Modes and Mannequins

Max Boy

• Publisher: V&A Publishing
• Year: 2018
• eBook ISBN: 9781851779543
• Topic: Design
• Subtopic: Fashion Design

First published a year after World War II ended, this fictional text was written for a generation of women starved by war rationing of both clothing and makeup. Speculation on the true identity of the author takes in Norman Hartnell and Edward Molyneaux.Written in the format of a fashion show, the fantastical narrative describes a stream of mannequins as they step onto the catwalk, each bedecked in robes made from yards of silk, velvet and brocade, in a myriad of colours. The reader is invited to sit back on an apple-green taffeta settee, in a beautiful Salon with its roses and crystal pendants, and enjoy the show. The intention is pure pleasure, and the dresses are 'designed for the occasion'.

MODES & MANNEQUINS

This is a book without chapters, but I hope that the story within its pages shall not appear to you without incident. As far as I am aware, the idea of presenting – in cold black-and-white print – a parade of dresses for the entertainment of a reader is a new one, but I may be wrong in this matter; however, the cost of producing it in this form is certainly the most practical at the present time; but if the film people can make it more acceptable and colourful at a later date (and there is every possibility that they may attempt to do so) that will be their business.

First of all – just think of it – we can use as much cloth as we like, for the supply of material in yards is without limitation as far as we are concerned! Also, the ladies of the parade can be just as slim – or as bulky – as we like to imagine them, and there shall be no disapproving censor at the showing to inform us that such and such a thing is cut away too much at such and such a place, or that we have been too extravagant in allowing so much stuff for one gown. . . . No, the creations shall appear just as they have been originally evolved – without any sort of interference from anyone – and if I hear your approval, or disapproval, at the presentation of each model, I shall feel that the work has been justified, for the fact that you have remained to take notice – one way or the other – shall convey to me that your interest has been held.

Please be comfortable and at ease before we start. A famous House would most certainly employ people to help you to this state. Alas, the best that I can do meantime through this medium is to mention it. It is quite a private show and we are just on our own – apart from the girls. Are you ready? Very well then; just try to imagine that we are there, in this beautiful Salon. It is a very large room and the walls and ceiling are of glossy cream-colour. These walls are high, and from the centre of the ceiling is suspended the electric fitting of crystal pendants. It hangs by a thick cord of blue silk, the tassel of which is far from our reach. The ‘candle’ shades on the fitting are, of course, silk, and the colour of putty. They are bound with silver.

This artificial illumination is required just now, for the powder-blue velvet curtains have been drawn; but the room is not bright, and everything is quiet. The fitted carpet is grey. There is very little of anything in the room now. A few gold chairs and three very large settees covered loosely with apple-green taffeta. The cushions on these are numerous and are in the rose-Dubarry shades: they are velvet. A low, frosted-glass table of great circumference supports a silver rose bowl in which are these flowers of the cream and pink shades. There are no ash trays, for smoking is not usual here.

At the far end of the room there are double doors through which means the mannequins will make their entrance, and these ladies will walk towards us very slowly and gracefully, and we shall have the opportunity of close-up inspection when they arrive beside us. Not one shall remain longer than is called for, and shall make her exit through the small door at our left.

The time is your favourite hour of the day and you have leisure. The clothes that I am going to try and describe for you are not for sale, so you may feel quite at ease on this matter – you will not be approached by anyone at this Salon to buy. For this reason, many of the gowns will be very expensive and just as costly as my imagination cares to make each appear. Some will certainly be inexpensive – none, I trust, will be cheap.

Again, please be comfortable, and when you are in need of some other diversion just let me know, for the parade can quite easily wait, and only commence again when it is your wish.

If you, dear Madame, are a lady inclined to stoutness, please do not stay away for fear of seeming out of place in this setting. Without you, there would be no inspiration to design clothes that are slimming. Please do not wear black at every possible occasion. Remember that rooms in these times are mostly light in colour – like the one I have so recently described – and your black, which you had so carefully selected with the object of hiding your size, is silhouetted most noticeably under the circumstances. Black is the most difficult ‘colour’ for any woman to wear, and should only be worn by the very young, fair and lovely. Others may tell you differently, but this is my opinion.

Would you like some music? Perhaps in the meantime it will be better to preserve quietness, but, if sometime later sound can help the effect, and I believe that it can, I shall not hesitate to introduce it!

I have arranged for the girls to start with a few simple frocks with perhaps a wedding gown here and there – just to see how we get along. Please be confident that all the workmanship is of the best. The sewing is by hand, and I have personally seen flat-irons used for pressing. When I tell you that a garment is tailored and fitted, it certainly has been made to measure, and will only appear perfectly correct on one body – the one it was made for. The girls are all happy in their work, and I shall look forward to seeing a smile here and there. Some of the dresses are ‘sensible,’ and some are made ‘just for fun’. Let us take a peep, shall we?

