David Jones catalogue (Autumn and Winter 1951)

 These pictures came from David Jones's Autumn and Winter catalogue of 1951.  David Jones was (and is!) an upmarket department store, and its catalogues were aimed at its country customers.  The clothes advertised inside would have been good quality, but fairly conservative in style.

Apart from that I don't have much to say about the fashions below.  Let the pictures speak for themselves.

JAEGER coats box or belted style, all fully-lined

These beautifully tailored coats are made in camel-coloured wool and fully lined with good quality lining.  In cosy "Jaeger" with easy-fitting raglan sleeves, you'll be ready for the coldest winter.  Each has vent back.

Wakes, Winter 1947

 In the annals of high fashion, 1947 was the year in which Christian Dior unleashed his "New Look" upon the world.  It made a big splash in the news internationally.  The makers of everyday fashion, however, decided to play things safe. How could they tell whether they were looking at a genuine shift or just a passing fad?  This was especially pertinent when you consider that many countries still had rationing and/or shortages of materials.

The fashions from Wakes catalogue below illustrate this approach.  Waists are slightly emphasised, but shoulders remain broad.  Skirts are fuller, but still only come down a little way below the knee.

THREE PIECE ENSEMBLE

CYCLAMEN-RED AND JET BLACK team together in an all-wool ensemble incorporating all the new season's newest features.  The collarless jacket comes in the gorgeous new Cyclamen-Red illustrated.  Cut in 7 figure-hugging gores, with divinely figure fitted back, darted front panels and simulated hip pockets.  Appliqued Jet-Black motif on the front, smoothly tailored shoulders, narrow tie in front half belt.  The pencil slim skirt has a graceful long inverted pleat both front and back, dart-fitted back, firm waistband—zip placket.  The prophetic three-quarter length coat picks up the cyclamen-red in its appliqued shoulder motif, features full-cut sleeves, twin pockets, poker straight shoulders, boxy cut.  The three pieces team together, or form the basis of a wardrobe worn individually. 

 

Wakes, Winter 1942

Japan entered the war in 1942, and for the first time Australia had the enemy on their doorstep.  However, Australian manufacturers were still capable of turning out stylish outfits like the coat and muff (with matching hat) illustrated on the cover of the catalogue below.

COAT AND MUFF, 5 GNS.

A three piece ensemble (the hat sells separately) with furrier-made tawny luxurious leopard-dyed coney fur, mounted on a brilliant Loyal Blue English all wool coating.  Seven panel, slim as a whistle princess with new lines in every inch from moulded, semi-extended, immaculate shoulders to flared full hem.  British rayon lined throughout.  Matched skins and material in the zip closing muff purse.

Australia's Lost Department Stores IX: McDowells (Spring & Summer 1941-42)

McDowells was one of Sydney's smaller department stores, and like so many others, began as a drapery in the 19th century.  It was founded as John McDowell and Partners in 1889, and became McDowell and Coogan in 1893 when one of the original partners dropped out.  In 1895 it became McDowell and Hughes, when Hughes bought out Coogan, finally becoming McDowells Ltd in 1917.  

McDowells prided itself of old-fashioned service and providing value for money.  Staff often spent their whole careers there, and discipline was considered to be firm, but fair.  (That didn't stop one enterprising manager stealing 70 dozen pairs of stockings from his employer in the early 1920s!)  Notably, McDowells refused to reduce the pay of its employees during the Great Depression.

McDowells did a lot of business via mail-order catalogue, which brings me to this publication from 1941.

The front cover hopes "for a brighter year!" but history tells us that they would be disappointed.  Meanwhile they were advertising a "FROCK you will love to wear to any function" in "SHEER GEORGETTE", a "FLORAL FROCK" in crepe with a silhouette "emphasised by the drama of a WHIRL OF PLEATS", a "WASHING FROCK attractively styled in ... a good quality LINEN LIKE FABRIC" and lastly, a dress cut with "9 complete Gores" in a "Flower-splashed distinctive SUEDE CREPE".

