Lily Absinthe Looks at Longchamps

Races at Longchamps, Manet, 1867

Races at Longchamps, Manet, 1867

In contrast to our posts of the past few days, today we go to France to take a look at Haute Couture, how it was publicized, and the start of “street style”. By no means is this an exhaustive review but merely an attempt to show some of the high points.

“Fashion” as we know it today began to take form during the late 19th Century. Essentially, fashion was something that was entering the public consciousness on a scale broader than anything ever seen before. The industrial revolution played a major role in the development of fashion in a rising standard of living combined with the development of new methods of manufacturing textile goods made clothing more affordable for more people. Along with this was the rise of the middle class who now had the money and the leisure time to be able follow fashion more closely.

Where once fashion was limited to a monarch and his court, now fashion was far more defuse. Also, just as important, fashion and clothing manufacturing were developing into larger business enterprises and business concerns often drove fashion. This is similar to what we see today but only on a more limited scale with a smaller clientele.

Along with the commercialization of fashion by Couturiers such as Charles Worth, Jacques Doucet, Paul Poiret, and a host of others, was the need to more effectively market their fashions. Where word-or-mouth was sufficient, more direct methods of getting fashion styles (i.e., product) before the public were needed and thus developed advertising, fashion journals, fashion plates, and later, fashion photography.

With the development of the fashion industry and marketing, those who followed fashion wanted to see these fashions “live”. The concept of the runway show as a public spectacle was still years off but other ways to show off the latest styles were employed.

If it's seen at Longchamps, then you're OK... :-)

If it’s seen at Longchamps, then you’re OK… As is the case today, being seen in a public place with the just the right outfit could make all the difference. 🙂

Once such method was dressing up models with the latest styles and sending them to various public social gathering such as the horse races at Longchamps and in particular, the Grand Prix de Paris which was held every year in July. More than just a horse race, it was a day-long affair that provided a venue for people to see and been seen and that of course meant what they were wearing. Naturally, the press covered these events and end was result was free publicity.

Below are just a few of the examples of the styles worn at Longchamps during the period from 1900 to 1914.

Les Modes, 1904

Les Modes, July 1904

Longchamps1 Longchamps2

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The women in the above pictures are wearing versions of the lingerie dress and one can see the influence of the s-bend corset although the silhouette is somewhat muted by the fluffy layers of fabric on the dresses. These definitely fall in the 1900 – 1910 time frame, probably more towards 1902 – 1905.

And sometimes, fashion at Longchamps could cause a sensation…below is a picture from 1908 of three models wearing designs by Jeanne Margaine-Lacroix (known simply as Margaine-Lacroix) and dubbed by the press “Les Nouvelles Merveilleuses”:

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c. 1908, “Les Nouvelles Merveilleuses” as dubbed by the press- these three models caused a furor at Longchamps when they arrived- these dresses, designed by Jeanne Margaine-Lacroix were considered scandalous at the time.

The above three dresses definitely got public attention, in part because they completely did away with the conventional corset while at the same time creating a skin-tight silhouette by utilizing stretch fabrics in the dresses themselves to create the form-fitting silhouette.

Here’s how Susie Ralph, a fashion historian, described it in an introduction that opened an exhibit on Margaine-Lacroix in 2013:

In 1908 Jeanne Margaine-Lacroix sent three mannequins to the Longchamp race-course clad in her form-revealing robes-tanagréennes. These corsetless dresses caused a sensation among Paris’ fashionable crowd – a riot according to some newspaper reports. Worn without corsets and slit to the knee on one side over the most transparent of underskirts, their impact on the fashion world was instantaneous and resulted in major press coverage not only in Paris but around the world. In today’s parlance the style immediately “went viral”….It was Margaine-Lacroix’s daring vision that brought to an end the ideal of the rigidly corseted hour-glass figure, and ushered in the new, slim twentieth century silhouette.

Margaine-Lacroix is an interesting designer in her own right although she is relatively unknown today. Hopefully we’ll be writing more about her in the future.

Here, is where the above picture originally was featured:

new-picture-7

Controversy is no stranger to the world of fashion then or now and the debate over what exactly is too “revealing” still rages on.

Moving on, fashion photography becomes ever more pervasive during in the years from 1910 – 1914. Here are some more examples:

1912-at-the-races

1912, Watching the races standing on chairs. The lines on these two dresses reflect the moved towards a more sleek, upright silhouette. Goodbye s-bend!

1914

1914, Here is an interesting design incorporating a waistcoat and cutaway coat.

Public spaces like Longchamps provided a venue for people to see “fashion in action” and for us, it provides a fascinating archive of fashion history that helps us to see fashion that is alive. We can see just how garments were worn, how they fit, and even gain some insight into the people who wore them

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Postscript:

Originally I set out to write this blog post about the development of fashion and how it was publicized on public places. However, along the way I also discovered the Les Nouvelles Merveilleuses controversy and the work of the a relatively now forgotten designer Margaine-LaCroix. It just goes to show that you learn something new everyday! 🙂

2 thoughts on “Lily Absinthe Looks at Longchamps

    • Unfortunately, I’ve been unable to find out anything further about the models themselves, at least in English (and my French is poor, to say the least). However, one of the models went by the name “la belle Möina” and was supposedly offered a lucrative contract by the director of Moulin Rouge. It’s an interesting question, to be sure and something I’ll have to look into.

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