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Lady Violette

The Romantic Lifestyle

Posts Tagged ‘History’

Vintage Perfumes Created to Wear with Furs – Dioressence by Christian Dior

Wednesday, August 14th, 2024

In 1969 French couture designer Christian Dior commissioned perfumer Guy Robert to create a perfume to be worn with his furs. He had done a series of luxe fur coats, evening furs and day designs with fur trims for his Fall/Winter 1969 Collection and wanted a special scent to accent them. He considered this perfume to be a fragrant accessory to wear with his furs.

Dior requested a scent in his own words that would be “intensely animalic, sensual and brutal!” He wanted it to run counter to the luminous blends that had made Dior perfumes famous up to that point. They came up with Dioressence, a deliciously rich chypre, very powerful and tenacious, and quite different than anything the house of Dior had previously issued. It caused a sensation when it came out and has become famous as one of the greatest perfumes of all time. Women liked its balance of earthy depth and elegance. It combined the fleshy ripeness of animalic notes with the autumnal warmth of patchouli and moss. Wrapped in jasmine and rose it had a glamorous and exotic aura, but remained surprisingly pleasing and easy to wear. It became very popular.

The original formula of Dioressence issued in 1969 was available from Dior and in high end stores like Saks Fifth Avenue for 10 years.

Here is one of the early ads for Dioressence.

I also noticed that this vintage Dior ad seems to be inspired by the painting “Repose” by John White Alexander (1895). Just a bit of art trivia for you.  

 In 1979 the Dior company decided to update the original formula of Dioressence for a relaunch. This new fragrance was created by Max Gavarry, and it followed the same general outlines as the original Dioressence but it was made plusher and sweeter. The rich glitter of warm spices was enriched, and the dense pungency of ambergris in the ’69 version was substantially reduced. Most vintage Dioressence on the market today is from this 1979 relaunch.

Vintage Chinchilla Stole – a timeless vintage fur that will always be the epitome of elegance.

In the original 1969 launch Dioressence By Dior was marketed as the height of luxury, the ultimate in sensuality and sophistication meant to enhance the experience of wearing a beautiful fur and being a beautiful woman. But times were changing ….. and there was no reason you could not wear Dioressence when not wearing a fur. And, hopefully, they would sell a lot more of this exotic scent if it could be worn anytime with anything.

Vintage Mink Stole – and Vintage Christian Dior Jewelry – exquisite vintage elegance is always in style!

Thus the Dior company issued this description of their 1979 version:

“Bring an aura of mystery and magic to your days and nights with Dioressence by Christian Dior. This women’s fragrance is undeniably feminine and enchanting, making it the perfect choice for evening use. It blends notes of bergamot and orange with fruity notes, patchouli and green notes for a distinctive result. Choose this breathtaking fragrance when you want to captivate a crowd without lifting a finger. Its memorable essence turns heads wherever you go.”

It is interesting to note that the original purpose of the 1969 version as a fragrance accessory to wear with furs was no longer used in the 1979 and later promotions and advertising campaigns! This is partly because wearing fur had now become a questionable practice due to the efforts of animal rights activists, thus Dior had to de-emphasize the original purpose of the scent and come up with a new ones in order to keep selling the perfume. It was fine to emphasize wearing this perfume any time you wanted to wear it because there was no reason it could only be worn with furs! They go on to say, “This spicy beauty with a green rose top note is delightful. It teases with its spicy warmth, before enveloping its wearer in a cool veil of moss and vetiver. ”

The 1979 version came in the above spray flacon and remained and remains to this day a lovely choice to wear with furs or anything else! In the 1980s I was very aware of the existence of this perfume but not the fact that it had originally been created to wear with furs!

I have been wearing this 1979 version for a week as my daily perfume while I have worked on this post. I absolutely love it! It makes me feel as if I am in my own magic world – a place removed from the stresses and pressures of modern life – mysterious and special. It smells lovely – not at all heavy, but very long lasting. On me it even lasts through showers and becomes deeper and more special over a couple of days. It makes me feel relaxed and peaceful similar to how I feel visiting a garden in a summer evening after the heat of the day has passed.

Fast forward to the current times – I am writing this post in August of 2024.

In the late 1980s the Dior company began experiencing financial difficulties. Incidentally, I worked for the company during that time and through the 1990s. I attended Dior’s perfume training school but the fact that Dioressence was originally designed in 1969 to wear with furs was never mentioned! The company seems to have forgotten this most interesting history. Again, in the late 80s many of the perfumes from Dior were reformulated using cheaper ingredients for economy or replacing banned ingredients because they were required to do so by law. Alas, due to decisions by the accountants at Dior, Dioressence was again reformulated. Thus we got the 3rd version that is available today on the commercial retail perfume market.

