Marcel Boucher Jewelry

Marcel Boucher

Marcel Boucher’s work falls under many titles and names, such as Marboux, Cartier, Mazer, Avon of Belleville. He was a prolific designer of costume jewelry and his names signify quality materials and craftsmanship. There is great information on the Internet about Marcel Boucher, including short biographies.

Marcel Boucher was born in Paris, France in 1898. His father died when he was very young and raised by a single mother, who made her living as a seamstress. During the First World War, Boucher volunteered for the Ambulanciers Corps Français, because he was the only son of a widow and would not have been sent to the front lines in the Army.

When the War ended, Boucher went to work for Cartier. Already a long established company of fine jewellery makers, Boucher worked as a mold-maker and apprentice. During the early 1920s, he learned is craft from Pierre Cartier and moved to New York to continue his practice and education. When the depression hit the United States in the late 20s, Boucher was out of work. He began freelancing and designing Show buckles. He later began working for Mazer brothers. And in 1937, he opened his own company with a partner, Arthur Halbersatdt, who worked sales and the showroom. They called the company; Marcel Boucher and Cie.

In 1936, Boucher designed his first line of costume jewelry and in 1939, sold a collection of his designs to the New York City store Saks Fifth Avenue.  From 1941 to 1945 he lived and worked in Mexico City.

In 1949, Sandra Semensohn joined the Boucher Company as Boucher’s assistant replacing Halberstadt who had decided to leave the partnership.

Boucher designed the Marboux line in the early 1960s, which was less expensive and of lesser quality.

In October 1964, Sandra and Marcel were married. Six weeks later, Marcel Boucher died.  Boucher left his business to his wife Sandra.  She continued to run Boucher and Cie, but Sandra was a designer, not a businesswoman. She eventually sold the business to Davorn Industries in 1970. Sandra designed watches for Davorn for the next 5 years and continued to mark them “Marcel Boucher” even after the sale of Boucher and Cie. In 1979, the company was sold to D’Orlan Industries of Toronto, Canada. The workmanship and details on the jewelry now being produced from the Boucher molds by D’Orlan is of high quality but does not measure up to the older pieces produced by Marcel Boucher. The jewelry pieces have a design inventory number and are now signed “D’Orlan“. D’Orlan legitimately reproduces many of Boucher’s jewels. Their jewels are marked D’Orlan with Boucher’s design inventory number because they use Boucher’s original molds.

Collecting Boucher:

Jewelry by Boucher is almost always signed (meaning a marking signifying authenticity was put on the piece) and has an inventory number on it somewhere. Some of the earliest marks say “Marboux” or “MB” or “Boucher”.  If a hundred pieces were created in 1945 they would have any series of the following numbers 2300-2350 imprinted on the back of the piece of jewelry, as well as the name.

Numbering system and Marks:

circa 1945– 2300-2350

c.1946– 2351-2450

c.1947– 2451-2550

c.1948– 2551-2750

c.1949– 2751-3000

c.1950– 3001-3500

c.1951– 3501-4500

c.1960: 7802

c. 1962: 8291

c. 1965: 9100

Marks with the copyright symbol © are after 1955. It is also said that in the late 60’s or early 70’s the Boucher numbering system started over after it hit 9999.

Signatures used: MB with or without the Phrygian cap, Boucher and Marcel Boucher.

 

 

 

The Marboux mark,written in cursive and preceded by one star, was recorded in 1955 as the name of a new line, at a low cost of $1-$5, for tailored jewelry.

Parisina mark on Sterling made in Mexico during WW2.

Some of the later pieces that are parts of sets have the number and “P” for Pin, “E” for Earring or “N” for Necklace.

 

 

 

AVON of BELLEVILLE: Much of AVON of BELLEVILLE jewelry was designed by Boucher and although having the AVON of BELLEVILLE signature also has Boucher’s signature 4-digit design numbers. Boucher used to visit his mother in Canada because she emigrated to Montreal, Quebec.

