A couple of weeks ago I posted about my "new" Pendleton 49er jacket, and a representative of the company, Cheryl, posted a response:

Love to see all the great collections of 49ers, and we had a blast collecting our own group of 49ers for our Corporate Centennial Celebration this year. We now have quite a range in colors and sizes and have decided to give some back to our fans. We plan to give away one 49er each day the week before Thanksgiving on our Women's Facebook page. Hope some of you loyal 49er fans win one - we appreciate your devotion!

Well, the company has made good on their promise, and they are in the middle of the week-long give-away.  In fact, I just learned that I'm the winner for Wednesday!  And even better, there are two more chances for you to win a 49er.  Just go to the Pendleton Womenswear facebook page, become a fan.  They have not yet posted today's question, which you have to answer in order to win, but I'm sure it will be up shortly.

And the odds have been pretty good of winning so you need to check it out!

We all know the old saying that you cannot judge a book by its cover, but in this case I'm sure the saying is dead wrong.  I bought this book purely because I fell in love with the cover.  The scan really does not show how sweet it is, with the image being embossed.  Anyway, I do intend to read it, and will give a report back if it turns out to be as wonderful as the cover.  And that is a very tall order.

PS: It was written and published in 1904.

I had a wonderful time in North Georgia the past couple of days.  I try to go quite often to visit my Aunt Ruth, who lives in Marietta, which is just north-west of Atlanta.  She always has great stories to tell.  This time it was about her first husband (James the rat) and how her second husband paid the $50 for her divorce because she could not afford it!  Divorce went though and they were married the next day. 

There's just something about these great old stories from the 30s and 40s.  It's probably how they managed to have such wonderful and full lives with a tiny fraction of the things we think we have to have in order to be happy today.  And that's a pretty ironic statement considering the rest of this post is about things.

I spent some time in my favorite Marietta antique malls.  Considering how so many antiques and collectibles cooperatives have failed in the past two years, these seemed to be doing quite well.  Granted, there have been two others that have closed, and I assume the dealers who wanted to continue selling move on to fill empty spaces in more thriving malls.  So there are few of the empty holes seen in other malls I've been to in the past year.

I love Marietta for another reason.  It has become quite multi-cultural in the past few years, so that there are wonderful Argentine buffets and European bakeries.  No boring fast food for me!  Not that fast food in Marieta is boring.  Long time readers might remember the Big Chicken KFC:

Yesterday I went to Scott's Antique Market.  This is held every month and is quite a large event.  I rarely go for two reasons.  First, it is south of Atlanta, and the last thing I want to do after a day of treasure hunting is battle the traffic trying to get out of the city.  So I rarely venture south of Buckhead (where the Atlanta History Center is located) and usually no further south than the "village" of Chamblee. Chamblee is one of my favorite vintage hunting spots in the Southeast.  There are several great shops and it makes for a really fun day.  But I digress...

The other reason is probably even more important, and that is the nature of the Scott's Market.  They seem to really cater to the decorating trade.  Metro Atlanta is a mac-mansion mega-center, and it takes a lot of stuff to fill up one of those suckers.  So there is a lot of really big stuff, most of which is not antique, but rather, antique-y.  But if you are prepared to look past all that sort of thing, are are some wonderful truly antique and vintage things to be found.

Unfortunately, the thing I wanted most - the suitcase in the top photo - was not for sale.  It was part of the seller's decor.  I really wanted it but left not holding a grudge because she was just so nice.  I'll never pass another white 1950s suitcase without looking inside to check out the lining!

I also did not buy this cute bowling themed shirt, just for the reason that it was for a small child.  I was tempted though:

I also did not buy these Vera cocktail napkins, purely because I also have 2 sets and do not want to add another pattern to my wantlist.  If I were a smoker though, I'd have gotten them.  Too cute:

But yes, I did buy a few little items: enough 1950s patterns to pay for the trip; two mid 60s hats, one quite mod in a sophisticated way, the other very Faye Dunaway in the Getaway; A super pair of early mod shoes, brown suede and black patent, and the sexiest/trashiest piece of 50s lingerie I've ever seen.  Look for that on ebay soon!

