Fashion History

1890s Evening Wear, Part 3

/ Adam Lid / Leave a comment

The high 1890s- that period from 1895 through 1896 when enormous gigot sleeves, acres of lace, and multi-gored skirts ruled the fashion world and evening wear was no exception. In this post, we continue our survey of 1890s evening wear with a focus on ballgowns in particular; also, as noted in the last post, in the mid 1890s, the gigot sleeves trend also affected evening wear but to not as great extent as was the case with day wear.

So, what was the mid-1890s ballgown like? Here’s a brief description from the September 14, 1895 edition of the Los Angeles Times:

To approach the new. ball dress from a technical standpoint is to talk at once of the cut or its skirt. ‘Tis sliced out of taffeta in two straight front and three wedge-shaped back pieces, for in these days of undivided skirt patterns all the fullness goes to the rear. Underneath it Is braced by a lining of stiffly starched muslin and inside up to the knees are mewed a great many overlapping flounces of silk muslin edged with lace or rows of little variegated palettes.

As was the case for daywear, the basic style centered around creating an “X” or hourglass silhouette through a combination of corsetry, gored skirts, and wedge-shaped tops. Gigot sleeves helped accentuate the top but they were used in varying amounts of fullness and in some instances were minimal such as with these examples:

 

Ball Gown Jeanne Paquin 1895

Jeannie Paquin, Ballgown, c. 1895; Staatliche Museen Berlin (2003,KR 424 a-c)

Evening Dress Ball Gown 1897 Worth

Worth, Evening Dress, 1897; Peloponnesian Folklore Foundation via Europeana (2006.6.0416)

And now for some with more elaborate sleeve treatments:

Evening Dress c. 1895

Evening Dress, c. 1895; Metropolitan Museum of Art (1979.346.59a, b)

We would be inclined to say that the above dress is more of an evening dress than a ballgown but sometimes the dividing line can be fluid. And here’s a ballgown with a bit more sleeve:

Evening Gown Ball Gown Worth c. 1896 - 1897

Worth, Ballgown, c. 1896 – 1897; Galleria del Costume di Palazzo Pitti via Europeana Fashion

Doucet Ballgown 1897

Doucet, Ballgown, 1897; Metropolitan Museum of Art (49.3.26a, b)

From most of the extant examples, it would appear that when it came to mid-1890s ballgowns, their design pretty much followed the general trends of the time with the exception that the sleeves which tended to not be as extreme as was found with daywear. On the other hand, evening gowns (a more general term for dresses that were worn for formal occasions other than balls) tended towards daywear in sleeve style. In the end, it’s logical that ballgowns would diverge some from sheer practicality:- ballgowns placed an emphasis on bare arms and a low cut bodice (a continuation of the earlier 1870s and 80s style), and gigot sleeves worked against this.

It’s easy to get lost in all the details and that especially with evening wear. In the next installment, we’ll delve more into the late 1890s. Stay tuned!

(To Be Continued…)

 


1890s Evening Wear, Part 2

/ Adam Lid / Leave a comment
John Lavery Ball Gown 1894

John Lavery, “Miss Mary Burrell”, 1894 – 1895; Glasgow Museums (35.297)

And now we move on to the Mid 1890s when gigot (aka leg-of-mutton) sleeves began to come into its own as a major fashion trend. The gigot sleeve built on the “X” or wasp-waist dress silhouette that had slowly began to take hold in 1890 – 1891. As the decade progressed, the size of gigot sleeves increased to excessive proportions to the point of absurdity as satirized in this 1895 cartoon in Punch:

All joking aside, the gigot sleeve was a revival of an earlier style that was popular during the 1830s (yes, that which is old is new again! 😉 ) and as with its earlier incarnation, sleeve size ballooned to extreme size. Here are a couple views of the 1830s version:

Image result for 1830s gigot sleeve

Image result for 1830s gigot sleeve

Gigot sleeves could be quite large and complex to the point where special structures were needed to support them:

 

Gigot Sleeves Pattern

Pattern For A Gigot Sleeve

And now, we’ll see some examples as it applied to 1890s evening wear, first with a creation from Worth, circa 1895 – 1896:

102401

The dress is constructed from an ivory colored silk that’s better illustrated below.

