I WISH I had a dress like that. But where would I wear it?
It is soooo much prettier in person! And I won't be wearing it anywhere unless I finally pony up the $100+ dollars to get it cleaned (if that will even help it).
I love cruise vacations because I finally *do* get a chance to wear my evening gowns! Dinners are formal, so it's so much fun to get dressed to the nines to have dinner, then afterwards to the lounge for cocktails. It's also nice when I get envious stares from women wearing dresses off the rack
We're going to the Panama Canal in February, and I'd really like to have this dress by then. I can deal with the faint color change. I can even deal with a few water spots. But I absolutely cannot wear this unless I get the purple pit stain rings out
Ok- here's a write up on the yellow dress I just put on my site, so I figured I'd copy it here.
Yellow Evening Dress
Circa 1937-40
This style of dress with the tulip sleeves, pointed waist, and gathered semi-empire bust was extrememly popular starting around 1937. The reason a date is often so hard to pin down on these old dresses is that the production of vintage sewing patterns could continue styles well past their initial release date- a seamstress coming out of the depression would save these and often remake them for herself or others. The life of patterns, just like dresses we wear well after the year they were released, were much longer than the entirely "modish" crowd could care to wear them. Thus, this dress, with it's classic cut, could carry you well into the early 40's. If I had to guess at a date by this dress, which was handmade, I would put it around the Autumn of 1940. The mustard yellow color was in full swing by the late 30's, and was extremely popular, especially nearing the fall. The darker accents of green and fuschia make me think this dress would have been very chic coming out of the late summer.
What is most unusual about this dress, which tells me it may have been made by an experienced and thrifty woman or seamstress is the use of the two colors- the darker more orange yellow sleeve is contrasted with the piping of the neckline, and then mimicked again in the sequins at the waist.
Here you can see more clearly the knit of the fabric- in the late 30's/early 40's knits in bright colors were popular- this one is a synthetic, after a burn test of a section cut from the seamline it is acetate- it melted into itself in a solid black bead. You can also see the contrast of the two shades in the photo.
Here's the details of the tulip sleeve construction and the hemming done with a thicker thread that acts as a functional accent. The advantage of these style sleeves is the ability to fall into form on the arm, and yet the cut enables the wearer to lift the arm- especially useful for dancing.
Detailing of the sequin appliques. These were very popular, especially from the later 30's to the mid 40's. A seamstress could purchase these ready made then apply them to her garment as an accent. Here you can also see the construction of the waist. Something on the waist at the point and at the join of the gathers both here and at the yoke is the thin like of topstitching done to help hold the cut of the garment in the right place. You can also see this in the closeup where you can tell the fabric contrast and fabric knit. It's just the little details like this that help you distinguish genuine vintage pieces.
The skirt is constructed in pieces to make the hem wider than the yardage of the time period would allow- one of the little details which tell me this was intended as a dress for dancing.
Construction of the back- you can note the pointed waistline, small placement of darts at the back neckline instead of the shoulder, and the dropped waist. The side zipper is also seen on the left side.
Nylon wasn't really used in clothing until the 50s. From the close up fabric shots, I'm willing to bet this is rayon jersey-the most divine fabric known to man.
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