Influences:

Chanel, Schiaparelli, Dior

Types of Designs:

I have seen a good selection of Marcel Boucher Signed Jewelry on the Internet, at many different auction sites. Here are some examples of his work:

Gold plating enamel was used with 3-dimensional designs using the 4 precious stone colors on jewelry of exotic birds, insects, and flowers.

 

 

 

Imitation diamond (beautiful rhinestones), ruby, sapphire and emerald stones, and simulated pearls.

1930s-Boucher’s love of mechanics extended to his jewelry designs, by adding dimension and a sense of motion to the flat jewelry. Also worth mentioning is his celebrated “Punchinello” whose arms rise by pulling on a chain; the pelican whose beak opens to catch a fish; and his “night and day” series of flowers with petals which open and close.

 

 

 

1940s -Parisianna Mexican Silver jewelry line is highly prized and sought after by collectors. Also very collectible is the jewelry group of “Exotic Birds”.

1940s- Produced an extraordinary variety of designs including an exceptional line in cubist style, a striking black moor head and a beautiful bird-of-paradise design.

Immediately after the war he was forced to sue Coro to stop them pirating his designs, but it was an expensive victory as the damages awarded was $35,000 but the attorney’s fees cost $50,000. One solution he found was to have the cabochon stones made exclusively for Boucher in non-standard sizes.

1950s -Boucher had adopted a more traditional look heavily influenced by contemporary trends in precious jewelry, designs with animal pins, buckle motifs, and leaf-themed rhinestone parures from the 1950s and 1960s are common.

 

 

 

“Miss America” tiara, Boucher made every year (I can not find examples online)

The Hummingbird (designed by Sandra Semensohn)

Ostrich and mother-of-pearl jewelry. Boucher also designed a series of dogs with his habitual attention to detail. The only freelance design produced during this time was the skunk, which Marcel and the Neiman Marcus buyer both favoured.

 

 

Resources:

http://www.guyotbrothers.com/jewelry-history/jewelry-hall-of-fame/marcel-sandra-boucher/Boucher1.htm

http://en.wikipedia.org/wiki/Marcel_Boucher

http://www.jacksonjewels.com/Reference/Jewelry_Companies_A-C.htm

Next Week: Sunday Feb. 5th 2012: Ingber handbags

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Taking care of your Vintage Treasures- Silk


Well, There are times when I just want to throw out a silk scarf with a stain on it or give it away. The task of cleaning it seems time-consuming. But it really doesn’t take that long and it saves me money. Time and money saving are important to all of us. When I go on a treasure hunt, I have found some really wonderful ties; silk ties but they may have a stain on them. And it’s usually right where food landed while eating! So in this Sunday’s segment of Vintage North’s Blog, I will cover taking care of your silk, mostly ties and scarves. Because unless you know fabrics and their idiosyncrasies it may be better just to send the larger items such as Dresses, Suits and Shirts to the dry cleaner. Knowing how to take care of silk is part of being a conscientious caretaker and owner of fine garments. This will give the clothing longevity and a higher re-sale value when wanting to part with something, since the Condition of a vintage item plays a very important role to a collector.

First of all there are many different kinds of silk. For instance, there is Douppioni, Chiffon, Crepe de Chine, Jacquard, Shantung, Noil, Ect. They have different textures; variations in fineness, variations in thread count, which means the weave is loose or very tight. Silk threads many be satin looking and feel very soft. They have different qualities from fine to coarse to translucent.

