The presence of PFC compounds in the Gore-Tex fabric, is the reason being given for the reduction in Gore-Tex products. In fact the company is claiming they are phasing out the traditional Gore-Tex line by the year 2025.
For those of us who live in a rainy climate, as well as those who are avid outdoors people, Gore-Tex is almost something we took for granted. Just ten or fifteen years ago, a decent Gore-Tex jacket was $200-$350, and after a few years, the style became outdated and it was time to upgrade.
But now, things are changing. For those who have a Gore-Tex Shakedry cycling jacket, they would be best to hang onto it, because they stopped making them altogether. All this began about a year ago, and we are about to see less Gore-Tex, and more alternatives like waxed cotton, and various other water resistant fabrics.
If you Google just about any brand of Gore-Tex jackets now, you will see a price tag of $600 or more. In some cases those jackets are not made to the same standard and ply that we saw in jackets fifteen or twenty years ago.
In addition to changes in the textile industry in many other areas, to include an increase in the cost of cotton, some companies are switching away from the Gore-Tex membrane, to various types of microporous polyurethane.
In my opinion, polyurethane is not likely to be breathable like Gore-Tex is, and waxed cotton is only going to last so long before you get soaked.
In addition, you will notice when you look up the Gore-Tex brand online, many are claiming to use recycled Gore-Tex, so I am not sure how that takes the offending PFC compounds out of the environment.
In the case of Gore-Tex boots, certain companies, like Patagonia who made excellent waterproof hiking boots ten or fifteen years ago for around $200, are now obsolete. They have since partnered with another company and sell their waterproof boots for over $600.
Patagonia has also partnered with Gore-Tex and Bionic to create a men’s jacket in 2023 called “StormShadow Parka” which is listed at $899 US.
One of the non Gore-Tex companies that makes great coats in my opinion, is the Swedish brand Fjallraven. The coats will not keep you dry in very wet weather, but are an excellent choice for the urban walker.
In addition to it being a nice looking textile, not too rugged, yet sort of city casual, in a waxed cotton blend – the coat is knee length, unbelted, and has a good hood. But the best part is the pockets. It has two zippered pockets on the outside, two zippered pockets on the inside, and even a large net pocket inside for an umbrella.
It means you can carry your phone in one pocket, your keys in another pocket so you don’t scratch your phone, and your wallet, credit cards, cash etc. in the inside pockets. Another good thing about it is the loose fitting design allows you to wear layers, or even a light down coat underneath it in colder weather.
Another company that sells some decent outdoor coats is Cabela’s. I have read that in recent years they have outsourced to the extent the product quality has tanked.
But in the past, they did make some good warm coats. There are still some quality Cabela coats floating around in the second hand market that are very warm, Gore-Tex, and still waterproof.
I noticed they have new women’s parkas listed on their website that range between $450-$800. Interesting to note, the more expensive one is nylon with goose down, not Gore-Tex. The other Cabela coat claims to have a waterproof shell, but no Gore-Tex. It looks like their Gore-Tex days may be over. Before we know it – vintage Gore-Tex will be the rage.
Companies that continue to sell Gore-Tex coats include Arcteryx, which are Made in China and have a price range $400-$1100. Mountain Equipment Co-Op has a few ranging in price from $400 – $800.
Roxy, Marmot, L.L Bean and Patagonia are still selling Gore-Tex jackets. However in some cases, it appears the technology has changed since some are described as recycled, and others say there is a bonded membrane onto nylon. Regardless the price point for anything listed as Gore-Tex is usually over $500.
One of Canada’s most renowned luxury brand coats is Canada Goose. They sell mostly down parkas for cold and snow, but they also sell rain shells. They sell a nice looking knee length women’s rain coat for around $800. It is very lightweight. They use a registered trademark technology called Tri-Durance, which they describe as a three layer bonded hardshell fabric crafted from 52% nylon, 25% polyurethane, 20% polyester and 3% spandex.
Although I know Canada Goose makes good parkas, I am not sure about the rain coats and how they compare with Gore-Tex. One thing I do not like about Canada Goose is that some of their coats have large lettering down one arm, and all of them have logo decals sewn onto the coat.
I realize many or even most outdoor coats have some kind of branding, but for instance the Fjallraven logo is only about an inch wide. The Arcteryx also has fairly discreet logos. I think it is a mistake for Canada Goose to place such an excessive amount of branding on a coat, especially since it is known for being a very expensive brand. It seems a bit garish or gauche to have to advertise for the company while wearing a $1200 coat.
However the brand does hold its value, even in the second hand market. If you look on Poshmark, there are many used Canada Goose coats ranging in price from $300-$1200.
As with Gore-Tex coats, a similar price increase can be seen in Gore-Tex boots. They are becoming more expensive. If they change the technology to use nylon and polyurethane, I don’t think they would be allowed to advertise it as Gore-Tex. I guess that is why many companies are using recycled Gore-Tex now, so they can still use the branding.
The reason all of this even occurred to me, is because today I went out in the snow, puddles and slush, wearing a pair of Patagonia Gore-tex boots, with the traditional Vibram sole.
They are slip resistant, and are so comfortable. I put felt insoles in them, and it is like walking in bedroom slippers, without the slip.
Because the snow is now melting (thankfully), there were many deep puddles to navigate, so I had no choice but to walk right through them. The water was almost to the top of the boot in many places, but by the time I got home, my feet and socks were still bone dry. The Patagonia Gore-Tex hiking boots are the best I have ever owned.
So if you have a Gore-Tex coat or boots that you love, hang onto them, unless you don’t want them anymore of course.
But it is pretty clear that although Gore-Tex may not be completely phased out, it will be harder to find, and much more expensive than it was in the past.
Personally I do not see how recycled Gore-Tex can be that much more environmentally friendly than regular Gore-Tex.
When I see outdoor wear like fleece jackets with promotional tag lines like “We make good use of recycled garbage” or “This jacket is made of x number of recycled plastic bottles”, it doesn’t exactly give you the warm fuzzies. Next we will be seeing $800 coats that are made out of pampers.
Then they can create a legit slogan called “Pamper Yourself – we only had to use a dozen diapers to cover your cold wet butt!”
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.
When we look back at times of rapid societal change, no other time in recent history, was as wild as the jazz era turned out to be. Also known as the roaring twenties, and the flapper era – they let loose without much restraint.
It came about during a post war rebellion, and desire to break free of the prim, and often stifling structures of the Victorian era. During this time, radio and film began to emerge as a primary influence, so the music as well as the glamour, became far reaching, and spread like a prairie wildfire. The winds of change brought about a whirlwind of excess, dancing, partying, drinking, opiates, barbiturates and outright revolt.
As much as things change, human nature seems to be quite predictable. If people are stifled and oppressed, it is followed by a break out phase. If not taken to excess, it could be almost therapeutic, and redefining. But sadly, it has a dark side.
One thing for certain is that the 1920’s brought about some of the most creative expressions in music, fashion, film, architecture, and all other forms of art. Their disinhibition did not have a disregard for detail. Quite the opposite in fact.
We have heard a great deal about freedom lately. Few things capture the concept better than creativity without boundaries, because the imagination, when applied to some kind of medium, or form, can churn itself into dizzying accomplishments. But the letting loose of rules and constraints is not without its perils.
Too much freedom has a downside, and perhaps there is no greater example of this than what can be found in the life and writings of F. Scott Fitzgerald. He not only captured this era, he also lived it, so he knew what he was talking about.
When you read his biography, it becomes a bit more sad and sobering. He and his rich, spoiled, creative and flamboyantly artistic wife Zelda, partied like there was no tomorrow. It is quite incredible how he managed to write as much as he did.
The couple became associated with the introduction of the flapper era, and were also dubbed as the “enfants terribles” of the Jazz Age in the various newspapers.
Even though they lived a rich life of excess, they faced many trials and hardships. They got kicked out of numerous hotels, did outrageous things at parties, moved multiple times, and before long, Zelda was admitted to a psychiatric hospital. She was treated at various facilities, and by the time she was in her thirties, was permanently institutionalized.
Fitzgerald remained married to her, and continued to write to her until his death, even though he was living with another woman. He too, was plagued with addiction and substance abuse. He drank copiously throughout his life. He tried rehab often, and relapsed at least eight times.
Then he attempted to cure his gin habit by switching to beer, and drank forty to fifty bottles of beer each day. In addition, he took barbiturates, and choral hydrate to sleep. By the time he was in his early forties, he had cardiomyopathy, and could not walk up a flight of stairs.
