Victor StiebeI Ьу CeciI Beaton, 1946

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Глава "Gilded Brocade Gowns and lmpeccable Tailored Tweeds: Victor Stiebel (1907-76) а Quintessentially English Designer" Эми де ла Хей (Amy de la Науе) из книги "The

Englishness of English dress" (Christopher Вrеwаrd, Becky Conekin and Caroline Сох,Oxford : Berg, 2002),

Gilded Brocade Gowns and ImpeccableTailored Tlveeds: Victor Stiebel (1907-76)

а auintessentially English Designerдmу de la

The паmе of Viсtоr Stiebel is sупопуmочs with rопtапtiс evening gowns and

impccable tаilогiпg - the quintessential hаllшагks of the English designeг. Stiebeldid поt dосuпrепt his own саrеег апd there аrе по пlопоgгарhs of his wогk. As аresult. his rоlе - along with that of а пuпrЬег of оthег talented English designers -has Ьееп eclipsed within dress history. This сhарtег presents ап initial insight intoStiebel's fashion сагеег sited within the context of London's elite fashion iпdчstrу.

Stiebel was Ьогп in DчrЬап. South Africa. Не nroved to England in l924 tostudy аrсhitесturе at Jesus College. СаrпЬгidgе. whеrе he designed the dёсог and

costuntes fоr the college's theatrical Footlights Revue. The Victoria & АlЬепМusеuпr tV&Al houses two of his wаtеrсоlочr designs frопr 1927: а black andwhite evening dress in the fashionable Сагсоппе style and а lllоrе dralrtatic gowltiп black and silчеr fеаtuгiпg ап appliquёd snake coiled froltt hепt to bodice.l Stiebelhad found his fопё.

In l929 he went to trаiп at Reville. а соurt drеssпrаkеr (founded iп 1906l based

in Напочеr Squаrе in the ntidst of London's exclusive fashion trаdе, Iп сопtгаst

to Раrisiап сочtuгiеrs that served international mаrkеts. the рriпrаrу rоlе of the

English сочrt dгеssltlаkеr was to provide the specific sаrtогiаl dentands of ап elitesocial life that rcvolved агоuпd the пrопаrсhу. At its peak in the уеагs ргiоr to the

First Wоrld Wаr. Reville enjoyed а rерutаtiоп as опе of London's forelnost houses.

best kпоwп fоr еlаЬоrаtе evening creations. However. Ьу the l920s business was

ailing. The rоlе of the соuгt dгеsslпаkеr was falling into dernise and dеsigпег-fоuпdег Тепу Reville's fashion aesthetic was not in tuпе with mоrе пtоdегпisttrепds. (Duгiпg the l9ЗOs the house пtеrgеd with the London Ьrапсh of Worth.)

Ноwечег. Stiebel spent thrее уеаrs at Reville, successtЪlly lеаrпiпg the skills ofhaute сочtчrе. Веfоrе сrеаtiче fashion соursеs wеrе established within the аrt

schools this was the standard сагеег path fоr ап aspiring designer.At this tiпte, highly publicized Рагisiап соutuгiеrs led iпtегпаtiопаl tгепds.

detennining the design of wопtеп's fashion арраrеl at all ntarket levels. While

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English designers wеrе widely acknowledged fоr thеiг suреrЬ tailoring, опlугаrеlу wеге they credited foгpossessing indepndent fashion flаir. Indeed. reflecting

оп his еагlу саrеег, Nоппап Наrtпеll (who opened in l92-]) rued his client'spreoccupation with Parisian designs and conviction that London houses simplycopied and adapted Fгепсh models. Iп his autobiography. he bitterly recalled. 'I

suffered fгопt the unforgivable disadvantage of being English in Епglапd'(НаПпеll1955: l4). Нагtпеll's decision to рrеsепt а collection in Paris - along with that ofiппumегаЬlе designers in mоrе гесепt years - undoubtedly elevated his standing

both iпtеrпаtiопаllу and at home. At this time. London designers had to face stiffconlpetition поt only frоm across the сhаппеl. but also оп their own dооrstер as

some Paris houses - such as Paquin апd Schiaparelli - орепеd London Ьrапсhеs.

It is within this context that stiebel launched his оwп label.

In l932 the press аппоuпсеd the launch of Исtог Stiebel Ltd, Соurt Dresslrrakeц

of 2l Вrчtоп Street, Mayfair. Iп light of the diminishing rоlе of the соuпdressmaker. it is реrhарs surрrisiпg that he chose to define hirnself as such. Stiebelwas in fact опе of а пеw gепеrаtiоп of English designers to wоrk along siпrilаrlines. Ьut оп а smаllег scale. to the paris соuturе houses. Fellow соuturiеru NоrmапHartnell and Реtеr Russell wеrе also based in Вrutоп Street. апd Digby Мопоп.Моlупеuх and Mattli had ргеmisеs in suпоuпdiпg West Епd stгeets апd squares.

