Date(s): March 19, 2004. Album by Cathy Gordon. 1 - 265 of 265 Total. 2640 Visits.
1 Fortuny Black Delphos Dress Italian, 1920s-1930s
Sleeveless, with tan Venetian glass beads on shoulders and down sides, silk stenciled belt, selvage and belt labeled: Fortuny/Made In Italy/Depose.
Mariano Fortuny is remembered as a Renaissance man, for his versatile mosaic of talents, but particularly for his mastery in his textiles and garments. His first textile/garment, called the Knossos scarf, was made in 1906. Foolowing in 1907 was the Delphos gown, a columnar dress of finely pleated thin silk satin hand-dyed in every imaginable shade.
The early Delphos gowns had short bat-wing sleeves, laced along their tops. Because of the elastic quality of the pleating, Fortuny weighted his dresses by sewing cords strung with hand-blown Venetian glass beads down the sides. To keep their pleats, the dresses were twisted like skeins of yarn and packed in a small cream-colored box.
The tiny pleats remain a subject of discussion even though ...
2 Eisenberg plaid dress.
1930s Wonderful Eisenberg Original long dress in plaid cotton with shawl collar and floral bouquet.
3 Back of Eisenberg dress.
4 Eisenberg Original blue wool dress with black Bakelite buttons.
5 Back showing how buttons are on pockets.
6 Schiaparelli Couture Navy Taffeta Two-Piece Evening Dress
French, circa 1950 Comprising skirt with asymmetrical side drape hem, strapless bodice with pleated stand away bustline and attached asymmetrical winged peplum overskirt, size 4, labeled: Schiaparelli/21place vendome/Paris. Excellent condition.
7 Norell Silk Pant Ensemble and Wool Jacket
American, 1960s The first of navy and dove gray diamond patterned silk, comprising palazzo pants, long sleeved buttoned mandarin collar shirt tunic with tie belt and sleeveless floor length coat, size 6, tape label: Deborah 400; the second of box form with single button, ecru wool twill, with cuffs and three patch pockets trimmed in parallel rows of navy, size 6, labeled: Norman Norell/New York.
8 Travilla Fan Pleated Gown
American, 1970s The ivory silk fan pleated columnar gown gathered at cleavage, halter neck, size 6-8, labeled: Travilla.
Travilla was a Hollywood costume designer best known for designing Marilyn Monroe's outfits, including her most famous dress from the 1955 movie The Seven Year Itch, of which this dress is a longer version.
9 Givenchy Black Velvet Evening Gown
French, 1980s The narrow skirt with V-neck empire bodice, the long fitted sleeves appliqued with gold satin panels ruched at the shoulders, embroidered with black sequins and faceted beads and edged with black braid, size 4-6, labeled: Givenchy/Made in France.
10 Moschino Black Sequined Motorcycle Style Jacket
Italian, 1980s Embroidered overall with vertically overlapping sequins, trimmed with zipper pockets and side closure, size 6, labeled: Moschino Couture.
12 Irene suit and jacket.
American, late 1940s The first of black wool, the fitted hip length jacket with high molded neckline, asymmetrical front notched closure of three rectangular flaps buttoning on alternate sides, matching slender unlined knee length skirt, size 6, labeled: Irene, the second a jacket of black faille crepe with side panel seaming, asymmetrical collar, shawl on left side overlapping revere accented with bound curved slash, revere on right side, curved flap over both hips, curved turn back cuffs, size 8, labeled: Irene.
13 Pauline Trigere black velvet late day dress.
American, 1947 Sleeveless princess seam dress with low square neckline flaring dramatically at mid thigh, flounce hem lined with silk faille, size 8, labeled: Trigere/MU 1947.
14 Trigere label
15 Halston black and white polka dot dress.
American, 1970s Of creme chenille dotted black cotton voile, sleeveless bodice with graduated ruffle all around neckline, flared skirt with curved surplice closing with continuous graduated ruffle short at front long at back with attached self sash bow tied, size 6, labeled: Halston.
16 Dolce and Gabbana leather motor racing jacket.
Italian, 1990s Waisted with band neck, white leather yoke and sleeve sides, red body with yellow, white and black applique motor racing style motifs, zipper closure, leopard print silk lining, size 4/6, labeled: Dolce & Gabbana.
18 Calvin Klein red evening gown.
American, 1990s Of red and blue changeante taffeta, asymmetrical strapless bodice made over a foundation, only center back and left side seam, at front diagonal darts from left to center back waist, center back forming bias inverted pleats and handkerchief point hemline train, size 6, labeled: Calvin Klein Collection.
