Wednesday, 30 November 2011

Selling Christmas

 
Ah Christmas, that nostalgia filled time when families come together and rejoice in traditions.  However, the holiday was not created simply by the passing of a law, Christmas has a history as rich as that festive food we devour every year and much of it was created and sold to us via advertising.
 
Before the birth of Christ was noted, Europeans had always celebrated the winter solstice when they could anticipate better weather and extra daylight hours. Fall's end was a prosperous time for most, spirits had fermented and cattle was slaughtered to save the cost of feeding them through winter resulting in the only time of the year there was fresh meat.  Scandinavia celebrated Yule from December 21 to January to rejoice the return of the sun.  Men brought home large logs and the festivities lasted until the log burned out, about 12 days.
 
 
In Rome, Saturnalia honored the god Saturn. The abundance of food and drink added a hedonistic quality to the festivities and chaos was the order of the month with slaves becoming masters, laymen commanding and schools and businesses closed allowing everyone to participate in the festivities.  On December 25, they celebrated the birth of Mithra, infant god of the sun and Juvenalia, a feast that honored children.
 
 
Easter had long been the main observance in Christianity and it wasn't until the 4th century that the birth of Christ became a holiday.  It's believed that Pope Julius I chose December 25 to blend with the pagan Saturnalia festival. It reached Egypt by 432 and by the end of the 8th century, the Feast of the Nativity had spread across the known world.  While the Church made the idea law, it couldn't control how it was celebrated.  As a result, after attending mass, revellers engaged in raucous and sometimes immoral activities.  The poor would go to wealthy houses demanding food and drink.  Most homeowners complied or else risked being terrorized and so it became customary to entertain the poor at Christmas.
 
"Old Ironsides" Oliver Cromwell abolished Christmas in 1645 and King Charles II, the "Merrie Monarch" brought it back when the throne was restored to him.  The Pilgrims were even more orthodox than Cromwell and Christmas didn't make it to America's shores with them, in fact, it was outlawed in Boston until 1681.  It was however celebrated in Jamestown with the first cup of eggnog but after the Revolution, anything British was scorned and Congress was in session on Christmas Day in 1789. In 1870 Christmas finally became a federal holiday.
    
In the early 19th century, there was growing discontent among the poor class who resorted to rioting during the season.  Indeed, New York's first police force was created as a result of an 1828 riot.  It was during this time the American concept of Christmas began to develop.  Owing to the heavy presence of the Dutch in New York, newspapers in the 1770s reported the celebration of Sinter Klass'  December 6th death date.  In 1804, John Pintard of NY Historical Society gave out woodcuts of the saint with backgrounds showing stockings filled with toys hanging over a fireplace.  Furthering the popularity of Sinter Klass was Washington Irving who in 1809, in the "History of New York", referred to St. Nicholas as the patron saint of the city. 
  
In 1819, a major turning point occured with Irving's compilation work, "The Sketchbook of Geoffrey Crayon, Gent".  One story was about a squire who invited peasants into his English manor house at Christmas.  Irving was one of the first writers to describe the holiday as a peaceful time when people of all walks of life could come together as equals.  Incidentally, he helped inspire Halloween too; this book also contained The Legend of Sleepy Hollow.  
 
In 1821, William Gilley published the poem "Santeclaus" (from Sinter Klass) about a man dressed in fur riding a single reindeer pulled sleigh.  The legend actually goes back to about 280 AD with a Turkish monk named St. Nicholas.  Stories abounded of his great generosity and he became the protector of children and sailors.  Sinter Klass was a man of many names; Kris Kringle to the Germans, Jultomten in Scandinavia, Pere Noel in France, Father Christmas in the UK and soon, he would become Santa Claus to us.
 