It's a fairly good selection of early wartime fashions, but as wartime economies bit clothes would become less generous in their use of materials.  Tucks, pleats and 9-gored skirts would no longer be allowed.

Chicago Mail Order, Fall and Winter 1931-32

 The social historian in me can't help noticing that nearly half (if not more) of the garments listed in this catalogue are advertised as reduced in price compared to the same or equivalent garments in the previous winter catalogue.  The slump was clearly starting to bite retailers as consumers cut back on spending.

The page below shows a selection of mass produced but stylish coats.    The big fur collars rising above the backs of their wearers' necks were particularly fashionable in the 1930s.  These examples, however, are either made from cheap furs, dyed to look more expensive, or "fur cloth" of various types.  

Regal Two-Tone Collar
A.  ... Fur effect "Queen Anne" and cuffs in stunning two-tone combination trim this stunning coat of Velotone About Two-thirds Wool, a lovely suede finished fabric...

Of Fashion-Favored Snowflake Crepe
B. ... A wealth of style and beauty at little cost!  A beautiful Wool-and-silk "Snowflake" Crepe, a warm spongy fabric.  Soft, fluffy Badger-Dyed Mountain Lamb Fur used generously to form two-way collar and smart cuffs.

With Overcuffs and Plastron Collar
C. ... Enormous value!  Gorgeous new collar and cuffs of lustrous fur-effect fabric resembling Baronduki fur.  Of warm Tricot Velotone.  About Two-thirds Wool with the fashionable suggestion of a ribbed weave.

Tabbed Plastron Collar
D. ... Supreme in style and value!  Beautiful warm dressy coat of a new All Wool pebbly-textured spongy Monotone Crepe that is in for a big year.  Gorgeous plastron collar of Larkin Lamb Fur dyed to resemble beaver with an extra "tab"!

"La Mode Modern"
E. ... A reproduction of a Parisian model!  Of All Wool warm Pebbly Monotone Crepe, one of the season's loveliest fabrics.  Fur effect fabric resembling Broadtail forms Tuxedo collar...

Novel Trim
F. ... Stunningly chic, its brim rising to "heights of beauty".  A snug-fitting "dressy" creation of smooth Luxurio Quality Wool Felt, edged with grosgrain ribbons...

As a bonus, there is a hat advertised at the bottom of this page!  It's typical of the early 1930s, fitting close to the head like the cloche hats of the 1920s, but no longer pulled down over the wearer's forehead.  It's also noticeably asymmetrical, a trait which would remain popular in very different styles of headgear throughout the decade.

Myer Catalogue, Spring & Xmas 1929

 I had this picture in mind for 1929 ever since I started this project.  Here we have some fashionable, higher-end ready-to-wear garments sold by the Myer Emporium in Melbourne.

01—Smart SPUN SILK FROCK, in this semi-tailored style, pleated from yoke back and front; red, lemon, white, almond and beige.

02—ENSEMBLE SUIT, with full-length coat of woollen crepe-de-chine and frock of printed artificial silk; coat lined to match frock.

02—TAILORED COSTUME, of fine worsted suiting, in light brown, fawn, beige or grey tones; silk-lined coat, in single or double-breasted style; wrap skirt.

04—An elegant FROCK of printed silk crepe-de-chine, on black, navy and colored grounds; scarf collar, three slightly flared frills on skirt, buckled belt.  

 Short skirted and drop waisted, these fashions are still very much of the 1920s with only the tiniest hints of the decade to come.   

Montgomery Ward & Co. Catalogue Number 104, Spring and Summer 1926

 When I saw this page I knew at once that it was going to represent 1926.  These colourful, low-waisted dresses (with a bit of flare in the skirts) are the very epitome of 1920s fashion.

