Vintage Made - Issue 19 - June 2022

110 Pages·2022·18 MB·English

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FROM THE EDITORS
We set out thinking we would do an issue relating totally to
sports—but then along came some incredible exhibitions and
articles, and that thought went partially out the window.
How could we resist Chanel? Inga Walton has written a
fabulous article and we have some incredible photos for you.
Long-time contributor Eleanor Keene shows us part of the
incredible YSL exhibitions which have been spread across six
sites in Paris linking his garments to his love of art.
Skye Bartlett give insight into Fashion in the shadow of HIV/
AIDS from the exhibition Silhouettes.
1940s shoes are a ‘thing’ for Gabriella Holok, and she has
some great shoes to show us.
Embroidery from the past looks at machine embroidery
machines—it was a surprise there weren’t many embroideries
relating to sports to be found.
Our projects are fun—create your own ring toss game,
crochet a scarf, and create some easy bunting.
Helen has some handy hints relating to sporty items.
Ann Grose has designed a gorgeous rockabilly swing dress
for you. The pattern tester girls went to town with choices
of fabrics, so have a look and get some great inspiration in
the gallery starting on page 52. Our cover girls are two of our
pattern testers. On the back cover we have Bianca Carnovale
modelling the dress made by Stephanie Carnovale, and
on the front cover (and in the pattern instructions pages) is
Ashley Riley, who added a little lace overlay to the dress.
Muriel has some fabulous recipes created from eggs—either
egg whites or egg yolks. Her technology article relates to
sports shoes and is fascinating reading.
Speaking of fascinating reading, we have a book extract from
a book by Mim Egan of vignettes of her life. Our extracts
relate to the Spanish Flu of 1919, and Washing Day 1920s.
We certainly have a good range of vintage for you!
Loving all things vintage!
The Vintage Made Editorial Team
VINTAGE MADE is an independent Australian publication.
ArtWear Publications P/L has taken reasonable steps to ensure that the copyright of each article or project resides with the contributing author. We secure from each author a warranty stating such,
or that the author has obtained all necessary rights, licences and permissions such that publication will not infringe on any third party’s copyright.
ArtWear Publications P/L relies on these warranties when asserting that the copyright is owned by the authors. Instructions for the published projects have been checked for accuracy and are
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CONTENTS
Vin age Made
EDITOR IN CHIEF PEOPLE AND FASHION
Lynda Worthington Chanel: An Instinct for the Modern 2
EDITORS Inga Walton
Food and Technology Nearer to Heaven - 1940s Platform Shoes 8
Muriel Farquhar Gabriella Holok
ART DIRECTOR Art becomes Fashion, Fashion 12
Kylie Albanese becomes Art (YSL)
Eleanor Keene
GRAPHIC DESIGNER
Not The Plank!
LIFESTYLE AND ENTERTAINMENT
ADMIN ASSISTANT 2

Dawn Bordin Embroidery from the Past 18 G E
P A
PROOF READERS Lynda Worthington
Elsie Law Handy Hints from Helen 22
deLancey Worthington
Silhouettes: Fashion in the Shadow of 24
PHOTOGRAPHY
HIV/AIDS
Photo attributions are in each article or project.
Skye Bartlett
If none are mentioned, photography is by the
individual contributor.
CRAFT
CONTRIBUTORS
Skye Bartlett, Muriel Farquhar, Ann Grose, Rockabilly Swing Dress 28
Helen, Gabriella Holok, Eleanor Johnson, Elsie Ann Grose
Law, Inga Walton, Lynda Worthington.
