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Marcel Fromenti. Afternoon dress for Ascot by Peter Russell. Drawn for The Lady , 1953-54.
The Modes Royale tour is winding down. Just two more weeks left to go. Hopefully, you've been able to glean a little inspiration from the photos or copy them and create your own collection. Vintage books like these are getting more and more difficult to find. Today's collection is the Spring/Summer 1953 catalogue. This is one of my favorites. Take special note of the small line drawings next to some of the dresses. You'll see the jackets that went over the dresses. I'm reminded of a scene in the movie "Rear Window." Grace Kelly walks in wearing a lovely suit. She takes off the jacket and takes your breath away. Underneath the classic jacket is a halter that is absolutely spectacular and totally unexpected. I adore the dress on the right above. And I am in love with both of the above dresses. Take note of the collar on the right above. Such a lovely detail. The dress on the right above is one of the dresses I was referring to. Look at the jacket, very tailored and gives no hint of the strapless dress that hides underneath. The dress in the middle above is wonderful. Talk about making a figure look tiny!! I may have to copy the dress on the left above. So pretty. It is basically a strapless dress with that glorious collar that is attached in the front princess line seam. Make it detachable and it would be even better. I hope you've enjoyed this as much as I have! Have a wonderful week. Rhonda
Marcel Fromenti. Afternoon dress by Ronald Paterson, drawn for The Lady. 1953-54
We're getting near the end of my pile of Modes Royale pattern catalogues. I think I have enough to take us through the end of January. If y...
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Pattern 13 Antonia: A 1956 dress with a pointed collar, bracelet length sleeves, bodice detailing consisting of a strap across the bust line and seams emphasising the waist, and a full skirt. I found another gorgeous, out of print, out of copyright vintage pattern book - this time from from 1956. It's just too beautiful not to share, so I have created these patterns for sale. I have made some adjustments for clarity and sizing, creating an original work of my creation. This is not just a pattern, it's a drafting system, so once you own this, you can draft yourself a pattern IN ANY SIZE (from a 20 inch bust to a 69 inch bust). Whether you want this garment for a doll or a plus-sized person you will be able to make this fit perfectly. What's included: * The template for the garment pictured above * The miniature pattern pieces and the ruler you'll need to draft up the full sized pattern * Detailed instructions on how to turn the template into a perfectly sized pattern * Instructions on how to make specific adjustments to make sure this fits just right. These patterns were designed for housewives to use, not professional seamstresses, as such they don't assume a lot of specialist knowledge. The patterns are kept as simple as possible, and only assume a general knowledge of how garments go together. That said, the "general knowledge" that a vintage housewife had about sewing is probably much higher than the average today! :) If you can look at a pattern and identify what the different pieces are (tell the front of a blouse from a sleeve, for example), and if you can draft yourself a waistband or cuff (sometimes these very simple pieces are not included) you should have no problem with these. They don't come with a "sew piece A to piece B" set of instructions because the pieces themselves are so simple it is very obvious how they go together. The drafting system is so simple a child could do it. There's no complicated math, it is literally "Join the Dots". The patterns are totally scaleable, and can accommodate from a 20 inch bust up to a 69 inch bust - so you can buy from the adults' sections for dolls or children and vice versa. If these sizes don't accommodate your needs, please message me. Just like patterns from "The Big Four" (or anywhere else) some people will find that these fit beautifully straight away and some people will need to do some adjustments. Information on some useful/common adjustments is included in your purchase. This pattern is an "Instant Download" pattern. You will get a link to download the PDF(s) instantly as soon as your payment is confirmed - so there are no shipping charges or delay, no matter where you are in the world. You can print it out on regular paper at home on your printer. Please be sure to read my store policies before purchasing, as they contain important information about these patterns and whether or not they might be suitable for you.
Several people have connected the dots for us this week, proposing that Eric must have been an influence on another prominent fashion illustrator of the time, René Gruau. But just how far did Eric's stylistic influence extend? Interestingly, the editors of the 1952 Art Directors Annual chose to put the René Bouché piece above and the Eric piece below next to each other on the same page. Yes, they are both fashion illustrations from Vogue, from the same year. But did one artist influence the other? Walt Reed's biography of Bouché in The Illustrator in America doesn't say. However, Eric had already been an important regular contributor to Vogue for years by the time Bouché had his first piece published in 1938 in the magazine's Paris edition. I think its safe to assume Eric must have influenced all of fashion illustration during his time. TI list member Daniel Zalkus put the book, Forty Illustrators and How They Work, into my hands and encouraged me to look at Eric's work. Daniel proposes another important connection: between Eric... ... and Jack Potter (below). "Eric was Jack's favorite artist," Daniel wrote to me in an email the other day. "He told me that from time to time he was called on to do similar work to Eric. I think it was in part because Eric was either too busy or drunk to do the work. And Jack was able to do what was needed." This, in my mind, raises the prospect of an even further influence for Eric: if he made such a strong impression on Potter, is it not possible he also influenced Bob Peak during his early days? This is an exciting revelation for me... it explains the 'family tree' of how Eric's fashion illustration style found its way into mainstream illustration during the 50's. Finally, also from Dan Zalkus, another photo of the artist. To accompany it, I had to copy and paste that magnificent quote Neil Shapiro shared with us in Monday's comments from Cooper Studio artist, Fred Smith: "He would draw from the model & a few lines would tell everything. He lived in the building diagonally across from Cooper Studio. We would see him in the early morning. He had a bowler, beautiful clothes, a Chinese chef & a poodle. Sometimes he'd be standing out in the middle of the street at Lexington & 57th directing traffic with a newspaper when he when he was headed for Third Avenue, for his morning martini. He was the ultimate artist -- a magnificent artist. Never sober, but never disreputable in any way. He just led a charmed life. He would come into a bar where all the guys from Cooper's went -- The Venetian. It was just below the studio, on Lexington. He always had a carnation in his lapel. He generally had a walking stick with him. He loved the fights. He would come into The Venetian & demonstrate how Sharkey fought, how Tunney fought, & he would prance around. Everybody would go up to the Waldorf for lunch, & so would he. He had a whistle he'd blow when he got in there, & the waiters would come over & take him to a table. He would have a lot of martinis & eat a little something. He had a certain style that doesn't exist anymore." *Thanks to Daniel, Neil, and everyone who has been helping to fill out the background details on the "ultimate artist", Eric. * My Eric Flickr set. * Daniel also brought to my attention a page on Eric at American Art Archives *ALSO* For some truly gorgeous classic b&w illustration art, don't forget to check out the latest CAWS at Charlie Allen's blog.
It’s time for your graphic of the day! The 1950’s is coming to a close and another decade awaits…so enjoy this beauty! To add this gorgeous creation to your digital wardrobe…just click on the image…right click and “save as” Hope you enjoy! If you haven’t seen today’s post 30 Perfect Porches take care peek! […]
1950's Fashion Illustrations
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Butterick 8963; ca. 1959; Misses' Quick 'N Easy Sheath: Top Interest. Three cool necklines vary a fitted sheath dress (A) Camisole top sheath (B) Cut-out neckline with bow (C) Deep cuff gives the effect of a brief jacket. Featured in Butterick Pattern Book Summer 1959 cemetarian on Flickr Gertie's New Blog for Better Sewing [insert your photos of this pattern made up] [insert your username, and make sure your preferences allow for people to contact you via e-mail. Do not list your email address
