The only maker’s mark on this incredible art nouveau vanity set, is on the scissors. They are stamped with Keisler & Co. Germany.
The set also features two large matching picture frames, which are not usually part of early 20th century vanity sets.
Given the fact it is at least a hundred years old, it is remarkable that all the decorative elements are undamaged, and perhaps most of all the large mirror, with bevelled glass, is as clear as can be.
The art nouveau dragonfly design featured on all the pieces, has green and amber rhinestones, all of which are secure and intact.
The set itself has the traditional somewhat mottled, and decorative yellow toned celluloid, on top of carved honey amber bakelite. Each piece in the set has a matching design.
Celluloid was one of the earliest plastics, therefore it is becoming increasingly rare. It was replaced by Bakelite, and other thermoset plastics by the 1930’s.
A couple of cool things about this set, is that the elongated trinket jar with a handle, has an emery board mounted underneath the lid.
It also has a corset hook, which is not something we see in any modern day manicure sets.
One thing to be aware of is that celluloid is very flammable, therefore it should never be placed near candles or an open flame. It was especially problematic during the early film era when it was used with moving parts that would tend to heat up.
From 1855 – 1940’s celluloid was also commonly used in toys, jewelry, compacts, knives, and fountain pens. It was also used in ping pong balls.
It should not be stored in plastic, and the pieces should be wrapped so they are not touching each other. It is also best to keep it out of direct sunlight, and stored in a cool dark place. It is fine to place it on a dresser away from heat or flames.
This is a one of a kind vanity set, which has been well cared for, and has stood the test of time.
Such a set also has historical merit, as it can never be reproduced in any capacity. By the 1940’s celluloid was obsolete.
The jewelry made by this designer, especially the necklaces, are few and far between. There are still a few J.L. Aldenkamp leopard brooches floating around on EBay and Etsy, and a narrow bracelet with pave crystals listed on Poshmark. But that’s about it.
The J.L. Aldenkamp maker’s mark is a triangular shape, which is known to some collectors of costume jewelry, especially those from the Netherlands and U.K.
Although I recognized the leopard necklace by this designer, is a high quality necklace, I was unable to identify the symbolic maker’s mark. It might be based on a stylistic A for the designer’s name, shaped into a triangle, with additional symbols inside of it.
Recently I received an email from Amanda Wells-Dodge, who was kind enough to provide the name of this obscure mid-century designer as J.L. Aldenkamp.
In this business, you learn something every day. Many thanks to Amanda!
As it is with the fascination for all things that are old, jewelry, especially if made of glass beads, or organic materials, is something that can be hundreds, and even thousands of years old.
Often jewelry items are the most likely to be saved, and passed down, primarily because it is easy to transport, and store jewelry and beads. These items can be kept in families forcenturies, until someone dies, and the grandchildren have no interest in it. Then it gets sold, and picked up by those who do have an interest in it.
Often when it gets sold, it is mixed in with a range of other costume jewelry, and there is no time to sort it when organizing estate sales. Also, there is a great deal of research involved to delve into it all. You have to have the interest, or it would be like me collecting nuts and bolts, of which I certainly have no interest in.
Whatever the reasons for its widespread travel and age, jewelry provides a rich insight into the adornment used in different cultures since the beginning of time. The many types of trade beads made their way around the world, since those trade routes were established, and are still circulating today.
When going though a large collection, the top two categories, are differentiating between what is organic, and what is man-made.
Man made jewelry has sub categories of glass and plastics. Glass can be as valuable, or even more valuable than many gemstones.
Under the glass category, there is much to be learned. Famous glass and bead makers have their origins in Italy, Venice, Czechoslovakia, England, Austria, Germany, France, and Africa. In Egypt they date back to 1365 BC and are considered to be the oldest, or the first, to start using the various glass making techniques.
Much of the glass making history is shrouded in secrecy. The techniques and trade secrets among glass makers were carefully guarded, and passed down from one generation to another. Anyone who left the industry, orthreatened to share the secrets would be hunted down and killed.
In addition, there is significant history stemming from the Soviet held countries, where the secrets of the techniques were never made public.
As far as antiquity is concerned, Lebanon also contributed to glass making. Although most of us think of antiquity as coming strictly from Venice, Venice is known as the “mother of modern beads”, which goes back to 1224 AD! We normally don’t think of 1200 AD as being modern. It helps to put into perspective just how ancient some of the glass beads are.
The reason the glass factories in Venice were moved to the island of Murano is because they feared that if there was a fire caused by the furnaces used to make the molten glass, it could burn the entire city of Venice down.
For around two hundred years the primary technique was called winding, where a gob of molten glass was wound around an iron rod to create the shape. Since glass is not naturally coloured, they would have to add theother elements to give it colour. Cobalt created the blue beads, copper made them green, tin made them white, and gold made them red.
Winding was not the only technique used. They also made beads out of blown glass, where they would create the shape by blowing through a glass rod. Another method was to press the glass, leaving ridges in the shape.
All of this type of glass making was before the 1400’s. When global trade began, through the shipping channels, Venetian glass beads were taken along and used for trade. It opened new doors for the industry. So beads got a trans-world status, and before long the slower methods of winding glass beads could not keep up with demand.
When demand increased they began the art of drawing beads, which involved the use of a long rod. The molten glass was formed around the rod, then cut into lengths, and then beads. This too, is quite the process, involving many chemicals and steps. Interestingly, they polished them by tumbling them in bran.
From the art of drawing beads, as demand increased, other countries got involved in the industry by the 1600’s, to include Czech, Holland, France, England and Sweden. In almost all cases, the techniques used were drawn from the Venetian guilds.
Bohemia soon became a centre for production, because they had the resources needed to mass produce this type of glass. They had plenty of quartz, which is used as the silica base for glass, labourers who were willing to work the hot furnaces, and wood to fire the furnaces. Potash is also used in glass making, and when used as a byproduct of wood burning, it did not have to be mined. Apparently by the late 1800’s Bohemia was making more glass than the Venetian guilds.
Also, apparently the American Indians preferred the Bohemian glass beads, so they became more valuable for trade.
Antique glass beads fall into categories of camphor glass, vauxhall glass, Murano glass, Bristol glass, French jet, opaline glass, depression glass, and uranium glass. Then there is all the hand painting and decorating to consider such as in wedding cake beads, which is a sub-category of Murano glass beads.
When it comes to plastics, there is bakelite, celluloid, lucite, catalin, galalith, and various other types of resin. In the 1920’s Chanel brought galalith plastic to the level of chic, by posting ads showing the little black dress accessorized with galalith plastic costume jewelry.
In addition Jakob Bengel incorporated galalith plastics into his art deco machine art designs. Bakelite also gained in popularity for costume jewelry, and was carved, colourful, and often used in whimsical pieces.
Like glass, not all plastic is created equal, and some of the vintage and antique plastics are now quite valuable. The days of considering all plastic jewelry to be junk, are long gone.
That brings us to the organic materials, which has so much to learn about, I can only scratch the surface. There is the whole range of coloured gemstones, which is one my my main areas of interest.
Shell, bone, and horn has been used since antiquity, even before the glass makers got started. Coral, ivory, amber, pearls and wood have also been used for ages, to include petrified wood and fossils.
In addition, many types of nuts and seeds were used in jewelry making throughout the ages. And in some cases, teeth of large animals have been used, as well as antlers. People are most certainly creative, and always have been.
Therefore once you define something as being organic, the next step is, but what is it? The difference between ivory and bone can be differentiated because bone has a blood supply, therefore you can see tiny dark dots on bone that are not visible on ivory.
One of the items that had me stymied is a necklace made of hair pipe beads. These can be made of many different organic materials, and were most often used by the Aboriginals. Many of them are made of buffalo bone. I should have guessed the necklace in the link below was of Aboriginal origin because they often use red and black in combination.
I knew the necklace was not porcupine quills because I grew up on a farm in Alberta, and saw a fair number of porcupine quills – mostly in the dog’s nose!
I knew some of the beads were bone, and have since looked up the other hair pipe necklaces online, and see that many of them are in the same colour range. Bone can be dyed through various techniques.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” ― George Orwell.
This is a true statement, and will hold its’ truth for all things, both good and bad, material and non-material, for all time; and for the immaterial, for all eternity. Orwell had a deeper understanding than most people do.
How many times have we heard how devastating it is for certain cultures of people, to deny what happened to them? The denial is considered to be as bad as the original abuse. It has been widely recognized that denial of historical abuse and persecution, is a re-victimization.
Gaslighting has been recognized as a crime in Canada, and many other countries.
All cultures and all families have a mixture of good and evil. But few things are more evil than denying the truth of a person’s history and identity.
If someone can take over another person’s history and identity, they can gaslight, undermine, shame, and basically destroy that person’s soul. They attack your memories, your perceptions, deny what you have experienced, attacking your thoughts, your intellect, your free will, your whole mind, your spirit, your feelings, your mother, your identity, and your basic familial origins.
They will attempt to pull you out of the ground, roots and all. They want you to be a seed that never got planted. But since you do exist, if they cannot yank you out, they will use round-up on you.
Then they can cluck their tongues in feigned pity, and claim you are mentally ill or emotionally disturbed, when they are the ones perpetuating the delusion. How many times do you hear the pious say, “Oh, the poor thing”. Right. You are nothing but a “thing” to them. And lowly as you are to them, they are paradoxically obsessed with you. They are vastly superior, so they cannot see too clearly, from their lofty height. So they make assumptions based on what they want, even though it is your life. They will exploit you until there is nothing left but a shell, and they could care less.
Most of us know that bullies target the weakest, and the most vulnerable members of society, whether it is a within a family, a community, a school, or a certain group of people within a country.
In addition, it is human nature to side with a bully, if he is the one who has the most power, influence and money. Therefore, the weaker individual is easily, and consistently ganged up on, often with nowhere to turn, as part of the plot is to remove all support systems. They turn you into an outcast, and then blame you for being an outcast. The cognitive dissonance is beyond bizarre. The bully is constantly blaming the victim for what he is doing to them.
They want you isolated and alone. This dynamic and pattern is well known. It happens in domestic violence situations. It happens with cults. It occurs whenever there is coercive control. The weaker person becomes the scapegoat for all that is wrong in the life of the more powerful individual. It is a grandiose form of projection. They project all of their own faults onto the victim. They instruct and influence others to do the same.
At the core, it is a deceptive and unfair malicious plot. The victim is dehumanized, and is therefore an easy target. No matter what you try to do, it fails. If you fight back, you get punished more, and accused of being the cause of all conflict.
If you go to authorities, you risk getting punished more, without any validation given by the authorities. The more of a threat you are, the bigger the risk you take. The more powerful the aggressor, the less likely the authorities will pay attention. Intimidation has a very wide rippling effect.
If you plead, beg, and show irrefutable proof, to try and convince the powerful one, and their followers, that you did nothing to deserve this treatment, it falls on deaf ears. They will gaslight you into doubting your own sanity. In fact, they will outright claim you are insane, with nothing to base such an accusation on.
You are in a no win situation, locked in for life. Truth does not matter to those who do such things. In fact, it is of utmost importance to keep up the facade. The only way you can avoid more bullying attacks, is through compliance.
They are punishing and shaming me for who I am. It is kind of like kicking the dog because it is not a cat. They tried to force me to deny who I am, and the family I was born into. It was very painful to have to endure such a plot.
But keeping up the facade, also has dire and soul destroying consequences. It gets to the point where you can no longer do it. The lifeblood has been sucked right out of you, and it is a matter of survival to get out from under it. The oppression is stifling. You cannot crawl or claw your way free of it.
There can be no substitute for truth. The denial of truth leads to strong delusion. The denial of truth exacerbates the original wrongdoing. The denial of truth leads to secrecy, escapism, depression, hopelessness, ongoing intergenerational abuse, toxicity, and very dark places. It is a spiritual death trap.
All of history, both in the Bible, and in the secular world, there is documentation that tracks lineage and the genealogy of all people, and all cultures of people. No one can excise, eliminate, or alter the history of another human being without consequences. In fact, even in the absence of written documentation, it is coded into our DNA.
Material things from the past are only relevant in what they represent, as far as what humans have done, contributed, discarded, or left behind. These are the remnants of our past.
The material landscape has created heaps in landfills. But we have long since past the point where things like fast fashion, fast food, fast money, and material things without value, have been known to be growing exponentially. Maybe it is time to put the brakes on.
Meanwhile the things that do have lasting value, with painstaking attention to detail, got discarded along the way.
Now it is the past things, not the rapidly churned out Material Girl type stuff promoted by garish celebrities like Madonna, that hold their value, or increase in value.
China, and various others, whose only motive was profit, just add mountains of debris to the landfills. They also add to the desire to throw away the old, for the newer shinier object at the local Walmart.
The new twenty first century culture is one of disposable products, all designed to create and sell more disposable products. This is the great enigma, and a massive contradiction, when simultaneously the world is also steeped in fears about fossil fuels.
Whereas historically, there was pride taken in the quality of craftsmanship, and in taking care of things, because there was time, resources, materials, artistry, and cost associated with the creation of those items.
In creating a portfolio of twentieth century design, my hope is to draw attention to the true value of some of the things from the past.
Of course I am open to offers on all products, but I do want to point out that many of these things will never be created again. Some of them are museum quality, and should be shared, even if only in pictures online, because they show some of the incredible artistry, of what talented people have created in the past.
I just posted a 1920’s silk ribbon dress, and shawl that must have taken well over a thousand hours to make. It is made of intricately wound silk ribbon on net, with every bit of it hand stitched into an elaborate design. It also has a shawl with a hand knotted fringe. How can one price such a dress? There is not another one like it in existence. It is a hundred years old, painstakingly hand crafted, with subtle beaded accents throughout. I have to take some more pictures of it with a larger frame camera, but for now, here it is so you know what I am referring to:
In my opinion the twentieth century of design is the last hurrah. I do not think there will be a twenty first century of design, and if there is, it is certainly nowhere near the quality that came from the twentieth century.
Our history and culture is important in all facets. We will take nothing material with us when we leave this world, and nor will we take any money with us.
We are here to be stewards of material things for awhile, to acknowledge the contributions, the good, and the quality of craftsmanship brought to us from different cultures. Some things belong in the landfill. Other things should be taken care of, and saved until they are passed on to another generation.
Our journey and time here is made up of our history, our family, our experiences, and the work we do. We are not saved by works, but nevertheless we have to work to provide for our family, ourselves, and to not be a burden to others, if we can help it.
Even when there is a deliberate attempt to rob us of who we are, and where we came from, nothing can take away our God given identity.
Unfortunately, I got saddled with a bullying and cultish high school teacher who brazenly claimed ownership of who I am. He infiltrated every facet of my life. He was so delusional, he repeatedly told people I was his daughter. He bullied and threatened me into silence. I barely knew the guy, so it was beyond absurd. But he kept on lying, and would not go away. So the problem morphed into the lies of a lifetime. Like a plague.
We are supposed to do good. We are supposed to love God, honour our mother and father, and love our neighbour as ourself. We are even supposed to love our enemies.
Truthfully, I looked just like our mother, and was the apple of her eye. Her name was Joy. Our Swedish grandmother called me Little Joy. They came to Canada from a farm in northern Sweden. Three of their six children were born in Sweden, and three were born in Canada. Our mother was very creative, and loved to sew. These are basic truths that were stifled and bullied out of me for many many years.
As far as material things are concerned, because of our mother, I developed a love for textiles early in life. I know it’s true that we do not store up material goods for any real purpose, other than temporary stewardship. I love hand embroidery, and brilliant silk fabrics, and fancy glass buttons.
The matters of our hearts, our minds, our love, our relationships, are far more important than material things.
There are those who will try to rob us of what is most valuable, because they know how to cause deep rooted emotional abuse, that is destructive to our spirit and soul.
They seek to deny and destroy our identity and history, thereby obliterating our future. They seek to destroy our relationships, especially to Christ, because for Christians our true identity is in Christ. We are adopted into the family of God.
They seek to break up our family life, and will place themselves at the helm, when they have no business even being there in the first place. They have no boundaries. They have skin thicker than a reptile, and unblinking stares.
The devil tries to take away our identity and history, because the goal is to claim and destroy souls. True evil does not just rob material things, but rather it seeks to destroy our origins, because if we are cut off from our history, it is like breaking a link in a chain. What good can it do if it is broken? What can it haul? What can itcarry forward?
The enemy, our adversary is the one who attacks and tries to re-create our history. They attack our minds, will and emotions. They do not accept a single boundary or take no for an answer. They lie through their wolf-like teeth. They stare as though their subject is nothing but a bug under a microscope.
They close off all escape routes. They are master manipulators. They influence others to lie, deny and gaslight. And once they have them in their corner, they too must go along with it all.
There are many websites now that talk about scapegoating, denial, and abuse. When people go along with a more powerful master manipulator, the term given to them in these videos, is called “flying monkeys”.
It is kind of a pejorative term, and it is easier to forgive the flying monkeys, because they are either deceived, or they are in the mode of self preservation.
Although we have no power over those who do choose to deny the truth of the past, and who try to give us over to evil forces, in order to obliterate our history and destroy us, we do have a helper.
By the grace of God, and the belief in Christ, we are plucked out of the fowler’s snare. We cannot do it on our own. We flounder hopelessly. I know, because it happened to me.
Of all the things we are supposed to do, we are supposed to forgive and repent. And it does set us free. We all need forgiveness, and none of us has the ultimate power of forgiveness. We can only forgive the trespasses against us, because we know that we too, have trespassed against others many times.
The power of forgiveness comes through Christ. There is no other way. Regardless of the historical abuses a person has suffered, there will be a day of accountability. Therefore, like John the Baptist preaching in the wilderness, we all need to repent – for the end of time is coming closer for all of us.
It iscoming much closer, due to the calamities the world is facing, along with the corruption and strangeness that is being magnified in all realms.
The strong delusion and deception is staggering, and I don’t think anyone will know the true extent of it until the end. For some it will be the bitter end, and for others it will be a glorious new beginning.
So if the end, is the end of this world as we know it, and we are still alive, we will go through it, and are called upon to endure it. If we die before the end of the world, we will still be raised to a new beginning, IF we know Christ.
God knows every single person, in every generation since the beginning of time. If you read the Bible, the people are named, and the lineage is of utmost importance, as they go from one generation to another.
No one gets plucked out of their lineage, no matter what another person tries to do to them, or how much they lie, or try to deny who they are.
As children of Adam and Eve, Cain was jealous of his sibling, and killed his brother Abel. It did not go unnoticed. Cain did not obliterate his brother either, like he had planned to. God immediately knew what he had done, and why he had done it, and actually told Cain that his brother’s blood had cried out to Him from the ground. Cain could not lie his way out of what he had done.
No one can lie their way out of what they have done – yet how many foolish people continue to lie and deceive?
Joseph’s siblings hated him, and threw him into a pit, then sold him into slavery. Years later, they came begging to him for food, not even realizing who he was.
Moses was adopted as a baby, yet he denounced that adoption, and returned to his homeland to free his people.
God knows the end from the beginning, and the beginning from the end. He knows what is, what was, and what is to come. Therefore, anyone who messes with, and tries to rob the identity of another person through lying and deceit, is going to be facing the real truth one day.
One of the biggest warnings we have, is to embrace the truth. Delusion happens to those who refuse to embrace the truth. The eternal hardship brought about by such delusion, is beyond our human comprehension.
Seek truth. Don’t deny it. It will prevent us from falling into the abyss. It is a profound and eternal reality. The truth does set us free.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
I have to admit, I did not know the range of differences when it comes to puka shell, conch shell, and heishi necklaces. I sort of assumed all of them were hand crafted beads out of shell or stone, and nested together to make a necklace.
However, although traditionally heishi necklaces were made of shell, they are now made of all kinds of material, both organic and hand made. The main difference between heishi and puka is that traditional heishi beads are hand crafted, and the drill holes are manmade. The heishi and puka shell also have different cultural and geographical origins.
Heishi are hand made disc or tube shaped beads that originated in the Dominican Republic. New Mexico, and Arizona, going back several thousand years.
Puka shell necklaces, on the other hand, are made of shells with natural holes in the centre as part of the structure of the shell. They come from the beaches of Hawaii, and became popular in the sixties and seventies. The shells were gathered from the beaches, and then made into necklaces for the tourist and gift market.
The link at the end of this post shows an example of a vintage puka shell necklace, along with the description of a genuine puka shell necklace from Hawaii. I do have a few in the collection, as well as several heishi necklaces, so will have to go through and examine them all closely.
As it is with all things, some are more elaborate, and more beautiful than others. That can be said for both the heishi and puka shell necklaces. The older ones are by far the best.
Most of the older shell necklaces have barrel clasps, which is an indicator of age. However the barrel clasp dates back to the Victorian era, and has been used ever since.
Therefore the barrel clasp offers a wide range of dates to try and figure out. In some cases, the clasp looks very old with patina, and wear on the metal, which is usually brass. In other cases, it is quite shiny and newer looking. It does depend on how the necklace was kept, and how often it was worn as well. In some cases, older jewelry can be in mint condition, if it has been well cared for.