The next turning point in the evolution of an American Christmas came in 1822 when professor Clement Clarke Moore wrote "An Account of a Visit from St. Nicholas" for his 3 young daughters.  "'Twas the night before Christmas and all through the house" began this timeless poem that is largely responsible for the concept of Santa Claus today.  In the poem, the "jolly old elf" travels around the world in his miniature eight reindeer-pulled sleigh and can magically drop down chimneys with a nod of his head. 
 
 
 
Charles Dickens wrote A Christmas Carol in 1843 which not only emphasized goodwill but the blessings of family as well.  Coupled with this was an emerging awareness of a childhood stage and greater interest in child welfare.  Suddenly, Christmas was seen as a family holiday based on old traditions that embraced childhood.  However, a still young America was rich in spirit but had little in the way of "old" traditions so it looked to other countries and adopted ideas like sending cards and gifts.  Ultimately, America would re-invent Christmas.
 
The idea of the Christmas tree comes to us from Germany and it's believed that 16th century Protestant reformer Martin Luther was the first to add lit candles.  Trees were first noted in the 1830s among German Pennsylvania settlers but in 1846, when a sketch of Queen Victoria and Prince Albert standing with their children around a Christmas tree appeared in the Illustrated London News, their popularity grew.  Royals had a tremendous influence on American culture and by the 1890s, Germany was successfully mass producing ornaments for the American market.  Electricity brought about Christmas lights and soon every town square across the USA boasted it's own Christmas tree.  Having one in the home became a permanent American tradition. 
 

In 1863, political cartoonist Thomas Nast drew the first image of Santa similar to how we see him today.  Santa appeared on the cover of Harper's Weekly that year wearing a white fur trimmed tan suit that was later to become red.  Nast also created the North Pole workshop, Mrs. Claus and the elves.
 
 
Other notable contributors include Francis P. Church and American artist, Norman Rockwell.  Church was the Editor of the New York Sun who in 1897 responded to a letter from eight year old Virginia O'Hanlon who asked, "Is there a Santa Claus?".  His published response was of course, "Yes Virginia, there is a Santa Claus".  Rockwell's influence can never be underestimated.  His portraits can evoke instant emotion like no other medium I know.  Many of the images we associate with Christmas come to us from him and are forever sketched in our hearts and minds.  Beginning in 1916, Rockwell published a total of 322 original covers for The Saturday Evening Post over a period of 47 years.  Here's my favorite where a stunned lad first learns the truth about Santa.
 
 
  
Christmas ads were first seen in 1820 and by the 1840s holiday advertisments were placed in a separate section of the newspapers.  Child-magnet Santa was prominent in all the ads but in 1841, store owner J.W. Parkinson went a step further in Philadelphia by presenting the first "real" Santa, a man hired to dress the part and climb the store's chimey.  And so began the annual custom of the tormenting of parents by their children who were delighted to line up to sit on a live Santa's lap. 
 
Along with Santa are many seasonal icons that were products of advertising.  To help boost traffic, in 1939 Montgomery Ward department store copywriter Robert L. May wrote about Rudolph, a reindeer who was teased about his glowing red nose but saved Christmas by helping Santa deliver presents one foggy Christmas Eve.  The store sold a whopping 2.5 million copies that year and even more when it was re-issued in 1946.  Johnny Marks wrote a song recorded by Gene Autry in 1949 but I think what most of us remember is that wonderful 1964 Burl Ives narrated special.  Christmas just wouldn't be the same without those nostalgic Rankin Bass claymation cartoons! 
 
 
 
Now you just can't mention Christmas advertising without mentioning Coca Cola.  The company's first holiday ads in the 1920s used Nast's version of Santa.  In 1930, artist Fred Mizen painted a department store Santa in a crowd drinking a Coke at the world's largest soda fountain located in the Famous Barr Co department store in St. Louis.  The painting was used in print ads and appeared in the Saturday Evening Post December that year.  The ad campaign was successful and in 1931, the company hired illustrator Haddon Sundblom to create ad images for Santa Claus.  Sundblom was partial to  Moore's "A Visit From St. Nicholas" in which Santa was described as "chubby and plump".  For the next 35 years, Sundblom painted those warm, cheerful and always timely portraits that ultimately formed our vision of Santa today.
 
