The Early Teens Walking Suit- A Brief Look

 

The walking suit represented a major step in the evolution of women’s wear during the late 19th and early 20 Centuries. Starting in the early 1890s, the walking suit was considered an essential part of a woman’s wardrobe and by the Teens, it occupied a prominent place in fashion. Style details, construction, and fabric varied depending on price point but the objective was always the same- a outfit that a woman could wear out in public that was practical yet stylish. In response to the growing popularity of walking suits, clothing manufacturers produced walking suits in a variety of fabrics, colors and styles. Walking suits became to widespread that even the major couturiers couldn’t ignore it.

Walking Suit 1910

Walking Suit, 1910

In response, couturiers began to offer an ever-expanding line of practical day wear of which the walking suit was a key element and each couturier put their own twist on the basic design as with this walking suit by Paquin:

Fb104684.jpg

Paquin, Walking Suit, 1912; National Gallery of Victoria (2015.670.a-b)[National Gallery of Victoria, Melbourne Purchased with funds donated by Mrs Krystyna Campbell-Pretty in memory of Mr Harold Campbell-Pretty, 2015 © Paquin]

The above example illustrates one jacket style was designed to give the effect of a robe or kimono; naturally, this effect tended to work better with a lighter fabric such as a linen.  Here’s another one from Maison Worth:

Walking Suit Worth c. 1913

Worth, Walking Suit, c. 1913; Metropolitan Museum of Art (1980.16.3a, b)

Jackets also followed more conventional styles such as with this one:

Paquin Walking Suit 1910 Front

Jeanne Paquin, Walking Suit, Spring/Summer 1910; Metropolitan Museum of Art (2009.300.474a–d)

The walking suit below from Redfern features a more tailored jacket (which would come as no surprise given Redfern’s background):

c. 1911 Walking Suit Redfern

Redfern, Walking Suit, c. 1911; V&A Museum (T.28&A-1960)

c. 1911 Walking Suit Redfern

Three-quarter rear profile.

And jackets could also have more of a greatcoat style:

Walking Suit Redfern c. 1910

Redfern, Walking Suit, c. 1910; Metropolitan Museum of Art (2009.300.107a, b)

And just to round things off, here are a few from unknown makers:

Walking Suit c. 1912

Walking Suit, c. 1912; McCord Museum (M976.35.2.1-2)

Walking Suit c. 1912

And here’s one from 1915:

Walking Suit 1915

Walking Suit, 1915; McCord Museum (M983.130.3.1-3)

Walking Suit 1915

And sometimes, it was hard to tell where “suit” left off and “dress” began…here’s an example from 1911:

Walking Suit 1911

Walking Suit, 1911; Metropolitan Museum of Art (1976.290.7a–c)

The above examples are only a small fraction of what was out there but it’s clear that the walking suit had arrived as a major wardrobe item. We hope that this will serve as a source of inspiration for those looking to recreate the day wear of the early Teens. And finally, just to tie this into something more contemporary, consider this:

Boarding Dress3 Titanic Movie Walking Suit

Enjoy! 🙂

Fashion In Transition: The Early 1900s- Part 1

The Edwardian era of the early 1900s was a time of transition and change in the fashion world. The bustle era was long past and the fashion silhouette was now upright. By 1900, the s-bend corset with the distinct “pigeon-breast” (aka Pouter Pigeon) set the basic style and it was reflected in both formal and informal day and evening styles. But as the “early aughts” (i.e. 1900s) progressed, the extreme pigeon-breast silhouette began to soften, gradually transitioning to a looser, flowing style such as that created in 1908 by Paul Poiret with his Directoire collection.

Corset Before and After Poiret

The transition from s-bend corset to…

The distinct “pigeon-breast” (or Pouter Pigeon because the resulting bust looked like the puffed out chest of the pouter pigeon) was created by the mechanics of the s-bend corset which created a rounded, forward leaning torso with the hips pushed back. Compared to corsets of the 1880s and 90s, the s-bend corset had a straight front that started relatively low on the bustline. Often padding and corset covers were worn to achieve the perfect bust silhouette. Here are some examples for visual reference of the basic silhouette:

S-bend corset patent -Original- Pre 1929 Historical Pattern Collection

Patent documentation for a patent for an s-bend corset.

1903 s-bend corset

S-Bend Corset_2

S-Bend Corset

S-Bend Corset

And the final product:

Les Modes Sept 1901 Maison Rouff

S-Bend Corset_3

And here are a couple of examples of the s-bend corset:

corset_1904_3

Corset, c. 1904; Metropolitan Museum of Art (2009.300.3123a–e); Made for the parisian department store Bon Marché.

corset_1904_4

Side Profile

From the above picture of the side profile, it’s easy to see the distinctive “s” bend. In comparison with other extant examples, this one is somewhat restrained in the curve.

corset_1904_5

Rear View

CI40.141.3ab_F

Corset, c. 1904 – 1905; Metropolitan Museum of Art (C.I.40.141.3a, b)

CI40.141.3ab_TQL

 

 

And here it is in action, so to say:

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Advertisement, c. 1905

And more fully clothed:

tumblr_msssyo0gms1r7jm73o4_1280

Although not as extreme as some examples, one can still make out the distinct silhouette created by the s-bend corset.