In my opinion, and experience though, I do not see the barrel clasp in contemporary jewelry. It most often seems to be from the Victorian era, to the 1960’s or so. In the more recently made jewelry, you are most likely to see spring or lobster clasps on necklaces.
Once I get through all the measuring and re-examining of the jewelry in the collection, I will do a more detailed blog post on the clasps from the twentieth century.
I have found quite a few websites that discuss the various types of clasps, but often they do not give any indication of dates. The clasp is a key indicator, and sometimes the only indicator of the age, so it does help to learn more about them, if you are interested in vintage and antique jewelry.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
As I go through the jewelry to measure and make some corrections after doing much more research, I find more and more interesting little known facts. We tend to think of wire wrapped jewelry and beads as being a twentieth century concept, more popular during the hippie era. Or at least that is what I thought, until I examined some very old jewelry with wire sculpted beads.
It turns out the history of wire sculpting, or wire wrapped jewelry goes back to 1446 BC and earlier. To put it into perspective, once calculated 1446 BC is more than three thousand years ago! Wire wrapped jewelry has been found in Egyptian tombs.
“The Egyptian tombs date back to more than five thousand years ago. The stony tombs date back to the Old Kingdom (c. 2700–2200 BC) and First Intermediate (c. 2181–2055 BC) eras, Egypt’s antiquities ministry.”
“1446 was 3468 years, 5 months and 14 days ago, which is 1,266,826 days. It was on a Tuesday and was in week 01 of -1446. How many months ago was -1446?”
Below is a link with an antique necklace with many types of antique beads. It is over fifty inches long, with a variety of bead shapes, and colours, many of which are wrapped in wire.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
The appreciation for antique and vintage Swarovski crystals has origins in many countries, but nothing beats the Swarovski crystals and glass making techniques from Austria. After awhile you learn to recognize the cut, clarity and sparkle that sets them apart. Austria began the use of Swarovski crystals in 1892, and in my opinion, nothing has ever superseded these brilliant remnants of the past.
Often the stones are larger and round cut, as opposed to many of the smaller square cut and round cut clear crystals that were popular during the era of glamorous costume jewelry. In the case of the incredible necklace example in this post, the stones are set with multiple prongs on each one. This sort of attention to detail is what gives an item long lasting value, because the loss of just one stone would rob it of wearability and value.
In modern day jewelry, necklaces with single or small cut Swarovski crystals often cost over $600.00. The same goes for earrings and bracelets. Three or four marquise cut genuine Swarovski crystals will be priced over $500.
There is no real way to compare some of the vintage and antique to modern day, as you cannot find anything in the modern day shops that are remotely comparable. You see crystals that are a few millimetres, or small specks, compared to .25″ rows of sparkling coloured and aurora borealis precision cut Swarovski crystals in Austrian jewelry from the early to mid twentieth century.
The following necklace is an example of a drop dead gorgeous Austrian Swarovski crystal necklace, that could only be rivalled by diamonds. Even in the vintage and antique market, this kind of elaborate necklace is seldom seen.
This necklace has been in the Quiet West collection for many years now. I am so glad it is in excellent condition, as it deserves the care, attention and preservation, in appreciation of the materials, workmanship, and creativity that went into making it seventy five or eighty years ago.
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
The Royal Worcester Porcelain Company Ltd. was formed in 1862. Fortunately they have marked their creations to help give an idea about when they were made. The following is a link to a pin on the Quiet West website. I have also included a link to give the background on the markings and how they changed over the years. It is rather confusing!
The pin I am going to use in this example was one I had originally dated 1950’s. However once looking at the Boucher numbering system, it is actually 1940’s – 1946 to be exact. It has BOUCHER without a copyright symbol, and the number 2432, as well as Patent Pending stamped on the back.
It really showed a great deal of vision on the part of Boucher, to create such a numbering system, as he must have known the jewelry he created would outlive him, and could possibly be around for hundreds of years if properly cared for.
The following pin is in excellent condition, which is always a good thing. Marcel Boucher created some of the most sought after and collectible costume jewelry in existence.
This is the link to the pin I am referring to on the Quiet West website, and the numbering system, which enables me to give a more precise date on the pin.
What has driven prices up in vintage costume jewelry? Even though there are still sites selling vintage costume jewelry at low prices, the price for certain designers, and one of a kind pieces, has really gone up in recent years.
This is especially true of jelly belly, fruit salad, Swarovski crystals, Austrian glass, and figural items, like birds with elaborate detailing and enamelling.
I think the main point is, that many of the creators of vintage costume jewelry used labour intensive techniques, and high quality materials, many of which are now obsolete or cost prohibitive, is the major reason.
Another reason, is how unique and elaborate some of the pieces are, which can never be replicated today. Probably the central reason, is that these items were not mass produced, and were made during a time when quality, and attention to detail, became the stamp of the maker or creator.
Another contributing factor, is the passage of time. In recent decades, with the rise of fast fashion and mass produced cheap jewelry made in China, we exhausted the rapid turnover, and the shine wore off those items, as quickly as they were created.
Now we are in a different era, and the vintage items of high quality, with hard to find materials and exceptional craftsmanship, are moving from being trendy vintage, to being sought after antiques.
Many of the master craftsman of the high quality costume jewelry era during the forties and fifties, had their beginnings in the creation of fine jewelry using real gold, pearls, sapphires and diamonds. They then used their expertise to create fine costume jewelry to emulate the real thing. A high percentage of them apprenticed under companies like Cartier and Van Cleef & Arpels.
In addition to the long cherished glass making and jewelry techniques with origins in Europe, New York, and Montreal, they all buckled down and created fascinating high quality jewelry during the early to mid-twentieth century. It was like a boom time for creativity and craftsmanship.
The expertise and techniques in glass making actually created gemstone quality jewelry. The nacre and hand knotting of faux pearls created replicas that require a lab, and a hundred thousand dollar X-Ray machine to differentiate the real from the faux pearls.
In the case of coloured gemstones, all of the easy to access gemstones have already been mined, or collected. It is one thing to collect rocks, as well as shells. I can see why there is a fascination with the original, and raw forms of the beautiful things people find in nature.
But in addition to the materials, when it comes to jewelry making, there is a creative process, from the choice of materials, to the design, and most of all to the craftsmanship.
It has taken many years, and I will readily admit to not knowing even a small percentage of the range of jewelry craftsmanship. It would take a lifetime to learn to identify all the different types of glass and gemstones used. And even if you managed that, there are still materials made of fossilized wood, tree resins, bone, ivory, plastics, vulcanite, oak bog, enamels, and tortoise shells. Even lizard skin was used in jewelry in the past.
If it could be crafted into jewelry, it was done. Often the focus was on organic materials one could collect on beaches, in the forest, or places with an abundant supply and variety of rocks and fossils.
Everything from seeds, to nuts, coconut shells, shark’s teeth, claws, and even human hair, was used at some time or another to craft into jewelry. Such is our inclination toward creativity and personal adornment.
In many cases things are treated, dyed, and made to look like a certain stone. Turquoise is one of the most frequently altered coloured gemstones of all.
As with all things, the real special items do show their grandiosity. It shows when you examine an item closely. It shows in the way it feels, in the way it reflects and illuminates light from within, and mostly it shows in the craftsmanship involved. The human element is what makes the item what it is, and the more labour intensive, the more valuable.
For example, the micro mosaic glass jewelry that was popular in Italy and Venice in the early 20th century is absolutely phenomenal when it comes to the precision and intricacy involved. In some of the richer examples, they used real gemstones. But more often, they used tiny bits of brightly coloured glass, and arranged them into flowers, borders, and scrolling, with impeccable placement and craftsmanship. Often each bit of glass was just a couple of millimetres in size, so to place them into such intricate patterns, is something to marvel at.
In later years, the micro mosaic pieces became much smaller, and with less detail. They were very popular tourist keepsakes for those travelling to Italy and Venice.
As time goes on, especially if people do not have the inclination, the resources, or the expertise to make these beautiful works of art, the number of available pieces becomes less and less, and new creations are not being made. That is what drives up the price.
How often do you see elaborate three or four strand necklaces made of poured glass, blown glass, or hand decorated glass in the modern stores? What we see in modern jewelry might be a few Swarovski crystals, or a single tourmaline stone. But we do not see the shimmering abundance, or time and workmanship that went into creating the 1950’s art glass, and elaborate coloured gemstone jewelry. The modern day glass jewelry often has haphazardly glued glass stones. You do not see three and four strand art glass necklaces in contemporary jewelry.
The new jewelry with coloured gemstones set into sterling silver are now small, compared to what they used to be. However in the vintage and antique pieces, often the gemstones are very large and striking. The gem is framed in, and showcased with all of its natural splendour. It is not a tiny fragment of sparkle, or colour, like we see in newer items. Even the high end stores are now selling jewelry with stones you can barely see.
In the case of gemstones and master craftsmanship in sterling silver, there is probably no greater example of creativity than what has come out of Mexico. Twenty years or so ago, I picked up a collection of 1940’s Taxco jewelry with around twenty pieces or so. It has given me a real appreciation for Mexican sterling silver jewelry.
Whether the price of sterling goes up much or not, one cannot under estimate the value of the workmanship, and the gemstones used by people that clearly have an eye for design, as well as a rich history of passing on the art of silversmiths.
We cannot be dismissive of sterling silver, because since Biblical times, it has had value, and at one time, was even considered to be more valuable than gold. In the Bible, Jacob’s well was purchased with a hundred pieces of sterling silver.
On a much more sombre note, we also know the life of Christ was sold for thirty pieces of silver. It goes to show how much silver was valued, and used no different than money is used to betray people.
The silver to gold ratios have fluctuated wildly throughout history, and although there are many predictions about it all, it seems plausible that there is a huge adjustment in those ratios on the horizon.
Throughout history, from ancient times, and during the Roman Empire, the silver to gold ratio ranged from 8:1 to 15:1. In recent years it has been as much as 114:1.
Currently it is around 83:1. Could it go back to the historical average of 15:1? It certainly seems possible, as precious metals and gemstones etc. often do see corrections in price when they have been undervalued.
Silver is still silver, always has been, and always will be. It has not changed. Only the manmade influences, banking and investment industry, and supply and demand, have caused it to change. The manmade influences are volatile, especially during times of inflation, and rapid global changes, as we have seen in the post covid era. Time will tell.
Also during ancient times, many coloured gemstones, like amethysts, had more value than diamonds.
We really cannot predict the future value of silver, gold, and gemstones. But we can learn to recognize the value coming from countries, and companies who carried forth expertise and master craftsmanship in jewelry making.
They did not spend a hundred hours or more making one piece of jewelry, and use junky materials that they themselves did not appreciate. If they had an eye for detail, and the ability of a master craftsman, they knew more than most of us about the materials they were using.
Not only is there the cost of materials, metals, gemstones, crystals etc. but if you consider that one item might have taken twelve to fifty hours or more to make, it really helps put things into perspective with regards to the rising cost.
For example thirty hours of work by a master craftsman today at just above minimum wage, would be labour costs of $600.00 alone. Of course the master craftsperson’s work is worth more than minimum wage, and also requires many special tools and equipment. So when you add all the materials, the antiquity, and the fact that all the major mid-century designers like Sherman, are long gone, it is understandable we are seeing an increase in value.
On the upside, the more the value increases, the greater the appreciation, and the more likely these remnants of our past will be taken care of.
The time and expense that goes into collecting, researching, and photo documenting a vintage collection is a daunting task. I can give my own personal testimony on what is involved, and the thousands of hours it has taken to reach this point.
I do believe that by taking the best of the past, and documenting it to the best of my ability, it serves to showcase part of our rich and diverse cultural heritage, and in the long term, is worthwhile.
It helps to educate, show a range of design, and bring historical perspective to things that will never again be made to the same degree of creativity and finesse.
In the coming months I will be using a USB microscope and camera to capture some of the finer details that cannot be seen with a loupe, macro lens or the naked eye. This is especially important to show off features in amber, and other gemstones, so people can see for themselves what it is.
I have noticed that with a Nikon camera, and a macro Nikon lens, it helps to rule out junk jewelry. It quickly shows stones that are haphazardly glued into place, as well as cheap metals prone to pitting. it shows where gold plating as worn off. Junk is not exactly photogenic.
In addition to the long lasting value in precious metals like silver and gold, there are also many vintage metals with exceptional coatings and rhodium plating that do not wear off. The more closely one can examine an item, the better prepared they are to choose something with lasting value. The one exception is with oxidized silver. The oxidation or patina can be cleaned, and does not detract from the value.
Although I do clean jewelry with caution, and sometimes not at all, depending on the piece, because I think detergents and warm water can affect the coating, the surface or cause rust. In many cases a fine sable makeup brush will clean out the dust. One cannot be a total perfectionist, and clean every nook and cranny with a q-tip before doing the photography.
When an item sells, I do go over it and do more cleaning if it is needed.
The entire photo documenting project also leaves some sparkling examples of things with long lasting value for future generations to study and appreciate. From an educational perspective alone, it has lasting value.
I have been working on measuring, and increasing the navigation menus on the jewelry collection to make it easier for browsers and buyers. The jewelry collection is now approaching 3000 items, so it will take all summer to get through it all. I am not quite halfway through, so the work in progress is ongoing!
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorized use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
When you delve into the dazzling range of colour and history of art glass, you cannot help but appreciate the antiquity and the techniques that have been passed down through families of master craftspeople for centuries. Italy, Austria and Czechoslovakia all have historical expertise and long lasting stories behind these decorative beads and glasswork.
One of the awesome things about these beads and intricate arrangements, and precision cuts of glass, and Swarovski crystals, is that they do stand the test of time. They have gone through the trial by fire to be made in the first place, and because jewelry, and especially beads are small and durable, they can last for centuries if taken care of. Some of the antique beads are reworked into newer necklaces, and in a few cases they remain intact from the date they were made.
As I go through the collection, measuring, and adding product descriptions, I can’t help but marvel all over again at some of the art glass. Here are some examples that will light up any room.
In addition to the famous European makers of art glass, we cannot forget the 20th century beauty that came out of North America. In Canada Gustave Sherman started a jewelry company in the 1940’s in Montreal, with the goal to make jewelry to last a lifetime. He did accomplish that goal because Sherman jewelry will be treasured for more than one lifetime. Sherman was sold through luxury retailers like Birk’s in Canada, and ceased production in the late seventies. So the age range for the Sherman collection is 1941 – 1979. It is not as old as some of the European glass makers, however it is definitely beautiful and notable in design and workmanship. Of course as a Canadian, it is a pleasure to promote and show Canadian made fashion. Once again, we have Montreal to thank for all these beautiful remnants of our rich and colourful history. To View all Sherman Jewelry:
Amber is one of the fascinating organic materials that is turned into some spectacular jewelry as well as some odd looking pieces. When you consider there are around a hundred fossil tree resins, it certainly adds to the confusion.
Another thing about amber, is that like diamonds and gold, the supply chain is not always ethical. Some of it is extracted using child labour, or in areas of extreme danger and conflicts. The 1990’s brought about a greater interest in amber following the movie Jurassic Park. There are now more concerns about the extraction, and export of amber, along with global efforts to set up guidelines for identification, and ethical supply chains.
The amber with the most scientific intrigue are the pieces that capture insects, flora and fauna, and especially full insects, like ants and spiders. The most common insect found in amber are flies. Who would have guessed it?
And even more likely, you will see bits and pieces of insects, like the legs, wings or partial bodies. When the insect gets caught in the resin, they struggle to get free. And then, if they remain trapped, they go through years and years of fossilization, so it is not like putting a fly in a jar. The insects can give information about extinct and unusual species, as well as timelines thought to go back as far as the dinosaur age.
But as with all things, in addition to unethical extraction and collection processes, there are also many fakes. Now that I have looked at and handled numerous types of vintage and antique amber jewelry, and especially in doing the macro photography, I have a better sense of what is real and what is fake. Some of the amber is truly incredible as it glows from deep within. You can see a tiny world captured in time, with many interesting organic inclusions. When photographed in sunlight it emanates a deep and captivating glow.
Today I was looking at an amber pendant necklace online that appears to have miniature daisy-like flowers inside. Although it is very pretty, and also very expensive, it seemed somewhat doubtful to me that a bouquet of daisies would be inside a three inch piece of amber. The claims are that it is certified authentic, and the seller is a member of the RJC, or the Responsible Jewellery Council.
The RJC was founded in 2005, and has members like Tiffany, Cartier and many other famous jewellery retailers. However when I looked at their website and membership prices, it was not clear to me who did the certification, or how the organization goes about the policing of certification to prevent fake pieces, or unethical supply chains. It appears that what is required, is to purchase a membership.
An article in the Guardian cast some doubt on the RJC organization, which reinforced some of what I was discerning when looking at the high ticket items. Although I cannot claim to know one way or another, it is certainly a buyer beware type of market.
The amber item that came to my attention first, with the arrangement of pretty flowers inside, came from a seller in Hong Kong. The pendant is priced around $25,000 US. Although I cannot divulge the entire listing as it could be a deterrent to their sale, and reputation. But I do think it is fair to ask the questions. The write up on the piece describes it as “Certified 187 carat natural amber”. It goes on to elaborate further. A copy and paste of the write-up states the following:
“This is a statement piece! Here is a super nice, large piece of certified natural Amber (187.18 cts). The key is that it is certified natural! A large percentage of Ambers for sale in the market are man made and not natural. The Amber is transparent to translucent with natural inclusions. The flowers in this large certified natural amber was carved by a master carver. It is absolutely spectacular. Super realistic!”
Now my question is, how can it be certified natural amber with fossilized inclusions that were carved by a master carver?! First it says a large percentage of amber on the market is manmade, not natural. Then it claims the flowers inside the amber are manmade. The ambiguity and contradiction flows from one sentence to the next. Yet, apparently this listing has passed several levels of scrutiny.
The other issue is that according to the International Gem Society amber is sold by gram, not by carat. Amber is very light and will float in salt water. The general ratio is that one gram is around five carats, but since carats are a measure of purity, it is difficult to assign it to amber.
I always thought the whole concept of finding natural amber was because it had inclusions trapped into the resin and fossilized “as is”. Otherwise how can it possibly be 100% certified natural amber, if what is inside it was made be a master carver? For twenty-five grand you also get a braided cord to go with it.
After looking at a few more very expensive necklaces on the same site, I looked at another necklace listed for a walloping $253,000.00 US. In this case the photography was not even professionally done, which is surprising given the price tag. This necklace was described as being 18K gold with diamonds, not in settings, but drilled nuggets, that were added to the chain of the necklace. It was accompanied with a notice of RJC certification.
The RJC certification was of interest to me, so I looked it up to see how they follow up on the certifications. I wanted to see if items are actually proven to be authentic, and validated by this organization. The idea of purchasing a membership, and then using the membership as a claim of certification for a $253,000 necklace, does not inspire confidence in what you are buying, unless there is a way of enforcing compliance with established standards. I have no idea one way or another about the value or authenticity of the pricey necklace, but it did make me curious, the same as the master carver inserting pretty flowers into a piece of “natural amber” also made me wonder.
The following article about the RJC will help expand our horizons on the topic:
I think from the time we are five or six years old, we will look at something in awe, and say – “But – Is it real?”
Nowmore than ever before, we are inundated with fakes; from fake news, to fake gems, fake art, and fake prophecies. You name it, out of whatever was invented, thought of, created or sold, chances are there are many fakes.
A few years ago, I went through a museum in Houston, Texas. They had transported artifacts and gold jewellery that had been stored in a vault in Western Asia, or Persia for thousands of years. It was a stunning showcase of intricately made gold jewellery and sophisticated art objects. One of the items was a large bronze bowl with carved fish swimming in a circle. It had an ingenious mechanical method built into it, to make the fish swim non-stop without having to wind it up or do anything to keep it going. The jewellery on display must have been worth a fortune, as some of the pieces were very large and elaborate.
In comparing some of the ancient, with more recent products, we certainly do not seem to be progressing that much. Perhaps the earth’s resources, and conflict laden areas have become too difficult to maintain, or pursue the opulence we once had.
It does seem that the workmanship of many antiques, and even vintage costume jewellery supersedes what is made today. Labour costs, resources, and reliability, or credibility of supply chains seems to be an increasingly complex hindrance. The earth’s natural resources have been tapped to the nth degree. Even to the extent many will opt for an illusory reproduction.
It takes us back in time, to our wide eyed childhood wonder and exclamations, “Is it real”? There is much to be learned about our natural world, and all the beauty that comes from organic materials. We end up with a blend of science and art.
Most of us think of amber as being honey coloured, but amber comes in many different colours depending on where it came from. It can be yellow, orange, red, green, brown, blue or black. Some examples of different colours:
Another one of the expensive amber necklaces I looked at online today is made of huge butterscotch coloured rock-like shapes of amber. The design was something that looked like it would be a perfect addition to Wilma’s costume for a rerun of a Fred Flintstone cartoon. If he brought the necklace home as a gift for Wilma, I can just feature her and Pebbles exclaiming “Is it real?”