 
 
Christmas advertising today is as much a driving force for retailers as it has been over the last two centuries.  Like today, ads ranged from the nostalgic to the naughty but the vintage ads were far more animated.  I love these ads!
 
 
 
 

As a Canadian, I can honestly say no one does it like the Americans!  When we conjure up images of an old Victorian Christmas, it's really an American Christmas that springs to mind and it's spread across the entire world.  Though they borrowed their traditions from cultures all over, look now how many of those cultures have incorporated the American spirit of Christmas into their own customs.  The image of Coca Cola's Santa is known to nearly every child regardless of country, color or creed.  I'm with Francis Church, "May He continue to make glad the heart of childhood".
 
Wishing everyone a Blessed and safe holiday!
 
 
Research provided by:
 
 
 
 
 
 

Wednesday, 2 November 2011

Advertising: Then & Now



Recently I came across an interesting site called Found In Mom's Basement where you can view hundreds of vintage magazine advertisements.  I couldn't help myself, I must have spent hours there scrolling down page after page of wonderful ads.


I've never noticed before but you can tell a lot about a society by studying it's ads.  Advertising is really just a mirror reflection of us.  Sure, ads promote the latest fashions and gadgets but look more closely and you'll see they also advocate politics, customs and morality.  Turns out, much as we've progressed in terms of technological advances, human nature hasn't changed one bit.

Men still want clean shaves and fast cars and women continue in their quests for the perfect lipstick and the latest everything.  Advertising has changed in very few respects, the most notable being increasing consumer safety awareness and protection.  The tobacco companies were most affected by this new presence that finally put an end to their often disturbing and misleading ads like these from the 1930s. 

 
Tobacco wasn't only a product, using it was as much a daily activity as brushing your teeth and it became a major player in the women's movement.  The 1920s flappers who smoked believed they were equal to men and cigarettes made them feel independent, rebellious and glamorous.  Seeing this potential market, in 1928 George Washington Hill, president of the American Tobacco Co, said, "It will be like opening a gold mine right in our front yard."* 
 


The fact that almost a century later and teen girls light up for the same reasons is proof positive of a job well done by the ad men despite the promotional restrictions placed on tobacco products.  It wouldn't be until 1966 that health warnings were mandated but as you can see from this ad, tobacco companies managed to overcome the setback using attention diverting tactics.



Do you remember those Virginia Slims ads like the one above that heralded to women, "You've come along way baby!"?  In the world of advertising, not so much.  Take a look at this blatant sexist men's pants ad from the 1960s and then flash forward to the 1991 Florida tourism ad below it.  I'm particularly amused by this one because the woman is under 25 and the man is a senior but personally I think the yacht makes him look younger, don't you? 




 


Think too of those colorful, usually illustrated cheesecake ads depicting barely dressed young beauties selling a product like shoe polish that has nothing to do with women other than the fact it was women who were buying the products for their husbands.  Now how's that for reverse psychology?  Seriously, it's ads like these that make you wonder why women didn't bust out their frying pans sooner.   




 


And women, desperate to look like those cheesecakes, tried lethal concoctions like this 1950s radioactive French skin cream (from a Curie no less).


 
I'd like to say we're so much smarter than that today but if you turn on the television right now you're sure to find an exercise or diet infomercial promoting the latest miracle product.  The wording hasn't changed much either.  We're still told the products work with "regular use and proper diet".  Here's a shocker, if you were eating a proper diet you wouldn't need their products in the first place.  Now, if the stresses of looking good and being a nutritionist weren't enough, the ad men made it a woman's sworn duty to serve and protect her entire family's well being.  In other words, if your kid wasn't popular at school it was because mommy didn't give him enough pop according to this "laboratory tested" ad from the Soda Pop Board of America.  Interestingly, that's a Coca-Cola bottle.




