Midcentury Outerwear History!

Hello Dolls!

It's getting awfully cold out there! We have some amazing vintage winter coats in the shop right now so we thought we'd give you a little history on Midcentury outerwear!

1940's Coat Styles

1940s coats during the war years were restricted by L-85, but there weren’t many rules. Coats could not have a bi-swing back, could not have more than two pockets, and had a limitation on sleeve circumference that really only eliminated exaggerated sleeve types, such as the bell shaped Dolman sleeve that was popular in the 1930s.  Most coats were made from wool and rayon-wool blends, many re-purposed wool from used coats and wool blankets.

Linings were made of rayon crepe or satin. Most coats followed the same basic style with a few alternatives. They were long, coming to just below the knee, and were frequently made in herringbone, tan, grey, dark green, navy and red among other winter colors. They were generally without decoration and all had large square shoulder pads. The look was borrowed from men’s military coats.

One popular men’s and women’s style was the wool trench coat. It was somewhat loose-fitting, but not over sized. It had a pointed collar and one or two rows of buttons down the front. A belt about two inches thick tied or buckled at the waist. The trench usually had two slit pockets on the sides.

The men’s Chesterfield coat had a female counterpart too. It had wide peak lapels with a contrasting black trim along the back neck piece. It would come in all classic coat silhouettes as long as it had black trim.

Another style of coat, the  tailored or swagger coat, was slightly more fitted through the waist and flared out slightly from there. It usually had one row of buttons, but could have two. It could have slit pockets on the sides or two large patch pockets on the front. The collar was pointed or oversize peter pan (many made of fur).  This type of coat also sometimes had a fur collar – fox being the most popular or rabbit dyed to look like fox. The fur collar would look like a small shawl draped over the top of the coat. Fur-trimmed coats were dressier and often had cloth-covered buttons or a cloth belt.

One of the most iconic coat style of the ’40s and ’50s  was the polo coat or box coat. It was cut very straight and wide, in the shape of a box, and was oversized. They hung open like in the one pictured, or buttoned closed with large, covered buttons. Box coats hung down just to the mid hip, making them good light weight coats for fall and swing or nice evening wear when made of velvet or exotic fur.

A long version of the box coat was the swagger style. It fit wide and boxy but came down to below the knee. In the mid to late ’40s the back of the coat often had swing pleats coming from the nape of the neck. This allowed extra movement and more room for clothing underneath. It wasn’t uncommon for a dress or suit to come with a matching coat for a fully coordinated look.

Raincoats

New inventions during and after the war led to new treatments for waterproofing fabrics. However, most 1940s raincoats were made of cotton Gabardine. They were mostly turned into rain capes or simple utility coats with padded shoulders, wide lapels and collars and big belts forming the typical masculine/military shape. Hemlines rose to just below the knee (their legs must have always been cold and wet) and colors dulled down into drab military hues. What is remarkable about the 1940s is the new coat styles that emerged during the decade have stayed with us ever since.

The utility coat or shop coat was a practical but not too pretty raincoat. The trench coat was the newest style and one that is a still a classic today. The wrap coat was the most feminine design. 

Fur coats were worn in the same shapes as the fabric coats above. The box coat and swagger style looked best with thick fox, sable, and seal fur. Sleeves were wide and open and collars were high and closed with a longer hair fur piece trimming the collar. To keep with the simple and polished style of fur coats only two or three buttons or clasps kept the coat closed. Some box styles only had a single clasp at the neckline.Pockets were hidden slashes on the coat sides. The beauty of the fur must be the showcase of a woman’s 1940s fur coat!

1950's Style Coats

Coats were usually either very fitted, semi fitted, or full and swingy. The full coat was the most common style, although there was not a strict name for this style. For that matter, coat was not a common name in the ’50s. Instead, they were called toppers or top coats. Duster coat, Pea Coat, Long Coat, Swing Coat, Pyramid coat, Princess Coat, and Bell Coat were all used to identify ’50s full fitting coats. Full coats had wide sleeves, a triangular shape, large cuffs, and collars and usually large buttons, too. They came in long (to mid shin) or short (hip lengths). As we know, the fifties are synonymous with full skirts, and dresses and skirts with a fuller bottom were easily worn with a coat that had a straight slim style. Also, after the war we saw a boom in births, so coats that were swing style were very roomy and worked well for women who were pregnant. This was one more step a woman could take to be out in public without “showing” too much. This was a radical step at the time.

