Out Of The Gilded Age…

Today the theme is burgundy velvet and what better way to show it off than in an evening dress by Worth. 🙂 Better yet, we have both the dress AND a portrait of the individual that it was made for! The itself was made by Maison Worth around 1898 and belonged to Edith Kingdon Gould, the wife of railroad tycoon George Jay Gould and is on display at Lyndhurst Mansion in Tarrytown, New York; Lyndhurst had belonged to the Goulds at one time and is now a museum belonging to the National Trust for Historic Preservation.

Worth, Evening Dress, c. 1898; Lyndhurst Mansion, Tarrytown NY

The evening dress is interesting in that it’s a relatively simple style, unadorned by any trim or decoration (if you don’t count the fur stole she wears with the dress in her portrait). Overall, the effect is very restrained, reflecting Ms. Kingdon-Gould’s status married to a wealth railroad tycoon (she had been an actress prior to marrying Gould). And now for the portrait itself:

Théobald Chartran, Portrait of Edith Kingdon Gould, c. 1898

Unfortunately there’s not a lot of information available in regard to the dress or the portrait- they were part of an exhibition at Lyndhurst that’s ended. This dress provides a fascinating snapshot into a bygone era made more interesting in that the dress style is very restrained when compared with some  of the more over-the-top designs of the era.

Parisian Fashions- Trending For Spring 1890

Fabrics are a major part of fashion and often are the center of focus of a dress design. In terms of style, a fabric could be said to consist of three elements: 1) the fabric’s specific type and construction; 2) the fabric’s decoration (i.e. does the fabric have some sort of decorative motif or is it plain?); and 3) the fabric’s color. This is illustrated in this commentary from the April 1890 issue of Peterson’s Magazine:

In the way of dress materials, the newest is a gauze with wide woven stripes in a fabric much more transparent than the ground of the material, these stripes being figured in large patterned designs in the thicker stuff. The effect thus produced is very pretty, and, when the gauze is made up over a colored satin underskirt, the toilette thus composed will be charming.

As for silks, brocades were definitely a thing:

The newest silks are brocades, having very small sprays of flowers in their natural colors scattered over a black ground. Some of the designs are very tasteful as well as novel, and especially one representing a single stalk of the fuchsia with its pendent blossoms, and another showing one of the crimson clover. These floral designs are repeated on the foulards of the season- snowdrops or ears of wheat being represented on the black grounds, and fuchsias on cream-white or pale silver-gray.

Here are some fashion plates from Peterson’s that help illustrate this a little:

Peterson’s Magazine, March 1890

Peterson’s Magazine, May 1890

And here are some extant examples of garments that incorporate one or more style elements noted above:

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

Sara Mayer & A. Morhanger, Da Dress, c. 1889-1892; Victoria & Albert Museum (T.270&A-1972)

Worth, Dinner Dress, c. 1890-1895; Metropolitan Museum of Art (2009.300.636a, b)

The above examples are only a small sample but they serve to underscore some of the fashion trends that were underway during the later 1880s/early 1890s. In future posts, we hope to further document this most interesting period of fashion transition.

Parisian Color Trends For Fall 1889

Color is a major element in fashion styles and, as with style in general, it’s constantly in a state of flux. The situation was no different during the Nineteenth Century and while there was no entity like Pantone to constantly monitor the color trends, they were still noted. In the October 1889 issue of Peterson’s Magazine, it was noted that:

The newest color of the season is a rich deep shade of chaudron-red, which has been christened Eiffel-color, after the famous tower of the Exhibition. It is supposed to be of the same hue as the red-painted iron-work of that stupendous edifice, since its tint has been mellowed and modified by the weather. Green, except in the dark-emerald shade, has gone entirely out of vogue. Yellow, in the warm golden tones, will be a good deal used for trimmings,

Probably the most interesting comment is about “chaudron-red” which is a mash-up of French and English for “cauldron red” (or Eiffel Red) and it describes the original color that the Eiffel Tower was painted when it was first erected for the Paris Exhibition of 1889. The original paint was meant as a protective coating and had a copper-red color because of its active ingredient, iron oxide, which gives the paint its protective quality, preventing rust to the steel that made up the Eiffel Tower’s construction (even to this day, iron oxide paint is used for treating steel beams). So what did this look like? Probably something like this:

Interestingly enough, recently, when it’s time to repaint the Eiffel Tower in 2021, it has been suggested that it be repainted in the original chaudron-red, similar to the shade depicted above. So far, the French Ministry of Culture has not made a decision…

Besides “Eiffel Red,” it’s noted that green is completely out except in a dark emerald shade, perhaps along these lines:

And for yellow something like these:

And now well things together with some examples of the above colors at work, starting with this evening dress from Maison Worth:

Worth, Evening Dress, c. 1889; Metropolitan Museum of Art (C.I.59.20)

James McCreary & Co., Visiting Dress, c. 1889; Metropolitan Museum of Art

Detail of Cuff

Both of the above dress examples incorporate many of the colors noted in Peterson’s although we must note that there are also plenty of examples where other colors were used; in fashion there’s never any absolutes, just broad generalizations. We hoped you have enjoyed this brief excursion into trending colors of 1889 and stay tuned for more in the future. 🙂

 

 

The Future…

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. 🙂

And Now For A Short Break…

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:

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

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! 🙂