Stiebel's debut collection (shown in FеЬгuаry l932) was ассlаiпlеd, as was hisswift acquisition of fiпе ргеmisеs and skilled staff . Quееп пlаgаziпе ( l3 FеЬrчаryl932) applauded his 'very striking creations' that 'would апеst attention in апуsmаrt gаthегiпg. within England оr оп the Continent'. British fаЬriсs wеге used

extensively. including dark rеd check sегgе fоr а tаilогеd suit fог the сочпtrу апd

а gгеу flannel fог а neat tailor-made. teamed with black and white juпrреr. TheNottingham Jоurпаl (6 FеЬrчаrу l9З2) described his pleasantly simple eveninggоwпs that followed 'а tailoгed line, раrtiсulаrlу suited to the Englishwoman'sfigurе'. Stiebel was also рrаisеd fоr his сlечеr use of pleats and draperies that

gave fullness without еlаЬогаtiоп.Vоguе (2 Маrсh l9З2) photogгaphed ап eveningdгеss in the пеwlу developed angelskin lace and The Times (4 FеЬruаrу l9З2)

рrаisеd а rасiпg suit iп shepherd's plaid. with imnrense сгачаt of striped shantung.

The dеsigпег's stylish and iпtaginative чsе of striped fabrics was to beconre hissigпаtuге.

Hoyningen Нuепе photographed а modish bias-cut, rеd, white апd grееп stripddress, accessorized with long gloves and oversize lеghоrп hat fоr Vogue in Мауl932. The caption reads 'Gold Сuр Day at Ascot denrands the fairest and filnliestof frосks. of which this flowing model in chiffon is ап excellent example' . Vogue

also praised his slender cut. flоrаl-рriпtеd dгеssеs fоr Ascot апd his debutantegоwпs. including ап Еmрirе line dress iп oyster satin with silveг-edged tгаiп frопtl935. While serving ап iпtегпаtiопаl clientele. Stiebel - аlопg with fellow Londondesigners - excelled when саtегiпg fоr the domestic mагkеt. Like the соurt

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Victor Stiebel, English Designer

dгеssmаkегs they wеrе thогоughlу versed - often mоге so than thеir clients - iпthe арргорriаtе sаrtогiаl etiquette rеquirеd fоr English social life. (А Vоguе

аdчегtisеmепt frоm Jапuаry l9З5 fоr Viсtоr Stiebel Ltd rечеаls that Ьу this date

the designer по lопgеr defined himself as а соurt dгesslnaker.)

Eschewing novel suгrеаl devices апd очеrt Hollywood glапrоuц Stiebel alignedhirnself with the l930s чоguе fоr histoгical гevivalstyles. Revealing the dominantneo-classical iпfluепсе. а finely tucked апd pleated соluпrпаr evening gown inhyacinth-blue chiffon was photographed for Vоguе (14 September l932) whileeighteenth-century hunting dгеss provided the inspiгation fог а dashing. apple-grееп and beige velvet costume (Vogue 2l DесеmЬег l9З2). Stiebel аdогеd the

rеfiпеd and luхчriочs but was also eпrinently рrасtiсаl. Responding to the l932сr:йе апlопg debutantes fоr гiчеrsidе paПies. he ttrade evening dresses in Тчгkishtowelling. to рrечепt rчiпiпg costly silks оп а moonlit rоw Ьеtwееп dances.

Frопr the outset Stiebel's designs attracted а stylish. wealthy clientele. Fоr hеrпrапiаgе to МгАпthопу Actolt. Miss Joan Реаrsоп - the beautiful grапddаughtеrof the late Lord Соwdrау - selected him as designer fоr hеr wedding dгеss. Stiebelcreated а ргiпсеss-liпе gоwп of ice-white rоmаiпе edged with tiny рiquб daisies.long fitted sleeves. high neckline апd а fan-shaped trаiп cut with а widening Ьапd

оf рiqчё daisies. (White daisies wеrе to punctuate his collections rесчпепtlу.) Аsnrall white sequinned сар was held in place Ьу а tulle veil. This high рrоfilеcomtnission was а grеаt conrpliment to the fledgling соuturiеr and provided hirnwith extensive favourable publicity (as rечеаlеd within his ргеss books housed Ьуthe Агсhiче of Ап and Design. Viсtогiа & АlЬеп Мusеum). Stiebel's ргеstigiоuýcliettts wеrе subsequently to include Ргiпсеss Магgагеt (he designed hег ргimгоsе-yellow going-away outfit). Ргiпсеss Маriпа апd Рriпсеss Аlехапdrа and he dressedthe Duchesses of Devonshire. Argyll and Buccleuch.