Much like the desired figure of the fifties, many vintage coatshad belts that accented the waist and flared at the bottom. Sometimes known as the princess style, these coats were feminine, pretty and figure hugging. Popular colors were royal blue, dark red, gray, hunter green, dusty rose, black, and tan. Some coat sleeves had wide cuffs at the end or large covered buttons to add some decoration. Coats had buttons up the front, usually from the waist to the neck or just from the chest to the neck, and collars came up high and protected the back of the neck. Coats without buttons were a wrap over style similar to a trench coat.

Many coats added pretty details with contrast stitching or embroidery, self fabric belts and decorative elaborate buttons. Most coats conveniently had hidden pockets. Coat collars came in all shapes and sizes, and some were made of fur. The round over-sized “peter pan” or “puritan style” collar was especially popular on 1950s coats. It helped make coats appear childlike or doll-like, which was the goal for women’s 1950s fashion.

As for any well groomed woman of the fifties, it’s all about completing the look. That meant winter stockings, coordinating gloves, a matching hat, and usually a leather purse. A fur muff was borrowed by Victorian and earlier times and became a fashionable accessory to wear with fur or fur trimmed coats.

1950s Swing Coat

The swagger coat was neatly tailored and fit close to the body through the waist and was wider at the bottom. It is the most common style available in repro and inspired 1950s clothing. Depending on the desired look, it usually had buttons from the chest to the waist or could be double breasted. Large pleats on the back added extra room for movement that “swung” as a woman walked, hence the swing coat name. Sometimes with a belt or sometimes without, this style coat was very flattering and mimicked the same hourglass shape that was popular at the time. The idea was to mimic the dress that was worn underneath the coat. It was a style also borrowed from Victorian ice skating coats.
1950s Box Coat

In reverse, the coat dress was inspired by the swagger coat. It was a dress with the double breasted rows of buttons on the bodice and full swing skirt. It was a dress style only worn in the fall and winter. Read more about the coat dress here. 

Another style is the box coat or half coat, which is arguably one of the most iconic styles of the 1940s and ’50s. It hung very wide and straight, much like the shape of a box. They either hit at the bottom of a woman’s hips or went all the way to mid-shin. The 1950s versions often had a fuller shape than the 1940s box coats. Large pleats at the back shoulder line created a swing coat meets box coat look.

Collars, pockets and buttons were large. Most came in solid colors: ivory/cream, black, blue, red, or brown. The only popular pattern was checks.

1950s Lightweight Spring Coats

Many coats that came as coordinated sets with dresses were not heavy winter coats. Instead, they were lightweight Spring and Fall top coats that came in many names such as Clutch coat or Tuxedo coat. They often did not have pointed collars, but instead folded shawl collars that ran the length of the long coat. They were made of lightweight wools, cotton blends and new synthetics.

Unlike winter coats, sleeves were cut full but not wide, folded up to mid arm and the amount of “swing” at the back was minimal so that the coat hung straight over a dress. They hardly ever had buttons to hold them close, exposing the dress underneath and the matching lining found inside the coat. Decorative embroidery was more likely seen on fashion coats than on winter coats.

1950s Fur Coats

Fur coats were glamorous and dressier than the everyday coat (for most people). They were cut in the same shapes as other coats of the fifties. The box coat and swagger style looked best with thick fox, sable and seal fur. Faux furs were an option for the less affluent as well as cheap squirrel and marmot dyed to look like sable. Sleeves were wide and open and collars were high and closed with a longer hair fur piece trimming the collar. To keep with the simple and polished style of fur coats, only two or three buttons or clasps kept the coat closed. Some box styles only had a single clasp at the neckline. Pockets were hidden slashes on the coat sides. The beauty (and wealth) of the woman must be the showcase of her 1950s fur coat!

Late 1950s Short Mink Coat

While most fur coats were full length or at least hip length, a few came in shorter waist length styles. The cape coat, popular in the 1940s remained common into the 1950s as well. Coats like this short fur Diamond brand coat (right) became increasingly popular in the late ’50s and ’60s when styles favorited the slim sheath dress rather than the full circle dress.

For those who could not afford a full full coat, fur stoles, muffs and shawls were a popular alternative. Fur trim on short or long jackets also added a touch of richness without the shocking price tag.

