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Posts tagged ‘vintage magazines’

1960 Fashions

By , 19 February, 2013, No Comment

Fashions, by Fay Hammond, Los Angeles Times Fashion Editor, from a 1960 theater program:

Fashions, 1960

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.

(More on Catherine Scott here; more on Forstmann’s Sandretta here.)

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.

The Lovely Nazimova

By , 15 February, 2013, 1 Comment

Some photos of Nazimova from an article in Films in Review, December 1972. The article was written by De Witt Bodeen, who says “her film career was a pale reflection of her genius as an actress”. Clearly, the author was smitten, for the article begins thus:

There has never been any doubt about the greatness of Alla Nazimova as an actress. I would not hesitate to name her the foremost actress of the 20th century American theatre. Certainly, for what she brought to this country as a discipline of the realistic school of acting, she is a towering figure. She reformed and revitalized acting in America just as Elenora Duse did throughout Europe.

If Nazimova is new to you, check out a list of her works and biographies. You can find photos of her on eBay.

Nazimova Puts On Stockings

With Alan Hale in A Doll's House

With Valentino in Camille

In Revelation

In The Brat

In War Brides

Touring with D. W. Griffiths

What New Look Fashions Shaped

By , 1 May, 2011, No Comment

There’s no doubt that Dior’s New Look fashions changed silhouettes. This not only resulted in crazy exercises, but, according to this 1948 issue of Harper’s Bazaar, mannequins too.

Christian Dior Fashion Dummies


Tips For Preserving The Fit Of New Look Foundation Garments

By , 25 February, 2010, No Comment

Deanna sent me this scan from a vintage (circa 1945) issue of Modern Woman magazine which has tips for preserving the fit of New Look foundation garments. Such care likely serves the collector and/or wearer of vintage lingerie pieces as well as the fashions which are worn over them.

Tips To Preserve "New Look" Foundation Garments

Tips To Preserve "New Look" Foundation Garments

Personally, I never ever would have thought of hanging my vintage girdles to dry by the garters — I’m eager to try it and see if and how it might affect things.

Comedic Advice From Silent Film

By , 5 February, 2010, No Comment

At the Silent Film Archive, I found this scan of an article in the June 1926 issue of The Home Movie Journal, by Raymond Griffith, titled What People Laugh at and What They Don’t.

Page From June 1926 issue of The Home Movie Journal

Page From June 1926 issue of The Home Movie Journal

In this article you’ll find not only the golden keys to comedy, but proof that silent film comedies weren’t made merely of cheap simple sight gags like slipping on banana peels — in fact, the reason why I’ve never found slipping on bananas is actually mentioned in this article:

we even laugh when a man slips on a banana peel although that is not a healthy laugh for the next moment we realize he may have suffered real injury.

In my humble opinion, when you read this old article, you’ll see where many of today’s comedies, comedians, sitcoms, and cartoons have gone wrong; rather than focusing on discomfort and shared embarrassments, much of today’s comedic productions are just simply mean.

Comedies must be clean and wholesome. That is very important. We may laugh at the joke of a comedy situation that is off-color, but we don’t mean it. The laugh is no more sincere when the cause is the man slipping and falling on a banana peel.

You can see and read the rest of the article here — I hope you do, and that you’ll let me know your thoughts.

“Billowy Circular Skirts” Of 1952

By , 26 October, 2009, No Comment

In Rebecca’s Fashion Trends From 1952 post (at her fabulous b.vikki vintage blog — you’ve got to go see it!), she’s posted some beautiful scans of “billowy circular skirts” that are “made to be worn with or without the ruffled petticoats, so popular this season,” which were circle skirts designed by — you guessed it! — Juli Lynne Charlotte of California. (Note that in this one issue of Jet Magazine, Charlotte is both “Juli Lynne” and “Juli Lynn” — something that seems to have been a chronic problem, despite the designer’s fame. For the record, the designer’s labels read “Juli Lynne Charlotte.”)

Circle Skirts, Jet Magazine, 1952

Circle Skirts, Jet Magazine, 1952

Juli Lynne Charlotte Circle Skirts, Jet Magazine, 1952

Juli Lynne Charlotte Circle Skirts, Jet Magazine, 1952

Dorothy Gray’s Cherry Bounce

By , 16 October, 2009, 2 Comments

In the March 27, 1950 issue of Quick Magazine (sent to me by Deanna — who continues to drag me into her snare of ephemera), an article on “Cherry Bounce,” a new color in lipstick, rouge, and nail polish from Dorothy Gray.

News of Dorothy Gray Cherry Bounce, 1950

News of Dorothy Gray Cherry Bounce, 1950

The very brief Quick article says the colors danced their way onto the fashion scene on the heels of a new dance invented by the Fred Astaire dancers.

Now dancing couples do The Cherry Bounce in store windows across the country, music publishers have translated it into sheet music and Mercury has recorded it for American’s bouncing juke boxes.

I could find very little of this dance-cum-color… A vintage ad for Dorothy Gray’s Cherry Bounce in a College of William And Mary publication, dated March 21, 1950 (link is to PDF; ad is below).

Vintage Ad For Cherry Bounce Cosmetics By Dorothy Gray

Vintage Ad For Cherry Bounce Cosmetics By Dorothy Gray

I was surprised I didn’t find anything “cherry bounce” in connection with the Fred Astaire dancers — maybe fans of Fred can turn up something about the dance? However, I was able to disc-cover that Mercury indeed did put out the Cherry Bounce recording. It was by Bobby Sherwood And His Orchestra, Mercury # 5468 (March 14, 1950)

This recording featured Kai Winding, as part of Sherwood’s orchestra; Winding would later be known for his service as Music Director for the Playboy Club — now that’s a Cherry Bounce! *wink*

Kai Winding At Playboy Club, 1966

Kai Winding At Playboy Club, 1966

If anyone has more info — especially color images of Dorothy Gray “Cherry Bounce” cosmetics, recordings of the song, copies of the sheet music, etc., please share!

