Vulkan Magazine, March 29 2016. Model wears a 1970s Peach Chiffon James Galanos Dress from Shrimpton Couture (available now - click to shop).
I was really, really pleased to see this dress featured in the latest issue of Vulkan Magazine. I love the moody quality of this shot and its contrast between couture and the decidedly unpretentious setting. Not surprising that the styling is the brainchild of Georgia Groom. She just happens to be a client and is as insanely obsessed with vintage as I, and as most of you reading this are. So she 'gets' it and knows intuitively how a dress will move and work for a shoot.
It is a spectacular piece of vintage couture and I don't think that my shop photos of it do it justice at all - it is absolutely drop dead gorgeous in person. Some dresses, especially the really well cut vintage ones, need a real body underneath them for them to come to life. A mannequin does mimic the shape of the body but can never, ever quite capture the depth and movement that a properly cut dress by a master like Galanos has once it is on the body and moves.
One of the big differences between vintage clothing and new is that vintage was cut to be worn and often looks awful on the hanger. New clothing, especially mass produced clothing, is cut for hanger appeal. Manufacturers want it to look amazing on the hanger so you get that instant desire factor so you buy it or try it right away. I swear. Think back - how often have you tried on one of those 60s hostess gowns because someone made you and fell in love when it falls just so despite the fact that normally you would not have touch it with a ten foot pole. Or saw one on someone on Instagram or in a street style photo and when you hunted down the actual dress you had to go back and check if it was really the same piece? In fact, sometimes the worse a vintage dress or gown looks on the hanger the more I want it - I know that almost always means it is cut properly.
When I get dresses in like this it sometimes makes me sad that I am only on-line and I yearn to open a shop despite that fact that I would probably go bat shit crazy if I did. I travel so much sourcing vintage and seeing the world that this would be almost impossible though. There is a great amount of freedom in being able to run my shop from anywhere in the world from my laptop and with the help and support from my team back home. I am grateful on a daily basis that the two combine so well. I am so insanely OCD and hands on about every detail that involves the vintage I find, that I doubt I could just hire someone and be OK with not being there every single day. But I do sometimes entertain the idea, mainly because of the vintage that I do find - I need someone to come up with a workable, affordable virtual reality plug in one day! Until then I rely on great shots like this to give you at least a teeny idea of how amazing some of these vintage pieces really are.
An outtake photo from the same shoot
Photographer/Art Director: Michael Kai Young. Fashion Director: Georgia Groom. Hair & Makeup: Robert Weir @ Judy Inc. Models: Erin Forster @ Elmer Olsen/Andrew Podolio @ Elite Toronto/Want Management.
Click here to see the rest of this editorial on vulkanmagazine.com >