Bunting 36
ADVERTISING
Lynda Worthington
Lynda Worthington
[email protected] Chevron Striped Scarf 38 4
2
ArtWear Publications P/L Lynda Worthington
E
PO Box 469 Ring Toss Game 40 P A G
Ashburton VIC 3147
Muriel Farquhar
Tel: [phone]
PUBLISHER
FOOD
ArtWear Publications Pty Ltd. Published in
Australia. Printed in China by C & C Offset Eggs Glorious Eggs (recipes) 42
Printing Co., Ltd. Muriel Farquhar
Australian distribution by Ovato
www.ovato.com.au
New Zealand distribution via Are Direct New TECHNOLOGY
Zealand (Ph: [phone]). USA & Canada
distribution by Disticor Magazine Distribution Sports Shoes 49
Services. TEL [phone]. Muriel Farquhar
Digital distribution by GGA.
www.pocketmags.com.au. Please address
COLUMNS
letters, comments and/or inquiries to 8
[email protected] or Subscription Form 48 2
write to Vintage Made, ArtWear Publications G E
P/L,PO Box 469, Ashburton VIC 3147 Rockabilly Swing Dress Gallery 52/BC P A
All contents © Vintage Made 2021. The
Book Extract: Never a Dull Moment 55
purchaser of this magazine may make a
by Mim Egan nee Edith Mildred Mayne
single copy of any pattern contained within for
personal use only. Contact us to talk about Book Reviews IBC
reproductions, including intended sale of items
made from patterns within this magazine. If you
have any questions about obtaining permissions
or about this policy, please contact us at the
address above.
Vintage Made® is a registered trademark of
ArtWear Publications, Ashburton, Victoria.
ISSN 2201-9952
ACKNOWLEDGEMENTS
Thank you to our wonderful contributors, advertisers, readers
2
and subscribers for supporting an Australian independent 4
publication. E
G
P A
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The exhibition Gabrielle Chanel. Fashion Manifesto made its become synonymous with Chanel, were exhibited in 2019.
international début at the National Gallery of Victoria (NGV) (5 The sixth piece Slip-over blouse (c.1916) was the earliest
December 2021 - 25 April 2022), and is the most ambitious work in the exhibition, positioned at the entrance along
international survey of the work of the pioneering French with a Hat (1917). Chanel commenced her fashion career
couturière to date. Curated by Miren Arzalluz (Director) and as a milliner in 1909, opening ‘Chanel Modes’ in Paris the
Véronique Belloir (Head of Collections) at the Palais Galliera: following year. A further three acquisitions gifted to the NGV
Musée de la Mode de la Ville de Paris, the show comprised by Campbell-Pretty were displayed for the first time: a dark
more than one hundred garments from the 1910s to 1971. red velvet and marabou feather Evening cape (c.1924-26); a
white organdie embroidered Evening dress (1933); and a crisp
The formative years of Gabrielle Bonheur ‘Coco’ Chanel Cocktail dress (1958) with multiple rows of delicate white
(1883-1971) were defined by penury and abandonment. Her passementerie.
mother died in 1895, and her father fled to America after
consigning his three daughters to the orphanage at the Mlle Chanel opened another millinery shop in the French
Cistercian Abbey of Aubazine in Corrèze. This confronting coastal resort town of Deauville (1912), and soon branched
background instilled in the young girl a determination to rise out into sportswear to suit the leisure pursuits of the
above the limitations of her social position. Throughout her wealthy clientele. As she later said, “before me couturiers
life she expressed a disdain for the bourgeoisie conventions hid away, like tailors, at the back of their shops, whereas I
that she considered hypocritical. Mademoiselle Chanel’s lived a modern life, I shared the habits, the tastes and the
high expectations and uncompromising attitude to her craft needs of those whom I dressed”. The simplicity of a silk
stemmed from an innate pragmatism, resourcefulness, and a Sports ensemble: blouse, skirt and belt (1927) could easily
ferocious work ethic. Her dedication to simplicity paired with be contemporary, but was a bold statement for the period.
grandeur reflects the sobriety of the convent, as did a colour Influenced by menswear, the raised hemline and straight
palette that might be described as liturgical. fit also reflects a growing preference for practicality, ease
of movement, and relaxed elegance. In 1915, Mlle Chanel
The NGV’s holdings of works by Mlle Chanel has been opened her first couture store in Biarritz on the Atlantic coast
bolstered in recent years by philanthropist Krystyna to capitalise on the popularity of the nearby casino. This was
Campbell-Pretty, AM, whose contribution has transformed followed in 1918 by the landmark boutique in Paris, an 18th
the wider fashion collection. Six garments she donated, century building at 31 rue Cambon.
including five of the versatile ‘little black dresses’ that would
2 | Vintage Made Issue No. 19
PPeeooppllee && FFaasshhiioonn
PAGE 2
Mlle. Chanel at the Ritz Hotel, 1937. Photography: François
Kollar. © Ministère de la Culture-Médiathèque de l’architecture
et du patrimoine/Dist. RMN-Grand Palais. (Courtesy, National
Gallery of Victoria, Melbourne).