Lucille Ricksen

By , 15 October, 2009, No Comment

Via Kitsch Slapped’s latest edition of the History Is Ephemeral Carnival, I found this article about Little Lucille Ricksen. I don’t think I’ve ever heard of her, even though she was a contemporary of Dorothy Mackaill and Clara Bow:

Her career began as a child model and at the tender age of eleven, was cast by Samuel Goldwyn in a comedy serial entitled “The Adventures of Edgar Pomeroy.” There were twelve installments and were based on stories of Booth Tarkington. She became a leading lady at the young age of thirteen after being “discovered” by Marshall Neilan.

Lucille Ricksen

Lucille Ricksen

On March 13, 1925, at the age of 15, Lucille Ricksen died of tuberculosis.

Image via SilentLadies.com.

Quick Beauty News, March, 1950

By , 15 September, 2009, No Comment

In the March 27, 1950 issue of Quick magazine, news about Max Factor’s latest invention:

Hand It To Max Factor

The cosmetic maker who invented pancake make-up scored another “first” with a new purse dispenser for hand-lotion ($1). This lipstick-sized container (l.) holds a week’s supply of lotion, released by a simple tap and refilled from the “World of Beauty,” another $1 container for the dressing table. (At cosmetic counters.)

Vintage Max Factor News

Vintage Max Factor News

The Death of “New Look” Fashions & Other Fashion Predictions (1950)

By , 10 September, 2009, No Comment

This juicy fashion tidbit comes from the March 27, 1950 issue of Quick Magazine:

Hollywood designer Adrian, disregarding Pairs and N.Y., pronounced that there will be no drastic change in the daytime silhouette for the next 50 years, added that the death of the “New Look” proved that attempting to insinuate violent fashion changes in modern times is futile.

Adrian's Fashion Prediction, 1950

Adrian's Fashion Prediction, 1950

Adrian, costumer for Irving Berlin and Cecil B. DeMille productions as well as Valentino films, is said to have been “responsible for creating and refining the images of actresses such as Joan Crawford, Norma Shearer, Jean Harlow and his favorite, Greta Garbo” — but clearly he was off the mark with such sentiments & statements about the death of New Look fashions and “violent fashion changes” being futile in modern times.

From our lovely vantage point of having seen not only Adrian’s future but the very 50 years he spoke of become history, one cannot avoid questioning the story that is told of this designer… No matter how lovely his work was — and it was lovely, just look at the gowns in 1939’s The Women — you have to more critically look at the story here.

Adrian Gowns, The Women (1939)

Adrian Gowns, The Women (1939)

The story goes that Adrian, frustrated by WWII’s smaller film budgets and shifting values, took up his own fashion design label & shop where he could more freely & grandly express himself & his glamour ideals. Adrian, Ltd. was born:

When Adrian decided to leave the world of costume design in 1941 and open Adrian Ltd, he could have had no knowledge of how perfect his timing would prove to be. With the Nazi invasion of Paris in 1940, all contact with the French fashion industry halted. As nearly all American designers based their designs on those originating from Paris, the absence of information from France created a fashion vacuum. American designers stepped up to the plate, and soon began to create fashions based on an idealized American lifestyle. These new fashions were often casual, practical and made of durable fabrics. Both New York and Los Angeles fought for the title of “America’s Fashion Capitol.” The February 19, 1941 title of a Los Angeles Times article declared, “East and West Struggle for Fashion Dictatorship,” and suggested that Los Angeles would win the battle, ultimately becoming “more powerful in its sway over the civilized world than Paris ever thought of being.”

Adrian debuted his first collection for buyers in January of 1942 at the May Company department store in Los Angeles. Buyers were not particularly excited about this initial collection, so Adrian held another show in February of the same year. This show was a great success and Adrian was soon selling his designs in department stores throughout the country.

But as we, with all due respect (because I do love Adrian’s work!), look at the context here: one clearly sees an aging fashion designer struggling with changing times and fashions.

On one hand, we must admire Adrian for taking a stand for glamour by saying, “It was because of Garbo that I left M-G-M. In her last picture they wanted to make her a sweater girl, a real American type. I said, ‘When the glamour ends for Garbo, it also ends for me. She has created a type. If you destroy that illusion, you destroy her.’ When Garbo walked out of the studio, glamour went with her, and so did I.”

On the other, we have to recognize that Harlow & Garbo, these were not the forms and fashions — nor even the female ideal — of the 1940s & beyond.

Refusing to change his views, his fashion statements, Adrian was able to exploit his status as a famous Hollywood costumer to a (wealthy) public hungry for fashion — and if they wouldn’t readily accept it, he could afford to hold on & push it with such little competition. But New Look fashions continued until, approximately, the mid 1960’s, years after Adrian’s death in 1959 — and there sure were violent fashion changes after that. Perhaps those statements by Adrian from the 1950 magazine clipping sound more desperate than simply catty now; they do to me.

If all this sounds cynical or unkind, I don’t mean it to be; I’m simply pointing out that fashion is both a commerce & an ideal, both of which sit within the context of culture at a specific time — and must change as the culture/times change. You can manipulate, you can create, you can even exploit conditions such as limited competition; but you cannot stubbornly refuse to change and still go on forever.