The straight, flat-chested silhouette wasn't easy for everyone to achieve and Montgomery Ward advertised some "slenderizing" fashions for larger-sized women on the bottom of the page.  While they tricked the eye of the beholder into seeing their wearers as smaller than they really were, it's probably worth noting that they also would have been wearing some of the extra-reinforced corsets available in later pages of the catalogue.

The "National" Money-Saving Style Book (Spring and Summer 1923)

 For 1923 I'm posting a picture of some jaunty looking summer coats (and one cape) for the younger set.  Flapper fashions were more than just beads and fringes!

Below are the descriptions provided by the National Cloak & Suit Company: 

"The National Money-Saving Style Book" (Spring & Summer 1921)

 The tidy housewife always regards at least two house frocks as necessary garments in her wardrobe, but even the woman that has in the past been indifferent to her appearance in the home while on household duties, favours the loose cool house frock of to-day.  It is easy to slip on, and is certainly not hard to launder. 

"Around the shops", Farmer and Settler, 1 December 1922

 Leaving the realm of high fashion for everyday dress, I've posted a picture of some "house frocks" (also "house dresses") from 1921.  House frocks were mainly worn by housewives and were inexpensive, practical garments for doing chores in. Ideally they were also smart enough to receive visitors in or wear to the local shops.  For heavy, dirty housework an apron or overall would have been worn over the house frock to protect it.

I've copied the descriptions of the dresses from the "National" catalogue below.  Being easy to launder was a selling point, as was the presence of pockets (not nearly as common in more formal garments).

Styles of '65: Short Evening Dresses (Skylark Fashions, Summer 1965)

 Long evening dresses certainly existed in the mid-1960s, but they were reserved for the most formal of occasions.  If you wanted to go out to a restaurant, on a date, to a party, for cocktails or dancing at one of the new trendy "discothéques", you would probably choose a knee-length skirt instead.  Below are some very stylish outfits for a night out from Skylark Fashions.

Style 828—SHEER ILLUSION—A floaty, flatering outfit that will lift your spirits right up to Cloud #9!  You're an angel, a blithe spirit, a fairy princess in this charming dress and drifty cape outfit of lace and nylon sheer.  The dress is fully lined with taffeta; the wispy coat has a face-framing lace collar that makes you look as beautiful as you are.  Maize, blue or pink with white lace.

Styles of '65: Stretch Pants (National Bellas Hess, Spring-Summer 1965)

 In the 1960s, the fashionable look was slim, sleek and figure hugging.  It was also active, so the problem became combining a tight fit with clothes that moved.  Enter stretch pants, made possible by postwar developments in man-made fibres.

H.  VERTICAL STRETCH tapered leg cotton-nylon pants; stirrups, side zip.

J. DACRON-COTTON stretch pants fit the way you want them with never a wrinkle showing!  Vertical stretch Dacron polyester-cotton knits—laminated to acetate , keeps shape.  Band waist, side zipper, foot straps.

K. STRETCH DOESKIN... creamy-soft matte knit of acetate-nylon bonded to acetate... gives such s-m-o-o-t-h fit!  Food straps, side zipper.  Hand washable.

L.  CHECK STRETCH.  Action ready cotton-nylon pants in swinging checks.  Stretch horizontally.  Tapered, side zip.

M. STRETCH DENIM.  Look, gals... something new's been added to pet pants... a fashiony button front!  Denim weave cotton and nylon, designed to stretch in width only.  Plenty of action-room... but they keep that tapered sleek fit you're looking for!

N. STRETCH JUMP-ALL for smoothest, curviest shaping!  Cotton-nylon jump-all stretches up, down.  Back zip, tapered, stirrups.

Most of these stretch pants are made of cotton blended with synthetics (the cotton presumably to let the garments breathe, while the synthetics provided the s-t-r-e-t-c-h.)  Nylon appears to be the most popular material, with polyester and acetate coming a distant second.

You'll also note that the designers have borrowed from ski and active sportswear: foot straps and stirrups to anchor the pants down.

