Night Life

A while ago now I took a long weekend and ventured down to Winchelsea to Barwon Park Mansion to view the National Trust's Night Life exhibition of formal wear from the 1920s and 1930s. It was certainly well worth the trip and a good excuse for a short break.

The mansion was built by Thomas Austin in 1867 when he learned he was to host the Prince of Wales during the next Royal visit. He was too embarrassed to entertain royalty at his modest homestead, so built the mansion. He died six months after it was completed. Austin is also credited, or rather blamed, for introducing the rabbit to Australia so they had something to hunt besides kangaroos.

Barwon Park Mansion

It provided a fitting setting for the National Trust exhibition. The lighting was necessarily dim to conserve the garments, so please excuse the lack of light in the photos.

The 1920s garments were divine. There were, of course, the elaborately beaded flapper dresses but in some ways I found the other garments more interesting, probably because I've seen so many photos of beaded dresses. This dress is one of my favourites - earlier than 1920s, about 1919 I think. I have discovered a passion for tassels.

Beaded Cocoon Coat

This dress of pearl and silver beads is so heavy that the weight of the beads has torn the fine netting to which they are stitched. These heavily beaded garments are displayed flat in cases to minimise stress to the already stressed pieces. It must have been a challenge to dance the Charleston in some of these dresses. This garment is described as an evening gown but wouldn't it have made a lovely wedding dress!

My other favourite piece in the exhibition is this Assuit shawl. In the wake of Howard Carter's discovery of Tutankhamun's tomb in 1922 everything Egyptian was the rage. This fabric, named after the place in Egypt where it was made, combines net fabric with metal strips in an ornate design.

Assuit Shawl

The 1930s moved away from beading and ornamentation. Dresses were longer, and cut on the cross of the fabric (or bias) to cling to the body's curves. There were several beautiful silk florals on display.

 One of the problems I had at the exhibition was not touching the fabrics. These fabrics are so foreign to what we are familiar with these days. When a fabric is described as glazed silk I want to touch it, but I did manage to refrain.

This interesting 1940s cotton lace dress was the youngest dress in the exhibition.

There were many other beautiful and interesting pieces that I just couldn't photograph properly in the dark, such as a fabulous piano shawl, and a cape with an amazing Art Deco lining.

An interesting section of home made garments made a detour, and visitors could  practise doing tambour embroidery in a hoop if the volunteers were there to instruct.

One day I hope to go back just to look at the mansion as much of it could not be seen due to the special exhibition. I was most fascinated by the servants' areas.

And by the nursery.

The doll's house furniture was fascinating, made with such care in amazing detail. I was reminded of Beatrix Potter's book "The Tale of Two Bad Mice".

Little wood burning stove. I put my bag there for perspective.

Tiny little ironing board and spinning wheel.

The Night Life exhibition dates  were extended but it was moved to Rippon Lea mansion in Elsternwick, Melbourne, where it is a bit more accessible to most visitors. It finishes on July 30, so be quick. There are also a series of spin off events, including a fashion parade and ball.

Night Life at Rippon Lea

Lost in the '30s

Today I started a job I'd been putting off for ages and dreading, clearing out the hall cupboard. This is a big cupboard and by the time I'd taken everything out I couldn't move in the hall and had thrown piles into the adjacent bedroom and living room. In particular, I was determined to find my childhood nursery rhyme book to read to my almost two year old grandson. I knew it was in there somewhere!

Well, thank goodness I did a proper clear out because I was delighted to find not only my nursery rhyme book, but also a box of women's magazines from the 1930s and 1950s which had come to me from my grandfather in the 1980s. At that time, I thought they were great, but I hadn't begun  collecting either knitting books or vintage fashion at that time, I was too busy with a young family for a start. I did contact the State Library of Victoria to ask whether or not they were interested in them, and donated some. I was thrilled to find them today because I hadn't seen them for years and assumed I must have donated them all.

The most interesting of the pile are the four oldest - Everylady's Journal (1933), The Australian Home Journal (1934) and two copies of The New Idea (1933 and 1935). What a treasure trove!

Here is a gorgeous photo from Everylady's Journal:

L-R: Maggy Rouff's white satin evening gown, Lucien Lelong's black satin dress and Lelong's crepe dress studded with steel nail heads.

These magazines have proved to be quite illuminating. Only last week I was discussing this 1930s dress I was about to photograph with my mother, and we both agreed that women in the 1930s must have been not only exceedingly slim (The dress is an Australian size 4-6) but also extremely tall because the dress is so long!