PAGE 3
TOP
Gabrielle Bonheur Chanel (1883-1971), designer (attributed to),
Slip-over blouse, c.1916, silk jersey, wood, metal , 84 cm (centre
back), 56 cm (sleeve length). Collection, National Gallery of
Victoria, Melbourne. (Purchased with funds donated by Krystyna
Campbell-Pretty, AM, in memory of Mr. Harold Campbell-Pretty,
2015).
MID
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971),
designer (1910-71), Evening dress, 1933, organdie embroidered
with cotton, silk satin, (dress) 111 cm (centre back), 35 cm (waist,
flat), (slip) 106 cm (centre back), 48 cm (waist, flat). Collection,
National Gallery of Victoria, Melbourne. (Gift of Krystyna
Campbell-Pretty, AM & Family). (Photographer: Narelle Wilson).
BOTTOM
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971),
designer (1910-71), Sports ensemble: blouse, skirt and belt, 1927,
silk pongee. Collection, Patrimoine de Chanel, Paris. (Installation
photography: Sean Fennessy).
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People & Fashion
In keeping with her desire for self-sufficiency, and to control
the weights and colours of her creations precisely, Mlle
Chanel opened a fabric factory in Asnières-sur-Seine. It
produced exclusive wool and cotton jersey fabrics for her
collections, and had the advantage of manufacturing in
relative secrecy. By 1928, the company, renamed Tissus
Chanel, was also producing graphic printed silks; each
design was produced in several fabrics and colourways.
Printed fabrics were used extensively in the 1930s, as the
cheapest form of ornamenting fabric in a time of depression.
Abstract and naturalistic flowers were a common theme
for Chanel, such as Dress (1930). Using a labour-intensive
technique, motifs have been cut and inlaid to accentuate the
petals and leaves.
Mlle Chanel relied on such refined haute couture techniques,
ingenious construction, and superb detailing to achieve
her vision of luxe caché. The contrast between restraint
and profusion was particularly evident in the evening wear
designs. Mlle Chanel would often employ a monochrome
palette to emphasise the austerity of the line, and then cover
the entire surface of the fabric with beadwork, appliqué,
or embroidery. Instead of looking theatrical, an entirely
sequinned Evening ensemble (c.1930-35) accentuates
the liquid movement of the fabric over the body, and the
matching cape reinforces the glamourous look. A cream silk
Cape (1925) is trimmed with a profusion of rooster feathers
and represents luxury without heaviness.
In the couturière’s view, “Women think of every colour,
except the absence of colours. I have said that black had
everything. White too. They have absolute beauty. It is
perfect harmony. Dress women in white or black at a ball:
they are the only ones you see”. Mlle Chanel did, however,
produce various garments in brighter hues in response
to the preferences of the American and Spanish markets,
particularly. A slinky, deep royal blue Evening dress (c.1927)
was a shade so closely identified with Chanel that American
magazine Women’s Wear Daily christened it ‘Chanel blue’ in
1927. Another Evening dress (1926-27) in vibrant purple is
smothered in fringe, evocative of the spirit of the Jazz Age.
