Edyth Sparag New York: 1930s Sketches

Edyth Sparag, New York Drawing, signed. 1930s. Sarara Vintage Image/Scan.

Edyth Sparag was a New York designer working in the 30s-50s. Most information is known about her through her fashion sketches made in her offices and used to create her clothing.  Her office was located at 1440 Broadway, New York- at least in the 1930s. Other drawings say 1450 Broadway. There are a couple of museums with large collections of her sketches which are used as a sort of guide to popular fashion in NYC during the 30s-40s. One can be found at the University of California- it actually might be the largest most encompassing the 30s-50s-see info here.The Fashion Institute in NYC has work by her dating form 1950-1959. Neither are available online.  That is why I wanted to publish three of mine here for all to view.  I have three early ones from the 1930s. They are an important part of fashion history.  As the Skyscraper museum states :

"Within this garment district are 4,500 women's clothing firms. Three out of every four dresses sold in the country originate in New York, making women's garments the principal industry in the city, with an annual dollar volume of $4.4 billion ... Dozens of new firms pop up each season-and many disappear to try again under another name. "It doesn't take money," said one owner. "It takes guts, gall and creativity." Firms with only 30-40 employees compete with the big trade names in the wild steeplechase that produces over 150,000 separate designs each year." (See the article and exhibit here.)

I cannot seem to find much about Edyth herself. However, her style and designs live on through her fashion sketches that come up periodically among collectors, on ebay and in museums. I love these two   little works of art, just look at the stylish woman in yellow and blue checking her makeup. The green dress seems so pretty with the suede details and cloth base as written on the description in pencil.  Enjoy this little 1930s fashion archive by Edith.

Edyth Sparag Drawing , 1930s, printed logo. SararaVintage scan.

Edyth Sparag drawing with annotations by hand. 1930s. Sarara Vintage Scan/image, rights reserved.

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Runway size Richelieu Fit for a King or Richard Burton?

Sarara Vintage photographs of large Richelieu piece,rights reserved.

Was this necklace worn by Richard Burton playing King Arthur in Broadway's Camelot? That is the question... I bought it from a source who is friends with an old film and theater costumer.  Now if you have looked over the blog, you will see I do love a good piece of fashion or jewelry with an old Hollywood, film, or a theatrical history.  This piece was supposed to have been worn by Burton in the production, so I am off to look through many pictures and see what I can verify.  There are three possibilities, if it was worn on stage by him: Camelot 1980-1981, Hamlet 1964, or Camelot 1960. Many times a verbal history can be off. However, at the very least it is an enormous King worthy Richelieu runway style necklace- so no harm in the addition of this to the store.  The length seems more proportionate to a man. Seeing it on my brother made me think..... The piece is large and styled like a necklace in royal red, that would fit a King in such a production.  The design and color are possible clues.  It is signed both Richelieu and Richoliou or Richeliou to the right.

Signature plaques, Richelieu copyright symbol and printed to the right on plaque.

Richelieu was a jewelry company founded in New York by Joseph H. Meyer & Bros, which began in 1911 and ended in 2003.  The jewelry is just beginning to gain popularity.  This piece I believe, per the style and signature, dates to around the 1960s or 70s, but possibly the early 80s. The cursive script according to the patent site below ceased use in 83.  Quite frankly,  I think the 60s-80s was when they made some great pieces. 

An intereting link about the Richelieu patents and signatures is:jewelrypatentproject.com. You can see some sample signatures and dates for Richelieu at Illusion Jewels under Joseph Meyer. 

                                                  

I believe this might have been designed by Bill Smith who began working for Richelieu in 1968, as the vp and then head designer. During this time he became the first African American to win the Coty award for costume jewelry design. Many of his pieces were only signed on a paper tag that was attached.  Some pieces are signed on the metal- Bill Smith of Richelieu...He began jewelry design in 1958 after coming to New York to study dance. His designs are often African inspired. You can see this in the archive photos- for Look magazine, circa 1972 which includes a spread entitled “Fashion Now: Black Pow!” here.  After Richelieu Bill Smith worked under his own name designing for Cartier, Omega, Hattie Carnegie and Anne Klein. Another possibility Clifton Nicholson, who also was a jewelry designer for Richelieu. Needless to say, the piece interests me either way and I'll be trying to put an exact on it before listing it on Sarara Vintage Couture.  For now it graces our model and will be part of the website launch!

                                                

Vintage Richelieu Necklace, signed. Sarara Vintage, Shary Connella photo.

