30
Jan
2015
Posted by Nicole in Book, Calendar, Talk 2 Comments

Hi all,

This one has been in the pipeline for ages and I’m so excited that I can finally share it with you: ever since my first book came out, I’ve wanted to do an event at Readings, one of my favourite book shops, and I’ve been to so many of their events and I love them. With the launch of my new book “Style is Eternal”, they’ve invited me to talk about my passion for fashion!

From their site:
Nicole Jenkins has been collecting and restoring clothes since she was a child. With a background in film and theatre costume design, her Melbourne boutique Circa Vintage, showcasing the best of 200 years of Australian fashion, opened in 2004.

Over a glass of wine, hear Nicole talk about fashion and the history of clothing, and impart a few tricks of the trade.

Here are the details:
What: Nicole Jenkins on fashion
When: 6-7pm, Monday 23rd February
Where: Readings Hawthorn — 701 Glenferrie Rd, Hawthorn, Victoria, 3122
Cost: $10 per person and includes a glass of champagne.
Bookings: click here.
More information here: Readings event site.

Hope to see you there!

Here’s my book cover, because I can’t resist sharing it with you again.

Style is Eternal cover


29
Jan
2015
Posted by Nicole in 1940s, 1950s, 1960s, 1970s, Australian Fashion, Calendar, Exhibitions, Style icon

There’s a charming exhibition of a local style icon and fashion designer, currently on display in Ballarat. Here are some details from the website:

Fashion director, clothing designer, retailer, philanthropist, world traveller and local style icon, Jessica Simon was a key figure in Ballarat’s fashion history. She played a managerial role in her family’s business, Stone’s Drapery Store (in operation 1860-1965), which was widely considered the place in Ballarat for fashion purchases, in particular wedding gowns. She hosted a fashion program on local television station BTV6, and designed many of the garments for sale in the store.

Jessica was also a great philanthropist, hosting a wide range of charitable events in the region, and was actively involved in the establishment of the Gold Museum.


What:
Stone’s style: Jessica Simon, a life in fashion
When: 26th November – 1st March, 2015, 9.30am to 6pm.
Where: Gold Museum Ballarat, Sovereign Hill, Bradshaw Street Ballarat
Cost: see list here.
More information at the Gold Museum site.

I’ve had a number of frocks bearing the Stone’s label, mostly from the ’40s and they’ve always been excellent quality with a lot of hand-finishing. It’s nice to have an opportunity to learn more about the label.

There was a nice article in the Ballarat Courier about the exhibition and here are some images to give you an idea of what to expect.

stones label

stones exhibition 1

stones exhibition 4

stones exhibition 5

stones exhibition 6


8
Jan
2015
Posted by Nicole in 1920s, 1950s, 1960s 2 Comments

In these modern times of off-shored manufacturing, most of our fashions are made in China. The wages are lower there, with less worker protections meaning that here in Australia (and other Western countries) we can benefit from the reductions in retail price and have more of what we want.

Sadly, it’s resulted in a culture that values cheapness over all: quantity, not quality. The term “Made in China” has become a by-word for poorly made, but the factories of China are no different to anywhere else: it’s not that they aren’t capable of making good products, it’s that they’re not being asked to. If the customer wants to pay a lower cost, inevitably the quality will be reduced.

When it comes to vintage fashion there is an idea that “Made in China” means you’re looking at a modern garment – but that’s only half true. The Chinese factories opened up in the early ’90s for mass manufacturing to Western countries, so for most “vintage” with a “MiC” label it will be no older than that, but there were always items made for the tourist market, and those that have survived prove that the Chinese seamstresses and artisans are some of the most highly skilled in the world.

Asian culture has often had a big part to play in influencing Western fashion – you see it in Victorian times through the expansion of the British Empire (Indian culture lending the paisley design, for example) and in the early 20th century it was the Ballets Russes with lush coloured costumes with fabrics borrowed from the exotic East that moved our culture away from the soft pastels of the Edwardians.

If you watch the Miss Fisher Murder Mysteries you’ll have noticed how Phryne has a thing for Chinoiserie too: in particular, beautiful hand embroideries.