Mlle Chanel’s biographer, Justine Picardie, noted that her
grasp of the zeitgeist soon presented a sartorial challenge
PAGE 4
to the more established fashion houses. Her designs,
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
“swept away the furbelows and ornate embellishment of
(1910-71), Evening ensemble, c.1930-35 (couture no. 3895), silk
the Belle Époque, introducing instead her alluring vision of satin, net, gelatin sequins, (cape length) 131 cm, (dress length) 156
streamlined modernity... as her own best advertisement, she cm (made for Mrs Seymour Brooke). Collection, National Gallery of
embodied feminine chic in such a way that eclipsed her male Australia, Canberra (Purchased 1986).
contemporaries”. Such was the designer’s fame in the inter-
PAGE 5
war period that visiting the premises on rue Cambon was a
CLOCKWISE FROM TOP LEFT
must for anyone with pretensions to style.
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
(1910-71), Evening dress, 1939, cotton organdi, silk crêpe, (length)
As silhouettes became more sinuous, a deceptively simple
136 cm, (width) 37 cm. Collection, Kunstmuseum Den Haag,
matt black silk Evening dress (1939) with thin straps has
The Netherlands. (Photographer: Christin Losta for Draiflessen
a bodice trimmed with white organdie ruffles that encircle Collection).
the garment, terminating in an unexpectedly deep v-shape
at the back. It was purchased by Maria van Spaendonck, Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
who married Theodor J.A.W. Dreesman in March 1940. (1910-71), Dress, 1930, printed and appliquéd silk chiffon, tulle.
Collection, Palais Galliera, Paris. (Gift of Mme. Bertin). (Photography:
Maria’s husband was a scion of the department stores
© National Gallery of Victoria, Melbourne).
Vroom & Dreesmann (V&D) in The Netherlands, founded by
his grandfather Anton Dreesmann (1854-1934), in 1887. The
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
gown was acquired during the couple’s honeymoon in Paris, (1910-71), Cape, 1925, silk crêpe, rooster feathers. Collection,
and the record relates that the new Mevrouw Dreesmann Patrimoine de Chanel, Paris. (Installation photography: Inga Walton).
bought it in the sale. It was one of the last Chanel designs of
1939, before the Maison closed at the outbreak of World War Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
II; it would not reopen until 1953. (1910-71), (left) Evening dress, c.1927, silk chiffon, glass-bead
embroidery; (right) Evening dress, 1926-27, georgette crêpe, silk
fringing. Collection, Mark Walsh Leslie Chin, Vintage Luxury, New
York. (Installation photography: Tom Ross).
4 | Vintage Made Issue No. 19
People & Fashion
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People & Fashion
PAGE 6 - TOP LEFT PAGE 6 - TOP RIGHT
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer
designer (1910-71), Dress, 1960, embroidered cotton tulle, lamé, (1910-71), Dress, 1955, leavers lace, silk tulle, silk crêpe, silk satin.
organdie. Collection, Palais Galliera, Paris. (Gift of Maison Chanel). Collection, Cité de la dentelle et de la mode [Museum for Lace and
(Photographer: © Julien T. Hamon). Fashion], Calais. (Photographer: © Julien T. Hamon).
PAGE 6 - BOTTOM PAGE 7 - TOP
Chanel (Est. 1912), Gabrielle Bonheur Chanel (1883-1971), designer Chanel (Est. 1912), Goossens, Paris (Est. 1950), manufacturer, Robert
(1910-71). (L-R) Coat, 1967; Coat, 1961, Collection, Patrimoine Goossens (1927-2016) designer, Brooch, 1960s, vermeil (silver-gilt),
de Chanel, Paris; Suit comprising jacket, skirt and blouse, 1966, tourmaline. Collection, Patrimoine de Chanel, Paris. (Installation
Collection, National Gallery of Victoria, Melbourne. (Presented photography: Inga Walton).
through The Art Foundation of Victoria by Mrs Angela Wood, 2000);
Suit: jacket and skirt, 1966; Suit: jacket, skirt, blouse and cravat, PAGE 7 - BOTTOM
1962-63; Suit: jacket, skirt, blouse and cravat, 1959; Suit: jacket and Chanel (Est. 1912), Goossens, Paris (Est. 1950), manufacturer,
skirt, 1968, Collection, Patrimoine de Chanel, Paris; Suit: jacket and Robert Goossens (1927-2016) designer, Necklace, 1974, gilt metal,
skirt, 1971, Collection, Palais Galliera, Paris; Suit, 1970, Collection, glass paste (pâte de verre), Mallorca pearls. Collection, Patrimoine de
National Gallery of Victoria, Melbourne. (Gift of Mavis Powell, 1986); Chanel, Paris. (Installation photography: Sean Fennessy).