The following jewellery items in the Quiet West Collection contain amber. No spiders got caught in these pieces:
Faux amber? Below is a link to an an example of faux amber, because how could an elephant be caught in tree resin? It could be carved amber, so I jest. Regardless, there are some amber jewellery items that are very difficult to be sure of because they have the glow, as well as organic inclusions. Some fakes are more obvious, some are different types of tree resins, and some are very similar to the real thing. Many smaller amber cabochons are placed into sterling silver settings, commonly the art nouveau designs with vines and leaves to accent the organic origins of amber.
This final link shows an antique necklace that I have listed as faux amber, but it is one of the more ambiguous items, and requires additional research. It has the properties of real amber, with flora and fauna inclusions as well as an antique clasp. So this one I have to admit is still an enigma:
Another intriguing resin set, which I query as being copal, because it has what I consider to be organic features, and an inner glow. I have seen a fair bit of plastic jewellery over the years, to include a range of thermoset plastics, lucite, bakelite, celluloid, and sophisticated modern day resin jewellery etc. but have not come across plastic like this set before. So it too, really piques the curiosity, as far as resins are concerned.
Another questionable blue amber pair of earrings are in the collection and left me scratching my head. They definitely have organic features, and could be from the Dominican where blue amber is sourced from. But, I cannot be sure, so these too, need more research. They are pretty cool, and the most beautiful shade of blue:
Copyright Valerie J. Hayes and Quiet West (2023). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Tattoos have become so mainstream we seldom examine the symbols or artwork unless they are on someone we know well, or the image is very outstanding and clear. Often people who are heavily inked have many tattoos, and you cannot really see what they are, or where one begins, and another one ends. They almost all tell a story of some sort.
Most modern tattoos carry significance to the person who opted to get the tattoo. They either like the artwork, or they have them done to commemorate something meaningful to them. This holds true whether it is an innocent appreciation for a certain image, as well as for those in gangs, prison, the navy, and so on.
One woman I talked to who was covered in tattoos told me she came from a very religious family with a domineering and controlling mother. She said once she got her fist tattoo and it enraged her mother, she was elated at being able to have control over her own body, so she got herself plastered in tattoos. I guess for parents it is a lesson of sorts. I recall another mother who was mortified when her son came home with a huge frog tattooed across his back. If anything it does reinforce that people can, and will do what they choose when it comes to their own bodies.
Because I worked as an RN for many years before they realized that some of the unregulated tattoo methods were contributing to Hep C, AIDs and other blood born pathogens, due to improper techniques or sterilizing of equipment, it probably gave me an ingrained prejudice that no longer applies. The single use needles and ink pots have reduced the risks associated with tattoos.
However the skin is the bodies largest organ, and if most of the skin’s surface is covered in tattoos, it is reasonable to consider there might be damage to the epithelium, or some of the ink could conceivably be absorbed into the bloodstream or lymphatic system. Also, some people are more prone to forming keloid or scarring, while others are not. The surface of the skin does have a rich supply of capillary blood vessels. But the skin also has very good healing properties, and people have adapted to tattoos on the skin for thousands of years.
Tattoos have been commonplace for thousands of years, so no one can really deny any person the right to their choices regarding body art. But some people may not know the historical significance of certain imagery, and it might be wise to do some research first.
Some people immediately recognize jail house tattoos. Not only do they get recognized by those with knowledge of being in prison, but they are also known to law enforcement and educators.
Those who are aware of the meanings behind various tattoos will recognize navy, military and distinctive tattoos affiliated with certain gangs.
I never really knew what most tattoos meant, but always thought some of them looked rather sinister. I also recall people who landed up in hospitals who had to get surgery with incisions through some of those tattoos, which disfigured them in grotesque ways.
In one case, back in the eighties, a couple were in a motorcycle accident. They had massive tattoos, and I recall doing dressing changes on a huge Tasmanian she devil that was tattooed from the hip to the knee. The way it looked, and the distortions from surgery and all the road rash, as well as the difficulty in seeing the actual skin colour, was quite mind boggling to me at the time.
I also recall pregnant women with tattoos on their abdomen becoming stretched, and then changed dramatically if they had to go for surgery. In one case a woman had a large dolphin tattooed around her naval.
The history of tattoos goes way back to the beginning of mankind, and has its roots in the worship of prehistorical gods, who were believed to ward off evil spirits, or bring about good fortune. In some cases they marked an association with certain tribes, fertility, or fierce warnings about cannibalism and head hunters. Sometimes they were used as branding, the same as was done for livestock to signify ownership. In other cases, such as in the early Roman empire, they were used to show if taxes had been paid.
Indeed they have found mummified people in tombs going back thousands of years, with numerous body tattoos. Many of them were of religious significance. Others were thought to be the markings from certain shamans, who were making attempts to heal or drive out certain spirits. Some of the body art was tied to warriors and signified the ferocity of those tribles.
As time went on, during the early 1900’s into the 1940’s people would get covered in tattoos and go into carnival shows. They became a symbol of rebellion popular among hobos, carnies, and ex-convicts.
In spite of the fact tattoos have become more mainstream, it is a good idea to be aware of the meanings behind certain imagery. It would be prudent to avoid certain gang associated tattoos, as well as the ones that carry a significant meaning related to crimes and jail time.
Some of the more dangerous ones include the tear drop on the face. Apparently they mean the person has killed someone, or been the victim of a sexual assault while in prison. The cobweb design was originally linked to sailors on long voyages, symbolic of the length of time at sea, metaphorically, so long as to form cobwebs on their skin. But they also became symbolic of serving long stints in prison, and in more recent cases have a greater association with prison, than they do with the navy.
A three leaf shamrock is apparently linked to the Irish mafia, so it might not be a good idea, especially if you are a traveller, to get such a tattoo. They also have ties to the Aryan brotherhood, satanic symbols, and other sinister affiliations.
If not for doing this bit of research, I would never have known some of these images are as significant as they are. Another one is the dream catcher, or Indian warrior. It is another indication of crimes, overt rebellion against laws, and time spent in prison. Barbed wire is a Russian symbol that was tattooed on inmates who were given a life sentence, and represents they had nothing else to lose.
Cat tattoos represent a prisoner’s life as a thief. The cat imagery varies in the extremes of what they mean depending on how they are drawn. A cat with a top hat represents a criminal who hates and defies the law. A single cat means the person has worked alone as a cat burglar. Multiple cats mean they worked as part of a gang of thieves. So much for grannies who are cat lovers! Stick with pins on your lapel, or T-shirts with kitty cats and balls of yarn.
The scarab also indicates a history of thieving, in particular being adept at pickpocketing. Stars too, are a symbol of life in prison. The number of points on the stars indicates the number of years incarcerated. The bigger the stars or the more stars, the more seasoned the inmate. Furthermore if the stars are on the knees it means they will never bend to the police. If on the shoulders, it means they are a high ranking or highly respected criminal.
Manacles indicate a person has served five or more years in prison. Likewise military symbols also denote high ranking criminals not to be messed with. Skulls or skull and crossbones are symbols of murder.
Crowns with sub titles of King and Queen are also symbols to avoid. The five point crown is associated with the People Nation’s Gang, as well as Latin gangs. The roots date back to gangs in Chicago in the 1950’s.
Another interesting thing to note, is that when it comes to romance scammers, they often tell their victims they can be their queen, and they will be their king. It might be an indirect association with organized crime, because many romance scammers are tied to organized crime.
If someone calls a person they just met online a cupcake, I guess it means they have an affiliation for trans fats! Or maybe they are just goofy, and find flattery in a cupcake. Who knows for sure, but it is hard to understand why people fall for syrupy queen of cupcake flattery. They might as well drool over the tooth fairy. If someone tells you to be their queen, think twice, or check to see of they are from Nigeria. If they tell you to be their princess, I don’t know, maybe they are notching you up to being the queen.
Three small dots in the shape of a triangle would not trigger alarm bells for most of us who are not clued into the meaning of such things. Like cats and crowns, who would ever guess that such a symbol would have a universal meaning among gangs and law enforcement. It means “mi vida loca” which translates into crazy lifestyle of crime syndicates. The three dots is among the first and most common tattoos a gang member will get. It is commonly placed around the eyes or on the hands of the gang member so they can identify each other. Some people, to include certain celebrities get these tattoos to be cool. It’s probably not a good idea.
Clowns and joker tattoos are especially bad in countries like Brazil, as they symbolize pride in having killed a policeman. Understandably the Brazilian police do not take kindly to tough looking people wearing clown tattoos. Some reports claim they have been scraped off followed by being rubbed with alcohol. Or if a person got into an altercation with police, they might be more likely to get shot, never mind the alcohol rub.
Certain skull designs are associated with specific and well known gangs such as the Hell’s Angels. The death head skull has long colourful wings. If a person gets one of these tattoos without being a qualified member of the gang, they might get them unceremoniously removed with a hot iron.
In addition, the Hell’s Angels, have been known to launch legal action against anyone using their branding for commercial purposes. This includes Disney, Saks Fifth Avenue, Alexander McQueen, and even Toys R’ Us.
These are just some of the examples of tattoos with hidden meanings that should be researched before getting any tattoo. No doubt the older and more historical imagery dating back to the ancient tribes, and worship of certain gods, are just as relevant, or even more so for those considering getting tattoos. I believe the rose has associations with the Rosicrucian cult. No doubt there are many other seemingly innocent symbols that might have associations with ancient pagan rituals.
Personally I would not have guessed cats, crowns or clowns carried such significant hidden meanings. But the border patrols and law enforcement in every country and city worldwide are familiar with the meaning of tattoos.
In fact if you watch true crime shows, you soon find out that many times when a victim is found dead somewhere without any ID, one of the first things they take note of, is if there are any tattoos. In many of those cases, the tattoos become a way of identifying the body. Often, it is a family member who knows immediately, it is their loved one, because even a small tattoo on the ankle, or some other place on the body is immediately recognizable. Family members know why the person has the particular tattoo, what it looks like, and where it is located.
Symbols have always carried great significance whether they are tattoos, or elsewhere. In many cases the true origin or meaning is unknown, and may be used innocently. However they could inadvertently provide an association with gangs or prisons that a person did not intend. This is especially so if they are worn by celebrities or used as branding for trendy or commercial purposes.
Design and art is part of our existence, and can be a source of fascination. In fact, all things contain patterns, to include what we see in nature, science, and art. We just need to be aware of the meanings associated with certain designs or arrangements.
If we happen to wear a T-shirt or buy a poster with a hidden design or sinister image, we can simply discard it. But when it comes to tattoos, they are much more permanent, so it is would be prudent for all people who are considering getting tattoos to research the designs, and be sure to avoid those with gang or prison associations. This would also include being sure not to get something that might cause an averse reaction, if you are crossing a border, or going into a country where they might mean something sinister to police or border officials.
As far as frogs are concerned, I am not sure of any gang associations, but in the book of Revelation, frogs represent unclean spirits, and of course dragons represent Satan or the antichrist. Horns also have a Biblical significance. In fact, it never ceases to amaze me how much imagery we are surrounded with, both in the real world and in the spiritual one. This article is just a small representation of the vast amount of symbology in our past and present world.
If something gives you pause, trust your discernment and intuition, and do some research before permanently having it etched into your skin.
The trend toward buying second hand goods has lost its stigmatization, and in the case of luxury brand items, the authentic brands made in France and Italy are very difficult to find anywhere else. Many of the original companies have gone out of business, or have quietly outsourced to China.
As far as eyeglass frames and vintage sunglasses, almost all are now made in China, to include Ray Ban, Oakley, Persol, Oliver Peoples, Coach, Prada, Chanel, and many others. These companies were recently purchased by Luxottica, which is made in China.
Occasionally you will see vintage sunglasses advertised as new dead stock. These websites make the claim that huge numbers of brand new designer sunglasses were found in a warehouse somewhere. If you think about it, how likely is it that a famous brand like Christian Dior or Valentino would have left a warehouse full of sunglasses in a storage room in New York City for fifty years? If it sounds implausible, it probably is. Such claims are most likely promoting and selling mass produced knock-offs.
Even though we have become used to the fact Luxottica now makes most luxury brands of eyeglasses, there is still a niche market for those who want to find the authentic brands made in the original country of origin. For eyeglass frames and sunglasses, the countries with the best reputations for both style and craftsmanship, are Japan, France, USA and Italy. You may also come across upscale brands from Germany, Switzerland, Denmark and Sweden.
Therefore the hunt for eyeglass frames made in those countries is part of the vintage niche market of hard to find authentic brands.
One of the most positive directions to help with the reuse and recycling of vintage eyewear is the fact you can now send your frames to online companies who will put the lenses of your choice into the frames. You can choose the lens, send in your prescription, and get various different coatings, including blue light filters, for a fraction of the cost. An example of such a service is called Dr. Lens Change and is located near Vancouver:
This service, as well as many other similar online lens replacement services, offers sunglass replacement lenses, as well as prescription lenses, which means those old eyeglass frames can have the lenses replaced. When this service was first introduced, they were limited to certain types of frames you could have lens replacements put into, but in recent years they have included all types of frames, to include rimless and curved.
I think the most difficult to replace are the lenses with significant curvatures, so if you have frames like that, check with them first. Dr. Lens Change claims they can replace lenses into any shape of frame. They also have an online chat, so you can ask questions if you have any concerns before sending them in.
For those who have sunglasses in designer frames they love, but need prescription lenses, or have a scratch in an old pair, you can now have those lenses replaced. They also offer non prescription replacements and transition lenses. If you wear prescription eyeglasses, you simply send them a copy of your prescription along with the frames. They also offer free shipping, and discounts if you order more than one pair.
Another interesting development in the world of technological advancement, is certain companies will now offer online eye testing, which I am not prone to promote at this stage, because a smart phone or computer simply does not have the diagnostic equipment to fully assess a person’s vision and eye health. However, I do believe they could provide a rudimentary assessment as to whether or not you do need to see an ophthalmologist.
When searching for authentic designer brands, or funky eyeglass frames from the 1950’s or 1960’s, you will not likely find them en masse on a website claiming they are new dead stock. Dead stock means they are no longer in production but remain in inventory.
All famous luxury brands are still in production, therefore it is a contradiction to claim they have massive quantities of dead stock from the mid-century era. The cost of storage alone would be a strong deterrent for any company. If they actually did store rooms full of inventory for fifty years in a major city, the storage costs would be astronomical and impractical over such a long period of time. Although I don’t know for sure what dead stock really means, I am skeptical of their claims.
As with most things vintage and niche market, you will find the unique one of a kind sunglasses and eyeglass frames through sellers who source them out one by one. When I look at eyeglass frames and sunglasses, other than condition, my number one concern is to make sure they are made in Italy, France or Japan.
I do have a pair of Graffix sunglasses, and will probably list them in the near future, even though they are made in China. They were originally made in Germany. In this case, they are an interesting steampunk design, with part tortoise and part wire frame. I do not know if it is possible to carry a wide range of interesting frames without having a few that are made in China.
I realize not all people are as fussy about avoiding the made in China labels as I am, therefore if the frames are unique, I will list the occasional pair, but will always disclose where they were made, and price them accordingly.
Eyeglass frames are fun to look at, and shop for, because they are so distinctive, like an added facial feature, and really reflect the personality and style of an individual. In fact they are so impressive they can change your overall appearance just by switching the frames. Not all current trends suit all face shapes. The wayfarer look may not suit a small face with sharp features. Some people look better in oval or round frames, and others look better in rectangular or square frames. No one should be limited by advertising trends or what’s hot at Costco. There are many more choices, if you are aware of the fact you can now have lens replacements in any style, or any age of eyeglass frames.
We all recall or know about some of the iconic looks created by certain musicians and Hollywood films. John Lennon, Men In Black, Audrey Hepburn, Top Gun, Blues Brothers, Clark Kent, and many others, created a memorable and distinctive persona depicting a certain pizzaz and personal style.
Whether you are drawn toward a sleek cool look, or a funky spirited appearance, or an understated intellectual, or nuanced and nerdy – you can find these fashion statements in the second hand market. Other than in old Hollywood movies, or on vintage album covers, you are not likely to see them everywhere you go. One definite added bonus of the vintage market, is in finding what is unique to your own face and style.
The Quiet West selection is always adding new frames, and various other vintage items. Check out the sunglasses and eyeglass frames with specs from the late 1800’s to date. You will find authentic designers from the obscure to the sublime to include Ray Ban, Oakley, Chanel, Vuarnet, Ferragamo, Thierry Mugler, Roberto Cavalli, and Celine, as well as less known exotic vintage brands like Sun Mode, May, and Matsuda.
A little bit of interesting history from the Hutchinson News in Kansas tells us about the origin of the oldest pair in the collection, Henry Zinn Jewelers & Optometrist who started making eyeglasses in 1890:
Some of the most longstanding and iconic companies have filed for bankruptcy. It is enough to change the retail landscape for the rest of time. Even Amazon is becoming increasingly unstable. After the initial covid surge in online sales, the stocks have plummeted, with much speculation surrounding the future of the behemoth company. But Amazon is not really iconic or historically enduring compared to some of these companies. In some ways it is more of an anomaly, than anything else.
Notable stores that have filed for bankruptcy recently include J.C. Penney, Neiman Marcus Group, Aldo, True Religion, Barneys New York, Sonia Rykiel, Roberto Cavalli, Diesel, Nine West, J. Crew, Claire’s, Lord & Taylor, Revlon, Escada, Ralph & Russo, Francesca’s, Furla, Brooks Bothers, G Star Raw, Lucky Dungarees, Alfred Angelo, Jaeger, BCBG Max Mara, and many more.
This list does not include the influx of pending bankruptcies for 2021 and 2022. It is truly staggering. For example Brooks Brothers was in business for more than 200 years. The company Jaeger was founded in 1884.
The crash in retail fashion sales is truly apocalyptic, which means it is never going to be the same. Companies with product in all price ranges seem to be affected. For instance, the jewelry company Claire’s sold a mass produced cheaper line of jewelry. I am not surprised to see Claire’s go under.
Whereas Roberto Cavalli is an upscale designer founded in 1970, known for bold prints, and exotic animal prints on leather and textiles. Sonia Rykiel founded her company in 1968 and became known as the “queen of knits”.
Alfred Angelo was founded in Florida in the mid 1930’s. The company specialized in wedding, bridesmaid, mother of the bride, and party dresses. They filed for bankruptcy just before the covid crisis.
Escada was founded in Germany by Margaretha Ley, and has been a leading luxury apparel brand since 1978. The company had retail stores in twenty-four countries. They could not withstand the covid crisis, and ran into problems renewing their leases.
It also appears the publicly traded luxury brand consignment company the RealReal is at risk of bankruptcy. A recent article in Forbes magazine describes its business model as not being designed for the long haul. Personally, I believe consignment carries a fair bit of risk for those who contribute product.
However, the luxury brand second hand market is now a thirty-two billion dollar industry, and has seen growth five times faster than the primary retail market has shown between 2017-2021. For those who are poised for the long haul, and do not have massive expenses, debt, or red tape to deal with, the circular economy is a carousal we can keep on riding.
After all, the UCLG (United Cities and Local Governments) added a policy to support culture as one of the key pillars of economic development. Therefore, sustaining and supporting culture is well established, and recognized for its relevance and importance in the economy. The definition of culture is fairly broad, but it most certainly includes fashion and art.
“Culture can be defined as all the ways of life including arts, beliefs and institutions of a population that are passed down from generation to generation. Culture has been called “the way of life for an entire society.” As such, it includes codes of manners, dress, language, religion, rituals, art.”
It seems the recent surge of bankruptcies is just the tip of the iceberg, with another long list of potential bankruptcies pending.
For all of my adult life, I have believed 20th century design represents the final hurrah for quality and luxury in the fashion world. It was the century of modern day magnificence, and boundless creativity in fashion design. It did not rely upon fast fashion mass produced in China, but showcased designer talents from many countries. Italy, France, USA, India, Germany, Canada, UK, Czechoslovakia, Austria, Mexico, Japan, and 1960’s Hong Kong, all contributed a cultural splendour among certain designers of fashion and jewelry. Many of the textiles, are now obsolete, and the quality of workmanship is labour intensive and cost prohibitive.
The questions we might ask ourselves now: How far will it tumble? How many more will go down? How much of it will recover? And what will the recovery look like? It almost seems certain, many of the most beautiful things, will never be made again.
At present there are many unknowns. The stock market predictions are not very reliable because a company like Amazon can hang on for awhile, and then suddenly the shares could devalue to next to nothing. One aspect of Amazon I could never understand is how they could afford such a liberal shipping and return policy.
When it comes to online sales, in my own limited experience, shipping is a significant expense. If a company has many returns, which requires repackaging and re-listing, in addition to the cost of shipping, I can see why they might go broke.
All throughout history, the artisans and contributors to the fashion industry have thrived. People have been wearing fine textiles and jewelry since the dawn of mankind.
Now it seems quite possible many of these things, especially the higher end textiles, gemstones and finery – will no longer be made.
It is beginning to look like the end.
We can read about this in the Book of Revelation Chapter 18 KJV:
11 And the merchants of the earth shall weep and mourn over her; for no man buyeth their merchandise any more:
Thankfully we do not all have to weep and mourn over these bankruptcies, or the prophecies we read about in the Bible. However it is truly astounding to live in a time where so many prophecies are being fulfilled, right before our eyes.
