Burda Beyer Moden (December 1963)

 And now to round off 2021...  At first glance the garment on this cover of Burda Beyer Moden looks like a tent coat, but in fact it's a cape!

It's described inside the magazine as "practical", "extremely comfortable", "dead chic" and "particularly stylish for every type".  It would certainly fit over most types of outer wear and adapt to all kinds of figures.  The big patch pockets are accessed through slits in the side of the cape.

Merry Christmas, Everybody!

 ... And a Covid-free New Year to all my readers!

To celebrate the season I thought I'd post a text-light, image heavy, selection of December Stitchcraft covers from the 1950s.

December 1950

December 1952

December 1956

December 1957

December 1959

"Christian Dior: History & Modernity, 1947-1957" by Alexandra Palmer

 

Alexandra Palmer has authored a number of books about Christian Dior.  This one is a peculiarly specific book: not a biography, nor a history of the Dior label, nor of Dior's collections and designs.  Instead it is an in-depth look at the Dior garments held by the Royal Ontario Museum, and it delves into the design and construction of each piece of clothing, how its original owner acquired it, and how she adapted and wore it.

Palmer begins by exploring how Christian Dior's postwar designs were constructed, from the way they were cut to the final embellishments added to them.  Can I just say, that after reading this I've put Dior's clothes into my "lovely to look at, but I definitely wouldn't want to wear them" category?  Each garment was shaped and reinforced with facings, linings and canvas and horsehair padding.   The wearer herself was frequently re-shaped by built-in, boned, corsets and "waist-cinchers".  Lastly, some dresses (particularly the evening ones) had such complicated fastenings that the wearer needed help in getting dressed!

The garments held by the ROM were often altered by their original  owners.  At least one wearer reduced the number of bones in the bodice of her dress.  Others added straps and modesty pieces to their dresses, shortened sleeves, and did more mundane alterations such as letting garments in or out, and raising and lowering hems.  Dior was generally generous in his hem and seam allowances.

Here we come to the meat of the book.  The second (and larger) part of Christian Dior: History & Modernity, 1947-1957 looks at each piece of Dior clothing in the museum in chronological order.  Each chapter starts with the history of the model, continuing with some background on how the original owner acquired and wore it, how it was constructed, and how it differs from the model originally shown in Dior's collections.  Each chapter contains photographs of the garment from the museum collection, and may also include pictures of the in-house sketches of the designs, fashion and press photographs of the original models, photographs of the clothes being worn by the original owner and technical sketches and patterns showing how it was constructed.

All in all, a book not only for those who enjoy exploring the technical details of fashion, but for those who want to know what happens to haute couture after it leaves the catwalks and makes its way into the wide world.

Alexandra Palmer
Christian Dior: History & Modernity, 1947-1957
Toronto: Royal Ontario Museum, 2018
ISBN: 9780888545213

Christmas Cheer from David Jones (December 1945)

 The first Christmas after World War II there wasn't much in the way of anything available for people wanting a consumerist splurge.   Nonetheless, the upmarket department store David Jones in Sydney managed to put out a teeny-tiny Christmas catalogue that year.  It advertised a meagre selection of toys for children, and some clothes and gifts for adults.  Like most Christmas catalogues a number of its pages were dedicated to women's nightwear and lingerie.

 
Pretty pyjamas, mostly styled in rayon.

Nightdresses (left and third from left), a negligee and a princess slip.  The nightie near the right is described as an "uplift nightie".  I'm not sure exactly what that is, but it sounds uncomfortably like the bodice of the garment functioned like some kind of bra!

A nightie and bed jacket set, along with two sets of underwear (including the glamorous "trousseau set" in white rayon at the top right).  It might not be immediately clear on these scans that each garment in this catalogue not only has a price listed, but also its value in clothing coupons as well!

Plates from "The New Monthly Belle Assemblee" (December 1843)

 It's the end of the year, and time to start looking at the fashions of Decembers past.  Let's start with these fashion plates from The New Monthly Belle Assemblee" in December 1843:

 

 

 The full length figures depict (on the left) a carriage dress of red velvet, worn under a Cashmere shawl, while on the right is a public promenade dress of grey alpaca ornamented with braiding, worn underneath a cloak of pale brown watered satin.  At top the half length figures show a morning visiting dress, an evening dress in light green satin and a carriage dress.

 

Once again starting with the full length figures: on the left is a public promenade dress in broad pink and narrow black stripes, worn with a dark blue velvet mantle trimmed with sable fur.  On the right is a carriage dress in satin, under a cape in grey Cashmere bound with green satin.

At the top the half length figures depict: a morning dress, a morning visiting dress and a demi-toilette.  "Demi-toilette" (literally, "half-dress") has been variously defined as a "subdued evening dress" and as a dress worn for a daytime party.   As the model here is depicted as wearing a bonnet with her "demi-toilette" I would say that it is intended for day wear.