This ensemble exemplifies the sort of long glamorous evening dresses which became fashionable in the 1930s. Consisting of a top and skirt, the dress uses innovative cutting techniqes of the type developed by the influential Parisian designer, Madeleine Vionnet during the interwar period. By draping the fabric on the body and cutting the fabric as it hung, Vionnet developed a technique known as the bias cut.

Although the innovation of the cut originated in Paris, this gown could have been home made in Australia. It was collected by Sophie van Rood in Adelaide sometime between the early 1970s and 1990s.

About the collector:

Sophie van Rood (née Berlyn) was born on 15 May 1916, in Westcliff-on-Sea, England. She opened her first 'dress salon' in 1938 near Baker Street in London, afterwards transferring it to Knightsbridge. The Second World War divided her from her husband Peter, an RAF officer who was interned in Germany as a prisoner of war. Left with a young son, she spent the rest of the war in London, during the Blitz. The reunited and growing family then spent the next couple of decades following Peter, who worked for Shell Oil. Sophie van Rood moved to Adelaide in 1964 with her husband and three children (one son and two daughters: Anselm, Peta and Candida). She opened The Banana Room, an 'emporium' specialising in vintage womens' clothes, in January 1974 at 125 Melbourne Street, Adelaide. Its name derived from its earlier use as a storage space for bananas by the local fruit market. Tom Spender opened the store with her and worked there for a time. He married her youngest daughter Candida (aka Candy) who is a jeweller.

An opinionated and colourful woman, Sophie's death in 1998 led to the winding down of the business. Although carried on by daughter Peta, it finally closed at the end of 2002. Sophie collected garments as well as bought and sold them, and was also an accomplished dressmaker. Sophie ran her business as a one-stop transformation shop, imparting her passion for fashion to her customers, as well as advice. Her son Anselm who gave her eulogy, described her approach to life as 'intense, uncompromising and without equivocation'. Her daughter Peta wrote: 'She was fired by an almost missionary zeal to preserve and exhibit 'beautiful' things, but especially those undervalued objets [sic] of womens, work and world. She had ... a most eclectic eye, and had no hesitation about putting the most amazing things together. ... she would help dress people of the most amazing shapes and sizes'. An article in The City Messenger, refers to her approach to collecting, writing that after finding a discarded suitcase of 1920s beaded dresses at Wingfield in the 1960s, 'Â? Sophie started visiting dumps regularly. She scoured auctions, estates and op-shops until her house was overflowing with garments.'

This dress is part of a collection of thirteen garments acquired for the Powerhouse Museum from the Sophie van Rood collection. The selection represents not only Australian consumption of local and imported fashion, but also an outward-looking approach on the part of South Australian culture. As a selection of the remaining contents of a shop which was unique and successful, the Powerhouse Museum preserves an important story in Australian retail and style history.

This ensemble was among the remaining contents of the vintage clothes shop, 'The Banana Room', owned and run by Sophie van Rood between 1974 and 1998. It was passed in at the Phillips sale of Wednesday 17 November 1999 at 6:30pm. It was lot number 188. Its estimated selling price was $500-$700. It was subsequently offered to the Powerhouse Museum.

Evening ensemble, women's, skirt and top, black cire silk, bias cut, collected by Sophie van Rood, maker unknown, c 1935

Top: the top is poncho-like. It has a circular neckpiece and no seams as it is cut in one piece. It forms a short cape with sleeves. Its long sashes (which have a seam) tie around the waist. It is machine-sewn, not lined and falls loosely, emphasising the back.

Skirt: the full length skirt is black silk satin, long, panelled and in a bias cut with a slight train. It has a centre seam, two panels and is flared at the hem. The back does not have a seam. It is fastened with four press studs and a metal hook and eye at the black cotton waistband. The skirt is machine sewn and unlined.

Made: Australia; 1930 - 1940


Owned: van Rood, Sophie; Australia; 1974 - 1998

2004/81/5

1930 - 1940