1890s Bathing Costume

My recent trip up north to Angel Island got me thinking about how Victorians experienced the seashore during the 1890s and thus this post was born. It’s a little off our usual beaten path but we think that you’ll like it. 🙂


During the Victorian Era. During the late 19th Century, various forms of specialized dress rapidly developed and especially when it came to sporting activities. This was an especially revolutionary development for women in that it signaled that the status of women in society was changing. Where once Women were expected to remain focused solely on domestic activities, they were now increasingly leading public lives and often independent of men (granted, this was an uneven process that continues up to the present).

One of the most dramatic developments was the development of “bathing costume” which allowed women to go swimming at a lake, river, or seashore while maintaining decorum and modesty. However, this was not a smooth process and there was resistance from the more conservative elements to the point where the wearing of bathing costume was either completely illegal or subject to stringent regulation to the point where women could be arrested for indecent exposure if their bathing costume failed to meet local standards.

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Le Moniteur de la mode, c. 1893

Specific bathing costume can be traced back at least the 1850s but it wasn’t until the 1890s that bathing costume emerged as a major trend, spurred by the idea that going to the beach was considered to be a healthful social activity.

Too often we think of people in the Victorian era as being bored or even morose. These photos humanize an era by capturing those elusive smiling Victorian faces.:

And the market responded… 🙂 The catalog advertisement below is only one of the wide variety of ads that were out there during the 1890s:

Jordan, Marsh & Co., Women's Bathing Suits Spring and Summer, 1897 Mohair plus water plus a hot summer day, what could be more comfortable than that?:

Page From An 1897 Jordan Marsh Catalog

Bathing costume during the 1890s usually consisted of a top, blouse, short bloomers or knickers and a skirt. Stockings and special “bathing boots” made of canvas and cork soles were also worn, all with the idea of the woman not showing too much skin. The fabrics used for making bathing costume were usually wool flannel, wool jersey, mohair, linen, cotton, or some combination thereof. Needless to say, these were not intended for serious swimming (that would come later) but rather wading or simply lounging on the beach. Style-wise, bathing costumes had a nautical theme with sailor collars and the predominant use of blues and blacks.

Victorian Bathing Suits

Posed Picture, c. 1902; Library of Congress

Below are some examples of bathing costume. First, here is one from c. 1878 – 1880 where we see the basic silhouette and style that was to predominate in the 1890s starting to become established:

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Bathing Costume, c. 1878 – 1880; Metropolitan Museum of Art (C.I.50.77.1a–c)

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Rear View Of The Top

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Front View Of The Top

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The Bottom

Here’s a later version from the 1890s:

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Bathing Costume, c. 1890s; McCord Museum (M992.115.2)

As can be seen from the above, bathing wear had a nautical style reminiscent of naval uniforms of the period, a theme that was to continue on into the early 1900s.

However, even back in the 1890s, there could be dramatic exceptions to the norm when it came to fashion and that was especially evident with this “startling bathing costume” pictured in the August 22, 1897 edition of the San Francisco Call:

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The above outfit is certainly a departure from the typical dark-colored nautical-theme in that the base color is white, constructed of horizontal layers of white wool serge. The model is wearing only the knickers and a one-piece bodice/shirt. She appears to be perhaps holding a skirt or cape of sorts. What is interesting is that the front and back of the top match the horizontal layers of the knickers and it appears to almost be a one-piece outfit. This is definitely fashion-forward beach wear of the time. 🙂

Finally, we leave you with this picture below of some frolicking beach-goers, all dressed in variations of the standard 1890s bathing costume style:

Santa Monica 1898

“Out for a Time,” Long Beach, c. 1898; California State Library

We hope you have enjoyed this little summer excursion to the beach. 🙂



Haute Couture – 1910

Haute Couture has played a major role in fashion history for over 100 years and its influence is felt today even in the “everyday” clothes that we wear today. For those with an interest in fashions of the late 19th and early 20th centuries, Parisian Haute Couture has exerted a near-irresistible force on perceptions and a focus for those attempting to recreate those fashions. What’s not to like? Exquisite fabrics, flawless construction, and an attention to detail that’s simply mind-boggling combine together to create what can only be called masterpieces of art.

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However, behind the glamour and beauty was the reality that these garments were created by armies of seamstresses, milliners, tailors, pattern makers, et al., laboring mostly behind-the-scenes. Recently, we came across some pictures that were part of a book published in 1910 entitled Les Créaeurs De La Mode  by Leon Roger-Mills which gives an overview of the fashion industry in Paris. We have not done a complete translation of the book but it’s safe to say that it was no doubt intended for public relations. What is especially interesting is that in contrast to 1900 or before, the various couture houses were forthcoming with information and permitted photography of their operations.

