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Vintage: Where fashion & history meet

Vintage clothing and shoes from the past couple of centuries.


Vintage: Where fashion & history meet

  • 570 Pins

The graphic artist who did this was J C Leyendecker and he immortalised his partner, Charles Beach, in not only this ad, but also as the Arrow Collar man, as well as many other major ad campaigns, and covers for The Saturday Evening Post. #Gillette

Oh Dear God, Thats a 'Heart Attack' Ribbon Loaf , Better Living, June 1951, Funny Vintage Ads.

klappersacks: 1946-xx-xx Sears Christmas Catalog P180 by Wishbook on Flickr.

1977 VW Bus ad - "Take the Bus" Orange Campmobile bus

Volkswagen Bus ads (1977)

clickamericana.com

Bonanza Steak House "Family Plan" ad

1960s swimsuit ad

Circa, 1850-1890. Antique silk reseau w/ hand embroidered & drawnwork silk toile, design of flower garlands, bows, & drawnwork catouches.

Augusta Auctions

augusta-auction.com

Vintage lace dress

Stunning Gown! Dress, 1887,American, silk, Label: White Howard & Co., 25 W. 16th St., New York.

The Worth gown Alice Vanderbilt wore to Alva Vanderbilt's costume ball in 1883. She was costumed as the 'Electric Light' and carried an electric torch above her head.

1880′s fancy dress – it’s electric! | The Dreamstress

thedreamstress.com

Street Fashion - 1926 - Photo by Meurisse - #Watsonette

Luifelhoed (Dutch) or Poke Bonnet (English), (ca. 1815 - ca. 1820) featured a deep, stiffened brim around the top & sides of the face. In different styles the crown might sit on top of the head or at the back of the head, & the shape of the brim would vary accordingly. A poke bonnet performed the dual functions of shading the wearer's face from the darkening effects of the sun & of concealing her face for the purpose of modesty or anonymity. It was usually secured by ribbons tied under the chin.

Poke bonnet, anoniem, c. 1815 - c. 1820 - Rijksmuseum

rijksmuseum.nl

Ring of the Empress Josephine ~ Gold ring studded with blue and cut to form the center the letters "NB" (Napoleon Bonaparte), with both sides of foliage. The outer periphery of the ring carries on blue enamel background the inscription: "Love sincere."

High carat gold ring, circa 1798 -1800, containing a virtuoso micro-ivory carving of warships engaged in battle, with cannons blazing. The vessels are set on a cobalt blue glass ground, in an octagonal glazed compartment, within a seed pearl surround.

Rowan and Rowan : rl5 micro ivory ships

rowanandrowan.com

Bague médiévale en or à chaton triple. 13e siècle. La bague en or est de type « étrier ». L’anneau est plat à l’intérieur et convexe à l’extérieur. Sur chaque épaule est gravée une rosette à quatre feuilles. Le chaton est absolument exceptionnel, étant formé de trois chatons accolés, l’un serti d’un rubis de Ceylan, celui du centre d’un saphir de Ceylan et le troisième d’une émeraude.

Georgian gold & silver rabbit ring with diamonds and ruby eyes

pink tourmaline gold ring (c. 1900) - Murrle Bennett & Co Attrib.

Murrle Bennett & Co attrib. Pink toumaline gold ring (Ref: 6626)

tademagallery.com

Dress 1882–83

Mme. Martin Decalf | Dress | French | The Metropolitan Museum of Art

metmuseum.org

1938-1942 zoot suit

Augusta Auctions

augusta-auction.com

Vest, Knickerbockers and Sweater (vest, knickerbockers) Pierre Cardin boutique, (sweater) Les Tricots de Pierre Cardin c. 1966. This men's outfit by Pierre Cardin represents the 1960s' design, so-called the "unisex" concept. The front design with zippers was a step toward eliminating differences in style between the sexes. Cardin, born in Italy, moved to France in 1924. After learning tailors' techniques, he studied Haute Couture, and founded his Haute Couture house in 1953. With an excellent ability to quickly identify underlying needs of the times, Cardin started a full-scale prêt-a-porter business in 1959. In 1960 he went into the men's clothes market, which had been monopolized by tailors except for casual wear. Cardin could foresee the "unisex" trend, and suggested a fashionable line of men's clothing by utilizing his techniques as tailor.