Although best kпоwп fоr his softly feminine designs. Stiebel (along withSchiapaгelli) dгеssеd the геЬеl lesbian агtist Gluck (Наппаh Gluckstein. l895-l978). Throughout hег adult life. Cluck predoпtinantly wоrе mensweaг-styletailoring. She was introduced to Stiebel Ьу the fashionable florist Сопstапсе Frу.with wholtr she had а relationship frоrп 1932 to l93З (Stiebel was to Ьесопrе а

dirесtоr of hеr соmрапу). Gluck's Ьiоgrарhег Diana Sочhшпi ( l988: 98) rесоrdsthat he made Gluсk ап аustеrе.lопg black velvet dгеss with а white tie. This hybridgаппепt revealed the artist's репсhапt fоr а fоппаl. пrаsсuliпе aesthetic while(uпusuаllу; confoпtring to а fепlаlе gender-spcific gаппепt.

Duгiпg the l930s Stiebel also designed fог the sсrееп апd stage апd countedtop Hollywood stаrs Каthаriпе НерЬurп. Vivien Leigh and Madeleine Сапоllamotrg his clients. With the Hollywood stаr systeпr at its peak, the оп апd off-sсгееп wаrdrоЬеs of the stars wеrе avidly rероrtеd not опlу iп пеwsраргs. but

also within the burgeoning пuпrЬеr of women's fashion magazines and cinemafanzines. It is thегеfоге highly likely that Stiebel's паmе was аlrеаdу kпоwп whеп

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he took his first collectiolt to New Yоrk in l936. Ву this date Stiebel had establishedhimself as а successful London сочtчriеr with ап iпtегпаtiопаl rерчtаtiоп.

With the onset of the Second Wоrld Wаr. the designer was to ргоче both

геsоuгсеful and versatile. Fог аutчmп/wiпtеr l939 Stiebel showed gаппепts iпwаrm апd dчгаЬlе blanket cloth. including back-belted plaid jackets. 'Fоr еаrlуevening attacks' he presented а full-length gгеу wool skirt апd 'fоr еагlу mогпiпgsчrрrisеs'skiing-style suits in сrushеd strаwЬеrгу duчеtуп. with useful pockets. Аgrеу dress with divided skirt and bodice cut оп battledress lines was erninently

ргасtiсаl and his usе of bold Guагds' scarlet fаЬriсs cut а striking note. Ечеп at

this time, tгоusеrs wеге not fully acceptable fоr wоmеп: Stiebel was to геfеr to the'slackness of slacks'. conceding that they could look smаrt in the country, Ьut

печеr iп town.When his сustоmеrs could по lопgеr visit his London house. Stiebel took his

collection to tlreltr. Travelling with а saleswoman. а fittег and two models, the

designer made а duplicate collection and tоurеd Вiгпtiпghаm. Мапсhеstег andLeeds. Iп l940 Stiebel signed чр as Lieutenant Соlопеl at Аrrпу Сапtоuflаgе.sесчrе iп the knowledge that his business was to Ье kept alive within the Jасqmагоrgапizаtiоп. Jacqnrar designed and marketed fashion fаЬriсs fгоrrl thеir GгоsчепоrStrееt house апd wholesaled textiles to а chain of Jacqmar shops as well as sellingdirectly to fashion designers. Iп 1939 Вiапса Mosca, who had worked withSchiaparelli in Раris. пrочеd to London to diгесt the studio at Jacqmar (апd wепt

оп to ореп hеr own London соuturе house in 1946). While engaged within the

seгvices, Stiebel was pernritted to wоrk оп special design assignments that feddiгectly into the wаг еffоrt.

when Gепtrап fогсеs invaded paris in Jшпе l940, colllпlunications with the

outside wогld wеrе sечеrеd and Рагis's hegernony of fashion сапlе to а tеmрогаrу

halt. Мапу houses closed апd fоrеigп designeгs геtчrпеd hопrе including Paris-based English designers Сrееd arrd Моlупеuх. Iп spite of wаrtiпlе сопstrаiпts. the

tirne had aпived fоr English designeгs to рrоче thеir worth. Iп l942 the Iпсоrр-orated Society of London Fashion Dеsigпегs (Iпс. Soc.) was founded. becoпtingthe fiгst pгofessional organization to suррrt апd rерrеsепt the interests of Lопdопdesigneb (iп сопtrаst. the СhаmЬге Syndicale de la Соutчrе Parisienne was founded

in l868). Viсtог Stiebel was а fочпdег mеmЬег. In Магсh l942 at the invitation ofSirThomas Barlow. Рrеsidепt of the Воаrd of Тrаdе. Inc. Soc, mеmЬев agreed toсrеаtе templates fог а basic уеаг-rоuпd wаrdrоЬе. сопrргisiпg ап очеrсоаt. suit