19 French frou-frou dress.
Polished cotton overdress, asymetric skirt and pleated bodice, with flowers from the fabric scattered over the main dress (each with a faux pearl or bead center). Underdress of hot pink netting.
20 Theirry Mugler black halter dress.
1980s or 1990s.
Black metallic mesh fabric over black liner with jade green lucite collar necklace.
21 Side view of Mugler dress.
22 Closeup of collar. Necklace can be removed and worn separately.
23 Giorgio di Sant'Angelo Velvet and Chiffon Evening Gown
American, 1980s The hip length bodice of stretch black velvet, with wide gathered neckline, long sleeves, strips of the black velvet continuing into flowing skirt, alternating with double layered chiffon godets, the top blue, the underlayer green, size 6-8, labeled: Giorgio di Sant Angelo.
24 Bill Blass Sequined One-Shoulder Evening Gown
1970s The sheath sewn with overlapping shiny black sequins, the hemline diagonal, following lines of bodice, sewn with bead fringe, size 4, labeled: Bill Blass.
25 Hattie Carnegie Post WWII
Stunning example of the American "New Look" trend in fashion that followed WWII. Ultra feminine, showing the definite romantic influence of the Victorian Revival in fashion of the late 1940's and early 1950's. Pure black SILk faille with a wonderful look and weight. Wasp waist, nipped in nicely, soft rounded shoulders. FULL FULL SWING of 130" to the skirt. FANTASTIC treatment on the BIG side pockets, hand embroidery and trim of black silk braid and soutache ribbon, reminiscent of the Victorian coats and dresses with their passementerie trimmings. Lots of princess lined gores and seams for a curvy silhouette, collar can be worn up or down, and has attractive pointed ends, full length sleeves with full cut shoulders and slightly turned back small cuffs. Real abalone pearly shell buttons, fully lined in black silk sateen.
26 Hattie Carnegie Black Silk Coat
Detail of front pocket.
27 Hattie Carnegie Black Silk Coat -- back
CONDITION: Accepted vintage clothing standards as excellent condition. Well stored in box, kept away from light, air and pests in a temperature controlled, smoke free home. CLEAN and FRESH smelling and feeling, silk fabric is soft and supple, not dryed out, no splits or snags, no holes or rips in the fabric, no stains or spots. DARK even black, underarms are perfect and clean with no damage at all, no fading, hem is excellent, no wear or damage. Really in amazingly well preserved condition. No holes, rips, moth bites, or signs of wear, no stains or spots.
28 Label from Hattie Carnegie black silk coat.
29 Emilio Pucci 1960s
Short velvet jacket in shades of purple, amethyst, pink and turquoise.
30 Back of Jacket.
31 Schiaparelli "eyelash" hat
Surrealist hat of black wool with curled black feathers on the edge resembling eyelashes. Label: Schiaparelli Paris. Created by Schiparelli licensee.
32 Back of Schaiparelli hat.
33 Side view of Schiaparelli hat. There is a small black velvet bow below the feathers.
34 Another side view.
35 Travilla American 1970s or 1980s
This black evening dress by Travilla has long velvet bodice with back zip fastening. Bones in back, sides and front. Sateen corsage and layers make up the bottom half. Bodice has full lining.
36 Travilla dress, side.
37 Minnie Mouse fake fur coat.
41 Liberty of London c. 1942
Black ribbed wool skirt & jacket, cuffs & mandarin collar in Persian lamb, double kick pleats in skirt, B 36", W 26", H 36", skirt L 27", size 8.
42 Liberty label.
43 Schiaparelli c. 1950s
Fine black wool faille jacket & skirt, 4 amber colored plastic buttons, label: "Schiaparelli New York Paris", satin damask "S" lining, B 38", W 28", H 38", skirt L 28".
44 Schiaparelli label.
45 Three skirt sets c. 1950s
All cotton prints w/ matching solid or printed blouses & coordinating belts: 1 watermelons, 1 cantelopes & limes, and 1 pianos & keys, excellent.
46 Cantelopes and limes.
47 Piano keys.
49 Irene evening coat c. 1950s
Warp printed silk faille, green pink & purple floral print on cream, raglan 3/4 sleeve, cream silk lining, coat L 46.5".
50 Irene coat back.
51 Irene label.
52 Beaded bag and platform shoe set c. 1940s
Blue carnival glass clutch label "Walborg, Belgium" w/ original tags, 4" x 11"; matching beaded navy blue suede platform & ankle-strap shoes, size 7, excellent.