Segment 1: Taking care of Silk Neckties and Scarves

Simple cleaning: Needed Woolite or Baby shampoo, Vinegar, Dry Towels, Drying Rack, Multi-Setting Iron, Color-fast Gauze, Zip Lock Bags

  • Fill your sink or bathtub with cool water and mild laundry detergent, such as Woolite or even try a baby shampoo in lukewarm water. Let your silk item soak for a few minutes. Do not rub or scrub the fabric.
  • Rinse the silk tie/scarf with 1/4 cup of vinegar diluted in 1 gallon of water. This will help to restore the shine of the silk. Rinse with plain water until vinegar odor is gone and detergent is completely rinsed out.
  • Place silk item between two clean dry towels and press down gently to remove excess water. You can use the floor if you do not have counter space. Do not wring out silk. Hang silk item on a padded hanger or drape over a mesh drying rack. Do not use a wood rack because wood varnish may transfer to the wet silk and ruin your clothing item.
  • Iron your silk clothing using an iron on the lowest setting, I like to use a cotton gauze or light cotton color fast (so dye doesn’t transfer and ruin silk fabric) piece of cloth between the iron and the silk clothing. Slubbed fabrics and crepes and most wild Silks should be pressed when dry and others when slightly (and evenly) damp. Finish off lightly on the right side. When pressing Silk with a rib or slub, use a pressing cloth, otherwise the Silk may become fluffy. Do not press with steam or re-damp the Silk locally, as water staining may occur. If the Silk water-stains, then dip the garment in warm water for 2-3 minutes, dry and re-iron.
  • Place items not used regularly in garment bags or in the case of a small item such as a scarf or tie, I used reseal-able zip lock bags, like the freezer bags or large sandwich bags.

Do and Don’t

  • Don’t wash Silk goods if the colours are not fast. .
  • Do Test Before washing for colourfastness. Wet a small piece of the fabric in cool water and then lay it on a piece of white material. Press it with a warm iron. If it leaves no colour or hardly any mark on the white fabric, then you can safely wash it.
  • Do keep silk out of strong sunlight
  • Don’t ever soak, boil, bleach or wring Silk or leave it crumpled in a towel.
  • Do not let Silk become too dirty before washing, as hard rubbing damages the fibers.
  • Do Wash items labeled “Washable Silk” such as silk underwear in the washing machine on the gentle cycle in a mesh bag. Hang dry on a padded hanger or on a mesh drying rack.
  • Do not wash or dry clean silk that has heavy beading on it. Many evening dresses fall into this category. Read the directions on the label. Most will tell you to spot clean with warm water and a mild soap mixture. Then, just air the dress out.
  • Never dry silk in the dryer. You will ruin the fabric.

Segment 2: Stain Removal- Repairing Small Snags and Holes

Removing stains: Treat stains immediately. Rub a little mild detergent on stain, let sit, then rinse in cool water. For lipstick stains, Use a denatured alcohol, dab with a soft white cloth, rub gently with a mild dishwashing detergent or the detergents listed above in Simple Cleaning, wash as indicated above.

Snags, Tears, And Holes: Gently tug the fabric on all sides of the snag. This will help make the loop smaller and will work it back into the silk. Flatten the loop against the fabric as you are tugging it to help move the loop into the fabric. This process will generally work very quickly if you just recently snagged the silk. Poke a snag repair needle or a fine sewing needle through the back of the fabric. Get as close to the snag as possible. And pull through to the back of the fabric to hide the snag.

Lightly rub the pinhole with your finger. Move with the grain of the fabric (either side to side or up and down) and gently move the fabric threads to cover the small pinhole. Place an iron as close to the fabric as possible without touching it. Press the steam button. Press your finger over the pinhole to set the fabric in place. Repeat three to five times. Spray the area with a small amount of water if the threads are not staying in place from the steam. Press the pinhole between two fingers until the water is dry. Repeat if neccessary.

Unfortunately, if there are large tag holes or tears these cannot be repaired and the fabric may ruined. Or you may use it for crafts!!!