I hope it serves to strengthen our faith, in spite of it all. We are not supposed to give up, but to be steadfast, keep working, and do good.
The best advice is to avoid worshipping things, no matter how opulent they may be. We can admire them, show them, wear them, or sell them – but we do not worship them.
They are products. Many of the products are well made and beautiful. The most talented designers, and resellers simply look for the best quality, and most long lasting products.
We do not stop living, even though we are in the midst of these developments, because we do not know how long the downturn will last, or how exactly things will unfold.
It could be an hour, a day, or another hundred years or more. Throughout history people have always set dates, and predicted the end of the world as we know it. We are to keep working toward the good, and have faith.
If all else fails, believers in the Gospel will not cease to exist, and eventually we will see a new beginning. Truthfully, the future holds more beauty than anything we could ever imagine, or anything we have ever seen before.
Therefore in times of trouble – we keep the faith. And remember – wisdom is more precious than gold.
The original post below was written in December 2022. Since then the Etsy organization has been adversely affected by the Silicone Bank failure, which has ties to the various Etsy stores as far as payments are concerned. This places the sellers at increased risk, and has fuelled speculation.
However, many seem to be flexible, and are putting stores in vacation mode, or switching to independent online stores. I can only imagine how stressful it must be for those who have invested a significant amount of time, and money into their small businesses. I wish them all the best, and hope the financial pressure, and uncertainty gets resolved soon. It does sound like some of the information has been hyperbole, since various articles claim the Silicon Bank failure affected less than 1% of the stores.
The December 2022 post starts here:
First and foremost I want to say that I am not a financial forecaster. Nor am I an accountant, therefore my observations are purely speculative.
I did not give much thought to it before, but given that I do a fair bit of research on product pricing, from high end to low end, I am familiar with their advertising, prices, listings, and claims. I have also seen many news articles, forum comments, and other complaints against the organization in recent months.
From the sellers perspective, they have tried to unionize and have actually gone on strike. In the spring of 2022, 47,000 sellers signed a petition citing unfair treatment and seller’s fees. They also filed a change.org petition that garnered over 25,000 signatures. Another information snippet places the boycott at over 82,000, 29,000 who claim to be Etsy sellers. These things most certainly do not look good for the organization.
From the consumer perspective, Etsy has many cases of fraud and counterfeit goods being sold. There are numerous online consumer reports claiming they ordered items, and did not receive them. In addition, they could net get any results or response when they attempted to get their money back.
Hundreds, if not thousands of other companies who built their businesses on the Etsy platform have suddenly been shut down. In those cases, the companies are claiming they did not receive notice, and could not get an answer when they tried to find out what the reasons are.
It looks like troubling times are happening, not only due to covid and inflation, but also for many other reasons. Etsy is an American company that was founded in 2005. They did an IPO in 2015. The corporate advertising claims they sell vintage, individual artisan handmade items, and craft supplies.
I researched some of their top sellers, one of which is a jewelry design company, a mom and pop organization that claims to sell over 100K per month. This to me raises an immediate red flag. If you examine the jewelry, you know darn well it is not made by hand, by a small cottage industry, or home based business. When you read their success story, there is very little information, other than scanty very superficial romanticized designer information.
I do not make jewelry or even repair jewelry, but I do collect it, do macro photography, and have looked at thousands, and thousands of different jewelry designs over the years. I can usually tell when something is hand made, and can tell if something is vintage. If something is mass produced in Asia, there are also many telltale signs. One sign is the low price. If a company sells individually made pieces at a price range between $30 – $50, it is quite amazing, assuming they are hand cutting diamonds, as well as creating their own settings. The old adage stands firm, if it sounds too good to be true – it probably is not true.
The reasons I personally do not believe a micro-enterprise that sells jewelry, can cut and set small diamonds, make many chains, and various metal lettering that requires die casting, expertise, and machination, is because these items look just like what you see on Amazon or Alibaba. In addition, when the company describes their success, it is all about how busy they are packaging and sending their jewelry, not about making it. Plus how can a small company make that much jewelry in a month? You have to sell a lot of jewelry at that price point, to make 100K in one month.
Just like the sellers who got shut down suddenly, and without being given a reason, deserve answers – so do the shareholders, consumers, and other sellers deserve some answers. The remaining sellers who are honestly struggling to survive, as well as consumers who think they are getting handmade one-of-a-kind products, deserve answers. This is especially so when what appears to be happening, goes against the grain of their original marketing plan. It certainly does look like they are allowing the high volume sellers to continue, with mass produced product, and numbers that do not ring true.
So why does Etsy allow what appears to be a mass produced product to thrive, when they claim they are ONLY promoting vintage, and handmade artisan items from small grassroots organizations? Yet they are shutting down other Etsy sellers left and right. Clearly, they are allowing the high volume, mass produced sales to go through, without shutting that company down for not meeting the criteria they themselves have set. Why? Because they are making money for the shareholders, so it is much easier to let that slip through the criteria cracks than it is for those who are not making high volume sales.
If a company is selling 100K a month worth of product, at an average price of $30, that means they are selling on average 110 items per day. They would also have to be making 110 items per day, or they would soon run out of product.
How is it possible for a small micro-enterprise to make, and sell 110 unique, hand crafted products per day? They are busy shipping, with absolutely no mention of the manufacturing process involved, to keep up with such demands. Plus it takes many years of training, practice, and experience to cut diamonds, and fit them perfectly into settings. The same with all the silver and metal chains. Are they making those by hand too? A retired jewelry maker in Vancouver sold me a 1920’s chain a few years ago, and told me it took a full day to make one inch.
The creation of this type of jewelry, is not like putting a bead on a string. And in my opinion, that is what you would have to do, in order to sell that many jewelry items a day, and keep up with production, shipping, and other demands of running the business. I know of experienced jewelry makers on Haida Gwaii, who spent days making a single item. You know if something is made by a true artisan. At least you soon figure it out, if you pay attention.
Another Etsy organization I read about that did get shut down, claimed they had made hundreds of thousands of sales over a ten year period. Hundreds of thousands, is a lot of sales for a small company sewing fabric flowers on cushions. If you assume hundreds of thousands to be say, 500,000 divided by ten, that would mean they were selling 50,000 items per year, which is over 4000 per month. That is not a typical sales volume for a hand crafted product.
After the store got shut down on Etsy, they set up a standalone web shop. Although I cannot tell if the items are hand sewn or not, they only have around a hundred products to sell, all of which use the same flower design. Once again, it does not ring true, or seem possible that they sold hundreds of thousands of cushions, each with a fabric flower on it. They do not have any notable branding. They have a very small product line, with some wall hangings that have the exact same flower as is on the cushions. That’s it.
So, from both a consumer, and a seller’s perspective, there seems to be some glaring discrepancies that just don’t add up. I recall when Etsy was brand new back in 2005, and do believe the concept was solid to begin with. It brought many small craft people into the marketplace with some very nice handmade products. It was also a great place to find good deals on unique, one-of-a-kind items.
Like so many things, it started out fine, but something has happened over the years to pull it down. It is no longer the trustworthy organization it once was. To have such a scale of disgruntled sellers, and consumers, is not a good sign, regardless of what the stock market is predicting to try and keep it afloat.
Etsy does a phenomenal amount of advertising. Every item, every designer, and every bit of research I do, pulls up hundreds of Etsy ads. This might help explain why they are increasing seller’s fees to the point of revolt. I have never been inclined to sell on Etsy because I knew the organization would have control, not me. I also did not like the looks of many of the stores, in particular, the photography.
But clearly, many of the sellers are legitimate, hardworking people who deserve to build a successful business, and it does appear the organization started out that way. Another unverified bit of insight I read while researching this, is that almost half of Etsy sellers make less than $100 per year. That too, is not a good sign, especially when you consider the amount of advertising they do. No control and no sales, does not make for an attractive business model.
The decline appears to have started after they did the IPO in 2015. The shares grew rapidly, and all was well. For awhile. But a quick review of how much their debt increased shows an increase in debt of 147% in 2019. In 2020 there was a 32% increase, and in 2021, there was an increase of 115%
As I said, I am not a stock market guru by any stretch. But in my opinion, it is the increase in debt that is causing the increase in seller’s fees. This in turn, has caused financial hardship for those who are putting time, money, and energy into creating their own products, in addition to doing the photography, descriptions, etc.
Even though the investors information is not yet predicting a high probability of bankruptcy, one can draw their own conclusions. With the high rate of inflation, and the downturn in all retail sales, can they wait it out? Can they turn things around when they have a growing trend of disgruntled sellers, unhappy consumers, and increasing debt? And what are they going to do about mass produced high volume sales, when they claim to be niche market, which is just the opposite? It does not look good.
One of the reasons I find this to be very interesting, is because of the whole long tail niche marketing concept central to my own long haul in developing the Quiet West website, and vintage product line.
High volume, mass produced items are at the head of the tail. Those are the products you buy at Amazon, and various other large scale department stores. To explain the head of the tail, it means they sell mass produced items, and sell them cheap, in high volumes.
Whereas in the niche market businesses, we sell one-of-a-kind items that cannot be purchased in large volumes. When I embarked on this project, selling individual and unique items, my theory was that in order to develop a strong footprint and online presence, as a long tail marketing concept – you have to have a high volume of niche market items, or no one will ever notice you. Basically, it is the polarized opposite, or the flip side of the coin between the head of the tail, and the long tail, on the other side.
My theory is that by putting in the upfront efforts, in creating a long tail, it will attract those who want to find unique one-of-a-kind quality items, that you cannot find at Amazon or Walmart. It also appeals to the sustainable development, and environmentally positive contribution to business development.
This old world has developed and created billions of products over the years. With the new millennium, and rise in fast fashion, it became all about turning a fast buck, as opposed to creating high quality, well-crafted items that cost much more to produce.
Although Etsy might be able to hang in there, and make the required changes to stay afloat, in my opinion it is not looking good. For those who have put in a significant amount of time and effort building a small online business with Etsy, they are in a very precarious position. Etsy owns them. They own their customer lists. They can shut them down, without even giving an explanation. That is a huge blow for any entrepreneur. It also must create a significant amount of fear and trepidation for those who are still functioning.
Times are changing. E-Commerce is not going to go away, unless there is a complete collapse of civilization. But the next couple of years will be an unstable time for many retail organizations, both online and offline.
I cannot boast about any big success stories yet, as I just tentatively opened right before the covid fiasco. In addition, I still have plenty of work to do, to get all the information documented on the products. I have made many International sales, but honestly cannot make any wild exaggerations.
One thing I will say, is that if anyone contacts me with a question about a product, I will reply promptly. I would never ignore a customer. In addition, once an item is sold, I consider the customer to be the owner of the item, and aim to get it out to them ASAP. If there are delays involved with dry cleaning or shipping, I will communicate that to the customer up front.
I certainly do not have all the answers, other than to put energy into building a solid foundation, keep the debt to a minimum, and wait it out. I also believe as time goes on, more and more people will appreciate a micro-enterprise that is responsive, prompt, and honest. It is very important to me, to keep customers happy. A long tail niche market store requires a great deal in upfront time and investment. Normally, these are things that create long lasting value, and a solid foundation.
One good thing to note, is tangible products do not go up in vapour, like many stock market investments do. In a sense, a collection of vintage design, is like a long term penny stock investment, only the products are tangible, so if they go up in value over the years, the return should be reasonably good.
My interest to a large extent revolves around creativity, improving the photography, learning about web development, and motifs, design and patterns. I appreciate the workmanship done by other people over the decades, and believe many of these things should be documented for design schools, and for the historical, and cultural representations they bring from the different eras and locations.
Of course I love to find and promote mid-century Canadian designers, because of a sense of awe in what came out of Montreal during those peak creative years, and the fact I am Canadian. In recent years, we have had such a huge influx of fast fashion made in China, it made me even more determined to collect and document the remnants of design, and quality fashion, that came from locations other than China.
Who knows what the future will bring? One thing I can say without making exaggerations – is that I have visitors from all over the world, with the exception of Greenland. Most of the Quiet West visitors are from North America, followed by the UK, Australia, France, Germany, Sweden, France, Italy, and Japan – as the top visitors on the site.
Overall, the number of locations that have visited Quiet West since I set up Google analytics, is between 167-169 countries. Understandably, there are a few countries in Africa without visitors, probably because they do not have an Internet connection. But to my surprise, I have had visitors from more than half the countries in Africa. I have not bought a single ad so far. I used to have the social media buttons, but took them off. I really don’t know how people find my website. I no longer have a Facebook account, and do not use Twitter or Instagram either. Once I am ready, I will officially launch the store, and use those marketing avenues.
One added bonus, is that I am getting a global geography lesson!
So – many thanks to all the visitors from faraway places. It does provide a connection to locations I would not otherwise even know about, and vice versa. I have the security of knowing I will not get shut down on someone’s whim. When you use open source to build an online store, you own the architecture of your store. I once read, it is like the difference between owning and leasing. I do not like the concept of having the rug pulled out from under me, after so much time and money has been invested.
The communication and sharing, knowing people are visiting, and followers are taking an interest, help to keep us going when times get tough. All things we do, create a form of cultural representation and outreach. I think art, culture, and design gives us common ground. Every culture, and every era, has created artistically beautiful things. It gives us a chance to peruse, and appreciate these things, albeit from a distance.
I would not discourage any person from setting up an online store. In fact, I think it is a good idea, in spite of the hurdles. But I would caution people to use open source software, and to learn how to do basic online publishing and photography, so the efforts are not in vain. And then hope and pray – the law of attraction will come your way!
Copyright Valerie J. Hayes and Quiet West (2022). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West (2022). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Cultural dimension is closely tied to sustainable development. Although there are many definitions and descriptions surrounding both culture and sustainable development, essentially culture is about creativity, heritage, knowledge and diversity.
Sustainable development is defined as economic development that is conducted without depletion of natural resources.
It is the cultural aspect of our Canadian heritage that has created the drive and energy to set up, photo document, and share the Quiet West collection, which is essentially a portfolio of twentieth century design.
Costume and jewelery design has always reflected the wider movements in arts and culture in the various different eras. Therefore, we see similarities in everything from architecture, to furniture design, in the visual arts, and in costume and personal styles.
During the modernist era of influence, we see sleek lines and geometrical shapes, in sharp contrast to the turn of the century romanticism with all the floral themes, vines, and curlycues. In spite of the fact that art is highly subjective and involves personal taste, certain design themes caught on and swept the cultural stage for periods of time. What was considered avant-garde in one era, might turn into a widespread movement in a few short years.
During the post war years Canada provided many incentives for creative fashion and textile designers, many of which were developed in Montreal and Toronto. We have a rich and creative history based on the talent from Montreal, and the incentives that were provided to develop and promote this talent. It is something all Canadians can be proud of.
Thankfully, with the migration and travel to Canada’s west coast, a percentage of these stylish remnants and works of art ended up on the west coast.
In addition to the fashion design and trends throughout the twentieth century, most of the luxurious textiles and sewing techniques have become obsolete. There is a rich history and knowledge base in the textiles alone. This involves everything from hand loomed, hand and screen printing, knits, gold and silver lame costumes, and wide variety of trim, pin tucking, laid work, embroidery, laces, etc.
In addition to our own fashion development heritage, and the widespread travel during the twentieth century, we have also had access to mid-century designs from locations throughout the world. Some of the mid-century gowns had a thousand hours or more put into the embellishments using glass beads and a variety of sequins.
The best definition of culture according to a Google search is: ” Culture can be defined as all the ways of life including arts, beliefs and institutions of a population that are passed down from generation to generation. Culture has been called “the way of life for an entire society.” As such, it includes codes of manners, dress, language, religion, rituals, art.”
Culture is also considered to be the fourth pillar of sustainable development, according to UNESCO and several other organizations promoting sustainable development. It does take time, effort and money to document and preserve our cultural heritage. But it does not deplete or make demands on natural resources.
In the case of coloured gemstones used in artisan sterling silver jewelry, those designs depict the country of origin, the various artists, and gemstones that were at one time fairly abundant. A high percentage of the turquoise mines are now closed. The post war years led to a great deal of extraction of the earth’s resources. Understandably those resources have been used up, and the new locations for extracting them are increasingly difficult to access.
At least in my own lifetime, there has always been a focus on what is new. The old was considered to be junk or garbage, while the new was what was coveted and thought to be an improvement.
It seems we reached a point many years ago, where the old was often better than the new when it comes to certain cultural commodities. The reason for this is not only in the access to and abundance of these resources, but also in the values surrounding workmanship, craftsmanship, quality, and competition for excellence.
One only needs to look at some of the mid-century costume jewelery and compare it to what is made today. From the 1930’s to the 1960’s there was fierce competition to create fashion jewelery that emulated the real thing.
Designers like Gustave Sherman, Boucher, Panetta, Schreiner, and Trifari are just some examples of jewelery makers who valued high quality, and strived to make glamour more widely available by emulating Cartier and other famous designers. The goal was to make fabulous high fashion jewelery that was affordable for the average person. They did a great job of creating an appeal for glamour in the mass consumer markets.
When it comes to design, resources, and craftsmanship, there comes a point where the old will never be produced again, to the same standards it was in the past. We passed the point of creating new and improved fashion and jewelery.
In fact, if you closely examine the newer jewelery, you will find that even the expensive items are gold or silver plated. The gemstones and Swarovski crystals are often very small and highly treated, as opposed to some of the rocks we can marvel at in the earlier pieces.
Our culture is not only about obsolete textiles, hats, jewelery, and the history of fashion design during past decades, it is the soul of our nation.
We don’t lose our soul to fast fashion or slapstick designs. We are wise to carry the cultural soul and reflections of our past forward. After all – we want to keep our soul. It is not something to damage, disregard, or downplay.
In my opinion, all of our cultural gems are captivating and deserving of our care and attention.
On this note, I will soon promote and share a sample of the Montreal fashion designer Hugh Garber. In the 1960’s he studied fashion design in London, and then returned to Canada to develop the “holiday line” for Margo Dress Co. in Montreal.
The Hugh Garber outfit I have to list next, is from the 1968-1969 holiday line, and is made of a deluxe heavy vertically aligned gold lame. It has the appearance of a full length glamour gown, but it is actually a hot pants set. There are covered buttons down the front that open up to short, high waisted gold lame hot pants. It’s really quite a delightful ensemble!
The Hugh Garber gold lame hot pants will be featured under New Arrivals, and also in a blog post once the photography is done. I am fairly certain there is not another one like this one to be found.
The mauve set is Bill Tice for Carolyn New York/Montreal. The burn-out velvet robe and fly-by-night feathered jacket are 1970’s Claire Haddad pieces.
Bill Tice – Although his life was cut short at age 52 due to lung cancer, thankfully some of his awesome creations live on. Bill Tice was a designer in New York from the sixties to the nineties. He died in 1995, therefore most of the designs found today are from the sixties to the eighties. He masterfully created innovative and versatile loungewear that could be worn in style at home, on a cruise, or to an evening patio party. He also did many collaborations with designers in Montreal.
Claire Haddad – A Canadian iconic fashion designer who could return to any stage with these timeless and exotic mementos. The long glamorous black robe features a burn-out velvet pattern with velvet trim. This is definitely something that could be worn as part of an evening ensemble – indoors or outdoors.
The other is a delightful feathered bed jacket by Claire Haddad. You have to see it to appreciate it!
Recent Quiet West listings show some mid-century examples of one of Montreal’s best kept secrets. Diamond Tea Gown Inc. is a Montreal based company that was started in the 1920’s by Mr. Rosenfeld. The company continues to make robes and causal wear to this day.
We know that in order to survive a century of change and upheaval – a company must have good quality and design. They have a stellar reputation, and some of their earlier robes and lounging sets are drop dead gorgeous.
Initially I was not sure if these sets were from the seventies or the eighties. Research indicates the Diane Deckel designs are from the 1970’s. She is listed in the Quebec fashion encyclopedia as having designed for Diamond Tea Gown in 1974. There is another jumpsuit and jacket to be listed in the next couple of days. It is exactly like the blue set only in pink floral. The jumpsuit sets have subtle stripes in the jackets, giving a shimmering transparent illusion.
There was a period of time in Canada’s mid-century fashion history when the government promoted and assisted Canadian designers to gain recognition and sales on a world stage. We can only hope to steer clear of fast fashion, and go back to our rich heritage that can be credited to the natural and enduring creativity ingrained among Montreal designers.
Diamond Tea Gown Inc. changed hands twice over the years. In 1967 the company was sold to Ernest Saykaly, owner of the family lingerie business French Maid. In 2001 it was sold to John Souaid who was an executive with the company since 1972.
The design and quality of fabrics earned them an International reputation throughout every decade since their start-up. Their retailers include Saks Fifth Avenue, Bloomingdales, Nordstrom, and Harrods.
The following are some examples of 1970’s Diamond Tea Gown designs by Diane Deckel. The first set is a cotton combination featuring a white muslin dress that has a pleated bodice, and subtle gold trim on the neckline and belt. The robe is made of a light cotton terry cloth. The sleeves on the robe are very detailed open weave with gold metallic highlights. This set is a two-in-one outfit, as the dress by itself is quite ethereal.
