March Comes in Like a (Chanel) Lion

vintage Chanel pins incorporating Chanel's Leo; the modelling is intentionally irregular, evoking the cast metal brooches of antiquity; photo SwF
Karl Lagerfeld at the end of the Fall/Winter 2010/2011 defile; photo courtesy of isaaclikes.com

this giant lion was the centre of the Fall/Winter 2010/2011 Chanel fashion show; it was modelled after one in Chanel's apartment; photo courtesy of isaaclikes.com

this wall relief of the head of a lion in the window of Toronto's Chanel boutique is a perfect specimen; he looks classical, is very symmetrical, and is brave with out being terrifying; I like the way the pupils are drilled and his rather baroque mane, photo SwF
the pin on the left is vintage Chanel, the one on the right is by Miriam Haskell, photo SwF

The month of March is upon us. I noted that the windows of Chanel boutiques have incorporated a large relief of lion's head. Lagerfeld is constantly mining the Chanel vocabulaire, and has used the lion motif before, as did Chanel before him. Chanel's sign was Leo and she was fond of the motif. The stone on her grave in Switzerland features five lion heads, a reference to her zodiac sign and her lucky number.

Many vintage pre-1970 Chanel couture buttons had lion's heads on them rather than a double C logo that is so popular today. Chanel wasn't fond of plastering the logo all over, and when she did, it was inconspicuous enough to be almost invisible. I believe she wanted quality, originality, and beauty to be self-evident. Looking at her superb vintage designs, inevitably it was.

The lion motif is creeping back into recent Chanel collections; a coveted quilted lambskin bag has a bold lion head motif on the closure and there are waiting lists for this $3,000 bag. Current fashion dictates that silver and pewter effects are surpassing Coco Chanel's classic gold, but I think a lion motif can only be in gold, and if a more modern look is desired, a soft or faded gold.

The current Chanel boutique window display appears to be the first time that the lion has been used as a play on themes during the windy month in which spring begins in the northern hemisphere..."In like a lion, out like a lamb."

Here comes Mr. Lion with a great big ROAR!

More cold winter, quick shut that door!

This little lamb thinks it would be nice,

If March was the end of the snow and ice.

Author Unknown (lost in the mists of childhood)

Canadian Chanels? Well, Montreal is our Paris...

a Linton tweed suit by Auckie Sanft of Montreal features a band of the diagonal rib material used as a welt or piping, an innovation likely adapted from an original Chanel using the identical fabric

this was sold at the prestigious St. Regis Room (also known as "the Room") of the flagship Simpson's store (now owned by the Hudson's Bay Company) on Queen Street in Toronto
labels of the above suit

note the gilt buttons with double CC Chanel buttons, and the skillful way the material has been manipulated to make an excellent edging

In three decades of experience of working with and studying vintage clothing, I’ve seen a lot. The spectrum ranges from pristine Paris couture to decades old Levi’s denim, to rare and valuable leather motorcycle gang or WWII aviator jackets with cartoon like leather appliqued motifs. For the most part, the search, be it at prestige auctions, estate sales, antique shows, Salvation Army outlets, or in curbside garbage, is like finding a needle in a haystack. In spite of limited success and discovery I consider it a pleasurable treasure hunt for grownups.

When one is confronted with heaps, stalls, and racks of vintage clothing, the eye learns to quickly scan for colour, quality, rarity and the unique. Go looking for a specific item and it will never show up, but the unexpected often does. In this search anything is possible…like the colourful leather Wonder Woman boots. Where did they come from, and how were they used? Were they part of a very elaborate Hallowe’en costume, or were they an ironic accent in a circa 1970 hippy outfit?

Of course one is excited to find vintage Chanel, Hermes and Vuitton, but after looking at thousands and thousands of items, I’ve come to conclusion that there are plenty of other brands, or even anonymous pieces, that are as good as the most prestigious brands. For example, the leather goods of the American firm Ghurka or even pre-Chinese manufactured Coach sometimes surpass Hermes in quality, design, and durability, and are 1/10th the price. Some “Vuitton” items are lined with leather rather than fabric, and are better made than the originals.

