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 Outerwear

Furred casuals from the Chicago Mail Order Company, Fall/Winter 1941-42.  Soundly tailored tweed coats mounted with full, fluffy furs.  Stylish yet warm, you will be yearning for chilly weather.

Only cashmere and mink will do for Monolithic Studios' star Gene Marshall.  Mink trim accents the versatile coat from Robert Tonner's Tyler Wentworth Collection.  Cashmere Noir transcends the decades with its classic design.  Hat, scarf, and styling are from The Couture Touch.  "Fur" muff and gloves are from Integrity.  Midnight Gamble Gene Marshall is from Ashton Drake.

Fur collars broaden the shoulders and make your waist appear smaller.  A flared hemline gives grace to your walk.  From The Chicago Mail Order Company, a luscious blonde lynx-dyed Guanaco fur collared coat.  Fall/Winter 1941-42.

Victoire Roux is ready for a Winter in New York with a stylishly classic black wool coat accented with contrasting blonde "fur" collar and cuffs.  Hat and scarf are from The Couture Touch.  Bracelet from Joshard.  Coat and gloves are from Mattel.

Wrap it....please.  A new fur coat for '41.  Beaver coat and sash from Ritter Brothers.  Hat from Lilly Dache.   Photo by Rawlings for Vogue.

It's a wrap....The enormously chic "fur" coat from Ashton Drake's Warmest Wishes is worn wrapped and cinched at the waist with a leopard "fur" belt from Fashion Boulevard.  The toasty-warm winter coat flares voluminously below the knee.  Hat and scarf are from The Couture Touch. Gloves and Fashion Plot Gene Marshall are from Ashton Drake.

Cover Girl Madra Lord is the Toast of Manhattan

Madra Lord poses for the cover of Vogue in Sandra Stillwell's ultra chic Cover Girl 3-piece suit ensemble from her Toast of Manhattan Event. Perfectly coordinated accessories include a dramatic toque, gloves, belt, handbag, earrings, and leopard-trimmed shoes (not shown). The pin is from The Couture Touch.

Photo by Rawlings for Vogue, September 1, 1942

The original ensemble featured a Young-Timers' wool jersey two-toned dress topped with an overcoat of Forstmann wool with a leopard-stencilled lapin (rabbit fur) lining.  (Note: Wool linings were forbidden under the new wartime L-85 Government Regulations, but fur linings were legal and luxurious.)  Dress, coat, and hat from Henri Bendel.

"Spotted in Manhattan" Madra Lord is from JamieShow. Auburn wigcap borrowed from J'Adore Gene Marshall.

To Belt or Not to Belt

That was the question posed by the editors of Vogue in the August 1, 1948 issue.  The box suit that could be worn two ways:  Belted or not.

Photo by Rawlings

Photo by Rawlings

Left: A black and beige wool tweed jacket over a slim black skirt.  Right: A red wool jacket over a black, long-sleeved dress.  Both by Adele Simpson and both included a belt.

The Couture Touch version of the box suit worn by Miss Gene Marshall.  The taupe tweed jacket is paired with my favorite black skirt from Ashton Drake's "Fashion Plot".  Walking stick from "Blonde Lace", gloves from Integrity, shoes from Jennifer Sue, bracelet from Ashton Drake, earrings and brooch from The Couture Touch.  The hat, labeled Nouvcau Nouveau Hats by Sharon, was a doll show find a few years ago and has been reworked.

The coat pattern from the 2000 Gene Convention Special by Perfect Patterns was shortened to jacket length for this version of the box jacket with flare at the hemline.  The neckline was reshaped and cuffs were added.  The pattern includes the delightful working welt pockets.

My model/muse is Ashton Drake's "Cascade in Blue" Gene Marshall enhanced with an Integrity articulated body.

Belted brown wool topcoat by Davidow, hat by Mr. John.  Photo by Rawlings for Vogue, September 1, 1949.

Miss Marshall wears The Couture Touch version of the belted jacket over a slim black linen skirt. Underneath is the black and white checked blouse from Integrity's "Gilty Girl" ensemble.   Accessories include a black and white boucle shawl, OOAK hat from Bogue's Vogues, bracelet and purse from Integrity, and gloves from Ashton Drake.

The covered buttons on the front of the jacket were made from a red/green/cream checked companion fabric.  I love how they turned out.  The belt buckle is from a vintage bracelet.  Jacket, skirt, belt, shawl, and earrings are all from The Couture Touch.  OOAK cigarette holder from Mystyna.  My model/muse is "Star Entrance" Gene Marshall from Integrity.

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. 

Cover Girl

Film Star Miss Gene Marshall is featured on the cover of the November 15, 1941 issue of Vogue that was inspired by the Surrealist style of the early Forties.