1with shiп ог blouse) and а day dress. suitable fог пrass mапчfасtчrе. All clotheswеrе made using Utility cloth and confonrred to strict есопопlу-driчеп regulations.

Ву exploiting and рrопlоtiпg the skills of London's top designeгs. the Воаrdsuccessfully demonstгated that austerity rtllings penttitted both creativity апd style.

The рrоtоtуре пrodels, fеаtuгеd iп Vogue duriпg ОсtоЬег 1942. wеге sub-

sequently donated to the V&A. While the сопtгiЬutiопs of individual designeш

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Victor Stiebel, English Desigпer

was intended to rеmаiп апопупtоus, сеrtаiп stylistic tгaits аге evident and someitems агriчеd marked with designer's initials. А геd rауоп dгеss and two-piecegоrеd navy woollen skirt with Ьluе-grеу lumЬеr-stуlе jacket have Ьееп linked withStiebel.2 In Вritаiп. сопsчmег гаtiопiпg did поt епd until Магсh l949 and Utilityclothes rепrаiпеd in large-scale рrоdчсtiоп until l952. Вut. during this time. wоmепwho could аffогd to Ьuу new clothes had. fог the fiгst tiпre. access to gаппепtsdirectly conceived Ьу London dеsigпегs. albeit made iп fаЬгiсs of чаriоus qualities.

Duгiпg the wаг. English journalists raised the spectre of London еmегgiпg as

the ерi-сепtrе of iпtеrпаtiопаl fashion (as indeed did Аrпегiсап jочгпаlists about

New Yогk). But. as influential fashion writеr Alison Settle so wryly оЬsеrчеd inPicture Posr in Jапuагу l945:

Success саппоt соше to English fashions. so long as mеп о[ the сочпtry trсаt fashion as

being essentially frivolous and ечеп laughable . . . Опlу whеп fashion trends. соlоurs

апd the whole philosophy оf clothes is talked about - as films. pictures оr music аrе

discussed - сап the textile tгаdеs оf Brilain regain lhеiг пleriled sчрегiоritу in lhe eyes

оf the wоrld.

(And alas, alntost sixty уеагs оп this still has rеýопапсе.)

Stiebel was denrobbed iп November 1945 апd joined Jасqпlаr as dirесtог ofсочtuге. whеrе he рrеsепtеd his designs чпdег the 'Viсtоr Stiebel at Jacqmar' label.While Вritаiп had епrеrgеd triumрhапt frоm wаr. the есопоmу flоuпdеrеd and

shortages continued. In а bid to еаm lnuch needed fоrеigп rечепuе. the gочеrпmепt

rеquеstеd London's designers сгеаtе luхuгiоus fashions (frее of аustегitу rulings)fоr ехроrt mагkеts. Models such as Stiebel's flowing Grесiап style gowns in silkjеrsеу wеrе tantalizingly featured in the рrеss. Ьчt wеrе stгictly unavailable to

domestic сопsumеrs. Апоthег - а ravishing black gown trirnmed with ostгichfeathers - was аmопg а selection frоm the Export Collections рiсtuгеd iп НаrреrЪBazaar.

Stiebel's designs fоr the home tпаrkеt frоlп this priod аrе suprlative and wеrе

selected fоr the сочегs of Vоguе апd Harper's Ва?даr.Iп January l94б he ргеsепtеdshort diппег dresses of stiff sliррег satin in dove gгеу with unpressed pleats that

flаrеd frоlп bell-shapd skiпs reaching l8 inches (46 спt) frопr the grоuпd and

dбсоllеtб рiсturе frосks with раппiеr hips. As hапd-wоrkеd еmЬrоidеrу was

difficult to obtain. he applied Viсtоriап petit point as decoration. notably оп the

corselette of а геd dinner dгеss. Ву сrеаtiпg dгesses with lопgеr. fullеr skiпs апd

sloping shouldeг lines, Stiebel had anticipated futurе tгепds.When пеw соuturiег Сhгistiап Diоr presented his рrоfоuпdlу influential fulI-

skiпed and tightly corseted 'New Look' collection in FеЬruаry 1947. Раrisiапfashion suрrепrасу was instantly геstоrеd. Oveгnight. lingering wartime styleswere гепdеrеd dеmоdё. English designers геsропdеd valiantly. as did rеsочrсеful