Here’s a piece from my own collection – a 1920s Chinoise embroidered silk coat. This photo is of Frankie Valentine by Dominic Deacon and is from my book “Style is Eternal”.

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Photo copyright Melbourne University Press.

The cream design is entirely hand embroidered, and would have taken a long time to work – it was expensive then and they’re still sought after now.

Chinoise coat
Chinese embroideries in the ’20s are exceptionally fine and make good collectables too. The crane was a popular symbol, representing longevity and happiness and the peony represents wealth, power and class.

You may recall there were a couple of nice Chinese embroideries in yesterday’s blog post.

You can find more lovely hand embroidery on this nightgown, including a fine satin stitch around all the scallopped edges.

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Although you can find Chinese made nightgowns in the ’30s and ’40s, the tags and rayon jacquard fabric give this one away as being from the ’50s – fashions didn’t change as fast in the tourism end of town. It’s new and unworn – perhaps a souvenir or gift that wasn’t needed once home. I do like when people look after their things for us.

Once you get to the 1960s there’s a positive explosion of Chinese products made for the tourist market – mostly from Hong Kong (which was still a British colony at the time, look out for labels that say something like that) and Shanghai.

Made in China 60s label
Here’s a label from a ’60s cotton dressing gown - there’s that paisley again too.

As well as fine embroideries, the Chinese also produce lovely crochetted items like this summer cardigan.

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crochet label 60s
Here’s the label – apologies for the detail being yellow, that’s instagram’s filters for you. You can tell it’s made for the foreign market because it’s in English as well as Chinese.

Remember all those lovely beaded cardigans and tops you get in the ’50s and ’60s? We can thank the Chinese artisans for those too: here’s a nice example in black (so much work in a heavily beaded piece like this)

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sequin cardigan label

The label from a sequinned cardigan – these were shipped in standard designs and appear under many Western fashion labels.


7
Jan
2015
Posted by Nicole in 1940s, 1950s, 1960s, 1970s, 1980s, Australian Fashion 1 Comment

We have such wonderful resources to find information these days but sometimes what you seek can be elusive.

I love to look up fashion labels, particular when I like the styles but often they use popular words and google can be unhelpful.

Yesterday Becky Lou and I photographed new stock and this style from “Gallivant Coats” caught my eye:

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1940s redingote – “hang on” is that what you’re thinking? “What’s a redingote?”

I’m so glad you asked. A redingote is a light flared coat secured at the waist and based on historical riding fashions and has appeared at many times in the past but is no longer a feature in our wardrobes. A pity, I really like it and it’s perfect for the sort of weather we get in Melbourne, like today, where it’s warm but we also got a thunderstorm.

I’ve got some redingote patterns on the webshop – they’re a very similar cut to the one above.

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Early ’40s redingote pattern on the left

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1943 Redingote pattern.

Here’s the label – isn’t it a darling name, “Gallivant Coats”? “For Smart Wear Everywhere”.

I’ve had a few stylish Gallivants from the ’40s and ’50s (and memory suggests one from the ’30s but I can’t be sure) but a search turned up nothing, perhaps because the word “gallivant” is used in other contexts too. Like actual gallivanting, not just frock-wearing.

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The Gallivant label – you can also see the pintucked neckline detail and the unlined interior with overlocked seams.

“What’s that?” I hear you ask “didn’t overlocking come in much later?” Overlocking (or serging as our American friends call it) has an old history too, much older than this coat. It’s a misunderstood technique in vintage, with some unenlightened souls claiming it’s only found in fashions from the last few decades but I’ll save that for another blog post.

Meanwhile, searching for more Gallivants, I found a few on ebay and etsy – here are some labels.

Gallivant label 1950sFrom a late ’50s nylon frock. Not sure I’d want to be called a “Little Woman”.

Gallivant label late 1970s
From a circa 1981 jacket.

The styles of the more recent fashions are unremarkable, so I suspect that like many fashion labels they got older with their clientele. The quality is middle of the road, but they’ve lasted and they have charm.