F. Scott Fitzgerald died at the age of forty four of a heart attack. He became known as one of the greatest American writers, who captured the era, because in many ways, his stories were autobiographical.
Apparently, his father was also an alcoholic, so it points to a genetic vulnerability that he probably did not fully acknowledge during his lifetime.
The 1920’s was a time of opulence and excess, paradoxically tied to prohibition. Fitzgerald rubbed shoulders with many other famous writers, to include Ernest Hemingway, and Gertrude Stein.
Ernest Hemingway was another writer who was plagued with mental health disorders, and was said to have never met a martini he didn’t like. He developed paranoid delusions and bipolar disorder. His friendship with Fitzgerald did not last.
The struggles brought about by addiction, are not always known or documented in the lives of those who are less famous. But it is no less tragic, regardless of whose lives fall into the unhealthy spiral, and cycle of addiction. The outcome is evident, and becomes more and more obvious with the deterioration of both physical and mental health.
The famous writers give us a glimpse of reality, because not only do they lay bare their inmost thoughts to the world, but their lives, and struggles became a part of public knowledge.
They could not hide their demons, as they came out into the open, and pranced about at cocktail parties. Their antics also found their way to the pages of gossip columns, to be salaciously recorded for all time.
Of all the things we can learn about the various eras, upheaval, and times of rapid societal change and rebellion, we can see human nature in all of its nakedness, and the wretchedness of excess.
Poverty brings one set of problems, and excess brings another. Sometimes the two intermingle. Countless lives of famous writers, musicians and creatives, went down the tumultuous path of addiction.
Today, as I write this, we are no different, and many of us are just as vulnerable. More and more people fall into the depths of addiction, and unlike Hemingway and Fitzgerald, they are largely unknown. Their struggles are not documented, other than in the memories of those who loved them.
I think one of the takeaways when we study the historical writings and biographies of famous people, we can know that addiction is not only for the homeless, or the hobos, or those who are judged to be lesser human beings.
But rather it has no respecter of persons, and can grab ahold of, and lock anyone into its’ grip. It does not matter how rich, brilliant, talented, or creative one is. On the flip side of the coin, it also does not matter how poor, wretched, or downtrodden a person is.
For unknown reasons, for some people, there is a vulnerability, leading to a profound difficulty in overcoming the cycle of addiction.
The Jazz era was reckless and wild. The historical depiction of addiction, is something to look back on, as well as to give us an opportunity to reflect, to understand, to have compassion for, and to try to figure out how to avoid the loss of life associated with addiction.
At the core, there is a sadness, a void, and an attempt to fill that void with the wrong remedy. Yet once the cycle has begun, it is like the person has been hijacked.
I know many will say, “no one told a person to drink or party, or do drugs.” That’s true. Others rigidly adhere to the concept of taking responsibility for oneself, which is also true.
However, for those who do not have the propensity for addiction, they do not understand it is like being grabbed by a crocodile. Every time you try to get a breath, it drags you down and rolls you over again. The mind understands it is a death trap, but the will cannot wrestle it into submission.
This problem goes back to the beginning of time. In my opinion, it is only by the grace of God that we can escape addiction. We are prone to stumbling. We cannot see what is within us, to show us the way out.
Surely for the afflicted, there has to be a way out. Paradoxically, addiction is based on an attempt to escape painful emotions, but it becomes a self inflicted prison instead.
For those who are prone to addiction, due to genetics, prior trauma, neurochemistry, the lack of a shut off valve of some sort, the loss of control – whatever the reason, it is a death trap. They don’t deserve it. No one does.
Ironically, highly addictive people are often highly productive and creative, as the story about the lives of people like Hemingway, Fitzgerald, numerous musicians, and countless others can attest to.
If only the way to the exit was better lit. Not the exit out of this life, but rather the exit out of the addiction, as it continues to rob and drain the lifeblood of so many people.
If we manage to find the truth, we also see the light. Finally we can discern, there is just one door we should be knocking on. We are spiritual beings. Addiction, perhaps more than any other struggle known to humans, is a spiritual battle.
One way or another, eventually the yoke is off, and the burden is removed. In my opinion, we will never fully comprehend it.
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.
When I embarked on putting this website together more than ten years ago, it was to photo document, set up an online store, and get a large collection of mostly vintage established and archived online.
Initially some of the online research I did, claimed an antique was anything that was at least seventy five years old. It seemed the consensus then, was about 50:50 between the definition of antique being seventy five, or a hundred years. But now, almost all sites refer to antique jewelry as being a hundred years old, or older.
As time has gone by, I have noticed fewer sites go with the seventy five year claim, and most adhere to the standard hundred years.
So because there was a discrepancy in definition, I was going with the seventy five years. But I have decided to go with the more prevalent standard of one hundred years.
Therefore all the 1930’s and 1940’s jewelry with the antique word in the title, will be removed. If something straddles the age span between 1920’s and 1930’s, I will still call it an antique in certain cases.
My apologies, if as a customer or browser, you saw things dated 1940’s described as antique. The 1940’s items are certainly approaching their “golden years” of being a hundred years old, because they are now eighty-three years old. But they still do not meet the criteria.
In some cases, especially when it comes to antique beads, the age is very difficult to pin down. Antique beads have been carried from place to place for hundreds, if not thousands of years. To make it even more complicated, often jewelry maker’s use a mix of collectible beads from different eras.
As time goes on, I realize nothing is created equally, when it comes to jewelry. Sometimes expensive coloured gemstones are put into brass settings. Some of the valuable antique beads are strung with wood, or other cheaper beads. And most of all, not all glass is created equally. Some glass is more valuable than some gemstones.
Organic materials can also be difficult to date. Obviously amber is very old. But the jewelry setting it is put into could be mid century, or any age. So one has to juggle the definitions around the materials, a mix of materials, as well as the time of the creation of the piece. The clasps, pins, and hooks, help to date the older pieces as for as when they were made.
With vintage costume jewelry, it is easier to date, because of the different signatures, and use of the copyright symbol. Typically the copyright symbol was added to jewelry after 1955.
Also patent numbers can help to date items. In addition, the rise and popularity of authentic vintage costume jewelry happened between the late twenties, and for many of those companies, they lasted into the seventies. Therefore most of those pieces fall into the mid-century range.
As I gain more experience, I am getting better at identifying the old, from the really old. Also after so many years of collecting, there are many ways to differentiate the old from the new materials. Of course most of what is in the second hand market now is 1990’s and newer, with a few old things in the mix.
As I continue to go through the collection this summer to measure, describe, and make corrections, the antique titles will be changed to reflect the hundred year range, as opposed to seventy five years.
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.
Jewelery, made from organic materials, in my opinion, is the most interesting of all. In previous posts, I wrote about the peak eras of resource extraction during the mid-twentieth century.
Humans tend to mine, or access what is most accessible at the time. Many of the old turquoise mines shut down long ago. Ivory, coral, and amber all have restrictions and limitations on what can be used and sold now.
It seems like we may have passed the time, when the earth’s resources were considered to be an endless supply. Once the valuables were mined or taken from the easy access locations, the further one has to go to find the valuable organic materials. The more difficult the access, the less abundant, and the more expensive things become.
In addition, the organic materials create hands-on educational opportunities. What kind of shell, nut, wood, or bead is this? It would take many years to be able to identify all the materials used, spanning a century or more of living, travel, and post-war abundance. We took things for granted.
Now, not only are the materials more “precious” should we say? For those of us who appreciate natural materials more than synthetic or manmade items, we have good reasons for our appreciation. Nothing reflects or absorbs colour like baltic amber in the sunlight. Shells and mother of pearl are beautifully iridescent. Every single gemstone is unique.
Ethically, and from a sustainable development perspective, the preservation and re-use of jewelery made from organic materials makes so much sense. How many of us, other than carpenters – know how to identify all the different types of wood? Ebony and rosewood, are among the types of wood used by higher end designers. They are often adorned with diamonds, gold, or sterling silver. Chanel, YSL and Miriam Haskell all designed some beautiful wood jewelery over the years. The array of antique and vintage wooden jewelery boxes, is staggering when it comes to attention to detail, and quality of workmanship.
Also, most of us would not know how to identify all the different types of nuts that have been used to make jewelery over the years. If we live in a location without nut trees, we have no idea what kind of nuts are on a necklace. Believe it or not, there are antique carved walnut necklaces that took hundreds of hours to make. Each walnut has carved scenes. They are antiques from China, and I believe the carved walnuts are called hediao.