I'll be gone for a few days - off to Marietta, Georgia to visit my lovely Aunt Ruth, and then on to the Scott's Antique Market in Atlanta on Friday.   I just get into the groove of posting here every day and I decide to take off.  This is actually a make-up trip.  Because of my hand injury I missed the big fall flea market in Charlotte last weekend, so this is how I reward myself for getting better.  After all, I have an economy to help.

A few odds and ends:

I've said it before, if you have a blog and you are a collector, you need to be posting about what you are looking for.  Remember those fabulous Vera Cocktail Time plates?  I now have four more of them thanks to etsy seller BettyandJuneShop.  They saw my post and emailed when when she put these up for sale.  Well done, Betty and June!

There is another set for sale now on etsy, but they are priced a little out of my rage. 

A lovely etsian, Melinda at CrabAppleVintage,  got in touch with me  yesterday because she featured my Fuzzylizzie Vintage and Dry Goods store in her blog.  She did a post on shops that donate to charties and I was thrilled to be included.  Thanks, Melinda.

And finally, check out the listings of the next Kerry Taylor Vintage auction.  They always have lovely things, but this one is really special.  There are quite a few lots that came from Audrey Hepburn's wardrobe, including several things that were worn in movies.  The Audrey collection starts with lot 283 on page 15, but don't limit your viewing to those pages.  There are spectacular things sprinkled throughout the sale including some Charles James and 1920s Chanel.

I got an email from Hollis at Past Perfect Vintage saying that she had two great Helen Bond Carruthers sweaters.  One was going into her webstore, but the other had some worrysome problems: It had numerous tiny holes, and it had no label.  Would I be interested in the problematic one?

After seeing photos of this gorgeous sweater, I said yes, I'll buy it.  So why would I be interested in a holey sweater with no label?

First, I really do try to find the very best example of an item that I'm interested in.  Condition is important, but I'm interested in a damaged item if it is all original and the damage does not detract from the way it looks and the item is stable, and not in danger of further damage.  I would not be wearing this, the holes are not obvious and can be stablized.

Besides, it was a Helen Bond Carruthers sweater, one of the very best names in vintage sweaters.  Carruthers did not make sweaters; she and her workshop decorated them.  She bought the very best cashmere sweaters - Dalton, I've heard - and decorated them with all kinds of fabulous textiles: bits of antique embroidery, European laces and printed fabrics.

But without a label, how could Hollis and I both be positive this was from Carruthers's workshop?  This is where experience in handling objects really pays off.  Hollis is from Kentucky, not too far from where the sweaters were decorated in Versailles, Kentucky, and she has seen and examined more of them first hand than have I.  She knew just the details to look for:  sleeves that were turned under and hemmed on the inside, a hem that was formed by cutting the bottom of the sweater and attaching a wide 2 1/4") grosgrain ribbon to the inside, tiny hand stitching that attached the appliques, lavish decoration on front, back and both sleeves.  In addition, she could see the stitching where the large "Helen Bond Carruthers" label had been attached to the grosgrain ribbon, and the other sweater she acquired - the labeled one - had the identical applique technique.  There is absolutely no doubt that this sweater is a product of HBC.

Two more indications:  the buttons had been replaced with antique buttons, and the decoration is not "matched."  All the HBC sweaters I ever examined have had special buttons added, usually "pearl" ones, but also glass antique buttons like this one.  And the two side fronts are not mirror images, and neither are the sleeves.

There really are no shortcuts when it comes to identifying vintage fashion.  Even with a label, it pays to know what to look for in a particular maker's garments.

Some time ago, one of my favorite Vintage sellers, Deborah at the Big Yellow Taxi, sent the top and matching jacket you see here.  The set has a great label - "Golf Togs by Pacemaker," and Deborah correctly guessed that I'd give these pieces a good home.

These rayon pieces probably had a matching skirt at one time.There might have even been matching slacks or shorts.  By the 1960s, when these were made, the idea of separates had really caught on, and it is possible that the company even made pieces in a coordinating blue.  I'd like to hope so, because all those stripes, all over the body could make one go cross-eyed!

A few weeks ago, I found a really cute blue 1965ish culotte from White Stag.  I paired it with the top and jacket, for a great mid 60s look.  And even though they were not made to be together, starting around that time in history, women were mixing and un-matching more and more.  In just a few years, the idea of wearing an all matching ensemble would be quite passe!