Bayadere Cotton Dress (Myer, Spring-Summer 1954)

 Real life™ prevented me from posting last week.  This week I thought I'd post something cheerful, summery, and very, very 1950s.

Bayadere Cotton Dress

So casual . . . eye-catching . . .

Such value, too!  319HA: Cleverly fashioned to highlight a striking bayadere print.  Cool square neckline, cap sleeves and skirt of unpressed pleats.  Enchantment in royal blue, green, grey, carnation ruby.

"Bayadere" derived its name (though a number of steps) from Hindu temple dancers in southern India.  It has come to mean a fabric of brightly contrasting horizontal stripes.  This version is a printed cotton, though any material could be used.

Styles of '65: Separates (Marcus Clark's, Autumn and Winter 1965)

 Some styles are classics.  The skirts and twin sets below could just have easily been worn in 1955—or 1975!

B27W4—Fully fashioned pure wool Twin Set with fancy rib band trim on V-neck cardigan.  Short sleeve Sweater with Turtle Neck.

B28W4—Pure wool check Skirt.  Box pleated all round with welted seams, firm, narrow waist band, side zip.

B26W4—Pure wool Skirt with box pleats, stitched & welted seams.  Neat band.  Side zip fastening.

B25W4—Fully fashioned, pure wool Twin Set.  Button to neck Cardigan, Crew neck Sweater with long sleeves, narrow ribbed basque, turn back cuffs.

A Glimpse of Stocking (Montgomery Ward, Fall & Winter 1929-20)

 Victorian and Edwardian women's stockings could be surprisingly decorative, but they were not for public display.   In the 1920s, however, skirts became very much shorter, and legs (and the stockings covering them) became a focal point.  How did this change things?  I'm going to take a look at the stockings advertised in a Montgomery Ward catalogue from 1929 to find out. 

The first thing I noticed was that the stockings on offer were plainer and less colourful than their 19th century counterparts.  Victorian women could wear stripes, checks and embroidery under their petticoats.  The modern woman of 1929 was offered a subdued palette including black, "tansan" (dark tan), nude (light tan), pearl blush, gunmetal and medium gray.  Clearly the wearer's legs were the focus, rather than her stockings!

Still lower prices for the Golden Crest full fashioned stockings that were such a sensation last season!  Choice of clear, sheer chiffon or service weight  silk—both in the new narrow French heels or slender pointed heels that make ankles so chic—so charming.  The chiffon are dainty, sheer silk from top to toe with cleverly reinforced silk covered foot to give extra wear and elasticity; fine lisle strengthens the inner surface at points of wear.  The service weight is strong, highly elastic silk well over the knee to the serviceable hem of fine-knit mercerized lisle.  Slipper soles, toes and heels are same fine lisle.

Styles of '65: Blouses and Overblouses (Spiegal & National Bellas Hess catalogs, Spring-Summer 1965)

It's the first of the month, so I'm heading back to 1965 again to look at blouses as advertised in two American mail-order catalogues.

Firstly, Spiegel offers blouses with Bermuda collars, and blouses with ruffles.

Spiegel, Spring-Summer 1965

Left side, top to bottom

GINGHAM WOVEN CHECK; all combed cotton.
PASTELS WITH DACRON*; lustrous, easy-care broadcloth of 65% Dacron polyester, 35% prime cotton.
'SHAKESPEARE' PRINT... sure to be a lively conversation piece!

Right side, top to bottom:

TINY WOVEN CHECKS... they're delightfully dainty in fine all combed cotton.
PASTELS WITH DACRON*, silky-smooth broadcloth of 65% Dacron polyester, 35% combed cotton.
INTRIGUING PAISLEY PRINT; lustrous Avril® rayon and cotton broadcloth.

