1906-1978 Charles James

[Spike413]

Some other photos and a description of the four leaf clover design for Mrs William Randolph Hearst.

The bodice and upper part of the skirt are made of ivory silk satin interfaced with ivory cotton muslin. The upper skirt is also interfaced with horsehair canvas and stiff bobbinet tulle. Black silk velvet is joined by hand to the upper and lower pieces. The lower hem section is made of ivory silk faille interfaced with yellowed non-woven Pellon® and stiff white bobbinet tulle, covered with an ivory silk faille inner facing. The visible layers at the bodice cover a peach-colored silk satin lining boned eleven times and extending below the waist level. The dress closes with a center back zipper. At some point, the gown was severely altered and possibly taken apart and suffered flood damage at the hem. A new understructure was created in 2007 by Gayle Strege and Joycelyn Falsken to replicate the effect of the original three-layered understructure observed at the Brooklyn Museum

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diagram of the seaming...

dept.kent.edu​

 

[Spike413]

The "Butterfly Gown"​

dept.kent.edu

[FONT=Arial, Helvetica, sans-serif][FONT=Arial, Helvetica, sans-serif]How: [/FONT][/FONT][FONT=Arial, Helvetica, sans-serif]
[FONT=Arial, Helvetica, sans-serif]Section 1: Sheath Dress[/FONT]
[FONT=Arial, Helvetica, sans-serif]The sheath is composed of up to eight layers of fabric. The outermost layer consists of a smoke-grey silk chiffon overlay draped in a swag with a center front axis. The front neckline has a section of chocolate-brown tulle overlay instead of chiffon. The folds of the overlay cover the multitude of stitches that anchors it to a base of light-pink silk satin interfaced with cotton muslin. These three layers of fabric create a shell that is attached to an inner bodice and two skirts. The pink satin bodice is boned vertically thirteen times and extends below the Petersham waist ribbon. Two visible oval batting pads covered in white silk chiffon are stitched to the bodice below the shoulder blades. Attached to the bodice at waist level is a structural skirt and a skirt lining. Except for a triangular section from the pelvic area to the back slit at the hem, the structural skirt of ivory silk faille interfaced with cotton muslin is interfaced a second time with horsehair canvas and third time with stiff bobbinet tulle. The ivory silk taffetas lining is the innermost layer. The dress closes at the center-back with a zipper. [/FONT]
[FONT=Arial, Helvetica, sans-serif][/FONT]
[FONT=Arial, Helvetica, sans-serif]Section 2: Back Bustle Attachment[/FONT]
[FONT=Arial, Helvetica, sans-serif]The bustle is sewn to the exterior of the dress at the buttocks area, and when it meets the center back slit, it wraps around the opening and is attached to the dress inside and out. A double arch structure centered at the back crowns the bustle. The arches are built in two sections: the draped outer shell and the structural base. The outer shell consists of pleated rose-colored silk satin interfaced with black organza. On the lowest of the three anchored pleats, two added layers of ivory silk faille interfacing provide a thicker hand. The layers of the structural base on which the draped layer rests are not visible. The exterior layers of silk taffeta are extremely stiff and probably contain several layers of tulle and horsehair canvas. Above the arches and on both sides of the lower part of the zipper is a gathered panel of chocolate brown tulle. Below the arches is an accumulation of tulle layers. Truncated quadrants of tulle are gathered and layered from outer to inner layers as such: two of chocolate brown, two of chestnut brown, two of lilac. The hem of the meandering tulle godet measures 20.7 m / 22 ¾ yards. The added hem length of the six layers of tulle totals 124.2 m / 135.8 yards, which is longer than a football field. The complete dress weighs 3.4 kg / 7 ½ lb, contrary to the 18 pounds attributed to the tulle section in Elizabeth Ann Coleman's The Genius of Charles James.[/FONT]​

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[DosViolines]

Breathtaking!

I could examine these dresses for hours...