1

The doors open quickly, and there, standing at the far end of the room, is a mannequin clothed in a sunny colour. Now she has commenced to walk towards us, and as she approaches I am more able to distinguish detail and also describe her clothes for you. We refer to a programme at hand and are informed that the material is a crêpe. The girl is wearing a simple suit of this material in the colour of pale primrose. The skirt is short and not wide, but I see no pleats to facilitate walking; however, perhaps they are there although they are not seen, for the mannequin appears to have no difficulty in walking the length of the room. The revers of the little close-fitting jacket show white velvet, and the young lady wears a white felt hat, minus any form of trimming other than its beautiful shape, but light blonde hair is noticeable and the picture is altogether very charming. I see that her shoes are court shape and of black patent leather. Her neat little bag is also of this material. She turns for our inspection, and still we can find no pleats. Then she smiles and leaves us.

2

We adjust our sight in time to see the doors again opening and we watch the model entering the Salon. She is very tall, dark and slim, and she has brought the same colour of spring with her. Now she is nearer and I can tell you more. The mannequin displays an evening frock of tulle, and there is something of the ballet about it. The bodice fits closely, however it is not of satin. The whole dress is of tulle and it touches the ground all round. Perhaps it dips a little at the back but I cannot yet be sure. The skirt is very full, and there must be a great number of yards of material in it. The perfectly-made bodice requires no shoulder straps for support. This lady is wearing her pearls – and they are very large too – in her dark hair. Primroses are carried on the little gold bag, and the mannequin opened this to show us that it contained a very large handkerchief of black chiffon. I was pleased that she dropped something from this handbag, for the gentleman who was waiting to help her into a primrose velvet wrap was thus able to bend down before her. I never saw her shoes, but I suppose they would match her dress in colour, yet be of satin. They could be shoes too of intricate cut and I would like them to be with really high heels. They would look delightful if discovered under the mist of tulle. Did I mention that she had no colour on her face excepting her dark lipstick and gold eye shadow? She may have had gold finger nails too under those black velvet gloves, but we were never given the opportunity of knowing. We watched her partner close the door behind them.

3

I shall be disappointed if another yellow dress turns up on the third model! Thank goodness we are spared this. The doors have again opened but this time to reveal a beautiful shade of rose. It is another picture frock, as far as I can see, and again there is a lot of material in it. The lady is advancing, and this time a noise comes with the dress, for it is composed of much stiff silk which makes itself heard. The light is catching it beautifully and the lady knows that she is holding the attention. It is similar in design to the previous gown but there is a great difference. Her waist is truly small and there is a row of little silver bows down the front of the bodice. This one is very low – they call it décolleté – but a lot of tulle in the shade of the frock and edged with fine silver lace has been bundled about her shoulders to counteract any hint of nakedness. The things these dressmakers do! Would you believe it – she was wearing black velvet slippers, and narrow ribbon of the same material and colour was tied in bows about her wrists. She was so young too, and oh – so fair. Her hair was parted in the centre and taken to the back of her neck. She had no wave, but her hair was beautifully shiny. She came up quite near to us and turned very slowly. She was smiling too, and I feel sure – asking for applause. Then, quickly – the first quick movements that she had made – she picked up her dress and was away in a flash. What a noise it made in the hurry, too!

4

Here is our fourth lady approaching. I did not see her entrance. I am just a little bit afraid of this one. She informs us herself that she is wearing a ‘supper gown’ and that it is lined throughout with gold. We must take her word for this, for we can only see the deepest of purple wool crêpe. It is a narrow and fitting silhouette but very long. She appears to have difficulty in movement, but the dress may not be to blame. There is a long-sleeved jacket with it, and she is wearing a gold turban and earrings of emeralds. Then the music of a tango steals into the Salon and the lady turns her jacket inside out. She is able too, to turn up the hem of her skirt. We see the gold after all and feel like saying ‘sorry’ for doubting her word, but her dancing partner has arrived now, and he guides her from us. With the lifting of her hem for just a few inches, we could see that her tango shoes were as bright as her earrings. A very dangerous model, I should think! Don’t you agree?

5

We are still waiting for the fifth model to appear when only one of the doors is opened slowly and out ventures a shy little thing. Without affectation but with great timidity she makes her way to where we are waiting. Surely she has not seen seventeen years yet, and she is, without exaggeration, truly delightful to regard. She wears a frock to suit her years. It is lilac silk spotted with white and brown, and she swings round quickly to send the hem of her dress to the level of her belted waist and we see a lot of white stuff. I think she must have been younger than we imagined. I thought she was carrying a crumpled handkerchief in her hand, but it may have been a bag of sweets.

