Neutral Navy - 1956

Navy blue.  It's one of those neutral colors that is flattering on most everyone. It goes with every other color. It is perfect if black is too harsh on you. And, subliminally, navy says "success."

This two page ad for Rayon fabric from 1956 features 5 different navy blue dresses, all available at Henri Bendel. The hats are by Adolfo of Emme.

Above left:  Sheath dress with short jacket by Rembrant.
Above right:  Full skirt princess dress by Junior Sophisticate.

Left:  Sheath dress with short cape by Highlight.
Center:  Shirtwaist dress by Ira Rentner.
Right:  Full skirted dress by Richard Cole.

Which dress is perfect for you?  How do you wear navy blue?

Both photos from a 2 page advertisement for Rayon in Harper's Bazaar, 1956.

Adolfo's Knits

Last week, we looked at the hats and early clothing of Adolfo Sardina.  Today will be the end of my series on this talented designer.  In the very early 70s, when knits started to become very popular, Adolfo took the trend and elevated it to a higher style for his exclusive clientele.  "A dress has to be more than a long sweater," he said in 1972.  The results were nothing less than spectacular classics that still look decidedly modern 40 years later.

70s evening gown with sequins, sold by Couture Allure

The designer used only a very high quality knits made of silk and wool that were specially constructed not to cling, sag or lose their shape. There were often patterns knitted into the fabric, such as lacy pointelles or geometric designs.

1974 knit maxi dress from the collection of the Met Museum

Adolfo insisted that his clients wear a body stocking or panty girdle and bra under his knit dresses.  He even designed his own special girdle made of English elasticized fabric that he sold with the dresses.  And he always advised his customers to buy one size up whe0 wearing a knit. "Knits cling...An extra size is a wonderful disguise."

1976, in the collection of the Met Museum

By 1973, Adolfo began to present what would become his signature look, the knit suit styled after those of Chanel.  For his suits, he used the same knits as his dresses as well as thicker boucle knits in tweedy yarns that mimicked the wools used by Chanel. 

1977, from the collection of the Met Museum

He trimmed his suit jackets with braids, buttons and pocket flaps, just as Chanel did.  Sometimes the jackets were edged with crocheted yarn in a contrasting color.  He sold the suits with co-ordinating silk blouses that tied with a bow at the neck.

1979, suit trimmed with gold sequins

While his knits became very popular, he continued to design printed silk daytime dresses and evening wear for his steady stream of custom clients in his 57th Street Salon.  In the late 60s and 70s, he also had  wholesale arrangements with a few high end department stores like Saks Fifth Avenue, I. Magnin and Neiman Marcus.

In 1976, Adolfo began designing a menswear line.  During the 70s and 80s he licensed his name to countless products, including perfume, furs, handbags, hats and sportswear.  In 1993, Adolfo announced the closing of his custom salon, much to the chagrin of his loyal clients who had been purchasing his clothing since the 1960s.  After closing his salon, he concentrated on marketing his licensed lines and made appearances at department stores and on QVC.  He continues working with his licensees to this day.

Weekend Eye Candy - Ben Reig and Adolfo, 1964

Since we've been looking at Adolfo all week, I thought you might like to see this image taken at the Arctic Circle in 1964.  The model is wearing a white silk faille cape with mink edged hood by Ben Reig.  Adolfo made the silver sequined hood and Viola did the silver sequined gloves.  The composition of this photo, taken by John Cowan is superb in every way, don't you think?

Adolfo's Early Clothing

Earlier this week, we looked at Adolfo's hats.  When Adolfo opened his exclusive millinery shop in 1962, he began showing simple garments of his own design to offset his hats.  In 1966, as the popularity of hats dwindled, Adolfo made the decision to begin designing clothing in earnest.  As a milliner, he had developed an exclusive clientele of socialites.  These women formed his custom client base as he moved into designing fashion. 
 

1966 gold beaded mini dress, from the collection of the Met Museum

Women such as Gloria Vanderbilt, Babe Paley, CZ Guest, Jackie Onassis and Nancy Reagan drove his business.  Adolfo would show the collection to these women privately and make their garments to order. 

1967, from the collection of The V&A Museum

He stayed away from designing the popular sportswear of the time and instead focused on specialty items that reflected the social status of his exclusive clientele.  The evening ensemble above was made from an antique crazy quilt.