Children's products are still accompanied wiith that "pediatrician recommended" catch line and mothers are still targeted with guilt.  They may not be pushing a nippled Coke bottle these days but if your kid didn't make the basketball team this year it's certainly because you refused to fork out $150 for those Air Jordans that can make him jump higher than the man himself. 

You may find this tanning lamp ad seriously misinformed but when you consider modern infomercials for products like spray hair in a can and the Flow-Bee or perhaps the latest masochistic approach to hair removal, it's really not that out there for the times.



Special mention must be made of those outrageous women's personal hygiene ads.  Companies like Lysol and Zonite preyed on women's insecurities and you just have to love the looks of disgust on the husbands' faces in all of these types of ads.  The Midol ad in particular really gave me a chuckle.
 

If the ad biz had a logo, it would be "If it ain't broke, don't fix it".  The same ploys that worked yesterday work just as well today and we're P.T. Barnum's proverbial suckers for buying into it decade after decade.  Catch words like new and improved continue to capture or regain our attention.  Advertising has become as much as a part of our culture as grandma's apple pie, another ingenious marketing scheme by the way, much like Christmas and Halloween without those pesky religious overtones.

We can blame the companies for making products like cigarettes but all the credit goes to the ad agencies for every success.  Their campaigns have been dictating what we wear, drink, eat, drive and pretty much anything else you can think of.  As Mad Men's Don Draper said, "Advertising is based on one thing: happiness. And do you know what happiness is? Happiness is the smell of a new car. It's freedom from fear. It's a billboard on the side of a road that screams with reassurance that whatever you're doing is OK. You are OK."






Thursday, 27 October 2011

A New Economy for Vintage Sellers

 

How do I price thee?  Let me count the ways...


I'm addicted to fast paced auctions and my favorite site is Live Auctioneers where exciting sales from around the world run daily.  One auction that caught my eye recently was Guernsey's sale of rock & roll memorabilia from Manny's Music, a renowned store in NYC since 1935, hailed as "where the stars shop".  It became a tradition that famous patrons would leave signed photos to Manny and he covered every inch of the walls with them.  



The collection being sold was astounding; signed pieces by the Beatles, Hendrix, Zeppelin, the Stones, you name it.  Also on the docket were items like records, artwork, posters, Lennon cels and 50 guitars including Elvis' first acoustic guitar (shown left) bought for him by his mother in 1946 when he was 11 years old even though he wanted a .22 rifle instead which they couldn't afford.  (Way to go Gladys!)  


My eyes popped when I saw their estimates.  OMG!  I thought, ok, I know this isn't my racket but would people really pay that much for an 8x10?  Most were sold in lots of 2 to 4 photos and we're talking the lowest estimates were for lots like 3 photos of the Commodores and the Impressions (who?) for $500 to well over $1000 for bigger names like those mentioned above and others like Sinatra and the Doors.  Elvis' Kay guitar was estimated at $350,000 to $500,000, unsigned and it's condition didn't look too hot either.  An item that piqued my interest was an original oil on canvas (shown right)  by former Beatle Stuart Sutcliffe from their Hamburg period during the early 60s, estimated at $300,000 to $500,000.  

I didn't watch the auction but did go back to see the results.  Guess I'm not as dumb as I thought; out of 480 items, maybe 35% sold.  Passed, passed, over and over.  Some items with high starts received no bids and I don't think any item brought in more than it's estimate.  Turns out Lennon's '79 Mercedes station wagon isn't worth up to $300,000 and the artwork shown here by McCartney failed to yield it's low estimate of $7000, imagine that!  I ask you, what kind of world do we live in when a Ramones and Marilyn Manson lot can't fetch a lousy $1200? 