First, a big THANK YOU to everyone who posted, emailed and even called to check on me and my injury.  Last Sunday I was bitten several times by a very small, but very sharklike doggie.  Not his fault; it was just one of those things.  Unfortunately, one of the bites became infected, but all is well now.

I have several great "new" things to show off, but for today, I'm just going to post links to some of the great things I spotted while unable to type, but quite able to surf:

* If you have not discovered the FIDM blog, you must put it on your daily reading list.  In it they show off items from the FIDM collection, with a bit of background. 

* The Vera Company cleared up the mystery of the Vera signature system on their blog last week.  It was long thought by many that Vera did not use the labybug after the mid 1960s, but a promotional film put out by Vera in 1976 clearly shows the ladybug on some of the scarves.  The Vera post gives a bit of a timeline to help us all better understand the progression of Vera's art.

* I got an email from a Pendleton representative commenting on my 49er post and alerting me to an upcomming giveaway on their Facebook page.  The week of Thanksgiving they will be giving away a 49er every day to lucky readers!  And if you go to their page, please comment and tell them Lizzie Bramlett sent you, because they are giving away sweaters to people who bring in new fans.

* Check  out the great Fashion Bulletin Board Jonathan of Kickshaw Productions posted last week.

* Hollis at Past Perfect Vintage showed off a wonderful Helen Bond Carruthers sweater she has for sale on her site.  I know what happened to the other one, and I'll show it off next week!

* And finally, I've starting restocking my Etsy shop, with all profits going to support Sarge's Animal Rescue Foundation.  You want to spend your money and help out a group that is very pro-active in saving animals' lives and finding them excellent homes?  Then buy something!

I still can't type, but I'll let this lovely set from one of the master clothing decorators of the 1950s speak for itself.  Up for bids now on ebay.

Vtg Juli Lynne Charlot Party 2 Pc Skirt Strapless Top

I'm sorry about the lack of posting.  It's not that I don't have lots of interesting things to say, it's because I had a little accident that has left my hands pretty much incapable of working a keyboard and mouse.  But I'm recovering and should return within a few days.  Lizzie

Pendleton ad, 1953

Well, fall is really here, with cooler weather, so what better time to talk about the famous Pendleton 49er.

For years Pendleton Woolen Mills produced Indian style blankets and men's wool shirts.  It was not until 1949 that the company started making women's clothing, and their very first product, the 49er jacket was an instant hit.  It was THE casual jacket of the 1950s, and remained so popular that the jacket is still made today.  The fabric is still woven in the United States, but unfortunately, is sewn elsewhere.  To see the current selection, visit the Pendleton Website.

A few weeks ago I got an email from my favorite retro roadtripper, Beth of the Retro Roadmap.  She said she had a vintage Pendleton jacket, and it was not really her style, so would I like to have it.  Well, I thought, this could be very, very good, or it could be quite bad (as in the case of some 1980s Pendleton...) So I cautiously clicked on the photos, and instantly knew it was the very best of luck - it was a 49er.

So the lovely thing arrived this week, and I have photos to share, but not of me wearing it.  I figure one photo of me per page is quite enough. 

This is the classic 49er, with the flanged and slighted padded shoulders, the diagonal patch pockets and the spread collar.  I'll probably wear it belted for the most part, but it looks super just worn loose over jeans.

A note about the label:  The womenwear label is always white, and the menwear label is blue.  Later Pendleton labels have the Woolmark symbol, which was added in the mid 1960s.

It really has been like Christmas around here, and I guess it is true that good things come in threes!  But this is the last  of my Christmas in October Trilogy.  If you want to see some 49ers in action, check out Maggie of Denisebrain as she shows off some of the many 49ers she has had.

This came in the mail today, a gift from Holly at Holly Gab.  It has a tiny flaw that made it unsellable by her high standards, so she offered it to me, knowing I'd give it a warm and loving home. 

Vera was, of course, known best for her scarves, but she was a prolific designer of other textiles as well: kitchen and bed linens, and clothing.  I've never been able to pin down a date when the Vera Company started producing clothing, but when they applied for the Vera trademark in 1959, blouses were mentioned as a product that would carry the trademark.  So they were either already planning to make clothes, or possibly had already started production.