Based on the items found, it looks like they were around from the late ’40s, possibly earlier and were still going in the early ’80s. There is currently a “Gallivant Clothing” registered in NSW but they don’t seem to be related.

I did find this from the New York Post 1936 though: unlikely to be the same company but nice all the same:

gallivant

“Gallivant! What an exciting word! Not travel, not journey, just junketing about here and there. New places, strange places, adventure. All that is hinted at in this one word. You may not be going any further than Central Park but as long as you move about, you’re gallivanting, and for this now we have special fashions”.

if you know anything more about Gallivant fashions, please let me know and in the meantime, the Gallivant redingote is now available in the city salon for a lucky new wearer.


7
Jan
2015
Posted by Nicole in Shop talk

I’m in the fortunate position in that I’m offered a lot of stock – at least once a day, someone will ask me if I “buy from the public” – yes I do! Buying vintage is the best part of what I do and I love it!

For most of the last thirty years I’ve spent the bulk of my disposable income buying vintage fashion – originally it was just my wardrobe and then I’d find nice things that weren’t my size but perhaps I knew someone who might like them? Wherever I went, I would find and buy nice pieces of fashion or textiles.

The result is that I have an awful lot of stock: as a collector I used to have about 500 pieces. Then for my shop I bought another 10,000 in 2003-4. Since then I have an excuse to buy as much as I like but it’s much easier to buy than it is to sell – a collection of vintage might include hundreds or even thousands of pieces and it can take me many hours to individually clean and restore each piece and then find a home for it. I do my best but I only have limited resources of money, space, time and energy. Sometimes I can’t restore it so I donate it to the opp shop or if it’s in too poor condition, take it apart and use it to restore other pieces.

It’s a blessing and a curse: I want to save all the lovely things.

I’m always buying certain things, but as my collection is very large (currently about 15,000 pieces) I need to justify the purchase by demand and the price needs to reflect what I have to do to it to make it saleable: hand wash or dry clean, stain removal, fix damage and restore the fabric. Plus I have to add a margin to cover the costs of selling: rent, wages, tax, electricity etc. It would be nice if I could include a little in there for my work too. Then pieces can get dirty and damaged from being tried on – so there’s more work.

It’s a laborious process and I love what I do, but it’s hard work, especially compared to modern fashion where you can sell a piece many times over. Everything that I have is unique and special and deserving of respect.

Whilst I can’t always offer you money for your items, there is another option – you can donate your clean and good quality items to the annual National Trust vintage clothing sale, which raises funds to support their wonderful costume collection.

Contact Libby on 9819 4831 or Nance on 9889 1042 or Deborah on 0418 334 475 and they can arrange to pick up items.

Here are some sneak peeks that I took recently when I visited – the next sale is on 14-15 March and they’re accepting donations now. You can see more information here.

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1950s dress pattern

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1920s hand embroidered piano shawl

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Detail from a 1920s hand embroidered Chinoise coat

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Fabric from a 1940s cotton seersucker house dress

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Fabric from a 1930s tea dress


31
Dec
2014
Posted by Nicole in Shop talk 1 Comment

It’s been quite a year here at Circa – the highlight was my second book “Style is Eternal”, which was released to a great response – it was simply wonderful on Christmas morning to think that many people would be unwrapping a copy of my book and enjoying it!

Here’s a quote from a reader:
“The book is beautifully illustrated with gorgeous colour images…it will guide you…it will inspire you! So if you love fashion, or just want to whip your wardrobe into shape, I can highly recommend this book…it will become your fashion bible!”
Thank you Sarah from Zinc Moon blog.

In particular, the book has been warmly received by those who cherish my first book “Love Vintage” which is great. I like to think that the two books are sitting next to each other on bookshelves around the country, as they are on mine.

Most importantly, I’d like to thank everyone who has supported my vintage shop Circa over the last year: who bought an item online or came to see me at the shop because Circa is the foundation of all that I do.

Circa provides me a home away from home, filled with many of my favourite things and a lovely place to work. A desk to write and needles with which to sew. It funds the research and writing that I do, and allows me the freedom to offer specialised advice to all who come seeking it.