53 Beaded bag and platform shoes.
54 Adrian suit c. 1940s
Fine wool gabardine in a warm purplish brown, Sh-Sh 15.5", B 38", W 26", H 39", skirt L 26.5".
55 Adrian suit front close-up.
56 Adrian suit back.
57 Adrian label.
58 Chanel Blue Leather Quilted Bomber Jacket
Straight yoke in back and Western in front, checkerboard quilting, bound slash pockets and midriff, drop shoulder, set in sleeve, shirt cuff and tab, zipper closure with Chanel name and address, black knit neck and waistband, gilt-metal logo buttons at cuff, quilted black charmeuse lining with handstitched chain, size 6, labeled: Chanel Boutique. Excellent condition.
59 Fred Bare Opulent Rose Hat
Of black straw densely covered overall with four inch wine red millinery roses forming a dome, iridescent silk bow at front, labeled: Fred Bare Head Wear and Saks Fifth Avenue.
The controlled narrow full length cape slightly gathered front and back to an elaborate cut, padded and foliate embroidered applied yoke, each side of front an applied panel, no size, no label.
61 Pumpkin and black rafia hat by Schiaparelli. Created by Schiparelli licensee.
62 Side view of Schiaparelli hat.
63 Schiap signature inside hat.
64 Eisenberg Original 1940s
Silk velvet suit, dress and jacket from Eisenberg Original. The dress is long, sleeveless and slim-fitting with zipper in the back with a bow at the neck. The jacket with fitted waist, button front and snaps at the cuffs. The jacket is fully lined with cream colored silk satin. Buttons are not original.
67 Close-up of bow on Eisenberg dress. Pin is not original.
68 Callot Soeurs 1930s
Evening gown of heavy black satin. Wonderful pleated sleeves and a white inset panel leading to a bow and train in the back. Totally handsewn. Label: Callot Soeurs, Paris Made in France Nouvelle Marque Depose.
69 Another view, slightly lightened.
70 Back of the dress. There is an opening below the neck hook, then the entire back below the opening is hooks and snaps.
71 Schiaparelli Opera Coat late 1940s
This a coat by Schiaparelli. The fabric is heavily faded (but not fragile or split) though you can see the original color in the pleats. It has amazing patterns: suns, florals, lions. There is rose-colored cording with overwoven braided metallic cord details. There are 4 fabric covered buttons with gold-tone metal frames down the front (though two buttons are off the coat). It is lined in a purple fabric. The lining has some tiny holes; cannot be seen while worn. The fabric has spots, faded areas, stains and holes by the sleeve area. The coat has side pockets. The measurements are: Bust is 34". Waist is 26". Sleeve length is 24 1/2". Length is 59 1/2". Shoulder to shoulder is 13". It has a Schiaparelli couture label.
72 Side view of the opera coat showing sleeve details. You can see some of the fabric details as well as the original color.
73 Coat was sent to Madame Paulette's in NYC. This company has been in business for many years and does both couture dry-cleaning and restoration.
They took off the buttons and braid and hand-cleaned them. The purple lining was removed. Then the lining and coat were dry-cleaned separately using their special process. They came out perfectly, with all dirt and spots gone!
The sleeves had holes at the crease ends due to fabric dry rot. Nothing much could be done for the holes, but they are not very visible.
Finally, the coat was re-dyed to match the color in the folds. My pictures don't capture what a good job they did, but there is very little unevenness in the coloring.
74 Another view of the front. I did some futzing around with contrast, etc. but my pictures show more color variations than are really there.
75 Close-up of front. Whomever this was made for was tall and slender as the coat would not button on my mannequin.
I tracked down the Dietrich coat in a museum in Berlin. They provided me with her measurements and she was quite slender.
76 Side view of coat.
77 Close up of sleeve.
78 Back view. The folds around the back vent are pulling up just a little.
79 Shoulders and sleeves.
80 Photo of Marlene Dietrich wearing the identical Schiaparelli coat, supposedly from the black & white movie Shanghai Express.
81 Another photo of Dietrich wearing the Schiap coat.
82 John Hutton photo
83 Bettman Archive photo dated 1944.
84 Label from Schiaparelli opera coat. Provenance: it was purchased from an antique dealer in NYC back in the 70's. This was one of several amazing items stored in a Louis Vuitton steamer trunk that he had. He had said that it came from an extremely wealthy couple from NYC...who had all their daughters' clothes made way back in Paris/Europe.