After photographing the pink jumpsuit, I stand corrected. It is similar but not the same as the blue jumpsuit set. It is a larger size and has longer, wider legs. The fabric is different as well, slightly heavier. You can see the designs were made in the same time frame, and by the same person. The ivory gown is the most unique in my opinion. But the floral designs look perfect for a warm summer evening on a private patio, or even a garden party in broad daylight! They will take you seamlessly from Zoom meetings – to sipping iced tea and watching the stars.
David E. Rea Dresses from the 1960’s and 1970’s are made of beautifully embellished fabrics. There is also a gorgeous 1960’s pink satin gown to be listed in the near future, embellished with silver embroidery by David Rea for The Mirror Room Hudson’s Bay.
Today I listed this delightful late sixties, or early seventies David Rea palazzo pant jumpsuit. It has a yellow toned overall floral theme, with an overlay of hand painted daisies. It looks like an outfit for doing cartwheels in a meadow on a spring day! If outfits have personality – this one is exuberant, perky, breezy, optimistic, chirpy, carefree, and spirited. What can possibly go wrong in a getup like this!
David E. Rea Toronto For The Mirror Room Hudson’s Bay
As a Canadian and a collector, when I say “our cultural heritage” it means – the expression of art from a divergent range of people. In Canada this includes influences, artifacts, writings, and beautiful hand made works or designs that were brought here from other countries.
On an individual level, we are more likely to resonate with, and remember the culture of our ancestors. We also learn about and share different cultures among families, friends, neighbours, communities, and travel. We all know how much food and music influences culture in every country of the world. So we can begin to recognize the patterns contained within a wide variety of cultural influences and designs.
We all come from a unique perspective, beginning with the family we are born into. This expands into a curiosity and awareness of the things around us that intrigue us or influence our senses. How many of us recall playing with the hand-painted Russian wooden nesting dolls? There was one on the shelf in our Swedish grandparents house. As a small child, I knew it came from somewhere far away.
In my opinion, one of the benefits of culture to society is in what we can learn from thier labours. It lets us examine how they did things, what they wore, and what came out of the lifestyles of the past. The range of patterns and design is intriguing, inspirational, and thought provoking.
I have been trying to create a material landscape of the dispossessed – to show that throwaways, and things from the past, are often much better than what is new.
Through the long process of establishing an online store, especially doing all the product photography, I have learned to appreciate the designs of some of the most talented designers and jewelry makers of this century. Even though it is a fairly humble collection compared to museums and rich people, it still shows who we are and where we came from. This collection has roots.
The Quiet West collection was gathered from the west coast of Canada over four decades. Even so, the items in the store come from all over the world. It is especially thrilling for me, when I come across some of the famous Canadian designers from Montreal and Toronto.
I can clearly see that Montreal has gifted Canada with a reputation for excellence in fashion and the arts. Canada may not be seen as the epicentre of the Parisian French fashion flair. But we do have a significant and impressive mid-century contribution to the world of fashion from Eastern Canada.
As time goes by, the material remnants of the previous century begin to disappear. People tend to look at old photographs to see both style, and lifestyle.
Although I have a long way to go to become more consistent with the photos, I do believe an online collection of art and fashion from the past can contribute much toward education, design, pattern recognition, care and preservation, textiles, and appreciation of the arts. If each country had such a collection, it would be very interesting to peruse. Of course, so much of it depends on what the collector is looking for.
But most of all, it’s the nostalgia it creates that connects us to the past, and to each other in a positive way. Our world has changed quite dramatically this past couple of years.
We can look to the past without clinging to it. We can seek what is good, and get our heads out of the dark shadows when they pass overhead. We can turn our focus toward aesthetics, learning and labours of love.
Over the years, so many things get lost in time – through fires, floods, and the migration of people from one location to another.
Some of the past is worth hanging onto, and some of the past should be let go. But nevertheless – it is what we know. Tangible is touchable – and it keeps us in touch with the remnants and the roots of our past.
This terrific one-of-a-kind 1960’s Sally Gee poncho just sold, and is off to renewed adventures in California. May your travels be fun, and bring to fruition a time of excitement and new beginnings! Good-bye Sally Gee. It sounds like a song waiting to be written!
Like most intangible definitions in life, luxury is embodied in a lifestyle that some take for granted – yet others have never experienced. Or is there some kind of luxury for all people? Is love a luxury? If it is, then maybe some of the poor have experienced more of it than the most opulent people on earth. Of course that’s pure speculation on my part.
But really, what is luxury? Expensive clothes and art? In my opinion, it is about comfort and peace of mind. An aesthetic and pleasing ambiance is part of luxury. In every way, luxury is a perspective, not a brand.
If you are lost on a mountain for hours on end or overnight, and it starts to rain and blow sleet, you lack luxuries, no matter how wealthy you are. If unprepared for such an excursion, the wealthy might have fancier gear, but will still suffer the discomforts, the elements, and the fear of death.
From such a perspective, a hot bath and cup of tea are longed for, in your mind, and viewed as the epitome of luxury. If you are lost in a hot desert, the oasis represents a luxury powerful enough to cause you to hallucinate the sight of one.
I remember reading somewhere that those who spent extended times in the wilderness after surviving a plane crash, fared better if they imagined food in detail, as opposed to those who tried not to think about food at all.
In cases of hypothermia, it is common for people to undress before they die. If they do not take off all clothing, they often remove just their footwear. Search and rescue are stymied when they find a missing person’s hiking boots, with no evidence of animal predation, or obvious reason for taking them off.
Humans are paradoxical in so many ways. There is much speculation about the reasons for undressing in the final stages of hypothermia. It is probably something instinctual in relation to the skewed electrical signals in the body, and decreasing level of consciousness. Some say it is a survival mechanism to increase vasoconstriction, in order to preserve the core temperature. But that doesn’t really make sense to me, since the core needs warming, not more exposure. The skin is the bodies largest organ, so our basic instinct is to protect and cover our skin when it is cold.
Luxury seems to be more closely related to warmth, stability, and relaxation. It is something you can hold close, like a warm stone. It is natural to slip into, easy to hug close around you, but not too sloppy to answer the door. Luxury is merino wool and cashmere socks inside your favourite pair of old and worn leather boots. Luxury is making it another few miles when you are tired, without stumbling and doing a face plant. It is reaching a destination, the one you have in your mind long before you get there.
In the past couple of years, pomposity has gone by the wayside. Luxury has been humbled. Over indulgence is rapidly becoming a garish and wasteful form of luxury. Huge carbon footprints are no longer idolized.
But what about our obsession with textiles and fashion? Has society ever abandoned the concept of adding art to enhance comfort, colour and beauty? Style is part of self expression and personal identity. Everyone has a certain style, which seems to match their personality.
Luxury, in one form or another is for everyone. If we have gratitude, we know a hot bath is a luxury. I believe we are very fortunate to have so much luxury. I also believe it is far better to buy quality and keep it for a long time, as opposed to fast fashion. Fast fashion fills up the landfills with excessive waste. It also exacerbates the use of petrochemicals, since most cheap things are made of polyester. Some polyester is superior to other polyesters, but even so…
Luxury leans toward natural fibres, in my opinion. Natural fibres make so much more sense, both for comfort and for the environment. This includes the use of leathers that are byproducts of the food industry. Natural fibres last longer, protect us better, and are less harmful to the environment. Nothing beats merino wool in cold weather.
High fashion is somewhat like music, art and other memorabilia. Some things are worth keeping and preserving, since they will never be made again. Who makes hats with intricate rows of contrasting feathers in this day and age? If they do try to make something similar, it certainly does not look like a 1950’s Ellen Faith hat. Quality and fashionable items have lasting value, if they are taken care of. They are part of the arts and culture of every era, and every country in the world.
Luxury is thought of as being everything from fancy cars, and python bags, to jet-setting, and indulging in seven course meals. Yet, luxury can just as easily be donning a warm pair of slippers, and pouring a steaming dark roast coffee, to watch the sun rise over the mountains. It is even better if you can sit quietly and listen to the trill, the distinctive woo woo sounds of the Mourning doves.
Whatever your luxuries this holiday season – May you have the luxury of peace of mind. Also, the luxury of seeing loved ones without rigid controls, rejections, restrictions, or conflicts.
Freedom is a luxury now. I hope we can all be encouraged to know our minds are free. We can question things, disagree or agree. We can talk to each other, research, read, observe, and formulate our own opinions. Freedom to think, is the way it has always been.
In so many ways, the battle for ultimate freedom has already been won. We just have to be patient, and carry on like normal people. Who would have ever believed normal would become the new luxury?
I wish all people a normal Christmas, with all the comforts and luxury of love, warmth and acceptance.
We can “safely” acknowledge that no one can cast out, or separate us from the bonds of love that bind a family together, no matter how great the intrusion or abuse of power.
May the downcast be blessed. May the arrogant be brought to their senses, in the midst of abundance and luxuries. May all of our hearts hold love – in spite of it all.
This Christmas wish is for blessings to all polarized people. Unity would be a true luxury. It brings harmony. Harmony can do no harm.
What are ideas, but words given to thoughts and expressions? We are free to undress words before the final stages of system failure – ’cause they don’t freeze, yet they freeze in time. We can examine words for truth, and draw our own conclusions. We don’t have to bury them on the hillsides. We can embrace and share words, as one of the luxuries of living in a democratic country.
Our values are strong. We weather the storms. Love is a constant. Truth is important. And luxury? It is a changing look.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
There is nothing like antique Asian pottery. The fascination for these hand-painted works of art is never-ending. The time consuming aspects of creating artwork on porcelain, is truly mind boggling. Every hand decorated piece, is an original work of art, only instead of canvas, it is painted and glazed onto porcelain.
To most of us westerners without much knowledge of the complex history and masterful techniques passed on from one generation to another, to create such works of art, we still have an appreciation and awe of these items. In fact, Europeans and North Americans embraced the Asian aesthetic long ago.
For certain, the historical periods are confusing to the novice. The pottery/porcelain changed significantly throughout the various eras, conflicts and upheavals. This morning I learned this type of pottery had origins in Korea. The early Satsuma pottery dates to the 1600’s.
Originally Satsuma pottery was made of clay, not porcelain. Most of it was made for the Japanese market, not specifically for export. The early pieces are darker in colour, and less decorative (1688-1704) since they were primarily made for practical purposes in local kitchens.
By 1800 the more decorative Satsuma pieces began to emerge, referred to as brocade or nishikide decorations. These were often simple floral patterns using iron red, purples and a small amount of yellow. It is believed the origin of the artwork was from Kyoto during this period. Later on, they started using a gilding of raised gold or kin-nishikide. During this era, and the biggest difference between these earlier pieces, and the later pieces for export – is that they made use of negative space.
In 1867 Satsuma porcelain was featured prominently in the Paris Exposition Universelle, which was considered a success. By 1873 many factories throughout Japan began painting scenes on blank glazed stoneware. Between 1890 and the 1920’s it is estimated there were more than twenty estsuke factories creating Satsuma porcelain for the western market.
When the market began to focus on export, the interpretation of what appealed to western culture began to emerge. The changes to the decoration went from the simple and powerful use of empty space, to what is known as the horror vacui, or fear of empty space. In Greek the term is known as kentophobia, and the filling up of all spaces with artwork became the trend. This was part of the Victorian era trends throughout the world, and was reflected in European artwork as well.
The pieces produced for export in the late 1800’s are considered by some to be garish, however as fewer of these items are available, the appreciation increases. They are hand painted, gilded, and represent an interpretation of western appeal, specifically during an era where empty space in art was almost non-existent.
The few pieces of Satsuma pottery I have picked up over the years, are rich in colour, glazing, floral motifs, birds, and a variety of delightful imagery, with moriage, which is a special type of raised decoration, outlines, and a distinction like none other.
Although this porcelain changed over the years, it is still a culturally significant, and represents an artistic aesthetic that is distinctively Asian. The techniques cannot be replicated in North American or Europe. The history of pottery and porcelain from Asia is second to none.
In my opinion, the later Satsuma pieces are not garish, but idiosyncratic and beautiful. But then, some of us don’t suffer from the fear of empty spaces!
From 1885-1930’s there was a slump in the export market for Satsuma pottery. In addition to changing trends, it had been given negative reviews by many critics and collectors. In 1893 it was not well received at Chicago’s Exposition. However, it’s appeal did linger for several more years, and it remained an export commodity for Japan throughout the Meiji period (1868-1912).
When compared to the earlier and traditional Japanese artwork, the negative critique on the pieces made for the export market is understandable – because the really high end Satsuma porcelain is not flashy or garish. When examined closely, there are no flaws.
But perhaps, the exaggerations for the export market were somewhat maudlin. Who could blame them for interpreting the Victorian era western culture in such a manner? They brought something into existence that was representative of the time frame. It lets us examine not only the art, but shows us how art captures the influences that lead to change.
Even the later, mass produced export pieces of Satsuma porcelain are increasingly rare, so hopefully they will be taken care of, along with other antique artwork, that carries a rich, inherently beautiful, and very complex history.
We are becoming more cognizant of things like sustainability, reduction of waste, and caring for things of the past. In my opinion, we especially want to care for things that will never be made again. There is no modern substitute for vintage fabrics that are now obsolete. Nothing is made the same now as it was back then.
Things that are made now with lustrous fabrics, stitching, hand painting, fancy needlework, etc. are labor intensive and very expensive. In fact, you can find comparable or better textiles in the second hand market, than you can in high end stores.
Although I have yet to try this idea – it seems quite plausible and easy to figure out. A person could migrate an individual category, create a different website, and sell it as a turnkey E-Commerce site. For someone who does not have product and wants to set up a home based business, they could buy a ready made store and product.
In order to offer unique products to customers all over the world, we have to get things in front of people and find a way to attract them to the online stores. I believe a large store with multiple categories could be turned into a multi-vendor site as well.
Key challenges for E-Commerce start ups. First of all you need a product or service. The web development is really based on basic publishing skills. In the past I did a fair bit of print publishing, mostly satellite image maps. In the late eighties and nineties you had to get typesetting done, then run to another location to look at colour separations, and then back for proofs and corrections.
When it came time to print a map, you had to do the same thing at the printers. Basically be on call to do a press approval when they did the print run. If you made a mistake, it could be printed on a run of 10,000. There was always a focus on per unit cost since the price per unit dropped as the volume went up.
Now, it is much different. You can publish on the Internet for the cost of a host. If you make mistakes, you can delete or change them. The range of colours and fonts is endless. But the basic principles are the same.
I know I am obviously an amateur with regards to photography. But I do think it is very important, and I love taking pictures of beautiful things. I only use window light, so it is a constant challenge to get the detail in reds, as well as to avoid certain background hues. The biggest mistake I see in online listings, is in not paying attention to taking good product pictures.
Even without much photography experience, the item must be shown fully, and without a cluttered back drop. That goes back to the publishing experience. If you are trying to sell something, in my opinion – show that something to the best of your ability. If there is clutter, or different items shown in the photo, it detracts from the item. If someone wants to buy something, they don’t care about the lacy drapes, and dog bowl in the background.
If there is one mantra to develop when taking product photos, it is “do not be lazy”. I must have told myself that a thousand times. I think we have to view online stores in the same way we might view a shop in a fashion district. You do not see things wrinkled, hanging crooked, or partially shown – or it would look shoddy. It is even more important for online collections, because unless you want to backtrack and do thousands of retakes, you have to do your best up front to avoid that.
Central to all of this preaching, is that people in general like to look at something that is aesthetically pleasing. They also need to be able to see detail in the item, so they can verify or authenticate it for themselves.
Vintage and antique textiles, as well as art objects, jewelery, and designer pieces – are a reflection of our culture and heritage. Many beautiful things have been brought to Canada from different countries, especially during the second world war and post war years. Thousands of hours went into the textile art, drawing on the historical and artistic aptitudes of many cultures of people.
It is worthwhile to share. I realize everything is not going to sell. I am also open to offers on all items, and once the store is ready, and the marketing launched – will offer regular sales.
The B2B idea is an idea for a large store to divide and sell a category or two. The concept of creating a multi-vendor site could create a sort of Avenue Montaigne, or Bond Street, Rodeo Drive – type of Internet fashion district.
The creation of an upscale second hand fashion district on the west coast, is quite appealing. We have so many remnants to treasure. It comes from those who have migrated here, and brought beautifully crafted items unique to the era. The online antique and vintage textiles are showcasing some of the artistic beauty in the various ethnic groups. It also serves to highlight a wide range of mid-century fashion houses in Europe and North America.
This idea would go a long way in helping niche market entrepreneurs attract traffic. It would also help the customers find one of a kind things they are interested in. It creates a resource for fashion designers and historians as well. I have had several Universities and experts request the use of images for talks, youtube presentations and other publications. Also – the labels on items are very important. Those labels authenticate, and add to a broader Internet resource for the textile and fashion industry as well. Therefore, it is important to get those photographed as well as any other identifying marks, serial numbers, etc.
Finally, we are returning to a longer lasting, less waste mentality. And with that, we slow down. There are so many things already in existence, out there for the plucking. Some of those things are just practical everyday textiles like t-shirts and jeans, plus a 99% plethora of fast fashion made in China.
But there is a percentage of things that turn up in the second hand market that are absolutely gorgeous. In my opinion, they deserve to be assigned a higher value.
At first I thought, what the heck is vegan leather? In the past it was more commonly known as pleather, or imitation leather, so it is nothing new. The problem with pleather is that it is made out of plastic, or oil based fossil fuels. In addition, it is not biodegradable. There is nothing vegan or natural about it. Who eats plastic? How about a vegan pleather lasagna? Hmmm.
As far as wearing pleather, since it is plastic, it does not breathe, and will stick to you in the heat. It will also crack in the cold. Growing up in freezing cold winters, I recall a comical incident as a kid with an older cousin, who was wearing a pleather skirt. We were waiting in sub-zero temperature for the school bus for at least twenty minutes. When she got on the bus and sat down, her stiff and frozen plastic skirt cracked right in half!
Wrapping ourselves in plastic does not help regulate core temperature. Imitation leather quickly ends up in the landfills, and takes forever to break down. It does not breathe well as outerwear, and does not make for long-lasting, comfortable shoes and boots. Go to any thrift store and you will see a wall of pleather purses purchased on impulse, and discarded just as quickly. Why? Because no matter how you dress it up or try to rename it – pleather is just as tacky today as it was in the seventies.
In addition to being non biodegradable in landfills, it does not make its way into many vintage collections, because it does not age well. It often gets small cracks in the surface over time, followed by a peeling and flaking of the tiny plastic paint-like particles.
Although I have never been a big fan of fur, I do think it is ethical to use the hide of an animal that was going to die anyway. It is a practical way to increase its value, if it is used as a food by-product. When animals are raised specifically for their hides, it becomes ethically a little more grey.
Perhaps the biggest takeaway for us to consider when trying to create a more environmentally sensitive world, is in the need for the reduction of waste.
For a long time, vintage fur was considered ethical to buy and wear. In many ways I agree, since the item is already in existence. Should we really destroy and waste beautiful things that have stood the test of time? I think it is important to preserve them, so those animals did not die in vain. In reality, there are ethical grey zones in all manufactured products. This includes how they were made, how the workers are treated, how the animals are treated, what chemicals are used, what kind of extraction is involved, what kind of environmental impact is involved, life cycle of a product, what conflicts surround the product, etc. etc
Even if everyone stops wearing fur and leather, it does not change the fact that we have been wearing fur and leather since the beginning of time. We cannot eradicate our history and heritage when it comes to what we wore. After all, the outfit is the presentation for so many entrances, photographs and iconic looks from the different eras.
But at the same time – who would go to a public event wearing a full length mink coat these days? At one time, making an entrance with a glamorous full length mink coat – was considered the envy of the masses. Now it is seen as gaudy, garish, and insensitive. But they still need them for Hollywood movies because there is nothing that can truly emulate the real thing.
If no one is going to buy the beautiful vintage fur and leather anymore, I do think fur coats in good condition should be sent to poor northern communities, where the winters are very cold. There is nothing warmer than real fur.
As far as substituting other materials, I think it is better to go the more natural route. I read that certain designers are experimenting with everything from corn husks to pineapple leaves, looking for ways to bond the materials into a natural material for shoes. Ideas like this are more aptly called vegan leather, since the materials are predominantly vegan. Maybe one day we will be wearing shoes from coconut shells!
In summary, as far as pleather is concerned – I have secretly mocked it ever since I witnessed my cousins pleather skirt crack in half many years ago. I bet her gold plastique skirt is still sitting in a landfill somewhere. Pleather does not age well. Leather will last a very long time, if it is taken care of. I would far rather wear a vintage leather coat from the seventies than a pleather one. From a practical perspective, fur and leather will keep you warm and dry, just as it kept the animal warm and dry for its lifetime.
When it comes to emotions and the love of animals, I know for certain that many farmers love their cows. It may sound corny, but it is true. Like humans, animals do not live forever. They have a certain role to play. I believe they should dwell in peaceful pastures, and be treated with kindness, regardless of what they are used for.
