Tumblr has some great blogs for viewing artsy images of Vintage Fashion. MaliciousGlamour ranks number one in our opinion as the Queen of all “sights”.

MaliciousGlamour posts include recent fashion editorials as well as many vintage fashion editorial classics.

Recent image posts: Vintage Fashion shot 1983-Ensemble by Yves Saint Laurent, Emilio Pucci 1968, Veruschka 1968, and Caroline Coon, 1971.

A  Hermès Birkin handbag shattered records selling recently at Heritage Auctions for over $200,000.

And now the recent Elizabeth Taylor Auction at Christie’s set records for both the highest priced private vintage fashion collection ever sold and the highest priced jewelry collection ever sold. The 5.5 million dollar vintage fashion collection payout included a 1968 Christian Dior Evening Gown with   matching Evening Bag for $362,500 .

A 23.46 carat Emerald and Diamond Pendant Brooch, by BVLGARI sold for $6,578,500  bringing the record breaking total  jewelry collection to 156 million.

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• Vintage Cartier Purse Raises Thousands for Children’s Hospice | Rare Silk Bag Helps Helen & Douglas House (bagbunch.com)

This article titled “Wrap star: Diane von Furstenberg” was written by Rosie Swash, for The Observer on Friday 14th October 2011 22.00 UTC

As the spilt champagne dries on the latest round of fashion weeks, one thing stood out. The difference between male and female designers is as acute as ever. While Phoebe Philo, the talent behind Céline, rarely gives interviews and finished her Paris spring 2012 show with a blink-and-you’ll-miss-it wave from the back of the stage, Karl Lagerfeld crowned Chanel’s collection with a hearty stroll down the catwalk. The men peacock when it comes to flogging their brand; the likes of Philo or Gucci’s Frida Gianni cut a restrained figure.

But a high profile isn’t the only difference. “Look…” says Diane von Furstenberg. She’s taking a break from swimming off the Croatian coast to discuss her fashion empire, reported to be worth £200m. “Women design clothes for women to wear. Men design costumes.”

In the case of DVF, as she’s colloquially known, women also design homeware lines and perfumes – her new fragrance “Diane” comes with the tagline: “Be the woman you want to be”. Alongside Vivienne Westwood, Von Furstenberg is one of the most recognisable female faces in fashion. And what a face. Deeply olive-skinned and surgery-free at 64, Von Furstenberg exudes a healthy bohemian elegance.

Von Furstenberg’s clothes are that rare mix of glamorous but wearable, with hemlines that women can wear to work but don’t need to tug down during meetings. Her most recent collection shared the same motifs as those with which she made her name in 1970s New York: big patterns, loud colours and tailored, billowing skirts. Von Furstenberg always said her signature design, the 1973 wrap dress, was made for working women at a period of time “between the Pill and Aids”. Your 1970s lady, she suggests, was busy rushing from the office to the disco and then to someone else’s bedroom, and the wrap dress, with its easy-on, easy-off design and effortless chic, was the perfect outfit to service her modern needs. Von Furstenberg believes that fashion is best viewed historically as a measure of the times, and if you apply a historian’s analysis to her wrap dress, you can see how its fluid design mirrored the louche sexuality she was observing.

Married to Prince Egon of Furstenberg at 23 and a mother of two by 24, Von Furstenberg has a remarkable biography. She is of Belgian-Jewish descent; her mother was liberated from Auschwitz 18 months before Diane was born. She credits her entire work ethic to her mother, who told her: “Fear is not an option.” Instead of disappearing off into the decadent halls of some Euro palace once she got engaged to Prince Egon in the late 60s, DVF ploughed her energy into forging a career. “I was working in a clothing factory in Italy when I discovered I was pregnant. I was humiliated, worried people would think I’d done it to get the ‘best catch in Europe’. So I said to my boss: ‘I’m getting married and moving to America, but before I go, can I learn how to make clothes?’ And I stayed after work with the patternmaker, and that’s how I got into fashion.”

But the young princess was unhappy in her marriage: though New York magazine called them “the couple that has everything”, the Von Furstenbergs divorced in 1972 (though they remained close friends until Egon’s death in 2004). Later, commercial over-expansion forced her to sell her business for a reported $22m. In the late 90s the wrap dress was rediscovered by a younger generation. DVF spotted an opportunity and once again became the face of her brand.

You might balk at the suggestion that DVF shares common ground with your average working mum until you study her career trajectory: a burst of success in her 20s then disappearing to raise a family (and becoming embroiled in a love affair in France) before returning to work in her 50s. The word women often use to describe how they feel during the post-menopause years is “invisible”, but DVF has been anything but. “I call this phase three of my career,” she says.