“Known as ‘hediao’, fruit or nut pit carving is a folk art which became popular in China during the Qing Dynasty 1644-1911 the last imperial dynasty of China.Jan 2, 2021″.
Amber does not come with fully intact little bugs or spiders inside. There are many fakes. But with authentic Baltic amber, you can see the bits of organic material inside. More so, there is a glow that comes from deep within, so you can see the interplay between the amber and ultraviolet light, when taking macro photos. The macro photography has given me a better eye for, and a better understanding and perspective, when it comes to organic jewelery. There is nothing like amber and rock crystal, if you want to get out of a humdrum picture taking mode.
Amber is a much wider field of study than most of us realize. We tend to think of its colour as being the golden yellow that we see most often in Baltic amber. However it can also be found in red, green, blue, brown, orange, and black. In fact, there are over sixty types of fossil resins from all over the world. And guess what? The oldest fossil resins are found in Canada! Here is an excerpt from a site with a full a glossary of the types of fossil resins, and where they are found.
“There are over 60 types of fossil resin known all over the world. The youngest of them can be found in
East America, Africa, Australia, New Zealand, or even Europe. The oldest sources of fossil resin can be
found in Canada. It is worth remembering that many types of resin such as Arabic gum, manila copal
mastic, myrrh, sandarach, and dammar resin are artificially produced. Nowadays many chemical,
physical genetic, and paleontologic researchers are being widely conducted. Its main idea is to find the
mother trees of fossil resin types.”
Another fascinating and colourful gemstone is Ammolite. The only gemstones made of this very colourful, organic, fossilized sea creature material, came from Alberta, Canada.
“While fossilized ammonites can be found in several places around the world, a small area within the Bearpaw Formation, the name for the area leftover from where sediment settled on the bottom of sea, in Southern Alberta, Canada, is the only location where they have been turned into gemstones.” How about that? Alberta actually has some gems!
Organic adornments help us to appreciate nature. If they land up discarded in a landfill, for the most part, they will turn into compost.
We may have come to a point where we no longer take the earth’s resources for granted, including the time, labour, and energy it takes to create things.
When I think of putting together a collection that spans 20th century design, I wonder if it is a massive reflection of labour intensive materialism. We are not quite 25% into the 21st century, and already the view of the earth and its resources is changing dramatically.
As we turned the millennial corner, fast fashion became the rage, and “new is better” set the stage. Now suddenly, there are labour shortages, material and supply chain difficulties, travel and shipping restrictions, higher costs on extracting resources, etc. etc.
We defined progress, and then watched it happen. It all grew like a mustard tree. Now we regress, and the common people do not have quite as much opulence and wealth. There is more concern over food security and housing, than there is over fashion and art right now. It is totally understandable.
At a certain point, progress as we once knew it, is no longer progress. Success needs to be redefined. We pick up these remnants, and pass them on. We are only stewards of the earth’s resources. If we take care of, and protect what is already here, maybe we will have the resources to work toward, and pay for the things that matter most.
When you really think about it – will there even be a 21st century of design? I wonder…
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.
Although we all appreciate the rain to put the fires out, and make the smoke clear, the lighting for these photos was not great today. But even in low light, the colours and intricacies showing through in the designs, are brilliant and stunning with a high level of artistry. This post will feature a collection of twenty-eight different silk appliques from the 1920’s, with vibrant colours, and incredible attention to detail.
With some sunny breaks this weekend, I did manage to get these beautiful works of art photographed in natural light. One of my favourites, is the Phoenix looking bird in flight with bells for its wings and tail feathers. Initially, it looks like bells, until you realize the inverted stem is the bird’s head, and you can see its tiny embroidered eye. It’s kind of an optical illusion. As an added bonus, many of these embellishments feature accents done with metallic thread.
I have listed the collection of this needlework art under New Arrivals, and have added photographs of the reverse side of each one. They are also listed under Buttons & Notions, and in the 1920’s Decade. I will likely add the Art Objects tag as well. They are truly incredible works of art, over a hundred years old, in vibrant detail, and made by a very talented needle worker.
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.
There is no doubt in my own mind how much there is to be learned from our cultural history and diversity. The Quiet West collection by itself has a wide array of fascinating things to learn about. I have found it takes many years, if not a lifetime of ongoing learning, to become adept at identifying what’s what.
In the garments, there is a full range of textiles to identify, to include the type of fabric, or looming techniques, screen printing, hand printing, hand painting, various weaves, patterns, and a multitude of different embellishments. Most of the techniques used in the early part of the twentieth century were labour intensive, and are not the norm in today’s world of fast fashion. Many of the fabrics they used, are now obsolete. In the case of fancy silk brocades and embellished fabrics, the prices on today’s fabrics, if they do exist, can be prohibitively expensive.
In addition, the era or time frame when the item was created can be identified by certain features and fabrics. The authenticity of things prior to the 1990’s is easier to determine than it is for the replicas, fakes and knock-offs that have been made in more recent years. Items with all labels and tags really help to narrow down the time frame.
For instance in North America, garments made between 1968 – 1984 will often have small square union labels near the zipper, or on an inside seam. Notable designers with intact labels, also make it possible to narrow down the time frame in which it was made.
Jewelery is a vast field all on its own. The design, techniques, famous designers, era, and materials used – is a dazzling and vast subject of study. There is an endless array of knowledge in the coloured gemstones, lamp work beads, various art glass techniques, organic materials like amber, coral, and pearls, plus coatings, crystals, cuts, machinations, and even the plastics they used. Lucite jewelery was very popular in the fifties.
Certain mystery materials, especially if they are organic, makes for an interesting show and tell. Shells also offer a range of studies in the different types, classifications, markings, shapes, and colours. Antique and vintage ivory, although banned in many countries now, is still intriguing to examine and learn about.
Not to be facetious, but you can’t put a carved necklace back on the elephant anyway. So you might as well examine it, and preserve it so others can see and learn about it as well. I don’t believe in the destruction of artifacts. Although I do most certainly believe elephants and other animals with tusks should be protected from poaching.
However, a number of animals die naturally. The average lifespan of an elephant is 48-70 years. It’s too bad they could not find a way to put markings on legitimate ivory from elephants that died naturally. But alas, human nature has caused harm, so all of the ivory is now off-limits, except for educational purposes.
The number of sterling silver hallmarks in existence can literally make your head spin. There is an entire encyclopedia from Mexico alone. Europe also has thousands of hallmarks and symbols to be identified. Some of the most famous designers rise to the surface, and after awhile, you can learn to recognize the distinctive styles, designers and countries of origin. Doing the macro photography has helped me have a better eye for jewelery design. The macro photography often shows things you didn’t notice, so it has an added benefit.
Antique and vintage porcelain is another vast area full of intrigue, with a sophisticated level of academia to go with it. My personal favourite is early to mid-century hand painted Japanese porcelain. The more refined the porcelain, the more intricate the painting in depth and colour, combined with the culturally unique aspects of the painting and gilding, all contribute to its stunning beauty. It is very photogenic, and a real pleasure to look at and photograph.
The symbols or markings on porcelain help us identify the era and maker. In the case of Japanese and other Asian porcelain, the symbols have to be examined closely. The markings contribute a great deal towards increasing our knowledge about them. Fine porcelain has been shipped around the world for centuries.
One of the recent listings features a 1950’s mid-century dresser box with hand painted roses and gilding. It was made during the post war time frame when Japan was creating porcelain for export to the western world. Much of it was developed with imagery and design they thought would appeal to western culture. Below is a link to show this particular design:
It is an example of ESD porcelain from Japan. ESD stands for Economic Sustainable Development. It has been well understood on a global level, for many decades, how important specialized talents, artistry, and artifacts contribute to the culture of a nation.
In all cultures – we help to protect and reflect our future, by preserving our past.
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.
Fashion is a wonderful way to look at history. It embodies the mindset and artistic expressions of the various different eras. It occurs to me as I learn more, that the 20th century represents a span of artists and designers that may never be replicated.
In the early 1900’s women transitioned away from wearing the hooped caged underskirts, which made the skirt of their dress so wide, they could hardly sit on a chair. They abandoned the restrictive clothing, and opted for the flamboyant flapper era, within a span of a few years.
In today’s world you don’t often see people wearing corsets, unless it is in a burlesque or bondage show. But prior to the flapper era, the idea was to make a very exaggerated hour glass figure, with a tiny waist, often tightened to as small as twenty-two inches.
