This tubby little lady is crafted from cotton flannel and I think she’s stuffed with kapok, since she weighs in pretty hefty. She was a warm tan; now she shows fading in many places, most noticeably on the top of her big solid head. She has glass eyes. Her yellow flannel paws are in very nice shape and so are all her joints– which are the real thing. her head turns, too!
I have never seen a home sewing pattern that looks quite like her. I think that she was made from the remains of a commercial bear.
17 inch tall Cleonie is created from my own “Jezebel” doll pattern, and she has hips, thighs, and a fine, gathered booty. Her skin is a dark red brocade. Her sweet, sultry, sulky little face is painted in fine artist’s acrylics, and her mop of black dreadlocks is all about attitude.
Cleonie has legs for days, and points a dancer’s toe. And she has the most adorable little kneecaps, crafted from fabric-covered buttons.
I can make these little people, but I can’t seem to dress them easily, so Cleonie comes to you in her birthday suit. She could care less, however. She’s proud of what she’s got.
Once upon a time in Hollywood, there was a place called Western Costume. This building was legendary, housing bazillions of garments from all the eras of human life. You could rent twenties-style morning suits for your groom and his best man. You could rent pirate garb for a day of hijinks out on your millionaire friend’s yacht. You could costume your actors for that film that was going to make you into the next Cicil B. De Mill.
You could find Raquel Welch’s fur bikini.
When the rental palace closed down, the sales were the highlight of the Hollywood summer. Old friends found each other in the crowd, duels were fought between desperate actors, babies were conceived and born in the narrow aisles. I found hats. This is one of the hats that I found.
It’s black wool felt, constructed on a dressage note and highlighted by a bit of Irish Green grosgrain ribbon and some straw rosettes. The veiling is not the original — that fell apart in my hands, and I replaced it as you see here, with veiling that was nearly as vintage.
The hat stays perched atop your head by means of a thin elastic, and the veil is threaded into it, to hold your bun or ponytail off of your neck. Marilyn, my model, has nearly too much hair!
Tough guys wear what they want. Who’s going to stop you from wearing a bit o’ lace if you feel so inclined? And this is nobody’s namby-pamby excuse for elegance, either, it’s a look with attitude.
The Cluny lace was once black, but it’s been battered and bleached into subtly desperate shades of grey and taupe. It trims a scrap of dove grey iridescent plain weave fabric, long enough to wrap about your neck and tie in the front. There’s a beautiful Art Deco lace insert adorning the top tie, (because too much is never enough) that has been mistreated in the same way.
This cravat is lined in cotton for comfort against your neck. The fresh and delicate aqua-and-jade paisley pattern is your own secret, hidden away like your gentle heart.
This cravat will look best on a neck sized 17 to 20 inches.
15 inch Rhinestone necklace, consisting of four swags gathered at five lager, emerald-cut points. There are some stones missing, one in one of the swags, four to the left of the swag design, and one somewhere on the right. They can be replaced, but it’s difficult to find color matches, even with white stones.
The clasp has always seemed to me to be a bit too ornate for the clean deco lines of this piece, but that’s the way of rhinestone jewelry.
I was really into old rhinestones in the seventies. I mean– really. The sparkle from a hundred tiny pieces of glass could keep me sane on the long bus rides back and forth to college. Plus, I could find them in the thrift stores, making them cheap thrills. I stopped looking for them after 1978, when my tastes changed for crystal beads. So most of the rhinestones I’m offering are more than forty years old, and some of these patterns are much older than that.