One of the interesting vintage products that I see from time to time, are the fine clothes of Montreal designer Auckie Sanft. I am not sure exactly what years they were in production, but stylistically, the pieces I’ve encountered would date from 1960 to 1975. Their signature look was an interpretation of the classic Chanel tweed suit, and they did some very carefully selected copies of iconic French designer dresses, such as Yves Saint-Laurent pop art dresses from the period. But it is these Canadian “Chanel” suits and jackets that are remarkable. They are beautifully made and styled. They have gilt buttons with the famous Chanel interlocking double C logo. The tweeds are superb Linton (linings have the Linton tweed label), identical to those Coco Chanel herself selected. These tweeds are light, soft, and show an adept use of colour and texture; they are as visually satisfying as artisanal tapestry.

this late 1960s Auckie Sanft Linton tweed suit has an orange lining, and russet and tangerine yarns in the fabric

note the wear around the buttonhole, through the lining to the canvas inner construction; the tweed exterior is entirely unworn and looks like new

Auckie Sanft pieces were sold at the Simpson’s St. Regis Room (ironically they sold original Chanel later in the 1980s and early 1990s), Eaton’s, Holt Renfrew, Creed’s, and the WASP-y Ada Mackenzie shop in trendy Yorkville.

How does an Auckie Sanft suit differ from a vintage Chanel original? The linings were not silk, the jacket hems are not weighted with gilt chains, and they didn’t come with matching blouses. An original Chanel jacket usually uses 3 varying sizes of buttons; on a Sanft jacket the buttons are all of one size. They also lack the triangle inset of material under the arm where the sleeve is affixed to the body of the jacket (this gave ease of movement). Other than this they look, and can absolutely pass for Chanel. I’ve found Sanft Linton tweed jackets in which the linings are worn to shreds, but the tweed itself shows no wear whatsoever. Like Harris tweed and other fine fabrics, it is incredibly durable.

If ever you come across an Auckie Sanft “Chanel,” grab it. It looks as good as a new $10,000. Chanel jacket and it will be under $150.00, sometimes much less.

I’m not sure if there was a sort of licensing agreement with Chanel or use of a toile or pattern when Auckie Sanft produced their pieces and put gilt CC buttons, but whatever their arrangements were, if any, they are an excellent example of how a coveted example of Paris couture fashion was translated for the North American, specifically Canadian market. For this reason, I’m sure there are examples of Sanft “Chanels” in the textile and fashion collections of Canadian museums.

the Canadian made garment with union tag is now as rare as a horse and buggy; even some of the most prestigious manufacturers, such as Brooks Brothers and Coach, are now manufacturing in China

fine suede detailing on a pocket

this mid 1970s Auckie Sanft Chanel suit is noticeably more subdued in colour than the preceding earlier example; it was retailed at Eaton's of Canada, and the original price was $350.00; today's price would be about 10 times that, still a third of the price of an original Chanel

CIAO ROBERTA DI CAMERINO 1920-2010; the Loss of an Italian Fashion Legend

Roberta di Camerino, circa 1970, wearing a dress of her own design with a printed, trompe l'oeil 5-buckle belt; image courtesy of irenebrination.typepad.com

Roberta (Giuliana) di Camerino in 2005, note the cardigan with panels of silk twill printed with trompe l'oeil effects; photo, legacy.com

Fashion today is so democratic. The most prestige houses often have entry level goods such as fragrance, scarves, key chains, or limited edition diffusion lines. Greater availability raises awareness of a brand and brings in a younger customer base, but in the 1960s and before, high fashion had an entirely different demographic, and it was much more exclusive. Unlike today, Vuitton and Gucci boutiques were not in every major city around the globe. While more customers have access to good design and to quality, there is a certain loss of mystique when goods are readily available both in person or through Internet purchase.

One of the very creative designers who never really became a household name, but held a special place in the hearts of the fashion cognoscenti, was Roberta (Giuliana) di Camerino(née Coen) of Venice. While recently researching vintage di Camerino pieces I discovered, I reread her fascinating biographical details but was saddened to learn that this exceptional designer died in spring of this year. She passed away exactly 3 months after Alexander McQueen, but her death was not reported or discussed in many fashion or news forums. The two designers couldn’t have been further apart in design philosophy. McQueen was a still young rebel, and his most documented and memorable clothes were conceptual art to be observed. They were dark, often sinister, and difficult to wear. Camerino clothes and accessories, while unique and creative, were eminently wearable and light hearted. As a Jew, she found it unecessary to create anything sombre after living through the fear, darkness, and pain of the war.