It was not uncommon for women to faint, therefore they carried smelling salts to revive themselves. What we will do for fashion. We probably all have recollections of wearing high heels to the point of agony.
So in the early 1900’s, not only did women have to wear wide hooped skirts, but corsets as well. When you compare it to today’s Lululemon attire, it is quite the distance we have travelled. Keep in mind, the women of the early 20th century, often had ten or twelve children, and few modern appliances.
The first world war contributed to dramatic changes in fashion. Women had to stay home and look after the farms, businesses, and homes. There was a bolstering of confidence. The suffrage movements were well known and widespread. The twenties styles were creative, bold and rebellious. They veered away from the hourglass look and wore straight dresses without any emphasis on the bust, waist or hips.
There was a brief period of time in the twenties when hobble skirts were the rage. They were long pencil skirts, almost ankle length, and very narrow at the bottom, with no back slit. It meant you had to walk like your ankles were tied together, taking very tiny steps. Some designs are just plain dumb.
From the 1930’s – 1950’s there was a certain daytime practicality. But even so, women wore gloves, hats, and developed a keen eye for matching what they wore. It was a time of Hollywood glamour, and war time escapism. The fifties brought about a revival of the hourglass figure and pin-up girls. They called it the “New Look” but it was really just a shorter revamped version of the turn of the century fashions.
Similar to the 1920’s, the sixties rumbled with unrest and civil disobedience. This also brought about a fashion revolution. The hourglass went out, the hemlines went up, and free love was ushered in. High class came in the form of beehive hair dos, white lipstick, black kohl eyeliner, and dresses so short you could not shrug your shoulders. We went from wearing silk stockings with a line up the back that you had to get straight on your legs before leaving the house, to the allure of fish net stockings.
The seventies carried the sixties cast offs to represent the cool, the hippie, and the bohemian. Women wore bell bottoms so long, and wide – that the bottoms frayed into a denim fringe. You could do a face plant, tripping over your jeans, just trying to cross the street.
It was still a time of fashion extremes, with maxi coats worn over mini skirts. But the beehive hair gave way to long, straight hair, parted in the middle. It was an au natural time, where the make up got toned down, and we grew bean sprouts under the sink.
The eighties emerged with even more extremes. Shoulder pads rivalled those worn by the Dallas Cowboys. Once again, the hair got big. Only instead of piled up beehives, it was backcombed and teased into tresses that no other decade would even attempt to pull off.
Materialism leads us to a place of easy boredom. Throw out the old, and bring in the new, is thought to be a progressive way of thinking. But is it? Maybe it was at one time – but cannot be sustained. Or maybe we should never have been so frivolous in the first place.
Now we face restrictions in supply chains, higher labour costs, fewer resources, mass production with poor quality control, and diminishing food security. People have more concerns than trying to be fashionable. The heyday could very well be behind us, until the time of the next millennium.
The earth has come to a point where the mass production is hitting the wall. In fact it has ebbed and flowed so much over the years, we are like chickens watching a game of ping pong.
Capturing and examining some of the 20th century designs, gives us a broader scope of culture and knowledge. There is so much to be learned from the designs of the past. Everything from textiles, to sewing techniques – to the identification of coloured gemstones, hallmarks, etc. Each has a story to tell.
The move into the 21st century brought increasing concerns about climate change, fossil fuels, natural disasters, pestilence and disease. The 20th century began January 1, 1901 and ended on December 31, 2000. It really does represent a time span of prosperity and change.
From the perspective of change, regarding the roles of women – we are still hooped, and hobbled in some ways.
But instead of wearing the hoops, we have learned to jump through them – high heels and all!
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!
With the rise in online sales and product photography – the ideal mannequin is as elusive as chaff in the wind. Just when you think you might have found one, it goes up in cyberspace.
The ghost mannequin is a concept that would make product photography more attractive. It would also make it easier to achieve a focus on just what you are trying to sell. You do not want to draw attention to the background, and could do without the quirks of a cheap mannequin.
Ghost mannequins are non-traditional mannequins that have multiple snap on parts, so you can remove sections that you do not want to show in the photographs. The only places to get ghost mannequins in North America – is New York and Toronto.
Unfortunately, since they have multiple magnetic parts and a metal stand, it means they are very heavy. This makes shipping a problem, because they are over seventy pounds. Plus one has to consider working with one, and the amount you have to move a mannequin around when space is limited. I am not convinced it would be worthwhile to have something so heavy to deal with.
Even without a ghost mannequin, there are ways to minimize and ghost the background, if you have the right light, angle, and camera lens. It is difficult to get even light throughout the entire image though.
In searching for a better fibreglass or plastic mannequin, based on my own experience, I think fibreglass is better. But if you drop an arm and it breaks, you have to discard the entire mannequin. They are quite tall and awkward to carry around. It looks weird to haul one around in your back seat, or sticking out of a trunk. You can’t just throw the old one away either. You have to find a home for it, or get it hauled to the landfill.
In doing product photography, you want to (at least I want to) line it up, so the garment looks symmetrical on the body. If one leg is forward, or if the mannequin is posed as though it was dressed for a shop window, it is not quite the same as a mannequin used primarily for product photography.
For anyone who pays attention to mannequins, see if you can find one that is facing straight forward, with both arms and both legs straight? They don’t seem to exist. Yet if one leg is forward, it tends to make the shoulders look off-kilter.
Another major difference between using a mannequin for display, and using it for product photography – is the number of times you dress and undress it. It is handled much more often when using it for photography. In contrast, most window mannequin outfits are only changed every four to eight weeks.
The hunt for the ideal mannequin continues. The perfect plastique photogenic dream girl is out there somewhere!
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
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!
Studying a beautiful garden party dress worn to a wedding in 1949, I have been trying to decide how to clean and restore it to its original beauty. It has been a bit of a dilemma. I certainly do not want to ruin the dress. But, it needs deep cleaning due to underarm stains. In addition, on the underside of the skirt, you can see where it was hemmed, due to dirt on the original hem.
To begin with, this dress was full length, since the hem is large, measuring eight and a half inches. I think it would be ideal to restore it to the full length. So the folded part of the skirt and hemline would have to come clean as well. My intuition tells me it is better to avoid dry cleaning chemicals on this one. It seems to need a full soak.
There are very few vintage dresses I would immerse in water. I usually do not buy anything that is not clean, and take things for a light dry cleaning when the item sells. Many vintage fabrics cannot be washed. If the dress has lining, it is even riskier because the lining or the exterior might shrink or discolour.
The only vintage items that can be washed are things with a certain kind of fabric, like cotton and some rayons. You cannot wash most luxury items to include things with lining, pleats, ruching, beadwork, laidwork, sequins, pin-tucking, etc. Nor can you wash most designer silk scarves.
Just as a word of caution, to avoid giving the wrong idea that a gentle soap with accolades for restoration of vintage textiles, does not mean its use applies to all vintage textiles.
I spot washed and soaked the under arms, and the fabric seems strong enough to take getting wet. The dress is fairly heavy overall. The fabric has woven pink flowers throughout. It is a unique style for the era, as it has a drop waist with a big bow at the back.
Since the fabric seems okay to get wet, and the dress has underarm stains that did fade with some spot washing, I decided this dress is a candidate for Orvus soap. It is the anionic and gentle properties of this soap that actually permeate and penetrate the fabric.
To share my own educational experience, I will post a before and after picture, hoping to bring this beautiful dress to a full state of restoration. Then it just might be ready to go dancing at another wedding party in 2021!
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.”
Although this is a highly individual topic, we take our feet for granted, until they hurt. We need a certain amount of agility to wear really high heels, especially if we have to walk, dance, climb stairs, or even run, wearing them. Alas, those days are no longer the norm.
Running shoes don’t make the grade, unless you are a runner, or power walker. The main reason I don’t like to wear them walking is because they give me a cramp on the top of my foot. I also don’t like the way they look with jeans or a dress. But for some people, they swear by them, or keep a pair handy in case they have to walk a few blocks in the city.
Leather boots have always been my preference for long walks. In the summer, the best sandals are Mephisto by a long shot. Sandals with a cork footbed and leather upper are best for comfort and durability, in my opinion. I have never liked flip-flops or rubber boots since they lack support, breathability, etc. I don’t like any footwear that your foot slips around in, or shoes that slip if you step on certain surfaces.
Some of the soles can be dangerous. Leather soles can be really slippery, even when walking on dry pavement, if you are walking down a fairly steep hill. A rubber sole is safer and will last longer. If they do have leather soles, it is best to take them to a shoe maker, and get the leather sole partially covered with a durable topper. It will help protect the wearer from slipping, as well as the longevity of the leather on the sole.