35.134.2ab_F

Front

35.134.2ab_B

Rear

And for some detail:

Hem Detail
Sleeve Detail
Close-Up of Upper Bodice
Label

And for another example from 1894:

Evening Dress 1894

Evening Dress, 1894; Cincinnati Art Museum (1996.375a-e)

 

Evening Dress c. Mid-1890s

Evening Dress, c. Mid-1890s; National Museums of Northern Ireland

Evening Dress c. 1895

Evening Dress, c. 1895; Nordiska Museet

From the above, we have a good representative example Mid-1890s evening dresses. Now, it must be noted that while evening and day dress sleeve styles tended to mirror each other, it was not so strict when it came to ball gowns and in the next we’ll look at this phenomenon further.

(To be continued…)


 

Patterning A Worth Gown

/ Karin McKechnie-Lid / Leave a comment

I‘ve been quietly studying and lifting a pattern from one of the many Worth gowns in our collection. It’s harder than one would think, because I have to take fangirl breaks! She’s an 1881 silk voided velvet on faille polonaise and skirt, in mint condition…it’s like Himself is whispering in my ear, saying…”Do it!” Hmmm… 🙂

The basic fashion fabric it “voided” silk velvet on silk faille. It’s also pattern matched everywhere on the seams. It’s one of the few gowns that we own that is closed lined and not with open seam allowances. It’s completely lined with silk moire, except for the sleeves.


1890s Evening Wear, Part 1

/ Adam Lid / Leave a comment

For a change of pace, we’re now going to take a look at 1890s evening wear. As with  1890s day wear, evening wear styles also were characterized by the “x” or “Wasp Waist” silhouette and, for a brief period during the Mid 1890s, the gigot or leg-of-mutton sleeves. Moreover, 1890s evening wear styles, the focus was more on the fashion fabric itself rather than the trim. At the opening of the decade, we see a continuation of later 1880s trends with the bustle size having dramatically shrunk to little more than a pad (if that). At the same time, the train still remained:

Fashion Plates 1890s

Revue de la Mode, February 15, 1890

From the above plate, we see both an over/underskirt combination as with the dress on the left and a solid one-piece skirt on the right. As the decade progressed, we would see a reduction in the train and a shift to a single gored skirt.

Fashion Plates 1890s

The Delineator, May 1891

 

Fashion Plates 1890s

L’Art et la Mode, 1891

Fashion Plates 1890s

L’Album des Modes, 1891

With the above three plates, not only do we seen skirts in transition, but also with the sleeves. Pure ballgowns still maintained a minimal strap-like appearance but for other formal wear styles, we begin to see more fuller sleeves, often extending to the mid-arm. However, things were still in a state of flux…

Here’s one example of a somewhat minimalist ball gown, c. 1892:

Evening Dress c. 1892

Evening Dress, c. 1892; Kent State University Museum (1983.001.0173)

Evening Dress c. 1892

Close-Up, Bodice

Evening Dress c. 1892

Close-Up Side Profile

Evening Dress c. 1892

Close-Up, Side Profile

Evening Dress c. 1892

Three-Quarter Front Profile

Evening Dress c. 1892

Rear View

With the above ball gown, the emphasis is definitely on the train which is made from a yellow silk satin with a metallic embroidered pattern. The skirt itself consists of an underskirt of yellow silk satin covered by a yellow chiffon overskirt. Interestingly enough, the bodice front and back are of two fabrics: on the back is a silk satin that matches the train and on the front made of the same yellow chiffon as the overskirt.

Finally, here’s one more example, this time an evening dress from circa 1890 – 1891:

Evening Dress c. 1890 - 1891

Evening Dress, c. 1890 – 1891; Metropolitan Museum of Art

Evening Dress c. 1890 - 1891

Side Profile

Evening Dress c. 1890 - 1891

Three-Quarter Rear View

As with the first example, the emphasis is on the train; the entire dress and bodice is made from a yellow silk satin with an simple repeating embroidery pattern consisting of wavy lines. The sleeves are full, acting as a counterpoint for the train and are made from a burgundy/wine colored silk velvet. With the sleeves, one can see the beginning of what would later become the trend towards the massive gigot sleeve characteristic of the Mid-1890s.

(To be continued…)