September Seasonal Accessorizing

Transform a jacket by adding braid or cording trim.  Depending on how it is used, the effect can either be subtle or dramatic.

Ivy Jordan

Even a small touch such as black cording shaped into a cluster of medallions to form a pocket motif adds distinction to a tailored jacket.  Suit ensemble is from The Couture Touch.  Gloves are from Integrity.  Handbag from Randall Craig.  "V for Tea" Ivy Jordan is from Integrity.

During WWII unrationed braid was available in a variety of colors and unique designs.  In addition, furniture departments carried fringed sofa edgings that could be creatively utilized as trim for clothing.  Here are two examples from the September 1941 issue of British Vogue magazine.

Madra Lord

Black loop braiding adds panache to Integrity's remodeled suit [Sparkling Sepia].  Following the seam line, the braiding was hand tacked to the jacket and the ends were tucked under the hem.  Hat and gloves are from The Couture Touch.  Scarf is from Ashton Drake.  Handbag from an unknown designer.  Spotted in Manhattan Madra Lord is from Jamieshow.

This Harzfeld's department store fashion ad from the September 1942 issue of Harper's Bazaar features a Nettie Rosenstein beige and black wool suit trimmed with black passementerie.

Madra Lord

From the archives, the white crepe jacket [Par Excellence] from Robert Tonner's Brenda Starr Collection is embellished with black trim giving it that distinctive forties look.  Scarf and matching gloves are from The Couture Touch.  Hat and skirt are from Sandra Stillwell.  Booties and doggies are from Ashton Drake.  Deep Rose Madra Lord is from Integrity.

From Sketch to Costume

The costume designer often begins with a sketch of an idea.  "To sketch an idea is the surest way to capture it, the clearest way to explain it. "  Patricia L. Rowe

Irene's sketch of the suit worn by Joan Crawford in "They All Kissed the Bride"
(Columbia, 1942).

Irene Lentz-Gibbons, known simply as Irene, developed a style of boldly signed fashion sketches that became her trademark.  She was a successful designer of not only costumes for film but of the personal wardrobes of Hollywood's most noted stars.

Joan Crawford in the suit by Irene.

Sketches were also commonly utilized within the pages of fashion magazines such as Vogue.

This 1943 illustration from Vogue London highlights fashion collections designed under wartime regulations.  On the left, a tailored suit in oatmeal tweed by Bery.  On the right, a grey tweed coat from Brenner Sports.

Credits:

In a Glamorous Fashion, The Fabulous Years of Hollywood Costume Design by W. Robert Lavine. 

Shorthand Fashion Sketching by Patricia L Rowe.  Fairchild Publications, New York.

Fashion Illustrated, A Review of Women's Dress 1920 - 1950 by Deborah Torrens.

A Bright Forecast

The Fashion News for 1941:  Bright, stimulating colors to lift the spirit.  

You can easily boost the morale of a plain dress by simply introducing accessories in vivid colors.

Monolithic Studios' film star Gene Marshall revitalizes a basic black dress with bold color accents.  The multi-colored, wool boucle, belted plastron accented with a silk bow at the neckline is paired with a dramatic suede topper, color-blocked purse, and embroidered suede gauntlet gloves.  All from The Couture Touch.  Dress is from Ashton Drake.  Custom cigarette holder is from Mystyna.  "Symphony in G" Gene Marshall, enhanced with an Integrity articulated body, is from Ashton Drake.

From the 1941 issue of British Vogue, this Wolsey fashion ad highlights the bold color trend for apparel as well as accessories.

Miss Marshall makes a bold fashion statement with a royal blue jersey turban and matching suede gauntlet gloves.  Her own Little Black Dress is punctuated with felt confetti dots.  The 1/4" and 1/8" circles were cut from wool felt scraps using a classic 1-hole punch available in a variety of sizes.  The circles were then just finger pressed to the bodice in a random fashion.  Dress, necklace, and purse are from Ashton Drake.  Hat, gloves, and belt are from The Couture Touch.  Scottie is from PD Root.  Love, Paris Gene Marshall is from Ashton Drake.

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 Hats, Furred and Fabulous!

A stylish leopard-trimmed tilt topper with matching muff-bag by Otto Lucas.  From British Vogue, 1941.

 Sophisticated, high-flared tricorn by John Frederics.  From Vogue, 1942.

From the Millinery Salon at Carson Pirie Scott & Co., Chicago.  From Vogue, 1943.

Utility Chic

From war-time London, 1940's.....

Autumn 1944

The interplay of seams, pockets, and pleats were the hallmark of the British utility suit during WWII. Wartime shortages and rationing gave rise to this functional yet stylish, well-cut, and well-made design. The tailored silhouette featured a longer length jacket with boxy square, padded shoulders and a slightly nipped-in waist paired with a shorter, just below-the-knee skirt.

A model checks out the new utility suit.
Photo by James Jarche for The Daily Herald. Courtesy Granny Chic Gal

Miss Gene Marshall

American film star Gene Marshall shows off her utility chic by pairing a striped linen skirt with the smartly tailored, fur-trimmed jacket from D.A.E. Originals' "Business Class" ensemble. Felt tilt topper and skirt are from The Couture Touch. Scarf is from Mattel. Purse is from PD Root. Shoes and gloves are from Integrity.

Gene Marshall

Spring suits in soft boucle wool, Spring 1942.

For the home seamstress, a sewing pattern for the new longer length tailored jacket and an alternative version with short sleeves, perfect for Spring.

A trio of war-time suits featured in the September 1941 issue of Vogue Pattern Book.

London, 1940's. Understated elegance against a backdrop of ruins.
Lee Miller photo courtesy Vintage Everyday

"Fashion is Indestructible"
Digby Morton suit. Cecil Beaton photo. London, 1941.

Credits:
Fashion in the Forties by Julian Robinson.
British Vogue, Autumn Forecast and Fabrics with Vogue Pattern Book supplement, September 1941.

Gene Marshall is the incomparable "Symphony in G" by Ashton Drake. Body by Integrity.

Cavalry Plumed Hat by Agnes, 1935

Photo by Horst for British Vogue

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.