1890s Street Style, Part 1

Street style has always been a useful tool for understanding how people actually dressed during a particular era and that holds true for the late 19th Century. Unfortunately, street style’s usefulness is limited by the level photographic technology and the further we look back, the less useful it is- until cameras became portable enough to take outside, photographs (aka “images”) were limited to set-piece studio shots in which people dressed up specifically for (early photographs were expensive and required a lot of time, equipment, and effort to get right). It’s not until the 1880s and 90s that photographic technology had evolved to the point where useful pictures could be taken outside.

For fashion purposes, images of street style prior to the 1890s are limited (although they’re out there) so it’s a real treat whenever we come across a new source. In this case, we recently discovered online (got to love the internet!) a series of pictures that were taken in the Mid-1890s by a one Carl Størmer (1872-1957) who was a Norwegian student at the time who later went on to become a mathematician and physicist. Using a specially designed vest camera, Størmer would greet people on the street and take their picture, unbeknownst to them. The details are fascinating and more can be found HERE.

spy-camera-secret-street-photography-carl-stormer-norway-159

Carl Stømer on the left, his camera on the right.

The pictures are fascinating not only for portraying what sorts of clothing were worn in everyday life (as best as we can determine) but we also candid, unstaged poses- more “real people” rather than people deliberately posing for portraits with all the attendant restraints.

In previous posts, we have approached 1890s day fashions from more of an ideal perspective, using fashion plates, illustrations, and original artifacts. All of these mediums are useful but lack that final step of answering precisely “just HOW did they look while being worn”. Hopefully, we can help bridge that gap a bit and so there are a few examples to get us started- please note that because of the way these photographs were taken, they’re not the best angles nor are they always in the best of focus (and of course there are the vagaries of digital imaging).

Here are a few featuring outerwear:

Street Style 1890s Norway

Street Style 1890s Norway

Street Style 1890s Norway

Street Style 1890s Norway

In the above pictures, the short jacket style is predominant although there is also the mantle; both were popular during the Mid to Late 1890s although the leg-of-mutton sleeves shrink in size as the decade progresses. Just to put it into perspective, here are some supplemental images of the sorts of jacket styles that were out there, at least in the United States:

Womens' Jackets 1899 - 1900

And here’s the actual jacket. This is just one of the various styles that were out there:

1890s Jacket

From Woodland Farms Vintage

1890s Jacket

Close-Up of Front

And for a few mantles:

Cape Jacket c. 1893 - 1895

Cape Jacket, c. 1893 – 1895; Victoria & Albert Museum (T.11-1932)

Mantle c. 1890

Mantle, c. 1890

In the next installment, we’ll take a look at some other forms of street style for the 1890s so stay tuned. 🙂



Fashion Friday- The Dress Of The Day

We are constantly on the search for the new and different when it comes to dress designs and not a day goes by when we find something new. Today we present an evening wedding reception dress (although it would work in daytime) from circa 1885 belonging to the Palais Galliera musée de la Mode de la Ville de Paris:

Reception Dress Day Dress  c. 1885

Blanche Bouchet, Wedding Reception Dress, c. 1885; Galliera, musée de la Mode de la Ville de Paris.

Reception Dress Day Dress  c. 1885

Side Profile

Reception Dress Day Dress  c. 1885

Rear View

This dress has a silhouette characteristic of the Mid to Late 1880s and the side/back bodice and overskirt are constructed of, what appears to be, a light blue silk faille. In contrast, the front bodice and underskirt are constructed of , what appears to be, a blue silk velvet with beadwork in a floral pattern. In viewing this dress, the first thing that the eye is drawn to is the beadwork and the skirts are arranged to show off the large floral motif to its best advantage. The floral motif continues up the front of the bodice in two pieces, cut to create a set of facings that become wider as they approach the neckline, and ending with a matching tall mandarin-style collar. Finally, the velvet beading is also carried out in the cuffs.

Below are some close-up pictures that I created from the original pictures with photo editing software (not perfect but it should give a good idea of the dress details):

Day Reception Dress c. 1885

Close-Up of the front bodice.