85 After Five 1980s
Goddess gown in gray taffeta. "Model" is shown wearing a Roger Jean-Pierre necklace.
86 Side view showing the large fabric bow in the back.
87 A cat comes to investigate the photo session.
88 Close up of the top.
89 Loris Azzaro 1980s
Azzaro one-shoulder black evening gown. Top is draped and pleated crepe asymmetrically and the bottom is black sequins. A large sequin bow is on the shoulder. Label: Loris Azzaro Paris Made in France.
90 Close-up of top of gown.
91 Side view.
92 Roberto Cavalli 1970s
Italian leather jeacket with handpainted designs Main part of the jacket is black with blue sleeves and deep magenta piping. Signed Roberto Cavalli Firenze Made in Italy.
93 Back of jacket showing the design.
94 Closeup of the design. Photo is lighter than reality.
95 Alfred Shaheen 1950s
Known for his superb prints, a Hawaiian gown in red cotton with white flowers. Train has a white riboon and a hand-hold for carrying. Signed Alfred Shaheen Honolulu.
The elegant evening designs of Garavani Valentino have been perennial favorites with women who appreciate his tastefully body-conscious silhouettes. Julia Roberts accepted her 2001 Oscar for her role in Erin Brockovich in a vintage Valentino black gown with white piping. Many of Roberts' fans discovered what savvy collectors had long known: high quality vintage fashion is never out of style.
Valentino has been in business since 1960 and is still going strong. His gowns are known for their elegance and opulence, combined with intricate detailing. His new creations remain popular with European royalty, American socialites, and celebrities. Now, his vintage dresses are widely collected.
This exquisite evening dress is fashioned from layers of polka dot silk chiffon over taffeta. I love the play of texture from the torso ruching and cascading ruffles. No other decoration is needed!
The inner construction il...
101 French sequined lace evening dress, c.1930-1940
The fine black lace of the dress is embroidered all over with tiny polychrome sequins in shades of red, green, yellow, ivory, and bronze.
The shoulder straps and bodice trim are fashioned from black velvet. The dress is totally lined with black taffeta and closes in back with hooks and snaps.
The condition is excellent and wearable.
It measures: 36" bust, 28" waist, 40" hip, 16" from the shoulder to the waist, and 58" from the shoulder to the hem.
104 Olympe French Brocade New Orleans Gown 1860s
DONATED TO FIDM (Fashion Institute of Design and Merchandising, Los Angeles, CA)
2 piece black silk faile, colorfully brocaded with garden flowers, skirt en disposition with floral bouquets and gold swags, bodice with long sleeves, trimmed with multicolored and gold metallic fringe, domed enamel and glass buttons.
Label on white petersham "Olympe 154 Canal Street New Orleans"
105 Olympe French Brocade New Orleans Gown 1860s
Back of gown.
Measurements: B 37" W 22.5" from skirt length 42", back length 55", hem circumference 196"
106 Fringe on bodice top.
107 Embroidery on skirt.
108 Couture label.
109 Schiaparelli Couture Jacket 1948-1952
Coral silk faille decorated with colorful ombre'd velvet appliques bordered with gold tinsel embroidery, irridescent sequins, crystal beads, soap bubble glass and beaded baubles, printed rose on cream.
Label: Schiaparelli 21 Place Vendome Paris.
Provenance: previously owned by Mrs. Chance Vought, widowed and later married to Artario Prochet. She wore the jacket to a "Come as a Song" party as "Bolero." She was best friend of Schiaparelli's daughter, GoGo Berenson and godmother of GoGo's two daughters Marissa and Berry Berenson (she hosted both their weddings).
110 Schiaparelli Couture Jacket 1948-1952
Back of jacket.
111 Schiaparelli Couture Jacket 1948-1952
112 Jacket detail
113 Jacket label. This is the Schiaparelli couture label.
114 Adrian 1940s
Black crepe evening gown studded with rhinestones, with front slit and bat-wing sleeves.
115 Lilli Ann Navy Wool Crepe Suit American, 1950s
The asymmetrical jacket horizontally pleated at left side of single-breasted left side closure, three diamante domed buttons, rounded collar, set in long sleeves, lined in silk crepe, slender skirt, size 8, labeled: Lilli Ann/Paris/San Francisco. Excellent condition, waistband let out.
116 Embroidered and beaded coat and dress 1920s
A navy georgette coat and dress heavily emboridered with seed bead accents in the Egyptian style.
