The 1940's Turban

The turban has been a renowned fashion staple with women for a number of decades.  In the late 1930's milliner Lilly Dache revived the turban elevating it to high fashion prominence.  Carmen Miranda, the Brazilian singer, gave the turban enormous publicity by wearing it festively adorned with fruits, flowers, and feathers.

The turban was available ready to wear or could be wrapped by the customer when she put it on.  They were available in a variety of fabrications and suitable for day or evening wear.  The stars from Monolithic Studios prefer their turbans wrapped by their personal stylist.

Diva Madra Lord goes for drama wearing a turquoise blue turban trimmed with a floral corsage accented with beading.  Top and corsage are from Ashton Drake.  Hat, gauntlet gloves, skirt, belt, and styling are from The Couture Touch.  Pool Pose Madra Lord is from Integrity.

Two illustrations from McCall Patterns showing turbans paired with dresses for a chic daytime look.  Turbans could be cleverly manipulated into an incredible variety of flattering styles.

Large cabbage roses with stems accent Gene Marshall's jewel-tone turban.  Dress and jewels are from Madame Alexander.  Fur drape and purse are from PD Root.  Hat and styling are from The Couture Touch.  Gloves and Miss Marshall are from Ashton Drake.

Miss Marshall in a chic, asymmetrically draped turban.  Jacket from Jamieshow.  Handbag from Sandra Stillwell.  Restyled jewels from Facets by Marcia.  Belt from Integrity.  Hat, gauntlet gloves, scarf, and styling are from The Couture Touch.  Gene Marshall is from Ashton Drake.

Pink tulips are thrust through loops in Loretta Young's cashmere turban by Lilly Dache.  Jewels by Flato.  Photo by Rawlings for Vogue, 1940.

An animal print turban tops Miss Lord's smart suit ensemble punctuated by a pop of color.  Restyled suit is from Integrity.  Fur from PD Root.  Handbag and gloves are from Ashton Drake.  Hat, ascot, belt, brooch, and styling are from The Couture Touch.  Moulin Noire Madra Lord is from Ashton Drake.

Credits:  

Color and Design in Apparel by Bernice G. Chambers, 1942.

Must Haves for Updating a 1940's Wardrobe

Photo from the cover of British Vogue, September 1941.

The use of florals and bows in women's apparel were popular fashion trends during the 1940s.  Both were the perfect choice for giving new life to old clothes as well as uplifting morale during the war years.  From the pages of vintage Vogue and Harper's Bazaar, here are ideas for embellishing with flowers and bows.

Not your traditional way to wear flowers, but delightful indeed.  A small bouquet tucked into a belt at the waist.  Rembrandt dress ad from British Vogue, 1941.

And don't forget hats.  A bunch of violets with the stems still attached are perched on top a flaring, blue, silk satin snood from Lilly Dache.  The flowers are repeated in the corsage on the jacket.  Photo from Vogue, 1941.

Three suits accented with bow trim from Charles Armour, Inc., New York City.  Eve Tartar hats.  From Vogue, 1943.

Four small strategically placed bows accented with jeweled clips add interest to this suit-dress from the Doctor Dress Company, Inc.  Photo from Harper's Bazaar, 1942.

A black, silk crepe dress from Traina-Norell is accented with a marvelous brooch mounted on ribbon bows.  Bonwit Teller ad from Harper's Bazaar, 1942.

The same brooch appears in this color photo by Rawlings for Vogue, 1942.  Tailored ensemble from Traina-Norell.

Love this idea for a bow accented necklace.  La Tausca Pearls, New York.  Hat by Lilly Dache.  Photo from Vogue, 1942.

A cherry red wool suit-dress from Jacqmar features a turned back lapel to reveal an oversized velveteen bow.  Illustration from British Vogue, 1941. 

1940's Suits from My Personal Collection

What started as a modest vintage hat collection soon expanded to other accessories, and....of course tailored suits and dresses. Here are three suits from my vintage closet.

Suit labeled Rosenthal, Chicago. A second label, sewn inside the lining of the jacket, reads Tailored by Irving Rosenthal for a specific client, dated 3/23/1946. Turban style hat labeled Lamson's, Toledo Ohio.

Sadly no label in this marvelous jacket. Hat is labeled Lilly Dache along with a Marshall Field's French Room Label.

A late 40's suit with double peplum and banding detail. Paired here with a black skirt. No label.

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.

"Mrs. Miniver Rose"

Illustration by Eric

For the red of the flowers in her hat, for the red on her lips and nails - a new shade, the "Mrs. Miniver Rose" lipstick and nail polish from Revlon.  A new Fall hat from Lilly Dache. 

Mrs. Miniver, a 1942 William Wyler film starring Greer Garson and Walter Pidgeon, was based on the fictional English housewife created by Jan Struther in 1937 for a series of newspaper columns.  The WWII based drama won 6 Academy Awards including Best Picture and Best Actress.



1942 Ad for Revlon's
"Mrs. Miniver Rose"

"In the impersonal stillness of a motion picture theatre, we in America have met Mrs. Miniver and loved her completely.  And like the gentle old station-master who grew the beautiful Mrs. Miniver Rose and said, so staunchly, "There'll always be roses," we at Revlon know there'll always be women like Mrs. Miniver.  And so, we christen our proud new color of nail enamel and lipstick the "Mrs. Miniver Rose"......as a small, shining tribute to gallant women the whole world over."



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.

Gene Marshall and Turban

Loretta Young was photographed for the November 15, 1940 issue of Vogue wearing the new cashmere turbans, this one infused with pink tulips, by Lilly Dache.

Loretta Young and Turban
Photo for Vogue by Rawlings

I was inspired to create my own version for Gene Marshall.  I have always loved the look of a turban paired with a tailored suit.  It's the ultimate in 1940's glamour!

Gene Marshall and Turban

Ashton Drake's "To Have and To Hold" Gene Marshall wears an OOAK nubby knit turban accented with vintage flowers with her "Doing Her Part" tailored suit, circa 1942.  Fur from PD Root, scarf from Ashton Drake's "Hi Fi" costume, gloves from Ashton Drake.  The OOAK hat, earrings, and pin are from The Couture Touch.

Blossoming Hats

Turban by Madame Pauline

Vogue declared for Spring 1941:  Be prepared to wear floral hats this season.  They're fresh, optimistic, and men adore them.  These delightful toppers are perfect with furs, tweeds, tailored daywear, and dinner suits. And as a final tip, spritz perfume on those blossoms, just to make believe they live.

So enjoy the 1941 flower show...

A dramatic cluster of pansies adorn this blue silk satin and purple felt turban by Lilly Dache.

Three huge garnet roses top this purple silk jersey turban by Madame Pauline. The flower-toned gloves provide the perfect accent.

A bunch of violets on a flaring snood of blue silk satin by Lilly Dache.  Again note the matching gloves.

Brown violets on a yellow straw hat with lots of veiling by Walter Florell.

Credits: Vogue, January 15, 1941

             Photos by Rawlings

1948 "Fashion Plate"

Click photo to enlarge

This Rawling's photo for Revlon was featured in a November 1948 issue of Vogue.  The ad was for Revlon's "Fashion Plate" cream wafer face makeup.  Jewels by Milton Schepps.  Hat and coat by Lilly Dache.  Don't you wish we dressed like this today?  I know I do!