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honre-drcssmakers. А highlight frоm Stiebel's ачtumп/wiпtеr l947 collection wasа yellow-green stгiped grosgrain dгеss with а lаrgе bustle bow - а surргisiпglуflamboyant fеаtuге fоr а day dress. This detail, coltrbined with the horizontallystriped overskirt (supported Ьу stiff hоrsеhаiг fгill). created ап impression ofadditional fullness with есопоmу and арlопtЬ.З

While the lavish evening соurts of the рrе-wаr уеагs wеге поt гечiчеd. frоml947 the English social sеаsоп опсе again оffеrеd its аппuаl rоuпd of entertainпlent.

Wittt this catne пеw denrands fоr fashionable clothing and а boost in demands fоrthe services of London's сочturiеп;. Stiebel орпеd а depfiment саtеriпg espciallyfог debutantes at Jасqпlаr the same уеаr.

Duriпg the l950s London's сочtчriеrs gепеrаllу fагеd well and were joined Ьу

talented пеwсоmегs Jоhп Cavanagh. Michael Shеrагd апd Ronald Раtеrsоп. Fоrtne l95З Соrопаtiоп the world's attention focused uроп Lопdоп апd the соuturiешrоsе to the occasion сrеаtiпg lаrgеr. special collections. Stiebel's Соrопаtiопcollection. shown in FеЬrчаrу. пчmЬеrеd ninety pieces. lпапу in riсh fаЬriсsincluding commemorative designs Ьу the theatre designer Оliчег Messel fоr Sеkеш.Iп Магсh l953. Nоrпtап Раrkiпsоп fоr Vоguе photographed Stiebel with twomodels. Dгessed iп evening 8оwпý with strapless bodices. опе in sliррег satinlooped in to а bustle очег ап immense tulle skirt. the оthеr а stnoke-beige оrgапzаgоwп with а drареd polonaise of spotted sчrаh. Also fгоm this collection wеrеgowns with tiny bodices festooned with gагlапds of rоsеs апd sashes that swept

асrоýs imпtепsе сгiпоliпе gowns. сопsuпriпg some 250 yards of luхuriоus fаЬгiсs.Fог special occasion dауwеаг. silk suits had ассогdiоп pleated skirts очеr stiffpetticoats and coats wеrе оffеrеd in two silhouettes. the swаggег and fitted. Thedеsigпег also рrеsепtеd matching mоthеr апd daughter gоwпý.

The English cliпtate is поtогiочslу uпргеdiсtаЬlе and сочпtrу houses аrе

раrtiсчlаrlу rепоwпеd fоr their chilly dгаughts. Fоr wiпtег l955 Stiebel maskedчеlчеt-tгimпrеd cashlnere саrdigапs with chiffon to tnatch his evening dгesses.

The jackets of Stiebel's tаilогеd suits frоm the l950s wеге sсulрtчгеd with softlyrочпdеd shouldeгs and ntoulded the body to а nipped in waist. sometinres with аbasque and often with interesting button placement. Suits fоr the tоwп had pencil-slim skirts, straight оr pleated. while those for the сочпtrу wеrе gently flагеd andcut slightly shоrtеr. Daytime fabrics included tweed. face-cloth, чеlоur. stгiрdапd check suitings.

As befitted сочtчrе. Stiebel's suits werc реrfесtlу Ьаlапсеd. expertly fitted and

meticulously well made. Опсе the client had selected fаЬriс апd chosen а пtоdеlfrоm the collection. hеr mеаsurеmепts wеrе tаkеп and the tailoгing Ьеgап. Thesuit would Ье сut. tacked and fitted onto а dummу апd the ýeanls. colliтs andshoulders adjusted to епsurе регfесt alignntent. While рагtiаllу ttlade, with justопе sleeve tacked оп апd still unlined. stiebel's client would соmе fог ап initialfitting. As it пеаrеd completion two пtоге fittings would take place. The result

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Victor Stiebel, English Designer

was а suit that fitted perfectly without сопstгiсtiоп. the buttons апd sleeves fittedto allow 'taking uр' while in wеаr, А реrfесtlу rnade jacket should hапg equallywell whеthег uпЬuttопеd ог fastened and печеr lose its shap. Сопstruсtеd to last

а lifetinre. stylish апd classic tailored suits Ьу Stiebel and the Lопdоп соuturеwеrе celebrated worldwide.

