Longtime readers might remember last years Fur and Feathers luncheon, but this year I forced everyone to pose for pictures!
We all live pretty spread out around Portland, or the Portland area, so we're trying to get together once a month for a themed event, and I meet new people every time.
We had lunch and cocktails in the beautiful Hubers, and did a little shopping afterward. I tagged along with a few gals (and guy) to some music and dancing that evening, even danced once!
Sorry Jesse, I'll practice...
In attendance were: Janey of Atomic Redhead, Julie of Fab Gabs Vintage, Sarah of Stutterin' Mama's Vintage, Jennifer of Jumbleaya, and Sara of Lillies & Remains.
We had a marvelous time, and received nothing but a positive attitude towards our vintage clothing and vintage furs. (Please keep that same attitude in the comments. Any negativity will be deleted before it hits the page, this is not a forum for debate).
I feel very lucky to know so many accomplished ladies, who share a love of vintage. Can't wait to see them again!
1940s dress set-Bombshell Vintage
1940s faux leopard jacket-Meadowlark Antiques
1940s hat-Antique Expo
Purse-Coach
Shoes-Nordstrom rack
Gloves-Estate sale
Bakelite bangle-Antique shop
About a year ago, I had an idea for a patriotic, WWII type eagle sweater. I knew what I wanted, and I looked and looked for a pattern that would satisfy, but being my picky self, nothing did. Finally I just decided to design one, how hard could it be?
I hadn't done colorwork in about ten years, but I just like to jump right into things. The more you consider how difficult something might be, the more likely you are to back out. So I graphed out the eagle, adapted it to a pattern in one of my 1940s knitting magazines, and got started. I kept adding on as I went, the "VICTORY" was something I decided to do right after I finished the eagle, and the "V" was something I toyed with but once the back was done I just had to add it! I lost my pad of graph paper after I drew the eagle, so the three separate designs are all overlapped onto one sheet! It's a hilarious mess that only I could make sense of.
Despite wanting to make loads of changes to the design, I'm really happy with the way it turned out. I've ordered yarn for my next little novelty sweater, can't wait to get started!
Sweater-Designed and made by me, using Knitpicks palette yarn
Shoes courtesy of-Modcloth
Shoe laces courtesy of-Jim Dandy Laces
Skirt-Fab Gabs
Snood-Virtue to Victory
Bakelite and stockings-Antique expo
A few weeks ago I came across a "send in for pattern" ad in one of my 1940s craft magazines. Having been on the lookout for some cute slippers (natural fibers? Made in U.S.? Not insanely expensive?), the pattern caught me eye, and luckily I found the same patterns for sale on Ebay!
This weekend I went to Fabric Depot and got some wool felt, embroidery floss, and satin rope. If you ever go to Portland and you love sewing, you have to go to Fabric Depot. They have an extensive 30s feedsack selection, as well as a Civil War collection, but some of the prints look so 40s I may get a few yards for a dress next time I go.
I really like the way they turned out. I embellished them, used contrast pieces, and a blanket stitch, but those were my only alterations to the original pattern. It's also worth noting, if anyone is going to make these, that the sizing is a little off. I cut out and made one slipper in my size (I'm a 7, which is marked as large), but they were too big, so I went down to a medium and they fit much better.
There are two other slipper patters included, and I'm thinking in the summer a playsuit and matching shoes would be ideal.
Thought Sam was a little too impressed with my new footwear making skills, and said he really doesn't see any point to buying new clothes, I can just make everything....Dug myself into that hole....
Now, I've been a ponds cold cream girl for years, I use it as a moisturizer every night, especially in colder months when my skin is extra thirsty. My only complaint about it was that it's quite greasy. But I always thought that's just how heavy night creams are.
Before the holidays started, Queenie May contacted me and asked if I would try out their new skincare set, a Vanishing Cream and Cold Cream. Upon first glance I was in love with the packaging. It's one of those vintage girl problems that our modern beauty products ruin that otherwise perfect effect of an appealing vanity.
It's simple, neutral, and have I ever told you how much I love matte glass? Well I do.
Of course, with many prettily wrapped things, the actual product itself can turn out to be total rubbish.