117 Dress has knife-pleated sleeves and ruffled skirt. The lower-most embroidered panel is see through mesh lending a risque touch to an otherwise sober outfit.
118 Side view of the coat and dress. Coat has beautifully draped and tucked shoulders.
119 Closeup of the see-through panel and embroidery.
120 Maria Monaci Gallenga Silk velvet hand-stencilled evening cape C. 1923
The textile art of Maria Monaci Gallenga is often compared to that of Fortuny because they both produced hand-stenciled designs that drew inspiration from the distant past. The patterns of Gallenga are generally larger and less textured than those of Fortuny.
Gallenga's loyal followers, who frequented her shop in Florence, preferred the antique Gothic quality of her designs. She is best known for medieval and Oriental designs stenciled in shades of silver and gold.
This black silk velvet evening cape with an elaborate, pleated and rolled collar is lined with an orange silk velvet. Both side are stencilled in metallic tones -- the outer in silver and the inner in gold.
121 View of the cape showing the lining.
122 Close-up of the superb Asian-styled floral pattern, stencilled in tones of silver.
123 Inside of the cape showing the radiant orange velvet lining, with a floral stencilled pattern in tones of gold paint.
124 Made of silk velvet, both the outside and inside are stencilled with up to nine tones of gold and silver paint.
Her husband, a professor at the University of Rome, helped devise the method by which the metallic paint seemed to float on the fabric, not tarnishing nor flaking off.
125 Gallenga occasionally sewed a printed label into her garments, or would include, as in this cape, her signature stencilled somewhere in the pattern of the fabric.
126 Steel mesh purse.
127 Deco purse with marcasite and glass insets in green and onyx.
Of Bianchini fabric designed by Raoul Dufy, black and aqua velvet striped silk satin, form fitting design embellished at front with pale blue seed bead and white silk thread twining ivy leaves suspending clusters of fuschia beads, the velvet shawl collar similarly embroidered and accented with large turquoise cabochons, single breasted, long fitted sleeves with gathered caps, size 4, no label. Buttons in bad condition, one missing, two replaced, frayed and split at armscyes, some loss of color on stripes. See Palmer White, Elsa Schiaparelli, p.31.
130 Philip Hulitar Daffodil Yellow Cocktail Dress American, 1950s
Silk taffeta spaghetti strap boned bodice with dipped waistline at front rising up at back to peak, silk satin controlled pleat tulip mid calf length skirt with weighted slit at center front faux harem hem, gathered at back hem in faux poof surmounted by a satin bow, size 6, label: Philip Hulitar. Excellent condition.
131 Two Deco compacts, enamel on brass. The one on the left has a paper label calling it a "victory Model" compact and the powder puff is marked ClariceJane. The other compact is unmarked except for Des Pat 95,430, granted for a Vanity Case to F.R. Johnson on April 30, 1935.
132 Two chrome and enamel Deco compacts. The one on the left has a broken chain, but gorgeous enamelwork and is dated to 1929. The compact on the right is marked Made In USA.
133 Jeweled cats eye sunglasses. c 1950s, in pearlized pale pink plastic (?) with carved doves inset with rhinestones.
134 Side view.
135 Schiaparelli Evening Jacket Winter, 1939
[Sold] Shocking pink silk satin evening jecket with pale lavender, black and green vertical stripes. The front and sleeves are embroidered in silk and colored metallic thread in a trompe l'oeil morning glory design. 12 pink plastic and blue metal buttons, pink China silk lining. Label: Schiaparelli 21 Place Vendome, Paris, Hiver 1939-1940, and an inked linen tape under label "F1100."
See Schocking! The Art and Fashion of Elsa Schiaparelli by Dilys Blum pg 232 for a matching pair of high-buttoned boots and a house sketch of a matching gown.
136 Front of jacket
137 Side view showing embroidered sleeve
138 Back of jacket
139 Close-up of embroidery.
140 Schiaparelli couture label.
141 Bias Cut Summer Evening Gown C. 1930s
White silk crepe printed with lavender and blue flower heads with matching belt and velvet bows.
142 Close-up front
143 Back of gown.
144 Cats and Kittens Circle Skirt C. 1950s
Black cotton printed with mama cat watching kittens playing on Maypoles.