Credits: OOAK floral tilt hat and suede gloves from The Couture Touch, earrings from Ashton Drake, gold cuff bracelet from Facets by Marcia, pearl bracelet from D.A.E. Originals, gold engraved compact from Mattel.  Model: "A Lady Knows" Gene Marshall from Ashton Drake.

And the photo that inspired the cover....

Photo by John Rawlings

Elegant Evenings Ahead

Photo by Rawlings

For those elegant evenings ahead, a fabulous profile-collared, silk faille coat.  To wrap close or swing free and wide over any amount of evening dress.  Charles James design, 1947.

Source:  Vogue, August 1, 1947.

Persian Partners

Photo by Rawlings

These Persian Lamb partners are perfect for a chilly Autumn day.  Laced spats (LOVE), and a Breton brimmed hat.  Both designed by Tatiana du Plessix. 

Source:  Vogue, October 1, 1943.

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.

American Autumn Collections, 1942

On March 8, 1942 the American Government implemented Regulation L-85 that specified restrictions for women's wardrobe due to materials needed for the war effort.  The 1942 Autumn Collections were the first made since L-85 went into effect.  The September 1, 1942 issue of Vogue magazine declared that this new collection was as beautiful as any America has ever made.  The entire issue was dedicated to these law-abiding new designs.

Photo by Rawlings

Although rationing in America was not as strict as in Britain, it certainly offered new challenges to the fashion designer.  Skirts must be narrow, jackets less than 25" long.  Metal must be saved, so drawstrings are the new fasteners.  Wool linings are forbidden, but fur linings are legal and luxurious, and what's more, they are much warmer!  Decorative flaps and pockets are banned, so along comes unrationed braid to enhance your new suit.

Suit design by Traina-Norell
Illustration by Rene Bouet-Willaumez (RBW)

The short evening look is the newest news in the Collections.  Lots of wool, it's bright with color and sparkle and full of surprises - like plaid....with beads.  It's pure elegance in the most unexpected places.

Illustration by Eric

Pictured on the left:  Hand knitted sweater paired with a wool jersey skirt blazing with paillette roses.  Traina-Norell design; crocheted black silk scarf.  On the right:  Scotch plaid English wool jacket trimmed with black bugle beads and ball fringe worn with a simple black velvet dress; pailletted veil.  Hattie Carnegie design.

Fur Side - Inside

Wool edged cape with fur side - inside.  Inside:  Hudson Seal (dyed muskret), Outside:  Black British wool.  Fabulous high-flared tricorn hat from John-Frederics.

How To Buy A Hat

No hat is worth buying unless it makes you look prettier than you ever looked before.

"No woman can really explain why she buys a hat anyway.  She just feels a great big urge to set something pretty on her head.  All she really knows is that the something pretty has a delicious psychological effect, and buying it is always a kind of spiritual adventure.  Hats are emotional stuff...."  excerpt from "How To Buy A Hat", Vogue, January 15, 1941

Of course buying a new hat is also a great way to refresh an existing wardrobe.  When Monolithic Studios' resident girl star Miss Gene Marshall decided it was time to update her favorite suit, she chose a smart off-the-face hat with the new "scoop" brim.  A perfect style to complement her rolled bangs.

A restyled "Covent Garden" Gene Marshall wears "First Stop, Chicago" suit ensemble designed by Lynne Day for the 2000 Ashton Drake Gene Marshall Collection, circa 1941.  OOAK hat and gloves are from The Couture Touch.  Umbrella from Fashion Blvd., shoes from Integrity, "alligator" purse with new hardware from Robert Tonner's 16" DeeAnna Denton's  "Glamour Accessory Set",  train case from Ashton Drake's "Fit For A Queen" costume.  Telephone from "A Hot Day in Hollywood" Accessory Set.

Here are some tips to consider when buying that new hat:

Try to buy your hat for a specific costume (or wardrobe, if you like).  And when you are buying it, try to have the costume either on, or at least with you.  "The hat that sits in your closet is the hat that you can't afford."

Consider how you wear your hair.  Whether you bare your brow or cover it is a matter of choice.  Always look at your tentative hat from all angles.  Never buy a hat that is becoming from only one angle.



Photograph by Rawlings for Vogue, 1941.  Hat by Dobbs, wool suit by Falkenstein, jewelry by Flato

In trying on a hat, sit squarely before the mirror, then close your eyes as the vendeuse fits the hat on your head.  When it's in place, open your eyes and take in the whole picture.

Always stand up when you are buying a hat.  Many's the lady who, framed in the little square mirror, looks charmingly proportioned, only to find, when she "rises" that she looks either pinheaded, or top-heavy. 

You'll buy a hat because you feel "but low, my dear."  You'll buy one to express inner delight.  You'll buy one to go with an old jacket, a new suit.  But whatever your reasons, put some heart and head into it.       Source:  "How To Buy A Hat", Vogue January 15, 1941

                                                                                                                                                 

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.