А grеу wool day dress frоlп the еаrlу l950s. wогп Ьу Mrs Коrпег. шd поwhoused аý раrt of the КогпеrАrсhiче at the London College of Fashion, exemplifiesthe designeгs gгаsр of functionality апd еlеgапt чпdеrstаtеtпепt. It was perhaps

these qualities in his work that led to commissions to design пеw чпifогms fоr the

Wоmеп's Royal Naval Service ( l95l ) апd the mess dress fоr the Wопtеп's RoyalАiг Fогсе ( 1958).

The еmiпепtlу wearable qualities of Stiebel's wогk presented чаriоus pssib-ilities fоr disseпrination to the less аffluепt fashion сопsчmеr. In the first уеаr ofhis business, the рорulаr woпren's magazine Ноmе Chat (9 JuIy l9З2) praised а

'sophisticated and сhагmiпg'tucked velvet chiffon dress with fuг-соllаrеd capletnoting. 'These will hесоmе ррчlаr imrnediately. because it gives опе а сhапсе ofusing чр ап odd length of fur iп а rеаllу fashionable tIlatlner.' [п sргiпg l956 the

rniddlebгow Еvепiпg Staпdard London пеwsрарег оffеrеd rnaking instructionsfоr а sчmmеr dгеss апd jacket desigrred Ьу Viсtоr Stiebel. with patent belt. bindings.ziррr. buttons and tагlаtап underskirt fог З4 shillings. Раttеrпs for little blackdresses that could Ье made in velvet, taffeta оr translated пrоrе iпfогпrаllу iп alpacaог wool wеге available fгоrп Weldon's. Stiebel also sегчеd the huge аrmу of homeknitteгs: in FеЬruаry 1959 Housewife magazine fеаtuгеd а раttегп for а gгееп

blouson style sweater with а sсаrf neckline.Stiebel's talent as а designer was undisputed. Iп the роst-wаr priod he also

became а driving fогсе within London's dеsigпег-lечеl fashion iпdustгу atrd inl956 was appointed as сhаirmап of Inc. Soc. Сlеаrlу optirnistic fоr the fчtчrе. iпl958 Stiebel георепеd his owtt соutuге house at l7 Cavendish Squаге (fогmеrlу

the Lопdоп hопrе of the Еаrls of ВеssЬоrоugh) with а staffof l25 skilled wогkегs.

The eighteenth-century рrепlisеs housed five spcialist workshops and а shоwrоопtfеаturiпg Adam ceilings.

Ву 1960 the гоlе of irrternational haute сочtuге was threatened Ьу rеаdу{о-wеаr fashions that wеrе сhеарг, mоrе ерhепrеrаl and instantly available. lп l948the Lопdоп Model House Gгоuр had Ьееп founded to rергеsепt the interests offоuгtееп top quality rеаdу-tо-wеаr companies such as fоuпdег-пrеmЬег FrеdеriсkStагkе. Вrеппег Spпs апd Fгапk Ushеr (whose history is lаrgеlу чпdосчпrепtеd).

London fashion also enjoyed а massive boost frоm the пеw gепеrаtiоп of tпапу

аrt-sсhооl trаiпеd designers whose пrоdеrп vision trапsfоrпrеd the аррагапсе ofап аdчепtчrочs and аfflчепt youth mагkеt. Ready-to-wear was also to Ьесоmесепtrаl to the survival of пrапу of London's соuturiеrs. As еаrlу as l950 Jасqlпагhad launched а геаdу-tо-wеаг line designed Ьу Аmегiсап Vincent Monte-Sano

l5з -

Дmу de la Науе

and the salne уеаr соuturiег Нагdу Amies iпtгоduсеd а boutique fоr rеаdу+о-wеаг within his house.

Whеп Vоguе (еаrlу Septetnber l9601 posed the question 'Аге соutuге clotheswоrth the пtопеу?' they responded Ьу ргоfiliпg the wоrk of чаriочs Londondesigners. Stiebel's clotltes wеrе dесrееd to Ье.

Well wоПh it fоr the sense оf elegance апd пtаgпitiсепсе he gives to his grald occasionball dresses: and [ог the delicious assurance that опlу а соutшriеr сап give - о[ kntlwing

that опе looks гavishingly pretty. that thc fabric is magniticent. the dL,tail intricate. and

the design individual.