145 Close-up of skirt.
146 Black Maribou feather cape Attributed to YSL C. 1950s-1960s
147 Enamel plaque purse.
148 French embroidered and seed-bead purse with "jeweled" frame.
149 Whiting and Davis Dresden mesh purse with stripe pattern and enameled frame.
150 Whiting and Davis enameled mesh purse with a mosaic enameled frame that matches the purse body. Unusual.
151 Nettie Rosenstein
Fabulous high-drama coat from a premier American designer at the peak of her career! Fitted, curvy, dress-style. High-end tailoring with lots of hand stitching. Very figure flattering, true designer fit. Rich, smooth black wool. Cape attached at the armpits up and around to the tops of the shoulders and across the back--sewn on, not removable. Full length sleeves. Double breasted. The four topmost buttons are covered in the same fabric as the body of the coat. The lower eight buttons are covered in velveteen. Creates an interesting combination of lights, darks and textures against the highlights and shadows of the bodice area. Both coat and cape are fully lined in black silk. Side slit pockets.
Label: "NETTIE ROSENSTEIN"
Her clothing designs were produced in small quantities, so this most definitely a rare item.
Excellent used condition. Outside of the coat has no flaws. The silk lining is structurally sound with no rips or tears, but...
154 Beaded French Evening Gown c. 1929
Black silk georgette trained sleeveless gown, front and back embroidered with hundreds of rows of tiny white beads and with a center vertical row of square diamante, long draping panels of georgette from hip to floor, ending in handkerchief points. Dress reputed to be fashioned in France from Erte pattern.
155 Back of dress.
156 Beading and rhinestones.
157 Satin evening shoes with pearl and paste buckles Circa 1920s
158 Satin evening shoes with pearl and paste buckles Circa 1920s
159 Eisenberg Original
164 Paul Poiret Printed Silk Dress 1921
Black China silk with white stylized lollipop print, 2-piece day dress. Underskirt with attached silk undershirt, top with dolman sleeves, crochet bauble trim, turquoise grosgrain ribbons and celluloid tassels. Large 'Paul Poiret a Paris' label.
165 Back of Poiret.
166 Closeup of pattern.
167 Complete outfit. Dress top was shredded so I have had a replacement made by an excellent conservator in Canada.
168 Turquoise ribbons.
169 Celluloid belt.
172 Secondary label attached to the underside. Reads:
No 41719 Mme Welsh "R. Confetti.
173 According to Karen Augusta:
No 41719 is garment style number, MMe Welsh the client and possibly R.= Rue as in Street where she lived? or R. = Robe Confetti which would be the dress's name. Poiret often gave his creations names.
174 Christian Dior Red Ball Gown 1957
Cherry red silk taffeta, ruched bubble skirt with gathered skirt front, low cut front decollete with red cloth rose. Multi-layered petticoats stiffened with horsehair and buckram. Shop label 'Mignon, Paris, New York.'
No label. See same dress in black page 264 and page 267 of Girooud and Van Dorsen's book DIOR, from Dior's last collection.
175 Back of Dior.
176 Decorative flower.
178 Christian Dior Couture Coat 1952
Black, slubbed Dupioni silk coat, with short raglan sleeves, open front, 2 rhinestone buttons and turned back collar.
179 label from coat.
180 Schiaparelli-designed, Made in USA, Dinner Suit 1940
Elsa Schiaparelli visited the US in 1940 and went on a multi-city lecture tour. She created fifteen ensembles to wear on the tour, and these were copied and sold throughout the country at Bonwit Teller stores.
Black wool crepe dress and jacket, with its pockets outlined by embroidered pansies. Buttons have stars on them.
See Vogue, October 1, 1940, pages 66, 67, 137, 138.
181 Dress without the jacket.
182 Seed bead pansies backed with batting to add dimension.
183 Adrian Navy wool suit Circa 1948
Bought from a woman whose mother was a fashion model for Harvey Bendel. This was one of her personal suits.
184 Back of the Adrian suit. These pictures have been lightened -- the suit is a true dark navy.
185 Fabulous Adrian style and tailoring!
187 Pierre Benoit Circa 1950s
Yellow and gray wool checked swing coat with black velvet buttons and black piping on the cuffs.
Pierre Benoit 10, Rue de Cstiglione Paris
Made in France Saison (no mark for the season)
189 Whiting and Davis Dresden mesh purse
190 "Rocket Red" wool coat Designed by Schiaparelli for her American tour in 1940
This coat is the version worn by Schiaparelli at the start of her American lecture tour in November 1940 in front of a wildly enthusiastic crowd at Lord and Taylor in NYC. Harper's Bazaar, December 1940, called this coat "the most revolutionary coat of the decade."
It doesn't have any padding, with sloping shoulders, a shirred front, pockets hidden in the side seams, and large faux tortoiseshell buttons with an "S" in the center.