Late 60s vest and hot pants made from a crochet afghan, available at Frockology

Many of his pieces from the late 60s were quite "costume-y"  He was quoted as saying that his clothing was for a woman's fun and fantasy moods.  "Ladies want fun and games," he said in 1969.  He was satisfying their wants with maxi coats made from antique Spanish tapestry bedspreads and maxi skirts made from panels cut from checkered tablecloths and sheer gauze curtains.

1968, crochet mini dress, from the collection of the Met Museum

Adolfo showed this crochet mini dress in 1968. Jackie Onassis called him and ordered it custom made in 14 different colors.

1970, from the collection of RISD

Adolfo would use ideas from ethnic and native costumes that he observed when on vacation.  In Portugal, he saw women wearing embroidered shawls with long fringe.  The dress above shows the result of that inspiration.  After visiting Sardinia, he made a leather evening vest that laced in the front, to be worn with a voluminous satin full length skirt.  The vest was meant to be worn with nothing underneath, not even a bra.

Adolfo won a second Coty Award for his clothing  in 1969.

In one short year, starting in 1970, Adolfo's designs will make a radical change from the outrageous flights of fancy to a more classic and subdued esthetic.  We'll look at those garments next time. 

Adolfo Hats, 1963-66

On Monday, we looked at some of the hats from Adolfo's early career while working for Emme.   

1963

Adolfo left Emme to open his own millinery salon at 22 East 57th Street, New York in 1962. His hats continued to be very popular and were featured often on the editorial pages of high fashion magazines. 

1964

His hats were also often found in fashion advertisements for other companies, always with attribution in the small print.  This ad was for dresses by Nantucket Naturals with hats by Adolfo.

1965

He also paired with several clothing manufacturers to make hats that coordinated with their garments.  Here, the suit is by Modelia and Adolfo made the matching hat.

In 1963, Adolfo made an agreement with the Award Hat Company to launch two new labels that bore his name.  He would design the hats, but Award would manufacture them.  The Adolfo Realities line was a bridge line and the Adolfo II line was a less expensive one.  These lines were sold in department stores and smaller boutiques across the country, and were more affordable for the average American woman.  His own Adolfo label hats were sold in his 57th St. boutique and at the upper tier of department stores across the country, such as Saks Fifth Avenue, I. Magnin, etc.

This is the label from Adolfo's custom hat line.  It is often found with an additional label attached from the first tier department store where it was sold.  This label signifies the most expensive of Adolfo's hats.

Adolfo Realities label from his bridge line.  These hats were manufactured by the Award Hat Company, but designed by Adolfo.  This line was less expensive than the custom label hats, but still of high quality.

The lowest tier label, the Adolfo II line was designed by Adolfo but manufactured by the Award Hat Company.  This was the least expensive of Adolfo's hat lines and the hats were made of lower quality materials with the trimmings often glued on instead of stitched.  That is not to say that these are not great hats!  They are still far superior to hats made in later decades!

1965

As the decade moved on and fewer women were wearing hats, Adolfo began designing more dramatic styles in order to counteract the trend.  He held that hats should be worn as a fashion accessory rather than as a necessity.

1966

Adolfo was quoted in 1993 as saying that even though he got his start in millinery, he never enjoyed making hats.  I'm not so sure I believe him, because his hats were beautiful.  By 1966 though, hats were becoming less and less popular and few women wore them anymore.  Adolfo made the incisive and timely move to designing clothing, probably more as a business decision than anything else.  We'll look at some of his clothing tomorrow.

Adolfo Hats for Emme

Designer Adolfo Sardina, 1958

Adolfo Sardina was born in Havana, Cuba in 1933.  Destined to join the family law firm, it was his wealthy and fashionable aunt, Maria Lopez, who persuaded Adolfo's parents that her nephew was not meant for the law.  She took him to Paris and convinced Balenciaga to hire Adolfo as an apprentice.  It was there that he learned the importance of cut and design that would serve him throughout his career.

In 1953, Adolfo left Paris to work in New York.  There, he joined the millinery firm of Emme where he designed hats until starting his own company in 1963.  He won the first of his 3 Coty Awards in 1955 for his millinery work at Emme.  Today, a look at some of the hats Adolfo designed during his years at Emme.

1955

1957

1959

1960

Sophia Loren wearing an Adolfo for Emme hat, 1961.