Designers

Back to the 1870s

/ Adam Lid / Leave a comment

Today we take a trip back to the 70s…the 1870s, that is, and more specifically circa 1874 with this afternoon dress from Worth:

Worth, Afternoon Dress, c. 1874; Metropolitan Museum of Art (1975.259.2a, b)

This afternoon dress utilizes the two-color combination style that was typical of early to mid-1870s dresses, consisting of black silk taffeta bodice and outer skirt combined with a pale green/mint green silk taffeta underskirt. What is interesting here is that the bodice and skirts have been cut so as to give the effect of a long robe that opens wide to dramatically reveal the green underskirt. Also, while it’s not easy to make out, the bodice is designed with an underlayer of the same green color- it’s hard to say if it’s a faux vest or simply an inset underlayer. Finally, the neck and front outer bodice edges and cuffs are trimmed with ivory lace. Below is a close-up of the bodice:

The silhouette is fairly standard for the early to mid-1870s and its lines are pretty clean, especially when compared to many 1870s day/afternoon dresses. Note that both sides of the outer skirt are piped with the light green fabric.

The bodice back has a set of carefully sculpted tails that serve to emphasize the train and each tail is emphasized with an outline of the green fabric (which also appears to be the lining color for the tails). Below is a close-up:

Below are some more detailed views of the skirts. It’s interesting that the “outer” and “inner” skirts are really one unit:

Finally, below is a view of the detail where the outer and inner skirts meet:

Compared to many of Worth’s designs, this one is relatively simple emphasizing clean lines with a minimum of trim. In many respects it almost reads “tea gown” although it’s far more substantial and was clearly intended for wear out in public. We’ll have some more interesting 1870s dress styles to show you in the near future so stay tuned!😄

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And Now For Some Mid-1890s Style

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1890s style is definitely a thing with us and today we present you this circa 1895 evening dress:

Rouff, Evening Dress; Metropolitan Museum of Art (2009.300.6477a, b)

The color and texture combination of this dress are a very harmonious combination of an olive velvet bodice combined with a black silk satin skirt and bodice front panels. To finish the style, there’s gold embroidery and fringe which serve to offset the black skirt and front bodice.  Although there’s only one picture of the dress, it does appear that there’s a separate bodice and skirt and the skirt appears to be have been made from the black silk satin fabric; the gold embroidery is a floral design that’s rectangular, running down each side of the front part of the skirt and then running along the skirt bottom, above the hem. It’s too bad that there’s no pictures of the dress from the back or sides.

Close-up of trim detail.

Above is a close-up view of the bottom skirt front and the gold embroidery can be clearly seen. Also, one can also see that black beaded appliques were also used as part of the floral pattern design. In terms of style, the wide neck line and low shoulders  suggest an evening dress style but this style would also work as a reception dress. It’s a fascinating dress and we only wish that there were some more pictures available- there’s a lot of details that are obscured. But, nevertheless, this is another source of dress inspiration, especially with the large leg-of-mutton sleeves.

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More Late 1890s Evening Dress Style From Maison Worth

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Today we take a look at a circa 1897 evening gown from Maison Worth by way of the Olive Matthews Collection at the Chertsey Museum!

Worth, Evening Dress, 1897; The Olive Matthews Collection, Chertsey Museum (M.2017.013a–c)(Image 1897

Unfortunately, there’s not a lot of information online about the dress but style-wise, it’s consistent with what the Maison was producing during the late 1890s and early 1900s. The most striking aspect is this dress are the decorative floral motifs covering the overskirt on the sides and rear:

Florals and wheat designs were a Maison Worth signature style and it’s especially evident with the floral design here which is HUGE, covering the overskirt from hem to waist. We wish there were more pictures of this dress, it looks stunning, especially with the floral design. We hoped that you’ve enjoyed this brief glimpse into Maison Worth.

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And Now For Some Bees…

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And to continue the natural world theme in yesterday’s post, today we feature a lingerie dress that was created by Jacques Doucet around 1900-1905, only this time utilizing bees:

Doucet, Day Dress, c. 1900-1905; Les Arts Décoratifs

In many respects, this dress style follows the lingerie dress style that was prevalent for warm weather daywear during the early 1900s, an area that Doucet excelled. This dress is constructed of layers of semi-sheer fabrics (probably batiste and/or organza) combined with lace and features a multi-layer train that alternates the fashion fabric with the lace. However, the centerpiece of this dress is the use of a decorative floral motif featuring bees. The bees themselves appear to be embroidered appliques and are artfully arranged running up the dress front to suggest bees buzzing about flying out of the vegetation.  One can definitely see that vertical lines are emphasized, especially with the dress front designed as a front-opening robe; the swarm of bees run all the way up the dress front and around the neckline to the back. Compared to many lingerie dresses of the period, the use of lace is fairly restrained and is not allowed to detract from the bee decoration. Below is a rear view:


The rear is also interesting in that the bees are set along the hem of the our dress layer to suggest low-lying vegetation and when viewed together with the front, the effect is very three-dimensional. This is more than a simple static decorative motif being applied to a dress, this has been well thought out. The dress itself is fairly simple design, acting as a canvas for the decorative design. This dress is definitely an inspiration for future recreated designs. 🙂

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Butterflies, Ballgowns And Now Chrysanthemums

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It’s a truism in fashion that the natural world has always been a source of inspiration for artists and fashion designers and the late 19th Century was no exception. Examples of natural inspiration in fashion abound and in particular have often been a source of inspiration for many of Maison Worth’s designs. In a previous post, we discussed two examples of Worth’s use of the natural world theme in the form of wheat stalks and butterflies. Today, we look at another example, this time Chrysanthemums with this circa 1895-1900 evening dress:

Worth, Evening Dress, c. 1898-1900; Metropolitan Museum of Art (976.258.5a–c)

With a multi-gored trained skirt and minimally sleeved bodice, the dress silhouette reads late 1890s and more specifically in the 1898-1900 time frame. This dress is constructed of a salmon-colored silk satin and features a Chrysanthemum floral motif pattern. With the exception of the upper bodice, there is no trim on this dress and the Chrysanthemum design speaks for itself. Below is a close-up of the bodice:

The bodice features a semi-wrap style and continues the Chrysanthemum floral pattern with a jeweled net backed with salmon-colored tulle at the bustline. The sleeves are minimal, consisting of two strips of silk satin, some white chiffon and trimmed with gold fringe. Below is a close-up of the design motif:

As it can be seen in the picture above, the decorative design is composed of embroidered appliques that give the appearance of a velvet. It’s an amazing contrast to the silk satin skirt and bodice. Finally, not only does this dress have the Worth label, but also a label with a unique dress number which was likely to have been to a specific client. It would be interesting to know more about this… :-).

What’s also striking about this dress is that the design is not a singular occurrence but rather as part of a family of ball/evening gowns Maison Worth produced around the same time:

Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)

Worth, Ball Gown, c. 1895 – 1900; Metropolitan Museum of Art (2009.300.1290a, b)

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

Worth, Ballgown, 1900; Metropolitan Museum of Art (2009.300.1250a, b)

The above garments are all masterpieces in their own right, all featuring a large design with a natural theme. Also, judging from the silhouettes and styles, it’s clear that these garments share many of the same pattern blocks.1Although they produced haute couture, Maison Worth was still a business and early on adopted many mass production techniques although they’d never publicly admit it.  Ultimately, while each of these dresses was a unique work, they all had common characteristics that made them part of a collection. Either way, they’re all artworks to be enjoyed in their own right. 🙂

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