When it comes to leather boots, ankle boots are the easiest to take off and on. As long as they are well constructed with a leather upper and good fit, they last a long time and will keep your feet dry. It’s too bad they don’t make more styles of Gortex boots for really wet west coast weather. You can find hiking boots and trekking shoes with Gortex outer layers, but you don’t often come across fashionable shoes are boots with Gortex exteriors.
The best walking footwear has a good sturdy footbed that fits the shape of your foot., combined with a leather upper. If wearing heels, again a good fit, and in particular, a style that your foot does not slip in as you walk. This is often the problem with pumps, if one foot is slightly smaller. You either have one foot that slips with each step you take, or one foot that gets a blister, because you went to a smaller size, so one foot won’t slip. Fit is everything when it comes to shoes. Next to that bit of importance is leather, since leather will conform to your foot, and breathe better than manmade materials.
When it comes to more fashionable footwear, I think Stuart Weitzman has some really cool shoes. Other standard luxury brand designers like Versace, Dior and YSL all make some really nice shoes as well, but the prices can be prohibitive. Bruno Magli has a strong history of making quality shoe designs without hitting a thousand dollar price point.
In fact, shoes can certainly be donned as wearable art. They are one of the first things people look at when they size up an outfit. I have noticed that even babies in strollers will look at your feet and then up at your face as you walk by. They are not influenced by design yet, but they have an intuitive curiosity and early awareness about feet and shoes.
Frye boots, if original and not the ones made in China, are also comfortable and long-lasting. The lace up leather calf roping boots, made in Canada and the US, are also great long-lasting boots for semi-rugged walking. In so many locations, even if it is in the city, you have to walk around construction sites, detours, pot holes, and what not. Stepping in holes could be hazardous, and is a sure way to ruin an expensive pair of heels.
Blundstone boots are a great choice for a person who does lots of walking. They are comfortable, long-lasting, and a good price considering how many miles you can put on them without worrying about scuffing them. You can also get them re-soled, so you don’t have to part with a favourite pair of boots until the bitter end.
Blundstones are fairly wide, with a wide toe box, so they may not suit people with long, narrow feet. Some people might think they have a bit of a boho or hippie look. They do go well with exploring nature, without going too far off the beaten track. Good for places like Kits beach – where you can walk for a few miles on sand, grass, sidewalks, or rocks.
Getting back to the more fashionable shoes, if the edge of the heel is covered in a certain colour of leather or a certain design, it is very difficult to repair once damaged. It’s a good thing to keep in mind when you make those expensive purchases. Cobblestone is another tough go to walk on with high heels you do not want to damage. In fact, if it is raining or if there is cobblestone and you are wearing some expensive high heels, either keep some fold up leather flats in your hand bag, or get picked up at the door.
It is no wonder they used to make rubber boots to fit over your shoes back in the fifties. Some even had heels, and no one would leave their house with a good pair of shoes on without protection their shoes. The tops of those plastic boots would cross over, and hook with an elastic that you stretched over a button. They were the dress up version of gum boots, which no one outside the farm yard would have been caught dead in.
Now it is more common to wear rubber boots, as well as crocs and other types of rubber or plastic footwear. Unless it is just to go out for some wood or to get something out of the car, or walking through puddles and streams -rubber and plastic footwear have many disadvantages.
In my opinion, even if you are walking in streams, it is better to wear Gortex boots or running shoes. Tall rubber boots can quickly fill up with water and can be dangerous, if a person is swept underwater. They do not breathe, and tend to be slippery. If it is cold and freezing, they do not keep your feet warm at all.
We have been enjoying a nice warm fall, where we know it is close to giving up the convenience of slipping on sandals to head out the door. There are always a few diehards I admire who will wear sandals and shorts when it is chilly enough to freeze.
When it comes to the elements – wool and leather are still the best protectors. They are natural and will conform to your foot. Plus they are not as hazardous if you get caught in inclement weather.
We will soon be opting for the boots, shoes, mules, or whatever keeps our feet happy. Certain brands suit certain feet. And no two feet are the same!
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.
Whether at work, out for a walk, or dinner at your favourite restaurant – when the weather cools off, cardigans can be worn as outerwear or layered. As the weather changes, it often goes from chilly to hot within a matter of hours.
When going out on boats or hiking in the wilderness, layers can be a life saver. In my opinion, nothing beats wool (or a wool blend) when it comes to cool wet weather. The advantage of wearing layers is that you can easily remove them as the weather warms up.
Urban or city attire carries the same principles as any other outdoor adventure. It’s not much fun being out and about if you are freezing cold, or not dressed for the weather conditions.
How many times have you walked into a restaurant wearing a sleeveless dress, drawn in by the ambience and a mouth watering menu – only to discover they have the air conditioning set on “freeze”. No lingering allowed for the scantily clad summer tourist. Yet, all you need is a cardigan!
Aside from the fishing and boating layers of wool that are primarily for function and practicality – a few casual and dressy cardigans will add comfort to your life, when it comes to the more cosmopolitan escapades.
Celine Wool Cardigan With Ribbon Applique1950’s Beaded & Sequinned CardiganLady Anne 1960’s Beaded Ban-Lon Sweater – CanadaAnother 1950’s Work Of Art On WoolRodier – Knitwear Made in FranceAvagolf 1970’s Velvet Trimmed Cardigan – Italy1960’s Madame RungeBallantyne ScotlandRodier With Birds On A Branch – FranceSonia Rykiel Merino Wool Wrap Cardigan With Rhinestone Pom PomsChanel Gold Trimmed Sporty Zip Cardigan
Copyright Valerie J. Hayes and Quiet West Vintage (2020). 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.
Highly decorative shawls and wraps date back to India and Persia in the third century. The earliest known manufacturing began with the looms of the fourteenth and fifteenth centuries. The original Kashmir shawls are made of goat hair, and were often elaborately woven and decorated. By the eighteen hundreds these shawls became increasingly popular in Europe as well. They were a subject of much fascination, and became coveted outerwear for the most fashion conscious, as well as creative individuals attracted to wearable art. They were especially popular to be seen wearing at the live performance theatres and operas.
To keep up with the rising demand for beautifully designed shawls, France and Great Britain developed a mechanized shawl industry, in order to imitate the famous Kashmir shawls. Known as Paisley workshops, they were able to create a price competition for the shawls, which forced the original Kashmir production to cut costs and compromise on quality.
The shawl industry peaked in the eighteen hundreds and early nineteen hundreds before there was dip in the demand. The loss of interest at the time can ironically be attributed to the mass production. Regardless, from the twenties onward, shawls have continued to be worn by discerning and creative individuals. The sixties in particular, brought about a revival in decorative shawls, from Kashmir goat wool, to fringed piano shawls, and all kinds of capes and ponchos.
Just as it was hundreds of years ago, shawls can be worn over a plain wool jacket or sweater, or to offset a certain type of skirt. They can be draped over dresses and evening wear. A casual chic look with a hippie flair shows them worn with jeans, boots, and tank tops. They have been popular in warmer climates with cooler evenings, to drape over the shoulders as the temperature falls. They can be an elaborate addition to the little black dress instead of wearing a coat.
Below are some samples of different types of shawls and wraps. The Persian method of draping is shown in some of the pics below. To wear it this way you put one third of the shawl to one shoulder, and then drape the rest so the fringe or edge falls to one side.
Wool Shawl With Hand Knotted FringeClose Up Of The Weaving & KnottingRuffled Wool Cape Shawl With A Tight Weave – ItalyLavishly Embellished Wool ShawlClose Up Of Needlework On Embellished ShawlThis Image Shows The Extensive Amount Of Embroidery & VibrancyWoven Shawl With Vibrant ColoursThe Reverse Side Of This Unique Woven ShawlBeautifully Embroidered Silk ShawlClose Up Of Floral Embroidery On Silk ShawlChanel 1980’s Shawl Decorated On Both SidesMid-Century Embroidered Kashmir Shawl
: 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.
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.
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!
From tigers and leopards – to kittens and house cats, the mid century cat revival kept them coming back – in jewellery, belts, scarves, and clothing. The sixties was big on leopard statement pieces, such as the necklace and pins shown below, featuring pave crystals and stylistic poses.
Many bold fashionistas donned leopard print pantsuits and coats, often paired with a matching leopard print hat, bright bakelite bangles and rhinestone studded cat eye glasses. The look would be polished off, and fully attention grabbing – with a heads up narrow eyed nonchalance, sporting long scarlet nails, black winged eyeliner, and crimson lipstick. What mixed messages they give!