[De Gracieuse] Wedren-toilet van blauw zijden batist (July 1903)

Here are some examples of extant dresses:

Doucet Afternoon Dress 1900 1903_1jpg

Doucet, Afternoon Dress, c. 1900 – 1903; Metropolitan Museum of Art (2009.300.579a, b)

Doucet Afternoon Dress 1900 1903_2jpg

Rear View

Ball Gown Evening Dress Worth c. 1902 Lady Mary Curzon

Worth, Evening Dress, c. 1902; Fashion Museum Bath

Day Dress 1902 - 1904

Day Dress, c. 1902 – 1904; Metropolitan Museum of Art (1994.192.18a–c)

Day Dress 1902 - 1904

Day Dress 1905

Day Dress, c. 1905; Victoria & Albert Museum (T.21 to C-1960)

Day Dress 1903 1905

Day Dress, c. 1903 – 1905; Galleria del Costume di Palazzo.

Here’s a similar type of dress on a live models:

 

Robe_d'après-midi_par_Redfern_1905_cropped

Robe_tailleur_par_Redfern_1905_cropped

Interestingly enough, while the s-bend corset reshaped the bosom, the bosom itself was de-emphasized and the bust was often softened by additional fabric and trim. By the end of the 1900s, one can see the shift towards a more upright silhouette. Designers such as Paul Poiret sought to create a new silhouette that more “natural,” unconstrained by severe corsetry such as the s-bent corset. Here are a few examples:

Noveau Directoire2 Poiret

poiret_1910

Day Dress Designed By Paul Poiret, 1910

Paul Iribe 1908 Poiret Noveau Directoire

Noveau Directoire 1908 Poiret Josephine Dress

Paul Poiret, Day Dress, 1908; Les Arts Décoratifs

But Poiret was not the only designer working towards a more upright, cylindrical silhouette. There was also the designs of Jeanne Margaine-Lacroix:

1909 Margaine Lacroix

Robe de courses, Margaine Lacroix, 1909

Margaine Lacroix

Dress for the races by Margaine-Lacroix, photo by Félix, Les Modes July 1910.

Image result for margaine lacroix

Margaine-Lacroix c. 1908 - 1910  Evening Dress

Margaine-Lacroix, Evening Dress, c. 1908 – 1910; Metropolitan Museum of Art (1979.346.32)

Paquin Walking Suit 1910 Front 2

Jeanne Paquin, Walking Suit, Spring/Summer 1910; Metropolitan Museum of Art (2009.300.474a–d)

1910

Evening Gown, c. 1910; Kerry Taylor Auctions

Finally, even the House of Worth was moving in the same direction but there’s still some structure in this dress…

Worth Afternoon Dress 1907

House of Worth, Afternoon Dress, 1907; Manchester City Galleries (1947.4254)

Worth Afternoon Dress 1907

Close-Up Of Front

The preceding examples give a pretty good overview of the changes that were occuring in the basic fashion silhouette in the course of the first decade of the 20th Century. In the next installment, we’ll take a look at changes that occurred in the 1910 – 1914 timeframe.

(To be continued…)

Selections From The FIDM Museum 3

 

W

hile the the 26th Motion Picture Costume Design Exhibition at the FIDM Museum was a bit of a disappointment, there were some items in the Museum’s permanent collection that made up for it immensely. One such item was an evening gown designed by Maison Félix, a couture house that was a contemporary of the more well-known houses such as Worth and Doucet:

Evening Gown Maison Felix c. 1893

Evening Gown, Maison Felix, c. 1893; FIDM Museum (2016.5.26A-D)

Evening Gown Maison Felix c. 1893

Below are some more detail pictures:

Evening Gown Maison Felix c. 1893

The Train

Evening Gown Maison Felix c. 1893

Sleeve Detail

Evening Gown Maison Felix c. 1893

Trim Detail

Evening Gown Maison Felix c. 1893

Close-up of the bodice

Evening Gown Maison Felix c. 1893

Close-up of the front bodice neckline

This dress dates from 1893 and as such, lacks the gigot sleeves that were to come into vogue during the mid 90s. It has a train which is characteristic of formal evening wear but the rigid bustle/train effect of the later 1880s has clearly been discarded. The brown velvet paired with the gold/champagne silk are analogous warm colors and harmonize very nicely. The trim is relatively restrained, limited to the neck and skirt and the gold silk fabric has an embossed pattern that makes for an interesting dull/shiny contrast in the fabric’s luster. Overall, this is a design that reads elegance and restraint as opposed to a making bold statement.

This dress was one of the high points of our visit to the FIDM Museum and we look forward to viewing more from the Maison Félix in the future.

