Vintage fashion at it’s finest – Edward Molyneux

For someone who loves fashion and all things about the history of fashion, this next designer is someone who I knew little about. Surprising, since my favourite eras in fashion are The Jazz Age and The Golden Age, which this designer fits right into. It’s slightly embarrassing that I have only recently discovered the true talent and beauty of British born designer Edward Molyneux, but I’m so glad I did. I have seen many of his pieces exhibited in shows I have been to, but never knew anything about the man behind them all. It was difficult researching this genius of design as many of my vintage fashion books glazed over him as a designer. But I kept digging and found some stunning images and information on his work. So if you’re keen to know more about another grand couturier from the 1920’s, then join me on this next stylish instalment on Anastacia Rose Blog!

Captain Edward Molyneux was born in London on 5^th September 1891 as was of Irish decent. The story of his early childhood remains much untold. When he was sixteen, Molyneux dropped out of school after the death of his father, to begin working to support himself and his mother. Molyneux had a keen interest in painting, and it was this form of art that he initially pursued. Working as a sketch artist, Molyneux entered a competition with a sketch of an evening dress. He won, and his career in fashion was born. This award introduced Molyneux to the prominent and influential Lady Duff Gordon, who hired Molyneux to work for her in her English fashion house Lucile. Here Molyneux nurtured and crafted his own talents and styles, and became a leader in the style game.

After gaining such valuable experience and knowledge, Molyneux branched out on his own, and established his own house in 1919 in Paris, with a philosophy based on seamless elegance. The designers’ success rose quickly in the nineteen twenties, with women from all walks of life recognising his name. From the aristocratic women of wealth and heritage, to the café society flappers, Molyneux mixed with them all, and was happy to dress any woman who was tall and slender. His creations were not showy, with emphasis placed on the cut and fabric that was used rather than embellishments. His designs were not only chic but also wearable, with a refined elegance that capsulated the Jazz Age. When the decade evolved into the 1930’s, Molyneux adopted the bias cut, with his sheath gowns a display of sculptural simplicity. One of his most recognised outfits was that of a backless gown, bias cut, and finished off with a fur draped effortlessly over the models shoulders.

The 1930’s saw Molyneux cross paths with some famous clientele, which only emphasised his position in the world of fashion. He designed costumes for the stage during this decade, and also the wedding gown and trousseau for Princess Marina of Greece in 1934. The colour pallet in which Molyneux dabbled was most simplistic, with black, navy, grey and beige featuring heavily in all his collections throughout time. Also in the 1930’s, Molyneux displayed luxurious coats made of velvet, and was one designer who adopted the matching dress and coat look of the era. Towards the end of the decade, Molyneux started to experiment with changing the silhouette of the waist, making it narrower and more fitted to the models own features. This is a look that was largely successful during the 1940’s thanks to Dior’s “New Look”. With the radiant success of his House, Molyneux was able to diversify and introduced to his company a line of furs, lingerie, millinery and perfume. All were a success.

With the looming threat of a Second World War, Molyneux escaped Paris for London. Here he was conscripted into the British Army, where he served as an infantry captain. He served his time in the army, and suffered health issues as a result. He lost the vision in one of his eyes. Post war, Molyneux returned to Paris to try and pick up where he left off. Unfortunately due to his ailing health he could not return to the greatness that he had been known for. In 1950, Molyneux retired to Jamaica, and watched the world of fashion flourish in a new direction. Some years later, in 1965, Molyneux flirted with the idea of making a comeback. For a brief time he came out of retirement, but much had changed in the realm of fashion and Molyneux no longer had the passion or the energy to reinvent himself.

At the age of eighty three, Edward Molyneux passed away in 1974. During his time in the luxury world of couture, he achieved greatness. His designs have stood the test of time, and now take their place in the history of fashion. They are inspiring, elegant, timeless and breathtaking in their simplicity. A sketch artist, war veteran and fashion design. It’s a resume that reads well and honours the success of this great man. At a time when the French largely dominated the runway, this quiet British achiever well and truly left his mark. You just have to search a little deeper to find him, that’s all!

Love Always, Anastacia Rose xx

“The things we do for Fashion” – Anastacia Rose and Entourage

I have been in the world of fashion now for fifteen years and the only thing that is consistent is that it is forever changing. Fashion evolves from one season to the next, from one decade to another, and then we see it come full circle with trends we once loved, being revived with a modern twist and fresh direction. My own tastes in fashion have changed over the years, and I have certainly been influenced by what other designers are doing. Throughout this time I have never lost my passion for this beautiful form of art. I have always been and will remain a strong advocate for fashion, the freedom it can provide you and the creativity that it inspires. Recently I decided it was about time that I make some of my work accessible, and to showcase to everyone what I do and why I love it so much. In this blog you will discover some of my favourite pieces that I designed and produced, with professional photographs of me getting my vogue on to show the world who Anastacia Rose really is, and just what she’s capable of. So I hope you follow on and enjoy this insightful journey into my own realm of fashion and all that shines within.

