Half Sizes on Film, 1963

Knowing my fascination with half sizes, researcher extraordinaire Davrie Caro found this short 1963 British Pathė film advertising half size dresses made by the American manufacturer Lilly Lynn.  It shows a group of five women touring the offices of the Good Housekeeping Institute, beginning in the appliance testing area and ending up in the makeup room.

The target audience for half sizes—shorter and wider women—is never mentioned directly, but the printed subtitle calls these “dresses for the womanly woman.”  Although that should sound double nice, it somehow implies bigger than usual.  References to size also come in the chirpy commentary, beginning with the a description of the first dress, which “is styled with the purpose of giving a woman breathing space, reaching room, yet with a trim line.”

In my view, there is only one woman, on the left above, who looks like she might need some extra breathing space.  She is also the only one whose outfit has a whiff of the later 1960s, in her short boxy jacket with three quarter sleeves.

Did Lilly Lynn pay for the film?  If so, I don’t think the company got its money’s worth. The brand is only mentioned once, despite flattering descriptions of all the clothes.  Would anyone remember who designed them?  I also wonder if anyone would be inspired by the final line, “Today’s half size dresses make the womanly woman look as trim as she should.”

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Audrey Smaltz–A Life in Fashion

Audrey Smaltz (1937-) is so famous in the world of fashion that I’m embarrassed I only recently learned about her.  In my quest for older women who think fashion is fun, I came across her name in Simon Doonan’s book Wacky Chicks: Life Lessons from Fearlessly Inappropriate and Fabulously Eccentric Women.  I’m not sure she fits in all those categories, but she has an amazing life story.

Born in Harlem in 1937, she began her fashion career New York.  In her thirties, she moved to Chicago and became a fashion editor for Ebony.  One of her jobs was to host the Ebony Fashion Fair, a mobile fashion show that traveled around the country showing the latest styles to Black audiences.

Smaltz with Ground Crew, Ebony, September 2007

After seven years with Ebony, she founded her own company, Ground Crew, which organizes the back stage for all kinds of fashion shoots and fashion shows.  In this capacity, she worked many big names in fashion, including Donna Karan and Oscar del la Renta.  The company still exists today.  She has also written for major fashion magazines.

After a lifetime of dating well known black men, she met her life partner, former Olympian basketball player Gail Marquis, in 1999. After a twelve year long relationship, they were married in 2011.  Since then she has become a vocal advocate for gay rights.

Now in her eighties, she still makes waves at fashion events.  She offers her time and expertise as a mentor to young people entering the industry.  As you can see in the snapshots above, she pays no attention to the more conservative fashion advice given to older women—cover up, avoid bold prints, don’t stand out too much in a crowd.  After a long life in the fashion industry, she can make her own rules.

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Beatrice Wood: Life is an Art

In her 1988 autobiography, I Shock Myself, artist Beatrice Wood (1893-1998) relates that friends once confronted her and asked her to be more conventional in the way she dressed.  She complied, buying a tailored suit.  “Four months had passed when one day I realized that I had withdrawn into a shell. Puzzled, it suddenly occurred to me that I was subdued because of the suit.  I felt uncomfortable in it, totally not myself.  From that time on, I made up my mind that I would dress the way I wished.” (115)

By the time she became a celebrated artist her wishes were quite elaborate.  Her outfits came to show her life story and her wide ranging tastes.  The indigo shibori shawl above might have been bought on a trip to Japan.  The sari-like garment perhaps came directly from India.  And the big bracelets look possibly Tibetan.  Along with folk art, which you can see in the background of this photo, she was an avid collector of jewelry.

Wood took a winding path to become a famous artist.  You can read a short life history here.  The scanty photos of her younger years show that it took her awhile develop her wrapped and decorated style.  In her youth she favored embroidered tunics.  She added more and more jewelry as she aged.  By the time she moved to Ojai California, a gathering spot for independent thinkers, she added hats, unusual dresses, and saris.

Most of the photos of Wood in her old age (she lived to be 105), show her wrapped in shawls and saris, with earrings, necklaces, bracelets, and rings of every color and shape.

