Costume design by Victor Stiebel for Vamps, possibly in a Cambridge University  Footlights production, 1928 thumbnail 1
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Costume design by Victor Stiebel for Vamps, possibly in a Cambridge University Footlights production, 1928

Costume Design
1928 (designed)
Artist/Maker
Place of origin

Victor Stiebel was one of Britain’s best-known fashion designers of the mid-20th century. Born in Durban, South Africa, in 1907, he went to England in 1924 for his education and studied architecture at Cambridge. His enjoyment of designing sets and costumes for the university’s Footlight Revue led him to abandon architecture in favour of dress design. In 1929 he embarked on a 3-year apprenticeship with the costumiers Reville and Rossiter, and in 1923 opened his own couture dressmaking business at 21 Bruton Street, London.

Stiebel continued to produce stage dresses for several theatrical leading ladies after he opened his own fashion house. The face, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the word 'vamp' (a contraction of vampire, which she played in one of her films) to mean a predatory female, whose heavily khol-encircled eyes were her most memorable feature.

The combination of hair and neckband throw emphasis onto the eyes and blood red lips. The bare left shoulder is balanced by the weight of the hair being also on the left, while the bare shoulder and leg, at once revealed and concealed by the fabric strips, hint at intention and concealed delights.

Object details

Categories
Object type
TitleCostume design by Victor Stiebel for Vamps, possibly in a Cambridge University <i> Footlights</i> production, 1928 (generic title)
Materials and techniques
Pencil, watercolour, gouache on paper
Brief description
Costume design by Victor Stiebel (1907-1976) for Vamps in an unidentified production, 1928, possibly for the Cambridge University Footlights Company. Pencil, gouache, watercolour.
Physical description
Full length female figure with black slicked down hair ending in kiss curl on left cheek and with deep black band around neck. She wears a black fitted dress, left shoulder bare, with right short bell sleeve; the left side of the skirt ends in a short tail while the right is split and tathered into the right hip; covering the slit are layers of narrow fabric strips. On the shoulder is a bold corsage of orange, carmine and purple flowers; at the hip are one purple and one orange flower. The visible right leg is coloured blue.
Dimensions
  • Height: 563mm
  • Lower edge width: 385mm
uneven left hand side
Marks and inscriptions
  • Vamps costume (top centre underlined)
  • Black velvet / Flowers in velvet ribbon sewn on / collar effect over the shoulder / Skin-tight down to low hip / open on side with black velvet panels (pencil upper right)
  • Victor Stiebel / 28 (signed and dated lower right hand corner)
Object history
The design was created by couturier Victor Stiebel for an unidentified theatrical production.

Historical significance: A theatrical costume design by a leading British couturier.
Summary
Victor Stiebel was one of Britain’s best-known fashion designers of the mid-20th century. Born in Durban, South Africa, in 1907, he went to England in 1924 for his education and studied architecture at Cambridge. His enjoyment of designing sets and costumes for the university’s Footlight Revue led him to abandon architecture in favour of dress design. In 1929 he embarked on a 3-year apprenticeship with the costumiers Reville and Rossiter, and in 1923 opened his own couture dressmaking business at 21 Bruton Street, London.

Stiebel continued to produce stage dresses for several theatrical leading ladies after he opened his own fashion house. The face, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the word 'vamp' (a contraction of vampire, which she played in one of her films) to mean a predatory female, whose heavily khol-encircled eyes were her most memorable feature.

The combination of hair and neckband throw emphasis onto the eyes and blood red lips. The bare left shoulder is balanced by the weight of the hair being also on the left, while the bare shoulder and leg, at once revealed and concealed by the fabric strips, hint at intention and concealed delights.
Collection
Accession number
S.545-1983

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Record createdMay 19, 2008
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