A Well-Suited Hollywood Production

Between takes Madra Lord wears a smartly tailored suit ensemble from a scene in her new film, The Black Widow. The film's costume designer took her inspiration from the classic 1940 edition suit featuring a longer length, notched collar, nipped-in waist, and an unexaggeratedly broad padded shoulder. The new, shorter length skirt is still long enough to cover the knees when you walk.

The versatile jacket can be successfully paired with a variety of skirt and even hat styles. This dashing two-piece suit from New York Patterns includes a flared skirt [#1358].

A fabulous suit from Falkenstein is paired with a delightful turban from Lilly Dache. Photo by Horst for Vogue.

The Black Widow Madra Lord appears courtesy Monolithic Studios, produced in cooperation with Mel Odom and Ashton Drake.

Costume Credits:

OOAK suit and hat are from The Couture Touch. Fur from PD Root. Scarf from Mattel. Gloves from Ashton Drake.

You might also enjoy....The Classic Tailored Suit - 1940 Edition

Gauntlet Gloves

If you browse through fashion magazines of the 1930's and 1940's, you will be hard-pressed to find photos of ladies without gloves. Women always wore matching or coordinating gloves as accessories to their ensembles. There is something elegant, sophisticated, and even a little mysterious about a gloved woman. Whether it be for daytime or evening, gloves give that finished look to any outfit.

Yellow wool jacket collared in Persian lamb. Beneath, a black wool dress.
Note the fabulous Persian lamb gauntlets!  Marshall Field's & Company, Chicago.
Photo by Horst for Vogue, 1936.

Delightful pink sequined gauntlet gloves with matching scarf.
Gloves, bag, hat, and dress from Hattie Carnegie for
Frost Bros., San Antonio, Texas. From Vogue, 1943

Caroline Reboux millinery and the most dramatic gauntlets for an
evening on the town. Circa 1945.
Photo courtesy hprints.com

By the mid-thirties, the area over the wrist and forearm grew to an enormous funnel-shaped extension, reminiscent of the gauntlets worn by 17th Century French mousquetaires (musketeers). The flared portion of the glove, called a gauntlet, was usually made of a stiffer fabric than the hand to give it body. Gauntlets were often piped with contrasting color which accented the shape and design. Other design elements included top-stitching, buttons, and tabs. Gloves were not only made of the usual silk, lambskin, pigskin, and doeskin; but also washable chamois-suede, cotton pique, organdy, and cotton matelasse. Printed woven fabrics were also made into gloves to match a particular garment.

Crochet gauntlets, circa 1930's.

Myrna Loy wearing polka dotted gauntlet cuffs that button over
her gloves, circa 1930's.
Photo courtesy seraphicpress.com

Unusual gauntlets with red trim, circa 1930's.
Photo courtesy stardustyears.com

By 1939, the exaggerated gauntlet style had receded to minimal flare. The height of the popularity of the gauntlet glove was between 1934 - 39, but styles continued into the 1940's and even the early 1950's.

Veronica Lake looking smart in a pair of white kid gloves.
Circa 1940's. Photo courtesy weheartvintage.co
Original source & copyright: Robert Huffstutter.

Director Ivy Jordan wears a pair of color-blocked suede gauntlet gloves, a favorite with the stars of Monolithic Studios. OOAK hat and gloves are from The Couture Touch. Suit and muff are from Ashton Drake, shoes from Integrity.

Autumn Forecast: Hats

Photo by Horst for Harper's Bazaar, October 1942

Two Hat Originals: made-to-order (your exact measurements, your own pick of colors) hats available exclusively at Bergdorf Goodman.  Lower left - "Sunny Day" black felt bowler-style with a fringed bow of mauve-pink grosgrain and a flirt of grass-green feather.  Upper right - "Crest of the Evening" black evening head-dress of three plumes above a dramatic background veil.

Photo by Horst for Vogue, August 1, 1938

Suzy black felt "D'Artagnan" mammoth tricorn folded obliquely, trimmed with brandenburg braid.  Jewels by Boucheron.

Photo by Horst for Vogue, August 1, 1938

Round Hats, Square Shoulders:  Hat from Marjorie Dunton.  Heim's Persian lamb coat.

Fashion Completers

What are Fashion Completers?  They're those fabulous accessories that complete an ensemble.  From hats to shoes, to everything in-between, Fashion Completers give the wearer's outfit a polished, distinctive, and finished look.

Illustration by Rene Bouet-Willaumez (RBW) for
Vogue, September 15, 1941

What better to accessorize black than with bold color.  Hat from Lilly Dache.  And the ultimate accessory?  A luxurious Stein and Blaine natural stone-marten stole.