According to a promotion film distributed by the Vera Company and verified by her nephew Fred Salaff, all Vera products began as a painted square scarf.  These were always painted by Vera Neumann.  Her team of designers then took her original and adapted it to the other products.  So this cute top was based on Vera's original scarf.  It's easy to imagine what the scarf looked like from the design of the front of the blouse.

So, how does one go about dating Vera clothing?  I'd start with a baseline of 1959, as the first clothes could have been made that early.  Look at the styling of the piece.  This style of overblouse wes very popular from the late 50s through the middle 60s. 

Next, look at the labels.  The earliest Vera clothing I've seen have all been silk or cotton.  In the late 60s she branched out into synthetics - nylon and later, polyester.  The Union or ILGWU label is the one that came into use in 1963 and was replaced in 1974. 

One last clue is the back zipper.  It is made of nylon, which was first used in commercially made clothing around 1960.

So, my conclusion is that this dates to 1963-1966ish.

One last thing I want you to notice.  It is not clear in my photo, but there is a notch in the neckline, on the opposite side from the notch in the hem.  See it?  And notice how the curve of the sleeve hem echoes the curve of the notch.  Just  small details that added a bit of interest to the design!

Thanks so much, Holly!

I love being a winner, especially when the prize is a cute vintage sweater.  I won this in a give-away sponsored by Kim at The Girl Can't Help It!  How did she know to offer up a prize that was just my size?   And she didn't even put the size in the post for the give-away.  This was just meant to be, a coming together of cosmic forces.  Either that or I just just plain lucky.

The sweater is one of those fabulous cardigans from the later 50s or early 60s.  It was made by Russ (a mid-priced separates line) and is intarsia knit. 

So what exactly is intarsia?  It's the method of laying in the little color designs.  Have you ever had a sweater that had all those yarns pulled across on the inside and everytime you took it off you got your jewelry caught in them?  That is NOT intarsia.  In an intarsia knit, everyime the knitter changes color, the old color is tied off, which also gives a block of color on the reverse of the knit.  It's a nicer process than just pulling the yarns across, although some very fancy designs, like Fair Isles, are not intarsia.

Anyway, I wore the sweater for the first time today and as much as I hate posting photos of myself, here I am.  The second photo was a mistake, but it showed the sweater so well I thought I'd just throw it in as an artsy gesture. (And, yes, I do have a new hair color; thanks for noticing!)

I found a plain Pringle cashmere scarf at the last-chance thrift store.  Even though it was riddled with moth bites, it was just too soft and luxurious to let go to the city dump. So I bought it, popped it into a plastic bag and into the freezor (to kill any additional moth larve) and washed it in conditioning shampoo.  I wasn't sure about how to cover the holes though.

At first I thought embroidery.  I actually took some wool yarn and worked a little on a design.  Then I found a pitiful white cashmere coat, badly stained and again, with the nasty little moth nibbles.  My next thought was appliques.

I finally went with cutout flowers from the white cashmere.  I attached them to the scarf with French knots of old silk twist.  There are actually more flowers than nibbles; they were so much fun to make that I couldn't stop myself!

A word of caution:  I do not normally advocate the cutting up of vintage clothing.  The only time I would ever do it is if the item is totally unusable, or if it has no value beyond being an object of clothing.  I've said this before, damaged vintage CAN have value if it is an example of an important designer or is a rare example of a style.  Know what you have before you cut, please.

Maybe it's just me, but is seems like more and more people are thinking crafty=green.  I'm really happy to see people taking an interest in this old earth of ours, and I'm also glad that we are having a good old fashion 1970s-type craft movement.  But how the two have come to mean the same thing just does not add up.

If you crafty ones out there want to be truly green, you must get yourself a stash - a fabric stash.  The photo above shows part of mine, and for the sake of honesty I did not even try to straighten it.  My fabric stash is 95% used and vintage.  I find it at yard sale and flea markets, on eBay and etsy, in thrift stores and antique shops.  The only problem with a fabric stash is that it gets bigger and bigger, so to keep it under control, you have to use it.

The wonderful thing about a fabric stash is that you are ready when the urge to make something strikes.  There's no need to hop in the car and drive to the fabric store to buy fabric from China.  Just go to the stash and be inspired.

