1951 2-Page Fashion Feature, “The Versatile Stole”

By | January 18, 2018

A few nice women wear scarf images I found:

1951 2-Page Fashion Feature, “The Versatile Stole”
women wear scarf
Image by classic_film
Vintage 1950s women’s fashion feature, 2-page spread, for wearing "the versatile stole" – group display with six model poses.

Published in Pageant magazine, March 1951, Vol. 6, No. 9

Fair use/no known copyright. If you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

08 May: Street Guide
women wear scarf
Image by Madame Yum
May by Lynden Baxter

‘All the women in the village are called May in memory of a princess who was named for a beautiful flower – the opium poppy.’

‘Traditionally the women shave their eyebrows to look more beautiful. Younger women wear brilliant red head scarves. Older women balance elaborate red turbans gracefully on their heads. Solid silver jewellery made from melted down antique French coins is a local speciality and many women are adorned with beautiful pieces burnished to a muted glow by time.’

‘The women and most children wear traditional clothing daily. Men wear Western clothes, except for traditional rites and festivals.
It takes upwards of six months for a woman to make a set of clothes. They buy hemp cloth from Hmong people then use a local growing indigo plant to dye it. I see women in the village with palms stained indigo from dying cloth and everywhere I go women and girls are embroidering while they sit, walk or ride pillion on motor bikes. The tiny cross stitches in the embroidery make up designs of children, rice, plants and animals. The story of the maker’s life stitched into her clothes. I wonder if they stitch dreams and hopes too.’

‘I bought an embroidered jacket from a neighbour of the Ly family. She carries a huge bamboo basket of craft to sell strapped to her head. Rugged up against the unexpected cold I’ve worn the beautiful jacket topmost over the layers of every other item of clothing I brought with me to Ta Phin. Throughout my stay in the village women have come up to me to examine the embroidery. They can tell who made it from the motifs and give me their opinion of the maker’s skill. Their assessments are considered and solemn. No lavish praise but respectful acknowledgement of skill. Apparently I’ve chosen well.’

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