From Maison Worth- Licensed Patterns

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!

Costume College 2019

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!

Costume College Approaches…

And we’re coming down to the wire here as Costume College approaches…

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. When I presented the class on Schiaparelli last year, it was definitely outside our comfort zone but in it was well received and one of the attendees had even recreated Schiaparelli’s iconic Lobster Dress 🙂 :

One of the fundamentals of our design philosophy is that here at Lily Absinthe, we are interested in all eras of fashion and as such, 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.

 

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.” 🙂

Image result for shocking pink schiaparelli

We look forward to seeing you all there!

 

 

Some Fashion Theory From Maison Worth

During his lifetime, Charles Worth was extremely wary of journalists and rarely gave interviews. When questioned during those rare interviews on the nature of fashion, his answers were vague and provided little insight as to his thought processes as a designer. However, upon his death in 1895, his sons were somewhat more forthcoming about Maison Worth’s approach to fashion and in particular, Jean Worth who managed the design side of the house. In an interview by a one Marie A. Belloc for Volume I (November 1896-April 1897) of The Lady’s Realm, Worth comments on the nature of fashion, stating:

It would be impossible to lay down any general theory or rule, so much that is indefinable and so many hidden influences go to the making of a mode—especially nowadays, when many marvels of colouring once reserved to painters and artists are within the reach of every intelligent artisan who cares to spend his Sunday afternoon at the Louvre, or who can afford a seat in the upper gallery of the Opera. Take, for instance, the rainbow effects that were lately the only wear among the Paris populace. No doubt Loïe Fuller and her serpentine dance were responsible to a great extent for the sudden interest taken in prismatic colouring; but the Japanese had, of course, long delighted in these multi-coloured effects, and the French eye had gradually become accustomed to rainbow variations. The famous American dancer simply crystallised floating impressions, which had long been with us.

As far as who sets fashion, Worth goes on to explain that:

There can be no doubt that certain élégantes, who have the courage of their convictions and a belief in their own charms, can impose whatever style of dress suits them best on the world at large. For instance, a beautiful woman with a long neck wears a high collar, and all her plain friends follow her example. A notable leader of Fashion gets tired of narrow skirts, and appears suddenly in a full round jupe. Her appearance creates a sensation, and the next day, those women who have seen her in some public place or on some official occasion, wearing with grace and effect what appeared outré and old fashioned, follow her example.

Seems pretty basic but he’s tapping into the psychology of human nature in that there are some who are leaders and others who are followers and it’s the leaders who determine the next big thing in fashion (which was, no doubt, also good for Maison Worth’s bottom line).

In regard to changing fashion styles, Worth notes that:

 I naturally do not concern myself with the popular modes. The moment a fashion becomes exaggerated- in other words, universal- we have to begin to think of something to replace it. I am often asked by English clients whether the big sleeve has come to stay. All I can say is, that exaggeration will kill any model, however becoming. Not only does it make the fashion common, but a woman rarely looks well or artistic in an outré garment. Of course, there are certain people who can wear anything and look well…

Worth goes on to note that color is one of the most important part of any design and especially how it relates to the individual:

I am always on the look-out for new and old ideas, and new schemes of colouring. Colouring, as you are aware, plays an important part in modern dress. I even yet remember with what difficulties my father met when he
tried to impose the slightest modifications in the hard, metallic tints which were for so long literally the only colours introduced into dress. An attempt at anything artistic was looked at with terror and suspicion…

For years my father tried to introduce this eminently becoming harmony of colour. Some of the most beautiful brocades ever made to our own order were tinted in this fashion. But it was not till an accident- in other words, the courage and audacity of one of our handsomest clients- brought the beautifying qualities of this combination before the public that we were ever able to make the experiment on a large scale; and the same may also be said of yellow and pink, pale blue and violet, and many others of the symphonies of colour now universally adopted. Of course, it is only fair to add that nothing can be more horrible than these violent contrasts, unless combined and imagined by a really artistic eye. But that is more or less true with anything connected with colour and form; for what looks well on a red haired woman makes a brunette look sallow, and so on.

Throughout this interview, the theme of color can be seen and there’s no denying that it’s a powerful concept, especially influencing fashion. At the same, Worth also notes that people are resistant to change and will only do so when a fashion leader (i.e., fashion influencers) decides to make a change.  It’s also interesting that both Worth senior and junior  sought to bring about color combinations that were harmonious to each other as well as the individual client. Below are just a few examples:

Worth, Tea Gown, c. 1890 – 1895; Royal Ontario Museum (969.223)

Worth, Day Dress, c. 1874; Rhode Island Institute of Design Museum ( 2005.89.12)

Worth, Ensemble Dress, 1893; Metropolitan Museum of Art (2009.300.620a–e)

Worth, Evening Gown, 1887; Metropolitan Museum of Art (2009.300.1094a–g)

Worth, Reception Dress, c. 1877 – 1878; Cincinnati Art Museum (1986.1200a-c)

Worth Day Dress, c. 1875; Metropolitan Museum of Art (2009.300.1100a, b)

Throughout the late 19th Century, Maison Worth utilized just about every possible color in varying combinations and for the most part, they seem to work. Stay tuned as well delve into more fashion theory according to Maison Worth

To be continued…

 

And For A Little Color…

Dior has always been a source of inspiration for us, both in style and color. Today, we came across these views from Dior’s Fall 2018 Couture Collection:

The color palette is simply exquisite, consisting of a series of cool shapes of green, and here’s the requisite palette:

All of the above colors are appropriate for the late 19th Century and here’s just a few examples from extant dresses:

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

Felix, Day Dress, c. 1889; Albany Museum of History and Art (u1973.69ab)

Worth, Ballgown, 1889; Metropolitan Museum of Art (C.I.68.53.11a, b)

Worth, Day Dress, c. 1890 – 1893; Kerry Taylor Auctions

Tea Dress, Worth c. 1895; Palais Galliera (GAL1964.20.4)

Now that’s some color inspiration! 🙂