Dioressence has been through multiple reformulations:

  1. The first and the original Barbaric version was created in 1969 by Guy Robert
  2. The second spicier version was created in 1979 by Max Gavarry
  3. The third currently available version which is on the market today 2024 and is not attributed to anyone in particular but seems to have gradually morphed into being little by little as Dior executives cut costs. This is the one that bears little relationship to either Robert’s or Gavarry’s creations.
  4. The fourth version is coming soon as Francoise Demachy, Dior’s current in house perfumer is currently working on a new version of Dioressence.

This brings me to consider the name of this perfume – Dioressence. Doesn’t this seem to say this perfume is the essence of Christian Dior and to dig deeper – the essence of society at the time it was created? Perhaps all these different versions are defining the essence of Dior and the society at the times they came out. It is the job of fashion houses to both make trends and follow them. For example the 1969 version was a barbaric perfume for the 1970s – the age of sex drugs and Rock ‘n Roll. Liberalism before it got bogged down and restrictive. If you were going to be cool and hip and a woman that is the vibe you wanted for better or for worse. It was the time of danger – the time when women were forced to embrace danger. Woodstock happened in 1968 and the world was alive with the sound of music. I feel that 1969 was a year in which they could see ahead and predict what would be happening in the 70s.

The 1979 version calmed down on the barbaric level but became spicier – thus a spicy oriental – a big perfume for the opulent 1980s – with its extreme more is more fashions with their their over-the-top silhouettes, big shoulders, teased hair, saturated colors, puffed sleeves, flashy skirts, spandex, velour, shiny satin, voluminous parachute pants and power suits. The 80s was a bold excess decade, peak Japan, leveraged buyouts, the movie Wall Street, Gordon Gecco, “Greed is Good”, corporate buyouts, cocaine, yuppies, the focus was less on free love, but more decadent in a way. A woman needed to smell good if she was going to stand out amidst all that!

The supermodel phenomenon started in the late 80s and exploded in the 90s co-inciding with a growing media landscape and increasing pop culture interest in fashion.

Mid 80s – the 90s was the Aids Scare, in the late 80s and early 90s Dior was experiencing financial constraints, in the 90s the US was in an economic slump, the UK was in a recession as well. Subdued style suddenly made sense so the revival of minimalism came forward as luxury style. The opulence of the 1980s was taken over in the 90s by a revival of luxury. John Galliano was hired as Creative Director by Dior to revive luxury and bring people back to Dior – get them interested in Luxury again. That was in 1995. And this he achieved from 1996 – 2011.

In popular culture fashion in the 90s engaged in a wide variety of styles, that cycled in and out very quickly. There was always something new, always something a bit controversial, something for everyone. There was reinvention and restlessness in the fashion of the 90s – minimalism, revival of luxury, retro-revivals, grunge, deconstruction and the avant-garde, environmentalism and the global wardrobe. There was hip-hop, rave culture and sports-inspired style. This is the period from which the third generation of Dioressence, the one still available is stores, evolved.

Fashion is and always has always been a signifier of social status and self-expression and a sign of the times – so it will be interesting to see what the upcoming fourth version of Dioressence becomes.

Back to the history of Dioressence:

Guy Robert, was the legendary nose responsible for creating the original barbaric Dioressence in 1969. In The Emperor of Scent, Chandler Burr recounts Luca Turin telling the story of how Dior executives asked Robert to create a fragrance that was “animalic”, would live up to the slogan le parfum barbare, and would be called Dioressence (p. 146, paperback edition). The rest was up to Robert. He didn’t have a firm direction for the fragrance until kismet intervened and Robert washed his ambergris-coated hands with soap impregnated with the scent of a Miss Dior knock-off. Voila! Animal and elegance with a clear tie to Dior.

Burr goes on to record Turin’s response to the current, reformulated version of Dioressence – the third and currently sold version, “t’s now a lie, a total lie to the original, to what it was.” Later, Turin wrote in his now defunct blog, “The last time the word barbare was used in earnest in perfumery was in the 1969 slogan of Dioressence, and that was the genuine article with a weird, scary, overripe, almost garbage-like note.” I read all of this before I ever smelled Dioressence, but I was still eager to smell it, no matter what the version. A “weird, scary” note? Who could resist that? What, on earth, did that description mean?