Photos by Haus Jorgensen for Harper's Bazaar, October 1942

Chinese red accessories all dyed from one lot of leather in the same vat, and then sent their separate ways to meet again on one happy person.  A totally new concept in matching accessories.  Pictured top to bottom:  Doeskin turban by DePinna, Doeskin sandals by I. Miller, Doeskin gloves by Aris, and Doeskin bag from Pichel.

Illustration by RR Bouche for Vogue, September 15, 1941

Monotone in Wild Plum.  Black plum (yummy) from top to toe for a smart, monochromatic look. On the left - wool jacket and dress from Fox-Brownie, velour hat from Garfunkel.  Right - wool jacket and skirt by Frank Gallant, felt hat by Stylepark.

Photo by Horst for Vogue, September 15, 1941

Beautifully simple yet elegant black wool suit accented with fabulous gilt serpents for clasps. Completing it - a hat of black wool jersey and wool mesh, and a black fox bag.  Accessories and the original design suit from Marshall Field.

American Spring Hats, 1942

Photo by Horst

Spring Hats by Lilly Dache and Hattie Carnegie.  American Vogue, Spring 1942.

Cavalry Plumed Hat by Agnes, 1935

Photo by Horst for British Vogue

Evening Dresses, Mid-1940's

Nothing to wear to your next Holiday party?  Here are four elegant evening dresses from the mid-1940's to inspire you.

An elegant gown by Emmett Joyce, circa 1947.  Photo by Joffe for Vogue Studio.

Sophie Original dress with fabulous matching gloves.  The pure silk fabric is a Contemporary Artist Print from Onondaga Silk Company.  Circa 1947.  Sophie Original was designed by Sophie Gimbel.  She was a Sak's in-house ready-to-wear designer from 1931 - 1969.  She specialized in formal clothing for day and evening.

Another Sophie Original in yarn-dyed surah silk.  Note the matching gloves again.  Photo by Rawlings for Harper's Bazaar, 1946.

A Vogue Design for Dressmaking pattern # 6012 shown in a gorgeous silk nylon net.  Jewelry from the Petit Musee.  Photo by Horst for Vogue, 1947. 

Matador Hats

The Spanish influence on fashion in the 1940's included whimsical matador-style hats to accessorize suits and dresses.

Miss Gene Marshall accessorizes her daytime ensemble with the hat from her matador costume she wore in the 1943 film Sea Spree for her flamenco dance number "Song of Spain".  OOAK silk dress and gloves are from PD Root.  Hat, fur, and purse are from Ashton Drake.  Gene is a restyled "Monaco" Gene Marshall from Ashton Drake.

Photo by Horst P. Horst

Two society ladies model matador hats, circa 1940.  Photo courtesy craigleaper.wordpress.com

Photo by Horst P. Horst

Another view of the same photo shoot.  Modelling these delightful matador hats are the future Mrs. William Paley (Babe) and the future Mrs. Ronald Tree.  Artwork by Goya.
Photo courtesy onlyoldphotography.tumbir.com

Two Balenciaga hats inspired by the costume of the matador.  Photos courtesy the-coveted.com

Shades of Red, 1949

Venetian red velvet suit, scarf, and hat.  Suit by Adele Simpson.  Jewels by Van Cleef & Arpels.

Guava red wool suit, challis blouse, bowler hat; all by Christian Dior.

Photo by Coffin

Tomato red worn with black: rayon velvet dinner skirt, black wool jersey beaded top.  By Larry Aldrich.  Love the surprise of the fabulous shaped hat!

Photo by Horst

Ruby red all the way: French silk velvet, street-length suit by Kraus.  Jewels by Van Cleef & Arpels.

Source:  Vogue, September 1, 1949.

Mileage For Your Money

Photo by Horst

Mileage for your money and wizardry for your wardrobe.  In the Fall of 1941 money was still tight and war was looming.  Vogue magazine dedicated it's October 15th issue to helping women get the most value for their money.  Featured on the cover:  A sensational wool suit from Carolyn Modes accessorized with a fabulous black fox muff and hat.

Photo by Horst

What better way to cut costs:  Make your own clothes, or have them made.  Pictured is an elegant brown wool coat lined with the same bright blue as the dress accented with a blue wool and nutria hat and huge nutria muff.  An exclusive Vogue Patterns Design.

1941 Ad for Lord & Taylor

There's a new look for Five O'Clock and On - Golden wool dinner jacket and bag encrusted with shiny black sequin and braid embroidery.  Another new look:  The tight gloves under loose bell sleeves.  Elegance and discretion for cocktails, for dinner, for restaurant dancing.  From Lord & Taylor.

Photo by Rawlings

Putting on the Ritz in this super-sophisticate in rose and purple.  Quilted silk satin jacket and shoulder bag.  Clinging silk and wool crepe dress, newest up-to-the shoulder jersey gloves.  Traina-Norell Design.