In my opinion, from practical, ethical, waste reduction perspectives, pleather is out. It is especially wasteful if used in large garments such as coats. At least with purses and shoes, it is far less plastic, than what is used in a coat.
I would venture to say that leather used as a byproduct of the meat industry, is totally fine, unless of course you don’t eat meat, and don’t want to wear leather. In addition, the tanning and dying of the leather should be done with vegetable dyes and non-toxic natural products, as opposed to the use of chromium.
Canada churns out lots of leather products, mostly using cowhide. Cowhide is a durable leather with a strong natural grain. Cowhide is good in wind, rain and even snowy conditions. If we have to abandon the use of so much leather, I think leather boots should be the last to go. Leather footwear conforms to your feet, and can’t be beat.
I also think it should be okay to preserve and take care of leather garments, and then resell them in the vintage marketplace, so they do not go to waste. I do not think pleather should be a substitute for leather for many reasons – or for any reason. It is important to have these conversations in this day and age of environmental awareness, so designers get off the vegan leather trend wagon.
I believe in natural fibres, and have always gravitated toward things made of silk, wool, cotton, linen, and flax. The natural fabrics will stay alive for a hundred years or more – and if they do end up discarded, they turn back into soil. Most importantly, they retain the intrinsic elements of their natural beauty. Imitation leather does not retain much of anything. Renaming it vegan leather, is little more than a trendy misnomer.
Textile research and development should focus on the pineapple leaves, hemp, corn husks, and other durable options for the creation of green earth clothing. At least natural textiles will go back to the earth from where they came, without polluting the ecosystem for a hundred years or more, like plastic does.
Copyright Valerie J. Hayes and Quiet West (2021). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West with appropriate and specific direction to the original content.
Online sales of second hand goods is experiencing steady growth, which stands to reason since many brick and mortar stores of all kinds are now going online. The sales pitch for those who want to clean out their closets, and turn expensive designer purchases into cash – is an attractive concept.
Consignment sales have many legal and accounting parameters the average person may not be aware of. As a collector myself, I have always stayed away from consignment sales. I found the items were not old enough to be vintage, and often just old enough to be outdated.
However, if an item is authentic and made by a luxury brand designer (not a licensed label made in China and passed off as authentic) – then the chances are pretty good it will retain value, or may even increase in value over time.
But if you have a closet full of stuff to sell, the selling options are limited, therefore consignment might be the option you choose to go with. The consignment contracts are lengthy, and may not reflect the best interests of the sellers. The other thing to consider is the shipping.
Logistically, how are you going to ship a blouse to Toronto, then have them authenticate it, photograph it, list it on their website, go through all the parameters of the agreement with you, and then put a retail price of $50.00? If it does not sell, eight months or a year later, are they going to ship it back to you? That means the shipping cost alone will be as much as the listed retail price, without selling anything.
In addition, the accounting for large consignment stores is an absolute nightmare. The consignment agreement typically specifies a time period to keep the items listed. If they do not sell, they claim they will return them to you. There are various commission rates, based on price or other factors. The consignee or seller does not pay for or purchase the items, yet they take possession of the items, examine, authenticate, photograph and list them. Surely there is significant cost associated with doing so. Managing inventory like that has to be labour intensive and easy to lose track of.
When you factor in the complexity of accounting, the care of inventory, storage, photography, and listing – as well as dealing with customers, potential returns, and the consignor, it could easily be a recipe for disaster.
If you are considering selling on consignment, the main objective is getting paid of course. You are being offered a platform, visibility, and a vehicle for the sale of items. Nothing will sell unless it is put in front of people so they can see it, evaluate it, and decide if the price is right, or how badly they want it, regardless of the price. Therefore, on the surface, it seems like an understandable and rational choice to make, if you have a range of expensive designer items, and want to cash in on those purchases at a later date.
The first mistake many of us make is in thinking the original retail price is a reflection of what the item is actually worth. What you paid, and what it is worth, may be two very different numbers. Some things increase in value over time. Other things – not so much.
In my opinion, the biggest problem with consignment is embodied in the old adage that possession is nine tenths of the law. Does anyone really believe a flailing consignment store, in the quagmire of filing for bankruptcy – will individually package and return all items to the original owners?
This is a topic for lawyers, but common sense would tell us the original owners could easily lose what they have consigned, if the seller goes bankrupt. After all, the consignment store will have other debts to pay. In essence, they end up having possession of a huge inventory they do not own. People tend to take greater care of a business and/or inventory if they actually own it.
The buyer of consignment goods has less to worry about than the consignor, because once the item is sold, there is a legal transfer of ownership. If the item is shipped promptly, it should be fine. But due to the accounting, inventory complexities, and difficulties for large consignment stores to manage it all, means it is guesswork, as far as estimating how long they will stay in business.
If you go to the large Canadian consignment online stores, and are considering selling your goods, you are looking for a platform that does not have one-sided legalese in their contract. Plus, you want to know if they can set up and manage a long term evolving website, since that is their method of reaching the public.
If you walked into a brick and mortar consignment store and saw a disorganized mess, you would turn around and walk out. Yet, there is no way of telling how organized or capable an online store might be. Is there?
One way to tell how organized and user friendly an online store has been set up – go to the website performance site called GT Metrix. All you have to do is type in the specific web address of any website, and it will give you a detailed performance rating.
If a website is fairly new, but carries a large amount of inventory, and scores very low on the GT Metrix analysis – what is going to happen to them as things evolve and get more complex? They are likely to become exponentially convoluted as time goes on. Quite frankly, I don’t think increasing entropy creates a sustainable website model.
On the weekend I compared some large Canadian online consignment store websites. One of them has a current performance score of 27% translating to an F. The other has a score of 35% and also gets an F. It does not bode well for the longevity prospects of those websites. At the time of this writing, the quietwest.com website is over 6000 pages, and has a GTMetrix score of 98% or an A.
When you shop on a site where all inventory is owned outright by the store owner, there is much more flexibility. Prices and shipping can be adjusted. Offers can easily be made and accepted without any legal issues. Any dissatisfaction on the part of the customer can be remedied according to what the customer thinks is fair, and so on.
When dealing with a collector who has invested time and money into their products, without stringent timelines or convoluted accounting requirements, you are dealing with a seller who has flexibility as an integral part of the transaction.
Furthermore, an online store that owns all the inventory – will not go bankrupt. A well designed website requires a great deal of time and effort. When it comes to online sales, the website is a foundational cornerstone for the stability, longevity and resale of quality products.
Most of us who embark on business ventures must persevere through a number of challenges. Those challenges are compounded for women, due to a lack of financing and resources. You have to learn to do most things on your own. Research is the best and cheapest resource.
One major advantage of building and promoting individual web shops, is to expand the niche market. We are saturated with mass produced fast fashion items. It is a breath of fresh air to see some old fashioned quality and attention to detail. The online marketplace can be like an Avenue Montaigne, or Fifth Avenue, if there is enough to attract people.
Online boutiques provide endless browsing, nostalgia, obsolete designers, textiles, and one of a kind items. A collection carries the stamp of the owner in whatever it is we choose to put into our store.
I realize 1980’s ladies suits with big shoulder pads are not likely to sell. At the same time, the exhibit of what we actually did wear then, is so much a part of the arts, culture and fashion of a particular era. The individual design elements of each time frame carry a certain intrigue and attitude. At the time, those big-shouldered jackets seemed to be quite fashionable. Whether we liked them or not, such extremes have to be part of the whole.
Images of vintage and luxury brand fashion creates a resource for those in the film industry, who may have a project set in a certain time frame. One thing about vintage – there is nothing quite like the real thing.
The good news for Quiet West, other than getting an A+ on the GT Metrix performance score, is that I managed to trouble shoot a non-functioning favourite camera lens. It has had an ERR message for at least two years, so I had to switch to a mid-range Sigma lens and set the Nikon fixed portrait lens aside.
In googling possible causes for the error message, I learned the lens is not communicating with the camera. If you switch to a different lens and the other one works, you know it is a problem with the lens, not the camera. Then I read the most likely cause, is a need to clean the camera mounts. Since I have used the lens a lot, it made sense. I carefully followed the directions to clean the camera mounts, but still got the error message.
Anyway, it went back in the camera bag. The Nikon online repair site has a huge long list of things to fill out. So I finally decided to take it to London Drugs. They have a really good camera support and repair section at the London Drugs on West Broadway in Vancouver. I think all London Drug camera departments will send the lens out for repair on the customer’s behalf.
The online repair estimate was high, because of shipping, technical expertise required, assessment, etc. The Nikon 50mm lens is not a very expensive lens compared to most, so it did not seem worth it to spend 90% of the replacement cost to fix it.
One of the amazing things about DSLR cameras is that a $300.00 lens might be as good, or better than a $1600.00 lens. Overall, I do admit to being a Nikon fan, and use a Nikon camera. I would highly recommend the Nikon 50mm fixed portrait lens at the cheaper cost. Not only is it cheaper, it is much smaller, and seems to have more creative flexibility. It is also better than most other lenses in low light. I am no pro, but those are observations based on trial and error in taking product photos.
Just yesterday, I decided to google the error code on that particular lens one more time. Lo and behold, there was more info now than the last time I checked. There was more to it than just cleaning the camera mounts. Within one minute the answer was right in front of me, and I immediately knew it was the solution to my lens problem. So pathetically simple too.
Apparently, on that particular lens, you cannot have the outside aperture ring set at a certain number. Sure enough, it was dialled onto that particular number from experimenting with bokeh imagery.
After doing without that nifty little lens for two whole years, I plucked it out of the case, turned the aperture dial to a different number, and that was it. Job done. Lucky too. I love that lens. It works like a charm!
Hand woven and hand loomed silk, wool, and cotton from India with metallic threads and incredible artistry, demonstrates some of the most beautiful textiles in the world. The following excerpt from the Indian Textile History gives us an idea how rich and interwoven the history of textiles has been throughout India and the rest of the world:
“There is archaeological evidence of a cotton textile industry at Mohenjo-Daro in the IndusValley around 3000 B.C., and a few fragments survive from much later periods. Most of the extant textiles are dated after the seventeenth century, because the monsoon climate has been very destructive to early specimens. The Greeks with Alexander the Great wrote of the fine flowered muslins and robes embroidered in gold they had seen in India. They may also have seen the cotton fiber that grew on trees.”
“Marco Polo left detailed accounts of the people and industries of the coastal regions of India in the late thirteenth century. He mentioned seeing on the Coromandel Coast the finest and most beautiful cloth in all the world-buckrams like the tissues of spider webs, and he observed dyeing with indigo in the great textile center of Cambay and spinning of cotton in Gujarat.”
The maxi skirt in this post is a sample of antique Indian textile art. It is all cotton embellished with a variety of needlework patterns and images. The lining has some quilted patterns as well. I am not sure of the age, but from having experience with other vintage and antique textiles, I am guessing it is seventy-five to a hundred years old.
Beautiful Sample of Antique/Vintage Textile Art From IndiaThe underside of the skirt
More info from the Indian Textile History to explain some of the techniques they use:
“Embroidery is important in India and there are many regional styles. Sometimes it is the work of village women; other times it is done by male professionals. There is a vast difference between the work that reaches western markets and the fine embroidery, important for its symbolism, that was made for the courts and temples of old India.
Phulkari (flower work) is a specialty of Punjab embroiderers. Bright-colored floss silk is worked on cotton with a darning stitch (Plate 50). Phulkari is sometimes combined with the mirror work that originated when blue and green beetle backs were sewn onto wedding garments of the hill tribes of southern India. Orthodox Hindus disapproved the practice and so pieces of mica were substituted. Eventually the mica was replaced by bits of glass or mirrors.
A type of chain stitch is worked with a hook in Gujarat to make birds, animals, humans, and flowers in bold colors. In the valley of the Ganges plant designs are worked in white on soft fabrics using satin stitch, and near Bombay running stitches make delightful animal figures on loosely woven cotton. The cross stitch is popular all across India.”
The shawls of Kashmir exhibit some of the most beautiful needlework and artistry of all time. By the beginning of the nineteenth century the shawls were in high demand world-wide, and their creation involved several different specialties. The wool is combed from the underside of Tibetan and Central Asian goats that are raised in Kashmir. This type of cashmere wool is known to be the softest and warmest wool in the world. Once the wool was gathered, the warp maker was tasked with cutting the yarn into lengths.
Once the yarn was ready, the warp threader prepared the loom. The pattern designer created the design in black and white to begin with. The colourist made the decisions on the colours and thread count, which was written down in a form of shorthand.
The weavers wound the yarn on many different bobbins, taking several days to complete. After weaving, the shawl was turned over to the cleaner who cut loose threads and touched up the needlework.
“Kashmir shawl designs were mostly floral until the middle of the eighteenth century, when they began to take on the characteristic cone arrangements. Cones were rather short and fat until the 1830s, when they became elongated with slender tips. By the 1850s they were almost abstract scrolls. Many shawl designs originated in Europe, and at one time Frenchmen went to Kashmir with the purpose of improving the patterns.
“Famine struck Kashmir periodically, but never devastated the weavers as completely as in the 1870s when the Franco-Prussian War closed the French market and the fashion for Kashmir shawls died.”
My love for vintage and antique textiles does not include any formal education or degrees, therefore I do a fair bit of research to help make up for it. If not for life circumstances, I may have pursued post-secondary education in arts, culture and the history of fashion. However, so much education is online anyway, so I might as well just keep researching and learning. Learning is lifelong – especially when it comes to things from the past.
To some extent we carry certain passions and aptitudes in our blood lines. Our great grandmother, who raised her family on a farm in northern Sweden was a professional seamstress. She had twelve children, and in pictures, looks as prim and put together as can be. Our grandmother had a spinning wheel and loved to spin. It was her zen time. Our mother also loved to sew, and had a strong creative streak.
So here I am with all this collection of vintage textiles. I don’t buy drapes, quilts, table cloths, or any large textiles anymore – but I still love to prowl around, and go to places where I can marvel at the most impressive vintage textiles.
When it comes to cleanliness and stains, I avoid anything with issues unless I can clean it right away. The few things with stains of unknown origin, I keep separate and put away, until I figure out how to deal with them.
The first thing to do is to simply use plain water. Sometimes a superficial stain can simply be rinsed out. Or use a bit of mild detergent with tepid water. The next step is to soak it. The initial steps should be to clean the item without the use of any harsh chemicals.
One of the good things about antique lace is that it can be immersed in water, whereas many other textiles cannot be safely washed. Certain velvets, silks with many colours, brocades, etc. cannot be washed.
Over the years I have made mistakes and ruined a few things. Recently I listed a top from Carsley’s of Canada, which is from the late 1800’s. It has some historical significance in that Carsley’s created the first mail order catalogue in Canadian history, and was the forerunner of the high-end fashion district in Montreal.
The lace on the upper arms of the Carsely’s top has yellowing from perspiration. It has been wet cleaned and UV treated but those stains are still there. Although I have not followed the antique lace treatment guidelines yet, I may do so, and will take before and after pictures to show if it worked.
I have read about many textile cleaning solutions. From bleach, to lemon juice and salt, sunlight, baking soda, vinegar – you name it. But all of these compounds have chemical properties which cannot be taken lightly, or at the very least, must be taken with a grain of salt.
The next thing on my list is to order or find Orvus Quilt Soap. The chemical name for it is sodium lauryl sulfate. As the above link explains, it is often used to shampoo animals. The neutral PH increases the permeability and facilitates a penetration into the fabric that is not damaging or toxic. It is a wet cleaning method.
The most important aspect of Internet research, or any learning for that matter, is to sift through the mass of information, and find what is least toxic and damaging to the textile, since preservation is the goal. To me, the advice regarding the Orvus Quilt Soap, is the best option and makes the most sense.
Now that I have found something to safely clean antique lace and antique garments that can be immersed in water – I will try it and report back.
In 1871 Samuel Carsley opened a dry goods store on Notre Dame Street in Montreal. Following that, the S. Carsley Co. Limited established Canada’s first mail order catalogue in 1882. They are credited with pioneering Canada’s retail mail order catalogue as an innovative shopping experience.
Within two years Carsley’s was shipping hundreds of products, with any order over $5.00 shipped at no charge to the nearest railroad station, up to a radius of six hundred miles.
The top shown in this blog post is labelled Desideratum S. Carsley Co. and has a most interesting and foundational history in the Montreal fashion district. The label on this Edwardian era top, is printed on the protective underarm inserts – of all places.
In 1909 Carsley’s was sold to A.E. Rea and Co. and was soon referred to simply as Rea’s. In 1911 Rea’s was sold to W.H. Goodwin. It became known as Goodwin’s of Montreal. The only known antique mail order catalogue left, is a Goodwin catalogue from the Fall-Winter of 1911-1912.
Goodwin’s was sold to T. Eaton’s in 1925 and underwent extensive and posh renovations, providing six stories of shopping intrigue. Another three stories were added in 1931. Eaton’s increased its visibility with the elegant store on St. Catherine’s Street in Montreal, and introduced a French catalogue in 1928.
This cotton and lace top with pin-tucking and rigid boning, is in very good shape considering it’s age. There is some yellowing on the lace on the upper arms. The waist is very tiny at twenty-two inches, which would have been worn with a tightly cinched corset.
It is a pleasure to present this treasure of bygone days – especially since Montreal is such a gem when it comes to the richness of Canadian fashion, arts and culture.
With it’s princess waist and time frame, it might be called a French-dart-line-top. This shapely emphasis on the waist was a signature of the famous designer Charles Worth. By the late 1870’s to 1880’s this was a most popular form. Given the sizing on the label and type of lace, this top was likely ordered from France. Carsley’s carried many high end imported garments and home decor.
I just located some information about the Toronto based Party Time Fashions on the website called romantic bridals.com. The company was formed in 1961 by Jerry Fisher and his wife: https://www.romanticbridals.com/About/
I found this delightfully complex and romantic dress a few years ago and was not sure of it was a wedding or prom dress. Apparently the company started making prom dresses in the early seventies. This dress is reminiscent of the 1970’s dress styles – with frills, ruffles and bows. These flounced romantic styles look like they belong in a field of tulips.
It is not that I blame China for the coronavirus and subsequent economic woes – since I have been dedicated to collecting items that were not made in China for many years.
The primary reason I chose to do this – is to promote the better quality items from the designer’s original country of origin. In my opinion, it enriches the style of products, retains the artistic flair, and provides a range of products with superior quality, better fabric, and attention to detail. I have stayed away from mass produced fast fashion, as it was clear to me a long time ago, that it is rapidly filling up our landfills.
As a Canadian I wish to shine the light on, and promote Canadian fashion designers, since they are rich in history, and as talented as our European fashion rivals. Our best designers come from Montreal and Toronto. Even though Vancouver and the west coast is distanced from our large Eastern cities, so much that at times it seems we have little in common – we do share some of this rich Canadian heritage.
It has been a real pleasure to collect vintage items that were made in London in the sixties, and Japanese kimonos with their beautiful silk fabrics, alongside gowns made in Paris, New York and Montreal.
The more contemporary made in China labels just never got my interest level up, to where I would want to put it on a mannequin and take multiple pictures of it. I view that as a waste of time.
Recently I sold two original vintage Leo-Danal dresses to the daughter of the original designer in Montreal. I was thrilled to get some more history and background on the designer, and she, a prolific artist and painter – was delighted to find these gems that are a part of her own artistic heritage.
The only items in the Quiet West collection that are made in China – are the vintage items made in Hong Kong with detailed bead work. These include hand beaded purses from the fifties and a stunning hand sequinned Gene Shelley dress from the sixties. Things made in Hong Kong in that era are exempt from the general rule of thumb, since they are not mass produced or labeled made in China.
More than ever – it is worthwhile to choose quality over quantity and things with long lasting value versus things that quickly end up in the land fill.
If you want to shop for Canadian made products or for items made in London, France, Italy, New York and Montreal – you have come to the right place.
Please check back for some more history on exceptional mid-century Canadian designers. Some things are worth going back to.
: the clothes created by coutureFor them, buying French couture has become a status symbol, something to rack up along with their brand-new BMWs and their hacienda-style villas …— Vogue
The Vogue quote taken from the Miriam Webster dictionary gives a subjective definition, but it still leaves it to the imagination. Does it include ready to wear? Is it high fashion from certain places only? Is there a difference between couture and haute couture?
The real couture refers to clothing that was essentially commissioned from one of the famous couturiers, similar to any other work of art. The term haute couture means high dressmaking, high fashion, or high sewing. The work is done by the most experienced and capable dressmakers, made by hand, using opulent fabrics, trim and needlework. The garment is often created in consultation with the client and is custom fitted.
In France, the term haute couture is a protected name and can only be used if the fashion house adheres to strict standards. The original and famous haute couture in the nineteenth century is credited to Charles Frederick Worth in 1868, with rare and coveted pieces in high demand among serious collectors. Few garments in the modern era are made with such lavish decorations and attention to detail. Although Worth made the concept famous, haute couture dates back to the seventeenth century Kings and Queens, specifically Marie Antoinette who had her own private dressmaker.