I read with interest this article about the dress worn by British actress Miriam Jordan:

"The frock is fashioned of palest grey woollen material in basket weave. The lines are simple, and the skirt very long, falling at least two inches on the floor in front, and going into a tiny train at the back. Beadings, about an inch wide, formed from crystal beads and costume emeralds, make the belt, and are also carried from shoulder to hem, where a more elaborate pattern is worked out.What would be a very low decolletage in front is raised to the height of a simple dinner dress by band of silver bugles, which are also used in loops over the right arm. The gown is backless and is fastened at the waist with a crystal and emerald clasp." (p.297) How I was wishing for modern photography. What a stunner this would be on the red carpet at the Oscars.

So that's why the dresses are so long! They weren't taller, they wore their evening gowns so much longer than floor length. I hate to think about the number of twisted ankles or worse (not to mention shoes put through the hems of dresses) that were probably caused by such dresses.

As well as knitting, crochet and tatting patterns the magazines are full of illustrations showing patterns that one could send away for.

The Australian Home Journal provided free paper patterns with every issue as well.
Magazines from the '30s and '40s are full of ideas for accessorising and how to make your one plain dress look like four different outfits. After all, they were in the grip of the Great Depression, closely followed by war, so they had to make the most of what they had. Clothes were expensive in those days, or you made your own.

Change collars and cuffs, add a trim or a little bolero, and hey presto! New outfit.

As always with these old magazines, the advertisements are an entertainment by themselves. This goes to show that women were just as worried about their shape as they are today, although the model presents a more realistic image than is often seen today.

Youth-O-Form reducing pills.

Everyone wants to lose weight without diet or exercise, but I suspect the fat burning pills were laxatives.

The New Idea magazine is still going strong today, although quite different in appearance and content.  This is how those '30s gals got those gorgeous waves - setting lotion of course.

Demonstrating how to set the "finger waves".

Coincidentally, Miriam Jordan is also modelling the latest fashions in this magazine. Clearly she was quite a celebrity in 1933.

"Miriam Jordan is seen here in a Spring gown of organdie, with a gored skirt flared to fashionable fullness.  A three-tiered cape collar forms short sleeves, and cornflower blue velvet ribbon is used as a belt. A blue velvet ribbon, matching that used on the frock, trims the hat. Miss Jordan wears this frock in the new Fox film, 'I Loved You Wednesday'." (p.24) This was apparently Miss Jordan's best film as her career was short and a bit lacklustre (except for the frocks). Here she is in a still from the film, wearing that organdie dress:

She seems to have been better known for her frocks than for her acting.

More fascinating ads. Yes, it's not something I've previously given any thought to, but how did they manage to conceal sanitary napkins under those clingy bias cut dresses?

Of course, they had the Equaliser! (?) "A radical innovation! Ends must be phantomised . Kotex only- offers this special shaping making it possible to wear the closest fitting gown without the slightest revealing line." (p.31)

Deodorant ads are often amusing. I love this little sponge on applicator. I used Odorono when I was a teenager back in the '70s, but it was a roll-on then. Gone now.

How lovely is this lingerie advertisement from The Australian Home Journal:

I'm always a sucker for the undies.

The New Idea ran an article for expectant mothers, including instructions on how to lace their corset, although it suggested that a supporting band was more comfortable.
And while we're on the subject of motherhood, if your little girl is failing to thrive, feed her custard with her fruit and watch her bloom! Who knew?

I was very interesting in this AMP insurance advertisement which shows the husband drying dishes. I was impressed. I'll bet there weren't too many around helping with that chore in 1935.

Note the washing happening in the enamel bowl on the kitchen table. I wonder when most kitchens had sinks.

And finally, the best discovery of the evening for a knitting book collector. Dating is always tricky because few knitting books have the date printed in them. But newly published  and advertised in The Australian Home Journal in 1934 is Patons  book no.4. So now we have a starting date for the biggest publisher of knitting books in Australia, Patons, or Patons & Baldwins as they were in the 1930s. Only three issues before this one, so we can safely say they began publishing in Australia in 1933 or 1934. Yay!

And look what else I found, circa late '50s or early '60s:

Loved to death, held together by metres of sticky tape, the pages in tatters. I still love it. Henry can't escape it the next time her comes.



References:
The Australian Home Journal, February 1, 1934.
Everylady's Journal, May 1, 1933.
The New Idea, October 6, 1933.
The New Idea, November 29, 1935.

