Trending For November 1886

L

iving in California, it is easy to forget that there are places where it is not sunny and warm all year round (mostly). However, an an effort to remedy this  deficiency, today we’re taking a look at a few fall and winter fashions from about 1886. Below is a fashion plate of daywear from the November 1886 issue of Peterson’s Magazine:

Peterson's_Nov 1886

The dresses are described from left to right as follows:

Fig. I – Visiting Dress, Of Dark-Brown Corded Silk. The skirt is laid in many narrow pleats with side-panels of right watered silk. The dolman is of brown corded silk lined with dark-green satin and trimmed with fur. Bonnet of dark-green velvet, with upright quill-feathers.

Fig. II – Walking Dress, Of Green Cashmere. The underskirt is of dark-green velvet; the cashmere is draped and quite long in the front, and falls plainly at the back, over a large tournure. The bodice is of green velvet, like the skirt, with vest and sleeves of the cashmere; the best hooks underneath green velvet sides. hat of dark-green velvet, trimmed with ribbon the shade of the cashmere.

Fig. III – Carriage Dress, Of Dark-Blue Poplin. The plaited underskirt is plain; the overskirt is made quite full, is edged with a band of beaver-fur, and is looped on the hips. The mantle is of beaver-fur, had broad tabs at the back, with “wings” on the sleeves, and the whole is edged with balls of beaver-fur. Felt hat, trimmed with blue velvet, and feathers the color of the beaver.

Fig. lV – Walking Dress, Of Wine-Colored Woolen Goods, with raised spots dotted over it. The underskirt is of plain silk; the woolen material is plaited to the bodice, and slightly draped at the back to show the silk underskirt; a band of velvet ornaments the front of the skirt, as well as forms a ceinture around the bodice, the collar, and a lapel on the left side of the front of the bodice. Hat of black felt, with a soft crown of silk and trimmed with loops of spotted foulard and a stiff aigrette.

Fig. V — Walking Dress, Of Chestnut-Brown Rough Woolen Material. The skirt is plain in front, with panels of the same color, striped crosswise by a plush stripe; at the back, it hangs quite plain over a large tournure. The bodice has folds of the striped plush material, with a velvet vest; velvet bow-and-ends on the left side. Large felt hat, trimmed with chestnut-colored ribbon.

The above designs gives an interesting cross section of what was current in daywear in late 1886. The predominant fashion fabric is wool although silk is also used in varying degrees; only the “visiting dress” is almost completely made of silk. All of these designs are functional to one degree or antoher, providing a starting point for the home sewer or commissioning a personal design. Finally, the colors are subdued, reflecting the fall/early winter season.

In terms of fashion trends, the December 1886 issue of Peterson’s Magazine gives an overview of what is trending in Paris (note: we have edited the passage for clarity):

The new materials of the season are very rich and handsome, and are proportionately expensive. Heavy faille or bengaline, figured or striped with plush or with velvet, contest the palm with figured or plaid velvet—or, more magnificent still, with velvet figured with large scattered flowers in uncut velvet, these flowers being outlined with gold thread.

One pattern shows large overlapping velvet blocks on a satin ground. Another has waved lines of velvet, a quarter of an inch wide, on a heavy corded silk ground. There are materials in two-inch wide stripes, alternately of satin and velvet, or satin and plush, or velvet and plush, the latter style being extremely rich in effect. All these are in solid colors.

Then there are velvets plaided with uncut velvet in two shades of the same color as the groundwork; and striped velvet, with narrow stripes imitating gold embroidery sunk in the velvet; and stamped-velvet stripes, alternating with satin stripes figured with plush or velvet.

For wraps, are shown velvets in subdued cashmere colors, the hues being very delicate and artistic, and the prevailing tints being dull-blue and faded rose. In the striped materials just described, the solid colors are all in subdued tones- garnet, seal-brown, heliotrope, and dark-gray being the fashionable shades of the season.