In 1930 and again in 1945 the description of haute couture included the following criteria: made to order with one or more fittings, atelier employing a minimum of fifteen full-time staff and twenty technical staff, and a presentation to the public of at least fifty original designs each year.
Today there is a list of about twenty members on the official French list. Those considered to be in the high fashion or couture category are famous designers such as Chanel, Dior, YSL, Schiaparelli, Courreges, Jean-Paul Gaultier, Thierry Mugler, Patou, and several others. Made to order clothing is far less common today than it was a hundred years ago since it is so labour intensive, the profit margins are reduced, which also reduces the incentive to do custom orders.
There was a time when it was very trendy for wealthy women to order a haute couture dress from a Parisian dressmaker. However as time has gone by and most garments are sold pret-a-porter, which means ready to wear as opposed to made to measure, true haute couture is now quite rare. The more common pret-a-porter label applies to designer clothing made by famous designers, and is often a sub-title on the garment label.
As it is with other subjective terms, haute couture can refer to a made to measure garment from a well known or famous atelier. If the item is made in France, they have specific criteria to be met by an organization known as the Chambre Syndicale de la Haute Couture with a list of official members. With more stringent legal parameters France provides us with the history of the term, the original outlines, and the closest definition.
In other countries the definition does not have legal parameters, therefore the reputation of the designer, attention to detail, workmanship, originality, and overall quality are the things to consider. Almost all famous designers have a range of ready-to-wear clothing with some fairly casual items and others that are very expensive and detailed. For example you can find vintage Alexander McQueen or Thierry Mugler dresses ranging from a thousand dollars to twenty-five thousand, so prices can vary widely.
High end designer clothing that is not made to measure could be called couture instead of haute couture, meaning it is ready to wear, and made to very high dressmaking standards, with attention to detail and hand finishing. Perhaps it is more accurate to claim an item is couture quality, when describing well made fashion pieces. Although the term is often misused or misunderstood, when it comes to high fashion – it is generally not one to be used or worn loosely!
The following pics show some close-up examples of vintage needlework and detailing in fine garments.
Chanel Evening Top With Sequinned Detail 1990’s1950’s Fine Embroidery On A Skirt & Top Set1960’s Mike Benet Gown With Satin SkirtDistinctively Yours 1960’s Pleated Smock Dress – Canada1950’s Priscilla Of Boston Linen Dress With Embroidery At WaistThe Under Side Of A Trimmed KaftanJacquard Kaftan With Hand Stitched Trim & Tiny Buttons
London in the sixties and seventies brought us some of the most incredible fashion pieces – outfits that matched the arts and culture of the time. Alice Pollock was a London fashion designer and retailer who opened a boutique called Quorum. She teamed up with fellow designer Ossie Clark and featured other up and coming designers. They brought together an eccentric and creative group of designers and flourished. Their fashion shows were known for visual extravagance and theatrics.
The boutique was opened in 1964 and went strong until the 1970’s. Celia Birtwell was part of the partnership as a textile and fashion designer, known for her bold styling and attention to detail. In the late sixties they adapted to another look when the designs became more subtle, and mini skirts were replaced with maxi skirts. Tragically, many years later in 1996, Ossie Clark was stabbed to death by a former lover.
The Alice Pollock blouse featured in this post is part of the Quiet West collection. It is made of a rich creamy sunglow coloured synthetic fabric with a deep crinkling throughout. The style and attention to detail is quite remarkable. It has covered buttons down the front and on both sleeves. The most distinguishing feature of this blouse is the collar.
There is an old adage referring to sterling silver as being the “poor man’s gold”. But for such a title, sterling silver could not be described as the next best thing to gold, because there is such a difference between the two. Regardless of the huge difference in value, there are many reasons to choose sterling silver over gold.
Sterling silver lasts a long time and cleans up beautifully. Whereas in my opinion, the thing to avoid is gold and silver plated jewellery, because over time the plating wears off. Jewelery should not turn into junk within ten or twenty years. As a matter of fact, fine jewelery – if taken care of should last forever. For example, the new Hermes bracelets are plated with platinum, which is not a good deal for seven or eight thousand dollars each. They will not stand up to the test of time.
Sterling silver is a more relaxed medium for artists, allowing creative freedom in the design, to include clunky and large pieces, and best of all – the extensive use of coloured gemstones. You don’t see that in gold jewelery very often.
The modernist lines, open work, and carving in some sterling silver, is quite remarkable. There is time-consuming finesse in the workmanship involved. Sterling silver can be worn with any outfit, from casual to ballroom. From bold and heavy to delicate and cascading, it can be matched to the style of an outfit and the personality of the wearer. It does not have the look of being overtly gaudy or ostentatious – yet there is enough pizzazz in some of the designs to turn heads.
For a fraction of the cost of gold – you get artistic workmanship second to none. Personally I would rather buy a unique artisan sterling silver piece of jewelery over and above a platinum plated Hermes bracelet any day, regardless of how much money I had to spend.
Therefore in my humble opinion – the oxymoron in the old gold adage, is that the gold plated jewelery is really the poor woman’s gold, even though it might be very expensive.
And sterling silver? If it is well crafted, nothing beats it for everyday wear. For special occasions – there are some sterling silver gemstone statement pieces that can rival any other jewelery design or materials.
The silversmith world is full of master craftspeople who exhibit endless creativity and lasting value in the pieces they compose. In truth, there is no other metal with such an illustrious history of design.
I’m writing this early in the morning, and am not thinking too much about wearing either silver or gold. But the latest song I have enjoyed playing and singing, is the Emmylou Harris song called “Gold” from her “All I Intended To Be” album. The chorus line “No matter how bright I glitter, baby – I could never be gold…” Makes sense to me!
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
What is to love about this dress? It has so many features to praise. The fabric is a deluxe black silk velvet, top and bottom – contrasting with a crispy silk taffeta for the centre part of the skirt. It has a subdued shoulder definition, more like dresses from the forties, as opposed to being eighties or nineties. It is most likely early nineties. It does not have the original belt, so I decided to photograph it with some different options to see which one looks best.
In addition to a nicely defined shoulder and neckline, giving a perfect balance to the hips, the accents on the dress have an Edwardian touch. There is ruffled plisse trim on the cuffs, hemline, and also accenting the bottom velvet portion of the skirt. The skirt itself is lined and has a hint of the French bouffant silhouette.
This obscure Canadian designer deserves much credit for the creation of such a beautiful dress. The only other one by this designer I could find is a 1960’s empire waisted floral maxi dress (also gorgeous). It would seem this Montreal designer peaked between the sixties possibly up until the early nineties. It is a pleasure to share this beautiful and timeless dress.
The Inside Passage Map is a soulful and romantic map integrating cartography, poetry, visual art, historical research, inspiration, nature and different cultures of people.
A unique portrayal of the west coast has been created. The goal was to create a beautiful collector’s map with a diverse range of information and ideas.
At the heart of the map is the desire to bring recognition and appreciation for the power and harmony within lyric poetry – by bringing it to you alive – as art.
Points of Interest
The Border – Intricate and full of detail, the design alternates between panoramic west coast scenery and flowers, with sea life weaved in between. The decorative cameos, which are centered in the border, contain ghosted flowers and verse. This tiny poem is referred to as the “rhyming riddle”. If you follow the rhyme of each line within each cameo, you will be able to figure out the correct order of the verse. It was originally written as a twelve-line poem. It captures the overall theme and design of the map.
The Legend Box – The legend box gives the title and the main poem, which together, create a parallel between both the outer and inner conditions that we face in our lives. The third line of the poem refers to tragedy and death (swallows sleep). Wind O’less means windowless and refers to the inner person. Inside of ourselves – unseen by other people, the waves of emotion, the cycles of despair, and contractions of grief are compared to the waves of the ocean in force and rhythm. The Inside Passage poem was born of this understanding. It is a sequel to grief-written poems called Lunar Tunes and Window Pain.
The Quiet-West Crest – The bottom center of the legend box is a crest designed to visually express the profile and goals of Quiet West Publishing. Firstly it contains a scrolled map to represent the historical BC coastal collector’s map concept. An open book contains reductions of actual stained glass windows with images of ladies wearing brimmed hats. Above the book a paintbrush and pen are crossed, combining the literary and visual arts. The rising sun represents the hope we have for each tomorrow.
Cartouches – The eagle, sighted frequently along the west coast is shown flying down to her nest and represents responsibilities to future generations. The bear, shown to the left of the legend box, is near Tatshenshini – Alsek Park. This region, which is home to countless species of wildlife, is one of the most important protected wilderness parks in the world. To the left of the compass rose, there is a scene depicting trade between the European and Haida people. The costumes, along with the illustration of the Haida settlement in the background are historically and culturally representative. The Nuu-chal-nuth people are featured in the whaling expedition scene. This dramatic cartouche was placed in close proximity to Quatsino Sound, the historical whaling harbor on northern Vancouver Island. The face in the wind represents the stormy and treacherous conditions on western Vancouver Island and the Olympic Peninsula. Cherubs hover over the globe to show the location of the Inside Passage and to represent a stylistic feature commonly used on seventeenth century maps.
The Compass Rose – The interesting and elaborate compass rose design was created by placing a borrowed seventeenth century brooch on a hand-made European lace doily. The brooch was brought to Canada by Scandinavian war bride Elinor Thun. She wrote the description as follows: “This particular brooch is more than eight hundred years old, and came from a western fjord in Norway at Siem, near Bergen from the maternal side of my family. It is known in Norwegian as “solje or kappe-brosje”. Brooches of these types were used by men and women to hold their capes in place. Jewelry of the day was worn as an expression of wealth, and would sometimes be given as gifts from one king to another. The Vikings were great travellers and the designs show an eastern flair which would eventually weave itself into the culture of the Norse-lands.” Elinor Thun Ueland 1994.
Cartography – The map was created by using an extensive amount of historical reference material, by translating poems into images – and by merging art with technology. Land contours and shoreline details were carefully blended to create emphasis and depth. Mossy greens, white mountain peaks, rich earth tones, hand lettered names, and locations of notable shipwrecks bring harmony and intrigue into the map.
Whether your interests are philosophical or artistic, this map demonstrates originality and lasting value. It is a truly great work – to honour one of the most beautiful places in the world.
Measures 24″ x 36″.
Created and Published in 1993 by Quiet West Publishing & Marketing.
Purchase on this website for $40.00 each + Shipping. It can be found under Categories – Accessories Art Objects. Two for $35.00 each. For wholesale prices contact Valerie at quietwest@yahoo.com.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
These awesome Cynthia Rowley lambskin trousers are decorated from the knees down in a vivid floral brocatelle fabric. Bright enough to create a buzz around bee-ing so evocative and animated in these “dancing garden digs”. Check them out!
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Every Surrey Classic coat I have come across was beautifully made, with unique buttons, contrasting lining, and luxurious natural fabric. In some cases the designs reflect our Canadian conservatism. I guess being Canadian, I might have seen more of them than the average person. I assumed they are well known, but after checking on Google a few times, I cannot find the designer history (so far).
From memory, based on what I have seen over the years – I am guessing they were making coats from the late fifties until the late seventies. Many of them are camel hair or cashmere wool blends, and often in subtle, neutral toned plaids. But in the sixties they did a series of stylish cotton velvet coats in bright colours – to include hot pink, cerulean blue, indigo and purple. Below is an example of one of their velvet classics – a double breasted hooded design. It looks like a good, all-season dress coat for Vancouver’s west coast weather!
It features a square cut hood that hooks up at the neckline, adding a practical and coveted detail, as it prevents the hood from blowing off while walking against the wind and rain. The buttons are open with small, square, lucite inserts. The back has a wide half belt as an accent, to offset the slight gathering and flare of the skirt. Best of all – it is in a rich and absorbing African Violet colour – certain to be a head turner, like walking in full bloom!
This silk kimono features a mountain scene with people – some walking, and others on donkeys or horseback, others with carts, as they wind their way down the mountainside. The scene is on the back of the kimono only. It is in a dark grayish-green base colour, with other muted blues and some luminescent colours blended into the grandiosity of the mountain scenery. Underneath the main image – there are abstract looking gold tone trees, giving an appearance of being uprooted and blowing in the wind. It is lined in a muted, lighter coloured silk.
Thankfully it has a label dating it to the Shirokiya department store in Japan somewhere between 1903 and 1940’s. It looks to be twenties or thirties to me. The store burned down in the thirties. Apparently the women in the building on the upper floor did not want to jump because they wore no underwear underneath the kimonos. As they looked down upon the growing crowd of onlookers – they could not bear to be so exposed. The story might be myth though – however widespread. Regardless – it led to a surge in the sales of western undies and pantaloons!
After doing a little more reading – this kimono would be from the Showa era 1929-80’s placing it in the thirties or forties, based on the label and artwork. Once you examine the imagery on this kimono – and then compare it to the earlier period kimonos depicting wealth, stability, prosperity and brightness – you can see this one has a more somber tone. Instead of having bright floral scenes and birds – it shows people leaving an area. It represents being dispossessed as opposed to being carefree, happy, stable – and able to demonstrate the artistic elements of a fanciful existence. There are no signs of light-hearted whimsy on this one. They are not chasing butterflies.
In looking at the political time frame that brought about the upheaval – it makes sense. This kimono would be from the thirties or possibly the forties – as displacement and unrest became increasingly prevalent in Japan, and the rest of the world. Nevertheless – it is a poignant and beautiful scene. Whatever emotions reside in the human spirit – will be expressed in the art of the time period. It is a deftly transposed reflection of their experience – and the overwhelming power that looms larger than they are. It creates a majesty all around them in the mountains as they weave their way to a destination on a downward journey.
It is a depiction of just one stream of humanity in our human history – as they were caught up and swept along by external forces beyond their control. It is another reminder, as we approach this Remembrance Day weekend – that peace and democracy has great value to all of us, regardless of what culture or historical time frame we come from.
With a voice, boots and a guitar – this would be a great outfit for a Western or Bluegrass performer in any era. If this outfit could sing – she would sound like Emmylou Harris!
Cape Like Top With Studded Pattern & Patterned Cut & Stitching
The 1950’s dyed wool felt poodle skirts have been copied many times over the years, using a wide variety of different fabrics for both the skirt and the appliqués. They were especially popular among the swing, rockabilly and jive dance enthusiasts. The original ones are easy to spot, as they demonstrate a stand-alone authenticity. The real ones have been few and far between in vintage circle (skirts) for a long time, probably since the seventies. The reason they are so scarce is likely due to the difficulty in cleaning this type of wool. It is prone to all things that make one shudder – such as shrinkage, moths, and stains that become embedded into the fabric. To make matters worse, the colour will immediately begin to bleed out when immersed in water (death for the dogs!). I have seen a few poodle skirts over the years, but mostly they were in poor condition. This is the only one that has made it into the Quiet West collection. I love the way they managed to make the dog’s hair and tail so distinctively curly on the appliqué!
Trifari became one of the world’s most recognizable names in collectible costume jewelery. Italian immigrant Gustavo Trifari founded the company in New York City in 1910. In 1930 Alfred Philippe joined Trifari as the head designer. Prior to joining Trifari, he had been with Cartier and Van Cleef & Arpels. Phillipe preferred using individually hand set imported Swarovski crystals. Similar to mid-century Ciner and Panetta jewelry – the designers first worked with precious metals and gemstones. When the glamorous era of the thirties caught on – the objective was to make costume jewelry of such a quality as to mimic the real thing.
After the war Trifari developed their own type of base metal called “Trifanium” . During the fifties and sixties the company continued to grow and thrive in the business of ritz and glitz glamour. In 1968 the legendary designer Alfred Philippe retired. Andre Boeuf (also previously from Cartier) became a lead designer. During the seventies notable designers Kenneth Jay Lane, Kunio Matsumoto, Marcells Saltz, and Jean Paris created designs for Trifari.
Trifari remained a family run business until the early sixties. It was sold to Hallmark in the seventies, and then purchased by Chase Capital (Monet Group). By 2000 Trifari was sold to the Liz Claiborne Corporation and moved production overseas. Certain luxury vintage costume jewelry will occasionally be unsigned (such as Chanel, Weiss, Sherman and some unknown early and mid-century master craftsmen and designers). One little known fact to share about Trifari – is that their pieces are always signed. The patent numbers and corresponding dates can be researched on Google.
The following are a few examples of Trifari jewelry in a range of dates prior to 2000.
Copyright Valerie J. Hayes and Quiet West Vintage (2017). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
The French designer Rodier has maintained a certain obscurity or subtlety over the past century. But once acquainted with some of their product, this brand is worthy of accolades for its long tradition of excellence in knitwear.
The House of Rodier was formally established in France during the mid eighteen hundreds. With a primary focus on knitwear, they began redesigning shawls of the Kashmir, which brought them acclaim for their creative divergency. The elaborately decorated shawls from the late eighteen hundreds through to the twenties, created stunning examples of the arts and culture of the time.
During the 1920’s and 1930’s Rodier assisted Jean Patou as he embarked on his career in fashion design. They also redesigned a fine knit jersey commonly used in undergarments, which was later made famous by Chanel. The looms of Rodier attracted much inspiration from other cultures. Like a laboratory of looms, they experimented with a variety of fabrics to include spun rayon called senellic. Some articles claim Rodier made sweaters for Chanel, Patou, Lanvin and other luxury brands during the post war years. Since inception – they were central to the “sweater and knitwear source” coming out of France.
Rodier created its first ready to wear line in 1956, and like all luxury brand companies has gone through many changes over the years. In the 1980’s they did an expansion with a focus on the US market. Over the following decade they spiced up their line and sold to multiple luxury boutiques.
As the century came to a close Rodier opted to do a number of licensing agreements. Alas, the tradition of excellence may now be compromised, which makes the earlier Rodier knitwear as distinctive and coveted as it was during Napoleon’s reign.
Below are some pre-millennial examples of Rodier sweaters:
To sum up the Canadian Designer Celebration mini series, a high percentage of Canada’s best mid-century designs and designers, have their roots in Montreal. The more I delve into the collection, and the labels – the more I realize how much of our great fashion history can be credited to Montreal. When it comes to fashion, the French do not disappoint. Toronto as a second runner-up, retains a mid-century vibrancy, with its legacy of notable designers.
The Montreal designed little black cocktail dresses from the sixties, are as sleek, and as wearable today, as they were back then. The hallmark of a great designer, is in the timelessness of their creations. I will happily share some exclusive examples…Starting with a late fifties, or early sixties Irving Nadler lace cocktail dress with a cape style top.
Irving Nadler, Montreal Late 1950’s or early 1960’s Cocktail Dress
The next 1960’s little black dress from Montreal is aptly labeled – After dark Cocktails.
After dark Cocktails, Montreal 1960’s black halter dress.
Another Montreal classic little black dress, 1960’s black velvet, with gold piping at the waist. This one has the musical label – Beau Time Melodie Frocks.
An impressive 1950’s full circle skirt by Montreal designer Val Hughes.
To end the series on a brighter note, this very artistic, abstract printed silk skirt, is labelled Cocktail Montreal. Thanks to these fabulous and talented designers of the eras – they put Canada on the runway, when it comes to mid-century chic.
Madame Runge was an upscale retail shop on South Granville Street in Vancouver, from the late thirties until the seventies. I believe most of the clothing designs they carried, were commissioned and made by Montreal designers. Some of the examples are; Harold Taub For Madame Runge, Silverworm For Madame Runge, Gerson For Madame Runge… Regardless of the different designers, vintage clothing with Madame Runge labels are of exceptional fabric, style and quality.
The last image in the post, is a 1960’s double breasted green wool coat. It shows both the Madame Runge label, as well as “Styled By Gerson Inc. Montreal”. Although Madame Runge was based out of Vancouver, it is a rarity now, to come across the label in Vancouver.
The first dress and coat set in this post has been in the Quiet West Vintage collection for about thirty years. The green silk fil coup dress below it, is a more recent purchase. One thing for certain, Madame Runge labels are, and always will be, sought after and treasured by vintage clothing connoisseurs.
Madame Runge Dress & Coat Set
Madame Runge Dress With Ruffle & Trim
Madame Runge Close Up Buttons & Trim
Madame Runge 1970’s Silk Fil Coup With Plunging Neckline
Madame Runge 1960’s Double Breasted Wool Coat Co-Labeled Styled By Gerson Montreal
This exceptional 1980’s Wayne Clark Couture dress, is made of layered silk chiffon, with rhinestone embellished lace inserts in the bodice, and sheer balloon sleeves. The dress has rows of satin piping down the length of the skirt, satin cuffs, and matching trim on the bottom layers, of an asymmetrical hemline. The back is open, plunging to the waist, and ties at the back of the neck, with a dangling satin ribbon.
For those who love the floating and fluid movement of a silk chiffon skirt, and being well covered; in a pose to behold. Those watching your back, will know… A Wayne Clark dress – is worth its weight in the folds!