Dry-Cleaning: Badly stained garments should be dry-cleaned. Do not try to remove stains with a stain remover at home; tell the dry-cleaner what caused them. Choose your dry-cleaner carefully. Make sure that he/she can clean Silk properly. Use a dry-cleaner, whom you have used for Silk or who has been recommended to you. Silk that should be dry-cleaned includes taffetas, chiffons, brocades, many multi-coloured prints, and dressing gown fabrics. Do not hand wash heavy brocade, taffeta, crepe or satin. It will shrink and never look as pressed and shiny again if you don’t dry-clean it. Some suits and formal dresses fall into this category

This article was produced with the help of:

http://www.silk.org.uk/silk_care.htm

http://www.ehow.com/how_5071950_care-silk-clothes.htm

Up Coming: Jan. 29th 2012: Marcel Boucher Jewelry

Vera Neumann Signed VERA

Vera Neumann Signed VERA

Sometimes you just never know what you have in your possession till you decide to research it. I bought a scarf because of the colors. It was bold, bright and geometric. It was signed “Usna” or so I thought. So when I tried to find any scarves marked “Usna”, I did not find very much, but whenever I did do a search, a name that kept popping up was “Vera” and/or Vera Neumann. I wondered why, but looking further into it and comparing the signatures I found the maker of this “Usna” scarf. I believe there are others making this same error. Now that I found who made this wonderful scarf, I discovered how collectible her scarves are. Especially those signed with her name and the ladybug beside it. She is an American Designer of screen printed fabrics, which are used in scarves, clothing, home décor, Ect. Made from modern fabrications such as acetate, polyester and silk.

About Vera Neumann

Vera was born in Stamford, Connecticut on July 24, 1907. Her parents were Fanny and Meyer Salaff , who encouraged and supported her artistic pursuits. She used to frequently visit the Metropolitan Museum in New York City on Sundays. When she finished high school, Vera attended the Cooper Union Art school, then attended classes at the Traphagen School of Design. Her first step toward securing her future as a giant in art and design came when she got a job as a fashion illustrator and textile designer in New York City.

Vera met and married Austrian George Neumann whose family background was in textiles.The two moved into a small studio on 17th street where they decided to merge their career backgrounds and began their company, Printex. They built a small silkscreen printing press to fit on their dining room table, which was only large enough to produce linen  place-mats. These were then cured in their kitchen oven.

Their friend Frederick Werner Hamm, a recent German immigrant who also had a background in textiles, joined the pair in their creative endeavors. Hamm used his sales skills to secure their first order from the department store B. Altman (this is a common factor, I found in those creative types, who have become successful, having a friend or colleague, who can sell ).  They each risked $1,000 in 1946 to start a business. The company outgrew the apartment and moved into a larger one, when that became too small, they moved into a large derelict 1810 Georgian Mansion near the Hudson River in Ossining, NY.

During War Time, Vera found linen supplies in short supply. She went in search of alternative materials for her products and found some parachute silk at an army surplus store. This marked the beginning of her scarf business. The signature she used on her art work she used on her scarves. Thus creating the first signature scarf in history.

“Vera scarves” became very popular in the 1940s. Her scarves were coveted by women around the country including Marilyn Monroe and Grace Kelly. Even Bess Truman, The first Lady, selected Vera fabric from Schumacher, Inc. to decorate the third-floor solarium windows and upholstery of the White House. Her designs typically began as paintings. Her motifs consisted of flowers, leaves, ferns, grass, vegetables, the sun and ladybugs. The scarves were colorful and designed well. She added a ladybug to her signature because she said, “A ladybug means good luck in every language”. This began sometime in the 1960s.

Vera’s style could be realistic or abstract. Her penchant for purity could mean a scarf or place mat printed in one color at a time when other designers might have used a dozen colors. She also used a sumi-like brushwork and sophisticated color schemes aided in the success of her global appeal.

“If you have too many colors,” she explained, “you could easily get tied down to just one color scheme that can’t be changed.” A shy, private person, she did not like to make speeches. “Color is the language I speak best,” she said.

Another trend she started was to offer collections saluting the countries she visited in her frequent travels, including Brazil, Denmark, Finland, India and Portugal.Even Persia as seen below in a Vogue March 1969 Issue:

Vera Paints a Persia Garden- Inspiration can come from Anywhere!!!!

