Hand-embroidered silk evening dress, 1930s
I love the fluid ease of 1930s evening wear. While sexy and body conscious, the look retained an element of discreet mystery with bias cut draping of the bodice. The bias cut molds the dress to the woman, rather than vice versa. Men are simple creatures—they will respond to the seductive style.
This elegant creation flows over the body, molding to the torso before breaking into a sweeping bias cut skirt above the knee. The key-hole bodice opening intimates an enticing, hidden feminine allure. The neckline plunges to just above the waist in back. The dress closes on the side with small hooks and snaps.
Made from ivory silk crepe Chinese fabric, the unlined dress is exquisitely hand embroidered with the intricate, scrolling floral motifs found on Chinese import shawls. The armholes and neckline are finished with narrow self binding. The hem is hand rolled. The lovely dress would be perfect for an informal wedding; or whenever you crave the undivided attention of the male of the species :)
The Chinese fabric and "Chinese" design motifs were self-conscious style references. Think of top star Myrna Loy as Nora Charles in The Thin Man films. She set the standard for high society, sophisticated glamour in her slinky, bias cut gowns. ("Myrna Loy" was the Oriental sounding screen name of Myrna Adele Williams of Helena, Montana.)
Influenced by dancer Isadora Duncan, Madeleine Vionnet created the bias cut in 1922 to make her fabrics reveal form and respond to movement. Our dress shows how the bias cut embodies the fluidity of movement of the female form. It is obvious why Marlene Dietrich loved these seductive gowns in the 1930s.
The condition is almost excellent. The dress just shows gentle wear.
It measures: 36" bust, 28" waist, 36" hip, and 57" from shoulder to front hem (slightly longer in back).