The guitars were newer in general and averaged just $1000 a pop despite being signed by the likes of Clapton and Springsteen.  Not one of the older collector's guitars sold.  A 1953 Gibson Les Paul custom with a high estimate of $30,000 only reached a top bid of $15,000.  A Beatles 8x10 autographed photo brought in $4250 though it had a $15,000 wish.  Many of the photos that did sell brought in $150 range bids.  Elvis's guitar was passed along with Sutcliffe's artwork which received a high bid of only $110,000, in fact, all 4 of Stu's works were passed.  Add in 22% buyers fees, taxes and shipping and not only was the memorabilia unaffordable, it wasn't even remotely realistically priced.   The auctioneers should have listened to Dylan, "The times they are a' changing"...



There are few who haven't been affected by the economy.  It's been so long, I forget when it started.  Even the federal bailouts of 2008 are a blur.  When we're told it's improving, the next week the jobless rate goes up again.  Unfortunately for vintage sellers, the first thing to go on most people's budgets is unnecessary stuff like a pink ostrich boa.  Those luxuries go from shopping lists to wish lists.


That doesn't spell disaster though, sellers just have to learn how to adapt especially when it comes to pricing and choosing what we buy.  Combine ever changing collectors' needs with the abundance of vintage goods from all eras available online and the result is a buyer who can afford to be selective.  


Instead of looking at the present as a "bad" economy, I prefer to view it as a "new" economy.  No doubt, buyers are more interested in items with purpose these days.  I sell clothing so for me this means what I buy has to be wearable, it'll be much harder to sell a piano shawl or Victorian dresses sized -1.  I avoid smaller sized garments because most women just aren't built like Twiggy and I pay attention to trends.  The maxi dresses and mod wear I might have turned down before are good buys for me today.  In fact, pre-1920s is now closer to the bottom of my most wanted list though I would have killed for it 5 years ago.  My education cost me boxes of mistakes so like my buyers, I've learned to be selective.  Sites like Live Auctioneers provide a free education as long as you don't bid on anything of course!  Once you've signed up, you have access to results which can be enlightening.



I'm going on my fifth year selling online and have been told by long time sellers it was so much better before the last decade.  I've seen hundreds of vintage shops both on and offline close these last few years and still believe that if sellers can adapt, they can succeed.  




Sunday, 2 October 2011

The Lighter Side: Pros & Cons of Online Selling


There I was in my loft, surrounded by dozens of garments bags, boxes of listed stock, shelves crammed with hats and purses, boxes of more stuff yet to be listed and then of course those obligatory boxes of crap you swore would be sure fire sellers only to find out how wrong you were.  I raised my eyebrows and wondered, how did I get so much stuff and what in the hell did I need up here again?  

I went downstairs, careful not to trip over the reusable cardboard boxes I put on the stairs meant to go in the loft whenever I have to go up there but always forget to take.  I made myself a cup of coffee, moving the 2 hats I was listing out of the way so I wouldn't spill on them.  I wandered into the dining room that closely resembles a teenager's space.  In fact, the last time we actually saw our lovely 1930s walnut table was Christmas Eve, 2 years ago.  

I say I'll get some listing done today and promptly turn on my laptop and do a little surfing to take my mind off everything.  There's an article in Vogue about how 40s styles are back and reds, oranges and burgundies are all the rage.  Fantastic!  So glad more than half of that lot I just bought is 60s to 70s in blues, pinks and yellows.   

I checked my email to see if I had any sales - zip, 5 days now.  Oh wait, there's an email from RL about the new Google changes to item feeds.  No, that's not right, that doesn't really say I'll have to update 700 listings between my RL and RP shops does it?  

Argh!  WHY am I doing this?

For the next hour, I sat there trying to find some rhyme or reason to selling online.  There's isn't a seller who hasn't felt the same at some time.  It's the point where we wonder if it's worth it.  Feeling disheartened, I made a list of the pros and cons, trying to be as objective as possible.

Pro:  Working from home. 
Con:  I'll just keep my Betty Boop jammies on, I'm only going to the post office anyway. 