Without your support I wouldn’t be able to pursue my passion and share my knowledge.

I wish you all a wonderful 2015 and in the words of Mae West: “Too much of a good thing can be wonderful!”

Happy new year Mae West 475

See you next year xxx

Circa is open throughout the festive season, only closed for public holidays. Here are some vintage New Year’s images that I’ve found that you might like – and I like the idea that all of these old images were once fresh and new, and looking forward to a new year that for us is now far in the past.


24
Dec
2014
Posted by Nicole in General, Vintage 101, Vintage Fabric 2 Comments

More than seven years and 620 blog posts later, I think it could be time to write an informative blog post for those starting out in vintage – what to look for, and how to date fashion.

Here’s the disclaimer:
—————————————————————————————————————————————————
There is an unlimited amount of information you can know on this topic. It’s been my focus for almost 35 years and I still find items that give me pause for thought. That’s a big part of why I love it: you could never be bored with vintage fashion, there is so much to see and learn. What I hope to offer is a solid starting point for you to explore from.
—————————————————————————————————————————————————

Circa Vintage Webshop 194
Silk devore’ velvet 1920s opera jacket modelled by St Clare.

Identifying vintage is like looking at a jigsaw puzzle and putting the pieces together in the right way to come to the most likely conclusion about what it is. There are a few different elements to consider and weight needs to be given to each:

1 – Fabric
2 – Construction
3 – Style
4 – Detailing (if any)
5 – Labels (if any)
6 – Openings and Fastenings (if any)

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Wool lace featured in an early 1960s afternoon coat, modelled by Becky Lou.

General notes on dating items:
– I always date items as the most recent they could be, because the likelihood is towards recent over older. Older garments have had more time to wear out or be thrown away and so rarity increases.

– Certainties are rare in fashion so they always outweigh other factors.

– Never rely on a seller’s opinion of a date, not even if she wore it “back in the day” or is an expert. There’s an enormous quantity of mis-dated or even fraudulent vintage available and it’s best to increase your knowledge so you can feel confident of your own opinion. This is particularly important for expensive items. If in doubt, ask questions or seek a second opinion.

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Cotton with machine applied soutache cording and pin-tucking, from a 1950s day dress.

1 – Fabric.
Vintage fabric is one of the best things about vintage fashion: often luxury materials are used that are sought after and expensive. Many fabrics aren’t even made any more. Your enjoyment wearing it will be dictated to a large degree by how nice the material is.

Here’s where technology is important – when a fabric was invented or introduced is a certainty. For example, if nylon wasn’t used until ’47, then that cute little nylon ’20s dress is not going to be a real ’20s dress (so it should be priced accordingly). Likewise a Victorian dress made of polyester must be a more modern revival style.

Pay particular attention to fabric when you acquire an item because if you want to wear it, or invest in it as a collectable it is imperative than the condition be good.

Sometimes in vintage you will find “deadstock” or “new old stock” – these are vintage pieces that have not been worn. They’re more sought after and collectable but their condition reflects their storage, not their wear, and it’s not uncommon for these items to show stains, rips and other deterioration.

Any deterioration can provide clues to age but more importantly, diminish the value and life of the garment. Think carefully before buying anything that either needs major work, or can not be repaired. If you don’t sew, you might like to consider every missing button or stitch as well, as it can get costly to replace and repair these items if you’re paying someone else.

Don’t take the sellers word for it when they say “an easy fix” because they often lack the skill and experience to know what’s involved and leave it up to you to take the risk.

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Hand beaded and embroidered alaskine (silk and wool mix) evening dress from the 1960s.

On the other hand, if you’re okay with flaws (or handy with a needle and thread) you can pick up some serious bargains because a high proportion of vintage is damaged, and should be priced significantly cheaper for it.

Every fabric is comprised of the fibre (or textile) and the weave (what the fibre is made into). For example, silk satin – silk is the fibre and satin is the weave, so you can also get polyester satin and rayon satin.

An effective way to test for fabric composition is to (carefully) burn a snippet – Instructions and results can be found at the Vintage Fashion Guild.