1950s Rain Coats

1950s raincoats were not longer, just utilitarian and plain. They now came in fun patterns, such as the raining umbrellas in the above ad. They were made of a cotton+ synthetic blended fabric for light waterproofing. Some were made of plastic (clear, color or patterned) that fit like a poncho hood and an elastic or wrap belt.  Non-rubberized raincoats existed in the form of waterproof tweed, corduroy and gabardine fabrics with an optional zip-in lining for warmth.  

1950s raincoats mostly came in trench coat style with a single or double breast and belt. They often had matching hats, too. The above are Jockey style hats, while most others were detached hoods with the brim folded back (or not when raining). Popular colors were bright red, navy blue, medium blue, turquoise, and grey.

For the rebellious youth and especially Art students, the trend was to wear black raincoats. These also became associated with prostitutes, although I don’t know why.  “Good women” chose brighter colors (pink, turquoise, red, yellow) and avoided dark colors, which were hard to be seen in the rain anyways. Read more details about vintage raincoats. 

1950s Winter Jackets

While the most fashionable coat was the long coat or half coat, there were numerous needs for less formal, but very practical winter jackets. Jackets were worn paired with long skirts or pants and were reserved for colder climate with excessive rain and snow. While useful, they were not entirely void of styles. Hip length, with tie belts and point or round collars were trademarks of the ’50s. They came in warm quilted lined flannel, cotton or fur insides with leather, faux leather, tweed or corduroy exteriors.

Less winter friendly jackets had fashionable style all of their own. Many were influenced by western styles featuring fringe leather, plaid patterns, and leather or suede looking materials. The “motorcycle” jacket below, top, right, was a style borrowed from menswear. Jacket styles have a whole other history unto themselves, but they are also difficult to research.

So come down to Paper Doll Vintage and check out our selection of true vintage unique coats, capes and jackets!

Source:

https://vintagedancer.com/1940s/1940s-coats-women/

This History of Swimwear!

Hello Dolls!

It's that time again and we just got in some amazing retro style swimsuits. Here's a little history of swimwear:

1900s: By the end of the 19th century people were flocking to the oceanside beaches for popular seaside activities such as swimming, surf bathing, and diving. The clumsy Victorian-style bathing costumes were becoming burdensome. A need for a new style bathing suits that retained modesty but was free enough to allow the young lady to engage in swimming was obvious.

1920s: By the early 1920s women’s bathing suits were reduced to a one piece garment with a long top that covered shorts. Though matching stockings were still worn, vintage swimwear began to shrink and more and more flesh was exposed from the bottom of the trunks to the tops of the stockings. By the mid-1920s Vogue magazine was telling its readers that “the newest thing for the sea is a jersey bathing suit as near a maillot as the unwritten law will permit.”  1940S: World War II rationing and the idolization of the hourglass figure lead to sleeker styles—like Ava Gardner's chic polka-dot two-piece, made voluptuous with new stretch fabrics, built-in brassieres, and stomach panels. 1960S: Though "invented" in 1946, the navel-baring bikini didn't become mainstream until the mid-'60s, accompanied by softer, skimpier tops with skinnier straps. No one nailed this look better than Brigitte Bardot. 1980S: Fashion's fixation with the extremely slender gave way to more athletic, fuller-breasted bodies. Sporty styles came into vogue, epitomized by the red one-pieces worn by the Baywatch cast at the end of the decade. 1990S: Swimwear fashion split into two camps in this designer-obsessed decade: the ostentatiously glamorous, heavy on gold satin and logos, and the minimalist, seen in the clean lines of Naomi Campbell's Hermès suit. 2010S: Ladylike elegance returns to the beach, with 1950s-era silhouettes, favored by trendsetters like Taylor Swift, making an unexpected comeback alongside more modern styles, featuring ruffled or scallopped necklines. Sources: http://www.victoriana.com/library/Beach/FashionableBathingSuits.htm http://www.instyle.com/fashion/history-of-swimsuits-evolution-bathing-suits#1309846

Hello Dolls!