Schiaparelli designed fifteen (Palmer White says twelve) ensembles which were made by the American garment industry and sold throughout the US on the tour.
191 Front of the coat showing shirring.
192 Unlike typical Schiaparelli, this coat had no padding and hung "like a sack." (Harpers Bazaar, December 1940).
193 Button showing the "S".
Left: Original Design Registered by a Member of Fashion Originators Guild
Right: Registered Design with Fashion Originators Guild Patent Applied For
195 Label in coat:
Authorized Reproduction Schiaparelli 1940
196 Ansonia green lizard skin purse and shoes.
197 Ansonia gilt "glitter" purse and shoes.
198 Moi wearing a Samuel Winston by Roxanne dress. Circa 1950. Sleeveless copper-colored satin bodice, pleated black chiffon waist dropped into a V at each side, black taffeta full skirt with black crinoline.
199 Ceil Chapman evening gown Circa 1950s
White cotton faile, fitted sleeveless bodice with wide neckline, full gathered skirt with 4 inverted tucks at front and back hips.
200 Ceil Chapman evening gown Circa 1950s
Back of gown.
202 Ceil Chapman blue satin evening gown Circa 1950s
Blue silk satin evening gown with spaghetti straps, cummerbund and draped skirt embellished with 3-D flowers of silver; dark blue and linen soutache braid, gold and dark blue embroidery, rhinestones and crystal beads.
203 Ceil Chapman blue satin evening gown Circa 1950s
204 Ceil Chapman blue satin evening gown Circa 1950s
205 Christian Lacroix pink party dress Circa 1980s
Party dress of puckered, bright pink silk, long fitted bodice, skirt panels with side paniers decorated with black faille ribbons, black ribbon faux bow tie at center front, rhinestone shoulder straps, black silk lining, boned bodice and double stiffened gauze under-skirts.
206 Christian Lacroix pink party dress Circa 1980s
208 Maria Gallenga Velvet Gown and Purse Circa 1920s
Persimmon orange silk velvet gown stenciled all over in metallic gold and silver gingko leaves, long sleeves with open seam trimmed with gold baubles, shoulder seam trimmed with coral glass beads, matching small draw-string purse.
209 Maria Gallenga Velvet Gown and Purse Circa 1920s
210 Maria Gallenga Velvet Gown and Purse Circa 1920s
211 Maria Gallenga Velvet Gown and Purse Circa 1920s
212 Paraphernalia blue velvet mini dress 1967
Sapphire blue silk velvet mini dress, spaghetti straps, large jewels on bodice, woven label "Designed by Michael Mott for Paraphernalia"
213 Paraphernalia blue velvet mini dress 1967
close-up of bodice
214 Paraphernalia Stars and Stripes dress 1967
Knit mini dress with stripes of cream, navy & silver metallic, long sleeves, silver star appliqués on shoulders, 10 silver star metal buttons, woven label "Designed by Michael Mott for Paraphernalia"
215 Paraphernalia Stars and Stripes dress 1967
216 Paraphernalia Stars and Stripes dress 1967
detail -- front
217 Alfred Shaheen red, gold halter strap dress -- 1950s
219 Adrian Original printed silk dress c 1940
224 Striped wool jacket with large buttons Fred A. Block Circa 1940s
225 Striped wool jacket with large buttons Fred A. Block Circa 1940s
226 Striped wool jacket with large buttons Fred A. Block Circa 1940s
227 Fred. A. Block Original label
228 Jacques Fath Paris label
229 Blue linen suit with cream crepe collar and bow Jacques Fath Circa 1950s
230 Blue linen suit with cream crepe collar and bow Jacques Fath Circa 1950s
232 Cocktail gown Samuel Winston by Roxanne Circa 1950
Sleeveless copper-colored satin bodice with pleated chiffon waist dropping to a "V" on each side, full black satin skirt. Net petticoat.
233 Cocktail gown Samuel Winston by Roxanne Circa 1950
Sleeveless copper-colored satin bodice with pleated chiffon waist dropping to a "V" on each side, full black satin skirt. Net petticoat.
234 Samuel Winston by Roxanne label
235 Velvet jacket in hot orange, pink, lime green and cream Emilio Pucci Circa 1960s
236 Velvet jacket in hot orange, pink, lime green and cream Emilio Pucci Circa 1960s
237 Silver and gold leather platform shoes c. 1940s
Peep toe, sling backs. Marked Hatfield and Bloomingdales, NY
238 Red satin shoes with red rhinestones c. 1940s
Peep toes with ankle straps, small rhinestone buckles. Marked Delmans New York and Neiman Marcas Dallas
239 Pink and blue brocade pumps with pink ribbon bows. c. 1960s
241 Embroidered and sequined silk wallet possibly for carrying letters Dated 1793
From 18th C expert, Edward Maeder
There is a 'similar' piece, although not at all as impressive, in the collection at LACMA and it is illustrated in the checklist of AN ELEGANT ART.
This is a particularly FINE piece of 'mourning work' and the fact that the silhouette and the tombstone' are protected by a layer of mica is truly remarkable. Personally I have never seen such a thing! The purple in the surround is usually reserved for 'half-mourning' but this piece is one of the best I have ever seen. It 'could be' French, but I have the feeling that it lacks a bit of the exuberance of the French, and given the date 1793 it is possible that it was made by a French royalist living in England (London),or even an English relative, at the time. There is something quite restrained about the execution of the piece, but it is SO tastefully done and appears to ...
242 Hand embroidered with silver sequins. Dated 1793
243 Interior with a painted silhouette under a layer of mica.
244 Handpainted mourning scene with an urn on a tomb and tree under mica Inscription: R:v:R Nat: 10 Jan (?) 1728 Denat: 24: Mai: 1792
245 Inside of wallet. The two sides each open in the center.
246 Outside of the wallet
247 Initials -- can't decipher them....
254 Ladies linen coat with Joseph Hoffmann Wiener Werkstatte buttons Circa 1911
Lady's natural linen coat with narrow kimono cut sleeve, curved lapel, wide front placket angling toward side above pockets, decorated with satin stitch embroidery in a linear "W" repeat, four large domed hammered silver buttons hallmarked and with applied signature Hoffmann windowpane set with onyx cabochon, two front, one each cuff, buttons excellent. B-40, L-47, buttons 1 9/16.
At one point it had a label, as there are marks at the neckline: (dimensions 2 3/8" x 1" / 6 cm x 2.5 cm)
255 Hammered silver button Josef Hoffmann Wiener Werkstatte Circa prior to 1905
Hammered silver button with central windowpane set with an onyx cabochon.
Dimensions: Diameter: 1.493 in / 37.9 mm Height (w/o shank): - to top of cabochon: .793 in / 20.1 mm -to top of button: .511 in / 12.9 mm
256 Back of button with marks:
Wiener Werkstatte Rose Mark Wiener Werkstatte WW mark in an oval Josef Hoffmann mark Austro-Hungarian mark: Diana (900 silver)
From Wiener Werkstatte-Registered Trademarks by Waltruad Neuwirth, pg. 138 and 142:
"The Rose Mark, the WW monogram in an oval, designers' and craftsmen's monograms, and sometimes also the official hallmark were often imprinted on metal objects produced by the Wiener Werkstatte in the years prior to 1905.
We encounter the Rose Mark as a stamp on numerous designs and working drawings, particularly those dating from the early period of the Wiener Werkstatte. Most of these are for metal objects.... Many of these drawings are dated 1903 or can be traced back to this year.... the Rose Mark stamp does not appear to have been used on designs and working drawings after 1905.
...the oval framed WW was not registered by the Wiener Werkstatte as a trade mark, but it was entered in t...
257 Leather handbag Deco period
Chestnut satin finish leather handbag folded in a tall trapezoid with cutout for short strap handle, flap front mounted with a ribbed triangle opening to three slit pockets, a zippered pocket and attached chain purse, silk faille lining in burnt orange. 8 1/2' x 10"
258 Leather handbag Deco period
Back of handbag
259 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli for her American tour in 1940
Schiaparelli Official Reproduction pink wool jacket with bead-embroidered velvet collar and velvet pockets. Vogue article calls it "Pyjamas for lounging after a lecture" -- it came with black wool pants or a black wool skirt.
Large pink enameled buttons with gilt edges and (perhaps) latitude/Longitude lines and rhinestone studded stars.
Schiaparelli designed fifteen (Palmer White says twelve) ensembles which were made by the American garment industry and sold throughout the US at Bonwit Teller stores.
See Vogue, October 1, 1940, pages 66, 67, 137, 138.
260 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli 1940
261 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli 1940
262 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli 1940
Beaded velvet collar
263 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli 1940
Pink enameled button
264 Pink wool wool jacket with beaded velvet collar Designed by Schiaparelli 1940
Label: Authorized Reproduction From Schiaparelli 1940