__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Worth couture evening gown of sequined tulle with asymmetrical floral spray design, plunging neckline, and back train, c.1930.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Marlene Dietrich, wearing a Charles James satin gown, c.1934.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Silk French lace evening dress and coat, c.1928-1930
It's a rare treat to find a dress and matching coat still together. This exquisite ensemble includes the original under slip, a full length lace dress, and a three-quarter length lace coat.
The ensemble is fashioned from burgundy French silk lace. The silk fiber gives the lace a warm sheen. The matching silk crepe slip is finished with a wide hem border of lace that hangs below the hem of the dress.
The top of the slip has a neckline insert and shoulder straps of ivory silk chiffon.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
The hand-beaded jacket is fashioned from black silk organza, which is sheer like chiffon but has a little more body to hold the shape. It closes at the neckline and waist with small self-covered buttons. The jacket is lavishly hand embroidered with clusters of multi-colored, sequined flowers. The heart-shaped leaves are quite thrilling!
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
This seductive peignoir uses black Chantilly lace, associated with romance and mystery, to add to the subtle yet unmistakable sexual tension. The cut of the peignoir is rather simple and sweet; the lace makes the design.
The peignoir, which is tacked closed in front, slips over the head. Extra fullness in the skirt is added at the hipline on the sides, leaving the pattern of the lace unbroken in back.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
As a glamorous alternative to the negligée, lounging pajamas were very popular in the 1930s. The idea that pants on a woman could be seductive seemed particularly modern at the time. Our pajamas are fashioned from a blend of ivory rayon and silk, marked on the size tag, and are trimmed with beige floral lace.
The pants have wide legs, pleats at the waist, and a side button closure—see the two bottom pictures. The bias-cut top is smocked above the bust and ties in back with satin ribbons.
The vogue for lounging pajamas has a distinguished lineage in couture. The great couturier Paul Poiret, inspired by the Ballets Russes in 1909, introduced Orientalism to the fashion scene. Modern lounging pajamas came from two of his innovations, harem pants and pantaloons. Myrna Loy, as Nora Charles in The Thin Man films, showed how seductive a woman can be in lounging pajamas.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
The bias cut molds the dress to the woman, rather than vice versa, thanks to the greatest couturière of all, Madeleine Vionnet, the originator of the bias cut. The gown is fashioned from gold lamé brocaded with Oriental-style gold flowers. The gold lamé sparkles more up close than in the pictures
The surplice-style bodice falls in softly draped folds below the deep "V" neckline, both in front and back. The ingenious skirt train, on one side of the back rather than dead center as expected, adds to the illusion of undulating movement around the torso. The gown closes on the side with tiny hooks.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
The sensual bias cut of the gown epitomizes the glamorous Hollywood look of the Depression years. The bias cut molds the dress to the woman, rather than vice versa.
The dress is fashioned from sheer, silk chiffon covered with gold-tone studs. The body-molding bias cut of the silk crepe slip shows through the sheer outer layer. The edges are finished with hand-rolled hems. I love the faux sleeves, open at the shoulder. The dress slips over the head.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
The elegant black-on-black design is the height of high style sophistication with the body-clinging beaded torso and svelte straight underskirt, visible behind the delicate lace overskirt.
The dress features the fine construction expected from a Parisian fashion house in the early 20th century. It is fashioned in layers with black crepe-backed satin on the inside. The rows of black beads on the black silk tulle torso are curved to conform to the curves of the body.
I love the contrast of shiny black bugle beads with matte black lace. The softly gathered French lace overskirt has a wide scalloped border of Chantilly lace. The lace overskirt is longer than the underskirt, allowing a tantalizing glimpse of the leg. The dress slips over the head with no closures.
The dress has two labels. One reads "Made in France" and the other reads "Harry Angelo Company/Paris."
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
The cape is fashioned from champagne colored silk satin and is totally lined with the same. The fabric is weighted and draped to form an exquisite soft sculpture. I love the smocked shoulders and braided neckline trim.
The cape closes at the neckline with a loop and self-covered button; the neckline ties are decorative only. They can be left hanging straight in front or thrown over the shoulder. Here is a magnificent statement in understated luxury. The decoration is minimal, allowing full attention to the superb fabric.
The cape has the name tag of the original owner, Catherine Ann Currie, as well as the "Siegel/Detroit" store label.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Fluttery little capelets were a popular cover for the bare-shouldered evening dresses in the 1930s.
The capelet is fashioned from bias-cut flounces of pale green silk chiffon. The neckline band sparkles with rhinestones and clear crystal beads. The capelet closes at the neckline with self ties.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
This lovely ivory nightgown, which has never been worn, was hand embroidered in China for the Western market.
This elegant bias-cut nightgown epitomizes the fluid look of the 1930s. You can wear it with or without the belt. The body of the nightgown is fashioned from ivory silk damask. The matching bodice insert is hand embroidered on two layers of ivory silk chiffon. The nightgown is completely hand stitched.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Peasant style sheer cotton dresses with hand smocking were all the rage in the late 1920s and early 1930s. Since then the combination of smocking and hand-embroidered whitework has maintained its appeal. In fact, the vogue for peasant style dress is much older. After the French Revolution when the Directory took over (1795), simple peasant "Rousseauesque" styles were ultrafashionable.
The dress is fashioned from sheer white cotton voile with just a hint of pale gray. There was probably more color at one time. The fine hand embroidery features a nice textural variety of stitches and open work.
The fullness is controlled at the shoulders and waist with hand smocking. I love the fluttery faux sleeves, which are so cool and comfortable on a hot day. The dress closes on the side with snaps.
vintagetextile
__________________
And I am nothing of a builder, but here I dreamt I was an architect
And I built this balustrade to keep you home, to keep you safe from the outside world
Linear Mode