Autumn Forecast, 1941

During World War II, British Vogue continued to provide information and guidance on how women could look their best.  The emphasis was on good design and good fabrics, interchangeable wardrobe pieces, accessories, and brilliant colours to uplift the spirits.  Rationing and the scarcity of certain fabrics gave rise to a new standard of design excellence based on chic, understated simplicity.  The following scans highlight this imaginative and intriguing period in fashion history.  They are from the September 1941 Autumn Forecast and Fabrics issue of British Vogue magazine from my personal collection.

Photo by Horst

Sophisticated Brown and Black suit ensemble accented with braided pockets and embroidered motifs.  I love the unexpected addition of the rhubarb-colored scarf.  Suit by Falkenstein.  Hat by Lilly Dache.



 

Photo by Lee Miller

The jacket dress by Matita.  Honeycomb tweed with blue and wine stripes on a mustard yellow background.  Paired with a delightful tilt hat with checked crown.

Illustration from Vogue Pattern Book that accompanied the Autumn Forecast & Fabrics issue of British Vogue, September 1941.  On the left, a cut-away jacket over a pleated dress perfect for all-day, every-day.  Both the jacket and dress can double with other outfits.  Pictured on the right, a beautifully detailed day dress for dressed-up occasions.

Hat & Bag-Muff by Otto Lucas

Add drama to a basic suit with a fabulous leopard trimmed tilt topper and matching muff-bag.  I want!

Wolsey fashion ad for a timeless soft jersey shirtmaker dress in a grand, brilliant colour, and underneath.....pure wool Brevets underwear (vest and panties) to wrap you in comfort and warmth; plus Klirsheers artificial silk stockings.

The colors and textures for Fall.  Perfect for a new suit or coat.  For linings, try using discarded print dresses or linings from other things no longer wearable.  Watch the fabric counters for remnants.  For your suit blouse, a woolen shirt for the coldest weather, cotton velveteen, and unrationed lace to wear with tweeds as well as for evening wear.

Fall Forecast 1939

Photo by Horst for Vogue 1939

Leopard furnishes drama for this year's furs.  Russek's leopard jacket, belted with blue antelope and accessorized with matching hat and gloves.   Meow!

Cabana Girls

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Actress Paulette Goddard wears a "dinner-in-cabana" costume designed by Hattie Carnegie perfect for those warm Florida nights.  Made of silk crepe and sequined embroidered.  A real shell clip with diamonds by Fulco Verdura accent the scarf.  Photo by Horst for Vogue, 1941. 

I was inspired to do my own photo shoot with another great actress, Miss Gene Marshall, wearing a similar costume from Ashton Drake.

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Love at First Sight Gene Marshall wears Shorts Story designed by Vince Nowell.  Her head scarf is from A Woman for All Seasons accented with a pearl and "diamond" pin from Mattel.   I substituted the original shoes for the wedge sandals from It Happened in Monterey.  Doll and fashions are from Ashton Drake. Table and statuette from Liz Cole/Retros.

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I was lucky to find a "pin" that perfectly accents the floral print on Gene's delightful costume.

Fanciful Feathers

Feathers have long been used as decorations for women's hats up until the latter years of World War II when they became difficult to obtain.  After the war cock, pigeon, and glycerinized ostrich feathers were again revived.

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Not only did they utilize feathers, but sometimes the entire bird!  The latter half of the 1930's showed a variety of hat styles like this unusual white feathered bird hat.  Photo from a Vogue 1936 Elizabeth Arden make-up ad. 

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Vogue says:  "You'll be preening your plumage, this autumn - what with feathers on practically every other hat."  That was the caption for this wonderful illustration by Eric from Vogue, 1938.  The black felt tricorn hat is from Louise Bourbon.

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Here is a sensational Vogue cover from 1939.  The fur and feathered tilt hat is by John Frederics.  Photo by Horst.

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This show-stopping, mustard colored felt hat with fabulous ostrich feathers dates from the late thirties, early forties. Maker unknown.   From my private collection. 

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Olive green feathers completely cover this fantastic hat.  Note the two delightful birds in the front.  Labeled: Northridge, New York. Circa 1940's.  From my private collection.

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Turquoise feathers overlay this smart black felt tilt hat. Circa 1940's  Maker unknown.  From my private collection.

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Michelle Tibbetts designed this marvelous, miniature, feathered, cocktail hat for Jose Ferrand's "Cognac Evening" ensemble.  Circa 1951.  From the Gene Marshall Collection by Ashton Drake.  OOAK necklace and fur from PD Root.  My model/muse is Gil-ty Girl Gene Marshall from Integrity.

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Here is a feathered hat I designed for Ashton Drake's "Fit For a Queen" suit ensemble.  Fur from Affordable Designs.  My model/muse is Integrity's Blush Gene Marshall.  Hair by Jim Gaddis.