 

Outfit One “My Fair Lady” – Inspired by the fabulous fashion era of the nineteen fifties, this ensemble would have to be my favourite. Now I know a mother is not supposed to favour any of her children, but this one just edges out all of the others! I found a vintage Butterick pattern for this dress in my local haberdashery and instantly fell in love. The nineteen fifties has always been one of my favourite eras of fashion, with its full skirts, nipped in waists and overall feminine outlook. The dress in constructed with a self-lined bodice that gathers on a yoke at the neckline and forms a scoop back. With an exaggerated waist due to the fullness of the skirt below, this dress bellows out to fall at mid-calf. The skirt is a full circle, with an attached petticoat constructed from five meters of netting. The main fabric that I used is a cotton blend with a textured red and white stripe. I think the fabric adds to the dramatic look of the outfit, with the different angels of the stripe inducing intrigue in the eye of the onlooker. My Fair Lady is accompanied by a crop jacket with a dolman sleeve and collar. Accessorised on this occasion by a wide leather belt that ties into a bow at the centre back. Also complementing the outfit, is a millinery creation consisting of a plaster skull cap covered in vibrant red silk. Accented by a black ostrich feather and hat veil, the piece title “Anastacia”, is a tribute to the great art of millinery and one of the very first pieces that I ever made. Completing the outfit are the stunning shoes from Irregular Choice which while they may not be all that practical to walk in, come up looking a treat when photographed! My Fair Lady is an outfit that I love to wear, and have done so to local Fashion on the Field events and also to a wedding. It is everything that I love about this industry. It shows my true character and love for all things vintage.

 

Outfit Two “Mademoiselle Flora” – The most recent piece to my ever growing collection, Mademoiselle Flora is a piece I was commissioned to make for a local art festival. The piece represents the beauty and colour of the rural area which I live in, with its colours evolving from one season to the next. I live in a part of Australia that has four distinct seasons, with the native flora changing dramatically throughout the year. From vibrant yellows and greens in the spring, through to deep and dark winter hues, our landscape forever evolves. Mademoiselle Flora is constructed from a polyester and cotton body, with a nylon netting forming the overskirt and shoulder straps. The floral tribute which flourishes across the dress, has all been made by hand with many hours of work involved. Constructed from wool, cotton and silk, the embellished flowers each have a vintage button centre and have been strategically sew onto the garment. Mademoiselle Flora is overtly feminine, slightly flirtatious and lots of fun. Accessorised by some fantastic emerald green shoes made from patent leather and suede, this ensemble will certainly turn heads and attract appreciation from any true fashionista.

 

Outfit Three “High Society” – This two piece ensemble is another outfit that I love to wear. The dramatic style of the skirt once again pays tribute to my love of vintage style, but has been constructed in a more modern way. With a wide waist band, the skirt obtains its fullness from separate panels sewn together and pleated at the lower seam line. With hidden hip pockets and a centre back zip, this skirt is so comfortable to wear. The fabric that I used is a cotton blend, with the large floral pattern in a beautiful array of colours, giving the garment an explicitly feminine style. Falling to mid-calf, the length is true to the vintage style that inspired it. The simple yet striking top which accompanies has been produced from a polyester fabric in a deep aubergine hue. The visible metal zipper adds a modern touch to the outfit, as does the crop length with allows the observer to get a full breathtaking view of the skirt, and a slightly sexy vibe to the porcelain skin peeking out from underneath. For this photo shoot I modelled two different style headpieces. The first was purchased from a local fashion business, and was on trend with the boater style hats worn to the Spring Racing Carnival of 2018. In blush pink, this piece tied in beautifully with a clutch of the same tone, and gave the ensemble a slightly French Riviera feel. The second head piece was one I made and wore with the outfit originally. In tones of rose gold, the bandeau style was centred around leather flowers with a pearl centre, gold leaves and black veiling. The aubergine pumps worn with the outfit tie the whole ensemble together perfectly, and give High Society a true Grace Kelly feel.