Another way is to build up your knowledge through touching fabrics and looking at the labels, but as many fabrics are mixes of fibres, the burn test will provide more accurate results.

Here’s a quick low down on fibre types:

Natural fibres (cottons, wools, silks, rubber, linens, leathers, furs etc)
Available during any time period, although the weaves vary with fashion and can help with dating eg, silk shantung had a real moment in the early ’60s especially in teal and orange colours.

Silk organza was popular in the ’50s. Silk crepe was a staple of ’30s dinner dresses, and silk chiffon often found in ’20s beaded evening dresses.

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Silk organza and rayon lace from an early 1950s party dress

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Cotton lace from a late 1940s fitted dress.

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Printed rubber embossed with a jacquard texture, from a 1950s raincoat

Note that natural fibres are the most comfortable to wear and easy to restore, but are more expensive to buy, especially new.

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Silk satin with hand beaded and sequinned design, from a 1960s cheong sam dress.

Man-made fibres (rayons and viscoses)
Invented in the late Victorian era as “artificial silk” or “art silk”, rayon (also called viscose, especially in the UK) developed into a wide range of natural fibre fabric imitators in the ’30s, when they were particularly popular during the Great Depression and later during WW2. Eg, faux linen, faux silk.

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Rayon lace and tulle, from a 1930s lace blouse.

Pre ’50s rayons have a different composition than post ’50s rayons and require hand-washing (or in the case of crepe, dry cleaning). Rayons mirror the nice qualities of natural fibres and you can soak out stains – unless they’re crepe, which will shrink and rip – but lack their strenth so be gentle especially if they’re very old.

They’re beautiful fabrics though, and many of us seek them out.

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Rayon crepe from a 1930s tea gown – modelled by Kelly Ann.

Underarm protectors (small crescent shaped shields that are affixed to the interior and washed between uses, available from haberdashers) are recommended to best preserve the underarms, which rip when they’ve absorbed perspiration. Swing dancers take note please!

Rayons are named for the slight sheen their fibres can produce, although it’s hard to see in some weaves.

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Rayon shantung and guipure lace from an early 1960s dress ensemble set.

Synthetic fibres (nylons, polyesters, polyamids, lycras etc)
Nylon first appeared as a silk substitute in the late ’30s for hosiery and was developed into fashion fabrics for clothes post WW2 (1947 was when the industry got back into the swing).


I’ll confess that I originally dated this dress as late ’30s but a burn test revealed its late ’40s origins.

Polyesters were introduced into ladieswear in the ’50s and quickly become popular in the U.S.A. but were rarely used in Australia until the next decade when they really took off.

Until the mid ’60s each factory used its own trademarked name for the fibre: Dacron (an early acrylic which imitates wool), Terylene, Crimplene….if you find a fabric name on a label you don’t recognise, it’s likely to be a type of polyester, the umbrella term that was introduced in the ’60s.

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Metallic and synthetic brocade evening gown with fins, early 1960s.

There is an issue with early synthetics in that they’re prone to breaking down, especially when in sponge forms, linings and paddings like bras and swimwear, hats and furs. I recommend my blog post on Devil Dust - the grainy red or brownish-orange coloured residue that can form is unpleasant and irreversible. If your garment shows any sign of this effect, tread with caution. Many sensational ’60s frocks have been lost to this issue, at all levels of quality. I can only hope that they’ve solved the problem or we’ll all be drowning in Devil Dust in a few decades.

In recent years we also see polyamids. Most modern garments are made of synthetics: they’re generally robust but prone to pilling and hard to remove oil-based stains. From an investment point of view, they don’t hold their value as well as natural fibres or early man-made fibres either. It’s no secret that I prefer natural fibres.

Synthetics feel warmer to the touch than natural or man-made materials, but can otherwise imitate other fibres. Modern synthetics can be quite luxurious too: they’ve come a long way from Crimplene.

More on the other topics – Construction, Style, Detailing, Labels and Openings and Fastenings – soon!

Here are some useful links:
– If you’d like to look at more specific fabric deterioration topics like shattering, dry rot and iron mordant please check out my series of Vintage 101 posts.

