Took a break for a museum by the ocean treat, enjoyed a little lunch, now it’s back to work…more gowns to finish and list. 😁
Adam Lid
The Latest Fabric Safari – Update From Downtown LA
We shopped, we lunched, we got home by 12:30. For those who are coming out next week for a particular Costume Conference, and are looking to go to DTLA’s Fabric District, here’s my two cents on what’s happening there so you can manage your expectations and your shopping list!
The silk stores on Wall street that sell the same silks that we all use/have used/still hoarding are still carrying them, and I noticed that the prices have come down $10 a yard from last month. So all the fancy satin/taffeta stripes are now in the $40-25 range, the plainer stripes are in the $30-20 range. Silk solids are still in the $40-30 range, solid dupionis are $12, but limited. No black silk anything. Everything else has gone up a bit in price. Don’t listen to overpriced live IG fabric dealers who insist that everything is “rare” and “selling out”. Everything appears to be “normal” (pre-pandemic) pricing and quantity, and in my opinion, will go down even more in price at the end of summer.
There’s a few new trim and lace stores directly across from “Perial” on Maple (south of 9th) and they’re well-stocked, clean, and organized. Recommended. I forget the names, but you shouldn’t have issues finding them. Adam didn’t let me buy anything, but I’ll be back! Great prices.
I’ve heard that Bohemian Crystal is moving to Orange County, so get your jewelry bits now. There’s other new stores around it that will fill in that need when they leave, and most of us shop for that sort of thing online. Thanks, Pandemic. I passed by Michael Levine’s, didn’t stop, wasn’t impressed, I’ve moved on. Don’t forget FIDM! You’ll have to move the car, so save that for when you’re done shopping. Bring $5 cash for parking.
We all have favorite stores DTLA, but don’t forget to stop by Mood if you have more cash to spend. Bring tissues for tears when you find something unaffordable and Adam says: “NO”.
If you need silk solids, your best bet is Silk Baron or online at Renaissance Fabrics, both places have a great color range. The solids I saw DTLA are all mostly in that same Home Dec color palette that I’m weary of. There’s a few small vendors who have better colors, but you have to search and (for me), Time is Money. I’m excited to meet up with a few friends who are attending, but except for one dress up day to the dealer’s room, I’ll be here sewing and swimming. Not at the same time. 😁
More Late 1870s Asymmetrical Style
If you liked our previous post in asymmetrical style, here’s another example from the same couturière, Maison Cécile Laisne:
Maison Cécile Laisne, c. 1878-1879; Metropolitan Museum of Art (C.I.45.38.1a, b)
This time, the designer utilized a combination of an ivory-colored silk jacquard overskirt arranged in a spiral drape that works its way upwards towards the bodice combined with a silk underskirt covered in an elaborate network of woven cords and what appear to be large metallic beads. If one looks carefully underneath the net, one can see an underskirt consisting of rows of knife pleating, also in an ivory color.
The bodice is long, going over the hips and is typical of Mid-Bustle/Natural Form styles. The bodice is symmetrical, consisting of what appears to be some sort of plain ivory-colored silk satin fabric framed along the hem and front by wide rows of ivory silk satin with passementerie consisting of cording and metallic beads similar to that of the net underskirt. Below is a close-up of the fashion fabric found on the overskirt:
From the pictures, it appears that the net underskirt is visible on the left side only while covered with the outerskirt draping on the right.