The figural creations of cats and the love of their imagery, has depicted them sauntering down the runway on the latest super model. The innate huntress, her grace and stealth, with an aloof independence – and soon, she makes us grateful to be noticed by her! Or the big cat might be snuggled front and centre on a coveted designer sweater. It just goes to show how popular the affection for cats can be.
From the scaredy cats to the scary cats – we seek ways to coexist. By incorporating them into fashion statement pieces, from the wildest cat in the jungle, to the sweetest little ball of fluff – they all seem to have at least nine lives!
Once you start examining antique and vintage beads more closely, it becomes evident that some of them are individually hand made – and are really quite spectacular. Historically, due to the small size of beads, and the fact they are non perishable – they quickly became an ideal product for barter along the various trade routes.
Since the beginning of time – beads have made their way around the world to be deposited on beaches, in attic trunks, old jewellery boxes, thrifts stores and flea markets. Like old buttons – some of the creations are obsolete and thus coveted all the more. The best of what has made its way to North America from Europe and Asia – are now treasure troves among collectors and designers.
The distinguishing features between African, Asian and European antique beads are obvious in some cases, but less distinguishable in others. The rare lamp work necklace featured in today’s post is exceptional in colour, gradation and symmetry. It would take considerable heat and finesse to make the beads so even, uniformly graduated, and smooth. The lighter coloured rods used to make the beads are visible inside each bead. Each one is joined with petal-like metal accents with a finely dispersed patina. The clasp is a unique cylindrical screw, with a small floral motif. Made In France is imprinted on one end. The bracelet appears to have had the clasp replaced at some point with a more contemporary sterling silver clasp.
Although one can assume these beads were made in Europe, I wondered if they possibly came from Czechoslovakia. But after doing some more research, and knowing this set was Made in France – I concluded the beads were probably made in France as well. Especially so, since each bead is joined with metal to the adjacent one, so the necklace is a unit as opposed to being a string of beads.
France and Italy have renowned historical and traditional lamp work techniques and artistry surrounding glass bead making that can be traced back many centuries. Master craftspeople in family owned businesses, and partnerships of the seventeen and eighteen hundreds – knew the techniques involved in this sophisticated artistry, and kept them as carefully guarded secrets.
The necklace featured in this post is somewhat difficult to date. It looks like something that would have been very fashionable in the thirties. However, the visibility and lighter colour of the glass rods inside each bead – indicates it might be earlier than the thirties. Historically, as lamp working techniques developed, the artisan had the option to use coloured glass rods. In this case it is unknown whether the whitish rods inside were an intentional element of the design, or if it was all that was available at the time.
The light is distributed so evenly in this beautiful colour of blue – it draws you into its depth. This extraordinary vignette of translucent gradient lamp work beads ~ showcases an ethereal embodiment of icy cool blue light.
Lamp Work Necklace & Bracelet Set Made in France c 1930s
For a long time, antique and vintage ivory and furs were in a different category from the new ones. It was generally considered okay and ethical to buy and sell these items if they were classified vintage or antique. I have never had much attraction to buying vintage fur, with the exception of some mink hats and headbands, and a few items with genuine fur collars. The list of banished furs includes fur from all big cats, all primate fur, and all types of bear fur. Sealskin products cannot be exported to the USA, European Union, Mexico, or Taiwan. Canada is one of the few countries that permits the sale of sealskin items.
Ivory has become a taboo product due to the poaching, endangered elephants, and the skill artisans have to make it look antique. Although it is not illegal to own inherited or antique ivory, it can no longer be exported or sold. Some of these laws are fairly recent and expanding to include other countries. The only way to identify the age of the ivory is through carbon dating. Recently an antique dealer in Toronto was fined and charged for having carved elephant tusks for sale. As it turned out, they were able to identify the age of the tusks, which placed them in the seventies when poaching was a real problem.
Over the years, I have picked up some ivory necklaces and bracelets but cannot be sure how old the pieces are. It seems the best thing is to donate them to a museum or educational institute. Different types of ivory can be identified by the pattern of the schreger lines. The location the ivory came from can also be identified because they can determine the diets of the elephants by the tusks.
One of the many sad things about the poaching, is that of all the elephants that die naturally, the ivory cannot be used because of the illegal activity associated with it. It’s too bad the elephants were not protected from poachers in the first place. There should have been a method of making sure all tusks were matched to the death of the elephant. The product made from the tusks of elephants that died naturally should have been hallmarked as such. It would be a good idea to have a method of marking during the creation of the piece, similar to what they did to help people avoid buying blood diamonds. Ivory is very beautiful, especially since it has often been combined with some of the most exquisite carving known to man.
As far as the example set in Kenya where tons of confiscated ivory was burned – on principle, I disagree with the destruction of artifacts. However, the issues surrounding the endangerment of these beautiful and intelligent creatures, the horrors of poaching, and the difficulty in accurately dating the ivory – makes the bans understandable.
There can be some confusion in terminology surrounding vegetable ivory and what is referred to as “French ivory”. Vegetable ivory is from tagua nuts and can be carved, decorated or dyed. French ivory is a type of celluloid or plastic that looks like ivory. French ivory and vegetable ivory have nothing to do with elephants or endangered species.
Now it’s time to see if any of the feathers on the hats are from endangered birds! I do have one hat with a real bird on it. It is a black hat embellished at the front with a small blackbird – dating it prior to the 1909 ban on such practices. The moral of this story is an anthropomorphic oxymoron. From an animal’s perspective – humans do some very strange things!
A few ivory sample pieces from the Quiet West collection:
Carved Ivory Necklace Featuring A Large Scarab
Carved Ivory From Hawaii
Antique Necklace Featuring Carved ivory Beads
Antique Carved Elephants From Africa 1920’s or 1930’s
Antique Asian Carved Small Bottle
Maker’s Marks
Example Of French Ivory Or Celluloid Antique Ring Box
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.
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.
This artful textile is labelled along one side “Stroheim Romann Inc. Exclusive Hand Print Fantasy Garden” and shows the colour palette with a dozen colours. Thinking in terms of offset printing – this is one expensive printing job! It never ceases to amaze me how some textiles can stay so vibrantly alive, almost increasingly so – as they age. The aliveness is in direct proportion to the time and effort that went into creating it.
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:
As much as we can appreciate and learn from the expertise of others, beware of the collectors and sellers who claim to know it all. For those who are truly immersed in vintage textiles and design, it is a never-ending learning curve. When we seriously delve into the arts, like many other vast topics – it will increase our awareness of how little we know. A stubborn superiority will do nothing to alleviate our ignorance.
There are thousands of different types of fabric. Rayon alone has fifty different types and descriptions. The difference between hand loomed and machine loomed requires knowledge and a close examination of the garment. Fabrics such as mock crochet and many of the silk satin blends used in vintage clothing are now obsolete. Historical textiles from Egypt, India and Japan, for instance – can be traced back two or three thousand years. One could study textiles alone for an entire lifetime and still not know it all.
The same goes for jewelry. For example, there are thousands of sterling silver markings. I believe Mexico alone has around twenty-five hundred. Jewelry is fairly easy to transport and save – therefore it is more likely to survive the test of time. The country of origin in both textiles and jewelry design shines through in the product. Mexican sterling silver is artistically superb – especially the early and mid-century Taxco. Scandinavian and Navajo sterling silver has a very different and distinctive look compared to Mexican sterling silver. Gemstones in the jewelry also reflect the country of origin, such as the old turquoise mines, gemstones in the particular location, various treatments, settings, and alloys used.
One of the big questions in vintage clothing is in the perceived authentication of designer pieces. I don’t dispute that the vintage clothing market is complex, because it is and always has been in a state of flux and change. It is easiest to see this once you compare the same brand from decade to decade. Louis Feraud clothing from the sixties is highly desirable and recognizable. The eighties Louis Feraud is not as distinctive or as creative, however some of the scarves and certain pieces are drop dead gorgeous regardless of the age.
In my opinion the primary way to authenticate a designer garment is twofold – one is by the labels. The other is by the fabric and design. The best designer vintage has all labels to include the brand, fabric and where it was made. Pre-seventies clothing will often not have fabric content because it was not a legal requirement to have the fabric and care labels until then. Experience does help with evaluating the authenticity of a garment. However, if that information cannot be passed onto the consumer logically and without the pretense of knowing something they don’t know – how is that fair to the consumer or to the industry?