These stuffs are very expensive- costing, even in Paris, from five dollars to fifteen dollars per yard.1 But there will not be a great quantity of these costly fabrics employed in any one toilette. They will be used for the plain undershirt, and the short overskirt or pauter-drapery [portiere drapery] and sash at the back will be composed of plain material matching the groundwork, as will also be the corsage. Cashmere, striped or figured with velvet or with plush, is shown for less dressy costumes, and is far less expensive.

From the above, faille and bengaline figured or striped with plush or velvet with plaid, palm or flowers are trending.

Faille

Bengaline

Bengaline and faille are similar fabrics in that they are both a plain weave fabric with more warp yarns than weft yarns. The warp yarns on both are usually silk (more properly termed filaments) while the weft yarns are thicker, thus creating the crossways rib effect. For Bengaline, the weft yarns are usually cotton while with faille, both warp and weft yarns are usually silk. However, both fabrics have been made completely with silk or cotton. The best way to tell them apart is that Bengaline tends to have thicker, more pronounced cross-ribs. Both are lustrous fabrics and wear well and the best part was that the cotton-silk blends are less expensive than pure silk, thus offering silk’s benefits at a cheaper price.

And of course, cashmere:

Given the high cost of cashmere (even back in 1886), there is a good chance that the “cashmere” was actually some sort of wool blend (after all, this was before the Wool Products Labeling Act of 1939).

And just for interest, below are the subdued tones that are trending for wraps (subject to the interpretation of the computer):

Garnet1

Garnet

Seal Brown1

Seal Brown

Heliotrope1

Heliotrope

Dark Grey1

Dark Gray

And finally, just to demonstrate that high fashion was actively being marketed to the middle class, below is an advertisement from a concern located in Kansas City, Missouri. 🙂

illustratedcatal00bull_0100

Advertisement, c. 1886

We hope you have enjoyed small view of the fashion world of 1886- it’s not often that we can drill down to the specific details but with the increasing availability of scanned versions of the major fashion magazines of the time, this process has been made a lot easier and we hope to have more postings of this nature in the future.

1. [Approximately $130 to $357 a yard at 2015 prices.]



Trending For October 1886

W

hile studying old fashion plates may not seem as exciting as looking at pictures of extant original dresses, they still yield a wealth of information, especially if one carefully reads the descriptions that accompanied them. It’s easy to be put off by the fading and often poor state of preservation that many of these plates are in but if we can see past that, we believe that the reward is worth it.


O

ctober 1886 was an interesting time for fashion. The bustle was definitely back in force, refining the earlier bustle styles of the early 1870s and creating a more tidy and sharply defined silhouette than what was found in 1870s styles. In this post, we step back to October 1886 with this plate from the October issue of Peterson’s Magazine. Of special interest is the wedding dress in Figure I on the far left.

Petersons_Oct 1886

Peterson’s Magazine, October 1886

Below is a description of the above plate:

Fig. I.- WEDDING DRESS, OF BROCADED SILK AND WHITE ILLUSION. The skirt is made of three deep plaited [pleated] ruffles of illusion over white silk, the two upper ruffles falling in deep curves in front. The bodice, short tunic in front, and train are of the brocaded silk. The tunic is caught up with clusters of orange-blossoms. The bodice has a plaited vest of the illusion, with lace revers at the sides. The sleeves are open, on the outside of the arm, over an illusion sleeve, which is full at the elbow, and trimmed with sprays of orange-blossoms. Orange-blossoms at the throat and in the hair, from which a long veil of illusion falls.

Fig. II.- WALKING-DRESS, OF VERY DARK GRAY CASHMERE. It is made in plaits all around the skirt, with side-panels of plaid velvet. The close-fitting bodice is made with two revers of the velvet, both placed on the right side, and coming to a sharp point in front of the waist. Collar and cuffs also of the velvet. Gray felt hat, with ribbon and wings of the colors in the plaid velvet.

