Not everyone who sews is interested in fashion history, of that I am aware. There was, however, a pivotal moment in modern fashion history that had such an impact that its influence is still felt today, although many current dressmakers/sewers of fashions have never heard of it. I am, of course, speaking about the Théâtre de la Mode, about which I wrote in August of 2016. If you are one of those who think fashion history is dull, I hope to convince you otherwise, by another visit to the years of 1945 and 1946, in postwar France and beyond.
In a nutshell, the fashion industry in Paris during World War II had struggled mightily due to the widespread shortages, rationing, and bare existence imposed on all Parisians during the occupation of France and even for a time after the War had concluded. To quote from the back cover of Théâtre de la Mode, Fashion Dolls: the Survival of Haute Couture (Second Revived Edition c 2002 Maryhill Museum of Art. Published by Palmer/Pletsch Inc. Portland, Oregon): “Liberation in the fall of 1944 after four years of foreign Occupation found Paris surviving on minimal resources. Hoping to make a statement to the world that Paris was still the center of fashion, couturiers, jewelers, milliners, hairdressers, and theatre designers joined together to present the Théâtre de la Mode. Using the ages-old tradition of traveling miniature mannequins dressed in current couture, the Chambre Syndicale de la Couture mobilized a whole industry with unprecedented cooperation and creativity to prove that life could begin again through these 27” tall ambassadors of fashion. The exhibition, inaugurated in Paris in March 1945, began a long journey, first to other capitals in Europe and Great Britain, then in 1946 to the United States.”
This is the poster for the Exhibition in New York City, page 49 of the book referenced above.
Many new fashions were added to the exhibition before it traveled to New York in May of 1946. It is worth noting here some of the names of the couturiers who participated in this endeavor: Balenciaga, Pierre Balmain, Jacques Fath, Jacques Heim, Hermès, Jeanne Lanvin, Lucien Lelong, Molyneux, Paquin, Schiaparelli, Worth, Jean Desses, Nina Ricci, Jean Patou, Madame Grès, plus many, many more not as well known to us today. Its New York opening was attended, with much excitement, by the city’s diplomatic and social elite. After the drought of fashion leadership from Paris during the War, the New York fashion industry was anxious for renewed access to Parisian inspiration and patterns, and the Théâtre de la Mode seemed to be the kick-start both countries needed.
Two of the dresses which hint at some of the changes in the air for mid-century fashions. Henriette Beaujeu designed the dress on the left and Schiaparelli was the designer for the dress on the right.
Even beachwear was included! Jacques Heim designed this ensemble of pareo pants, bra, and split skirt.
From New York, the Exhibit traveled, in September of 1946, to San Francisco to the de Young Museum, which turned out to be its final public viewing. San Francisco at that time had a French population of over 20,000, and the response from that community was overwhelming. Sponsors of the Exhibition included I. Magnin, and two department stores (now defunct) both owned by French families, the White House and the City of Paris (who would not want to shop at that store?) It is here that I want to pick up the story of this amazing period in time. Hopefully I can add some details to its history and some weight to the esteem which the Théâtre de la Mode enjoyed at that pivotal time.
So what, you may ask, gives me the credence to do this? Well, it all circles back to my sewing. I am one of the very fortunate ones who have a room dedicated to sewing. I, like so many of you in your own situations, spend hours and hours in this space. It is filled not just with all the tools and machines and items I need for fashion sewing, but also with decorative objects which keep me company as I stitch away. Over the years I have accumulated signs, millinery heads, and other fashion and sewing-related things (with support from a very understanding husband, I might add!) I was not looking for my most recent find. In fact, I did not even know that it existed. However, when I saw it listed for sale on the Internet, I immediately knew what it was. I also knew it could potentially add to the history of Théâtre de la Mode in the United States.
“IT” happens to be an original poster for the Exhibit at the de Young Museum in San Francisco, in September of 1946.
The pure visual quality of it struck me, especially when compared with the New York poster shown above. It must have been a deliberate decision to commission an artist of the renown of Jean de Botton to produce the image for this poster, giving emphasis to the excitement and importance of this Exhibit. De Botton (1898-1978) was a French artist living in New York City, known for his Abstractionist and Impressionist style of painting. (He became a naturalized American citizen before his death.) I can only conjecture that he saw the Exhibit when it was in NYC, as his image for the poster is reminiscent of several of the sets on which the mannequins were displayed. However, he added additional elements which enhance the intrigue of the Exhibit, some of which would have spoken directly to the French population in San Francisco at that time.
The image of the ship refers to the city of Paris. The latin motto of the city, “It floats, but does not sink,” appears on the ship, as seen below in the close-up.
More French imagery in the flags and pennants.
It appears that the term “A Fantasy of Fashion from Paris” was the artist’s idea or at the direction of the sponsors in San Francisco.