Fashion Push-Back: Tailormades

Walking Suit

It’s pretty much a given that fashions change but it doesn’t mean that change is necessarily accepted and there’s often push-back. One interesting example of this phenomenon was in during the 1890s with the increasing popularity of suits for women (aka “tailormades”). According to one commentator, a one Comtesse de Champdore, in the April 5, 1894 issue of Vogue (the precursor to today’s Vogue Magazine):

The great Parisian couturiers, with Worth, Laferriere, Felix and Doucet at their head, have put down their foot and at length carried out their threat of declaring war against tailor-made garments,which in future they will oppose tooth and nail. You may take it for granted that they would not have ventured upon such a momentous step unless they had previously assured themselves of the sanction and support of our principal leaders of fashion.

Inasmuch as the latter, at least those who influence La Mode, are no longer in the first bloom of youth it is perhaps only natural that they should have agreed to the proposal of the couturiers, since the severe simplicity of the tailor·made gowns requires a young face and figure to carry them off well, whereas beauty of a more mature type looks best when enshrouded in all kinds of flounces and furbelows. There is to be a complete change of fashion. We have done with 1830 and are back again in the Louis Quinze [Louis XV] epoch.

The balloon sleeves, the flounced skirt, the brimmed hat with feather tufts are from to-day obsolete, and the painters whom the couturiers’ designers are now studying at the Louvre are Boucher, Watteau, Lancret and Nattier. We are to come back to the paniers [panniers]; the genre Pompadour is to prevail, materials are to he transparent, colors are to be light, plenty of lace, plenty of guipure [Guipure lace], and, above all, plenty of essentially Parisian frou·frou. To use the words of Worth, “Woman is once again to become woman, and fashion is to find its task in giving emphasis to feminine form instead of concealing it. Masculine modes are to be abandoned.”

(Note: I have broken the original passage into several paragraphs for clarity.)

Well, that’s a pronouncement. 🙂 Getting past the concept of “designer-as-dictator,” this passage is interesting in that we see a style being rejected out of hand not only do we have primarily on the basis that it’s a “masculine mode” and as such, fashion’s primary objective is “giving emphasis to feminine form instead of concealing it.”

Why the resistance? The most obvious answers are simple: resistance to change in the status quo; it challenged established norms; and resistance to the changing role of women as more they began to enter the workforce in many Western countries for this first time in large numbers. It’s also interesting in that the style that the couturiers are advocating was the “Louis XV” style, a style that drew upon elements from the early to mid- 18th Century characterized by pale colors, silk brocades, lace, and elaborate trim.

Walking Suit c. 1896

Walking Suit, c. 1896; Nasjonallmuseet, Norway (OK-1962-0073)

But there’s also another interpretation: economics:

The decision meets with universal approbation alike on the part of our mondaines [worldly] and their tradesmen, for the Louis Quinze style is perhaps the most luxurious of all, and necessitates no end of jewelry and trimmings of every fashion and kind, all of which will help to revive trade, and perhaps render our fournisseurs [suppliers] less inclined to torment us for the payment of our bills on the time-worn pretext that “times are bad.”

Elaborate styles require more trim, expensive fabrics, and of course, accessories to include jewelry and that would keep the suppliers employed, an argument often heard today in regard to haute couture and the fashion industry in general.

Of course, one must ask if this is the opinion of just the writer or did this represent a major sentiment? Although a cursory online search yielded nothing helpful in this regard, there are hints scattered about that trends in Great Britain and America during the 1890s were going in the direction of simpler outfits for daywear as exemplified by the tailormade suit and skirt/waist combination. Yes, more conventional day dresses were also extant but what we see is greater variety of styles that were becoming available to women and especially those who were middle class.

1896 Waist Skirt Fahsion Plate

One element that would give this idea some weight is that going back to the early 1870s, Redfern, a house that had gotten its start in Britain, had built a thriving business offering women’s suits of various types aimed at women who were of the same class that also patronized Worth, Doucet, et al.

The idea of clashing trends between simpler styles and the traditional has always been a constant throughout fashion history and in many instances, it also symbolized conflicts between social and cultural ideas and in extreme instances, symbolizing seismic shifts in social and cultural attitude (the 1960 provide a prime example of this). Or perhaps we’re reading way too much into this… 🙂 In any event, it certainly reveals some cracks in the wall of seeming Victorian Era uniformity when it came to fashion and that bears further examination.

Selections From The FIDM Museum 2

T

oday we feature another gown from the FIDM Museum permanent collection, this time a dinner gown that was made by Doucet circa 1899 – 1900:

Dinner Gown Doucet c. 1899-1900

Jacques Doucet, Dinner Gown, c. 1899-1900; FIDM Museum

Dinner Gown Doucet c. 1899-1900

Unfortunately, I was unable to get any good full-length pictures of this gown and there was only one angle available however, I got some good detail of the capelet top which is the center of focus. As with many of Doucet’s designs, the capelet utilizes gold netting combined with gold metallic trim that simply reads “rich”. The rest of the gown is black with vertical stripes of black jet beading and serves as a backdrop of sorts to the gold capelet. This is definitely one of those “high 90s” styles that’s rich and a bit over the top.

This is an interesting example of Doucet’s work and I’ll be seeing about getting some more pictures to augment what I got. It’s definitely worth taking a look at in person.