Dчriпg the l960s London houses colltinued to орегаtе on а relatively small scale.showing агоuпd sixty pieces рег sеаsоп, while the Paris houses рrеsепtеd sопrе

two huпdгеd. Ноwечеr. а пtаjог strength of London's couttlгiers was that theyprincipally саtеrеd fоr а private clientele. while in Раris and ltaly it was ready-to-wеаг апd licensed goods that fоппеd the bulk of the business. Еurореап haute

соuturе was to becolne the glаlпоuг-Iаdеп. Ьut loss-making. advertising platformfоr designers to рrошоtе thеir label. Сопчегsеlу. in London the small scale of the

majority of (mainly privately owned) fashion houses has always mеапt that the

clothes shown оп the catwalk аrе - and rеmаiп - what the designer has to sell.This рапlу explains why London's соutuгiеп; аrе celebrated for the wearability ofthеiг designs.

In оrdеr to hridgе his сочtчrе апd the Ьrоаdеr rеаdуtо-wеаг пrаrkеt, iп l960Stiebel introduced а mid-rапgе called the Gгоuпd Нооr Collection. Gаппепts (that

арреаr to Ье по less detailed than the соuturе rnodels) wеrе offered in sizes up to

lб апd cost арргохirпаtеlу half the рriсе of his соutчrе models. (ln 1960 а made-

tо-оrdеr ball gown cost аrоuпd f200.1 Clients wеrе provided with а опе-аltеrаtiопservice Ьу а соuturе-fittеr and the completed iterns delivered within а week ofрurсhаsе. (Cavanagh had introduced а similar line called 'Boutique Соuturе' iпl959 апd Hartnell followed suit in l965 with his Special Collection.)

The London College оf Fashion LiЬrаry houses thгее sales books showingStiebel's haute соutuге designs duriпg l96bl, l962-З and his Grоuпd FlооrCollection l96l-З. Revealing the continuing vogue fоr tinre and occasion-specificdress. each аlЬчm is subdivided into sections ргеsепtiпg suits and blouses, daydresses. Ascot апd cocktail dresses. evening dresses and coats. Stiebel depicts hisпlоdеl аý а mаturе wоmап. iпlрессаЬlу grооmеd and арргоргiаtеlу accessorized.The wаtег-соlоurеd sketches rечеаl а fastidious attention to detail. Each drawingshows соlочr and раttеrп. а full-Iength frопt view. accompanied Ьу srпаllеr sketches

of the back and partially concealed gаrmепts such as blouses (see Figures 9.1 and

9.2). Ву presenting the full гапgе of the collection - not just the 'showstoppers'

fеаturеd in the рrеss - the аlЬчпrs provide а fascinating insight into the output ofthis English dеsigпег.

I5.4 -

Дmу de la Науе

Stiebel's ргеss books frопr this реriоd гечеаl extensive пеwsрарег сочегаgеand features iп jоuгпаls. but fеwеr епtriеs in the high fashion glossies. While Vogue.

fог ехапlрlе. continued to ргеsепt the London соuluге. editoгs sintultaneouslyshowed the пtоге fчпkу output of the уочпg designers (апd this dual identity has

сhагасtейеd English fashion to the рrеsепt day). Ноwечеr. to соmраге Маrу

Quant's denim tunics with Stiebel's gilded Ьrосаdе gowns. and view the lаttег as

having passed his heyday. is to tniss the point. London's соutuгiеш had по intentionof being in fashion's чапgчаrd. ДsVоguе (SерtепtЬеr l964: 88) so rightly pointedоut. London's сочtuгiеrs 'аrе поt а lаuпсhiпg pad fог wild пеw fashion аdчепturеs.

Not а nrelting pot fоr sizzling пеw lines. Not leaders of wоrld fashion. They don'twant to Ье апу оf these things. поr do they see theпlselves iп that light at all.'lnstead, they judged thеir success Ьу creating clothes that perfectly suited the sociallives of their clients: саtеriпg fоr fоrmаl rоуаl occasions. busy mеtrороlitап life.spoпing events and fог геlахаtiоп iп the сочпtry.

Dеsigпеrs апd classic clothing conrpanies have consistently сhапrрiопеd the

classic fаЬгiсs апd соlоuгiпgs fог which English. Scottish and lrish textiles

рrоduсегs аrе wоrld fаIпоus. While Stiebel inevitably made extensive use ofJacqmirr's textiles, he also purchased traditional Meeds frorn Donegal апd dупапriс.пrоdеrп weaves frопr Аsсhеr and Вегпаt klein. The west Сuпtьеrlапd silk Mills.launched Ьу Nicholas 'Miki' Sеkегs iп l938. who famously coltrmissioned mапуfiпе artists and non-textiles designeгs to design fоr hirrl, provided nlaterials fоrevening gowns. (It is а shame that nowadays fashion magazines only гаrеlу credittextile пtапufасtчrегs.) While пlоst designer-level ganlrents wеге - and still аrе -рriпtаrilу ttrade frоm паtчгаl mаtегiаls. Stiebel was рrераrеd to ехрегiпrепt withthe пеw synthetic fibres. Не pmticipated in чагiоus Courtaulds prolrrotional pýectsusing пуlоп and Оrlоп (а 60/40 Огlоп/silk cloth nrade Ьу Нurеl) and in FеЬгuаry196l. showed а black ball gown iп пуlоп пеt with а velvet sash at the BritishNуlоп Fаir at the Royal АlЬеrt Hall.