 

[DosViolines]

Charles James Cocktail Dress, 1949

whitakerauction

 

[SomethingElse]

A fine and rare Charles James black satin evening gown, early 1940s, inked signature label dated 40 or 44, with twin winged cutwork panels to the pointed neck, the armholes formed by wings of pleated satin, their broadness accentuating the narrowness of the waist and hips, the curving waist seam with ingeniously draped folds to the sides, the back with coarse metal zip fastener, and curved waist seam, bust 89cm, 35in Charles James was born in Sandhurst, England in 1906 the son of a British army officer and American mother. He went on to become one of the greatest couturiers of the 20th century. At the age of 19 he set up as a milliner in his mother's home town of Chicago before moving to New York in 1928. He travelled constantly between America and Europe and by 1934 had opened a Paris salon. Upon seeing his work Poiret is reputed to have said "I pass you my crown. Wear it well"', Balenciaga described him as "the world's best and only dressmaker". Dior claimed that his New Look was inspired by Charles James. By 1940 James had moved to New York and set up as Charles James Inc. It was in America that he was to really make his name and where most of his clients were based. He was an innovative genius who did not believe in fashion seasons or looks. Whereas other couturiers changed their designs every six months he worked on his designs for years. He developed about two hundred thesis designs with an intellectual, almost scientific precision and logic. He created a master pattern or `sloper' which he would adapt with interchangeable parts for sleeves, bodice, armhole which could be combined to produce thousands of variations. He developed spiral draping, a spiral zip, a rbbon ball dress, a figure eight skirt and pneumatic jackets which Dali referred to as `soft sculpture'. He saw his clothes as works of art whose rightful resting place was a museum. He commented that "All my seams have meaning "and "cut in dressmaking is like grammar in language". He often made his customers wait for years for a dress to be delivered and he charged them astronomic sums for the privilege. His `Clover Leaf ' ball gown of 1953 was the apogee of his talents of which James said "I had intended it to be the last and final statement and it was composed of several parts previously devleloped as separate designs." In 1958 he retired from couture and spent his time lecturing and teaching. He died in impoverished circumstances in New York in 1978.

kerrytaylorauctions.com

 

[SomethingElse]

Copper taffeta bias-cut gown with assymetric skirt, 1940s, unlabelled, with plunging, sweetheart neckline, the bust darts curve outwards towards the waist, the short sleeves are shirred and gathered, the skirt panel curves from an asymmetric point at the waist and circles the main body of the dress, worn over long pencil skirt with large godet of fabric inset at the back to give extra fullness,

kerrytaylorauctions.com

 

[scriptgirl]

Breathtaking!

 

[DosViolines]

Charles James (England, 1906-07-18 - 1978-09-23)
Woman's Evening Gown, 1951
Costume/clothing principle attire/entire body, Silk chiffon, silk satin, and nylon chiffon, Center back length: 62 in. (157.48 cm)

lacma.org

 

[DosViolines]

Woman's Two-piece Suit, 1952
Costume/clothing principle attire/lower body; Costume/clothing principle attire/upper body, Wool, velvet, satin lining, a) Jacket center back length: 21 1/2 in. (54.61 cm); b) Skirt center back length: 28 in. (71.12 cm)

lacma.org

 

[scriptgirl]

Fabu!

 

[gius]

he's really great at manipulating fabrics for texture !
i love the shrimp dress and #19

 

[DosViolines]

Charles James (1906-1978) was born in London. His father was an English military officer, while his mother came from a socially prominent Chicago family. After he was expelled from Harrow as the result of a sexual escapade, his family packed him off to Chicago to work. Not long after, he began his career as milliner. His shop at 1209 North State Street was called Charles Boucheron, the surname borrowed from a school friend. Two years later he moved to New York City and began designing dresses with the same sculptural sense that characterized his millinery.

“Charles James is not only the greatest American couturier, but the world’s best and only dressmaker who has raised it from an applied art form to a pure art form,” declared the great Spanish couturier, Cristóbal Balenciaga. His famous “butterfly Dress,” originally created for Mrs. William Randolph Hearst Jr. in 1954, is featured here in another version, worn by Mrs. John V. Farwell III. Made of 25 yards of peau de soie and nylon net, the dress weighs 18 pounds. Its most notable features are structured side wings and a back bustle skirt. The Chicago History Museum has more than a dozen dresses by Charles James, many of which were donated only a few years after they were first worn, possibly because they were so difficult to store.

