#frank starr

[chicinsilk]

US Vogue March 15, 1963

Frank Starr (Lord & Taylor) 

Illustration : Dorothy Hood 

[professorpski]

1950s Evening Glamour: Frank Starr A 879

Seeing as New Year’s Eve is coming up, I thought I would share one of my more glamorous vintage sewing patterns. Although Frank Starr sounds like a made-up name, it was the real name of a ready-to-wear manufacturer in New York who also had named designers working for his line too. The firm seems to have been most active in the late 1940s and 1950s when this stunning pattern was created. 

The woman in Indiana who ordered this pattern also clipped its newspaper ad.  The firm boasted frankly of how they have “captured all the beauty of the new Parisienne line--gentle, soft in its high-bosom look” and yet called “an original from one of America’s greatest fashion names.” So it was both very French and very American. The ad also urges us to notice “the new wide-shoulders, cover-up arms (much prettier than a cold, bare line!)” Of course, this pattern was a tribute to the popularity of the New Look of Christian Dior which debuted in 1947 It dropped the strong shoulder-padded look of the war years in favor of softer shoulders, and celebrated the end to fabric conservation with enormous hem widths on skirts and coats, and many romantic, hour-glass looks.

The size 36″ bustline took up almost 6 yards of fabric for the skirt is more than a full circle. Look to the front to see how the bodice continues past the waist to add to the width of front skirt, then there is another full half circle of fabric in the two side front skirts. The hemline edge would reach 8 yards! The bodice is complex. The bust area is in cut in one with the sleeve pattern piece, and they are made more comfortable by diamond-shaped gussets at the armpits. A pleated section at the side-front completes the front bodice. Then bands finish the top edge of the bodice both front and back.

The results are lovely in the illustration. Notice all the signs of a formal, evening affair: the upswept-hairdo, lavish earrings, long gloves and high heels. The fabrics recommended are a very wide range from the silks of faille, taffeta, satin, and shantung and velvet, to novelty cottons and even wools. The silks would be the most effective choice to my eyes. I can imagine it in one of those cross-woven silks where two different colors appear and disappear as you move. My, my, what a dress!

[chicinsilk]

US Vogue November 1, 1954

Celanese (Oneida fiber)

Jean Patchett in an electric blue, emerald, and jet-black sequined evening gown in Oneida Celanese taffeta. By Frank Starr.

Jean Patchett dans une robe de soirée à sequins bleu électrique, émeraude et noir de jais en taffetas d'Oneida Celanese. Par Frank Starr.

[chicinsilk]

US Vogue January 1, 1959

Jessica Ford in a blue and turquoise floral-on-white silk wrap dress by Frank Starr in Onondaga silk.

Jessica Ford dans une robe gainante de soie bleu et turquoise fleurissant sur blanc, par Frank Starr en soie Onondaga.

Photo Norman Parkinson vogue archive

[dozydawn]

[dozydawn]

[rikirachtman]

Wow so @eerie-inhabitxnts was flipping through a book she owns that’s just full of pictures of rockstars flipping off the camera and, lo and behold, my dad’s band are in there! You can see him shrouded in blackness and looking off to the side lmao

[rikirachtman]

My father being interviewed by my blog’s namesake, what a trip this video is

(note: our last name is actually Lizmi, “Lizbo” is just a very clever pun)