#de: 1930s

[valentinovamp]

Olivia de Havilland (1930s)

[2001hz]

Man Ray: 'Larmes de Verre', Glass Tears (1930-1932)

[random-brushstrokes]

Valerius de Saedeleer - De hoeve in de zon (ca. 1935)

[dailyworldcinema]

À propos de Nice (1930) Directed by Jean Vigo

[mote-historie]

Advertisement for Josephine Baker's show at the Casino de Paris Poster, by Zig (Louis Gaudin), 1930.

Depicting Josephine Baker being presented a flower bouquet by a cheetah.

[chic-a-gigot]

Beaux-arts des modes, no. 3, mai 1937 (New York, Paris, London, Milano, Wien, Bruxelles). Bibliothèque nationale de France

1714 Informal evening dress in princess style of peau de soie with triangles cut-out and bag shaped sleeves. Cowl top with big flower bunch, matching sleeve band.

[vintagepromotions]

'In all skies'

Air France travel poster (1935). Artwork by Roger de Valerio.

[summertimenoir]

Olivia de Havilland, Vivien Leigh, Clark Gable (with his wife, Carole Lombard) and Margaret Mitchell attend the Atlanta GA premiere of Gone With the Wind - December 15, 1939.

[semioticapocalypse]

Armored 'Heimwehr' car patrolling the streets in Vienna, Austria, 1934

I Am Collective Memories   •    Follow me, — says Visual Ratatosk

[camaelczarka]

Okay I’m obviously very excited to see real Lestat from now on, but I’m also really excited to see real Louis all the time. No brainwashing, no self delusion, talking in his regular voice, not acting like all his rough edges have been smoothed over. But also confident in himself and his abilities and way less tortured by who and what he is. Able to see Lestat in a more positive and loving way and not only through a lens of pain. It’s going to be so gratifying to watch

[newyorkthegoldenage]

Margit de Corini, Winter Street Scene, Flatiron Building, 1930s. Oil on canvas.

Photo: 1st Dibs

[scavengedluxury]

The swimming pool of Fluminense FC, Rio de Janeiro, 1933. From the Budapest Municipal Photography Company archive.

[fashionsfromhistory]

Crocheted Evening Dress

Kostio de War

c.1938

Capitalizing on a broader enthusiasm for hand knitting that emerged in the mid-1930s, [Kostio de War] became famous for her unique hand-knit and crocheted evening gowns. Initially, she explored the idea in chenille thread, pairing sheaths in “loose, large mesh patterns” over slips of “lacquered satin,” as Women’s Wear Daily described in 1935. A sometimes enthusiast for surreal touches, she competed briefly with Elsa Schiaparelli for headlines, particularly when the latter also introduced several hand-knitted pieces in her winter 1935 collection. The U.S. press, however, found several distinct virtues in the elegantly practical garments made by Kostio de War: the dresses could be easily rolled up for travel and resisted wrinkling, while her heavier knitted metallic evening jackets could quickly dress up a simple dinner dress. In 1937, Paris-Soir reported on the popularity and practicality of knitted garments for sport as well as for evening wear, writing, “The more we lead busy lives, the more precious handmade goods become.” They announced that Mme. Kostio de War had recently unearthed in central Europe an amusing book from about 1830 containing instructions for a variety of unusual historical stitches, which she had used in crafting her latest collection: “For evening, she has created with threads of copper, steel, [and] platinum, gowns of the most rare sumptuousness.” In 1938, Denise Veber of the French paper Marianne called these “miracle” evening gowns of gold or silver very simple, but nevertheless of an almost magical (féerique) appearance. (Cora Ginsburg Auctions)

Cora Ginsburg Auctions (2020 Modern)

[desimonewayland]

Tamara de Lempicka

La Dormeuse (Kizette) I

Sotheby's

[film-o-teka]

Blond Cheat, 1938

[thebarroomortheboy]

OLIVIA DE HAVILLAND in DODGE CITY (1939) | dir. Michael Curtiz