I'm not saying people should not buy new fabric.  There's not much I love more than a trip to my favorite fabric store, Mary Jo's, in Gastonia, NC.   The fabrics now are just beautiful with so much choice.  It's a good time for sewers.  But new fabric is not green, any more than new clothes are green.  Unfortunately, the domestic fabric industry is in deep decline.  You can find great fabrics made in the USA, but look at the bolt ends and you will see that most of our fabrics are imported from China, Japan and India.  Beautiful, but not green.

Tomorrow, a project using a damaged cashmere scarf and vintage cashmere fabric.

First, sorry about the overly dark photos!

Now to the important stuff.  I got this little cutie about a month ago from the incomparable Joules.  As you can see, it has all the ingredients of a fantastic novelty print:  travel, early 60s, and Scottie dog.  The little purse is stamped Western Germany and is nylon with a rubberized finish inside.  It closes with a metal zipper.

And I'm sure you have also noticed its shortcoming - the fact that there is so darned little of it.  So now I'm on a mission.  I must have more of this print.  I'd like a tote bag, please.

Seriously, there has to be more of this out there, so please keep an eye out for me, would you? 

It's no secret that I love these Young Designer patterns published by Butterick in the 60s and 70s.  After all, I even have a web page devoted to them.  Some of the designers are well known -  Mary Quant, Betsey Johnson - but others have sort of fallen off the fashion history radar. 

One doesn't hear much about Clovis Ruffin these days, but he was a brief but shining star in the 1970s.  From the VFG Label Resource:

Clovis Ruffin started out to be a photographer, but realized he was more interested in the styles he was photographing than the photography.

His first designs were tee shirt dresses which he cut out himself, hiring a few ladies to do the sewing. He took his dresses to stores like Bloomingdales and before long, he had his own label. Established in 1972, he called it Ruffinwear. His forte continued to be tee shirt dresses, and other casual dresses made from jersey knit.

Eventually Ruffin included a dressier line of clothing, as well as loungewear and handbags. A Coty Award Designer who was at his peak in the 1970s, he died in 1992.

"I thought of clothes in the round, and I also thought of basic styles that would enable women to put the mark of their personality on them." Clovis Ruffin, 1978.

I'm not sure how many patterns Ruffin did for Butterick.  I've only seen two different ones, but it appears that the patterns were in sets of four, so I'm hoping there are others.  Both of ones I've had were designed to be made of jersey knit.

I actually made this dress last spring, but it was too warm to wear it until now. I used a medium weight cotton/poly blend jersey to make it. I usually prefer vintage fabrics, but for some reason I've found vintage knits (except 100% poly doubleknits!) hard to find, so I used new fabric in a great dark teal color. It's really soft, washes well, and is warm on a chilly fall day!

I made a tie belt, and then found some beautiful ribbon for a belt (which I have not yet made). I had already sewn the buttons on using red thread, but I'll redo them in brown. The buttons are vintage; they are carved from wood, made in Czechoslovakia.

I know that Hermès is most associated with scarves and handbags, but they also have a long tradition of sportswear.  The ad above is from 1930.  On rare occasion these 30s pieces come up for sale, and they always go way out of this retired teacher's price range.  But I can always hope!

I was pleased to see this tradition continued in the spring 2010 Hermès collection.  Designer John Paul Gaultier showed a lot of vintage inspiration with this grouping of white pleated skirts, long, lean sweaters, and 1920s style headbands.  See the entire collection at New York Magazine.

 I love designers like Gaultier and Lagerfeld who design a line with a nod to the original vibe.  Even though Coco herself would never have designed some of the Lagerfeld interpretations, he always seems to capture the essence of what Chanel was all about.  Year after year, you can see the new collections, and immediately know the Chanel pieces.  And at the same time, they remain  fashionable and desirable.

Compare that to some of the other lines that carry on the name of a long-gone designer.  What you usually end up seeing is just a modern look with no inkling of the original look behind the name.  Perhaps that is because not every designer - even the great ones like Balmain and Dior - had a true and lasting vision of how a woman should dress.  Both Chanel and Hermès established a firm look that was associated with the name of the business.

I've had these great gloves for so long that I can't remember where I got them.  I'm sure it was either an antique store, or maybe a thrift store.  Well, wherever it was, I was sure delighted to look inside and see the label: 

Le Gant Hermes, Paris, Wear-Right Exclusive, USA.  For years I thought they were from the 60s because of the color.  The dark stripe is actually a dark charcoal grey, and they just looked mid 60s.  So I was very surprised to find the ad for them in a 1952 Town and Country:

My friend Jonathan of Kickshaw Productions calls this "As seen in" and he has some really wonderful examples of the happy incident on his blog.

