~ Introduction ~
I have over 30 years of experience in creating custom garments, specializing in wedding gowns for the better part of my career. In fact, it was my own Wild West Wedding that generated a fascination with “costume,” an olde term used to describe the garments in the wardrobes of both men and women. Since then I have studied with rapt attention the periods between the 1860′s (at the eve of the Civil War) and 1940′s and have developed a long list of my favorite designers: Charles Worth and his son, Jean-Philippe, Doucet, the Callot Soeurs (“Sisters”), Patou, Poiret, Lelong, Chanel, and Molyneux. Not to mention, Erte, whose creative genius fuels my muse.
The challenge I love most is to create a gown from a fashion plate or picture — to reproduce it as nearly exactly as possible. You might call it an obsession. Right down to the style of stiching. Even more, I have taken courses from film screen costumers on how to age a costume so that it looks and feels like an authentic antique when you wear it, rather than a crisp store-bought duplicate.
Recently, I have been reproducing movie costumes and, naturally, have started yet another list of favorite designers: Adrian, Bernard Newman (whose design for the 1935 film Roberta is worn by Irene Dunn below), Edith Head, and, now, Colleen Atwood.
I am a member of historical costuming guilds including the Costume Society of America, International Costumer’s Guild, and Costumer’s Guild West. I have produced gowns for events sponsored by the Art Deco Society of Los Angeles and the Lively Arts History Association. I receive regular commissions from Civil War reenactors, jitterbug and swing dancers, and from the loveliest princesses for their quinceaneras.
Please view some past creations from the gallery at left.
~ Vintage Materials ~
I use FINE authentic fabrics and original patterns, of which I am an avid collector. I purchase long lengths of antique lace or garment fragments, as well as vintage ribbon, antique beads and buttons, and even snaps, wherever I can find them in order to restore or create a costume from scratch. I try to make antique items removable for overall garment cleaning. Whenever original materials are not available, I fill in the missing pieces and build the garment with the closest modern approximations — 100% silk, linen, cotton, and wool. Sure, I can sew up something in acetate to save a customer some money, and I sometimes do (especially if it furthers someone’s interests in Costuming!), but there is nothing like the real thing!
~ Vermilion Vintage Philosophy ~
There is an alluring enchantment associated with going back to another period in time. Masquerade balls, costume parties, time machine fantasies have been popular throughout history. Historical reenactment is not limited to Civil War buffs. Renassaince faires, celtic celebrations, and ethnic festivals all underscore the important role of clothing in culture. Maybe a particular era whispers to us with familiar ease, as though we had lived there ourselves once. Ah… . to be standing against a cool gargolyed pillar on a building carved in 1920′s architecture while dressed in a silk velvet opera cape beneath which an ostrich plume is held by a ivory glove.
It is not a simple matter of donning replica ensembles. There is no magic like holding the real thing in your hands — an authentic chantilly lace collar, a crisp taffeta ruffle, and hand-embroidered batiste from the turn of the century – the way it drapes from your palm, its antique scent. Like an old book, pieces like these are historical vessels. They are charms that transport you every time you close your eyes.
My best wishes to you for a exhilirating adventure while closing your eyes in my designs.