And what an incredible assortment of images in this section of the poster!
I feel very fortunate to have found this original poster, and to have it signed (and inscribed) by the artist makes it even more amazing.
Signed by the artist in September of 1946 and inscribed to Irving Mills (1894-1985), possibly the music publisher, musician, lyricist and promoter of jazz artists who was a contemporary of de Botton’s in NYC.
No one could have imagined that the San Francisco showing of the Théâtre de la Mode would be its last public appearance. Arrangements could not be made to move it to other cities, so, in an unbelievable set of circumstances, the sets, the mannequins and fashions were moved to the basement of the City of Paris Department Store. There they stayed, largely forgotten and thought by many to be “lost” until September of 1951 when Paul Verdier, President of the City of Paris department store made arrangements for them to be sent to the Maryhill Museum in Washington state, where you can see them now.
However, the impact of the Exhibit at that time cannot be overstated. The concerted effort by the couturiers and others in the fashion industry to move past the barren War years realized success more quickly than anyone could have imagined. It was just a few months later, in 1947, that Christian Dior introduced his “New Look” – and the fashion industry as we know it today began to flourish.
Christian Dior changed fashion history with the introduction of this new look.
This poster is a rare survivor of a pivotal time in fashion history. If you are still reading by now, I hope this “Fantasy of Fashions from Paris” reminds you, as it does me, of the resilience of the human spirit, its love of beauty, and its indefatigable artistic inclination.
Reflections on the Couture Legacy of Norman Norell
It was my distinct pleasure and good fortune to visit the current Exhibition on Norman Norell at the Museum at the Fashion Institute of Technology (MFIT) in New York City last week. For those of you not familiar with this mid-century American designer, you may be surprised to learn of his enduring influence on, and remarkable contributions to American fashion and glamour. He also, in his extensive and versatile body of work, employed the finest couture techniques, making his clothes still the envy of designers and those of us who strive for excellence in our fashion sewing.
Norell: Dean of American Fashion opened on February 9, 2018 and will close on April 14th. Guest Curator and designer Jeffrey Banks and Deputy Director of MFIT, Patricia Mears, collaborated on this Exhibition. Included are examples from his entire career; however, the Exhibition focuses for the most part on his final, spectacular 12 years, from 1960 – 1972. Norell (1900-1972) left his native Indiana to pursue his interest in illustration and fashion design in New York. He worked under Hattie Carnegie, and then at the beginning of World War II he began a partnership with Anthony Traina, the label for which is the well-known Traina-Norell designation. It was in 1960 that Norell started his own eponymous line of clothing, and it was during this period, up to his untimely death in 1972, that he set his real mark on American fashion.
To all of you I commend the MFIT Exhibition website for learning more about Norell’s life and the evolution of his body of work, including a fascinating video presentation by Exhibition Curator Jeffrey Banks. (Be sure to click on “explore the Exhibition website” which will lead you to some excellent content.) It was with this background knowledge that I entered the Exhibition, knowing I wanted to view it on two levels – 1) as a dazzling display of some of the most beautiful fashions ever assembled, and 2) as an opportunity to see up close some of the construction details, style lines, and elegant touches in his fashions, serving as inspiration for my own fashion sewing.
The Exhibit is physically divided into two areas, the first of which serves as a guide to his trademark themes, each with a small grouping of fashions. I was immediately smitten with this selection of LBDs:
All of these dresses have a timeless appearance, making them as stylish today as when they were designed. From left to right, #1 Label: Norman Norell New York. Black sleeveless bodice with skirt and satin sash, 1963. wool jersey, wool twill. Lent by Kenneth Pool [a major lender to the Exhibit.];
#2 Label: Traina-Norell New York. Black cocktail ensemble, 1950. silk chiffon, silk satin. MFIT, Gift in memory of Miriam Abrams; #3 Label: Norman Norell New York. Black dress with belt, 1962-1963. Wool, leather. MFIT, Gift of Mortimer Soloman.
Click on the photo for a closer look.
It was all I could do to keep from reaching over to see more of it. Noted on the caption were ”the hand-picked zipper and extra wide seam allowance, the deep hem … edged with bias-cut silk so that it is softly defined yet sturdy. Furthermore, the neckline and armholes are minimally interfaced to give shape without impeding movement, and they are under-pressed in order to hide the seams.”
The larger gallery of the Exhibit practically took my breath away when I entered. The large center stage is resplendent with examples of his famous eveningwear, including his sequined “mermaid” dresses.
The low light in the Exhibition gallery only added to the ambience and allure of these creations.
Around the perimeter of the gallery were featured many, many of his glorious coats, capes and dress suits, as well as dresses. I snapped this photo of one of his trademark sailor dresses to show the hand-picked zipper and the large patch pockets applied by hand (note the provenance on this dress in the caption):
Label: Traina-Norell New York. Off-white sailor dress with navy collar and red tie, circa 1957. Linen. MFIT, Gift of Lauren Bacall.
