I can’t decide if this vintage two-piece set is more Audrey Hepburn or Ann-Margret… At first I saw Audrey pedaling on a bike. But then I could also see the sex kitten curves of Ann-Margret. I guess every woman has her multiple identities, right?
All women want to look special and unique — especially when it comes to special occasions like prom. There’s no better way to achieve that special and unique look than with vintage.
You can look for a complete vintage formal look with vintage formal wear. This vintage Montgomery Ward formal dress with jacket appeals to me because it has plenty of that American Victorian Prairie that was so popular in the 1970s and early 1980s (typified by Gunne Sax).
If you’ve found a prom dress you like, vintage or contemporary, a vintage bed jacket worn over it is a great way to make your prom ensemble unique. This one is very romantic with those large rose appliques — and it would be great over a vintage slip, for prom or any night out, really.
(More on vintage bed jackets here.)
Once you find the special dress, don’t forget to look for vintage jewelry!
Vintage style has been influencing the design of wedding dresses since, well,forever! In part this is due to a sense of nostalgia and tradition, but it also had to do with the forever-love of old movies. Thankfully, wedding dress designers know that vintage looks will always be coveted by brides and so vintage inspiration can be seen in contemporary wedding dresses. This means that regardless of your favorite era of film or fashion, you can find a modern-made dress for your special day.
There are many benefits to buying a modern-made, yet vintage-inspired, wedding dress. Contemporary dresses solve the usual problem of finding vintage in your size. And, yes, you’ll have less concerns with tailoring too. But one of the largest benefits of buying new rather than old is that you can get the look you want, but in a style that flatters you and your figure. For example, look at these beautiful wedding gowns which capture the look of that famous gown Audrey Hepburn wore in Sabrina:
It’s like a new look at the New Look — or a new look in vintage bridal! Most importantly, while each wedding gown is reminiscent of that black and white New Look dress by Givenchy, each has its own unique take on the design — and each has its own way of flattering the bride’s body.
Of course, the way to really make your wedding gown your own and look different from another bride who bought her dress off the same rack (or purchased at the same online shop) is the same way to make any dress or ensemble your own — with accessories! Wedding gloves and wedding veils make a big difference in the total look of the bride. More than jewelry or shoes, gloves, veils, hats, etc. are the accessories which are most visible in your wedding day photos.
Here are some inspirational brides from vintage films, featuring unforgettable veils and gloves:
A few of my favorites…
New York designer Catherine Scott achieves a charming effect in a tri-color costume of Forstmann’s sheer Sandretta. Its big-sleeved, short-cropped spencer is vivid red to top a softly box-pleated navy skirt and shows off a white silk shirt.
Somali leopard collars a chamois colored coat of luxurious fleece from the house of Brittany. Giant pearl buttons line up in a double-breasted row here, while slanted pockets accent the coat’s fluid, tapered silhouette.
My friend, lingerie blogger A Slip of a Girl, and her vintage slip and lingerie collection is featured at Collectors Weekly in Sexier Than Silk: The Irresistible Allure of the Nylon Slip.
In the February (2012) issue of Harper’s Bazaar, Meenal Mistry looks at the 65th birthday of Dior’s New Look.
Perhaps my favorite quote is this:
But why now? Does 2012 look like 1947? We’re not quite postwar (and it’s hard to tell when we might be), but there is a sense of women craving a bit of optimism and maybe a trace of tradition. “We were delighted to see the retro femininity,” says Lane Crawford fashion director Sarah Rutson, who cites Jil Sander and Prada as particular favourites. “With so much uncertainty in the world, to have that sense of lightness just seemed so right.”
“Dior said that the forward thrust of the hips was a way for women to advertise their childrearing abilities, so he was certainly tapping into the emergence of the baby boom,” says Timothy Long, the costume curator at the Chicago History Museum. “But there’s no surprise that that whole idea of hyperfemininity is going to continue.”
PS I’ve been meaning to post this for awhile now, but my scanner was not playing nice. Ugh.
Love turbans? They are great to pull out and wear this holiday season — not only glamorous, but who needs to worry about “hat hair” in cold weather when your turban stays on at the party? Right now, there’s a sale on Norma Kamali turbans: Buy one at $65, or get two for $115.
Of course, I’m partial to the gold lamé? How about you?
Sometimes you just can’t replicate the look — not on my budget, anyway. Exhibit A: Peggy Hopkins Joyce.
On the back of the vintage photo, the reasons why most of us can’t get this look: “Peggy Hopkins Joyce, star of Earl Carroll’s Vanities of 1923 wearing a $6,000 gown of rhinestones and chinchilla and her million and a half dollars in jewels”.
The seller offers this history on Joyce:
Famous mainly for being famous — and for marrying and divorcing (or merely dating) a dizzying array of millionaires — blonde-bobbed Peggy Hopkins Joyce (born Marguerite Upton) had been in the Follies and Earl Carroll’s Vanities when the famous illustrator James Montgomery Flagg directed her in a series of short subjects in the 1910s. She would descend on Hollywood at intervals in the 1910s, 1920s, and early ’30s but managed mainly to prove that she was no actress. Her most notorious film appearance was also her last, playing an internationally famous gold digger in International House (1933), a hodgepodge Paramount comedy in which she earned top billing over the likes of George Burns, Gracie Allen, and W. C. Fields. The latter supplied the film’s biggest laugh and most notorious moment in a scene that has to be seen to be believed, but which included the suggestive discussion of the whereabouts of a cat. Her life an endless series of tabloid headlines, Peggy Hopkins Joyce is believed to have been the inspiration for the character of the mercenary Lorelei Lee in Anita Loos’ twice-filmed Gentlemen Prefer Blondes. One of her contemporaries perhaps best summed up her appeal; said nightclub hostess Texas Guinan: “Peggy Hopkins Joyce should not be buried like other folks, or cremated, or anything like that, but just be put into Tiffany’s window to sparkle forever.” ~ Hans J. Wollstein, Rovi