Behind the Scenes repost #3 - This article appeared in the October 2010 issue of Fame'd Magazine. The former designer was 92 at the time and a ray of sunshine. Her life is a part of not only the history of the Vancouver fashion scene, but a historical peek back at the world in a time of transition. Enjoy!
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The sun streamed through
the glass sun room and reflected off white walls, but nothing could
upstage the positive energy exuded by 90-year-old retired fashion
designer Lore Maria Wiener. The story she told was intriguing and
listening to her talk about the influences designers worked under
many years ago shed light on changes that have occurred in the
fashion industry. In a lesson for those who focus on the negatives,
she firmly looked at the good that came with each new challenge and I
loved her closing words, “How can I be so lucky?” Lock stock and
barrel – husband, children, life, work, customers – they all are
awarded the label, “FABULOUS!”
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Vienna City Centre - early 1930's |
Wiener was born in
northern Germany. Her father was an avid sailor and on Sundays the
family would walk through town to the boat creating quite a stir.
Why? Her mother and she were wearing pants - unheard of at that
time! Growing up, her mother sewed most of her clothes until age 13
when she decided she could do a better job. She sat down and made
herself a suit. Adorned in this new creation, she walked into a
small dressmaker's shop, asked for an apprenticeship and was hired on
the spot. For 2-1/2 years Wiener honed her skills until one day the
owner said, “It's against my pocket, but I think you have to stop.
You can't learn anything more.” After training a new apprentice,
it was off to Vienna to study fashion design.
The year was 1939 and
Wiener's father was Jewish. Although protected by his boss, he
decided it was time to move to Shanghai and she left school to join
him. Shanghai was an exciting place for a 19-year old. One day she
was encouraged to take some fashion photography she had shot into a
local newspaper. There she met the editor who she married only nine
months later. It was
her husband who suggested she open a
dressmaking shop. “We rented a little store and my clientèle was
mainly from the French Embassy. They were happy to have a European
[dressmaker] and I never had trouble getting clients.” But
political events again interfered. Wiener's husband had written some
anti-communism articles in the local paper and when Mao Tse-Tung
came, they had to leave quickly. “My mother wrote to me and said
don't come back to Europe, go the United States. We thought it was a
good idea, but as Austrians our quota was so small it would have
taken too long, so we came to Canada on a visitor's visa.”
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Shanghai 1940's |
The young couple had
planned to move to Montreal originally, but once in Vancouver the
money ran out. Her husband's English was too European for the local
newspaper trade and he struggled to find work. Fate led him to tell
their story to the head of the Vancouver Stock Exchange. The man not
only encouraged them to start a dressmaking shop, but loaned them the
start-up capital. Wiener remembers, “At that time on the Boulevard
there was a music studio we could rent. ArthurErickson designed the shop – he was just starting out then
and needed the work
. We lived behind the store and made
one room into a sleeping room. We were willing to do anything to
make it work.....When there is a strong MUST behind it people can do
enormous things.” They worked as a team where she did the design
work and he ran the business.
.jpg) |
Refuges waiting for board ocean liner. |
Fashion design in those
days was very structured. What you produced each season was dictated
by the top designers. If they said you did short skirts, you did.
All work at her shop was custom designed after talking to the
clients. Over her 40-year career she moved from dealing with all the
clients, designing each piece and drafting the patterns, to training
others to take over different aspects of the work. At the time she
finally closed the shop she had a staff of 12 people working under
her. When asked
if the clothes she made were “classic”, she didn't like the
label. “ I don't like the word classic. I wrote an article in
Shanghai asking why should women be dictated what to wear...I just
think I am a good listener when they told me what they would like.
People tell me whatever I made never went out of style.”
At the age of 70, Wiener decided is was time to stop. “There was
one lady, Mrs. Thea Bentley, who was my first customer and my last
customer. She said, what am I going to do now and I said we'll just
go for lunch sometime.”
.jpg) |
1950's Vancouver painting - Dine With Risty by Tom Carter, |
Looking at the
difficulties faced by the designers today Wiener feels their job is
much more difficult. “The freedom is good for women but hard for
designers. Altogether to be a fashion designer is a much bigger
responsibility now. What do designers do now that women are so much
more wilful in what they want [to wear]?” What she found most
interesting is that while most of the younger set would never want to
go back to having the fashion trends dictated the way they were
before, some of her previous customers disagreed. “I heard from
one customer who said she wouldn't have liked it. She wanted to be
told what to wear. It was simpler, you didn't have to think.”
Several of Lore Maria
Wiener's garments are now a part of the Society for the Museum of Original Costume's (formerly the Original Costume Museum
Society) local collection. The society is working toward a permanent
location to display the garments as well as allow research by
students and professionals. For more information on the SMOC please
go to their website at http://smoc.ca/
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