Pro:  Be your own boss. 
Con:  Nothing gets done when you haven't got some jerk to boot your butt back to work and ruin your day.

Pro:  I love the thrill of the hunt! 
Con:  My bank likes it too, especially when I exceed my credit limit.

Pro:  Finding good stuff for yourself when you're hunting. 
Con:  Good thing I have call display so I know not to pick up when that bank is calling.

Pro:  I learn so much from all the research I do, I bet I can go on Jeopardy!
Con:  Forget current events categories.  You have no time for tv or newspapers and think it's great too see Ron Paul in politics, it's about time the US had a black transsexual President. 

Pro:  I get the nicest buyers, wish I could have them over for tea and scones.
Con:  Well it WAS in ONE piece when I sent it to you! 

Pro:  Buying low.  Selling high.
Con:  Well, at least it's gone.  I was sick of looking at it anyway.

Pro:  I can type 200 words a minute!
Con:  Did you know "Just One ALEVE® Relieves Arthritis Pain For Up To 12 Hours!"?

Pro: Enhanced computer skills.
Con: "My greatest knowledge is I know nothing."  Thanks for putting that in perspective Socrates.

Pro: Google offers terrific web analyzing tools and anyone can master SEO so all sellers, regardless of size or money, can place high in search results.
Con: It's in Googlese.

Pro: PayPal gets you your money at the speed of sound!
Con: It takes your fees at the speed of light.

And finally, my personal fave...

Pro: Some people simply have no idea what they have!
Con: "Gee, I saw one on the Antiques Roadshow they said was worth three times what you're offering."

Shoot me now.

So why do we do it?  Damned if I know.  I think we're partially insane myself but I also know deep down, I love what I'm doing.  Not so much for the pros listed above, but more so because I just really love old stuff.  All of it, clothes, movies, music, you name it.  Call it nostalgia or whatever, everything was quality and just, well, better period.  There will always be moments of anxiety no matter the occupation but I think a job is easier when passion motivates you.

The best pros will always be this is mine and I did it myself.  When I get really frazzled, I visit my shop and focus on how much work went into it.  The endless nights spent learning about keywords, page rank and all that other good stuff.  So much confusion but you muddle through and now look how far you've come.  We will get overwhelmed at times so don't forget to pat yourself on the back once in a while and for heaven's sake, never lose your sense of humor!

  


Friday, 23 September 2011

The Fortune's in the Teller

 
As a kid, I remember visiting Crystal Beach amusement park in Ontario, Canada. On the Midway, there was an arcade with one of those old fortune teller machines that would dispense a card with your answer on it.  At the same time, the Skylon Tower here in Niagara Falls had a 1920s Mutoscope Grandmother Predictions fortune teller at the entrance of a doll exhibit.  Despite being really creeped out, for some reason I was drawn to these mysterious machines.  Everyone's captivated now since one recently made headlines that have captured America's attention.
 
Virginia City, Montana, was once a gold rush town that evolved into a ghost town turned tourist attraction.  In 1998, the state paid $6.5 million for almost 250 buildings and their contents in Virginia City and nearby Nevada City from the son of Charles Bovey.  Bovey Sr. was a  collector who over the course of several years bought the buildings to preserve the two ghost towns and to store his large collection of music machines like calliopes and coin-operated antique games including stereoscopes and strength, shock and romance tests.
 
 
In Bob's Place, a restaurant, sat the 8' tall Gypsy since the 1950s, dusty and out of order.  When the Montana Heritage Commission (MHC) decided to restore her 5 years ago, interest was piqued when it was discovered she was a treasure, perhaps even a one-of-a-kind.  Instead of a card, the Gypsy was verbal.  Upon inserting a nickel, her eyes flashed, teeth chattered and she told your fortune through a tube using two Edison cylinder machines inside the mechanism.  There were two coins slots, male and female, and where you put the coin determined which machine would be activated.
 