Charles James, evening gown, 1954, USA, gift of Mr. and Mrs. John V. Farwell III, photograph by Irving Solero

fitnyc

 

[DosViolines]

thefrock

 

[scriptgirl]

Don't like the dress above. The fabric is too much like wallpaper. Why would his dresses have been hard to store?

 

[gius]

^I wonder about that too, although maybe it's the size? Some of the dresses are very big, so maybe that's why they are hard to store

 

[SomethingElse]

c. 1937 (designed), Quilted satin, filled with down.

Charles James (1906-1978) created this jacket for Mrs Oliver Burr Jennings. In 1975 he wrote a full description of the development of its design. It was constructed in the same manner as an eiderdown bed quilt. In certain areas of the garment there was a danger that the thickness would impede movement. James resolved this by diminishing the depth of the padding around the neckline and armholes. This jacket ranks among his most important works, along with the taxi dress and the Sylphide gown. It became a cult object in the 1970s, linked with voluminous padded coats. James longed for it to be translated into other materials - an expensive version in kid leather, for example, or a mass-market example in nylon stuffed with kapok for motorcycle- or ski-wear.

vam.ac.uk

 

[scriptgirl]

That is godawful

 

[DosViolines]

"Butterfly," 1954

Charles James

Known as the “Butterfly” dress, this gown is made of 25 yards of peau de soie and nylon netting and weighs 17 pounds. Worn by Mrs. John V. Farwell III.

flickr

© Chicago History Museum
www.chicagohistory.org

See post #33

 

[DosViolines]

A signature Charles James piece is rare ... and one that is in excellent condition is even more rare. This rarity derives from the fact that Charles James was eclectic, eccentric and extremely perfectionistic in his designing. Furthermore, to own a Charles James creation is equated to owning an original sculptured work of art. His artistic genius was in his ability to craft a garment with the intuition of an artist combined with an engineer taking into account weight distribution and elements of proportion, line, color and texture. In his lifetime, Charles James produced not a large quantity of designs. What he did create was devastatingly beautiful and uniquely constructed signature gowns and coats, signature garments that he continued to evolve and perfect throughout his lifetime. These creations are now considered iconic representations of the designer .... such as this coat. During his career, James dressed many of America's best-dressed women who provided a devout and loyal following considering they could have easily afforded to have been dressed by the Paris salons.

Circa 1952 authentic Charles James short coat fashioned of burgundy red Botany pressed wool broadcloth. Has stand up shawl collar, round back yoke; inset sleeves; semi fitted raised waist; flaring dipping hemline. Designed by Charles James initially for, and marketed by William S. Popper. One of the high end department stores that handled this particular line was the old I. Magnin and Company.

James' periodic attempts to contract with various manufacturers and stores to create ready-to-wear were only partially successful due to his drive for extreme artistic perfection. Charles James is considered to be the only American designer to work in pure couture tradition. and was regarded as the greatest couturier of his time even by the master of construction, Balenciaga. According to the book, "The Genius of Charles James", page 105.... "The reigning monarchs of Paris couture - Poiret, Chanel, Schiaparelli, Dior and Balenciaga - recognized and praised his fluency in sculpting unique shapes and in the displacement of the dart and seaming." Hence, the genius of Charles James.

An example of the coat being offered in this auction can be found in the book, "The Genius of Charles James" by Elizabeth Anne Coleman, page 153 pic 41

marilynglass.com

 

[DosViolines]

A Charles James evening mantle or dolman of shimmering blue/pink shot grosgrain, English, 1937-8, bearing large woven red satin label `James, 15 Bruton Street, London W', cut long at the front and short waist-length at the back, with inner waistband, curved darts to the front panels.

Charles James was born in Somerset in 1906, and although technically British he was acknowledged as a leader in American fashion from the 1930s. He set up a business in New York in 1928 and by the end of 1929 he had opened a London salon, and one in Paris in 1934.. For the next ten years he moved constantly between Europe and America. In 1937 he became resident at the Dorchester in London and showed for the first time in Paris. In 1940 he moved permanently to New York. It is exceptionally rare to find any English James pieces from this early part of his career.

kerrytaylorauctions