black wool crepe vest with a sculptural notched collar and velvet-covered buttons, over an attached velvet cummerbund, on a dress form
full-length front view of the black scalloped vest with velvet cummerbund, on a dress form on a tripod stand
back view of the black scalloped vest on a dress form on a tripod stand
black scalloped vest laid flat, front view, showing the notched collar and velvet-covered buttons
the black scalloped vest turned open, showing the satin-finished interior and hook-and-eye closure
close-up of the satin interior lining of the black scalloped vest
black scalloped vest laid flat, back view
black wool crepe vest with a sculptural notched collar and velvet-covered buttons, over an attached velvet cummerbund, on a dress form
full-length front view of the black scalloped vest with velvet cummerbund, on a dress form on a tripod stand
back view of the black scalloped vest on a dress form on a tripod stand
black scalloped vest laid flat, front view, showing the notched collar and velvet-covered buttons
the black scalloped vest turned open, showing the satin-finished interior and hook-and-eye closure
close-up of the satin interior lining of the black scalloped vest
black scalloped vest laid flat, back view
black wool crepe vest with a sculptural notched collar and velvet-covered buttons, over an attached velvet cummerbund, on a dress form
full-length front view of the black scalloped vest with velvet cummerbund, on a dress form on a tripod stand
back view of the black scalloped vest on a dress form on a tripod stand
black scalloped vest laid flat, front view, showing the notched collar and velvet-covered buttons
the black scalloped vest turned open, showing the satin-finished interior and hook-and-eye closure
close-up of the satin interior lining of the black scalloped vest
black scalloped vest laid flat, back view

1940's black scalloped vest

Regular price
$895.00
Regular price
Sale price
$895.00
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a unique black wool crepe vest from the barbara turner collection, its sculptural neckline nodding to schiaparelli and reinterpreting tuxedo styling for a woman's body. this scalloped, sculptural shaping echoes a technique popular in 1940s design, though the dramatic scale of this particular piece sets it apart from more typical uses of the style. curved seams like this are notoriously difficult to execute cleanly, there's no straight line to hide behind, and the slightest tension miscalculation shows immediately as puckering or a neckline that won't lie flat. wool crepe was the right choice for exactly this reason: it holds a sculpted curve without stiffening or losing its drape, letting the shape read as clean and deliberate rather than engineered.

an attached velvet cummerbund crosses the center front, closing at the side seam with hook-and-eye, and velvet-covered buttons echo the tuxedo reference throughout. smaller in scale with more provocative styling than most pieces in the collection, this may have started life as a costume. interior is clean finished.

condition
excellent

best fits
s/m, generous through the bust to layer over a blouse

measurements
Across Shoulder: 14 3/4"
Bust: 35 1/2"
Waist: 26 1/2"
Total Length: 17 3/4"
Clipped on model: no

barbara turner, in her own clothes

barbara turner trained in couture on grosvenor street, at an atelier on one of london's most storied fashion addresses. she made flying suits during the war, dressed actresses in the west end, and built a working life around clothes that had to perform, not just look good. she kept pieces from every stage of that life, on stage and off, and wore them until they showed it.

this collection is what she made and wore across that life, sourced directly through her family. each one carries its own history: a specific fabric, a finish, a repair, a choice she made at the time.

learn more about her story
the fashion industry has spent decades trying to be everything to everyone; every trend, every moment, every market. the result is a lot of product and very little that lasts. other matters exists in the space between. pieces chosen because they were made with a point of view, not a trend cycle. because the construction holds. because someone knew what they were doing when they made it. bringing one home is a small act of intention in a very loud world.

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