Seeking shade in a garden we found on a promenade a few weeks ago in Bath.
It was a long week in England and we’re still recovering a bit. Now it’s time to get back into the normal routine and catch up on everything that’s been going on in LA in our absence. Interestingly enough, it seems that the weather from Bath followed us home and it’s been cool and cloudy here in Southern California- go figure. 🙂 Over the next week or so, we’ll be posting pictures from our trip and otherwise commenting on everything we did over there. In the meantime, here’s a few pictures to get you started…
Stay tuned for more!
And you can “take the waters of Bath”…
Afterwards, we had to work off that breakfast so we went rowing on the Avon River:
The Scenery was marvelous although I didn’t get much of a chance to look at it since I was rowing… 🙂
It was a beautiful day to go rowing- the weather was cool and crisp and my choice of outfit was perfect. Although it was a bit choppy at the start, my Boy Scout rowing techniques eventually kicked in (it’s been like 40 years) and things worked out perfectly. I’d definitely do it again! 🙂
I actually finished and wore the blush silk gown, probably the last new thing for me for a while because of my wonderful client work…so no more hand sewing in hotel rooms! Taking a sewing break for two days, back to LA (and Angus!) on Monday. We truly want to live here (we’ve looked) and made so many friends. We know we act like overenthusiastic goofy Americans, but our hearts are genuine, so we just laugh. One more day of Victorian fun, then it’s off to Heathrow…another day of sleep would be nice, too.
The second dress we viewed at the Fashion Museum Bath was a complete contrast to the first: this time we were looking at an ivory-colored evening dress/day dress that was also made by the House of Worth either in the early 1890s (unfortunately there’s not a precise date). Once again, we’ll start with some general views of the entire dress:
The two above views really show off the skirt front and because it’s lying flat, one can readily discern the longer trained skirt back. The lining is a rough cotton and from what we could tell, the pieces have been flat-felled (although we can’t be 100% certain).
Unfortunately, given the close space I was working in, I was unable to get a good full-length picture so these will have to do. The dress is constructed of an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. The bodice sleeves and neck are three-quarter and trimmed with silk lace and ribbons. Here are a few more views that show off the fashion fabric better, in the bright morning light the pink blush was almost lost to the naked eye.
Here’s a closer view of the bodice:
The above two pictures give a good view of the bodice front. The buttons are fully functional and it appears that the buttonholes were sewn in by hand, utilizing strips of gimp. Below are two views of the bodice back:
The bodice has the characteristic back “tail” that laid over the train and one can get a good look at the fashion fabric itself. The pink blush stripes are very subtle and faint in some places- possibly a product of sun fading. Below are some more views of the skirt:
The above two pictures give a good view of the hem on both sides. On the outside, one can see a combination of pleating combined with small bows. On the inside, the hem is a simple double-fold with a hidden catch stitch. Below is a detail view of one of the sleeves:
And here’s the bodice opened up to reveal the interior:
As with most bodices of the period, the interior is lightly boned on top of the major seams to give the bodice structure. The bone casings are made of a gauze silk/cotton(?)-like fabric and have been stitched into the lining and seams allowances.
And, if you have ever wondered just what sort of stitching was used for finishing the interior of the bodice, here’s a good close-up view:
Judging from the skirt and the bodice, we’d date this one from the early 1890s. The longer skirt back suggests that a bustle appliance of some sort would have been worn, most likely probably a pad (small pads were still in use during the 1890). Because of the bodice’s fragility, I was unable to get a good look at just how large the sleeve caps are but there’s definitely some room there. It’s definitely not the full-blown gigot sleeves of the mid 1890s but the style of the bodice is definitely headed that way. The skirt is composed of multiple gores, at least five to seven (we were unable to get an exact count).
The fashion fabric, as stated previously, is an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. This is an interesting choice of fabric and it’s pretty subtle. Although it’s hard to say with 100% certainty, this dress reads “bridal” and it would certainly work for that purpose although it could just as easily answer as a better visiting/afternoon dress or even a reception dress, depending on the event. Well, this pretty much wraps up our visit to the Fashion Museum Bath and we want to thank the staff for their assistant and patience. We hope to return in the near future and view some more dresses from their collection. Merci beaucoup! 🙂