In Jапuаry l96З. Viсtог Stiebel explicitly аппоuпсеd to the рrеss that his designswеrе аiпlеd at, "'tlre not so уоuпg" rаthег tlran the twisters' (Western Daily Press.23 January l96З). Iп сопtгаst to youth tгепds that wеrе inching thеiг way uр the

leg to culnrinate iп the пriniskirt, Stiebel's sргiпg/sumпtеr show presented designswith lопgеr hemlines iп а palette оf sweet-pea shades, which have long Ьееп used

to flatter lпаturе beauty. Не chose the папtе 'Muted Тruпrреt' to describe his jackets

and coats that wеrе gently fitted to а high-buttoned bust. Hats fог the collectionwеге designed Ьу leading London пrilliпег Simone Мiппап (who had trained with

Schiaparelli in Paris and launched hеr оwп London business iп l939l. Frопr this.his fiпаl collection. Viсtоr Stiebel selected апd gave to the V&A а white пrоirб

silk wedding drеss. Striking fоr its stгеапrliпеd simplicity. the back of the dress

falls fгопr the shoulders rесаlliпg eighteenth-centuгy sack-back styles. The designis shown iп а L,ondorr College of Fashion аlЬum and tlre finished gапllепt coпrplete

l56 _

Vctor Stiebel, English Designer

with hеаdwеаr - а soft sсаrf of organdie knotted peasant Style чпdег the chin -was modelled iп the Evening Standard (24 Jапчаry l963).4

Stiebel геtirеd due to ill health iп l963 - he had sчffеrеd fюm multiple scleгosis

since his fifties. Anxious that his l20 staffmembers should find suitable аltегпаtiче

employ, he was delighted whеп Нагdу Alnies took the full соmрlеmепt. Ruinghis loss to English fashion. Betry Wilson wrоtе lп Соuпtry Lfe 14 June l964) that

England's First Eleven had lost theirplaying captain. Duriпg his rеtiгеmепt Stiebel(1968) published ап ассочпt of his youth in South Аfriса. Ьчt sadly did not

document the achievements of his саrеег iп fashion. Of London's rеmаiпiпg 'Тор

Теп' сочtчriегs - with the exceptions of top rоуаl dгеssmаkегs Нагdу Amies andNогmап НаПпеll - сuпепt dress history lacks insight into the wогk of Lachasse.John Cavanagh. Mattli, Angele Delinghe, Сrееd. Michael, Ronald Раtеrsоп and

Michael Shегаrd. The same is truе of mапу of the next gепеrаtiоп of designers.Names such as Clive, Foale & Tuffin, John Bates and Thea Ропеr аrе little knownoutside fashion сirсlеs. If English fashion is to епjоу its merited place iп dгеss

history, we must геmеdу these omissions.

Notes

l. Gаrсоппе style gown (V&A) mчsеum геfеrепсе по. E.l07bl983 апd coiledsnake gown (E.1077-1983). Тhеrе are three designs 1934-5: оrапgе beachpyjamas (E.l074-1983), а violet suit (Е.l073-198З) and black day dress(Е.l072-198З). With thanks to Shaun Cole.V&A rеfеrепсе по: T.58-1942. T.46&A-l942.This dress was fеаtчгеd iп Vogue, Магсh 1947 and was donated Ьу LadyCornwallis to the V&А (T.292-1984), It is also shown iп de Ia Науе (l997).V&А геfегепсе по. Т.169-196З. Also see de la Науе (l997l.

2.

з.

4.

Rеfеrепсеs

de la Науе, А. (ed.) ( l997).The Cuttiпg Edge: 50 Years of British Fashioп. Lопdоп:Чсtоriа & АlЬеп Мчsечm.

Нагtпеll. N. (1955), Silver апd GоИ Lопdоп: Evans Вгоthегs.Souhami, D. ( l988), Gluck 1895-1978: Her Вiоgrарйу. London: Рапdоrа.

Stiebel, V. ( l968). South дlriсап СhiИlюоd, London: Апdгё Deutsch.

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