Burr continues, saying, ” I arranged for a sample of vintage 1969 version of Dioressence through a swap, and eagerly sprayed it on my arm. It kicked off with an intriguing mix of soap and rot. The rot was not musky like body odor, but decomposed, like the vague dead squirrel smell I catch here and there in Guerlain Jicky and Shalimar. The rot smell faded to the background, and a gorgeous floral bouquet, languorous and spicy, nudged in, supremely blended and supremely French in feel. For all its richness, Dioressence wasn’t heavy, and even though the sample was only of the Eau de Toilette, it lasted for hours. I had to have a bottle of it.”

So, he acquired a bottle of the version number three , the one currently available today, and he said, “Yes, my new bottle of the reformulated Dioressence was a bitter disappointment. I felt robbed. The sample I’d first tried and fell in love with must have been vintage. Instead of a compelling, odd, but beautiful scent, I had a bottle of pleasant, rosy, spicy, soapy fragrance that lasted on the skin two hours, tops. I should have been warned when I saw that Dior had moved away from its original barbare description of Dioressence toward the innocuous “mysterious Orient” theme.”

Dior’s website currently, in August 2024, describes Dioressence as a “spicy oriental” and lists its top notes as aldehydes, greens and fruit; its heart as jasmine, geranium, cinnamon, carnation, orris, ylang ylang and tuberose; and its base as patchouli, oak moss, vetiver, vanilla and musk.

All I can say is: Dior, shame on you. I see that recently Dior decided to make the classic fragrances (Miss Dior, Diorella, Diorissimo, and Dioressence) more exclusive in the United States by selling them only at Saks Fifth Avenue. Dior also recently released three expensive, limited edition fragrances (La Collection Particuliere). None of these moves toward repositioning Dior perfume as truly top shelf will succeed as long as the juice is a cheap imitation of its original glory. I’d rather pay twice as much for a vintage bottle of Dioressence (which will last me twice as long having twice the persistence, by the way) than buy a new bottle any day. Poor Guy Robert. 

Dioressence : Today

Unfortunately, as Dior suffered financial hardships in the late 1980s, the quality of the formula began to decline, and the version you can find in stores today is a legacy of that period. Little by little the barbaric perfume has morphed into a sheer green infusion of moss and soapy rose. It’s pleasant, but bland. Even the current Christian Dior in-house perfumer Francois Demachy admitted in an interview that he also dislikes the current Dioressence, ( that is the on e being sold now in 2024) which bears little relationship to either Robert’s 1969 or Gavarry’s 1979 creations. This interview is from a Russian issue of GQ and frankly addresses and explains the problems perfumers and consumers are having with current releases of the famous old perfumes. It is very worth reading.

Some people blame the changing fashions, others point to the severity of current fragrance regulations. Guy Robert only shrugged his shoulders and said, “The fashion now is to be afraid, we used these so-called dangerous ingredients for hundreds of years, and nothing happened.”

Apparently, Francois Demachy is currently working on a new version of Dioressence, and I hope that one day we might find this fragrance made, again, with quality ingredients and with at least a hint of a tantalizing barbaric streak! When is is launched it will be version four.

Coming next: Images of the Brutal Furs from Dior’s 1969 Fall/Winter Collection!

Meanwhile: I advise you to hunt down, collect, wear and enjoy your favorite vintage perfumes.

Rare and beautiful historic clothing and accessories and vintage fragrances are for sale in my online shops. I also offer a collection of vintage Christian Dior jewelry and vintage furs. If you see something on this blog that you are interested in buying, but do not find it for sale in my shops message me on Etsy or Ebay and I will get back to you about availability. I check messages daily and can always prepare a special listing for you if you do not find it already listed in the shops. Some perfumes and vintage furs and fur trimmed items are currently listed for sale in my shops and others will be listed as they are ready to sell. Items are always in process of being readied for listing so all inventory is not already listed and photographed. Feel free to message me on Ebay or Etsy if you are seeking something in particular as I may have it or be able to find it for you. There are contact seller buttons on all listings in the stores which allow you to write me messages. 

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Two Antique Manton de Manila Embroidered Silk Shawls From The San Francisco Gold Rush – 1850

Sunday, January 28th, 2024

Part One in a Series on Antique Mantons de Manila, Antique Embroidered Shawls from Canton, Antique Embroidered Silk Piano Shawls, Embroidered Spanish Shawls and Spanish Flamenco Shawls ……..

