Skinny Rich Fairies was started by Julia Craig whose expertise is an indepth knowledge of period costumes and fabrics, antique lace and couture vintage.
Julia works with the help of Meg Lake, whose career began working with Thea Porter in the early '70's and later as a Court dressmaker, making clothes for the aristocracy including Princess Margaret.
Together, Julia and Meg realised that these fabrics and workmanship were far superior to their modern day equivalents and were therefore worthy of beautiful garments in a more modern design.
Months of work are spent sourcing pieces and putting them together in a complimentary fashion. Each garment evolves with time, creating a completely individual design.
The inspiration begins with the nature of the fabric and every stitch and pin is thought about to make these beautifully unique clothes. Quality worthy of these fabrics is key as they will become the couture collectibles of the future.
We now have a team of dressmakers and pattern cutters and a collection of wonderful materials and trims from the last 200 years.
Our own label, Skinny Rich Fairies is loved by celebreties and stylists and is now accessible to all.
Here are some examples of the fabulous fabrics used to create the Skinny Rich Fairies couture customised vintage collection.
Early 19th Century: Imported hand embroidered cotton and muslin from India.
Mid 19th Century: Handmade frills, ribbons and buttons. The French have a word for these – passementerie – trimmings.
Late 19th Century: Diamante’ trim, black beading on tulle, fringes and braiding.
Turn of the Century: Opulent fabrics, including silk gauze and silk and wool gauze were produced.
Oriental embroideries on silk, influenced by designs from the Far East, were popular.
Shantung, from China, was fashionable and desired for its lovely matt silk with irregular weave.
1920’s: A new range of synthetic dyes was introduced. Lame’, a woven silk with a metallic thread running through it, produced in France was the fashion of the period and used by all the best designers. Very expensive metallic lace was also widely used.
Cut velvet devore was produced of a quality that is not made today. 1930’s and early ‘40’s: Silks, georgette and chiffon were made in different weights to hang in different ways. A softer Panne’ velvet than made today.
Bias cut was introduced and is now copied by so many modern day designers. This bias cut and the fabrics of the day produced a wonderful cut and drape.
1950’s: Beading made a huge comeback and fabulous brocades were the must haves.
Late 1950’s onwards: The end of the ‘50’s saw the introduction of mass production and the drive to make everything cheaper with the inevitable result of compromise of quality at every stage.