Snapshot - 1935

I was so excited yesterday when a package of vintage knitting books I had ordered from the US arrived in the mail. They were all wonderful and I will share them with you soon. But there was one book that for me just stood out from the rest.

Design by Elsa Schiaparelli

This book was published in 1935. And yes, that is a design by Elsa Schiaparelli on the front. It uses simple stitches, just plain knitting and purl, to make the textured stripes. It's the way the separate panels and pieces are put together that make it striking. And the contrast collar and belt. If you look really closely you may just be able to make out a pair of dress clips at the corners of the neckline,

On page 3 is a design by Chanel, a two piece dress with a blouse featuring her signature stripes, Note the gauntlet gloves.

Design by Chanel - Paris

Schiaparelli and Chanel, fierce rivals who couldn't stand each other, were at the height of their careers in 1935, How wonderful that women could buy a book including their patterns and as the title says "Picture Yourself" in these handknits. Chanel had pioneered the concept of knitwear as a fashion garment back in the post war period. Until then knitwear had been mostly used for practical items such as  underwear, hosiery and baby garments. Chanel's fashion philosophy emancipated woman from the hated corset and freed her for more active pursuits. Chanel was a keen sportswoman and she often wore more comfortable and practical men's clothes. She was the first designer to use stretch knits such as jersey in her designs.

One of the most fabulous things about this book is the Lily Dache hats which feature in all of the photographs. These women just look so willowy and elegant. Like the famous bias cut dresses of the '30s, these knitted dresses didn't hide any sins. I suppose a girdle helped control stray minor bulges.

And speaking of the bias cut dress, on Page 4 is this design by Vionnet, famous for the gloriously figure hugging bias cut dress in the '30s.

Design by Vionnet - Paris

The lapels and collar on this dress are amazing, with the contrast bow illusion underpinning the neck, And I love the button detail on the front and on the sleeves. But most of all, I love the Lily Dache hat!

On page 7 we have the Agnes Drecoll dress with the contrast scarf neckline. The BELT! and the BUTTON! Once again, a fabulous hat and gauntlet gloves.

Design by Agnes Drecoll - Paris

Page 8 features the first of two designs by Edward Molyneux. The highlight of this dress is the crocheted buttons, in main and contrast colours. This dress is a chunkier style of knit.

Design by Molyneux - Paris

Molyneux has a second design;

Design by Molyneux - Paris

A checked skirt suit with a blouse. Note the fluted lampshade behind. Here is the blouse:

Design by Molyneux - Paris

How gorgeous is that? Love the lace up neckline.

Design by Maggy Rouf - Paris

Maggy Rouf is a designer I've heard of but know little about.  Here is her contribution, a chunky two piece in ribbing. At first glance the top appears to be a jacket, but this is an illusion. It's a jumper with a long band stitched on the front to make it look like an elegant jacket. So much of '30s designs seems to be about illusion. The HAT! and the BAG!

The last designer to feature is Dilkusha, of whom I have never heard. I didn't feel so bad about that when a quick Google search brought up no hits at all. I assume she's a woman as the name has a feminine ending. Anyway, she contributed this rather sweet number:

Design by Dilkusha - Paris

The collar extends into a ruffle along the front band.

There are quite a few other designs where the designer does not rate a mention, but they're great, so I'll share them with you.

Note the knitted gloves and the cigarette.

Gorgeous, love the neck drapey bit.

I love this "Two-piece vestee suit", once again an example of 1930s illusion. The vest is a false one, the pieces are sewn onto the jacket front as an extension. No getting hot and taking your jacket off in this outfit.

Tweed coat. Note the carved bakelite buttons. HAT!!

 Jiffy knit dress: Did I say HAT!?

Lacy Dress: Note the pocket book, or pochette. (Shhh...HAT!)

Look at the darling scallop shell pockets, the front band extension that buttons and the tie neck.

Nothing to say, except HAT!

Charming and unusual dress with dolman sleeves and twisted belt. (Not saying the H word, but not because I don't want to).

Swagger coat. Separate optional scarf and fabulous buttons.

Crocheted striped dress with interesting neckline and amazing back:

And lastly, because I can't leave anyone out:

The raglan twin set, with twins. Note the props, because this is what you would wear on the golf course. This time the H word is HAIR.

I really don't mind that the cover is loose and in two pieces, and also a tad crumpled. Because I can make any of these designs if I want to. I'm not really likely to want to, but I love knowing that I could.