More about Hermes tomorrow.

From Chanel, The Metropolotian Museum of Art, Koda and Bolton, 2005

One of the last collections (if not the last) Coco Chanel released before closing in 1939, was the patriotically colored Tricolor collection.  The gown (a blouse and skirt, actually) above was one of the showpieces and was featured in the July 1, 1939 issue of Vogue.  You probably cannot tell from the photo, but the flowers were actually embroidered onto the fabric, which was cotton organdy, and also embroidered onto the lace.

Yesterday's WWD had an article on Lagerfeld for Chanel's Spring show, which was held in a stage set barn.  That aside, I was so pleased to see that he has reached back into the Chanel archive for inspiration.  The dress below was just one of several that were inspired by the Tricolor collection.  It's probably the most literal translation, but check out the New York Magazine to see the others.

Photo copyright New York Magazine

As the years go by, I'm finding less and less content of interest in modern fashion magazines.  The on-going emphasis on celebrities, the super-skinny models  and the out of touch prices of designer goods just do not seem to be relevant to my life.  Many months I can go through an entire issue of Vogue  in about an hour, and Harper's Bazaar usually takes 45 minutes.

So why do I subscribe?  Well, first of all, magazine subscriptions are insanely cheap.  I think the going rate for either of the above is about $12 a year.  That does not even cover the cost of shipping!  Magazines make their money from the advertisers, not the subscribers.  They keep prices low so they can keep circulation up.  That's not a problem, as in some issues, the ads are more interesting than the editorial content.

But what really keeps me on the mailing list is that from time to time I actually get my dollar's worth from an issue.  The current issue of Vogue (October, 2009) is a good example.  No, I did not fall in love with the fashion spreads, though the one featuring actress Michelle Williams actually featured great looking clothing that most women would love to own. 

And the feature on hats was beautifully done.  Unfortunately it made me want a $890 Hermes fedora!

No, the thing that I always love about Vogue is the book excerpt.  This month's was a real delight - the new biography of Elizabeth Bowes Lyon - The Queen Mother.  That's her getting into the Rolls Royce in my blurry photo.  I took this outside Saint Paul's Cathedral in 2000.  Elizabeth was 99 at the time, but you never would have guessed it.  My friends and I just happened upon her leaving the church, and we excitedly watched as she decended the stairs in front of it, stopping on each step to speak to the choirboys who formed a long line.  Even from the distance we had to stand, her gracious manner was unmistakable. 

 And for the rest of the trip whenever people asked us how we were enjoying the UK, we told them about seeing the Queen Mum.  It was obvious that she had the affection of everyone we told.  And after reading about her life, it is easy to see why.  Her actions during WWII alone make her one of the women I admire most.

But back to Vogue.  At the present I'm reading a book I've had a while, As Seen in Vogue.  Subtitled, A Century of American Fashion in Advertising, the book is turning out to be a not only an interesting tale of ads, but also a nice overview of fashion history.  And there are lots of great illustrations.

And just for the record, I bought this book myself.  In case you have not heard, starting December 1, bloggers must disclose any relationships they have with the companies of products that are endorsed on a blog.  Basicly, they must tell if they were gifted with the product.  I rarely get gifts, but I have received books to review from book companies, so expect this little reminder that I actually buy and pay for 90% of the books I mention.  Unless you are a book company, and want to send me some books!

There's good reason why the American sportswear industry  had such a wonderful reputation - they produced well made, beautifully designed clothes that were easy to wear.   Most vintage lovers know all about the sportwear asthetic of McCardell and Cashin, but there are many more names that have pretty much been forgotten.  One of these is  B.H. Wragge.

From my entry on the Vintage Fashion Guild Label Resource:

BH Wragge was established in 1920 by Bernard H. Wragge. It was acquired by Sidney Wragge in 1931, as a maker of both men's shirts and women's blouses. By the late 1930s, Wragge had developed the idea of separates, and the company produced coordinated blouses, skirts, pants, coats and other pieces that were meant to mix and match.