Up until the early 20th century, Couturiers were extremely averse to much in the way of publicity for fear (often rightly so) of others using that information to steal designs and create knock-offs. The House of Worth was especially adamant about avoiding the press and it wasn’t until the passing of Charles Worth that the House of Worth engaged in any sort of publicity.

As with today, Haute Couture of the time dealt in the creation of one-of-a-kind garments made custom to fit the individual client. While ready-to-wear was becoming commonplace, it was definitely absent in the world of Haute Couture. When a client came to a couture house to shop for a dress, various styles would be modeled and the client would make their selection (couture houses maintained crews of models who were available at a moment’s notice). In some cases, a style would be selected for the client by the designer (Charles Worth was especially noted for this).

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A key thing to note is that couture houses often worked off of standard patterns modified to the individual; underneath all the trim and decoration the pattern pieces were often simple and *relatively* uncomplicated. 🙂

Now we go behind the scenes…

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Atelier of Designers

From the designers to those who did the construction and assembly…

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And then final fitting:

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And finally, delivery:

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Parisian Haute Couture relied on an army of skilled specialists to execute the designs and they often worked in less-than-optimal working conditions and pay (needless to say, none of those people could afford the garments that they made). Today, Parisian Haute Couture is not as prominent or influential as it was 100 years ago but the legacy still lives on and it never fails to inspire us here at Lily Absinthe.

Adam’s Atelier Travels To Heritage Square

This past Saturday, we were guests at a very nice wedding for one of our clients that was held at the Heritage Square Museum in Los Angeles. The wedding was a period affair, Edwardian to be precise although clothing ranged a bit on either side (not including the outright modern). Karin arrived early just to make sure that there were no last-minute complications (there weren’t, thank god) and otherwise assist. In the meantime, I was pretty much on my own so I decided to walk around and get some pictures.

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It was a warm day so I decided to take these pictures from a nice, cool shady spot. 🙂

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Heritage Square is composed of a series of restored houses that were moved (yes, moved) to the museum site from various sites in Los Angeles and the structures have been restored over the years. It’s come a long way since I first visited the museum in 1994. It’s a wonderful slice of a vanished Los Angeles, a Los Angeles that pre-dates the car, freeway and all it’s attendant growth and development. For a description of the various buildings at Heritage Square, click HERE.

One of the more striking houses was the Hale House which was built in 1887. I was unable to get a good picture of it so I lifted one off the internet 🙂 :

Hale House, Heritage Square, Los Angeles - Hale House - Wikipedia, the free encyclopedia:

To me, this house is especially striking and especially the brick chimneys (which are all unreinforced masonry). Beautiful to look at but not the most optimal for earthquake county here in California. Unfortunately, I was unable to capture any interior shots on this visit, but I can assure you that those are just as interesting and especially when you look at some of the details as impossibly small, curing stair cases and the like (in an era where building codes were minimal to non-existent).  In many ways, the museum is a living time capsule and well worth a visit for anyone interested in architecture and interior design of the late 19th century.

As for myself, well I was definitely dressed for occasion and keeping cool at the same time:

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Here I am dressed in my linen sack suit. Although it’s not too visible, I am also wearing a starched fabric detachable collar which is a lot more comfortable than the much stiffer paper/celluloid variety. Believe it or not, wearing a detachable collar is quite comfortable and it’s now standard for me whenever I am wearing civilian clothing.

Also, because of the heat, I decided to give my new straw boater hat a try. I bought it from Darcy Clothing in the UK (highly recommended) and it presented an interesting wearing challenge. The crown is very low and it almost perches on the top of my head. I was able to create some inner tension by adding a thickness of cotton fabric inside of the hatband but I would be careful wearing this on a windy day. Otherwise, after wearing the boater for a few hours, I forgot about the low crown and it was quite comfortable. It’s a look that I highly recommend for summer and in fact is very appropriate for the late 19th Century.

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And finally, the selfie…it seems to be de rigueur these days. 🙂

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OK, that was extremely silly…in future posts, there will be more about the wedding dress and wedding itself so stay tuned. 🙂

The Latest At Lily Absinthe…

Another late night working with my lovely ladies. I’ve been working on a restoration project which required that the shoulders be strengthened to support the gown’s weight. I use the little stool to sit and sew by hand directly on the dress form. She’s an Edwardian beauty that will soon be her most perfect self again. <3

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A little lace appliqué to strengthen delicate antique net shoulders, these sweet antique gowns have stories and souls. <3

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Another Springtime Dress…

Another springtime dress design that’s perfect for the warmer weather, especially here in the Southwest. The dress is made of lace, chapeau, and silk tulle- all originals- mounted on cotton batiste with silk chiffon ruches and teeny tiny black velvet ribbon. Someday I’ll add all the finishing touches. 🙂

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There’s nothing like a swirly light-as-air skirt worn over petticoats and an S-bend corset. Ahhhh….. 🙂

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This is the perfect design for the springtime- let us design one for you. <3