The art and history surrounding fashion design and textiles is as vast as any field can be. We are studiers and stewards of things that came before us – things we ourselves did not create. As human beings we are prone to making mistakes. There are hundreds of little tricks to help us identify things. If you use a jeweler’s loupe to examine fabric, it helps differentiate types of embroidery, the warp and weft of the fabric, loomed versus printed, damask versus brocade, etc. Gradually more and more criteria gets added to the list in your head when evaluating vintage garments. Anything that has covered buttons and/or silk lining warrants a second look.
A jeweler’s loupe will also help identify hand painted versus transfer decal, because you can see the dot pattern in anything that is printed. To determine if cinnabar is real, you hold the loupe at an angle and look for the layers in the lacquering. There is a very strong intuitive sense one gets from certain things. In some cases I will know immediately if the item is authentic – without looking at any labels. I do not buy anything designer with a Made in China label with the exception of vintage and antique Chinese silk embroidered pieces and Chinese export porcelain (and mud men). A small percentage of things in the collection are made in Hong Kong.
In many cases with jewelry I cannot identify markings that are worn or too faded. Another example is that designer labels like Dries van Noten were originally made in Belgium. Now many of the luxury labels are made in India. Dries van Noten also has clothing made in Romania on newer items. My philosophy is to be honest and up front about where an item was made and price accordingly. I do not consider famous brands to be authentic unless they are made in the country of origin. It may be a purist attitude but that’s how I see it.
In reality vintage designer clothing has become the crème de la crème of high fashion. Certain iconic pieces by Versace, Alexander McQueen, Thierry Mugler, Karl Lagerfeld, Rudy Gernreich, Christian Dior, Valentino, Courreges as just some examples – are now fetching prices between five and twenty-five thousand dollars per item. Some of the well-preserved dresses from the twenties are now listed on various sites for several thousand dollars each. I checked a textile auction in New York and saw that designer dresses with significant damage from the fifties and sixties sold for close to a thousand dollars each.
The clincher is that certain pieces by certain designers at specific times in their careers – are like original or limited edition art pieces. They represent the creative genius that drapes the human form – with rich colors, textiles, fluidity of movement and multi-dimensional ideas. The art in design has no room for know-it-alls. It is one big mirror room – both dazzling and dizzying in scope. A vintage clothing collection reflects the culture of a country. Online collections of vintage clothing from different locations are a unique representation of local talent as well as the migratory nature of things from faraway. I love to look at collections of vintage kimonos from Japan. The artistic elements of the Japanese kimonos surpass most textiles. A collection of vintage kaftans from Morocco would create an awesome and inspirational show.
We are all partakers of fashion to some degree. Some of us like to keep fanning the flames of fame for those with vision because they created beautiful things with lasting value. We pluck what we pluck for many reasons. I believe it is best to be dedicated to learning and willing to admit and correct mistakes. Why? Curiosity is a driving force. The field is sweeping and boundless. The biggest mistake is to get arrogant and convey to consumers that we know-it-all. It is completely acceptable to cite ones credentials – with specifics, not braggadocio hot air. We are more or less prone to filling in gaps with mere conjecture. I do accept and respect the knowledge of others, but it is not based on what they claim to be, more on what they are interested in and have experience with.
To create a division between “us and them” from those who declare to be experts – is the kind of limit the arts neither needs nor accepts. Just as in poetry, we get to pick and choose our words. That’s the beauty of art. Quite simply when it comes to vintage fashion and design – no one knows it all. The flow and finesse surrounding beauty and creativity in the arts contains a central hypothesis. Since it applies to almost all things requiring talent or knowledge – not only in the visual arts, but also in sports, literature, music, academia and technology. The bottom line is – show me your stuff. Don’t tell me how great you are. When it comes to vintage fashion – we are talking about material things. Besides all that – it is probably wise and a better reality check, to let those with less of a cognitive bias, be the ones to decide how great we are.
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.
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.
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.
This gorgeous silk hand embroidered piano shawl is still luxurious and vibrant, almost a hundred years after it was made with painstaking patience. This one, fortunately, has been stored away from dust and direct sunlight over the years. Piano shawls have to be handled with great care to avoid knotting and tangling the fringe. Originally made to cover pianos, these shawls were used in elaborate fashion photo shoots in the twenties with a revival featured in Vogue magazine in the late sixties. The last two pictures in the post show the reverse side of some of the embroidery.
1920’s Hand Embroidered Silk Fringed Piano Shawl
Reverse Side
Reverse Side
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.
Tesserae is the term that is used to describe one of the smallest components of stone or glass used to create a mosaic. During the Renaissance (14th-17th century) Italy – with its famous glass makers and master craftsmen, began to create micro mosaic jewelry. They created scenes and religious icons by arranging tiny bits of cut glass within a setting.
The real trend or popularity of wearing micro mosaic jewelry followed the Renaissance period into what is described as the Grand Tour between the 17th and 19th century. This promotional tour consisted of the European upper class traveling to Italy to take in the famed Italian arts and culture. During this time, the Italian peninsula became a popular tourist destination for the scenery, the enhanced social status, education and cultural adventure that was part of the Grand Tour experience.
Micro mosaics were used in other art objects in addition to jewelry. It was generally considered that the finer and smaller the tesserae, the more valuable the piece. The pin and bracelet in this post are examples of Italian mosaic jewelry. You can click on the image and then maximize it for a closer look at the tiny tesserae – as well as the detailed metal work within the setting.
Italian Mico-Mosaic
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 the eighties and nineties I organized a few vintage fashion shows and did some basic research in order to do the narration for each show. What I learned then, is that fashion has traditionally had a thirty-five year cycle, where the styles of one era would be revived and re-created again, with some innovative variations. Because of this, there were distinctive things that “dated” clothing. For example, in the seventies, we wore bell-bottoms that were so wide and long that the bottoms became frayed and you tripped over them while crossing the street. Or, when those high-rise jeans that fit snugly around your waist went to the other extreme, followed by several years with clothing racks full of jeans and slacks that were so low in the rise that they had a one-inch long zipper. If you wore the style from a previous decade – it was ridiculed. But, let’s face it – some styles are ridiculous. Absurd actually. But, it’s not necessarily their age that makes them absurd.
Sometime into the eighties the fashion cycle began to shrink. During that time the frequency of the changes in fashion began to increase. The thirty-five year cycle went to twenty years, then ten, and early in the millennium, I recall reading that it had shrunk to seven years. This rapid cycling has become known as fast fashion. The mass produced disposable end of the clothing market has been churning out vintage inspired trends faster than we can follow. The underlying reason for this is that constantly changing trends and low prices will drive volume sales and increase the fashion industries profits. But ironically, what it has also done, is to increase individual freedom and create a much broader horizon for individual style and choice. Sort of an “anything goes” scenario that is a fairly new concept in the scope of fashion history. Therefore, this rapid spin of fast fashion might be losing its point, or its sustainability, as others predicted would happen years ago. On the up side, it has resulted in a significant blurring of the line between what’s in and what’s not in style. Since things so often swing to extremes, and fast fashion is filling up the landfills – maybe now we can swing back to the foundational quality and garment care that our wiser forefathers embraced.
To be rational about all the vintage buzz, a high percentage of vintage clothing is not worth keeping or copying. Just because it is vintage doesn’t mean it has style. And just because it is second hand doesn’t mean it is vintage. When clothing is advertised as vintage inspired or vintage styled – it is simply a capitalization of a now popular buzz-word, in order to increase the sales of their mass produced clothing. The other thing to be aware of – is that a percentage of authentic vintage clothing is made with exceptional style, quality of workmanship and material – yet it may not have a designer label. I know this statement seemingly contradicts a previous post I wrote about licensing brands, fakes and knock-offs, but in that case, the reference is to designer and contemporary clothing. Vintage has a different knowledge base regarding fabrics and sewing techniques, with some unusual quirks in the placement and types of labels used. Some of the beautiful and professionally made dresses from the thirties, forties and fifties don’t have designer labels.
There will always be trends. I believe the trend that is developing now is one of a much more sophisticated consumer. One who is inclined to research, to be more environmentally aware – and will wear what suits her personality and body type without being swayed so much by the spin surrounding fashion trends. Perhaps another off the grid trend is a reduced willingness to sacrifice comfort or mobility for style. After all, it’s pretty difficult to look effortlessly chic with a grimace on your face, or by tripping over twenty-four inch wide bell-bottoms. The truly fashion savvy women will seek both form and function – without sacrificing too much of either.