The scarves were actually printed in Japan.  Vera left nothing to chance, making a sample of each scarf in the New York factory, and sending it along with the dye formulas to the factory in Japan. In the 1960s, she added a clothing line. Blouses and dresses were made from the Vera textile designs. These garments are quite interesting, as the fabric was engineered and designed with the idea of the finished garment in mind. Where pattern was seam matched meaning a large black diamond on White background continued from arm to bodice.  The Company expanded and remained progressive. Equipment was state of the art, till the studios became one of the best equipped in the nation. Patterns, Colors and production were perfected and the executed.

Vera’s husband died in 1962. The Death of her husband, George and the demand of the business lead Vera to sell it to Manhattan Industries in 1967.Both Vera and Werner Hamm became board members and Vera stayed on as creative director. The company expanded into sportswear, eventually hiring up and comer Perry Ellis in 1974 to oversee that division, as well as luggage. He asked if he could submit designs for the clothing lines, and Vera encouraged him to do so.  She liked his work, and he became a designer for Vera.  In 1976 he was given his own division, Portfolio by Perry Ellis for Vera, which he designed for three years before starting his own company.

By 1977, Vera designs were sold in more than 1,200 stores, with sales of more than $100 million. The success of her company was due to those who worked with her, embraced her design philosophy and aesthetic. It is Zen-like and centers in Nature. Neumann’s company “Vera Licensing” was purchased by Salant Corporation in 1988. She remained head designer, but Printex was closed later that year.

She painted until the last months of her life and died of a cardiac arrest at Phelps Memorial Hospital in North Tarrytown, NY on June 15, 1993. The cause was cardiac arrest after surgery. She was 84 years old. After her death, she continued to receive acclaim from museums and exhibits around the country. In 1999, Vera Licensing was sold to The Tog Shop, a catalog company which had licensed sportswear from Vera Licensing. The Tog Shop was put up for sale in 2005 and Susan Seid, then the VP of Merchandising of The Tog Shop, bought “The Vera Company”. “Part of my mission and commitment is to continue to tell the story of Vera the artist,” said Susan Seid, president and chief executive officer of The Vera Company. The firm’s current name, of which she remains the owner. The Vera Company currently holds eight licenses for its products.

Collecting Vera Neumann Scarves:

Earlier pieces from the mid 1960s will often have 100% Cotton, or 100% Silk on the label. Parachute fabric was made of silk early scarves would be made of this material.  Also, the earlier pieces have the ladybug logo, and Vera printed on it, usually in the lower left corner, but this is not always the case, as I have seen some in the middle square of a design in a corner. In the later 1960’s, scarves may be made with Acetate or Polyester.

Clothing from the late 1970s and into the 1980s, the fabric is an over-all design and there is usually no logo on the outside of the clothing.  However, look carefully and you might find a small Vera signature somewhere in the print.  Also, starting in the mid 1970s, the clothing was more often made from a synthetic fiber knit such as nylon.

Vera scarves are fairly easy to place a rough date on, as there were some pretty obvious changes in her signature through the years.  Just be aware that are exceptions.  I have seen the ladybug symbol on scarves as late as 1975.

1947 – mid 50s: The earliest scarves were signed vera in a very small print. All the letters were lower case. 

Late 1950s- The Vera signature became capitalized.

Early 60s: The ladybug symbol and  © copyright symbol (registered 1959) were added to the Vera.  The signature and the bug were about the same size.

Mid to late 60s: The ladybug was used less and less, and the signature got larger.  The ladybug became much smaller than signature.

Early 70s: The Vera signature continued to get larger and bolder. Usually no ladybug.

Mid 70s: Bug sometimes present, but disappears totally after 1976.

Late 70s: Signature started to slightly shrink.

1980s: Smaller signature with  © copyright symbol.

1990’s –2000: Clothing has Vera Label with a separate ladybug label.

