brooch

Doris Day’s White Evening Gown from Pillow Talk

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I got an e-mail from one of my readers, Kim, a while back, talking about the designs of Irene Lentz, a costume designer who worked on some Doris Day movies that she recommended to me, one of which was Pillow Talk. I have to do further viewing before I can be familiar with her work, though — it looks like Pillow Talk was costumed by Jean Louis (who, credited for “gowns,” probably designed this costume) and Bill Thomas. Anyways, whoever designed them, I love Doris Day’s outfits in the movie. Her character is an interior designer, and she always looks fabulous: the movie was released in 1959, and her clothes are right there between smart 1950s femininity and 1960s clean style. The movie itself was something I had to kind of turn off the overly serious and feminist parts of my brain to enjoy: I know it’s supposed to be a light-hearted sex comedy, and the way the guy manipulated the girl (and her revenge) was really quite amusing. Still, when viewers are supposed to take the baby at the end as proof that our hero and heroine achieved ‘happily ever after’, it signified to me “she’s got three, four years tops before he gets bored of her.” Yeah, call me a cynic but I can’t watch a movie like that without scripting out a few months worth of premarital counseling for the dysfunctional couple in my head. Doesn’t mean I don’t have the other Day/Hudson movies on reserve at the library…

5th Century AD Upper-Class Celtic Woman In Saffron and Green Léinte and Green Brat (for St. Patrick’s Day)

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Wikipedia says that “uncritical acceptance of the Annals of Ulster would imply that he [St. Patrick] lived from 373 to 493″ and for the purpose of paperdolling, I can be uncritical. This is my guess at what an upper-class Celtic woman might have worn during the time of St. Patrick. She wears a sleeveless saffron-dyed, heavily embroidered léine, which is a linen tunic, over another light green sleeved léine. At this point, the sleeves, if there were any, were long and straight; the larger sleeves that you might see at a Renaissance fair come later. The green fabric she wears as a cloak is called a brat, and it’s made of wool and edged with gold. She pins the brat with a white bronze penannular brooch, and she wears a woven leather belt.

I cannot say that this is entirely historically accurate; I’ve read about clothes from that time and done my best to make it so, but I’m no expert. I read a lot of great resources about clothing from this time period:

Ceara ni Neill’s Early Period Online
Paul Du Bois’ Book of Kells Images
Clothing of the Ancient Celts
Echna’s Celtic Clothing Page
Crafty Celts

Also, if you’re looking at the dress and thinking “Well, how would someone actually cut that out? Or were hand amputations common in the 5th century?” my advice would be to cut a line between the edge of the sleeve and the cloak and slip her hand through it. This is, of course, if you have already followed my advice (given somewhere…) to cut Sylvia’s hand away from her hip, so that dresses like Margaret Hale’s gown work better.

Brian told me I should have done something for Saint Urho. Maybe next year.