I think that the collector's market for Richelieu is growing, especially the large 60s-late 70s pieces. I am putting together a collection for the shop and will add some more images to the blog here. Pieces by Bill range from 70-500 depending on the design.  

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A 1940s Ball Gown and a Vintage Starlet

Wendi and Teresa at the Ball. Teresa in Sarara Vintage 1940s Dress. Image from Teresa's collection.

I love a good gown. Maybe it's the possibility slipping into it for a fabulous party or feeling like a silver screen diva for just a moment....  Ever on the lookout for a great one, I remember finding this chiffon gown, with shoulders Joan Crawford would be proud of in upstate new york. A woman had called me out to look at her mother's collection. This particular gown was sort of stuck to the side- under the others when I first caught a glimpse of it. It was wonderful to hear that last December, it had a shining moment once again.  A few months ago, Teresa Schmidt, a new customer, had order it for a holiday ball.

When she purchased it she mentioned that there was also a 40s pageant at the event.  I wondered, would she win? Immediately I thought YES, this dress is stunning if I do say so myself.  So, when she emailed me to say thank you recently,  she also told me that she did, indeed, win first prize. I was delighted and intrigued. What after all was this event? The 3rd annual White Christmas, A 1940s Christmas Ball... Turns out, it was kind of the place to be in Denver Colorado this past December. The Huffington Post had even agreed!   This event was all about the mood, the clothing, and the nostalgia of the 40s.  The theme was a tribute to Pearl Harbor, so they chose Wings Over the Rockies Air & Space Museum, a large airplane hanger with 1940s bombers and X-wings to boot.

The competition part of the party was to crown a vintage starlet.  I was enthralled by Sarara Vintage's very own starlet, so I interviewed Teresa about her win.   This was not an easy thing to enter, she was one of only 10 picked to compete based on an application that she had filled out. She even had add images to the application. She included a picture of her in a 1950s style Tiki dress that she had made for a party. She and her friend Wendi looked amazing, her dress is great. Who knew Colorado was so much fun?

Teresa and Wendi at the Tiki Party. Photograph from Teresa Schmidt's collection.

Once accepted, Teresa had to find the dress and do the hair.  Well, we know where she found the dress, so what about the hair? Her friend Wendi Malone, above, did her hair, which let me tell you looked amazing-see the photographs and Wendi's blog for a tutorial on how to create finger waves.  I was also interested in why Teresa entered the contest and her relationship with vintage clothing- so I asked:

"My friend, Wendi, nurtured my love of all things old. But my grandma was the one who instilled it in me. I loved listening to her stories as a child, especially her first date with my grandpa. He tried to impress her by taking her to a speakeasy! She taught me how to do rag doll curls when I was in 5th grade. I also love to collect pearl necklaces and cameos, which my grandma loved also. I love the style of women from 1920s-1950s. They were so feminine yet strong.......Deciding to go into the competition: It was part support for Wendi (who entered and got in the top 10 also), part my love for getting dressed up in vintage (I wore 2 dresses that night, a 50s dress before and my competition dress).  The other part was just for the fun! I like to think my grandma would have been proud" (Teresa Schmidt).


I love getting a glimpse into the new life of a vintage item that I have sold. Instead of the trash, it ended up on a stage.  I appreciate Teresa sharing the story of her grandmother and the roots of her love of vintage style.  Congrats -Grandma would have loved it!

303 Magazine photograph, rights reserved.

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NY Blizzard Outerwear: Vintage Coats, A Winter Pick Me Up

Vintage Henri Bendel Coat, Bakelite Buttons/Fur Collar. Sarara Vintage.

After last nights blizzard here in NYC, NY state, and northeast onward, you maybe feeling cabin fever! Couple that with the icy temps this winter and one may wonder, why they should even take off their pjs.  This morning I picked myself up and played in the snow on the 1920s farm we live in just outside the city.  Yes, I can't believe I'm saying this but, you can look good and be warm in more than a foot of snow.

Bright pink 1950s Leon Frohsin, Atlanta Coat, SV.                 

Well chosen vintage coats provide a great way to look modern, add functionality and glamour, as well as warmth.  With everyone in the city donning the spring fashions of their favorite designers, in this mess of snow- for fashion week- let's just say they will need a good coat.  I broke out my vintage coats that I have been hoarding. Of course Oscar, Bill Blass etc. have made some lux long coats in their time, but today I chose some of the more sporty and bright options I own.

Bonnie Cashin for Sills, fur and leather details. Sarara Vintage.

American designers like Bonnie Cashin, my favorite designer for this type of weather, are stylish,classic, sporty, warm, and chic.  You really can't go wrong. Lilli Ann's coats from the 1950s are a go to for many. You really can't go wrong with either Bonnie or Lilli.  I found the above Bonnie Cashin coat in a barn, that was owned by a woman over 90, on the floor.... I dusted it off and cleaned it up. It is in great condition really, and a heck of a coat. Ralph Lauren and vintage blanket coats in general, like my old Chimayo pictured below work well too.  You can find blanket coats sometimes for a steal.

On the farm, vintage Chimayo jacket, buckskin gloves, 70s Navajo bracelet. Sarara Vintage

Any wonderful 1920s-30s coat with a large collar adds a lush warm feel.  Check out these quick pics of  the coats from my personal colllection, hope they inspire you in this cold cold weather!

1920s-30s Mink Coat, Sarara Vintage.

Getting into the snow! Bonnie Cashin coat. Sarara Vintage.

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La Boheme: An Original Egyptian Revival Flapper Photo

If you type in Egyptian Revival and flapper photo, let's just say you get a fair amount of results.  What interests me about this photo are a few things: one it is mine, an original photograph and number two- look at her so moody, so deco, and so so Egyptian revival and bohemian..... The hits don't stop there, I found her at an estate sale on a bedroom dresser... sort of falling out of an old original little wooden frame.  No she is not a postcard, but a snapshot.  Maybe she was an actress? 

Antique Photograph, circa 1920s. Woman in bohemian Egyptian revival attire. Sarara Vintage, rights reserved.

Alas, until now nothing has surfaced about her identity. Possibly she was just a family member, with an attitude!  Whoever she is, I think you will enjoy her dark deco charm.  This comes directly from my archive and maybe the only one surviving image. If anyone knows who she is, let me know- actress or not.  For now here is a found and salvaged historical 1920s image.

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Memoirs Of A Hollywood Costumer: Vintage in Film

Marsha with Matt Dillon.  Marsha was the wardrobe supervisor for Drugstore Cowboy.
Photograph from  Marsha's collection. rights reserved.

I have always had a love for the costumes created by the master designers of film.  As we get closer to the Oscars I am reminded of their importance. They take us to that time, setting or moment, and breathe life into a character. Giving us a string of unconscious visual cues about their personal nuances. So when I had to chance to interview a fellow vintage shop owner with a colorful costume design past- I was on it! I was able to candidly interview costume designer and wardrobe supervisor, Marsha Perloff. She is admittedly now retired, but is still working with vintage as the owner of Ranch Queen Vintage.  She has 1,000s of costume and vintage items stock piled from her film and T.V. days which fuel her new clothing passion which is Ranch Queen.

Everyone always asks how one gets started with vintage but how did your path lead you to working not only with vintage but with costume, wardrobe, and film?

I was dressing in vintage back in high school in the 70s. My passion began during my trips to flea markets with my mother who was a clothing and antique buff. We bonded over these things although we had different tastes. She fostered my creativity by letting me choose clothing and décor that I liked. I was able dress how I wanted. She also taught me about quality. She had a few wonderful designer dresses she wore to special events. One Valentino, I remember her wearing and another Ungaro piece. She also had a dressmaker she used to create designs she saw but couldn't afford. Whatever she didn't use, scrap material and such were made into outfits for my Barbies. (I thought those barbies probably never looked better!) Sewing became a part of my life. I started to merge my aesthetic appreciation of vintage with sewing. I made totally mixed patchwork garments with vintage and recycled materials. I loved the vintage it was so romantic.

So this set you up to fall into the arms of costume design but how exactly did that happen?

I started really collecting in the late 70s when I moved to San Francisco to go to film school at SF state. I loved the hippie look and movement - so I moved there to Haight Ashbury to live. It wasn't the Haight of the 60s but it was romantic...I started working in rock clubs,as a cocktailwaitress in the 70s-80s to put myself through school. It was there I would wear my vintage mixed outfits to work: 1910-1920s era boots with tights and 40s rayon dresses. I mixed a lot of different eras. People would ask hey where did you get this or that? One time a rep for a local indie clothing company asked if I would like to style their wardrobe for a catalogue shoot. At the time I thought it was kind of funny someone paying me to put together my look. I was thinking I'd be an artist, film maker.... This kind of started it.

Marsha in her waitress days wearing vintage. Image property of Marsha Perloff.

So what was the big break or first film/tv costume position you had-how did you get from wardrobe stylist to costume?

My friend Ellen was a prop master. She knew of a costume designer that needed an assistant, so I moved to L.A and did free lance. I did stuff likedress the extras, returns, hands on selection of clothing and also got noticed for my seamstress abilities. I remember freaking out a little when a custom made Stetson, for the main character, needed aging and they asked me to do it authentically....

But, the big break was when I was pulled on to do a pilot for a show called The Days and Nights of Molly Dodd, starring Blair Brown, which was picked up. The main character was a working woman who lives in New York and she doesn't quite have the cash but she still had a flair for fashion. They wanted her to have a look similar to mine - kind of off-beat. It was actually one of the first shows where the lead character wore a creative mix of vintage as her wardrobe, not just box designer stuff (which her character really wouldn't have been able to afford). Blair wore a mix of some 40s blouses, a bakelite pin etc. In the show, her ex-husband was a jazz musician, he wore a lot of 50s shirts and coats. This show was special for me because it was like someone was validating my own personal style and it showed on the show. I worked in Los Angeles for the show three seasons, until it was moved to NYC. I decided not to make the move.

What was your favorite type of film to work with?

Well-- I really wanted the period pieces as much as possible because of the vintage, but they were hard to come by. I did a lot of rock videos, TV movies, big screen films, commercials…

Spuds Mackenzie and Marsha on the set of the commercial. Rights Reserved.

What was one of your most memorable experiences from working on a film?

A memorable experience was as wardrobe supervisor for Driving Miss Daisy. It was a lower budget film so we had to be creative. We couldn't afford to have era copies made and we had lots of scenes, from lots of eras of her life and we had extras to fit from each of those eras! All in vintage, sometimes people forget it is scarce, it doesn't always survive.. Her life on film was from 1947-1985! We had trouble at first finding the amount of clothing we needed because when we started sourcing from the Los Angeles costume houses, there were three other period pieces in production at the time.  Everything had already been rented. So we left for Georgia with very few costumes and hoped when we got on location we could find more. We were feeling very nervous about how we were going to costume the film.

Now I as the interviewer vintage lover, I was on the edge of my seat because I know Georgia and how it can have some crazy estates and vintage hoards and the story didn't disappoint as she continued....

Well, our 1^stAD had run across an ad in a local paper saying that there was a Macon barn sale, where an old family dry goods business that had closed in the 60s was selling its stock off. We took a chance and drove there. We arrived and it was in an old barn and there was vintage décor and clothing on racks, tables, and such....racks and racks of 30s-40s clothing with tags still on them. The prices couldn't be beat because the owners- kind of saw it as a headache, so they let us have loads for one a great price. Honestly, that is how we costumed the film.   The image below is a pretty typical shot  we would take of actors in their costumes (in the old  pre-computer/digital phone days!) for our continuity notebook. Some scenes were shot over long periods and we needed to make sure everyone's wardrobe and accessories matched perfectly at all times. I probably had asked them to hold their purses up so I could see them better.

Driving Miss Daisy, shot by Marsha of extras in costume, rights reserved.

Wow, we all dream about or have had that one crazy vintage moment where it is like opening a vault and going back in time, but that certainly takes the cake..

Favorite moment from it all?

Well the day to day was hard work, but the real reward was seeing the finished film. Seeing your work come to life in front of you in context. It is a moving experience. Driving Miss Daisy as well as Of Mice and Men were particularly rewarding. Of course the Fabulous Baker Boys was a dream experience as well.

Marsha working on the set, where she was "dirtying" the clothing of the extras with dust, on Of Mice and Men.

So my mind as a vintage seller/collector landed on one all consuming thought: all of those clothes used on films throughout the years! Her roster included – Driving Miss Daisy, Of Mice and Men, The Fabulous Baker Boys (which led me to deviate to the hotness that must have been Jeff Bridges at that time wow. Who she described as super down to earth and nice....),Drugstore Cowboy, Spuds Mackenziecommercials....Did you keep the clothing I blurted out??

Well, yes that kind of led me to how I got here with the stock for the store. Basically after a production wrapped whatever the studio didn't put back into the stock, I would buy. The collection got quite large. When I became more involved in dog training and rescue I had less interest in going on locationfor extended periods. I became involved in a rental business here in the city called Costume Collection, where productions would rent pieces and we, the consigners - all costumers, got a percentage when they rented. Unfortunately, finally with the economy, a few years back, it went out of business and they said we should get our stuff...well I had thousands of items. So I got what I could and brought them to my home and studio to start the store. 

Shoes currently for sale, used on the set of Driving Miss Daisy. Click here.

Is there a piece of vintage from your collection that you will never sell?

Yes, a very rare 1960s Rudy Gernreich silk mini.

I can see why, I thought enviously- what a dress!

1960s Rudy Gernreich Silk Dress. Ranch Quenn Vintage Image, rights reserved.

So do you still have connections to costume design?

Yes, I have some old industry /theater connections. I prefer to sell to them not rent, but that is a link I still have. Recently, I sold some items to Mad Men, which were worn by main characters.

Bikini, circa 1960s from Marsha's store, worn by Megan on set in Hawaii for Mad Men.  Megan's image is a press image released by deadline.com. Season 6 Mad Men.

With that I added my final question. If you could go back in time and work with any costume designer for film who would it be and why? What if I said you could work on any film or production, which would it be?

Adrian of course. He created the dream. He would take something the leading lady had, an asset and hone in on it... create iconic signature looks like Joan Crawford's shoulder pads. He was avant garde and innovative.

The film or production I would choose... That is a good but hard question...hum. I think it would be one of the Ziegfeld Follies, for the grandness, glitter, and outrageous sparkle... they just don't make films like that today.....

Well played, Adrian Adolph Greenburg or Gilbert Adrian as he was known was a master. (See my post on him for more information if you don't know his history....he was true magic).  The Ziegfeld Follies for those who aren't familiar were a series of large glam theater productions based on the Follies Bergeres of Paris (1907-1931). This also led to a film. 

Louise Brooks a famous Zeigfeld gal, circa 1925 in costume. Press/Follies historical image.

You seem to have an appreciation for film history.....

Actually that leads me to something important that really shaped me in terms of my career, that I had forgotten to mention until now. I grew up in Culver City, a small town that was home to the MGM studios. At the time it was only about 30,000 people. Many of my friend's parents worked at the studio not as directors or anything - but as secretaries and grips... so I was exposed to it from an early age. It didn't have the tight security sets and studios today have. I remember just one long green wooden fence and a lone security guard. We snuck in to the back lots numerous times, I remember playing in what seemed like miles of finely grated plastic (fake movie snow)... Something big that sort of marked me for collecting was when MGM had their closing auction and sold all the costumes in the 70s. I was a teenager, so I couldn't afford much just the left overs.... I bought a gown probably worn by an extra in a film, maybe Gone With the Wind... it was that sort. The mayor at the time bought a pair of the ruby slippers for the city....

Marsha with Pierce Brosnan on the set of Victim of Love 1991

That is so cool, such a meaningful experience. Thanks for sharing those things. My mind wandered through her romantic land of green picket fences, ruby slippers, old hollywood sets and plastic snow, Haight Ashbury, 80s rock clubs and daisies. Marsha's store Ranch Queen Vintage is bit of that life she has shared here with us, as colorful and eclectic as she is inside and out. She left costume work around 2000 and has since focused on the dogs and her store.  Marsha now lives on a large plot of land, outside LA, working these days with rescue dogs and the shop. 100% of all her sales go to care for the dogs at Devil Dog Ranch. (Click here to visit her SHOP or her work with our four legged friends at www.devildogranch.com).  

Interesting Sources for Costume/History:

Kent State Gallery of Costume, 18th,19th 20th Century Fashion/Costume

Dorothy Jeakins Costume Design Archive 1932-1975

B.J. Simmons & Co. Costume Design Records

Met Spotlight on Gilbert Adrian.

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What I Am in Love with Now: A 1920s Egyptian Coat

            Sarara Vintage Couture Egyptian 1920s Coat, Styling Sarara Vintage. Photography Shary Connella

When I came upon this 1920s Egyptian made, embroidered and detailed, coat... I was in love. From an estate and part of an auction, the coat represents the Egyptian styles that appealed to foreigners at the time. Other such examples include Assuit shawls which were made into wonderful dresses and coats during this period.  Looking like something Zita Johann would have lounged in- I snatched it up. The only problem, it fits me. Now and again we store owners contemplate keeping a thing or two.  I am a firm believer in not just keeping the best for myself and sell what I love but this would be cruel and unusual punishment, I must say! 

Sarara Vintage Couture Egyptian 1920s Coat, Styling Sarara Vintage. Photography Shary Connella

So....this time I may break the rule.  I love the glass inserts, the 1920s cocoon cut of the coat (although it's missing the one big original button)-but the huge decorated cuffs and the colors are divine.  Yes, it actually has its original old tag which reads:

D. Chellaram, Cairo tag, image Sarara Vintage Couture.

 Back view. Egyptian 1920s Coat, Styling Sarara Vintage. Photography Shary Connella

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