Fresh off an art opening and gearing up for the next open call, we wanted to post some collaborations between artists and fashion designers throughout history! Check out what happens when art and fashion meet:

Elsa Schiaparelli & Salvador Dali

Perhaps the most prominent early example of an artist-and-designer collaboration is Elsa Schiaparelli’s work with Salvador Dalí and the Surrealists. The Italian designer’s creative fashions of the 1930s were inspired by and, in some instances, conceived in collaboration with a group of Surrealists including Jean Cocteau, Christian Bérard, and, most notably, Dalí himself. While Bérard and Cocteau’s art served more as an inspiration for Schiaparelli’s independent creations, Dalí and the designer produced what are often noted as the first true hybrids of clothing and art in a collaborative manner. The partnership resulted in two of Schiaparelli's most iconic garments of the 1930s: the Organza Dress With Painted Lobster (1937) and the Tear Dress (1938), as well as the notorious Shoe Hat from her Winter 1937 collection. These designs are often cited as a milestone in the history of both art and fashion. In her autobiography, Schiaparelli declared herself first and foremost an artist, regarding dress design “not as ‘a profession, but an art.” The fact that she sought inspiration from her close friends and avant-garde artists in the Surrealist movement and evoked major Surrealist themes in her designs was a natural extension of this belief.

Piet Mondrian & Yves Saint Laurent

No art and fashion collaboration list would be complete without the classic and iconic Yves Saint Laurent dress inspired by artist Piet Mondrian. Saint Laurent released the 1965 dress for the Autumn season; its simple A-line, and tidy shift silhouette was typical of the mid-sixties. What was perhaps less typical was the clear allusion Saint Laurent was making to Mondrian in his uses of graphic black lines (running both horizontally and vertically) and white and primary color blocks. Its seamlessness is deceiving—the dress is made up of many of individual pieces of wool jersey and was hand-assembled to hide obvious seaming. This dress is not only an icon for Western fashion but also records the importance of Mondrian's work during the period of the 1960s.

Keith Haring & Nicholas Kirkwood

For men, women and everyone in between there are shoes—and then there are "shoes." The latter is capped in quotation marks to imply that all footwear is (and was) not created equal. And footwear designer Nicholas Kirkwood is on-trend with high quality shoes as usual; this time with his collaboration with the Keith Haring Foundation. While the collection was only available exclusive to the Joyce boutique in Hong Kong, the full collection was released at Mr. Kirkwood's newly opened retail space on Mount Street in London beginning in July of 2011. Kirkwood has used Haring's classics like Safe Sex and Radiant Baby in a bold and playful way that not only points to Haring's genius as a legible illustrator but also to Kirkwood's clever and elegant appropriation of Haring's imagery.

Yayoi Kusama & Louis Vuitton

2012 was a good year for Japanese artist Yayoi Kusama. She is best known for her use of polka dots, and a retrospective exhibition of her artwork was shown at two major international museums over the course of one year. If you don't recognize her name, you may have seen the dotted flower sculpture of Beverly Hills or the Yellow Trees that enveloped the Whitney Museum development in the Meatpacking District of Manhattan. Kusama told Women's Wear Daily, "Marc Jacobs came to see me in Tokyo in 2006, and he asked me if I wanted to come to the States and do fashion. That sort of encouraged me because...Fashion has always attracted me." From this 2006 encounter, blossomed a series of garments, window fronts and shop designs that—thanks to Jacobs' collaboration—made Kusama's artistic visions come alive across the globe. Unfortunately, the clothes paled in comparison to the graphic and hypnotic storefronts. Most notable was London's Selfridge department store that featured Kusama's favored giant pumpkins—and subsequently, a completely sold out collection. Printemps in Paris donned mirrored window fronts with polka dotted mannequins and silver baubles reminiscent of Kusama's 1966 Narcissus Garden work.

http://www.complex.com/style/2013/04/the-50-best-artist-collaborations-in-fashion/yves-saint-laurent-x-piet-mondrian

http://www.artspace.com/magazine/art_101/art_market/art_101_art_and_fashion_collaborations-5804

Hello Paper Dolls!

Ever wonder why we wear green on St. Patrick's Day? Let's find out! Remember we have plenty of green, white, orange and gold to help you get into the St. Patty's spirit!

St. Patrick’s Day was originally a Roman Catholic holiday celebrating Ireland’s patron saint and observed only in Ireland; it was not until the 1700’s when Irish immigrants in the U.S. started the first St. Patrick’s Day Parade in New York City. 