Luckily that wasn't the case with these. To quote the site itself:
"Queenie May's Cold Cream is made from a recipe from the 1930s.
With an Olive Oil base it is 100% Natural. No Mineral Oil, No Parabens."
The first night I applied the cold cream I was actually confused as to why my face wasn't shiny! Maybe I didn't use enough? Nope, felt right. In fact my face felt downright velvety. Well how do you like that...
The same goes for the vanishing cream. Named so not because it makes anything vanish, but the cream itself vanishes into your skin, with nothing other than a soft finish, no grease, no residue. I don't have to blot before putting on foundation, which I think is very nice :)
Traditionally cold cream is used as a cleanser/makeup remover. It works well as that too, but I leave it on all night.
The real standout in the set was the cold cream. There may be other vanishing creams out there with a similar non-greasy outcome, but I have yet to find a cold cream I can leave on and not be greasy, besides this one.
I also love that the ingredients are natural and olive oil based, so this may be a good option for those with sensitive skin. And did you see how pretty they are?
{Products courtesy of Queenie May}
If you're wanting to delve into vintage fashion or lifestyle, I can't recommend authentic period publications enough. There are many lovely books out there about vintage, but they can so often unintentionally date themselves. For instance I'm usually not a fan of books and t.v. shows from the 80s that portray vintage, because the quality, presentation, and hair and eyebrows (yes eyebrows) are a distraction that the particular publication or entertainment was obviously made in the 80s. In 10/15 years the same will be said about the way we portray vintage. So rather than look to people like me, or books and films written now, I suggest you find some fashion inspiration from the period(s) you are interested in. Just because that dress on Etsy is listed as 1940s doesn't necessarily mean it is. If you want to be knowledgeable about vintage, and be able to easily tell if that blouse is from the mid 30s, not late 30s, find magazines, catalogues, and dated photographs. They really are helpful!
(Of course I do have favorite period specific books and t.v. shows, but I'll share those a different day)
I found this magazine today, and while I don't wear much 30s, I think it was one of the most underrated and prettiest eras of fashion. To my delight there were not only images, but a description of the changing fashions of 1935. It's something I hope you enjoy, and may be especially helpful to those of you who sell vintage, as the 30s can sometimes be a little tricky to date.
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"We thought we ought to warn you-fashions are changing and we want to be sure our readers aren't taken unawares. There's no great mystery about this fashion business, you know. New fashions don't spring full blown out of the heads of designers. Nor are they created suddenly out of boredom or spite. They evolve gradually. They change slowly just as you do, as the seasons do. And with just cause.
The first thing to know is that there are just to basic silhouettes. One fits into an inverted triangle, that is, one with its apex down. That is the one that we have had for the last four years. Our skirts are narrow, with little of interest about them. The interest is centered above the waistline. Big sleeves, high necklines, collars and scarves and bows and big buttons keep it there. The second silhouette fits into a triangle standing on its base. Skits are wide with lots of pleats and gathers and gores and borders, bodices are simple with low necklines, often collarless.
Now we are in a transition period, tending toward the silhouette wide at the bottom. How do we know? Because-and this is the second thing to remember-changes occur first in evening fashions, and our evening fashions indicate this change, plainly, to the open-eyed.
If you've been watching you've noticed that many evening necklines are lower. There are even decolletages cut into deep squares and V's back and front. And necklines that are cut straight across, camisole fashion, and held up by straps. You've also noticed the width of evening skirts. They swoop out into great circles with ruffles and pleatings at the hemline and, most significant of all, some are uneven and curve up in front.
We've now gotten to the point where even daytime skirts are coming under influence. The ones that are straight and slim have slits at the sides or scalloped edges or borders of shirring, cording, pleating, fringing, tucking. But these newest ones of all are the wide ones.
We need not view with alarm this coming change in fashions. It will not go to ungainly extremes. Knees will not come out in the open. Waistlines are very, very, slightly below normal. This is a young silhouette, and free and gay and comfortable one. With it, we will want to have a clean, freshly scrubbed look. Cut off your tight little curls and wear your hair free and short with a natural (or near natural as possible) wave."
{Ruth Seder}
Delineator, July 1935
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