And For Some More Edwardian Day Wear…

Today we feature some more examples of the variety that existed in daywear from the first decade of the 20th Century. Like the 1880s and 1890s before, there was a wide variety of styles available. Below are just a few examples, starting first with a lingerie dress featured in the May 1902 issue of Les Modes designed by Redfern:

And then for something just a bit different is this house dress in somewhat of a Directoire style:

And for a little more Directoire style, there’s this circa 1905 princess line day dress:

Jeanne Hallée, Day Dress, c. 1905; Royal Museums of Art, Brussels

The decorative effect is very striking with the use of trapunto embroidery:

And for some day dress style- typically a skirt, waist, and jacket combination or some variation. Here’s just one possible style depicted in the July 1901 issue of Les Modes designed by a one Blanche Lebouvier:

The jacket is bolero jacket with large points along the bottom. This is just one of many variations for jackets. Below is an afternoon dress designed by Redfern featured in a 1903 issue of Les Modes:

The above dress illustrates some of the more common characteristics of the day dress of the early 1900s to include jacket/bodices that had layers to often include a lace capelet. The silhouette reflected the distinct “pouter pigeon” shape created by the S-bend corset. Below, we see another day dress style created by Paquin and featured in a 1903 issue of Les Modes:

Here we see a less structured look (at least externally) with a loose waist acting as a bodice trimmed with passementerie and lace cuffs. This could be considered a lingerie dress although it’s a bit less fluffy than what’s normally associated with the lingerie dress style (one could easily argue both sides). Below is a similar style that was featured in the July 1902 issue of Les Modes:

This dress style nicely illustrates the ideal silhouette of the early 1900s created by the S-bend corset and could be classified as a more structured lingerie dress. Draped and layered lace was frequently employed as a decorative device as with this circa 1903 afternoon dress designed by Doucet:

Doucet, Afternoon Dress, c. 1903; Metropolitan Museum of Art (2009.300.1557a, b)

Lace applique was also utilized as  a design element:

Day Dress, c. 1902; Metropolitan Museum of Art (1973.46.2a, b)

Here’s a close-up of the back:

The above is just a brief, broad-brush overview of day dress styles of the first decade of the 20th Century but it’s a good place to start when considering styles for recreation. Stay tuned for more! 🙂

Some 1890s Bodice Styles

In the course of researching some 1890s dress designs, we came across some interesting bodices that stretch the limits of mid-1890s style. First up is this bodice that utilizes the silhouette to create a floral display:

Bodice, c. 1895-1897; Minnesota Historical Society (9520.11)

While it’s not easy to determine from the picture, this bodice is made from a silk floral brocade combined with inset silk satin insets on the bodice front. What is most striking is that the gigot sleeves have been utilized as a canvas to show off the floral design to its greatest effect. Next is this example that utilizes the bodice’s asymmetrical design to show off the embroidery pattern to it’s best advantage:

The embroidery pattern follows the line of the edge of the bodice’s front opening  along with accents on the bodice bottom and sleeves. The bodice’s black silk satin also serves as a neutral background that further shows up the bright colors of the embroidery. Here’s a close-up of the embroidery pattern:

Another interesting 1890s bodice style was the bodice jacket; this was essentially a bodice that was worn in combination with a waist. Here’s one example from Redfern:

Redfern, Bodice Jacket, 1892; National Gallery of Victoria- Melbourne (D187-1974)

This example is pretty spare, its only decoration is black floral embroidery running along the wide white-colored lapels. Definitely illustrates the idea of “less is more”. The next, example takes the wide lapel idea even further, combining it with an enlarged ivory silk faux waistcoat/vest that overshadows the bottle green velvet jacket. This is interesting in that we see an inversion where the inner garment is larger than the outer garment. Definitely an interesting effect although rarely seen.

Close-up of front.

Detail of front bottom corner of bodice.

The above examples are only a small illustration of the variety of bodice styles that were available during the 1890s and should certainly serve as a source of inspiration for those who desire to recreate the fashions of the 1890s.



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 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.

Outerwear- 1880s Style

A

s a follow-on for yesterday’s post, I got to thinking about women’s outerwear of the late 19th Century and especially in the context of smaller towns, muddy streets, et al. (and especially in the West). In the course of doing an online search for some examples of outerwear, I was struck by the fact that while examples abound of more stylish garments, there are few that are focused on functionality such as those depicted in this picture:

Yankton1 1881 Day Wear Streeet

Yankton, South Dakota, 3d street looking west from Walnut. 1881

However, not all was lost and I did manage to find this interesting example from the collection of the Metropolitan Museum of Art:

Womens Coat c. 1883

Women’s Coat, American, c. 1883; Metropolitan Museum of Art (1982.348.3)

Womens Coat c. 1883

Side Profile

Womens Coat c. 1883

Rear View

This coat is almost very similar to the one worn by the woman in the center front of the picture. Now, just for fun, here’s a more elaborate design by John Redfern:

Womens Coat Redfern 1888

Redfern, Women’s Coat, 1888; Chicago History Museum (1987.471.1a-)

Womens Coat Redfern 1888

Close-Up

Womens Coat Redfern 1888

Three-Quarter Side View

Womens Coat Redfern 1888

Three-Quarter Rear View

This coat design is a women’s version of the Inverness coat/cloak with tailored lines designed to work with the bustled dress style characteristic of the late 1880s. The above is only a small sample but it does give an idea of the sort of outerwear that was found in the 1880s. In future posts, I will be looking for more tie-ins between fashion in action (i.e., being worn) and the garments themselves. Stay tuned! 🙂