 

Outfit Four “The September Affair” – Inspired by the flourishing garden displays of the Spring Racing Carnival in Australia each year, The September Affair is another outfit in the Anastacia Rose wardrobe that has a vintage feel to it. Once again it is the fabric that is the real hero of this piece, with the detail on the jacket also making a statement. This design came from a vintage Vogue Pattern from 1951. The original pattern was a one piece dress with a belted waist. I chose to alter it into a two piece ensemble with an extra panel on each side of the jacket to allow for a slightly more relaxed fit. The jacket has a wide turn down collar, and sleeve cuffs that turn up and are held in place by a vintage black and gold acrylic button. The same buttons feature down the length of the centre front opening. Top stitching finishes off the edges of the jacket. The skirt is made up of six separate panels all joined together to give it a flared style. The fabric I used for the skirt is actually a home furnishing fabric and has a ridged texture to it. The stunning floral print in its vibrant spring time hues pay tribute to the blooming roses at Flemington each year. The September Affair is accompanied by a head piece fit for any race day. Made from a sinamay base in matching fuchsia, the piece also incorporates flowers made from the same fabric as the skirt, and perches on the head slightly tilted forward with a hat elastic. To complete the look, a cane bag and tan peep toe block heels were added and give The September Affair a fresh look on a vintage romance.

 

Outfit Five “Midnight in Paris” – The name for this most stunning displays of couture arises from the deep navy silk dupion that it was created with, and a tribute to the grand skill of couture garments born in France. This is a garments that I am most proud of. It was a piece that I designed and produced when I was at university learning the art of handmade luxury. Midnight in Paris was custom tailored to fit me like a glove, with the internal corset structure giving the bodice shape and form. The bulk of the internal layers have been sewn by hand to ensure true fit and great finish. The plunging neck line causes the eye to draw down onto the voluminous skirt below. The cut out back is also a point of difference and shows off the slender spine beneath. With internal metal boing on both the front and back of the bodice, this gown will never go out of shape, or style. The skirt is made from many meters of silk, with layer upon layer of tulle underneath, edges being finished off by silk ribbon. A cotton layer stays closest to the skin to ensure the model has some degree of comfort when wearing such a magnificent ball gown. The pinch effect that covers the skirt was created by literally pinching the fabric together to create a fullness, and hand sewn into position. The centre of these features was finished with a crystal bead. The gown falls long to the gown, has a side encased zip and small covered button on the centre back. Midnight in Paris is not the kind of dress one can easily slip on, and requires an entourage of dresser to assist. But when wearing such a grand ball gown, one should have an entourage in toe! This outfit does not need a gaggle of accessories as her true beauty is more than enough, although a handsome man in a well cut suit would never go astray!

 

Outfit Six “The Emerald City” – The most recent of pieces added to the collection, The Emerald City is surely a showstopper. The tailored blazer is a striking piece due largely to the glorious fabric in which it is made from. The woven peacock textile with its shimmering golden threads, was a splendid find in an unexpected place. The jacket has both an upper and lower section which allows for better fit and a different design feature. The black silk collar which extends into a front lapel, adds a suave tuxedo feel to the piece, and finishes neatly at the centre front waist. The Emerald City has a hidden talent, showcasing a rich indigo lining which peeps through when the wind blows. With no front fastenings, the wearer may feel exposed if not accompanied by some fabulous under garments. On this occasion, The Emerald City was flaunted with a fitted leather skirt and classic black pumps, but can also be toned down and worn for a more relaxed vibe with denim. Unashamedly sexy and somewhat seductive, this piece is no doubt a knockout!

 

I hope that you’ve enjoyed stepping into the world of Anastacia Rose for an expose on all things fine in fashion. I will forever be influenced by the Golden Age of Couture, by Paris and its art, and by Dior and his ‘New Look’. Fashion is supposed to be fun, it’s supposed to evoke feeling, and I believe it should always be first. Whether you’re at work, at play or doing the supermarket run, one should always try to look their best. Fashion is history, fashion is the future, and fashion is who I am. I’m excited to put my designs and talent on display for all to see, and I hope that you will consider Anastacia Rose when you next need something fabulous to wear. I’ll leave you with one of my favourite quotes – “When you work to please others you can’t succeed, but the things you do to satisfy yourself stand a chance of catching someone’s interest” (Marcel Proust). Always be true to yourself.

Love Always, Anastacia Rose xx

 

“When a woman smiles, her dress must smile with her” – Vionnet

 

The jazz age of the 1920’s was a fabulous time. A time of new found freedom after the restraints of World War One. It was a time to enjoy yourself, to let your hair down and dance the night away to some hot jazz in an underground speakeasy. And it was a time when women’s fashion also became less restrained. For many years women had been forced into the confines of a corset, or many layers of petticoats and folds of fabric. But with new designers like Vionnet on the scene in Paris, women began to know what freedom really felt like! With a much more sleek and flowing style, the 1920’s became an era of progression, with many fringes, beading and tassels ornamenting the much loved flapper style. It was a new modern influence that was oh so fun, and is still seen in fashion today.

