Fashion History

More Color Building Blocks…

/ Adam Lid / 2 Comments

Today we look a little more at color and shape only this time, we’re looking at colors that are harmonizing rather than contrasting (i.e. complementary) than the example that we last posted. First, as described previously, we have contrasting colors which are colors opposite of each other in the color wheel:

Contrasting Colors

Next, we have harmonizing colors which are colors that lie between two primary colors. In this case, the arrow indicates colors between the primary colors of blue and yellow:

Harmonizing Color

In practice, the use of harmonizing colors can sometimes produce suboptimal results so often times, it’s a matter of seeing what works and what doesn’t which can be very subjective. Admittedly, the above explanation is somewhat of an oversimplification but it does illustrate something that we do almost unconsciously whether we’re selecting a color scheme for painting the house, new bath towels, or even fabrics for a new dress. Of course, what specific colors we each choose are completely subjective… 🙂

Turning to fashion, here’s an example of the use of harmonizing colors with this dress from circa 1885 – 1886:

Day Dress 1885-86 1

Day Dress, c. 1885 – 1886; Goldstein Museum of Design (1961.003.006)

Day Dress 1885-86 2

Three-Quarter Left Front View

Day Dress 1885-86 4

Right Side Profile

Day Dress 1885-86 7

Rear View

In terms of silhouette, this dress is relatively simple, consisting of an underskirt and combination bodice/overskirt/train (which appears to be a one-piece construction from examining the pictures). With a short bodice front, the bodice is reminiscent of a tailcoat and it presents a dramatic vertical sweep that shows off the fashion fabric to its best advantage. Interestingly enough, the dress is dates as being c. 1885 – 1886 but we would be inclined to think that it’s actually earlier (i.e. more Mid-Bustle Era), judging from the minimal train and cylindrical silhouette. Of course, there’s also the possibility that it was staged without the requisite underpinnings; sometimes it’s hard to tell only from photos.

As for colors, we see the use of a burgundy/wine silk for the base underskirt covered by a patterned silk brocade bodice/overskirt. The pattern itself is a burgundy/wine color that matches the underskirt and the background color is a light rose/gold. Below are some close ups of the bodice and skirts where you can really get a good look at the silk brocade pattern:

Close Up Of Sleeve
Train- Rear View
Close Up Of Train
Close Up Of Lower Bodice

As can be seen from the above, we have to basic harmonizing colors, burgundy/wine and rose/gold and these can all be found in the color wheel between red and yellow. This is only one example but we thought we’d showcase it a bit simply because it’s a very dramatic illustration of this effect. Also, the combination bodice/overskirt further enhances the effect since it flows uninterrupted. Finally, we chose this dress simply because we love its aesthetics. 🙂

Stay tuned for more!


The Building Blocks Of Fashion – Contrast Colors

/ Adam Lid / 1 Comment

Over the years, we have found that it’s easy to get lost looking at the various styles of Victorian clothing and the tendency is for it all to blend together into a massive collage of “stuff.” What’s a lot harder is to “get under the hood,” so to speak, and attempt to determine the logic of specific style choices. So, in an attempt to shed some light on late Victorian style, we have decided to hone in on one of the most common features in the styles of the era and that’s the use of colors and textures in a deliberate manner to create a specific aesthetic effect. We hope you enjoy our small excursion.

The use contrasting colors and textures was a major element in late Victorian Era fashion and as such, it offered a wealth of style possibilities. During the 1880s, the use of contrast was especially in vogue and there were endless variations on this theme. The use of contrasting colors is an effective method for breaking up what would otherwise make for a plain, monochromatic appearance.

So what are contrasting colors? Simply put, they are colors that are separated by one or more colors on the color wheel and the more colors that stand between them, the greater the contrast. Looking at the color wheel below gives an illustration of this:

Color wheel

Or, to put it another way, the color combinations below would be considered to be high contrast:

 Color Contrast1

Color Contrast2

Color Contrast3

Granted, this is somewhat of an oversimplification but it conveys the basic idea. 🙂

So, turning to fashion, how does this translate? For the late 19th Century, we see an assortment of contrast colors and one good illustration of this is with this circa Mid/Late 1880s dress that we found on the August Auctions website:

Here we see these basic contrast colors:

Color Contrast4.png

Here are some more pictures:

In terms of color, what is also interesting is that celedon is a cool color while the burgundy, and the yellow gold to a lesser extent, are warm colors and this serves to only intensify the contrast. Also, the cut of the overskirt draping over the underskirt is also dramatic and it further emphasizes the contrast. When looking at this dress, eye is immediately drawn to the skirts.

The contrast in colors continues up the bodice, given an enlarged “canvas” to the design and from a distance, this dress could almost be a princess line. Below are some close up views:

Texture also plays a role here in that one can see three different textures at work: a burgundy-colored silk velvet; an overskirt/over bodice of celadon silk brocade; and a yellow gold box-woven silk or cotton.

The above has been a somewhat oversimplified examination of the use of contrast colors in late Victorian fashion but it illustrates one of the basic building blocks of fashion during this period. Stay tuned for more in the future. 🙂

In The Late Night Hours…

/ Karin McKechnie-Lid / Leave a comment

Sometimes our best work is done late at night…here’s a little late night froufrou work with our new bridal silks and laces.

wp-1469475331746.jpg

Haute Couture – 1910

/ Adam Lid / Leave a comment

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.

lescreateursdela00roge_orig_0041

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 CrĂ©aeurs 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).

1mode

lescreateursdela00roge_orig_0049

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…

lescreateursdela00roge_orig_0147

Atelier of Designers

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

lescreateursdela00roge_orig_0170

lescreateursdela00roge_orig_0168

lescreateursdela00roge_orig_0157

lescreateursdela00roge_orig_0149

2mode

And then final fitting:

lescreateursdela00roge_orig_0010

And finally, delivery:

lescreateursdela00roge_orig_0182

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.