If you think about it, she found an elegant way to present her aging body.  Wrapped up in gorgeous textiles, with a jewelry collection from a lifetime on display, she was the embodiment of a motto she lived by: “Life is an Art.”

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Girl Group on Vacation

Found photo

Party on!  The almost illegible writing on the back of this photo says “At Holesko’s cottage in Canada.”  There is no date, but looking at the clothing and hair styles, I’m going to guess it comes from the late 1950s or early 1960s.  The condition of the photo, with rounded corners and a hard plastic finish, doesn’t help. The madras shorts worn by the woman on the right might tip my guess toward the sixties, the age of madras.  However, the women in the back row still wear very long dresses.  What do you think?

Perhaps this shows the female side of a family reunion.  I’m guessing the women came from the US or else the photo would have made clear just where in Canada Holesko’s cottage was.  Judging by their faces their ages might range from their forties (the two with brown hair) well up into their seventies or beyond (the one in back almost hidden by the others.)

What a bold lineup in the front row.  I think the woman on the left wears a swim suit covered with a blouse on top.  Is that a Jantzen logo?  The suit appears to be riding low on her body, giving her a very long torso.  Kudos for showing a lot of leg.  Note the different lengths of shorts on the three in the front, including long Bermuda shorts which were popular in the late 1950s. They cover up almost as much as a skirt. 

1958 Sears Catalog, Fashionable Clothing from the Sears Catalogs, late 1950s

All of those in the front row show normal body changes that come with age, including an expanding belly (the menopot) and higher waist.  And what about the three older women in the back, all in longer dresses?  I guess they weren’t comfortable exposing their bodies to strangers like me.  What did they wear if they took a dip into that beautiful Canadian lake?

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What to Wear to the Grand Opening, 1986

Older women face sometimes difficult choices when they appear at public events, even one as humble as a grocery store grand opening.  On the right is LA City Council member Pat Russell (1923-2021), in her early sixties here.  She has taken a fairly predictable path, with light colored pants, a dark sweater, and a blouse with a bold print.  Respectable and perhaps forgettable, unless you like flowered blouses.

The unnamed woman to her left has a different take on acceptable attire. She wears long braids, a scarf tied at her neck, and what looks like a handmade poncho using the popcorn stitch.  (I looked it up.)  Obviously not bound by current trends, she is a true fashion eccentric.  Was this a dress up outfit or what she wore every day?

While it’s easy to find out about a lot about Russell, the woman on the left is unnamed.  I imagine she is a community organizer who fought hard to get the new market in the largely Black neighborhood of South LA.  You can imagine the advantage of a unique look for an activist—“Just look for the older woman with the long braids.”  I wish I knew the color of the poncho and whether or not she made it herself. 

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Older, and Even Older

Found photo

To study older women is to lay claim to a very large field.  Women can live a long time after fifty, and people react to changing styles in different ways as they age. You can see that very clearly in what I suspect is a mother-daughter photo from the 1920s, with both women well advanced in age. The daughter on the left, maybe in her fifties or sixties, still shows some interest in the current fashion.  She wears a dropped waist dress with a long slim line. Her shoes are a popular twenties style, and she wears them with flesh colored stockings. Note that she has also bobbed her hair.

The mother, maybe in her seventies or eighties, has a more tenuous relationship to the prevailing styles.  Although her dress has a dropped waist, it is very full at the bottom and also quite long.  Her hair is gathered up on the top of her head, a style she might have worn for decades. She has on sensible black lace-up oxfords, long beloved of older women, worn with heavy black stockings. 

I have an imagined conversation between the two. “Mother, you could look younger if you just changed your shoes.”  And the mother replied, “I don’t take fashion advice from someone who has cut off all her hair.”

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Famous Childless Cat Ladies

What would the arts in America be without its childless cat ladies?  I give you a small sample from the delightful book Cat Lady Chic by Diane Lovejoy.  It features all kinds of famous women with their cats, including actors, dancers, singers and artists.  These three are the oldest in the book.