Her fashion house was founded in 1945, and still exists in Venice. Imagine a designer working successfully in a signature style for 70 years. That has to be a record of some sort in the world of fashion, where designers fall quickly out of fashion. She was best known for her superb velvet handbags, and for interesting trompe l’oeil effects that appeared as pleats, buttons, buckles, saddle stitching, pockets, and other details, but were in fact printed on the textiles of accessories and clothing. Her work made use of centuries old Venetian crafts, artisans, and traditions. The pigments, textiles and hardware were of the finest quality done in ancient, historic workshops. The fittings were made by the same artisans who made fine bronze hardware and mounts for Venetian gondolas. The artisanal, two centuries old textile firm of Bevilacqua, wove Camerino's velvets on ancient hand operated looms that have made fabics for the Vatican and the most prestigious and historic Italian villas and palazzi, not to mention palaces and embassies around the globe.
shop facade of Bevilacqua, supplier of velvets for Roberta di Camerino's signature purses, and purveyor of deluxe handmade textiles for 200 years; the shop is in the centre of old Venice
http://www.bevilacquatessuti.com/indexingl.htm

early 1970s dress printed to look like a sporty nautical blazer, necktie, and pleated skirt ; CoutureAllure.com

a trompe l'oeil effect evening gown printed to appear as wrapped and draped silk jersey; image from CoutureAllure.com

What is wonderful about Roberta di Camerino is that the look is original and distinctive, and has maintained a signature look throughout its long history. I would put this design house in the same league as Chanel, Pucci, Gucci, Vuitton, Lacoste, Burberry, and Hermès, but prior to the global distribution of today. You see it, you know what it is, and a venerable and prestigious history is evoked.

There have been two exhibitions of her work; in 1980 at the Whitney, and in 1999 at the Fashion Institute of Technology. In the 1950s her bags were carried at Neiman Marcus, and like Chanel (in 1957), Yves Saint-Laurent (in 1958), and Dior (in 1947), she was honoured to receive their fashion award in 1956, along with Cecil Beaton. Undoubtedly, there will be exhibitions and perhaps a book in the near future, as her recent death has brought about greater interest in her work.
Roberta di Camerino accepting her Neiman Marcus award with Cecil Beaton, 1956; note the black cut velvet evening bag of her own design; image courtesy irenebrination.typepad.com

What is important about di Camerino as a designer? What sets her apart from the hundreds of others who struggle to reach success in this unforgiving and competitive field? The designs were absolutely unique but wearable. They were of the finest quality. Essentially, she took centuries old crafts and concepts (printed and woven Venetian velvet, and trompe l’oeil), and made them relevant and amusing for the 20th century woman. She was commercially successful but the products were never ubiquitous. Her work promoted Italian and Venetian heritage, skills, and products. In an age of excessive self promotion, she subtly changed her real name for commercial use, in order to maintain a degree of privacy for herself and her family, and preserve a sense of discretion and mystique. I am reminded of other great designers such as Mainbocher, Mad Carpentier, and Louiseboulanger who also adapted family names for business purposes, creating a sort of sartorial nom de plume, or rather a nom de ciseaux.

A wonderful story about her has often been repeated. Di Camerino was a client of Chanel. It isn't surprising, as she admired quality, fine workmanship, wearable design, and fashion talent. She was upset about the blatant copying of her distinctive velvet bags. At the time, they were seen on the arms of stylish women such as Grace Kelly, Soraya, Maria Callas, Sophia Loren, Paola of Belgium, and Elizabeth Taylor. Chanel told Camerino that she should only cry when they stop copying her. Her influence is seen in many vintage inspired fashions today. The designs of Moschino have shown Camerino influenced pieces, especially things with whimsical trompe l'oeil, in several collections over the past 25 years. The house of Moschino has also maintained a powerful image that is both humourous and ironic, and at this time is the one house that best carries on the sheer inventiveness and wit of di Camerino, and at times, Elsa Schiaparelli.

a soignée Roberta di Camerino with her iconic velvet bags, late 1950s; like Chanel, her pearls were a constant; image courtesy of irenebrination.typepad.com

During the 1970s in Toronto, Canada, a handful of her designs were carried at the old flagship Eaton’s (a cross between Macy’s and Bloomingdale's) department store in Toronto. I remember the first time I saw them around 1975, and I was intrigued by the trompe l’oeil effects that made them unlike anything I had ever seen. Within the last decade, Camerino velvet handbags were available at Canada’s most exclusive clothing store, Holt Renfrew. As beautiful as they were, the luxury accessory client in North America seemed pretty much devoted to the more widely promoted luxury brands, and sadly Holt’s ceased to carry Camerino's wonderful printed velvet doctor-style satchels.

