Unexpected Assistants

It just takes a small amount of color to assist in brightening neutral tones as well as black.  The addition of these bright assistants provides unexpected touches that lift the mood and spirit of the woman who wears it.

Bold red enlivens a striped tailored suit worn by film star Gene Marshall.  Suit, hat, scarf, and jewels are from The Couture Touch.  Handbag from Ashton Drake.  Gloves are from Sandra Stillwell.  Cocoa Crisp Gene Marshall is from Integrity.

In the October 15, 1941 issue of Vogue magazine, these uplifting pops of color were referred to as "Bright Assistants".

For late afternoon, a pink sweater with matching gloves uplifts a black suit.  The simple addition of a pink bow on a fur muff along with a black hat accented with pink floral trim can have the same uplifting effect.  Green gloves matched to shoe laces and jewels are another bright idea.  Illustration is by Rene Bouet-Willaumez (RBW) for Vogue.

Passionate purple provides an inspiring pop of color for director Ivy Jordan's tailored ensemble.  Jerkin, skirt, hat, and gloves are from The Couture Touch.  Shirt is from Robert Tonner's Brenda Starr Collection.  Cigarette holder is from Mystyna.  Lady Director Ivy Jordan is from Integrity.

Next Time:

Learn how to make Miss Marshall's Fashionably Forties Felt Tilt Topper.  After all, you just can't have too many hats!

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.

Spring Hats by Suzy, 1936

Illustration by Rene Bouet-Willaumez (RBW) for Vogue, 1936

RBW Fashion Illustration, late 1930's

Illustration by Rene Bouet-Willaumez (RBW)
The Guiness Guide to 20th Century Fashion by David Bond

Fashion News for 1947

The News:  Chin covering wrap-around cutaway in coffee-colored fleece lined with plaid.  By Ben Gershel.

The News:  Shawls over soft shoulders in tissue tweed suits by Adele Simpson.

The News:  Big bertha collar on a tweed stadium greatcoat.  Underneath a suit with plaid-topped dress.  By David Goodstein.

The News:  A back-swinging greatcoat, chin-collared to button as high as your nose.  By Nettie Rosenstein.

The News:  Front-pleated skirt and wind-sock neckpiece on a taffeta and wool suit.  Ben Reig design by Omar Kiam.

The News:  Lamp shade shapes.  Black wool Dinner Suit with cording rounding out the hem; a lamp-shade tulle and taffeta hat.  Hattie Carnegie.

Credits:  Illustrations by Rene Bouet-Willaumez (RBW) for Vogue July 15, 1947.

Spring Forecast, 1939

Illustration by RBW for Vogue

Fabulous flared afternoon jacket over a slim skirt accompanied by a felt topper with masque veil and feather.  By Hattie Carnegie.

Illustration by RBW for Vogue

Two classic suits featuring high revers and hidden closures over plumb-straight skirts.  Suit on the right by Creed.  Hats by Descat.

Illustration by Eric for Vogue

Left:  Chanel velvet dinner dress accented with fabulous diamond stars.  Velvet hat with ostrich by Schiaparelli.  Right:  Lanvin quilted satin coat and muff, Reboux purple velvet hat with a fall of ostrich.

Illustration by Eric for Vogue

Hats to dramatize dinner costumes.  Left:  Turquoise and black plumed velvet pillbox by Suzy.  Molyneux crepe dress with turquoise bow.  Right:  A pyramid of orchids on a cap by Reboux.  Mainbocher lame dress and fox-trimmed cape.

Source:  February 15, 1939 issue of Vogue

The Pre-War Look for Spring 1940

The long line torso was unmistakably new for the Spring of 1940.  Sometimes seen in a deep tunic on a skirt or sometimes in a long jacket, tunic, or sweater.  Sometimes pockets are placed low on the hips to achieve the elongated look.  This silhouette is easy to wear as long as you watch your proportions.  The January 15, 1940 issue of Vogue predicted that women would want to wear it for day or evening.  The following four illustrations by Rene Bouet-Willaumez (RBW) demonstrate the many variations:

Hattie Carnegie tunic suit with bolero jacket trimmed with braid.

Left: Black crepe dinner suit with yellow fronted jacket trimmed with braid.  Right:  Mink trimmed tunic dress of blue-grey crepe.  Both Falkenstein.

Left:  White tweed coat with oversized pockets by Jay-Thorpe.  Right:  Hattie Carnegie tunic dress of blue silk crepe, white organdy blouse.

Left:  Beige Rodier Tweed Suit with gold buttons.  Right:  Military-blue suit with gold buttons.

The Evening Story

Illustration by Rene Bouet-Willeumez (RBW)

Long, lean and lovely.  The prettiest tunic that's really a scarf!  Copper-silk tulle tunic, sequin embroidered, over a slim column of copper silk crepe.  An original design from Bergdorf Goodman.

Source:  Vogue, October 1, 1943

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.

Tailored Evening Wear, 1940

Supper at La Rue

Jewel tones for late night snacking.  Left:  Silk jersey from Milgrim.  Right:  Prune crepe by Henri Bendel.

Seeing Cole Porter's newest musical hit, "Panama Hattie"

Quiet elegance for the theatre by Henri Bendel.  Coat of Stroock'e camel's-hair lined with cerise and green taffeta, beige crepe dress.

Illustration Credits:  Rene Bouet-Willaumez for Vogue, 1940