ABOUT THE BLACK AND WHITE SILK SHAWL & THE IVORY BIRDS OF PARADISE SILK SHAWL Acquired in San Francisco during the Gold Rush in 1850:

During the Gold Rush, San Francisco was a frontier boomtown, a slice of the Wild West that was rapidly civilizing with the influx of money from the mining activities. In the early 1850s, two sisters attended the traveling opera in San Francisco, in a makeshift music hall with wooden chairs for seats. They wore their status on their persons, in the form of two dramatic, embroidered silk shawls, imported all the way from the exotic Far East by rickshaw, rail and sail. As they made their way up the steps, the shawls flowed around them, adding a sense of glamor and drama to the evening before the opera even began.

These women wore Cantonese, via Manila, Mantons – exotic heavy silk shawls hand embroidered in Canton for the export market, originally produced for well to do fashionable women in the Americas.  These two shawls were acquired by a ship captain in Canton and brought by ship to Manila, the capitol of the Spanish Colony in the Philippines. Then they traveled on the Manila Galleons from the Philippines to San Francisco where they were purchased by a gentleman gold miner who had struck it rich from the sea captain in 1850 during the heart the San Francisco Gold Rush (1848 – 1855.) It was socially and economically important for this businessman to exhibit his success by dressing the women in his family in the most expensive and fashionable attire of the times. In those days the opera was the place to see and be seen as well as the place all manner of social and business transactions were conducted. It was the perfect venue in which to exhibit these exquisite and expensive shawls and show off his beautiful wife and sister…

Provenance: His niece wrote, 

“This Spanish Shawl was bought in California ($150) in the years of the Gold Rush  – 1849 by my father’s Uncle, Nathanial S. Harold, for his sister my grandmother, Margaret Case, who gave it to me about February 1881. My uncle bought these two shawls from the captain of a ship that came from a far country for his wife and my mother and these two ladies wore them to the Opera in San Francisco.” Estylle M. Davis.

 Incidentally $150 in the years of the San Francisco Gold Rush (1850) is equal to $6,090.24 today! (January 28, 2024.) These shawls are now 176 years old!

The black and white shawl covered with camellias is one of those two shawls worn to the opera so long ago. It is wonderful and unusual that I know the provenance of this beautiful shawl. I acquired it 45 years ago from an antique dealer friend of mine who purchased it directly from the elderly niece of the original owners described above. I have both shawls from this transaction. The niece wrote the above statement on a card that accompanies the shawls in her own handwriting. I expressed interest in meeting Estylle M. Davis herself and my friend was able to arrange it! We visited her in her family home on Clay Street in San Francisco and she was so kind and lovely! She was happy that the person who acquired her shawls appreciated them and her family history. She showed us photos of her family from the Gold Rush days up to the present period which was 1986. She was in her late 90s when we met! I later learned that she passed away at the age of 103! She explained that the shawls were left to her by her female relatives when she was very very young – too young and small to wear them. She was the only female relative in the family to leave them to and they wanted to be sure that she would have them, as part of her history when she grew up.

Her motivation in selling her shawls was that she wanted to find them a home in which they would be treasured and cared for. She only had sons and they were not at all interested in the shawls. My antique dealer friend assured her that they would only be sold to an appropriate person. She was actually delighted to meet me and fortunately I was approved and passed inspection! Here is the note Estelle wrote:

Ideally, Estelle Davis wanted these two shawls to remain together as they had been purchased by Nathaniel Hawthorne from the sea captain and worn by his wife and sister, Estelle’s grandmother, Margaret Case. I promised to do so and so far have managed to keep them together……

The second shawl is ivory silk covered in a profusion of brightly colored birds, butterflies and exotic flowers skillfully hand embroidered in silk thread. A large peacock with its tail spread open occupies the center of this shawl, while colorful pheasants, flamingos and other exotic birds fill out the four corners. It is finished with a heavy white silk macrame lattice and long ivory fringe. I call this one The Birds of Paradise Manton. Manton is, simply, the word for shawl in Spanish.

These exquisite shawls were among the most treasured possessions of these two early San Fransisco women and were passed down to the niece who kept them carefully until she was an elderly woman in her 90’s, wearing them only on special holidays. These shawls were beautifully made and properly cared for and, as antiques, will continue to increase in value. They are both in excellent condition for their age – clean and free of damage. The embroidery is perfect. The hand macrame lattice is exceptionally elaborate and heavy and the silk fringe is dense and long. 