Here’s a brief overview of these important women.  Elsie de Wolfe (1865-1950) gained a reputation as America’s first important interior designer.  She also was one of the women who popularized French couture in this country.  Her style was sophisticated and understated, which I think you can make out here with her elegant suit, her pearls and her interesting gloves.  Georgia O’Keeffe (1887-1986) is one of America’s most noted painters.  Her simple clothing style has gained great attention recently.  Note the geometric print on her scarf, perking up a dark outfit.  The woman on the right is the artist, writer, and ceramicist, Beatrice Wood (1893-1998).  She hobnobbed with Dadaists in Paris and New York and then went on to found her own art center in California. Known for her interest in Eastern philosophies, she dressed in saris and long embroidered robes, enhanced with dramatic jewelry. She certainly deserves a post of her own.

Let’s celebrate our childless cat ladies—a gift to American culture.

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The Faces of Age in the Saturday Evening Post

For a new research project, I’ve been looking through the Saturday Evening Post in the early twentieth century.  If you pay a mere $7 a year, you get access to every issue—a bargain in my book.  I did a visual study of the covers from 1912-1913. The majority depict beautiful young women of the Gibson Girl type.  A few are imagined scenes from American life, like boys fishing.  And a very few—6 out of 102—show older women.  The six drawings fall easily into two categories—the shrewish older woman disapproving of her husband and the loving granny in charge of her grandchildren.

What is astonishing about these drawings is the consistency of the women’s clothing, despite the fact that they were drawn by different artists.  All wear black.  All but one has a lacy frill at her neck.  All but one has a black hat, and the outlier wears a black bow.  Stereotypes have some basis in reality—after all, many older women did wear black with white lace at the collar. 

However, many older women did not look like this, at least not all the time.  They wore shirtwaists, just like younger women.  They dressed up for the occasion.  They wore white.

Stereotypes can severely limit our vision.  “Where are all the sweet old ladies in their bonnets,” wondered one writer in Ladies Home Journal in 1907.  Maybe there hadn’t been so many of them all long.

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Party Time, 1962

Found photo

On the back of this photo, someone has written in green ink “July ’62. Celi’s party. Camp.” At first I thought it might be some kind of amateur theatrical event, with a painted background and the fans as props.  But on closer look, those must be real trees (hence “camp”) and the meaning of the fans remains obscure.

These older women are dressed in a range of clothing styles–the ubiquitous house dress/street dress at the center, a shirtwaist dress, skirt and blouse variations, a cardigan style jacket, and even a younger looking one in pants.  However, there isn’t a very big color range.  It is mainly light blues, whites, and beiges, with one dark red dress and wild purple pants thrown in for contrast.  Despite what appears to be a fairly broad age spectrum (from the seventies to the forties?), they all have very similar hair dos—tight curls close to the head.  I’ll bet that many of these were the product of permanent waves.  At least one of them dyed her hair—look at that wild red head on the right (a woman after my own heart).

I wonder if this was a summer retreat associated with some women’s club or organization.  The fans perhaps were party favors—or maybe they were gearing up for a production of the Mikado.

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Waltzes from Chicago, 1931

In 1931 British Pathé, a wonderful source of historic newsreels and documentaries, filmed a celebration of Chicago oldsters dancing to a German oompha band.  Reader Davrie Caro sent me the short clip, which you can see in its entirety here: https://www.youtube.com/watch?v=FGdwOJHRaeM. All of the dancers were over 80 years old.  If you watch the film all the way through, you’ll notice that not all the dances were waltzes.

There is so much to say about the women’s clothing!  Skirt lengths had fallen by 1931, but they were still quite a bit shorter than most of the dancers are wearing.  A glance at the background shows quite a difference between the outfits of the older and younger women. 

In fact, it looks like some have on very old clothes, or at least clothes that had no resemblance to the current style.  The woman above, in what looks like an unbelted wrapper dress, even has on the lace up boots that were popular in the teens.  Maybe she needed the ankle support to dance.  And speaking of shoes, in the background of the photo above you get a quick look at those strappy shoes in vogue in the 1920s.

Notice the many frilly collars, a number made of lace.  There are all kinds of textiles on display, from plain colors to larger prints.  Many wear what looks like white, or at least a very light shade. Polka dots are also in evidence!  The silk looking dress above, with dots woven into the fabric, is my very favorite.  It seems to glisten when she dances.  And doesn’t she have a very spry partner?

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