Costuming & Historical Movies

/ Adam Lid / Leave a comment

Today we’re going out on a limb on this one but we feel that it needs to be discussed: over the years, we have often been approached about making garments for film and TV projects and while we readily accept this work, we have also found that creating a garment (or garments) that are within budget, accomplishes the production design or vision, and look good on film can be challenging. So here we go…

One of the guilty pleasures of working with historical fashion is seeing how it’s portrayed in film and television. Almost nothing gives greater pleasure than watching a period piece made by Merchant-Ivory with its lush production values and excellent wardrobing and it’s a real treat to see a particular era in history portrayed correctly. Unfortunately this is a somewhat rare experience and often what passes for “historical costuming” is akin to nails being dragged across a chalkboard.

Now, before we go any further, we just want to clarify that having worked a little in the film business ourselves, we understand the enormous challenges that costume designers undergo in trying to wardrobe a production under often less-than-ideal circumstances. We understand that costuming exists to help propel the story and that liberties can be take at times towards this end BUT at the same time, it does not excuse poor or non-existent research, ignorance, or just sheer laziness.

This is admittedly a subjective thing and what we would consider to be substandard in a certain film or television show might be given a pass by someone else. However, we firmly believe that if one is attempting to draw the viewer into a story set in a specific time and place in the past, it is incumbent on the costume designer to make an effort to support this.

Now, just to put a bit of a scientific spin on this, let’s consider some of the key factors that can make or break the effectiveness of the costuming in a period production. Below is a basic list of what we consider to be some critical areas when we look at a film or television show:

    • Is the basic silhouette appropriate for the period?
    • Is the style appropriate for the period?
    • Are the materials used appropriate for the period?
    • Is the actor’s grooming and makeup appropriate for the period?

So you probably now thinking, just what do you mean? Well, let’s start with silhouette. By silhouette, we mean that basic outline of the garment. For example, if we have a production depicting a middle class woman of c. 1885, we’re going to be looking for a bustle, and in particular a “shelf” bustle. Conversely, if we are depicting a middle class woman c. 1897, we’re going to be looking for an A-line skirt and a bodice with some large leg-of-mutton sleeves.

One example where the costume’s dating is contrary to the declared date of the story can be found in the 1992 movie Dracula. The story is allegedly set in 1897 yet the dresses that that Mina wears read c. 1885:

Mina2

One of Mina’s Day Dresses- Note the train.

a61949796130a3fff6d7273d2d782937

Rendering of the same day dress.

Day Dress_Mina_Dracula_1

Day Dress- Rear View.

From the above pictures, this dress reads mid-1880s. Perhaps the bustling is a bit muted but it’s still pretty obvious and it’s definitely NOT 1897. While this is certainly not a deal-breaker in the major scheme of things, it’s still irritating.

Next, is the particular style appropriate for the period or more precisely, the particular time and place that is supposedly being depicted in the movie? This is a pretty broad question and volumes of ink (or electrons these days) has been spilt over this one. However, for our purposes, just about any Western made during the 1950s and early 1960s will do- here’s one example worn by the character “Laura” from the 1957 movie Gunfight at the OK Corral:

Rhonda Fleming_Yellow Dress1

Rhonda Fleming as Laura, Wyatt Earp’s love interest

Rhonda Fleming_Yellow Dress3

Costume rendering of the Laura dress.

Laura is supposed to be a “lady gambler” who Wyatt Earp first meets up with in Dodge City. Historically, Wyatt was in Dodge City during the years 1876 – 1879 so a correct dress for Laura would be something involving a bustled dress- probably an evening dress or perhaps a ball gown. So what do we have here? The 1950s version of an evening dress with off-the-shoulder sleeves and a weak attempt at some skirt draping and underneath it, she’s certainly not wearing a corset appropriate to the 1870s.

Correct materials go hand-in-hand with style and even if a style might be correct, it might be made of material(s) that are not appropriate for the period. The classic offender is using polyester or some other cheap synthetic as a substitute for period fabrics and this is really evident with dresses that are supposed to be made from silk. One example of this can be found in the poly-acetate dresses found in the TV miniseries North and South:

Not only are these a travesty in terms of materials, for the most part they bear a faint resemblance to anything remotely having an 1860s style or even silhouette- at best, they’re 1980s era prom dresses and we’ll leave it at that.

Finally, we get to the actor’s grooming- does it support the period being portrayed? This is probably one of the most problematic areas. Below is just one example of Kevin Costner from Dances With Wolves:

What is it? The closest thing we can think of is an overgrown mullet… Just to add to this, the pictures above from North and South are a great example of incorrect hair styles. While they have nothing to do with the historical 1860s, they are a reflection of the 1980s when the series was created, thus proving once again the old adage that film and TV costumes say more about the era in which the production was made than the historical period being portrayed.

And while we’re at it, just one last note: one of the worst offenders are war movies, mostly modern, where the main character does not have a haircut that is appropriate to the military organization of a particular historical period. Often times, the reason for the lapse in authenticity is as simple as the actor refusing to get a proper military haircut (yes, it does happen and if they’re a big enough star, the hair stays on).

Well, we hope you’ve enjoyed this short excursion through the world of costuming for film and TV and while it’s by no means exhaustive, we hope we’ve distilled things down to their basic elements. What we find so amazing is that a good part of the time, it costs as just as much to do something right as to do it wrong and while we appreciate that productions do labor under various constraints, it does show just how short of mark things can fall at times.

P.S. For a detailed view of costuming for film and TV, we highly recommend Frock Flicks.