and we're thinking about traveling. Blouses are a useful addition to anyone's travel wardrobe.

Every girl needs shoes, doesn't she?

These lovely ladies illustrate the cross-over between Asian and western fashion. Very elegant.

And more actresses, in stage-clothes,

and posing in normal fashion.

Then, we get some proof that not all of Vogue's readers were society ladies: fashions for a modest budget, what's in the stores now...

And something near and dear to our hearts: Vogue's pattern service. Such lovely designs... How cool would it be if we could still back-order them today?