The embroidery on the Birds of Paradise shawl is unique in its imagery and imagination especially in the realistic depiction of birds from pheasants, to flamingos and peacocks – other atypical details include fanciful flowers and vines and plant pods insects and butterflies. Much of the embroidery is executed in satin stitch but the tails and wings of the peacocks and other birds are done in a fine herringbone stitch that imitates the texture of feathers. I do think some of the birds were fantastical combinations of different birds made by the designer embroiderer and I love this about it! The one below, in my opinion, is a kind of flamingo/ peacock combination!

When I discovered and acquired these two San Francisco Gold Rush Shawls I fell in love with them. I was fascinated by the highly skilled embroidery and the incredible designs as well as the history surrounding them. I began to investigate Manton’s de Manila and visit them in museums and textile collections whenever I could. And I began to assemble my own collection. I have now been collecting Manton’s de Manila for 45 years. In the process I have learned a lot about them and the women who originally owned and wore them. I have learned how these shawls were made and the history of the silk and fine embroidery trade between China, the Americas and Europe. I love learning the background history of the shawls as well as their beauty and especially value knowing about the women who originally owned them.

In future posts I will discuss the interesting history of the Mantons de Manila and share beautiful examples from my own collection and others. I am a dancer and I of course become interested in how the shawls have been incorporated into Flamenco and Spanish folk dance. I will show examples of their use in dance and how each art form has enhanced the other. Isadora Duncan, the famous modern dance pioneer, also initially from San Francisco, famously wore such shawls in performance and daily life with her famous Delphos gowns.

I will also explain how to care for these shawls properly, how to restore them, how to evaluate the originality, authenticity and quality of an antique Manton de Manila, and how to locate one if you want to acquire one for yourself. Because there is a lot of information to share I am choosing to do it in a series of Manton de Manila related blog posts.

The embroidery on the Black and White Shawl is executed in satin stitch. Both shawls are double embroidered on both the front and back in the same images making them completely reversible.

These shawls are large. The Black and White one is 60 inches square before adding the measurement of the fringe which is another 5 inches of macramé lattice work plus 13″ of long silk fringe. Thus another 18 inches of fringe all the way around the shawl.

When these shawls were made in the 1840s Western ladies were wearing enormous voluminous skirts that steadily grew in size through the decade! The large skirts were supported underneath by multiple petticoats, sometimes as many as seven at once. At least one of these petticoats would be a crinoline – a type of petticoat stiffened by horsehair. The steel cage crinoline was introduced in 1856. It provided immense relief from multiple heavy and cumbersome petticoats and allowed skirts to reach even larger new proportions especially between 1858 and 1862, relatively inexpensive, the cage crinoline was worn at all levels of society. The shawls were required to cover the lady and her crinoline skirt – thus the size! Today this size can adequately cover a queen or king sized bed as a coverlet or be used on a grand piano as a piano shawl or as a glamorous coverlet on a chaise lounge.

Shawls and beautiful historic dresses and other clothing and accessories are for sale in my online shops. 

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Cold Rayon WWII Era Print Dresses

Friday, December 15th, 2023

Brown Print Cold Rayon Dress – 1940’s

A gorgeous historically significant 1940’s Cold Rayon Dress from WWII Era. With Iconic multi-directional print of nosegays, doilies, flowers, and bows.

During the war fabrics were rationed and prints were cleverly designed to be multi-directional so that laying out and cutting pattern pieces could utilize as much of the yardage as possible. Rationed yardage allowed no more than 4yds for a dress. And it was usually only 36” – 39”.wide.  Every inch of precious fabric was utilized in these clever dress designs. 

Rationing dictated the wartime silhouette and influenced the fashions. Dresses were narrow and featured short sleeves, high necklines and “short” skirts. Clever cutting and seaming was utilized to embellish this basic shape. Bodices were closely fitted and the waistline was often slightly dropped below the natural waist to create a long waisted line through the torso. This mades a woman look taller and narrower. 

Examples of embellishments used are peplums skirts, curved seams, ruching, shirred seams, hip flounces, draped skirts and extended shoulders with the use of shoulder pads. A-line or straight skirts with peplums applied over the top created the illusion of a jacket without using the extra fabric required to make one. 

Sleeves were short and often cut in one piece with the bodice. These little sleeves were called kimono sleeves. Long feminine gloves were often worn with these short sleeves. 

Fabric rationing required that hemlines be less than 2″, and in accordance with the regulations this one is a mere 3/4″ then faced with hem tape. Because of the lightweight fabric this actually looks nice and adds to the flowy effect of the skirt.