She isn’t just visible, she’s also vocal, commonly on the issue of women’s rights. “I am against anything that objectifies women,” she says. Female empowerment is a clear motif in Von Furstenberg’s life; she gives face time to Vital Voices, the global initiative to empower women from developing countries, but it’s something that isn’t always in high stock in the fashion world. Asked what her greatest achievement has been, Von Furstenberg answers immediately: “That I have given confidence to women [with my clothes].” But then she tsks at the use of the past tense. “The word ‘accomplished’ makes you think with a full stop,” she says. “I hope I am accomplishing!”

DVF.com

guardian.co.uk © Guardian News & Media Limited 2010

Published via the Guardian News Feed plugin for WordPress.

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Below Russian model Veruschka- 1971- “Fame, I mean, it’s like a bubble, in a way, It’s like something glittery and it goes and it can be forgotten fast.”

Image by © CondÈ Nast Archive/CORBIS

gucci.tumblr

W omen’s Wear Daily celebrates the 90th anniversary of  with a free iPad app. The “Fair Game” section of the app features some classy vintage  photos of celebrities touting Gucci including Princess Diana (1991), Sophia Loren (1960), Caroline Kennedy (1975) and more. A Gucci history lesson can be found on the WWD site.

Since its 1937 debut, the Hermès scarf has had over two thousand different design changes.  Grace Kelly once used an Hermès scarf as a sling when she broke her arm. The history of the Hermès scarf is available for  in a new book from Nadine Coleno.

A vintage Cartier watch, a pair of Levis jeans, from the 1970′s. A Gucci handbag from the 1980′s. Any of these pieces purchased at auction, estate or a high-end vintage store are indeed “vintage” with the same semblance of high quality workmanship.

“Vintage” referring to the period when theses items were manufactured; where counterfeited heavily during these same times. Many vintage knock-offs could still be circulating today with buyers paying real prices for fakes.

In the 1970′s the counterfeit fashion trade was already estimated in the tens of millions of dollars. ”From 1960 to 1970, we all sold too many licenses,” Marc Vincent, of Saint Laurent, admits. Most designers during this time did not control manufacturing, which was done by licensees.

Several counterfeit Cartier boutiques sprung up during this era selling thousands of watches.

An early opportunist in the Mexico knockoff trade was a man named Fernando Pelletier. Cartier had held Mexican trademark rights, but in 1968 failed to renew them, thus allowing Mr. Pelletier’s company to start its own line of products labeled ”Cartier,” including jewelry and watches. It took over ten years for Cartier to win its legal battle with Pelletier.  Cartier estimated that 40,000 fake high-quality ”Tank” watches had been sold during 1976. Christian Dior, with annual sales of $365 million in 1980, spent $406,000 protecting its 813 registered trademarks.

Rare Vintage Levi jeans can sell today for $3,000. But is the classic vintage pair that you purchased a rip-off from the very same Vintage era the jeans came from?  In the late 70′s two Southern California men offered a private investigator posing as a clothing buyer 50,000 pairs of the counterfeit jeans a month for nine months. During this period in Italy the number one selling jean was Levi. The number two brand was counterfeit Levis.

Jordache jeans estimated their loss from counterfeiters in 1981 was in excess of over $1 million dollars alone. Levi Strauss seized $2.5 million worth of jeans in 1977 from a ring that extended from Britain to Switzerland, Italy, Belgium and Taiwan.

Many fakes of the late 70′s and early 80′s were produced to the same standards as the real deal. Quality fabrics used in counterfeiting were often sourced from the same suppliers. Louis Vuitton bag counterfeiters often used the same French zipper. Early fake Cartier watches were made of solid gold and were indistinguishable unless you dissembled the timepiece. Christian Dior fashion knockoffs were so good that even Dior’s people had difficulty telling the difference.

How can you tell if your Levi’s are vintage knockoffs?  Stitching, labeling and fabric are clues to look for. Often the denim in counterfeits is 10-ounce instead of 12-or 14-ounce; thread may be thinner, stitching sloppy, seams not straight, zippers of cheaper quality.

Jordache says a shopper can be sure about Jordache jeans in two ways: the horse head on the zipper and the initials ”JD” on the back of the button at the waist.

A Cartier watch is better taken to Cartier so that the internal time piece is inspected; counterfeiters used cheap internal mechanisms in their watches.

Link to Vintage Fashion Media- “Louis Vuitton- Telling Real From Fakes”

http://vintagefashionnews.com/vintage-fashion-media/

Nicole Nicas Rovner is from Skinner Auctioneers & Appraisers, Boston-
Abigail K. Rutherford is the Director of Vintage Couture and Accessories of Leslie Hindman Auctioneers, Chicago-

1) We hear a lot about the general art market auction prices either tumbling or in some cases increasing with the current economic conditions. What do you see with vintage clothing?