Gustave Sherman of Montreal made costume jewellery from 1947-1981. The company logo was “made to last a lifetime”. He sourced out, and used the highest quality Swarovski crystals, and set very high production standards. The backing on Sherman jewellery is heavily rhodium plated, japanned, or sterling. The stones are brilliant, cut with precision, into narrow marquise stones, with cluster elements, and stunning designs. Sherman jewellery lasts to this day, and will last much longer, therefore the jewellery was made to last more than one lifetime.
Sherman jewellery has always been recognized as high end costume jewellery, and was sold through luxury retailers and jewellery stores. The jewellery continues to be highly collectible. Certain pieces, in particular full sets, and the colour Siam red, command high prices, and have set off bidding wars on Ebay. Gustave Sherman passed away in 1984. His legacy, and commitment to the highest standards in craftsmanship, has left us with sparkle and shine – to wear and to admire, for many years to come. From the Quiet West collection, the following are some fine examples of the lasting quality in Sherman jewellery.
Claire Haddad: Born July 17, 1924 – May 17, 2016. Her bio states she is “an Order of Canada recipient, and fashion designer to the stars”. One of her dresses was on the front cover of Vogue magazine in April 1966, worn by model Veruschka von Lendorff, and photographed by Rubartelli.
Based out of Toronto she was known for creating eclectic lounge wear, and luxurious high fashion sleepwear from the early sixties until the eighties. She was forward thinking enough to envision loungewear, worn as elegant evening attire outside the home.
From the Quiet West collection – it is a pleasure to share a fabulous 1960’s Claire Haddad kaftan featuring a desert scene on a vivd background of electrifying colours, which was so hip in the sixties. The trim is black, loopy cord, and outlines the neckline downward to the V opening on the front. The trim changes into looped cord buttonholes, for small, rounded black buttons. The two front slits and sleeves are also accented with matching trim. The overall portrayal is so sixties trippy – of swaying, shocking pink palm trees – and camels heading into a psychedelic oasis. It really is brilliant!
The reality is that most luxe brands are now outsourced to China, India, Tunsia, Sri Lanka, Romania, Turkey, Bangladesh, and so on. In many cases, the label will have Italy or Paris written on it, but the fabric content and care label, will give the real country of origin. Items without a country of origin label; can be assumed to be outsourced, unless they are authentic vintage, and the item holds up to scrutiny in the textile, workmanship, and design.
With years of experience, in looking through racks of second hand clothing, the country of origin can often be recognized without even looking at the label. One of the rising values in the spectrum of the vintage fashion market is that – it is fast becoming the only place one can buy authentic luxury brand fashion items, from the original country of origin. Regardless of advertising to the contrary, there are inherent differences among the countries:
Canada & UK – tend to manufacture clothing of good quality and materials, however the style or design, often leaves much to be desired. Both countries have turned out some awesome luxury brand designers such as Frank Usher and Mulberry in Britain, and Claire Haddad and Wayne Clark in Canada. However, the frumpy, conservative and stodgy – is definitely in with the mix.
USA – with New York as a global fashion hub, the US has turned out many luxe brands, with vintage hats near the top of the list. Similar to Canada and Britain, there is generally good quality and workmanship, with some fantastic designs, and others to pass by.
China, Sri Lanka, Bangladesh – for the most part, the clothing is flimsy, fast fashion.
Japan – turns out the most beautiful textiles, with the kimonos being works of art. Textiles made in Japan, are not that common, but in my experience, tend to be of good quality and construction.
India – with a rich history in textiles, turns out the most beautifully embellished fabrics, using beads, embroidery, tiny mirrors, and appliqués, often on vibrantly coloured silks. The clothing is usually casual, like the summertime free flowing dresses and skirts, so commonly seen. The problem is – so much of the clothing from India, does not have proper closures. If they do, they may not line up quite right. In my opinion, it is like there is greater focus on the textile, than there is on the garment construction.
Switzerland & Belgium – are at the top of the list when it comes to cost of labor. Dries Van Noten is a luxe brand originally from Belgium, and now outsourcing to India. I have items from this designer, from both Belgium and India, and do notice a difference.
Germany – has made luxe brands such as Louis Feraud, and Escada (originally made in Germany, now made in India) and several other well known brands. They tend to make quality clothing, with some great historical designers, but with a tendency (like Canada and the UK) to maintain high values for quality, practicality and common sense.
Australia & New Zealand – are also very high in labour cost. Similar to Canada, and Britain, they tend to make clothing of good quality and workmanship. I seldom come across things from Australia and New Zealand, and have only picked up a few items made there.
Italy & France – I concentrate on finding clothing made in Italy and France especially, and would estimate less than 1% of items in the second hand market are made in France. There are a half a dozen French labels I don’t buy when they turn up, such as Morgan de Toi and Copine. Some of the Italian labels are also categorically not worth buying. But, for the most part, the best clothing items, superior in fabric, quality, design and workmanship – are made in Italy or France.
In summary, Italy and France can never be displaced, or replaced – when it comes to the innate and historical savour-faire in the soigné circles!
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Alexander McQueen committed suicide in 2010, at the age of forty. His suicide was on the heels of his mother’s death. Their funerals were just two weeks apart. In the following year, many accolades were given to him, through exhibits and the media. He had illusory visions, translated into designs for movies, celebrities, and most notably – incredible theatrics for his own shows.
The New York Metropolitan Museum of Art did a tribute to Alexander McQueen in 2011, in a show titled Savage Beauty. The exhibit turned out to be the most popular exhibit ever held at the New York Metropolitan Museum of Art. When it was over, there was a public rally to reopen it. When I read about the show, and looked at some of his designs, I associated it with this unique Alexander McQueen silk fox scarf. It is so alive, and life size – it looks like the hair of the fox stands up, three dimensionally, and like his eyes are looking up at you.
In putting together a designer collection, and learning a bit about the lives and history of some of the famous designers, it becomes apparent; there is often a tragic correlation among them, similar to the music industry. The most talented, have a window of time, where they step out and shine. Briefly, the conditions are optimal, to work on and share their talent – and eminent creativity. Then, tragically, they are gone. From plane accidents, to overdoses and suicides, their lives are cut short. As it so often is with human nature – the recognition and appreciation after they are gone, is greater than when they were here…
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
There will always be artisans and master craftsmen who make beautiful jewelry. The biggest difference between today’s costume jewelry makers, and the early mid-century jewelry makers; is that, jewelers like Ciner, before he started making costume jewelry, was a designer and master craftsmen, who made fine jewelry using precious metals and gemstones. He was not just artsy – he knew the trade, and the commitment to task required to make high quality jewelry.
Emanuel Ciner started his jewelry making company in 1892 in New York City. In the thirties and forties, when glamorous costume jewelry became the craze; Ciner, along with several other fine jewelers (such as Panetta and Marcel Boucher), started making jewelry to emulate the real thing. They used designs and production standards on costume jewelry that is equivalent to settings in platinum and gold, replacing diamonds and gemstones with exquisite Austrian Swarovski crystals. The faux pearls were developed in Japan, using a fine nacre-like glaze, set in multiple layers, over glass beads – thus replicating the lustrous sheen of real pearls.
This level of quality and finery in adornment, attracted the celebrities, who loved the glamour and the spotlight. Ciner continues to make jewelry to this day, but apparently the vintage pieces, in particular, the necklaces, remain the most sought after by collectors. The necklace in this post was made after 1955, and is fairly heavy. The pieces in this post are most likely late fifties and early sixties.
Ciner Dramatic Mid Century Ear Clips
Ciner Ear Clips 1950’s or early 1960’s
Ciner Gold Tone Bamboo Patterned Necklace – Signed
As with many brand names, there is now an I. Magnin, making licensed product, using the I. Magnin name, without the Co. at the end, and without the same level of quality. Due to mergers and takeovers, it was bought out by Macy’s, who now uses the name or trademark, for a house brand of clothing. The original I. Magnin & Co. was a department store started by an enterprising couple in the late eighteen hundreds in San Francisco. After the earthquake and fire in 1906, the couple managed to keep the business alive by selling product out of their home during the period of rebuilding.
By 1912, the company had secured several retail locations in high end hotels. They expanded from there, creating a large, luxury brand department store footprint in the west. One of the most notable locations (they moved into in 1948) was in Union Square, and was referred to as the White Marble Palace. Once in the high end market (from 1912 on), they began importing the latest Parisian styles, attracting a growing and upscale clientele. The earliest I. Magnin & Co. items will have “Paris” or “Imported” on the label. They focused on couture, and bought from designers such as Christian Dior, Lanvin and Chanel. This was during a time when these designers were keen to get into the North American market.
The I. Magnin & Co. also designed and made luxury brand clothing in the U.S. The following link shows the many locations, and how much they expanded during the post war years:
The hat featured in this post is a gem from I. Magnin & Co. when they were still at their peak, in the Fashion Square concept that was started in 1944, following a merge with Bullocks.
The dress featured in this post is an earlier I. Magnin & Co. Imported dress. As an educated guess, I believe it is a 1930’s or early 40’s (pre-war) full length Lanvin dress with a softly draping, very wide full skirt, in a fun-ky fruit like print, with a matching hood! It’s gorgeous. The following link is a good article on the history and background of Lanvin:
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Featuring French couturier Roger Freres – a stunning late sixties or early seventies formal gown, made of a most unique and decorative textile. The fabric resembles blue and white string, wound and looped into a lace-like theme pattern. It may be described as macrame or guipure – but is not like any other fabric I have seen. The material and design is enhanced with a concentric floral motif to accentuate the hemline, bodice and sleeves. The patterned, open weave fabric is draped and fitted over a thick ivory satin – which makes the dress fairly heavy.
When I bought this dress, I was fascinated by the fabric and design, but was not familiar with the designer. I soon learned that vintage Roger Freres dresses are a vintage rarity. The few I have seen in doing research on this designer – are listed on 1stdibs. Each dress is exquisitely unique – made with the highest standards and most incredible fabrics. Check this one out and see for yourself – if you have ever seen anything like it!
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Pate de Verre is an art glass technique where a mix of molten glass and enamel is poured into a gold dipped frame. The method was first introduced in Paris by Maison Gripoix in 1869. The process is delicate and time consuming, however, the results are quite stunning. The jeweler has many options – such as adding a subtle opalescent shimmer, in a dynamic range of colors. Each component of poured glass encased in a gold frame, is treated as a gemstone – and polished to smooth perfection.
The Chanel Pate de Verre earrings in this post are an impressive example of poured glass artistry. They have individual flower petals, in perfect symmetry – encased in the miniature gold frames. As an extra touch – each earring has a tiny gold Chanel logo on one of the flower petals. The additional ingenuity of the design, is in how they dangle. They consist of smallish gold hoops with a rounded stopper at one end. The three dimensional Pate de Verre flowers slide onto, and dangle from the hoops.
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Certain designer labels seldom turn up in western Canada’s second hand clothing market, with London’s Rhonda Zilkha being one of them. I have found one item so far with her label. When I started researching her history, I was surprised to see the list of celebrities who wore her designs, in particular Princess Diana – because she was consistently gracious and model-like in the way she dressed and carried herself.
Ronit Zilkha’s story in the link below, provides us with an honest and poignant insight into the fashion industry – as she gives a detailed description of the rise and fall of her own label:
Below is a black maxi skirt with a front slit by Ronit Zilkha, likely from the nineties:
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
In 2013, the founders of Marni Knits in Toronto, retired and closed shop after more than fifty years in business together. The story of this company is so inspirational because it shows us; not only the teamwork and longevity surrounding their union and marriage, but also, that their designs and creations came from a true “hands on” labour of love. The following CBC story provides the background and history of this sweet Canadian love story – giving us a glimpse into how they managed to knit their lives together:
Below is an example of a hand loomed dress by Marni Knits. So far, it is the only Marni Knit item in the Quiet West Vintage collection. It is estimated to be from the seventies:
Copyright Valerie J. Hayes and Quiet West Vintage (2015). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
There are scarves everywhere. Hundreds of them steadily turn up in every thrift store. A high percentage of them are boring. By boring, I mean there is no sensation that is evoked from the fabric. That, combined with a lack of strong visual appeal, is what creates the first impression. As part of the hunt, I have developed some shortcuts, based on the first impression. Although it sounds crazy – I skim the masses and look for a scarf that is alive. Alive with the sensation of the fabric, vibrant colours and an intriguing design. Then I check the hem, labels, corners, and look for signatures.
And sure enough, sooner or later, out of hundreds – one stands out in vibrancy and touch. It feels luxurious and the colors interplay beautifully within the canvas of the design. The edges are hand rolled and hand stitched. Such a scarf, when folded and draped, still captures and blends the components of the design.
To share a few things I have learned about luxury scarves:
Consider the fabric – Natural fabric is the most luxurious. It absorbs and captures the colors more vibrantly than synthetics. Silk and cashmere are also the warmest and softest to wear around your neck.
Consider the design – When laid flat, a scarf is like a canvas. The more colors and complexity, that which embodies detailed and sophisticated artwork – the more luxurious the scarf. The identification of artists among the famous scarf makers like Hermes, is a specialty of its own. What makes a luxury scarf really stand out in my opinion, is the way the fabric drapes and folds, bringing out smaller components of the design, that seem to blend beautifully no matter how you fold, drape or tie it.
Consider the colours – The most expensive scarves have the most number of colours, usually in a dynamic and vibrant range. Similar to offset printing, the more colour, the more expensive it is to set up and run the press.
Consider the finishing – No matter how you fold or tie a scarf, the finishing or edging is apparent. Luxury scarves have hand rolled and hand stitched hems. This complements and frames the scarf with a rounded softness and impeccable corners that do not have loose threads and linear flatness. I have read that it takes a good seamstress at least an hour to hand sew the hem of a scarf. But the time it takes would vary quite a bit, depending on the size of the scarf.
Expanding fashion horizons – Some scarves are truly beautiful works of art. The little bit that I have learned does not delve into the artistry of individual designers too much. But the artistry captures the imagination and makes you realize that it is an entire arena of fine arts, with much to be learned and appreciated.
The first two images in the post feature a silk Hermes scarf by H d’Origny, an artist well known for designing silk ties. He is now in his eighties. The two scarves featured below the Hermes, are scarves that in my opinion, are among the finest examples of luxury scarves. Both are vintage signed Louis Feraud scarves. The others are some more examples of beautiful scarves with interesting designs.
The Impressionistic Image
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
The fashion industry is a complex one, increasingly so as time goes on, since both the licensed brands and the fakes are outsourced and mass-produced in China. If the brand has a legitimate licensing agreement, then it can be argued that the item is legally not a fake. Therefore how do you tell what is fake and what is not on these high-ticket items? Do you stop to google the corporate history, bankruptcies and mergers before you buy that Armani or Fendi blazer? In a sense, mass produced luxury brand is an oxymoron. There is a fundamental contradiction when it comes to value.
The changes in the fashion industry since the nineties or so has been staggering. One of the biggest changes is the upsurge of luxury brand outsourcing. I believe that the mass produced licensed brands should not be passed off as anything other than mass-produced and should be priced accordingly. The notion that a blazer that is mass produced in China is in the same price range as a one-off blazer made in Italy, France or Germany (with attention to detail, hand stitching and quality fabric), just because of a licensing agreement – is not fair to the consumer. The design is not everything. The fabric, workmanship and country of origin do matter.
As an example, a vintage Fendi blazer is made of 100% wool, has hand stitched trim and is very well constructed. It has all labels including where it was made. In contrast, a contemporary Fendi blazer that is a more recent purchase, has a nice style – but it is flimsy, a polyester blend. It has the Fendi label inside the jacket but no tags to indicate where it was made.
For those who are familiar with changes in the clothing labels over the past few decades, or with vintage clothing, you will be familiar with some of the early union labels. The American International Ladies’ Garment Workers’ Union (ILGWU) was formed in 1900 to protect the almost all female working population from being exploited in sweatshop factories in North America. Canadian clothing from 1968 to 1984 also has the union label. These union labels are very valuable in dating vintage clothing. They also signify the North American history of the recognition of fundamental economic rights of the women and children in “sweatshop factories” – garment workers who had been working under conditions of slave labour. It was part of the battle for women’s rights in general. This is an example of what a union label looks like. It is often found in the waist or side seam of a garment.
Licensing luxury brand names is a goldmine for the licensor. But, licensed and mass produced luxury brand is not the same as the original brand. In my opinion, the country of origin – where the item was manufactured – should be a tag that is required on all garments. That way, a licensed brand can be easily identified and the consumer can decide if it is worth it. If an item is manufactured without such a tag – such as the newer Fendi blazer that I described – it does not have the quality, workmanship or label to indicate where it was made. In my opinion, that Fendi blazer is worth far less, and even in the absence of a country of origin label, it would not be honest to pretend that it is not Made in China, because after awhile you can tell, almost the minute you pick something up, if it is Made in China. It can look pretty in a picture, but it’s not the same as the real thing. You can’t expect to create a luxury product by paying low wages, with lower quality fabrics, using standards of mass production – without compromising quality.
Just like the old adage “Size Matters” – So do labels. Don’t be fooled by zero sizes and omissions of labels, or so-called authentic brand licensing. There is a big difference between the original luxury brand products and the mass produced imitations.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
When I first started collecting vintage hats, it was enthralling to see all the different designs and colors. Hats from the thirties, forties and fifties were still fairly abundant in the late seventies and early eighties. It was considered “off the wall” to collect them. The general belief was that they would never be worn again. In fact, the key designers have retired or passed away, and many of the styles have never been made again. One thing remains true. Many people wear hats well. There are some gorgeous hats that have survived the test of time and chance.
1960’s Straw Cloche by Designer Schiaparelli
Schiaparelli Paris Label
1950’s Gold Beaded Beanie
How could they not fascinate us? A hat changes a person’s aura and creates a heady fashion statement that rivals no other part of the attire. During the 19th and 20th century, every design that could be conceived of was shaped into a hat. One of my favourite photographs is of a 1930’s hat that was listed in the Doyle Gallery in New York several years ago. It looked like a bees nest with bees buzzing all around it. There is a comic and whimsical element to a percentage of designs. Just as the hemlines went up after the war, the hats too, became either more utilitarian or more glamorous. The early 1900’s hats were still mostly wide-brimmed and decorated with flowers, berries, ribbons and even birds. The practice of taxidermy to place birds on hats was banned around 1909. Later on, in the forties – there was a bird revival. They used real feathers and made the body of the bird out of something else.
1940’s Bird Revival
During the eighties, when I collected hats that were mostly dated from the 20’s through to the 60’s – it was because those were the hats that were available and fairly abundant. I did not pay much attention to labels, but studied each hat and bought what I liked. Inadvertently, I did end up with some well known designer labels. Elsa Schiaparelli, Lilly Dache, Macy’s, Stetson Fifth Avenue, Christian Dior, Mollie Entwistle, and Jerry Yates – are some of the designers who made vintage hats to marvel at. There are many other more obscure designers who made hats to the same level of quality as the luxury designers. All were affected by the Second World War, which caused some to flourish and others to fail.
When looking for vintage hats now, I look first for a label. If it is made in China, it is not vintage, even though it may be a vintage style. A label for a quality vintage hat will be fairly large (usually) and will be made of fabric that is stitched into place inside on the back of the hat. Some of the labels have a small flower attached on the side of the label. If there is no label and you believe it is vintage, check the brim, inside the crown, to see if there is heavy grosgrain ribbon. Also, if the hat has any embellishments, evaluate what they are made of, since certain types of fabrics, ribbons, flowers, etc. were used that are not modern day. Sometimes the maker and country of origin is printed inside on the crown of the hat.
Mollie Entwistle Vintage Hat Label
1920’s Stetson Fifth Avenue
Before I acquired some Stetson Fifth Avenue hats, for some reason I thought Stetson was associated only with cowboy hats. But, Stetson Fifth Avenue made some interesting and upscale hats of different styles. A large percentage of fall and winter vintage hats are made of doeskin felt. Some are made of sealskin, which is often dyed.
1940’s Stetson Fifth Avenue
In the seventies, hats from the turn of the century were not available to the average person, unless you were a dealer, collector or museum. Hats from the thirties and forties seldom turn up in thrift stores anymore. The hats with face veils often get torn due to the fragility of the veils. Rubber bathing caps – unfortunately, there are only a few that have lasted – since rubber sticks together and disintegrates over time.
1950’s Rubber Swim Cap
Most hats can be brushed with a soft bristle natural brush in the direction of the grain and steamed into shape. Unless they are for display, it is best to keep them in a box with some acid free tissue paper. Face veils, rubber bathing caps and feathers require extra attention. Be very careful when steaming hats with feathers and avoid it altogether if the feathers have been glued onto the hat.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2018). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
The next 1960’s little black dress from Montreal is aptly labeled – After dark Cocktails.
Leopold Original, Toronto 1960’s Velvet Hat With Big Satin Bow.
Andre, Montreal 1960’s Gold Brocade Turban.
M’Sieu Leon, Montreal 1970’s Beaver Fedora.
Copyright Valerie J. Hayes and Quiet West Vintage (2016). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
Copyright Valerie J. Hayes and Quiet West Vintage (2014). Unauthorised use and/or duplication of this material without express and written permission from this blog’s author/owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Valerie J. Hayes and Quiet West Vintage with appropriate and specific direction to the original content.