This brown print dress has shirred gathering at the side seams and one shoulder, moderate shoulder pads extend the shoulders and make the  wearer’s waistline appear smaller. The high jewel neckline was the style of the times. One shoulder, the Left one, is gathered creating a draped effect across the fitted bodice. Clever pattern construction creates a diagonal seam across the bodice from L shoulder to R hip and a flouncy ultra-feminine gathered drape over the Right hip. The narrow skirt is attractively draped, appearing long and lean, but is actually gently flared and reaches to mid-calf in length. The short sleeves are set in. A metal zipper in the center back seam of the dress is 21” long allowing for easy in and out. 

The shoulder pads are of modest size to achieve the wartime silhouette, but not extreme such as those worn by Joan Crawford. They are basted into position so that they could be easily adjusted if required. 

This dress has been freshly dry-cleaned by a cleaner specializing in vintage clothing. It appears not to have been worn much because it is still in excellent condition. Amazing for a garment that is 80 years old! This dress is very well made, but there are no labels in it. It could possibly be a homemade dress or custom made dress made by an exceptionally skilled seamstress.

Size and measurements: Shoulders: natural shoulders are 16”,across the back measured side to side at seam, but are only 15.25” across the front . They are extended to be about 1” wider with the shoulder pads. As mentioned above shoulder pads are basted into place and their position could be changed or they could be removed entirely if desired. People’s shoulders are uniquely shaped so it was common to insert shoulder pads is such a way that they could be repositioned easily to best flatter the wearer.

Bust : 17″ x 2 = 34″ maximum – because of the design fabric drape is required across the bodice. I recommend a bust size of no more than 32” to allow for adequate drape, comfort, freedom of movement and proper fit. A smaller bust size will work just fine because of the drape. 

Waist is 12.75″ x 2 = 25.5 ” at most – again, some space should be allowed for the waist to fit comfortably and allow for movement. I recommend a wearer’s waist size up to 24″ so dress is not too tight. 

Hips: measured 7” below waistline :  skirt measures 20″ x 2 = 40 ” in circumference, but I recommend a looser fit to allow for the proper drape and comfort. Wearer’s hips should not be more than 38″ to allow for a graceful drape. Anything less will also be fine. 

Sleeves: From top of shoulder to hem are 8.5″ in length. They are loosely cut to flutter gently around the upper arm. 

Back length of bodice from center of neckline to slightly dropped waist is 16.25″ . Waistlines were positioned a bit below the natural waistline to create long-lined look through the torso.  

Skirt length from waist to hem is 30″ long.  

Care: This type of Rayon should be dry-cleaned only. If it needs ironing use a cool iron and press on the back side of fabric only.  I recommend pressing over a pressing cloth. 

Modern sizing is equivalent to a size 2  – my recommended best fit for this dress is modern sizes 0 – 2. 

Fitting Note: My mannequin is a well endowed size 6 and this dress does not come together in her bodice back. 

Wartime Fashion Facts: 

An interesting historical note : Food was also rationed during WWII and many people did not get enough to eat so were very thin and often malnourished. This historical fact explains why many of the clothes from the period are such small sizes. These women just did not have any fat stored on their figures. A woman who was a nurse in England during this time period explained this to me. She said the girls looked fragile and waif like and very pretty in their clothes but this was the result of not having enough to eat.  It was easy to be slim if there was not enough to eat! Audrey Hepburn was an example of this. She grew up in Holland during the German occupation and they could not get enough food. She was malnourished after the war and it caused her lifelong health problems. That delicate gamine look came at a price! 

Rayon fabric is made from wood pulp and as such is considered a semi-synthetic. Its properties are akin to a natural fiber. Rayon is breathable, takes pressing quite well, is absorbent and can hold in body heat. 

Cold rayon is made via a cold process. It is smooth, has a subtle sheen and drapes beautifully. It initially feels cool to the touch. During the World War II era it was a popular, more affordable and more available than silk and was used to produce women’s dresses, blouses and lingerie. Fabric artists cleverly developed multi-directional prints so that pattern pieces could be cut and seamed facing any direction instead of just one – way. This allowed for the maximum use of every inch of rationed fabric. 

Rayon takes dye very well so prints were often quite colorful. Whimsical floral patterns were popular as well as unusual atomic prints…. The multi-directional prints developed by clever artists allowed you to use all the fabric without concern for which way the print was running. 

Rayon fabrics in solid colors were used for summer weight military uniforms for men and women as well. 

Rayon was economical. The established American rayon industry was positioned with raw materials and manufacturing capacity to produce goods for the war effort and civilian use. In 1940, the average price for a pound of rayon yarn was $0.53, while wool was $1.34 and silk was $2.79. 