From the late 1930s and into the 1950s, each BH Wragge collection was based on a theme, with the fabrics often designed by famous artists. These clothes were geared toward a young customer, and BH Wragge clothes were very popular with the college set. Toward the end of the 1940s, the company changed its image somewhat, and began doing more dresses and suits. By the 1960s, they were producing evening dresses. The company closed in 1971.

I've been wanting to add a great Wragge piece to my collection for a long time, so when I ran across this two piece dress recently I was pretty well thrilled.  No matter that it has some serious color issues which you probably cannot see in my photos, I loved this and thought it was such a great example of the type of thing Wragge produced.

The lavender top is linen, and the skirt and blue trim is silk.  I'm betting that one could have also bought a matching pair of slacks.  Unfortunately, my photos really do not show just how cute this set is.  Not everything from the 70s was kooky!  And I know it is from 1970, because starting sometime in the 60s, Wragge put the date on their labels.  Wasn't that considerate of them?!

I put in the close-up because I wanted you to see the handwork.  This was sportswear, and the lining was put in by hand!  The photo shows the bottom of the zipper, and the hook that holds it secure.

This kind of quality was not cheap, even by 1970s standards.  Today, it is almost unheard of except at the highest price points.

It's possible that I've shown off these great napkins already, but I can't remember, so here they are.  After posting the 50s towels last week, I thought I'd better give equal time to the 60s.  And in the 60s, nobody did cocktail better than Vera Neumann.  I bought the napkins above even though they match absolutely nothing else in my kitchen.  No matter, any design that great belongs with me.  I keep thinking that I'll run across about 20 more of them and then I'll have enough to use at Christmas.  Of course, I usually decorate with blue for Christmas, but with napkins like these, I might make an exception.

I also have some fabulous pink cocktail napkins from Vera:

I'm not a pink kind of gal at all, but again, one cannot argue with perfection.

And now, I've found yet another Vera must-have:

These dishes were produced by Mikasa, and were called, "Cocktail Time."  I only have three of them, and it is my understanding that there are also two more designs: cherries, and green apples.   I'd really appreciate a heads up if any of you spot some of these for sale.

While on the topic of Vera, You may be interested to know that the Vera Company has been writing a book on the life and work of Vera Neumann.  The book is supposed to be ready in March, when it will be for sale at Anthropologie for three months, and then will go into wider distribution.  And if you are not reading the Vera blog, you must put that one on youe list of regular reads.

Unfortunately these are mystery photos, with not a clue as to who or where. Well, there is a clue as to where - they are on a mountain and you can see the valley below.    They are all of a group of girls and young women, and their headgear tells us it was during the 1920s.  Maybe it is a Scout troop or a hiking club.  At any rate, the photos show us what girls were really wearing on rambles through the woods.  Note that at least one girl is wearing a skirt.

I've found some really wonderful vintage photos lately, everything from 1910s girls playing tennis to family camping scenes.  This one is a favorite.  Just because you are out in the woods and living in a tent does not mean that you should not wear your favorite nightgown and cap.

For the past several nights I've been glued to the TV, watching the PBS series on our national parks.  It's a fascinating story about how the park system came to be, and anyone who does not believe that one person can make a difference in the world needs to watch this.  Many of our parks owe their existance to the efforts of one individual.

But to me, the most interesting part was a scrapbook that a woman from Nebraska had kept.  She and her husband started visiting the parks in the late 1910s, and they continued to travel around the country visiting the parks until his death in the late 30s.  The changes she notes are just staggering.  In the early days they had the parks practically to themselves, but the advent of the automobile made the parks accessible by many more people.  Travelers would camp just where ever they could find a spot to park.  Trash became a serious problem, along with traffic congestion and air quality.

It's been really interesting watching the women's clothing, too.  No nightgowns, that I've spotted yet!

More later; it's time for my show!

I love finding vintage Martex linen towels because they have a real following among people who know a good towel.  They are the easiest thing in the world to sell because so many people search them out.  The fabric is quick drying, and the designs are always top notch.

Well, add me to the list of Martex fans.  I recently found the one above, and another pictured below.  I just fell in love with the sleek modern look of them.  In a time when most cocktail linens were tacky and snickery - drunks leaning on lampposts, pink elephants in champagne glasses - the simple design must have appealed to those with modern sensibilities.

Cheers!