Getting Ready For Costume College…

It’s been a bit quiet here lately and I sincerely apologize- I’ve been furiously working on a series of presentations that I will be giving at Costume College. What’s Costume College? It’s an annual three-day costuming arts convention sponsored by the Costumer’s Guild West and it covers all periods and genres.

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And if you attend my classes, you get these snazzy ribbons for your convention badge…

Last year, I gave a presentation on Paul Poiret entitled “The King of Fashion: The World of Paul Poiret” which gives an overview of his early career and I had such a fun time with it that I decided to reprise it again for 2018 and it scheduled for Friday, July 27 at 3:30 pm. But wait, there’s more…

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Also on Friday, July 27 at 12:00, I will also be giving a presentation on Charles Worth, entitled “Man-Milliner: The World of Charles Worth” which will give an overview of his career. Finally, on Saturday, July 28 at 9 am, I’ll be giving a presentation in Elsa Schiaparelli entitles “Shocking: The World of Elsa Schiparelli.” Stay tuned for more!

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Adam’s Atelier Prepares For Costume College

Iam pleased to announce that three of my class proposals have been accepted for the upcoming 2018 Costume College on July 26-30, 2018. Held annually in late July, Costume College is an event devoted to costuming in its many forms, whether historical, fantasy, or somewhere in between. Classes and presentations consist of both lecture and hands-on workshop formats and are all taught by volunteers. For the past several years, I’ve been giving presentations on various aspects of costume to include American Army uniforms of the WWI Era, Paul Poiret, and Couture of the 19th and early 20th Century.

This year I will be reprising my Paul Poiret presentation (revised and expanded) as well as presentations on designers Charles Frederick Worth and Elsa Schiaparelli. While Worth and Poiret make sense, given our primary areas of emphasis, Elsa Schiaparelli seems a bit of a stretch…well, not so! Here at Lily Absinthe, we are interested in all eras of fashion and we draw inspiration for all eras when it fits the particular design objective we may have in mind and especially when it comes to designers who came after the Belle Epoch.

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Schiaparelli in particular has always been a source of fascination for both Karin and I in that she combined the shocking and outrageous with the practical and down-to-earth ranging from surrealist-inspired shoe-hats and immaculately tailored suits and elegant evening dresses. Moreover, we’re fans of her widespread use of pink- she even has a distinct shade of pink she named “shocking pink.” 🙂

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July is a ways away but I’ll be busily preparing my presentations and it promises to be an exciting time. More to follow! 🙂

 

Charles Frederick Worth & Early Haute Couture

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Costume College was busy for me this year. Besides delving into the world of Paul Poiret, I also delved into the world of haute couture during the later 19th and early 20th Centuries, an ambitious topic to say the least- one could easily go on for days and barely scratch the surface. 🙂 Fashion  history has always been fascinating and even more so when one makes little discoveries that link the world of the past with today and the research process never fails to disclose tiny nuggets of useful information.

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In many respects, the world of haute couture, as we know it today, got it’s start in Paris largely through the efforts of one man- Charles Frederick Worth. Moreover, he was able to capitalize on a series of trends that had been developing for quite some time. Specifically, going back to reign of Louis XIV, royal patronage driven by the consolidation of the monarchy as the supreme ruling power in France combined with France’s growth as an economic, military, and cultural power served as a catalyst for the development of the textile industry and the needle trades. All the right elements were in place and over the next 300 years a thriving garment began to develop, spurred by patronage both by the Crown and nobility (as they sought to remain in good graces with the King).

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By the mid-19th Century, industrialization served to further spur the growth of the textile and needle trades (can you say sewing machine?) and the ground was fertile for a man like Charles Worth. Worth transformed a relatively decentralized industry composed of many individual dressmakers working in small establishments into a large-scale industry employing hundreds, if not thousands. Worth consolidated fabric procurement with production (before this, it was customary for clients to bring their own fabrics to the dressmaker). Also, for marketing, he employed the technique of having his clients choose from a series of sample models, modeled by an army of pretty young women; the client would make a selection and a custom garment would be created. The model was intended to give the client an idea of the final product- often, the fabrics and trim would vary to the individual client.

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What also makes Worth unique is that in 1860 he was able to secure the patronage of the Empress Eugénie and this cemented his reputation; as the center of the French court, the Empress set the styles and naturally everyone of importance wanted to emulate her.

With the demise of the Napoleon III and the Second Empire, Worth was forced to seek expanded markets- no longer did he have a guaranteed client base founded on royal patronage- so he was forced to seek a wider client base. Worth was ultimately successful in this endeavor and by the time he died in 1895, he had clients on all seven continents.

In many ways, the demise of the Empress’s patronage was the best thing for both Worth and haute couture in general in that it pushed couture out to a wider audience and stimulated greater design/style creativity- styles were not determined by the whim of a few people but rather transferred the power to the designers (and ultimately their clients). It also helped couture to reach a wider audience and facilitate the diffusion of fashion.

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House of Worth, Ballgown,, 1898; Metropolitan Museum of Art (2009.300.1324a, b)

 

Of course, Worth wasn’t the only couturier- there were many others. Some of Worth’s leading contemporaries were Jacques Doucet, Emile Pingat, John Redfern, and Jeanne Paquin- all fascinating as designers. Unfortunately, there’s not a lot of information out there on many of these designers and they’ve become almost forgotten.

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Jacques Doucet

John Redfern

John Redfern

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An early portrait of Emile Pingat; Courtesy of Jacques Noel

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Jeanne Paquin

The above is only a very broad sketch of the topics that I covered in my presentation and I felt that it went pretty well. For the future, I may narrow my focus a bit but nevertheless, it wasn’t bad for a first outing. Stay tuned for more… 🙂

The Tissot Shipboard Dress

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Lately, James Tissot has been a major source of inspiration for some of my designs. Check out the brunette. Pretty curves, cotton batiste gown is weighed down with a hem of pleats, ruffles, ruches, and two huge silk sash bows in the back. When I realized I had an original bonnet like hers…well, you get the picture. 🙂 Below are a few pictures of my take on the Tissot shipboard dress:

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Bonnet is original, complete with cobalt silk ribbons and silver medallions

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Gown is completely hand finished, except for construction seams. It’s weightless, my corset is heavier than the gown!

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So I forgot to prune…

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That’s just a brief overview of  the dress. I’ll be posting more in the near future. 🙂