Silk was allocated to the military for parachutes. Soldiers would sometimes send damaged parachutes home for their women to make into dresses, blouses, nightgowns, slips and other lingerie. A few girls even made their wedding dresses out of damaged parachutes. Parachute silk was highly prized! 

Most women sewed and sewing skills improved during the war as you had to keep your old clothes in decent shape, mend and remake things into other things, and make what new items you could out of rationed fabrics. You got more value for your ration coupons in sewing fabric than in ready made clothing. 

 A woman’s skirt could utilize no more than 2.5 yds of fabric. The number of pleats allowed in a skirt was also restricted. Remember this fabric was also narrow! By 1945 each woman was allowed only 36 clothing coupons per year. A woman’s ready-made tweed suit cost 18 coupons and a pair of shoes cost 5. Be aware that people had to pay money as well as present coupons to buy the rationed articles of clothing. By 1946 the number of coupons issued was reduced to 26 per person per year. 

All silk came from Japan. After the bombing of Pearl Harbor in 1941 silk was completely banned because it came from Japan! That put an end to luxurious silk stockings, lingerie and dresses! Rayon was the substitute and they began to call it “artificial silk.”

Fabric artists, clothing designers and the women who sewed and wore rayon during WWII became clever and resourceful resulting in some very attractive prints and clothing designs and styling options resulting from the limitations of rationing.

After the war, more synthetic fabrics were developed and manufactured. Then cold rayon the distinctive WWII era rayon prints were replaced in the marketplace by something newer. Rayon gradually disappeared from the marketplace and now is practically impossible to find! The type of cold rayon in the prints used in these Iconic WWII Dresses is now rare, expensive and highly sought after.

If you find a dress in good condition that fits you should acquire it! If you come across a 4 yard piece of Cold Rayon fabric from WWII era that has not yet been made up you should acquire it! And if you find a lovely dress pattern from that period you should also acquire it. Either make your own dress or find a seamstress to do so. The styles of this era are unabashedly feminine and charming!

This Cold Rayon Print Dress and and other rare and beautiful historic clothes and accessories are for sale in my online shops.

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Note the high round neckline, the shirred gathers on the left shoulder, the short sleeves, the below natural waist dropped waistline, the flounce on the right hip, and the non-directional print.

Note the curved seams, the ultra-feminine hip flounce, the softly gathered skirt, the mid-calf skirt length, the shallow hem giving lightness to the skirt; and, again, the multi-directional print that could be cut and assembled in any direction.

Note the curved seam, the waistline which is dropped below the natural waist to elongate wearers torso and the hip flounce which creates the illusion of a jacket with very little material being used.

Note: A Closeup of the multi-directional print and the fact that only four colors were used: brown, white, green and yellow. Also of note are the brightness of the colors since rayon absorbs dye very well.

Note: the high round neckline, the small shoulder pads, short soft kimono sleeve with a bit of billowing drape, the figure flattering fitted waistline and the gentle bust shaping.

Note: how the waistline dropped below the natural waist lengthens the torso adding to the illusion of length and slimness

Note: The ultra-feminine shape of the torso achieved when all the elements of the design come together. There is skill in the design and construction of these dresses which results in feminine flattering results.

Note: The long metal back zipper ( 21″) in length which facilitates getting in and out of such a fitted dress with ease.

Note: how all the features of the WWII Wartime Era Cold Rayon Dress come together in this Iconic Example of the feminine beauty and ingenuity of design during an historic time of adversity.

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Portrait of Igor Schwezoff, Ballet dancer and choreographer, 1940, Colonel de Basil’s Ballets Russes Australian Tour

Sunday, February 16th, 2014

Igor Schwezoff Russian Ballet Dancer & Choreographer 1940, Photographer Spencer Skier

I am pleased to present this classic and elegant photo of Russian ballet dancer/choreographer Igor Schwezoff taken in 1940 in Australia during Colonel de Basil’s Ballets Russes Australian Tour.

This beautiful portrait was taken in order to be used as a head shot and publicity promotional photo for Mr. Schwezoff as a dancer/ choreographer and for his ballet Lutte Eternelle which received its professional premier by Colonel de Basil’s Ballets Russes in Sydney on 29, July, 1940, during the third Australian tour of the company.

Having left Soviet Russia in the late 1920s, Schwezoff travelled widely, briefly running ballet schools in Amsterdam and London. He wrote his acclaimed autobiography, Borzoi, published in London in 1935. He then joined de Basil’s Ballets Russes in 1939 as a soloist and worked with the company for two years. Lutte Eternelle was the first of his works to be danced by the de Basil company. This one act ballet was a revision of an earlier work by Schwezoff that was originally staged in Amsterdam by the performing group from his ballet school. Both the earlier production and Lutte Eternelle were well received by both critics and the public alike.