Regardless of the overall economic trend, vintage fashion has always been a volatile market. It does not seem to have a relative tie to the markets the same way gold does to oil, for example. That said, the trend that is apparent in today’s auction market does also apply to vintage fashion: good, rare material continues to perform well and achieve record prices, while middle of the road material struggles.-Nicole

There is still a very strong market for Vintage.  We actually have seen no change thus far and our most recent auction realized some record prices!-Abigail

2)Which vintage designers have you seen as a good investment? That is are there any vintage clothing labels that seem to be holding their own in value despite the economic downturn?

Pucci, Hermes, Balmain, Dior, Balenciaga, Givenchy, Chanel, Yves St. Laurent,—these are all examples of good performers at auction and have been in good times and bad. What unites most of these designers is their “classic” nature: the lines and silhouettes transcend the decades and ride the wave of a rocky economy.-Nicole

There are the more obvious designers like Chanel, Hermes, Yves Saint Laurent and Dior that have stayed and will always remain pretty consistent.  As for other designers, we have seen some great prices in the past few auctions on eveningwear from Halston, Mugler, Galanos, Versace, Givenchy, Norman Norell, Geoffrey Beene, Charles James and Michaele Vollbracht.   We get the best prices on any sort of evening gown examples from the above designers, but never their daywear examples!  Great daywear designers that realize high prices are generally from Courreges, Moschino and Pierre Cardin.
-Abigail

3) Any lesser known vintage labels that you see becoming more collectible?

These are not “lesser-known” to fashionistas or collectors but vintage Oscar de la Renta, Valentino, Halston, Bill Blass, Missoni, for example have been performing better in the past few years. Again, the importance being the “classic” nature of the silhouette and/or the interesting technique shown in the use of textures and textiles.
-Nicole

Vollbracht is very well known, but not to all.  We have realized some records prices for his work recently.  Same with Bill Gibb.-Abigail

4) Do you see vintage clothing prices today at “bargain prices” as compared to say three or four years ago? If yes- which designers do you see at “bargain” investments?

There is certainly an opportunity to acquire quality vintage fashion in today’s market at an affordable price. The above designers are on the rise but still very accessible. Oddly, Pedro Rodriguez, Pauline Trigere, and others of that echelon seem to be much more accessible these days than say in the early part of the 21st century. Perhaps these designers have become more obscure to the youngest generation of collectors because their name does not survive the way other houses have continued to maintain their brand presence? I am not sure. What is for certain is the level of skill and understanding of the line/silhouette is far superior to the appreciation paid to them.
-Nicole

There are always some great finds in our auctions that are at a much more approachable price point.  We generally find that great separates or day wear from Chanel and Yves Saint Laurent can be had at a non-investment price!  Also quirky Moschino pieces that are not book pieces are always collectable, yet approachable.  Dior couture post 1962 can generally be had at a great price because collectors are not as interested post Dior and YSL, but Bohan was still an incredible designer creating gorgeous garments.
-Abigail

Skinner-Tiffany art deco platinum and diamond solitaire up at auction-

In today’s economy of weakening real estate and stock prices, investors are now purchasing high-end jewelry at higher prices.

Harry Winston Diamond Corp reported second quarter 2010 results with sales increasing by 62% getting help with the recovery in the international diamond market. Winston posted its first profit in 1 1/2 years.

Tiffany & Co. reported that its worldwide net sales rose 9% in the second quarter ended July 31, 2010.

This year vintage antique and fine diamond jewelry is selling very well at auction houses with prices exceeding estimates.

At auction this year top price estimates were exceeded several times from Sotheby’s and Skinner. In Hong Kong earlier this year Sotheby’s had estimated that a rare, flawless 5.16 carat pear-shaped diamond would sell between $4.6 million and $5.8 million. The diamond from the collection of De Beers sold for $6.4 million at auction.

In June at Skinner Fine Jewelry Auction the top 5 lots were diamonds. The top selling lot was an Art Deco Sapphire and Diamond ring estimated at $25,000-35,000.  It sold for more than six times the high estimate for $225,150.00.

Update-

Skinner’s  auction of Fine Jewelry in September  featured a Tiffany art deco platinum and diamond
solitaire, weighing 5.36 cts, sold for $281,000 (est $75,000-100,000)

Image via Wikipedia

Cartier in the 1920′s popularized rose gold jewelry. The copper/gold mix is very fashionable today. A good quick read from the LA Times http://articles.latimes.com/2010/may/02/image/la-ig-rosegold-20100502