6

Another simple suit follows. It is coat and skirt of grey corduroy, and fastened with pale blue enamel buttons. A flowery blouse of crêpe de chine in grey – many shades lighter than the suit – shows about the opening of the jacket, and choker pearls of great size are worn. She is very fair, and wears a blue ribbon in her hair. The suit was simple, but it was not worn simply.

7

The double doors open to the sound of two cymbals being clashed to make entrance for the seventh costume. The colours of the fuchsia have been used to great effect, and a swirling mass of these hues comes quickly halfway up the room towards us, then the mannequin stops and holds out her arms at either side. Many silks and gauzes have danced about her legs but now repose in great piles of colour on the floor all around, and gold fringe hangs about her arms and breasts. This fringe is only a few inches long and covers a foundation of net. She is very pale and her black hair which is parted in the centre is long and curly, and bushes about her shoulders. A very large ruby is studded in one ear, and in the other she wears an aquamarine of equal size and brilliance. Her lips are scarlet, and a moist green eye shadow has been used. Her smile shows extremely white teeth, and she lights a cigarette. I think she is in her bare feet too. I am not sure whether I wish her to remain or not, but she goes quieter than she arrived.

8

Now, there comes a beautiful bride. She walks very evenly towards us. As she approaches we see the gown in detail. It is of shell-pink chiffon embroidered at the hem, shoulders and wrists with silver threads and minute crystals. It fits over her body from the neck to the knees without a wrinkle in the material, and from there it spreads quickly to many, many yards of hem, and trails four yards behind her. A mediaeval headdress of great elevation supports yards and yards of shell-pink tulle. This tulle trails farther than the train of the dress, and is embroidered at its conclusion with multi-sized stars of silver thread. She carries a large white muff of ermine, and also white lilac tied with ribbons of silver and powder-blue satin. We never see her feet or the colour of her hair, but the lids of her eyes are made up heavily with blue, and her mouth is very pink and shiny. Four little boys in grey velvet suits, with each a sash of powder-blue satin, travel with her on this journey. Please do not imagine little black tails on the bride’s muff: there are none. She has gone now, and taken a beautiful fragrance with her.

9

The ninth model is on its way. A sun-tanned girl with almost silver hair wears a bathing suit of white silk. Her woollen cape is deep cream and is lined with bright emerald-green silk. She wears slippers of cyclamen and carries a mauve towel.

10

Model, number ten, is not long in following. This is a party frock. A very wide skirt of gold net fails to reach the ground at the front but trails a little at the back. The bodice is of the same material, and the whole is worn over a short slip of pink. A few roses of a deeper shade than the slip find their way on to the dress near the centre front and close to the ground. The girl is wearing court shoes of intense blue satin, and a long cape of the same material in the same colour hangs from her shoulders. This is lined with the material of her slip. The model, and the girl, were not very interesting, and we did not mind their passing.

11

Here is a real beauty now. She must be approaching six feet in height. The narrow gown is of lime-green satin and is slit to one knee to aid her movement. A tight-fitting jacket with long close-fitting sleeves is of velvet in the same colour. It flares surprisingly high above the hips and is trimmed with fringes of monkey fur. The diamond and emerald bracelets from one wrist mount nearly to the elbow, and she has a long scarf of black chiffon spotted with gold. The shoes are of black and gold brocade with very high pink heels. Her face is very beautiful and delicate, and her hair is of the fairest. A perfume pervades the atmosphere just now, and lingers too for some time after she is gone.

12

Number twelve has made her entrance now and comes so far. A close-fitting gown of scarlet sequins makes her body ablaze. It trails to a narrow panel no wider than a foot, but is about a yard in length. A hip-length cape of white fox is lined with grey satin. Her black hair hangs long and loosely about her, and her cigarette is completely gold. She allows the fur to be removed and turns round to let us see that her gown could not possibly be cut any lower at the back. As it is, she is taking the precaution of again wearing the white fox before coming nearer to us to make her exit. She never once looked in our direction. The dress caused a great noise.

13

Number thirteen, poor dear, has been given to wear a gown mixing blue and green. She is perfect in form and can do this quite easily. The foundation is a dull white, but silk chiffons of blue and of green have been crossed over her breasts and tied at the back of her waist to spill down the white and form a train. Her hair is red and piled high, and she wears diamonds in her ears and round one wrist. She carries a small silver bag, and her finger nails are long, green, and highly polished. This one had a perfume too.

14

‘Fourteen’ has some difficulty in entering the Salon for she is wearing a wide crinoline, but at last she escapes the framework of the door and swings into the commencement of her journey up the room. The d...

Table of contents

• Cover
• Title Page
• Contents
• Foreword
• Author’s Prelude
• Modes & Mannequins
• Intermission
• Copyright