Perhaps, as a collector or a wanna-be collector of Vera scarves or clothing or home décor, you would like a place to start. Well I think when collecting anything, you need to find something you can still enjoy or you like looking at. Vera Neumann’s designs can be viewed a small pieces of art. There may be a certain motif that catches your eye and you find very appealing. Maybe it’s a lilac paisley, maybe it is a bright, flamboyant flower or even a vibrant color like Red. There are many different designs to suit any palate. Scarves come in different cuts such as Square, oblong with asymmetrical hemlines, rectangular, or with a split. They can be worn so many ways as well. (I will have a section on scarf tying later).

If you would like to collect clothes, some things to look for are: Blouses, Tunics, dresses and lounging pajamas to name a few, where patterns seem continuous, all over patterns. When looking at Vera patterns on clothing, patterns match up, much like wallpaper on a wall. Designs can be just as bold as in her scarves from geometric to abstract to floral.

Again start small if you are nor sure where to start. You can find examples of Vera in all kinds of Price ranges. You may find a scarf for under $10.00USD or a Blouse for $25.00USD on different sites on the Internet. But then there are prices that are as high as $80.00USD for a scarf. Anthropologie carries brand new Vera scarves as well.

Resources:

http://fashionsfinest.fuzzylizzie.com/vera.html

http://en.wikipedia.org/wiki/Vera_Neumann

http://www.nytimes.com/1993/06/17/obituaries/vera-84-an-artist-and-designer-famed-for-her-signature-scarves.html

Up Coming on Jan. 22 2012: Taking Care of Vintage Treasures: Silk

Pierre Cardin

About Pierre Cardin

Pierre Cardin is actually Italian Born with the name Pietro Cardin and born to French parentage. He was born on July 7 1922 in San Biagio di Callalta, Venice. When I first got interested in Fashion Design and Clothing Design, it was Pierre Cardin and Courreges that piqued my curiosity. Those wonderful, glorious vibrant colors enticed. The science fiction type architectural elements were new and innovative. He was 14 years old and already a clothier’s apprentice, learning the basics of fashion design and construction. He was 17 when he left home to work for a tailor in Vichy, where he began making suits for women. He moved to Paris in 1945. He apprenticed with masters of clothing construction such as Jeanne Paquin, Schiaparelli and Christian Dior. I have always believed having a creative environment is very important for the encouragement and exchange of ideas. Being around your peers and like-minded artistic types can only serve to make innovative ideas flourish. Cardin then branched out on his own just five years after his apprenticeship and founded his own house in 1950. Then three short years after designing costumes and masks for theatre companies, he showed his first line of a ladies collection. When researching artists and designers, I have realized that so many have taken employment in other areas, in order to “make a living”. For instance, Salvatore Dali used to design neckties. Juan Miro used to design theatre costumes. And Henri Matisse designed Church stain glass windows.
Then in 1960 he introduced the first designer ready-to-wear collection for men.
As an artist, designer and entrepreneur, I understand the need to find your niche. We work in so many areas of creativity, to give our talent an outlet.
Since a designer incorporates elements from things he has learned Pierre Cardin is no exception. His designs had the element of the theatrical, the flare, the flamboyant and the eccentric. He is tireless and prolific in what he presents to the world.
He is well known all over the world, so are his collections. They are Iconic and to collect his work is a wonderful coup. The best pieces are of course the pieces from the 1950s, 1960s and early 70s. In the later years, he began licensing his name. Unfortunately this eclipsed his more innovative work. And Cardin has approximately 400 licensee companies that sell anything from clothing to crockery and supplies for every room in a home, which of course lessens the quality of new designs.
In 1980, Cardin celebrated 30 years in the industry at the Metropolitan Museum of Art in New York City.
On February October 28 2010, Pierre Cardin received in New York city by the Fashion Group a “legend award” for his whole career.
He is 89 today. And continues to be active in the arts. He has influenced many designers, including Americans such as Bill Blass and Alexander Wang.
Cardin lives and works in Paris, constantly designing and innovating his many lines of clothing, footwear, perfume and hats with his avant-garde sensibilities. Cardin is unwilling to retire. Even if someone buys his company, he wants to stay in a creative capacity.