Styles of 65: "Carefree in Arnel" (Spiegel, Spring-Summer 1965)

 The outfits below are at once relaxed and stylish—and this is why the 1960s is one of my favourite fashion eras!  The coordinating skirts and tops were available in different colours, shown as thumbnails on the same catalogue page as the main photograph.

The garments are all made of "triacetate", a "semi-synthetic" material made of chemically treated wood pulp.  Like fully synthetic materials, triacetate was easy to care for, and like natural fibres it was breathable.  In other words, "carefree"!

"Once More Unto the Beach, Dear Friends" (Rockmans, Summer 1947)

 If in 1929 some people were scandalised by backless bathers, by 1947 some female beachgoers had progressed to two-piece ensembles.  As yet they only revealed a small sliver of midriff, and a matching skirt is provided if the wearer has to preserve her modesty off the beach.

THESE GARMENTS ARE ALL "FRANCIS BOURKE" PRINTS

R1140.  The latest in cotton bathers.  Laced at both sides and gathered in front.  Pants lined with heavy linen.  One-piece back.  In assorted florals and nautical prints.

R1141.  A snappy cotton pinafore with a wide band, fitted waistline, tied at back or buttoned.  In assorted florals.

R1143.  A youthful cotton skirt with wide-fitted waistband.  Cut on cross and very full.  6 Buttons down back.  Assorted floral designs.

"Francis Bourke" was probably Frances Burke, a modernist fabric designer who went into business in Melbourne in 1942.  Among other commissions she designed the fabrics for the Australian embassy in Washington.

"Bright, Good-Fitting Bathers" (Myer, Spring & Xmas, 1929

Though modest by today's standards, these colourful bathing suits from the Myer catalogue are streamlined and practical.  However, since the lady on the left is wearing a suit made of cashmere, I suspect she wasn't likely to dip it in the sea.

0991—Fine Cashmere.  All-wool BATHING SUIT with plain top and fancy striped skirt.  In assorted colours... Fancy Rubber BATHING CAP.

0992—Gilr's United Style.  All-wool BATHING GOWN: in black, navy and many bright colours.... CAP in smart designs and colours, to tone with gown... COOLIE COATS, in crepe, in floral designs, in bright tonings for maids and children...

What We Wore in '74: Hostess Gowns (David Jones, Spring-Summer 1974)

 Hostess gowns.  Worn between the 1930s and the 1970s they were full length gowns for entertaining at home.  Not as formal as full evening dress, these versions from 1974 are fashionably loose and made up in vibrant prints.  The counterculture of the late 1960s has influenced their design—for example, though the catalogue doesn't describe it as such, the dress in the centre of the top picture is clearly a kaftan!

A. An exciting new American print on cool Arnel jersey, styled to a floating A-line empire featuring long front zip, self tie and lots of interest at the back.

B. Glamorous American model copy... the new-look float in breezy Arnel jersey.  All-in-one body and sleeve for a slim, easy fit and featuring contrast trim with ric-rac braid.

C. A fabulous border print and winged cape sleeves make a perfect combination in this flowing design.  Fitted to the waist, with high front neckline and slightly lower back.

What We Wore in '74: Polyester Double Knits (JCPenney, Spring and Summer 1974)

 Mostly it's the styles that define an era, but sometimes the material they're made of is just as important.  What muslin was to the Regency and "art silk" to the 1920s, polyester double-knit was to the 1970s.  It was stretchy and easy-care—hence it's popularity—but it was also sticky and smelly, unbreathable and uncomfortable.  It went out of fashion after a few years, but meanwhile the shops and mail-order catalogues were filled with a dazzling array of polyester garments.  Like, for example, this selection from JCPenney.

At left: Tailored shirt-style body suit (in polyester double-knit), long sleeveless vest (in polyester double knit), knitted check pants (in polyester double-knit).  Centre: Short sleeve tunic top in polyester double knit.  Kick-pleated pants in polyester double-knit.  Right: Tunic top in 2 sleeves length in polyester double-knit.  Knitted pattern pants, in polyester double-knit.