And Something From Maison Worth

Maison Worth has always been a source of inspiration for us and we’re always on the lookout for new (at least to us) designs. Recently, we came across this circa 1902 ball gown/evening dress (the boundary between dress types often seems to be a bit fluid). Unfortunately, not a lot of information is available on it (the Europeana website is a dysfunctional mess) so we’ll have to rely on the pictures themselves. We first start with back and front views:

Worth, Ball Gown, c. 1902; Galleria del Costume di Palazzo Pitti via Europeana Fashion

A floral theme is definitely the focus of this dress style with the an ivory/cream silk satin embroidered with a gold floral pattern. The bottom third of the dress is covered in what appears to be a lace overlay decorated with gold-colored metallic spangles (no doubt these are probably stamped from steel). The bottom lace overlay is blended into the overall design motif and gives the appearance of the flowers and vines emerging from a forest ground cover. In terms of silhouette, this dress follows the graceful lines characteristic of Maison Worth during the late 1890s/early 1900s and the train is graceful but not overpowering. Below is a close-up of the skirt:

Below is a close-up of the lace overlay:

The bodice is an extension of the overall decorative effect, combining the floral and ground cover motifs. The shoulders are given some emphasis with blush-colored tulle and gold-colored lace on the sleeves creates a sleeve effect. Finally, we see sink silk satin running along the neckline and shouldered which combined with the pink sash, create a harmonious three-color combination of pink, gold, and ivory. Below is a close-up of the bodice:

This dress is another nice example of Maison Worth’s designs and follows a similar vein as some of their other works:

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

Worth, Evening Gown, c. 1895; Museum of Fine Arts, Boston (2003.288.1-2)

Stay tuned for more!



And For Some Artistic Inspiration…

Today we offer a little artistic inspiration by way of this portrait of the Princesse de Broglie that was painted by James Tissot in 1895:

James Tissot, The Princesse de Broglie, 1895

The first thing that caught our eye was Tissot’s use of analogous colors with shades of green on the cape and shades of yellow on the dress. The green colors on the cape are especially interesting in that we see shades of color accentuated by various textures: light green feathers for trim, slightly darker green on the pleated silk collar, and a variegated fashion fabric of gold and green. The overall effect is amazing. The evening dress the sitter is wearing definitely takes second place with a yellow fashion fabric trimmed with a darker yellow on the hem, collar, and belt.  Finally, to tie it all together, there’s a choker collar of dark blue with gold that immediately draws the eye to the sitter’s face. Tissot has done a brilliant job here and one can almost feel a visual harmony of coolness, evoking a sense of spring and summer and some reason our minds are drawn to Monet’s home at Giverny…

 

In terms of garments, greens have always been a favorite with us and many of our designs have incorporated similar colors:

We have by no means exhausted the design possibilities using these colors and anticipate creating more designs in the future. 🙂



And For Some Gustave Beer…

Gustave Beer was a successful Parisian couturier who operated during the later 19th and early 20th Centuries. Although not a lot is known about him, it is known that he was born in Germany sometime in 1855 and was residing in Paris by 1876. Originally established in the artificial flower business, he branched out into clothing, first establishing a lingerie shop in in 1886 and later expanding into a complete couture establishment by 1893. Although Beer himself died sometime between 1910 to 1915, Maison Beer continued in operation until 1930 when it merged with Maison Drecoll.1The only book-length study of Gustave Beer is in French by Mathilde Héliot, La maison de couture Beer, 2 tomes, thèse en Sorbonne, 2016. Beer was noted for a middle-of-the road style with an emphasis on “classical elegance” that attracted a conservative clientele. Below are a few examples of Beer’s designs, starting with this circa 1898 ballgown:

Gustave Beer, Ball Gown, c. 1898; Whittaker Auctions

Side Profile

The staging of this dress is not at its best but one can see the classic late 1890s silhouette, especially with the skirt and train. Construction is an ivory-colored silk satin with minimal chiffon trim around the neck and shoulders. The entire dress is decorated with crystals and metallic spangles arranged in a floral motif pattern which is shown to its best advantage on the skirt and bodice. It could be said that the bodice and skirt are just a canvas for the floral design-work. Below are some detail pictures of the design:

Close-uo of bodice.

Close-up of hem.

Close-up of decorative motif.

Label

Next, we have a circa 1905 evening dress:

Gustave Beer, Evening Dress, 1905; The Frick, Pittsburgh (1985.523)

This garment reads as the evening version of a lingerie dress and is constructed from ivory-colored silk chiffon with an ivory-colored silk satin underlayer and is decorated with a gold metallic floral motif both on the bodice and the skirt. The bodice is styled so it resembles the waist/jacket combination that was popular at this time and emphasizes the silhouette created by the S-bend corset. The metallic trim pattern on the skirt is artfully arranged so as to mimic vines climbing up a tree. The front of skirt opens up to reveal a chiffon underskirt, framed by the metallic decorative motif running up the edges of the open overskirt. This dress is definitely in keeping with Beer’s emphasis on classical elegance and it’s too bad that there are no close-up pictures of the metallic decorative design.

To carry the lingerie dress style further, we conclude with this afternoon dress:

Gustave Beer, Afternoon Dress, c. 1900; Drexel University Historic Costume Collection

This dress is constructed black lace and chiffon over a green-colored silk velvet underlayer and represents a highly refined take on the lingerie dress idea. What’s interesting here is that the lace panels are not only arranged in circular rows, but the middle ones criss-cross as they move about the dress. On the bodice, we also see the lace panels shaped so that they form a large eye. The arrangement of the lace panels definitely sets this dress apart from many of its peers. We hope you’ve enjoyed this little excursion through the dress designs of Maison Beer and we hope to be able to have more to show in the future.