Fig. III.- EVENING-DRESS, OF LIGHT CANARY-COLORED SURAH. The skirt is trimmed with many narrow flounces, with a pointed apron-front of white lace, nearly to the bottom of the ruffled skirt. The train is plain, and trimmed with white lace. The bodice is cut with a sharp point, both front and back, and is ornamented with folds of the surah and white lace on the left side. Puffs of canary-colored ostrich-tips and ribbon trimming. Yellow bird in the hair.

Fig. lV- EVENING DRESS, OF POPPY-RED SILK. The skirt has a narrow knife-plaiting at the bottom. The back fails in large plaits, with a short full tunic over them. The front is trimmed with drooping rows or black lace, natural habitat of the cyclamen is in the woods, and this with long loops of poppy-colored ribbon. Panniers of black lace at the sides. The high bodice has a jabot of black lace down the front. Bow of red ribbon on the left side of the neck. Red poppies in the hair.

Fig. V.- WALKING DRESS, OF DARK-BLUE WOOLEN MATERIAL. The skirt falls in straight plaits at the back, with a short tunic over it. The front of the skirt at the bottom is trimmed with a broad band of striped blue-and-red bouclé material, and it is plaited at the waist. The bodice is made with a sharp point, with a reddish-blue velvet waistband, revers, and collar of the same material. The vest is of the striped bouclé. Dark-blue felt hat, trimmed with a red bird and wings.

Starting with the wedding dress in Figure I, it is styled with the skirt arranged in the front with three rows of vertical ruffles with the top two rows swaged to the rear. The base fashion fabric is a white silk covered by a layer of white illusion. Illusion is a  lightweight netting fabric with diamond-shaped holes and constructed from silk (today, it is more likely to be made of nylon and it primarily used for bridal veils). It is a form of tulle fabric, characterized by its soft hand and excellent drapability.

Illusion- Note the Diamond-Shaped Holes

White Silk Brocade – There was an endless variation in brocade patterns.

The bodice and overskirt/train is a silk brocade with the sleeves constructed from same illusion as the skirt. Covering the upper sleeves is lace that has been formed as revers. Also, interestingly enough, the front of the bodice is pleated in a fan pattern, giving the appearance of a vest. Finally, the dress is trimmed in orange blossoms in the front and in the headpiece. Overall, it’s a fairly “traditional” look that embodies the white wedding trend that was beginning to take hold during the late 19th Century.

Figure II is a fairly conventional day dress combined with plaid velvet to create a “highland” effect of sorts. The skirt and bodice are of a gray cashmere (although it appears to be more of a blue) combined with plaid velvet side-plates on the skirt. The plaid velvet is also used for the cuffs as well as on the front of the bodice (although the illustration distorts this somewhat, making it look more like a sash). Below are some modern-day examples of cashmere that easily could be used to make this dress:

Dark Blue-Gray Cashmere-Wool Blend

Dark Blue Cashmere

Figure III is an evening dress made of canary (sort of a light yellow) surah combined with white lace. The front of the skirt is trimmed in rows of narrow flounces and is covered in the front with a lace apron. Style-wise, this is a conventional med-1880s look with an emphasis on pleating running all the way up the front of the skirt. For color, the plate is a bit faded so here’s a bit more on the color canary which is essentially a yellow. It can vary in intensity from bright, as on the left, to a more subdued as on the right:

As indicated in a previous post, surah is a twilled silk fabric and would have looked something like this (unfortunately, it’s not an easy fabric to find, especially in any shade of yellow):

Surah

For Figure IV, we see another variation on the pleating/flounce theme only this time it is limited to the front apron which is done in black lace. To complement the black lace apron is a jabot of matching back lace running down the front of the bodice. The bodice and skirt are constructed from a poppy-red silk and the skirt hem has a row of knife pleating. Overall, this a relatively simple style for an evening dress and if we did not have the description from Peterson’s to go on, it would be easy to mistake for a day dress. Here is a sample of the color:

Poppy Red

Poppy Red

Unfortunately, the color depicted in the late is more of a wine color but as we know, colors can change dramatically in 100 plus year-old documents and especially those involving color printing processes so take this all with a grain of salt. 🙂

Finally, Figure V depicts is a fairly conventional day dress with the basic skirt and bodice constructed of a dark blue wool. However, the front of the skirt and skirt hem are trimmed in a blue-red bouclé, a fabric woven from loosely spun yarns giving a looped pile effect. In more recent times, bouclé has become the signature fabric found in many Chanel designs.  Although not stated, it is assumed that this was composed of wool fibers. Below is an example (unfortunately, we were unable to find a red-blue color):

All of the above dresses are fairly conventional in terms of style but they do exhibit some interesting uses of fabrics and trims and especially with the velvet trim in Figure III and the bouclé in Figure V. While perhaps not spectacular when compared to the creations being produced by Worth, Doucet, and Pingat (to name a few), it does demonstrate that the limits of particular styles were constantly being pushed in both big and small ways.



More On The Walking Dress/Suit Style- The Late 1880s

As the 1880s progressed, we see the walking dress/suit style developing into a distinct  daywear style. This the figure on the left in this illustration from the November 12, 1887 issue of Harper’s Bazar captures this nicely (although the riding habit on the right is a bit in the same vein but a bit more severe):

And just to show that this was not just developed by Parisian couturiers, here’s some more styles from the November 1888 issue of The Delineator, which was essentially a pattern catalog for the Butterick’s:

 

And just home in on individual jacket-bodices, or jacket-basques as The Delineator terms it, from the same issue:

As can be seen, the tops and bottoms where sold as individual patterns and were to a degree interchangeable, depending on customer preference. Of course, one could argue that the walking skirt style doesn’t look that different from other day dress styles and they’d be right. A lot of this comes down to fabric and trim choices- one could get as fancy or plain as one’s desire and wallet would allow. But, in the end, the overall style emphasized a clean silhouette with a minimum of extra trim- after all, this was meant for “walking” which really means being out in public which necessitated something a practical design and especially one without a train. We hope that the illustrations shown above will prove to be source of inspiration to everyone- it has for us. 🙂



And Now For Some Japonisme Inspiration…

As noted in a recent post, the transmission of cultural influences in fashion are often a two-way street. Recently, we came across this striking example of a day dress, circa 1876, influenced by Japonisme. Starting with the opening of Japan to the West in the 1860s, Western fashion and specifically, female fashion, saw the use of imported Japanese textiles as well as incorporating various Japanese-inspired decorative motifs in domestic-produced textiles of which Liberty of London was one of the leading producers. However, at the same time, Japan was also adapting to Western fashion although it was on a more limited scale. Here are a few views of the dress:

Day Dress c. 1876

Day Dress, American, made by Martha J. De La Mater, c. 1876; The Fenimore Art Museum, Cooperstown, NY (N0129.1966)

Day Dress c. 1876

Close-Up Of Bodice

This basic fashion fabric is made from a brown/copper silk combined with a silk brocade patterned with chrysanthemums- a fairly common Japanese motif. The trim is minimal except for metallic gold beading running along the front waist and edges of the overskirt. In terms of style, the pseudo-waist sash and knotted front overskirt combined with the pleated front bodice are suggestive of a kimono. At the same time, mandarin collar gives the front bodice a clean, crisp finish that doesn’t distract from the rest of the dress- no excess lace, netting or trim.