The cord work netting is amazing and the steel beads really give it definition. It also appears that there’s some ruching of the fabric of the underskirt foundation. The dress’s asymmetrical style can really be seen from this rear view picture:
The demi-train is pleated and has two or three rows of knife pleating running along the hem. Further up, one can see where the spiraling outerskirt ends, secured in the folds of the train (can we say draping? 😁 ). A small bow on the bodice back at hem level completes the look. And last, here’s the dress label:
Compared to Maison Cécile Laisne’s design in the first post, we tend to like this design a lot better because the asymmetrical elements are arranged more harmoniously with the dress achieving a unified style rather than having elements seemingly “bolted on.” But as with all of this, it’s a very subjective thing. 😁
Mid-Bustle Era/Natura Form – Asymmetrical Style
We’re on a roll when it comes to Mid-Bustle/Natural Form style! Today we feature this day dress that was made by Maison Cécile Laisne sometime around 1879 in Paris. What’s interesting about this dress is the use of asymmetrical design elements:
Maison Cécile Laisne, Day Dress, c. 1879; Metropolitan Museum of Art (C.I.45.38.2a, b)
The skirt and bodice are made from a gold/champagne-colored silk jacquard with a silk satin knife-pleated hem made from the same color. The neck and upper bust are filled in with a gauze that’s also in the gold/champagne color. However, the most striking element are the wide jeweled/gold metallic braid trim stripes that run up both sides of the bodice front and decorate the cuffs. Below, a larger strip of trim with the same jeweled metallic braid runs along the lower bodice and skirt, starting at the center back of the bodice and then spiraling down and following the train on the left side. Below is a close-up of the front upper bodice:
The trim definitely makes the front bodice stand out and it catches the eye, combined with the large center bow.
The view shows the dress silhouette nicely and one can make out the floral jacquard pattern. Two rows of pleating along the hem further serve to accentuate the train. Below is another view of the train:
In the above and below pictures, we see the trim to its fullest extent, running along the one side of the lower bodice and then down the left side of the demi-train.
Below is a close-up of the silk jacquard fashion fabric with it’s floral motif:
And the cuff accents:
And finally, a nice close-up view of the trim- this was, no doubt, all set by hand and represents hours of work.
The use of asymetrical design elements is one major style that’s common in late 19th Century dresses and the above dress is just one example. What makes this one so striking is the use of a wide, very elaborate stripe that immediately catches the eye, especially from behind and while it’s a bit jarring, it does succeed in capturing the viewer’s immediate attention. While this wasn’t a style for everyone, it was definitely one that was guaranteed to get attention- can you say Mrs. Bertha Russell, anyone? 😁
Natural Form/Mid-Bustle Era Style
The Mid-Bustle or Natural Form Era of the late 1870s/early 1880s was characterized by a drastic reduction in train sizes, shifting away from the extreme bustling, and an emphasis on a more upright cylindrical style. However, within this general trend, there existed a wide variety of styles that all worked to show off this new silhouette to its best advantage. Below is just one style that was out there during the Mid-Bustle Era, in this case a circa 1878-1880 afternoon dress:
Merlot-Larcheveque, Afternoon Dress, c. 1878-1880; Metropolitan Museum of Art (C.I.50.39)
From the pictures, it appears that the dress was constructed of burgundy red silk taffeta for the skirt front and inner bodice combined with a floral patterned striped silk brocade in a combination of black, brown, burgundy, and gold colors. The striped fabric has been arranged so as to create the illusion of a robe that leads down to a demi-train. The pseudo-robe effect is further enhanced by the princess line and there’s no separate bodice and skirt combination (at least as far as we can tell, anyway).
In this picture, we get a better view of the upper part of the dress and we can see that the dress is one piece although the “bodice” opens up. Ivory lace is used on the cuffs and around the neckline, serving to outline the wearer’s face and hands. Below is a close-up of the striped fashion fabric:
And below is a good illustration of the dress silhouette:
While there’s a bit of a rear bustle projection, it’s relatively restrained and more about supporting the demi-train. Note that the dress train extends from the bottom rather from the waist as was the case with earlier 1870s styles. Here’s another view of the train:
The fact that this dress has a demi-train suggests that it was meant for more formal daytime occasions (hence the designation “afternoon dress”). Below is a full-on view of rear of the dress:
The dress label- Merlot-Larcheveque, 25 Boulevard des Capucines, 25, En face le Grand Hotel. Unfortunately, we were unable to find out more about the maker.
The above picture is a black and white view of the dress that was taken back in the 1950s and while it doesn’t capture the dress colors, it does highlight the pattern of the outer fashion fabric very nicely. Overall, this dress is an excellent illustration of one type of Mid-Bustle Era style which involved creating the illusion of an underskirt covered by an outer robe. Stay tuned for more!