Detail of collections 1960s | KCI Digital Archives

kci.or.jp

Sandals "Barefoot in the Grass" Herbert Levine, c. 1968. Surreal and pop sandals. Through the upper made of transparent vinyl you can see the sole covered with artificial grass, and you can imagine at a glance how your feet would feel in this footwear. The synthetic materials which were popular in the 1960s stimulated human bodies optically and haptically with their artificial new textures. Beth and Herbert Levine established Herbert Levine in the U.S.A. in 1958. Their innovative designs brought a fresh sensitivity to shoe design by boldly using synthetic materials such as loafers made of transparent vinyl and boots of stretch materials.

Detail of collections 1960s | KCI Digital Archives

kci.or.jp

Hostess Gown, Madeleine Vionnet, 1939. An elegant example of hostess gown. The loose skirt is, in fact, culottes. The fabric, cut into a three-quarter circle, is brought to the front on both sides and wrapped around, so that the back of the garment effectively looks like a skirt, while the front is in the shape of pants. The geometric pattern of the elegant, black lace overdress stands out over the culottes. The use of gradation in the fabric is a feature of Vionnet’s designs, with the pattern becoming larger as the skirt spreads out, while the patterns also cleverly conceal any seams or facing seams. During the 1920s, pajamas became popular as sleepwear even amongst women, and by the end of the decade, pajamas were attracting attention in the form of beachwear to be worn at resorts. The look eventually became popular during the 1930s as dressing gown, such as the hostess gown, and arguably was the forerunner of women’s pant fashion. During this decade, outerwear began to make the transition towards the simplicity of contemporary clothing. The glamour and opulence of loungewear and undergarments, however, was in stark contrast to this look.

Detail of collections 1930s | KCI Digital Archives

kci.or.jp

These are Art Deco period heels referred to as "jeweled heels". They are a sample from a time when heels were custom-ordered. With enamel manufacturing put to practical use on shoes since the end of the 18th century, and the implementation of Bakelite and similar resin treatments in 1909, the heels radiate a glossy shine. Moreover, they show the subtle workmanship of geometric designs, and limestone and metal bead application, At that time in Paris, couturier and artisans specializing in custom-order footwear created luxurious shoes. Craftsmen who signed their names on shoe designs, like Andre Perugia, also appeared. Then, in the 1920s, Western European women began exposing the leg below the knees for the first time. When compared to the existence of footwear up until that period, this becomes an important matter. Shoes which utilize functionality paired with small engraved designs and various historic moldings. Of these shoes, 1920s footwear that reflects art deco designs can be said to exhibit a special charm equal to a kind of objet d'art./// Heels [Upper left] c. 1925- France, Heels [Upper right] c. 1925- France, Heels [Lower left] c. 1925- France, Heels [Lower right] c. 1925- France.

Detail of collections 1920s | KCI Digital Archives

kci.or.jp

Pumps, Perugia, 1920s. These high-heeled pumps possess a vivid contrast of red and black, as well as a decorated strap that was popular in the 1920s. Skirt-length rose up to the knee and shoes played an important role in the fashion of the time. Because of this trend, shoe designers who functioned differently from conventional shoe craftsmen became active. André Perugia gained his fame making shoe designs for Paul Poiret, and he became known as one of the most talented shoe designers in the first half of the 20th century. His detailed designs, rooted in the shoemaking craft and the engineering knowledge cultivated by the military, were highly valued. In the 1930s, Perugia created shoes for Elsa Schiaparelli that were quite surrealistic.

Detail of collections 1920s | KCI Digital Archives

kci.or.jp

Dress ("robe à la française") c. 1780- France. This dress, with its dynamic silhouette, shows a peak of women's court dress in the latter part of the 18th century. The skirt, which widely expanded on each side, just barely achieves balance when combined with the enormous hairstyle. This pinnacle of artificial beauty emptily expressed the authority of the royalty and nobility before French revolution.

Detail of collections 1780s | KCI Digital Archives

kci.or.jp