– If you’d like to know more about particular fabrics and how to identify them, please see the Vintage Fashion Guild’s excellent Fabric Resource.

Lucas Nyaloc


18
Dec
2014
Posted by Nicole in 2000s

As my new book was coming out, I thought it was time I should practice what I preach, and so I sought the services of a personal stylist.

Sally MacKinnon from “Styled by Sally” has been helping people overhaul their wardrobes and make the most of their shopping experiences for many years. I’ve crossed paths with her often through my work, especially as we’re both members of the City Precinct, a group of independent Melbourne businesses.

I knew Sally to be down to earth and easy to talk with, as well as seeing some great results she had achieved with others. I’ve also had plenty of opportunities to see how she dresses herself and I knew she’d have some fresh ideas for updating my own style, so I booked a three hour shopping session.

I’m a tough crowd – not only do I think I know a thing or two about dressing, I’ve developed my own style over many years and have simplified it into a few narrow characteristics: I like black dresses, with a plunging V neckline and shaped waist. Mid-calf with a swishing skirt, worn with Mary Janes or lace up boots and black lace or opaque stockings. Then I might add brightly coloured accessories and of course, there’s the pink hair – sometimes a boon, sometimes a hindrance.

Well aware that I was stuck in a comfortable rut, I wanted to try on different looks, especially as I suspected that I was dressing a bit old for my age. Drab and frumpy are my least favourite characteristics but my tastes (due to a changing body shape) felt like they were heading in that direction. Time to pull up the reins!

Sally met me at the Melbourne Emporium and we started with a chat over coffee: it was a hot day and I was impressed with her choice of fashion. She was wearing a modern update on a ’70s style shirtdress – perfect for her tall and slim figure, showing off her legs without compromising on comfort. She nailed “smart casual” and immediately had me at my ease – my default setting is a little dressier than most people so her style reassured me. It was what I would have chosen for her myself, so I felt like we were on the same page.

First Sally took me to Nicola Waite – a shop I had never been to before, but had a modern range of creative styles. The sizes go up to 22, so I didn’t have to fear that awfulness of not finding anything that fits. Sally had sent me a questionnaire before the day so I knew I could rely on her not to take me to places that wouldn’t have anything, which is such a relief: this is the benefit of a stylist, she knows all the shops and saves you the time and bother of falling in love with things that won’t work for you.

I particularly liked the structuralism of the “Bodice Tuck Dress” in black:

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Because I’m shorter than the model, it hit me just below the knees – which was a revelation, usually I wear my skirts longer so discovered this length is good for me, showing off my legs more – and the waist sat closer to my natural waist which looked even better when belted (and my waist looked tiny compared to all the foofy fullness of the skirt).

That was the second revelation – that I need to highlight my waist more than I have been doing. This is the risk of mislaying your girlish figure, you don’t always adjust to the new shape as well as you could and there’s a temptation to skirt over parts of your body but by doing so you’re losing definition.

I’m not fond of showing my bare upper arms, so this dress was worn with a sheer netting style top underneath – I’ve got a few of these left over from my goth days when I wore them under corsets.

Then we went to Leona Edmiston – I had been in there before but discovered that with my new BFF to advise me on the most flattering styles for my figure and suggest colours that were way out of my comfort zone, shopping was a breeze and I added four (!) new frocks to my wardrobe. Sally also arranged a discount for me. Then it was off to et al where I was almost overwhelmed with modern choices.

Many of my new dresses have come in handy in book signings, TV and newspaper articles and it’s been a pleasure to receive compliments on them, although some fein shock to see me not wearing as much black.

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Here I am in my new favourite frock the appropriately named “Sally” from Leona Edimiston and a vintage lace petticoat to contain the decolletage – happily signing lots of my new book at the Melbourne Dymocks shop in Collins St. Thank you Sally and Sally!

