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Vera Borea (Countess di Regoli) was a French fashion designer who came to prominence in 1932. Her Paris, France salon was patronized by customers from France and the United States. From the beginning her clothes featured unusual sleeves and small details which made her designs unique. Her sports clothes were coveted for their cool, vigorous, and fashionable appearance. She was managed by Princess de Rohan.〔''Kaufmann's Ad'', Pittsburgh Post-Gazette, 9 June 1932, pg. 13.〕 Both designer and manager came to the United States on a business trip in 1932, on the ''Ile de France''.〔''15 Steel Men Here To Study Our Mills'', New York Times, 1 June 1932, pg. 6.〕 ==1932== Borea was a sportswoman and especially enjoyed designing sportswear because she had usually found it difficult to buy sportswear which was both comfortable and inexpensive. Borea's 1932 sports clothes designs included a skirt and waist-length jacket made of thick woolly tricot. These were worn in combination with an ''open work'' inside sweater of the same color. A tweed top coat with a black belt and a loose wrap around front gave the attire a harmonizing effect.〔''Paris Modes'', New York Times, 3 January 1932, pg. X11.〕 Paris fashion releases in the late spring were replete with frocks made of heavy black wool. Borea's black wool crepon frock had an incrusted collar and top sleeves of white shaved lamb.〔''Nonchalance Is Now Chic'', New York Times, 22 May 1932, pg. X9.〕 Her summer 1932 fashions emphasized a high-waist effect, even when no belt was worn. The wearer's figure was closely fit from just below her bust to the waist. Borea's day skirts had hemlines from eight to ten inches from the ground. The designer favored materials which were quite rough and open-surfaced, primarily cotton or woolen ones. These were tailored into small modern suits which were worn with blouses made of dimity or crocheted Irish linen thread. These featured turn down collars and muslin ties. For town wear Borea stressed rough linen fabrics and she often employed negligee materials in formal fashions. She rarely used silks, but sometimes created heavy basket or chevron (insignia) patterns, which she obtained hand woven from Italy. The youthful designs were without pretense and definitely were not flapperish.〔''Paris Features Cotton'', New York Times, 21 February 1932, pg. X13.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Vera Borea」の詳細全文を読む スポンサード リンク
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