To my knowledge this photo has not been published before. It is from the private collection of Mr. Ian Bevans who worked in some PR capacity with the Ballets Russes during their 1939 – 40 Australian seasons. He was a dedicated balletomane who befriended members of the ballet company and collected and saved photos of many of the dancers taken during their historic stay in Australia.  Mr. Bevan’s friend, Mr. Kurt Ganzl kindly gave these photos to me. Mr. Bevans collection includes action photos, posed press photos, professional head shots of the dancers, some happy snap shots and some personal Christmas cards from Toumanova and Skibine. Some of the photos are autographed and some are inscribed with personal messages. All of them are fascinating bits of classical ballet history. I am grateful to Mr. Gansl for sharing them with me and delighted to be able to share them with other ballet fans on my blog. I plan to post more of these beautiful and rare ballet pictures on this blog soon.

 

Back side of Igor Schwezoff Portrait, 1940, by Photographer Spencer Skier

The back side of the photo of Igor Schwezoff by Spencer Skier, Collin St. Melb, 1940.

If anyone knows more about this photo or how it was used would you please contact me? I am a former student and friend of Igor Schwezoff and am currently researching details of his life and career.

 

 

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Ballerina Lubov Tchernicheva’s ~ Cleopatra Portrait Gallery

Monday, October 28th, 2013

Lubov Tchernicheva as herself

Lubov Tchernicheva (1890~1976) was an extraordinarily beauty and a great star of the Ballets Russes. The studio portrait above was taken sometime between 1930 and 1937 and is from the Geoffrey Ingram archive of Australian ballet now in the National Library of Australia. She trained in Russia, then danced with Diaghilev’s Ballets Russes from 1911~1929.  She was married to Sergei Grigoriev, the company Regisseur. She attempted to retire in 1929.

However, in 1932 Rene Blum coaxed her back to continue dancing as first ballerina and serve as ballet mistress for Col. de Basil’s Ballets Russes. Her husband served as Regisseur for this company as well. The couple worked for the Col. de Basil Ballets Russes troupe from 1932~1952. They performed and worked with de Basil’s Ballets Russes in their popular tour of Austrailia, throughout the United States and Europe. An extremely popular dancer her public simply would not allow her to retire!

In the 1950s this extraordinary ballet couple worked together staging Fokine’s Ballets for other companies.

Fortunately for dance lovers and historians Lubov Tchernicheva left her personal papers and ballet records to the Harvard University Library and her husband, Sergei Grigoriev, left his to the United States Library of Congress.

Tchernicheva also had amazing costumes for many of the roles she danced! Fortunately many striking photos of her were taken in many roles and survive.

The Ballets Russes Cleopatra Costume by artist Sonia Delaunay 1918

My favorite photos of Lubov are as Cleopatra originally known as Une Nuit d’Egypt and premiered by Diaghilev’s troupe in 1908. The ballet was revived in 1917 and exquisite and truly fantastic (as in a product of the artist’s Egyptian fantasy) new costumes were designed for the revived production by Russian artist and textile designer Sonia Delaunay. These Cleopatra costumes are the version Lubov wore in these photographs.

Lubov Tchernicheva in her Cleopatra costume designed by Sonia Delaunay

In the days these old photos were taken the ballet dancers often had to assume a pose in the photographers studio and hold it for a long time while the glass plates of film were exposed. By a long time I mean as long as 20 minutes while the photographer got set up and  organized and then slowly exposed the film. It must have been sheer torture!

Tchernicheva reclining elegantly as Cleopatra

It is hard to hold perfectly still in an an exotic pose, no matter how static, without twitching or swaying a tiny bit. I know because I have posed for photographers who were trying out the old techniques.Dancers were really happy when fast film was developed so that they could be photographed in action!

Tchernicheva strikes a pose a l'Egypte in the photographer's studio

 

Tchernichova’s strong aristocratic profile is amazing and perfect for the character of Cleopatra! And the headdress! it must have taken practice to perform in such a costume – it does not look like it allows for freedom of movement. It looks to me as if the dancer had to adapt to working within the confines and limitations of the costume. Fashion is often like that as well! It is interesting to note that this ballet set off a fashion craze for all things Egyptian in Paris and London. Society ladies were even getting Egyptian tattoos in intimate areas of their bodies!



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