T this gown *is* my future! I’ve lifted a pattern, sourced the silk, now to make one inspired by C.F. Himself, hoping to find some secrets in this gown in our museum collection. Um, in my spare time. 🙂
Today we take a short break with this illustration from Charles Dana Gibson:
For some reason, the above illustration reminds us of this tea gown that was made by Maison Worth in 1895:
While of course this is not a direct match, it still shares a fairly busy design…the color alone is a source of inspiration. With that said, stay tuned for more developments! 🙂
One fascinating aspect about Charles Worth was that although he positioned himself as an exclusive couturier, he also licensed printed paper patterns of some of his designs. Worth himself didn’t publicize this to any great extent and you have look hard for the evidence but it’s true. One example of this is this Redingote style was offered for sale for as a printed pattern in the 1882 edition of The Ladies Treasury:
And here’s the accompanying commentary:
Redingcotes are most popular in Paris. M. Worth makes them for summer dresses instead of polonaises. They are made in grenadines, over contrasting colours, for evening dresses. A mauve grenadine, on which are moons of black satin, two inches in diameter is made plain, over a lining of maize yellow satin. The grenadine is turned off in the front, to the sides, and is outlined in jet embroidery, black. A full frill of thread lace goes round the neck, and continues down the centre of the bodice. The petticoat of black satin has a pleated flounce of satin, and a front breadth of yellow satin, which is nearly hidden in jet embroidery, and bows of moire ribbons.
This style is M. Worth’s protest against the bunched-up paniers at the back, which it is said he detests.
Worth’s licensing of patterns is an interesting aspect of his business and is an area that’s not well documented. Of course, it would be interesting to locate the actual pattern but so far, our efforts to do so haven’t been successful. What’s also interesting is that even though Maison Worth was doing very well financially, it’s interesting that he would even bother with such pattern licensing- the revenue from pattern licensing could not have been much when compared to sales of his haute couture. Unfortunately, details about business side of Maison Worth are thin and we may never know the precise answer but it’s interesting to speculate on. As we find out more, we’ll be posting it here. Enjoy!
It’s Sunday and all my teaching duties at Costume College 2019 are complete! It’s been a busy past two days with teaching three classes and meeting up with old friends, some who we haven’t seen in a year or more. Our classes were well attended and hopefully we were able to impart some useful information. More importantly, we also learned some new things from the many thoughtful questions posed by our students and in some areas, we’re rethinking some of our opinions. The old adage “never say never” has never been more true when applied to fashion and fashion history and it seems that just when we thought we’d gotten a handle on a certain subject, something comes along to challenge us.
We’re looking forward to 2020 at Costume College and it’s our goal to work up more classes with compelling content. Looking forward to seeing you there next year!
Paul Poiret has always been fascinating to us and his designs and innovations never fail to amaze. At the same time, Poiret is also a cautionary tale on the dangers of not adapting to a changing zeitgeist (the spirit of a particular historical period). Poiret was a bit of showman and he utilized all manner of publicity in order to advance his innovations such as eliminating the corset-created silhouette as an essential design element (even though other couturiers were working on similar designs at the same time such as Jeanne Paquin) and the introduction of the jupe-culotte.
Poiret was also instrumental in introducing a simpler, less structured silhouette starting with the Directoire style in 1906:
The First World War disrupted the French fashion industry and Poiret was no exception. Called up for military service, Poiret was assigned to work on simplifying the production of uniforms and while he was successful in this area, his fashion house barely kept itself afloat financially. After the war, Poiret tried to pick up where he’d left off in 1914 but the fashion world had moved on with an emphasis on more simple designs such as those created by Coco Chanel. Poiret’s designs failed to catch on and combined with financial mismanagement and a nasty divorce from his wife Denise, he was ultimately forced to close his fashion house in 1929. In future posts, we’ll delve into some of Poiret’s post-WWI designs and the overall decline of Poiret’s influence as a designer.