One of the largest contributors in twenties fashion fantasies was Madeleine Vionnet. Born in Chilleurs-aux Bois, France on June 22^nd 1876, Vionnet found her feet early in the fashion stakes, and continued to refine her skills until they triumphed in the 1920’s. Not being born into privilege, Vionnet worked hard to earn her place. At only twelve years old, Vionnet was forced into work like many young girls of the era, and began an apprenticeship as a seamstress. She was confident in her work, with natural abilities. By the age of eighteen, Vionnet had been married, and suffered the loss of an infant. After such tragedy, she chose to up and leave her current life, and moved to London in search of a better storyline. Whilst in London, she continued to work as a seamstress, and was fortunate to be employed as an assistant to Court dressmaker Kate Reilly. Reilly was contracted to dress the Royal family, and Vionnet must have learnt tremendously under her guidance. After a few years abroad, Vionnet decided to head back to Paris, which was already becoming the centre of haute couture. She began working for the Callot Soeurs, a famous couture house in Paris, and for the next six years made toiles for all of their innovative designs. Following this success, Vionnet changed scenes and took a position with Jacques Doucet, from 1907 – 1911. By this time, Vionnet was starting to discover her own unique style and way of dressmaking, which didn’t always coincide with that of her employer.

The following year, amongst the onset of World War One, Vionnet took the brave step of opening her own House. Finally she could design what she wanted. The House was only attainable for two years however, and in 1914, Vionnet had to close the doors. The war had proved too much of an obstacle for many in Paris couture to overcome, with other great designers like Chanel also succumbing to the German advances. Like many, Vionnet fled Paris to safer grounds, and returned after the war was over. In 1920, the House of Vionnet returned to the couture scene, and by 1923, it was so successful that it moved to a larger premises on the famed Avenue Montaigne. Vionnet once again started producing her innovate designs that freed women from their corsets. By 1925, Vionnet had crossed the Atlantic, and opened her first boutique in New York, selling ‘off the peg’ designs to the fashion forward American. Many Hollywood starlets of the time became supporters of this new found luxury brand, including Marlene Dietrich, Katherine Hepburn and Greta Garbo. By 1930, Vionnet was still going strong, with her ingénue techniques of draping and bias cutting largely contributing.

The bias cut was not something new when Vionnet started showcasing it, but the designer is largely credited with making it so well known. Cut on a forty five degree angle to both the warp and weft of the fabric, the bias techniques allows the fabric to drape and wrap around the models body. Coup en Bias as the French refer to it, is a free flowing style that displays the natural curves of the female form. With such a linear silhouette, the wearer has no need for a corset or petticoat. There is also no stiffeners used to structure the fabric, and no padding is required either. Many of Vionnet’s gowns that encompassed this style also had no requirements for buttons or other fasteners. One could easily slip the ensemble on over your head. Previously the bias technique had only been used on hemlines, but Vionnet started using it to create entire gowns, which is why she had to order her fabrics two yards wider than usual. These fabrics were purchased by the bolt, and consisted of crepe, crepe de chine, gabardine and silk satin.

 

Vionnet continued to be an innovator over the 1920’s and 1930’s. Other design concepts that can be attributed to Vionnet, and that still appear in fashion today, are the handkerchief hem, the cowl neckline and the halter top. Vionnet was a perfectionist like many of us designers are. She used to create her samples on miniature dolls to ensure the right look before it went onto larger scale production. At the top of her empire, Vionnet employed one thousand staff in over twenty six ateliers. She remained for her entire life, very much a private person. Choosing to complete her work away from her ateliers, Vionnet spent most of her time in her private study. Here she would have her head seamstresses visit her to go over design ideas and options. It was very rare that Madame Vionnet was ever seen in her atelier! Due to the huge success of her new style, it was inevitable that Vionnet had her designs copied. It was a well know trade in the 1920’s that many leading designers had their styles ripped off and sold overseas for a much lower price. Vionnet tried her hardest to stop this from occurring, and would even personally fingerprint all of her garment labels to prove their originality. Vionnet also fought for her workers rights during her reign in fashion. She fought hard to introduce better labor practices and fairer conditions. Health care for her employees was one of her achievements, as too was maternity leave. Dining halls and canteens were first scene in Vionnet’s ateliers before other designs adopted the same benefits for their employees.

Known in the industry as the “architect among dressmakers”, Vionnet crafted a career full of success. In 1939, once again due to the threat of war, Madame Vionnet closed her House for good. She officially retired in 1940. Having popularised many styles still evident today, Vionnet was a designer of immense talent and charge. The influence of the 1920’s would have been a completely different scene had it not been for Vionnet striving to give women independence and freedom in their fashion choices. The grand couturier passed away at almost one hundred years old, in March 1975. What a legacy she left behind!

Love Always, Anastacia Rose xx