Dress and wimple, 1962, Collection, Palais Galliera, Paris (Gift of the
Committee for the Development & Promotion of French Clothing);
Ensemble: short jacket and pleated skirt, 1962, Collection, Patrimoine
de Chanel, Paris. (Installation photography: Tom Ross).
6 | Vintage Made Issue No. 19
People & Fashion
The importance of accessories to the success of the brand,
and Mlle Chanel’s collaboration with other artisans and
designers, was recognised with several capsule displays.
Four examples of the 2.55 handbag (1955) in quilted lambskin
with the gilt metal strap, attest to its continued status as
a best-seller for the brand. The two-tone slingback pump
(1957) was made by Raymond Massaro (1929-2019), who
took over the firm established by his grandfather. Massaro
(est. 1894) has been part of the Chanel Paraffection Métiers
d’art subsidiary since 2002.
A sumptuous array of jewellery, hair accessories, and
belts reminded the viewer that Mlle Chanel challenged
conventions about when and where such items should be
worn. Introduced in around 1924, and originally designed by
Comte Étienne de Beaumont (1883-1956), Chanel’s ‘illusion
jewellery’ (costume) was quite controversial; it privileged
aesthetic merit and lifestyle over monetary value and status.
“I readily wear a lot of jewellery because, on me, it always
looks artificial. The mania to want to dazzle disgusts me;
jewellery is not meant to arouse envy; still less astonishment”,
she declared.
Throughout her life Mlle Chanel retained certain leitmotifs
and symbols (‘Chanelisms’) that informed both her private
and public narrative: the lion, the camellia, celestial bodies,
auspicious numbers, the use of pearls. Many of these
aspects would recur in Chanel designs, particularly her
fondness for religious symbolism and interest in mysticism,
which abound in bold semi-precious and gilt metal works
by Robert Goossens (1927-2016). Ears of wheat reminded
her of the countryside of Auvergne where she grew up and
represented abundance and success; they form the gold
lamé embroidery on a Dress (1960).
In 1954, Mlle Chanel re-launched the Chanel suit, a
repudiation of Dior’s constrictive Bar suit (1947), and what
she perceived as the regressive, nostalgic attitude that
characterised the ‘New Look’. “Dior doesn’t dress women, he
upholsters them!”, she sniffed. Reasserting her commitment
to the principles of comfort and functionality, Mlle Chanel’s
suits (more like boxy cardigans) had quilted linings, high
armholes, pockets, and gilt metal buttons; produced in
tweed, wool, mohair, and bouclé wool jersey. A variety of
suits, comprising jackets with skirts, dresses or trousers,
coat-dresses, and other matching ensembles demonstrate
the stylistic integrity of Mlle Chanel’s aesthetic. They ranged
from a suit worn by the designer in 1958, to an example from
her final collection in 1971 when twinsets and knitwear were
revived.
Speaking in a series of interviews with diplomat and writer
Paul Morand (1888-1976) in 1946, Mlle Chanel asked
rhetorically, “I wonder why I embarked upon this profession,
and why I’m thought of as a revolutionary figure? It was
not in order to create what I liked, but rather so as to make
what I disliked unfashionable. I have used my talent like an
explosive”. Mlle Chanel re-wrote the rules on decadence
with designs that were timeless, and expressive of an
emancipated woman who controlled her own destiny. She
understood that women didn’t want a prescribed look, or to
conform to trends incompatible with their lives. In 1964, Life
magazine called this ‘the everywhereness of the Chanel look’.
Mademoiselle’s ethos is still with us.
National Gallery of Victoria (International), 180 St Kilda Road,
Melbourne, VIC, Australia, 3000: www.ngv.vic.gov.au
Article by Inga Walton
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8 | Vintage Made Issue No. 19