Above is some more detail of the front bodice- one can get a better sense of the beading on the blue velvet background set against a lighter blue tint. What is especially interesting is the texture of the light blue silk. Allowing for the vagaries of digital imaging, one can make out horizontal striping on the fabric for the shoulders and overskirt. The stripes are at a 45 degree angle on the bodice front to the left and right of the velvet panels- no doubt these were cut on the bias (at least we think so, a physical examination would clear up this point conclusively). Whether these stripes are the result of using different colored filaments in the weave or simply the product of the weaving process itself is difficult to tell.

Below is a close-up of the lower front under skirt and it’s here that one can see the flowered motif really come to life, the flowers and vines becoming much larger, creating a garden effect.

ROBE DE LENDEMAIN DE NOCES

Below is a close-up of the texturing mentioned above. From the picture, it would appear that a darker shade of blue have been woven into the fabric, interspersed with the lighter blue yarns (these would be the weft yarns). The warp yarns would only be the lighter blue. It also wouldn’t be surprising if the dark blue weft yarns were also thicker than the lighter blue yarns so they would be more prominent. Overall, the textile effect is brilliant and it’s a pity that we cannot have examined this in person.

ROBE DE LENDEMAIN DE NOCES

This dress is an interesting example of the styles that were coming out in the mid to late 1880s: elegant with simple, sharp lines. In contrast to the 1870s, this style is disciplined and “tidy”, relying more on the basic effect of the fabric and its surface decoration rather than added in trims and embellishments. It would seem that everything on this dress is done for a purpose and is all part of a cohesive whole with perfect balance and proportion. It’s a pity that we couldn’t get better pictures of the dress (the Palais Galliera is a horrible website to maneuver through) but we hope we’ve been able to adequately portray at least a portion of the dresse’s essence. Stay tuned for more! 🙂

At The FIDM Museum…

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ne of the most overlooked museums in Los Angeles is the FIDM Museum. Located in Downtown Los Angeles, the FIDM Museum has maintains a small but excellent collection of fashion-related items (well, small when compared to the Met in New York 🙂 ). As noted in a previous post, we recently visited the museum to view the 11th Outstanding Art of Television Costume Design Exhibition. However, there was also an exhibit of historical garments from the Linda and Steven Plochocki Collection on display which, naturally, we had to also see.

On display were a number of examples from various eras to include our favorite, the 19th Century. First, is this stunning wedding dress designed in 1878 by Emile Pingat:

FIDM Pingat

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The upright silhouette is characteristic of the Mid-Bustle Era, and as such, the bustle/tornure is fairly minimal. At the same time, we see a full train outlined with a wide band of ruffled pleating. The dress is made from an ivory/champagne silk; the overskirt is smooth with  little adornment except for a band of ruffled net/silk band trim accented with strings of flowers and orange blossoms (a signature Victorian trim for wedding dresses). The underskirt has vertical pleats which presents a nice contrast to the plain overskirt. The bodice is a deep cuirass bodice with three-quarter sleeves, trimmed in silk ribbons and lace, especially around the neck.

Here’s a few more views:

FIDM Pingat

FIDM Pingat

FIDM Pingat

The orange blossoms and lace trim frame the front opening of the overskirt.

FIDM Pingat

Detail of sleeve treatment of lace and silk ribbon.

FIDM Pingat 1878

Detail of bustle.

FIDM Pingat

Here’s a close-up of the orange blossom trim. Originally utilized by Queen Victoria in her wedding dress in 1840, it rapidly became a fashion trend for wedding dressed throughout the mid to late 19th Century.

FIDM Pingat

 

The trim running along the skirt hem and the edges of the train is actually a netting that’s trimmed with silk tape on one edge. The wedding dress is a stunning example of Pingat’s work and it bears further study.

Next, is a bodice from c. 1898 designed by Jacques Doucet:

FIDM Doucet

FIDM Doucet

FIDM Doucet

FIDM Doucet

FIDM Doucet

This bodice contains the signature elements characteristic of Doucet’s designs- rich old gold silk fabric trimmed with lace and lace appliques, some incorporating metallic gold thread. From a silhouette perspective, the leg-of-mutton sleeves are restrained, characteristic of late 1890s styles. The bodice is shaped like a jacket, reminiscent of 18th Century styles with a shirred gauze waist with a silk satin wide belt. Overall, it’s a rich, powerful style. It’s a pity that the skirt has not survived- the total package was no doubt a complete knock-out.