Personal styling sessions make excellent Christmas presents and Sally has kindly offered Circa readers a special discount on her services – book a three hour session for the first half of next year and receive a 10% discount off her already very reasonable rate of $325. Just let her know that you read it about it here! Thanks Sally x


13
Dec
2014
Posted by Nicole in Book, Book review, Talk 2 Comments

I’m having the time of my life – this week we launched “Style is Eternal” at Avid Reader in Brisbane and last week in Sydney at Berkelouw Paddington Sydney. This is so much fun: I love books, bookshops, book readers and best of all is having your own book and talking to shiny people about it! Book people are good people.

And just when I couldn’t get more excited about bookshops (and how great it is to find good ones in other cities) there was the St Kilda library, who kindly invited me back for a third time to talk about my passion for fashion.

Plus: there have been a couple of radio interviews (3AW and Radio Adelaide) and newspapers, online magazines and blogs. And I also appeared on Channel 9’s “Mornings” show – you can see me talking about celebrity style here.

Are you ready for some highlights? Here are some pics –

West Aust Dec 10 2014
A big article in the West Australian newspaper – thanks Susi for sending me the pic.

Avid Reader
Some of the wonderful ladies who came to see me at Avid Reader – the whole audience was amazing, especially considering how hot and humid it was. I love this bookshop so much. Plus: Krissy Kneen live tweeted me! Achievement unlocked.

Vicki and NJ
Mz Vicki and I at Avid Reader in Brisbane – read Vicki’s great blog post about the event here. Photo copyright Vicki Martin.

Berkelouw books
A table filled with copies of my book: Berkelouw in Paddington. So many great things about this bookshop and they have beautiful old style slanted wooden shelves upstairs.

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Here I am demonstrating ways to wear scarves on stylish fashion blogger Nora. This pic is copyright Sydney Flapper. Here’s her terrific review of the Berkelouw event and my book.

Dymocks catalogue
My book featured in the Dymock’s catalogue alongside two of the most talented women in fashion!

Dymocks Sydney
And on display at Dymock’s Sydney – another really great old style bookshop with a mezzanine balcony cafe. Note that my book seems to be selling better than the other great title.

Future Beauty
I caught the Future Beauty exhibition in Brisbane! Japanese Avant Garde fashion! Highly recommended and full of inspiration.

Gabbi at Dymocks Chermside
Gabbi at Dymock’s Chermside asked me what my favourite word was – I replied “momentum”. I’m feeling a lot of that at the moment.

Kinokuniya
Lots of books to sign at Kinokuniya! Amazing bookshop, a new favourite and everyone is so nice. I didn’t use the sharpie – have discovered an author truth: we carry pens we like to write and sign with. I’m glad I signed a lot of books because “Style is Eternal” is currently one of their best sellers!

St Kilda library
Chatting about fashion at St Kilda library – where Cati created a wonderful display of vintage frocks and books and called me “fabulous”. Cati, I think you’re fabulous too.

Now, the book is available at good bookshops everywhere and of course at Circa – but if you’d like a signed copy here’s where to go:

Dymock’s Sydney, Bondi Junction, Chermside and Brisbane
Avid Reader, West End Brisbane
Circa Vintage online and in the city salon, where I can personalise a copy for you. All web and phone orders are sent via Express Post and we post the same or next business day, but don’t leave it too late if you’d like one for Christmas!


5
Dec
2014
Posted by Nicole in Calendar 2 Comments

St Kilda library have invited me back to talk about my new book – “Style is Eternal”.

Here are the details:
Fashion fades, but style is eternal. In these days of fast and disposable fashion, how do you make the most of what you wear without spending a fortune? How do you develop your own personal style, dress for an event, suit your figure or update for your age?

Join Nicole Jenkins (award winning author of “Love Vintage”) as she talks about her new book “Style is Eternal”, including where and how to shop, how to best use what you already have and how to care for it.

What: Style is Eternal fashion talk by Nicole Jenkins
When: Wed 10 Dec 2014 6.30-7:30pm
Where: – St Kilda library, 150 Carlisle St St Kilda
Cost - free!
Bookings essential - click here to book.
More informationat the library site.

I’ll bring along some copies of my new book too, and the library has copies too, hopefully available for borrowing. They also have a copy of my first book “Love Vintage” in case anyone would like to read that one too.


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