Splendid examples are available on eBay and through vintage clothing shops. For anyone who appreciates Italian heritage, unique design, quality, and an amazing history, a Roberta di Camerino bag or trompe l’oeil scarf or dress is a fantastic addition to the wardrobe. And as serviceable as black is, isn't nice to know that there are colourful alternatives?

A cotton canvas tote bay from Old Navy, spring 2010 collection, showing the trompe l'oeil effects that were first shown in the designs of Roberta di Camerino, photo SwF
detail of silk screened faux saddle stitching in the above tote bag, photo SwF

printed wool dress, with boldly graphic draped blowing skirt effect, circa 1980, this very representative piece is available at mlvintage.com

the classic Camerino 1950s velvet satchel that was worn by Elizabeth Taylor and Grace Kelly; the designs were reissued in the 21th century, riding the wave of interest in vintage fashion; CoutureAllure.com

Bastille Day 2010, from Chanel

a charming crocheted cardigan and skirt with appliqued flowers of very fine gauge crochet; shoes with wooden heels and insteps embellished with pinwheel ribbon flowers

Bastille Day, the national holiday of France is celebrated on July 14. The French are very patriotic, and tricouleur flags and bunting are never in short supply on le quatorze juillet .

In the spring/ summer Chanel 2010 which had a rustic, country theme, Lagerfeld had a mini collection within the collection, consisting of four pieces with a Bastille Day theme. The most popular look was a beautiful off white silk/ linen crocheted cardigan and matching skirt that were appliquéd with very finely crocheted red poppies and cornflowers that evoke a summery meadow in Europe, as well as the colours of the French flag. It was carried in many of the Chanel boutiques, and it was widely photographed for fashion magazines because it was so wearable, fresh, and delightful.

Matching shoes and handbags, embellished with brilliant summer poppies, co-ordinated with the outfit. Tricouleur outfits are not new to Chanel nor to other designers. During the war, in subtle defiance of the Nazis, Chanel and other designers did muted tricouleur dresses...pink, powder blue and white. After the liberation and the end of the war, several Paris designers did tricouleur outfits in celebration of peace and victory.

The use of wheat with red poppies and blue cornflowers is a classic European summer look is notable in the folkloric costume of middle Europe and one that surfaces in the collections of current fashion designers from time to time. Yves Saint-Laurent was well known for revisiting this theme in his charming summer boutique and couture collections. The look is very easy to adapt. Take a simple, light, off white cotton sweater and embellish with red and blue flowers. Not only is it very pretty, it is easy to wear, appropriate for many occasions, and it is classic and will never look dated. What more could you ask of a summer outfit? Chanel spring/summer 2010 crocheted bag with appliqued poppies and cornflowers; these flowers are the same as those on the cardigan above; note the muted, pale gold metallic closure

Above, a tricouleur dress of off white crochet, over midnight blue silk, appliqued with pinwheel style ribbon flowers (also on instep on the faux bois shoes). Chanel is known to use Mokuba ribbon, though this look is labour intensive and expensive, it could be interpreted by a person with the most basic sewing and craft skills. The draped stole of nylon tulle is also easy to make. Tulle is never hemmed, just cut. The stole consists of purchasing the length of fabric desired, then draping it artfully. Here Lagerfeld gave interest by combining white and darkest midnight blue tulle.


detail of one of the hand crocheted cornflowers that were applied to sweaters and handbags; here the textural interest of the knit sweater and the crocheted flowers is evident in a way that it is not when viewed on quickly moving models on the runway presentation

front of silk/linen pullover, made in Italy from the Chanel "Bastille" country look collection; image courtesy of "darmardan"
Chanel pullover with applied crocheted poppies and cornflowers; pale gold buttons at the hip; photo courtesy of "darmardan" who has this top currently listed on eBay

a beautifully executed, hand-crocheted poppy

a charming swallow, emblem of luck and happiness, decorates a filigree button on the Chanel "Bastille" sweater