The March 17th tradition of wearing green is explained in differing ways. It’s said that blue was originally the color associated with the holiday but over time green took over in popularity due to Ireland’s nickname as “The Emerald Isle”, the green in the Irish flag and the clover that St. Patrick used in his teachings about Catholicism. 

In Ireland, some still follow the tradition where Catholics wear green and Protestants wear orange. These colors are associated with the religious sects and are the represented on the Irish flag; the white on the flag is symbolic of the peace between the two.

There is a legend that wearing green makes you invisible to leprechauns that will pinch you if they can see you. Of course shamrocks are green - so why not follow suit? 

Have a safe and fun St. Patrick's Day and let Paper Doll Vintage adorn you in all the green you can handle. 

The Huntington parade is March 12 at 2 pm. The Patchogue parade is March 19 at 12 pm. 

Source:

http://www.huffingtonpost.com/2012/03/15/st-patricks-day_n_1348003.html

History of Boudoir Photography in Honor of our Outdoor Boudoir Marathon on July 23rd!

Hello Dolls!

In honor of our upcoming outdoor boudoir marathon on July 23rd we thought we'd give a little history on boudoir photography....

Over the last few years, boudoir photography has really caught its stride, quickly becoming one of the more respected and pursued genres of photography. But the popularity of boudoir didn’t pop up over night. In fact, it has a long history of classic tradition and unique style.

Fast-forward to the 1940s, and suddenly the boudoir focus was on pin-up girls. These decadent women were delightfully curvy, as popular standards deemed a lack of shape typically undesirable. It was a culture quite different from our more modern, and ridiculous, ideas of beauty. These pin-up girls wore stockings, corsets, men’s ties and hats and were among the first to use various props in their unique “portraits.”It was in the 1920s when boudoir art and photography really began to come into its own. During this decade, it was generally illegal to have nudity in photographs, but regardless, photographers like Albert Arthur Allen, a French artist, continued to create masterpieces. He focused mostly on women, especially larger women, who posed in romantic ways against ornate backdrops.

The next large change in the evolution of boudoir took place in the 1970s, about the time when photography began to carve a place for itself in the professional “art world.” Many magazines began to feature photographs of real women as opposed to mere drawings, and as the vision of the female form became more prolific, boudoir photography became significantly more acceptable.

Boudoir art and photography is often misunderstood, and this could be considered a result of the total change in style during the 1970s. Women without their bras or even without any panties began appearing in photographs and artwork, and despite it being for artistic purposes only, many people simply could not shake off the idea that this was just glorified pornography. Sometimes cultural taboos are hard to break.

Over the last three decades, this opinion has gradually changed, and Boudoir photography is not only completely accepted, but highly encouraged and celebrated in many circles. People not only enjoy this kind of photography as art work for their homes and other properties, but women often look for photographers who can help them recreate classic boudoir photographs, or just come up with something new that features them as the stars of their own show.

Boudoir photography has ultimately, in recent years, established itself as an successful add-on for wedding photographers. This sexy new trend has become a popular gift from the bride to the groom, and so, the pictures are taken before the date of the wedding by a professional, and then edited and bound in a book to be given to the groom. But it’s not just weddings! The fashion world has picked up on the trend. Vintage clothes and even vintage-style lingerie are prominently featured on the catwalks.

Boudoir style doesn’t look like it’s going to go away any time soon, and that could be a fantastic thing! In a world that often shows only the thinnest and “most perfect” (cue eye roll) on TV, in movies and in magazines, boudoir photography stands out for its celebration of real women’s bodies. It represents real women at their most vulnerable and their most confident, which is incredibly empowering.

Women all over the world can start believing in themselves, as well as feeling great by wearing their favorite lingerie and having their photographs taken. This is really a great way to boost self-esteem, have a bit of fun and treat your other half. The whole purpose of boudoir art and photography is that women should love their bodies, and that feeling sexy shouldn’t just be about pleasing somebody else — it should be about pleasing yourself, and realizing just how valuable you are. For these reasons, I would argue that boudoir photography is not only relevant in modern society, but it’s absolutely essential! It’s a very real outlet where women can learn to feel great about themselves and become proud of their beautiful bodies. Boudoir gives women of all shapes and sizes the chance to strut their stuff.

Source: http://www.huffingtonpost.com/marisa-leigh/where-did-boudoir-photography-come-from_b_4654991.html