Well, that’s all for today. We hope you’ve enjoyed this as much as we did going to the FIDM Museum. 🙂

 

 

Back From Pennsylvania…

I completely admit that this post is bit tardy, considering that I attended this event back in April, so I apologize for the lateness of this post…enjoy!


wp-1493837356796.

Recently I took a break from the usual round of activities to travel back east to Newville, Pennsylvania to attend the Great War Association’s (GWA) Spring 2017 battle event. For those of you who may not know, the GWA is an umbrella organization for First World War reenacting that draws reenactors from all over the nation (and even Canada) and they sponsor two events yearly at their site in Newville, one in the Spring and one in the Fall. Events typically draw anywhere from 300 to over 600 reenactors (Fall is typically the better attended event). The site itself is a small-scale recreation of a First World War battlefield complete with shell craters, trenches, bunkers, and even burnt-out buildings- it’s truly a “reenactor’s reenactment”.

Adam1 Newville April 2017

Here I am looking all heroic and all…

I’ve been involved in the First World War reenacting for over 20 years and I have always meant to participate in a GWA event but, as usual, life usually got in the way until this Spring when I decided that I needed a small break from the usual so off I went. The logistics of getting there was interesting to work out, especially since I’d never been there before, but in the end it all worked out. I found that flying into Baltimore was the most practical- there are cheap non-stop flights available on Southwest Airlines and rental cars are easy to arrange at affordable prices (of course, it’s even cheaper if you’re traveling with others). Finally, I was able to get a couple of good motel rates for before and after the event itself- it pays to book early. 🙂

Gruppe1 Newville 2017

We three Bavarians…

Weather-wise, Pennsylvania presented a bit of a contrast to what I am used to in Southern California- it was warm and humid  during the day (and really warm when the sun would come out) combined with the occasional shower. At night, the temperature would drop almost 20 to 30 degrees and on the last night of the event, it was freezing. In many ways, this mirrored the actual Western Front experience although we only had to “endure” for two days.

So, what’s the clothing tie-in? I thought  you’d never ask…well, in contrast to what I normally deal in, the order of the day is wool…lots of wool in shades of feldgrau and steingrau. Below is feldgrau as defined by the RAL color standard (RAL is the German color standard that was initially developed in 1927 and is the equivalent of the American Federal Color Standard System). Below is the RAL standard for feldgrau:

ral-7000-feldgrau

And for steingrau:

ral-7030-steingrau(2)

Of course, color standards are only an approximation and especially since it was developed after the First World War. Here’s an approximation of what feldgrau often looked like:

ral-7033-feldgrau

Needless to say, the subject of color is very subjective so the above is just to give a general idea.

Adam_Rain1 Newville 2017

Me coming out of the rain. Lack of sleep caught up with me…and yes, the wool does repel water (to a point)

As to the uniform itself, I am wearing the 1915 (1916 pattern for Bavarians) pattern coat, or bluse, which was a wartime simplification of the basic tunic. For trousers, I am wearing the prewar 1907 pattern. As for comfort, well things can get itchy sometimes and definitely hot in warmer weather but in cold weather, it serves its purpose very well.

Overall, it was a fun and exciting trip and I am looking forward to returning in the Fall. 🙂

Almost Ready For Costume College…

Isincerely apologize for things being quiet here but I have been in hibernation for the past few weeks furiously working on a series of presentations that I will be giving at Costume College. Why the last minute rush? Well, unfortunately life has a habit of getting in the way and with our relocation and all, time has been at a premium. Costume College is an annual three-day costuming arts convention sponsored by the Costumer’s Guild West and it covers all periods and genres.

Adam 1918

Last year, I gave a presentation on American military uniforms entitled “US Army Uniforms, 1915 – 1918” and I had such a fun time with it that I decided to give an expanded version this year and this is scheduled for Friday July 28. But wait, there’s more…

Picture1

On Saturday July 29, I will also be giving presentations on Paul Poiret, entitled “The King of Fashion: The World of Paul Poiret” which will give an overview of his early career. Also, I will be presenting “Haute Couture: The Early Years” where I give an overview on the rise of haute couture during the late 19th and early 20th Centuries (1870 through roughly 1905) both in terms of designers and the various styles.

Stay tuned for more!