Nutty for Novelty

When it comes to buying Horrockses i have some kind of weird radar. I can spot one straight off, I don’t have to touch it, it’s just a case of having bought over 90 (gulp. I feel a bit sick to say I have bought that many…although a few have been sold along the way!) I just know them instinctively. That radar was blinking at its best this week when I turned up this delight (It was so cheap I still can’t get over it).


I snapped it on my manni for full effect. The matching bolero is quite cute and it also has pockets on the hips (I love a good pocket on the hips, perf. for making your waist look smaller)



I knew the print too, having remembered seeing it amongst John French photographs previously. This means the dress can be dated to 1956.


I actually ended up wearing the dress out last night as my Mum was up from Hampshire for the weekend. I snapped a few quick pics on my pretty snaz new iphone (gahhh new technology!) before I went out. I actually shared the dress on my instagram last night too (come and follow me on instagram too, I am @liztregenza)

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The graphic quality of the design means it is more difficult to ascertain the designer, but if I had to put money on it I would say it is a Joyce Badrocke design as it reminds me a little of a sketchy pink print I have seen by her.

I also recently acquired this Horrockses thanks to my friend Holly. We like to keep an eye out for each other when we are at fairs/ markets and the like so when she text me with this number the only answer was Yes please!




The print explains the title of this post, oh my, I love a pun (sorry it really is terrible).

I took a few quick snaps of it on too (sorry about my face, i had just cycled home from work when I took the pictures- the dress is also incredibly creased because it has been in a suitcase for the past two weeks!)



The print is definitely a Pat Albeck, I suspect it originally had a little matching jacket like the one seen in the Horrockses exhibition. Although, perhaps not as mine is not the same cream shade, but is in fact a very subtle pink with a matching more “blush” pink sash. I’m not 100% on the date of this, but I would think ’55 ish.

What I quite like from the Horrockses exhibition is that behind this dress you have one of Albeck’s fruit designs. Similar to that in my Horrockses.


Hope you like my new finds : )

Old friends and Old films

Today my post is in part soppy I love my friends, and also part fashion/film history.

My friend Caro is seriously an amazingly special lady, we’ve known each other since we were 4 (gulp. 19 years) and went to both primary school and high school together. Caro has, over the years, educated me well in old films. We’ve watched countless films together (more Grace Kelly and Audrey Hepburn than you can shake a stick at) and last night decided to go for two Fred Astaire/ Ginger Rogers classics. First off was Roberta (1935) , the focus of my post.

My squealing throughout the film says something about how much I enjoyed the costumes I think….

I won’t give away the whole story but as a quick overview Ginger Rogers and Fred Astaire are almost the second pairing in this film (the main one being Randolph Scott and Irene Dunne). And the film centres mostly around the high end fashion house of Roberta and Huck’s (Fred Astaire’s) band ” Wabash Indianians”. But, for me the plot of the film is secondary (or even tertiary) to the insane costumes and dancing that feature throughout.

Of all Fred and Ginger films I have seen the costumes in this are my favourite hands down. The costumes were designed by Bernard Newman who designed for quite a number of RKO pictures (including Swing Time and Top Hat) , although understandably as this film is about a fashion house these are amongst the most spectacular. Newman had couture credentials and was actually also the head designer for Bergdorf Goodman. The majority of Newman’s film credits come from the years 1935 and 1936, although he designed for RKO from 1933.  Apparently (although I can’t say for absolute certain on this) Newman was used for this film on Dunne’s recommendation.

The costume budget for the film was huge, hitting in at $250,000 but I have to say, well worth it. I think this film is particularly striking for the detail in the costumes, the cut of the sleeves, collar detailing, necklines etc. etc. I really could go on, but I recommend you watch it for yourself.

One such amazing necktie with matching cuffs. (Irene Dunne)

The cut of the sleeves  on this dress were just perfect, with sleeves and bodice in contrasting fabric.(Claire Dodd)

The “wet look” was one of Newman’s design signatures. This is one of the most striking of the film (although as Caro and I discussed it has a bit of a fetish look to it)

This crazy cowl neck coat (that I am sure must have been weighted to sit in this way) as worn by Dunne also has a fabulous reverse fastening detail to the back.

The film is also great for fur accents, which even in black and white seem to come completely to life.

Daringly sensational black backless dress. As also worn in the film by Claire Dodd.

Crazy chevron dress which has a real Schiaparelli feel to it.

Utterly amazing 3 piece swimsuit worn in the fashion sequence towards the end of the film. The styling of this swimsuit seems particularly modern.

A still from the fashion show towards the end of the film.

A small snippet about the film from Ginger:

With handsome clothes by my favorite designer, Bernard Newman, and beautiful songs to dance to, I had the time of my life playing this role.

“Bernard Newman’s clothes in Roberta for me and for Irene Dunne were exceptionally clever and handsome.  The gold lamé dress I wore for the “I Won’t Dance” number was a dress I had bought while in New York as part of my trousseau.  That was the first time I ever wore a personal dress in a motion picture, and it was probably because Bernard Newman had designed it.  For the “Smoke Gets in Your Eyes” number [sung by Dunne], he created a long black satin dress, with a wonderful piece of faux jewelry on the chest.  Men always commented on that gown; indeed, I never met a man who didn’t like that dress.”

(From Ginger Rogers memoir)

That Gold lame dress

The black dress worn by Ginger Rogers whilst Irene Dunne sings “Smoke gets in your eyes”

as Stephanie

Headdress worn by Dunne for “Smoke gets in your eyes” The dress was actually red even though it looks very pale in thefilm stills (can’t get a picture that isn’t terribly fuzzy of it mind you!). This headdress cost an eyewatering $6,000.

My personal favourite though is not one of the striking gowns, but the incredible jumpsuit worn by Ginger Rogers in one of the dance sequences “I’ll be hard to handle”.

Vogue Book of British Exports. Can you help?

This post is a plea for help!


As some of you may be aware (particularly if you follow me on twitter) i am currently completing research for my Masters degree dissertation. As part of this I am looking into lots of original magazines from the 40s and 50s. But here i have come to something of a sticking point. I am desperately searching for copies of Vogue Book of British Exports. A magazine that started in 1940. I am particularly looking for copies from 1945, 46 and 47. If you have a copy (or if you know of a local library that does- copac and worldcat searches have not helped me at all!) then PLEASE let me know. I am happy to purchase copies of this magazine if you have any, or just come and look at them.


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Vogue book of British exports (here you can see the two copies I actually own!!!)