There were so many terrific examples of Norell’s vibrant use of color, including this coral cape from 1962.
Label: Norell. Coral double breasted cape, 1962. Wool melton. Lent by Kenneth Pool.
And I could not take my eyes away from this combination of off-white evening gown with a red bolero jacket and peacock blue sash from 1968.
The beautiful shape of the jacket, with those amazing buttons and bound buttonholes, sets off the sash to perfection. Label: Norman Norell New York. Off-white evening gown with red bolero jacket and peacock blue sash, 1968. Cotton organdy, wool, silk taffeta. Lent by Kenneth Pool.
Another brilliantly hued ensemble is this pink evening coat with matching skirt and blouse from 1964. Note the rhinestone buttons, the beautiful bound buttonholes, the angled pockets, and the lovely seaming detail of the high yoke on the coat which descends into the sleeves.
Label: Norell, Norman Norell New York. Pink evening coat with matching skirt and blouse, 1964. Wool, rhinestone buttons. MFIT, Gift of Lauren Bacall.
Norell was known for his cone and wedge-shaped coats, of which this purple one is an excellent example. Note the spread of the descending buttons on this coat:
Photography was permitted, although flash photography was not, so my pictures do not do justice to many of these fashions. Label: Norell. Purple cone shaped double breasted coat with Peter Pan collar, 1966. Wool melton. Lent by Kenneth Pool.
This coat and pants ensemble from 1970 is set off beautifully by its wide belt:
Label: Norell. Coat and pants ensemble, 1970. Wool herringbone, leather. Lent by Kenneth Pool.
The collar is absolutely stunning. And those bound buttonholes are a work of art in that heavy wool herringbone weave.
Norell used the talented stitchers of the garment worker’s union to make his clothing.
While I am writing about coats (one of my favorite subjects!), I want to show you details from two which help to illustrate the quality and finesse for which Norell’s fashions are known. First is this pocket detail from an off-white coat with black collar, 1962-1965.
Label: Norell. Off-white coat with black collar, 1962-1965. Wool and velvet. MFIT, Gift of Mrs. Jane Albert
The right edge of the flap is angled slightly to follow the side seam line, a subtle touch which gives it a graceful appearance.
Second is another pocket detail on a beige coat with pilgrim collar from 1968:
Label: Norell. Beige coat with pilgrim collar, 1968. Wool. MFIT, Gift from the collection of Margery J. Davidson, lovingly donated by her son Harold S. Graham.
The pocket is an extension of a princess seam, beautifully angled. And more shaping is apparent to the left of the full-length seam, giving this coat such elegant and refined lines.
Seeing this following grouping of dresses and jackets gave me a new appreciation of the concept of “less is more.” According to the caption, Norell “chose to trim his day and evening wear with mink, fox, and sable. The judicious use of this expensive and sensuous material elevated the glamour quotient of his restrained daywear.”
From left to right: #1 Label: Norell. Pale oatmeal midi dress and bolero jacket, 1967. Wool, crystal fox. Lent by Kenneth Pool. #2 Label: Norell. Pale peach jacket and black gown, 1966. Brushed wool, fox, sheer jersey. Lent by Kenneth Pool. #3 Label: Norell. Red and black check suit, 1962. Wool, black fox, leather. Lent by Kenneth Pool.
One more Little Black Dress has the most beautifully placed buttons:
Label: Norman Norell New York. Black dress with jeweled buttons, 1965. Wool crepe. Lent by Kenneth Pool.
I loved the caption which (partially) stated: “Deceptively simple, Norell’s dresses were visually quiet but strategically constructed… to enhance a woman’s body.”
I could go on and on as there is so much more to celebrate about this remarkably talented “Dean of American Fashion.” Fortunately, the Exhibition is accompanied by a book, titled: Norell: Master of American Fashion, by Jeffrey Banks and Doria de la Chapelle. Published by Rizzoli, the book is lavishly illustrated and beautifully presented, both in content and inspiration. I commend it to you.
In closing, on a personal note, I cannot help but think back to 1972, the year I graduated from college and the year Norman Norell died. So much has changed in the world of fashion and fashion sewing since those heady years. Seeing an exhibition like this one is a lovely reminder of the true timelessness of quality and restrained elegance, providing endless inspiration to those of us who dream and sew.
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Filed under bound buttonholes, Capes, Coats, Cocktail dresses, couture construction, Day dresses, Dressmaker coats, Dressmaker suits, Fashion commentary, Fashion Exhibits, Little Black Dress, Mid-Century style, Suit dresses, Uncategorized
Tagged as American designers, couture construction, Fashion Institute of Technology, fashion sewing, Mid-Century style, Norman Norell, vintage fashion