Though unable to complete a full restoration, the curators were careful to keep her as original as possible.  Only period materials or exact replicas were used otherwise the part wasn't repaired or replaced.  In 2008, she became the highlight of the Gypsy Arcade on Virginia City's Main Street where she is located at the rear, isolated by ropes and out of public reach.
 
The Gypsy was made between 1904 to 1907 by the Mills Novelty Co.  Most of the earlier machines are from the 1920s/30s so she is a very early example.  Moving automatons, as these machines are known, were first introduced in the late 1800's by manufacturers like Exhibit Supply and in the 1930s the machines were fixtures in penny arcades.  The mannequins in these machines, sometimes wax, were incredibly detailed and fantastically lifelike.  In the 1950s, old-fashioned games grew popular again and many more machines were produced, albeit without the same attention to detail as the older versions.  
 
Production continued into the 1970s and since then reproductions have far outnumbered originals.  The newer versions and repros can fetch $2000 to $8000 but the older ones can command much higher prices.  The 1928 Doraldina fortune-teller machine sold in 2010 for $12,500 and the asking price for Cleveland's Grandmother's Predictions from 1932 is currently $32,500.  The remade version sells for about $8000.  The famous Zoltar machine from the Tom Hanks film Big is a much later example and the machine pictured is the one of the most custom reproduced automatons today.
 
The debate of course is now over whether or not to sell her.  Some believe there might be a couple more in the world but collectors like magician David Copperfield believe she is the only verbal machine still in existence.  Copperfield is a collector of turn-of the century penny arcade games and reportedly offered 2 million plus a replacement fortune teller machine and a promise to promote Virginia City.  Another interested party is Theo Holstein, a collector and renovator, who is trying to raise $3 million to outbid Copperfield.  He believes the Gypsy needs special care to be restored to full functionality which can only be done in a private collection.  Holstein also feels the machine could sell for as much as 10 million.
 
The curators of the MHC are against the sale of any of the items in the buildings from Bovey's collection.  There are in fact hundreds of thousands, many that have yet to be uncovered by the curators.  Marilyn Ross, the commission's acting director stated, “That is not something we would ever consider, selling off these antiques.”  Unfortunately, the state feels differently.  The recession caused budget cuts in order to keep Montana fiscally healthy and the MHC was reorganized to cut $400,000 from the commission's budget which resulted in the loss of four state curator positions.  Department of Commerce deputy director Andrew Poole said any offer in writing would be considered but will have to be consented to by the MHC and the public.
 
Where will the Gypsy end up?  I suppose the answer is most likely with the highest bidder.  I see the MHC's side; they only want her to be seen.  The collector however, will tell you she needs to be preserved and working again.  I predict whether kept or sold, the Gypsy will inevitably end up somewhere like the Smithsonian, isolated by ropes and out of public reach...
 
 
 
 
 
 

Sunday, 14 August 2011

Vintage Clothing: Looking Beyond the Label

I always thought clothing fraud was limited to modern designer and licensed label items but that's not the case at all.  Buyer beware seems to apply to everything online including vintage clothing, particularly haute couture (HC).  Whether you're a collector or just in the market for a vintage dress or handbag, you need to know what you're buying.

Most vintage garments and accessories are not HC but you should still be aware of what's vintage, what's repro and what's couture.  Vintage styles are always returning to fashion like in the early 1970s when Edwardian style was all the rage and in the 1980s when the 1950s and Victorian styles made comebacks - think granny boots.  Currently, 1960s and 70s vintage style is in vogue and it's easy to be led to believe many of these items are much older than they really are.
 
In the case of HC, a single garment can fetch thousands of dollars.  Ever since Charles Worth opened the first Parisian fashion house in 1858, knock-offs have become commonplace.  In the 1920s, designers like Vionnet, Schiaparelli and Chanel were forever changing the way women would dress and feel about fashion.  Enter Hollywood and the Singer home sewing machine and suddenly every woman could create her own version of a favorite actor's clothes.  The Studios, quick to realize the American woman's love of couture, imported couturiers like Chanel for movie costumes to help increase theater attendance during the Depression. 