A quote taken from the website: http://www.pierrecardin.com/news_en.php
Pierre Cardin claims his style: modern, innovative and breath taking.
He introduces a colorful and floating collection inspired by freedom, meant for all four seasons. Hats, futuristic sunglasses, jewels are the seal of the creator’s signature.

If you fancy a visit to their Paris location the address is: 59 Faubourg Saint-Honore, Paris France.

Sources for this blog: http://en.wikipedia.org/wiki/Pierre_Cardin, http://www.pierrecardin.com.

Pierre Cardin Items Featured in shUUshUU by lulu:

Collecting Pierre Cardin: Getting to know a designer like Pierre Cardin is extensive. You can dedicate a lifetime to his work and acquiring knowledge of his collections. Since his first collection in 1953 and up till 2011, and showing collections at least twice a year…that’s a heck of a lot of clothing.
If you are a collector or interested in collecting Pierre Cardin, you can start on something small, such as a necktie, a scarf, a belt, a piece of jewelry and/or a pair of sunglasses. A collector can find some wonderful articles on auction sites that sell vintage and they can still be affordable. You can also check with other sites for information about vintage articles, such as: http://vintagefashionguild.org/label-resource-a-z/
The Vintage Fashion Guild site provides short biography information about designer labels, but also provides images of vintage labels. This allows the collector to compare when shopping for authentication purposes. It is very handy and you can save it in your favorites.
One tip I have before buying anything collectible is to ask questions of the seller. They may or may not be knowledgeable about their merchandise, but you may also get some great deals if you do your research before buying.
Some questions to consider: Condition is very important. If the seller has not gone into detail, you may ask them about tears, pulled threads, holes, scratches, ect. Depending on what item you are considering. For instance if you are looking at a pair of sunglasses: ask the seller if the arms have chew marks, because there are people who like to chew on their glasses? (I don’t know why? I have worn glasses since I was 10 and that was not one of my habits, but it could be someone’s habit). Or if you are considering a scarf: you can ask if there are any snags, pulls or holes in the fabric?
My motto about vintage is: Owning something Vintage means owning a piece of history and creating a new history with it.
Happy Shopping

Next: On Jan. 15 2012- Vera Scarves (Vera Neumann)

The Introduction

Owning something Vintage means owning a piece of history and creating a new history with it. Vintage items have been pre-owned and pre-loved, but when you make that purchase, whether it’s your first or one of many, it will be loved again!

I am blogging because I want to share information about Vintage and Designer vintage Jewelry, clothing, Ect. Also I am learning a great deal about vintage because I am a collector and also a Seller. My shop is http://www.etsy.com/shop/shuushuubylulu.

I took fashion design many moons ago during a time when Canadian designers were getting recognition in the big fashion cities, such as Paris, New York and Milan. Toronto was climbing to the top with the best named houses. It was the beginning of Fashion Cares, a huge party like fashion show to benefit AIDS research. Yes, that was in the early eighties. I attended one of the first few shows while I was in school and pattern making, knit making, Ect. Some of the names I remember back then were Wayne Clarke, Comrags, Lida Baday, Marylin Brooks and Alfred Sung to name a few.

My earliest recollections of Fashion were at the age of thirteen. I was in Trinidad and Tobago visiting my grandmother’s house in Port of Spain. My cousin and I used to look at magazines like Glamour and draw and copy the poses and fashions of the models on those colorful glossy pages. I took these little pictures on pink and orange paper home with me. That was the beginning of a love and hate affair with design. I loved the creative process, the concept, the design but I disliked the sewing. Sewing brought such aggravation and frustration.

And here I am writing about it in present day, with the wonderful technology of the Internet and Blogs. What goes around comes back around. I will write once a week about a different designer. There will be short biographies, Care information, label recognition information, ect. presented each week, usually on Sunday.

Next week Jan. 7 2012: Pierre Cardin.