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 French without a doubt have the knack for fashion, with an intuitive grasp of what is ephemeral – and an even better grasp of what is timeless. To take it a step further, the style magazines tell us that the trick to developing a Parisian look is to avoid trends and work toward developing a uniquely personal signature look. The individual aesthetic is something that involves a healthy assessment of what looks and feels best, from both an objective and a subjective point of view.
Regardless of trends, true confidence involves choosing styles that flatter your figure and show what makes you distinct. For some, knee length pencil skirts look fantastic. Others look and feel better in A-line or pleated skirts. In general, the Parisian style has its foundation in quality staple items and a neutral palette. When choosing staple garments such as skirt styles, the fit is most important. Adding some French fashion pieces to your wardrobe, that are tailored to your own individual style and figure – will quite possibly become favorite wardrobe staples for many years to come. Timeless!
Philippe Salvet
M Daquin
Courreges
It’s By A.A
Lanvin
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.
The wiggle dress was used to describe a 1950’s dress style that has a narrow fit in the waist and torso. The defining trait is that it is narrower at the bottom than it is at the hips. It is a style that emphasizes an hourglass figure and was favoured for the pin-up girl photography.
The reason it was called the wiggle dress is because you have to take small steps while walking – thus creating a gait that causes the hips to sway. It may have been a style that rose out of a vintage inspired revival of the hobble skirt, which was in vogue from 1910 into the twenties. The hobble skirt was long and very narrow at the bottom. Even more of a challenge! When the corsets and caged hoops went out, next came a dress design that made it faster to hop than to walk! Now all that is needed with the fifties wiggle dress is five inch heels and there will be no running wild while wearing one of these outfits! It’s probably easiest to just strike a pose and look pretty.
Aside from hoops, corsets and bustles – the real wiggle dress is up there when it comes to impracticality. It feels like your legs are bound every time you take a stride. Nowadays, the wiggle dress is a term that is used to describe a variety of vintage and “vintage inspired” dresses. But, to reduce it to the origin of the actual wiggle – if it doesn’t constrict your stride – it’s not a wiggle dress! Here is an example of one. I did wear it once – and can attest to the baby steps it took to get anywhere.
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.
If we look at an overview of fashion history over the past two hundred years – it is quite revealing. The pendulum did swing. It seems that the two world wars had the greatest influence on women’s fashion, which led to the fashion revolutions of the twenties and again in the sixties. When the men went to war, women had to take care of the farms, children, businesses – and in many cases, do the work of a man. It changed things. There was a period of liberation and newfound confidence that developed. Women did not have to be put on display in corsets and hoops. In danced the flapper era, bobbed hair and the Charleston.
The Charleston is a dance that became popular in 1923, when it was featured in the Broadway show called “Runnin’ Wild”. It became a dance craze associated with flappers, prohibition and the term speakeasy. The term speakeasy caught on when a newspaper described saloons and taverns as speak-easies. During prohibition there were many places that sold alcohol. They were raided frequently, but were so profitable – it made no difference. In fact there was a marked increase in organized crime associated with prohibition. In addition to the term speakeasy, the taverns were also referred to as Big ol Ben, Big Toad, Blind Pig or Blind Tiger. The viewing of the animal was argued to be the main attraction. The owner of the establishment would place an animal on display. The patrons would get served alcoholic beverages after they paid to see the animal. They drank and danced the Charleston – frequently with women dancing while the men watched. It is most interesting to know that a song that was written and composed for a Broadway Musical ended up having such far-reaching societal impact with a strong political message. People just refused to have no fun. And although that is a double negative – it turned out okay.
The Second World War was rife with so much propaganda and grief – it took years for the next wave of rebellion to percolate. When it did – the skirts got shorter and some went on acid Kool-Aid trips. There was a generation gap like never before. LSD was a popular drug during the sixties. A Swiss chemist discovered it in 1949. Once they became aware of the psychoactive properties, it went to big Pharma and was marketed by the drug company Sandoz. The drug was widely used recreationally as well as in medical research. The stories of the use of LSD in psychiatry, oftentimes on unsuspecting patients, so their reaction could be studied – was appalling. It was not until there was public outcry over bad trips, suicides and flashbacks associated with the drug, that they stopped using it. Sandoz stopped production in 1963 – however, it was used in medical research up until 1980. The drug was made illegal as a recreational drug in the late sixties.
The sensational death of Diane Linkletter (TV personality Art Linkletter’s daughter) in 1969 became widely publicized, when she supposedly jumped to her death from a sixth story window when high on LSD. This event became the catalyst for beginning the war on drugs. But, in digging a little deeper into the death of Diane Linkletter, I learned that she was not alone in the apartment. The toxicology showed that she did not have any drugs in her system. Many years later, her boyfriend who was with her at the time, was involved in another suspicious death involving a female celebrity. At the very least, it could be said, that Diane Linkletter’s death is a mystery. And the war on drugs was a pointless hoax.
Marijuana does not have the colored past that is associated with alcohol and LSD as far as drama and tragedy is concerned. It was made illegal long before the more potent drugs like LSD. In 1923 it was somehow placed under the Opium Act, yet it is clearly not an opiate. If you ingested a half a pound of it, it would not show up in toxicology studies as an opiate. Nor would it give the same symptoms of overdose as opiates. As we all know, there is a long history associated with attempts to have marijuana legalized. And similar to prohibition – no matter how many raids crop up – it is still profitable. The thing that seems odd to me is that marijuana is not a narcotic, therefore, how can it be classified as one? It would seem that all drugs, regardless of what they are used for, should be classified with some accuracy, and not lumped together with drugs that have completely different properties. After all, drug properties are supposed to be science.
Fashion and creative freedom stem from a certain level of rebellion. I would term it as a peaceful rebellion, since fashion statements do not usually harm anyone (with the exception of six inch heels!) Fashion – like music, poetry, writing, painting, gardening, and interior design – is all about self-expression. Oppression, contradictions, control, and hypocrisy all force change. The greater the effort to control, the more people will find a way to define themselves. Every individual is unique. We hope not to be changed by the rippling effects of conflict and war. We hope not to be robbed of our identity in any way. To allow others to define us is a mistake and waste of potential. From a purely practical perspective, not all styles and trends suit all body types. We can look back into the political context of the different eras that gave rise to the hemlines. Those individual statements contributed to a movement.
The distinction to be made about Runnin’ Wild – is that it was not so much about being bad, as it was an expression of freedom. After all, if you look at either the flapper style or the Charleston, they are hardly sinister. Even the flapper’s response to prohibition was not all that bad. They actually made a point…when they kicked up their heels.
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 other night I was talking to a woman about how certain aptitudes seem to come down through the generations, like it is in your blood. She was telling me about her own history in Prince Edward Island coming from a background of artists and how she learned about, and developed an appreciation for beautiful things.
My earliest recollection of my Swedish grandmother, is of watching her spend hours upon hours, spinning and carding wool. I knew she found solace in the rhythmic constancy of the spinning. She also made beautiful quilts. She fashioned bits of satin into flowers of all different colours, to create a big bouquet in the center. Then she would embroider stems and apply the leaves. Sometimes she made the flowers out of a combination of fabrics – brocades, velvet or printed cottons. The quilt, with its layers of wool in the center, was her canvas.
The spinning looked simple enough. As an adult, I have not had a chance to study many spinning wheels. When I did, I realized it is not that simple. I chatted with a woman who does spin, and is quite passionate about it. She said she had learned how to spin from watching You Tube videos, which makes a great deal of sense, since you can pause it and go over sections, you don’t yet grasp. She also explained, how at first it is a real struggle, like you want to tear your hair out. But then – when you get it, you can’t understand why you found it so difficult. I told her about my grandmother and how it almost seemed like spinning was an escape for her, and a way to relax – while shutting the world out.
From what I have read, spinning is an art form. Like other art forms, there is a variety of ways to approach it. In essence it is the art of twisting fiber, fleece, wool, silk, alpaca, angora, mohair, flax, etc. into a continuous thread. It can be spun thick or thin, plyed or unplyed, dyed, or left natural.
The You Tube website is called “The Joy of Spinning”. It turns out spinning does have an effect on the limbic system, and pathways in the brain, to create a sort of Zen-like state. You get into a flow, yet at the same time, you have to maintain concentration.
Although I don’t know how to spin yarn in the real sense, I am most convinced there is joy and relaxation to be found in doing so.
Because my Grandma proved something to me long ago…Our brains like to spin!
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.