Then there were the ready-to-wear lines by the houses.  Madame Vionnet led the charge in 1925 by opening a boutique in NY where she sold garments with unfinished hems in varying sizes so they could be tailored to any body.  So adamant was she about protecting her designs that she fingerprinted her labels  and though she helped introduce the first anti-copyist laws in 1923, these didn't stop anyone.  Department stores had already begun mass producing copies of Parisian dresses and movie costumes like Joan Crawford's dress in Letty Lyndon (Adrian 1932).  


Women were skilled home sewers and patterns were plentiful, some endorsed by the couturiers themselves which even included a label for the garment.  The Studios also provided costume patterns and tips in popular women's magazines.   In the hands of an unscrupulous seller, these home sewn and store bought copies can magically be transformed into something they're not simply by adding a label, be it a newly made fake or a real label from a damaged garment.  The only requirements are a copy that fits the bill and an unsuspecting buyer.  Keep in mind too that vintage fabric is available online along side those patterns; these and a good seamstress are all that are needed for a passable vintage garment, labeled or not.  Educate yourself by learning about sewing techniques not commonly used today.
 
Something that has always irked me about the fashion houses is that none offer any type of archival information.  I assume they want you to buy the current lines for profits rather than drool over what's no longer for sale.  Most offer company timelines but nothing too exact like how to date their garments let alone providing clues for authentication purposes.  The fact is, if these sellers were listing modern repros, houses like Louis Vuitton who zealously protect their brand would be on the phone to their lawyers.  The houses don't care if that 1950s Dior coat really came off a rack at Sears, just don't try to sell a new one.  This means you have to do your own research.  Couture clothing has specifics; bound buttonholes and seam allowances, hand sewing, quality fabric, etc.  The word couture is so ridiculously common in listings these days, be sure to know what constitutes it.

When looking at a listing for clothing, designer or not, there are a few things you'd expect to see like clear photos of all components including the label.  It's all in the details when it comes to identifying couture.  The description should be descriptive; ie, no cookie cutter listings.  Vintage garments are most always unique and descriptions can't use a one size fits all format.  I'm leery of those sellers whose entire used inventory is in "mint" condition and I'm also bothered by listings that end with No Returns or the safety net, "These are used items and  as such will show age. Don't like it? DON'T buy it!"...nice attitude.    
 

Lastly, remember to check feedback on the sites that offer it and I mean read it.  The psychology of feedback is strange indeed.  Some buyers will leave a positive rating for a less than stellar transaction.  I'm not sure why this happens but I suspect they feel any mistakes made were honest ones on the seller's part, or perhaps they feel there will be retribution or are threatened and I've dealt with a few of these bully sellers myself.  Thankfully, some buyers who leave a positive but feel something was amiss will include it in their feedback.  Even if a seller has 100% feedback, it will still be revealing and worth your time to read.

Some of my favorite sites are listed below and are must visits if you plan to blow the budget on vintage clothing.  A little research can save you a lot of time, effort and money.


Vintage Fashion Guild - This non-profit sites offers a label resource, fashion time lines and a free forum to ask dating questions to members:
http://vintagefashionguild.org/

A seriously eye-opening blog regarding the fraudulent use of couture and designer labels:
http://coutureallure.blogspot.com/2010/01/beware-of-fraudulent-label-switching.html

In-depth VCA resource containing links covering all aspects including dating, fabrics, labels and history:
http://www.squidoo.com/vintageclothingresearch

Must have book for buying couture - Couture Sewing Techniques by Claire Shaeffer.  Read an excerpt here:
http://www.isbnlib.com/preview/1600853358/Couture-Sewing-Techniques-Revised-and-Updated
 
A great how-to article from Threads about vintage sewing techniques: