Love this dress with it’s slinky, sexy fit. It has 1960’s style features i.e. bell sleeves and decorative trimming and a nylon Talon zipper BUT it is placed in the middle of the back with no opening at the top, like some 1940’s dresses. The fabric is also heavy cotton(?) and has an unusual art print. So, several indications of an older garment though it may have been styled the way it is just to enhance the fit.
No matter! Fits me well and looks fabulous on Stella. It’s a keeper, at least for a while . . . . . . . . . . . . . . . ..
Long, sweeping gown in a beautiful, heavy cotton(?) – the photo on left shows the cut while the photo on right gives the true color and close-up of the interesting print. This dress has many construction contradictions; some point to 1940’s and some to 1960’s. Undoubtedly, it was custom-tailored.
Maybe our mid-century tailor was very experienced and knew how to use various methods to achieve exactly the slinky, hourglass fit she wanted. The bell sleeves and commercial braid trim say 1960’s but the mid-back zipper placement, dip in the front waistline and fabulous art print fabric say 1940’s. Looks like a film noir hostess gown. I love a mystery!
Anyway, it’s an absolute beauty and fits me like a glove. Dresses with the zipper placed mid-back are always a trick to get into and out of – pays to understand the method. However, when the fit is right and the construction good, it’s a snap. Tomorrow I’ll show you a cute shift with a clear Sixties pedigree. Stay tuned . . . . . . . . . . . . . . . .
The most interesting dress – by Lawrence Kazar New York and it looks like a “daring” mid-’60’s design to me, but may be 1980’s as I can’t find any earlier history on this designer. The fit is slinky and small but the armholes are cut very low and it’s styled to wear without a bra. That’s a trick to do effectively but this design succeeds. If your dimensions are right, it’s a knockout!!
Besides the bra-less top, the most distinctive feature is the peek-a-boo waistline which was sometimes seen around 1965 or so. It’s very nicely tailored and such a gorgeous color. So, Mod or Dynasty, I really couldn’t care less. Oh, James . . . . . . . . . . . . . . . . . . . . .
Yes, it’s a summer dress but how could I resist? We don’t usually find them with all these pretty details – a very Victorian Prairie thing for a hot-weather girl. Looks like it was commercially-made, but there are no tags. I may end up selling it next year but, you just never know . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . .
This is absolutely the prettiest apricot-color floral print dress! It’s got an old Talon zipper in back and is in fabulous condition (and my size, if not my best color – maybe a little summer tan will help).
Don’t know whether this was Prom or whatever in it’s first life, but now I’d wear it almost anywhere. Could even be worn as part of a wedding party. The cut and skirt treatment are very well done, making this a super-flattering frock.
The colors are beautiful and the styling unusual, with a faux train detail back and front – falling from the bodice. My first impression was that this dress may have been made in Hawaii, but I’m not sure. There is no label and my impression is that it was made by an individual with tailoring expertise or at a small tailoring shop.
The fabric and construction details say true vintage to me, so I’m going with that. Such a pretty design – it floats from just above the bust-line, swirling down to the hem, which is cut just a little longer in the back to make the dress fall properly. This is a detail that is not often (if ever) seen in mainstream patterns that have been cut recently – one of the important styling elements that have gone by the wayside in modern times. Surely true couture houses still observe them(?).
Anyway, gorgeous, gorgeous, gorgeous. Very informal but extremely elegant.
Although very similar, I might place this dress as having been made a little earlier than the one shown yesterday – looks late 1940’s to me. It might or might not have been worn with a crinoline underneath. Like the other, it’s completely hand-made and this one has the tailor’s label sewn into the neckline.
One of the best things about this gown is the fabric – a plush, heavy velvet that feels like old rayon. Love the sweetheart neckline and off-the-shoulder sleeves that, to my taste, are done a bit more artfully than those on yesterday’s dress. I think it’s mostly a style change that took place over a couple of years around the turn of the ’40’s to ’50’s decade.
Anyway, who wouldn’t love it! I so wonder what events these dresses were made for and where they went. That part of the mystery is as yet unsolved . . . . . . . . . . . . . . . . . . . . . .