Here are a few more views:

Day Dress c. 1876

Side Profile – Close-Up

Day Dress c. 1876

Side Profile – Full View

Day Dress c. 1876

Three-Quarters Frontal View

Day Dress c. 1876

The Maker’s Label – Martha J. De La Mater

This dress was made by a Martha De La Mater who was one of several dressmakers working in Albany and she’s is listed in the 1889 edition of the Albany City Directory. Also, the dress was made for a one Lucy Clark. The world of Japonisme never fails to interest us and it’s been a fertile field for design inspiration with us and hopefully it will be for you.  🙂



Setting The Mood With Color

We wrote this post a few years ago but we believe that it still holds true. Color has always held a fascination for us and it’s a key element in the design process. And just for interest, here’s the Pantone Color of the Year for 2020: 🙂

 


One of the key elements in fashion design is color and late 19th Century fashion design is no exception. The design process may vary between individual designers but no matter who they are, they all have to consider what colors they’re going to use in their designs. The selection of colors is dependent on the season (though not always) and as such, tend to follow nature. Today, heavy weight is given to predicting what colors will be popular with fashion consumers because this influences the color and types of fabrics that design houses will order for their new lines; a multi-million dollar industry has been created around predicting what colors will be in for the following year with Pantone being the leading firm because of it setting color standards for a variety of industries.. The following color palettes from Pantone give a good illustration of this:

First we have the palette for Fall 2017:

PANTONE Fashion Color Report Fall 2017, New York

Most of the colors are deep, darker earth tones with a neutral gray mixed in reflecting shorter, darker days, leaves turning and the dying off of plant life in anticipation of winter. Nest, here’s the palette for Spring 2018:

Image result for pantone colors fall 2018

Just for comparison, here’s the Spring 2020 Color palette (in some ways, it seems to be a close re-rum of the 2018 palette):

In the above palette for 2018 and 2020, the colors tend to be lighter, reflecting the increasingly longer days, more sunny weather, and new growth of plants and foliage.

However, before we go on, let us note that color trend prediction is a somewhat subjective and as such, it doesn’t always follow strict rules and as such, it’s more of an approximation today than it was during the 19th Century. Here are two examples from the late 19th Century:

As with other designers, consideration of color makes up a good part of the design process and it’s one of the first steps in the design process. For us, colors fall under three major categories: Fall, Winter, and Spring/Summer. At the same time, we also consider what sort of a garment we’re designing: ball gown, day dress, reception dress, etc. Also, we consider where it’s primarily going to be worn: outside, indoors, indoors at night (e.g., ball room, stage, etc.). Once those questions are answered, we can then proceed with more specific color selections. If the garment is to be worn during the daytime and outside, we tend to first use nature as the first starting point for inspiration.

To illustrate this, let’s consider our Camille picnic dress design. When we originally conceived of it, we were looking for a day dress that could be worn at an outdoor event in the Spring or Summer such as a picnic. The Mid-Bustle Era has always been a favorite with us, so we decided that the style would derive from that period. From there, we determined our color palette, drawing inspiration from the Impressionist painters and Claude Monet in particular. But even more specifically, we wanted to emphasize the Spring with its fresh vegetation and explosion of lighter green colors combined with occasional pops of red or violet and towards that end, Monet’s garden at Giverny was the perfect source of inspiration. After some online photo research, here’s what we came up with:

Karin Camille Mood Board Spring 2016

Ultimately, the decision was made to go with a bright chartreuse as the primary color based on the greenery found at Giverny that’s portrayed with in Monet’s paintings as well as actual photographs such as this one:

Giverny Monet

Giverny Today

Below are a few more illustrations of the final Camille picnic dress just to give an idea of how the color was ultimately brought to life:

Karin Camille Picnic Dress

Karin Camille Picnic Dress Impressionist

Karin Camille Picnic Dress

From a color theory standpoint, the colors that we ultimately used for the Camille picnic dress were: chartreuse (both pale and bright), pale champagne gold (on the lower sleeves), and yellow-orange (the fringed trim running on the skirt front):

Image result for bright chartreuse pantone

Image result for old gold pantone

Finally, if viewed on the color wheel, you will notice that they are all analogous colors that are located next to each on the wheel:

color-wheel-300

We hope you’ve enjoyed that this post has helped give you some insight into just one of the many elements that go into making a Lily Absinthe design.