Extravagance Unfolded – The Knife Pleat, Part 1

August 24, 2015August 24, 2015 / Karin McKechnie-Lid / 2 Comments

One of the most extravagant effects in Bustle Era dresses was the use of knife pleating to create complex decorative designs. Knife pleating was typically utilized in long, wide stripes running along the hem of the dress and were constructed separately and attached. What makes knife pleating so extravagant is that it utilizes a large amount of fabric of which a good portion is actually folded under, hidden from view and often the fabric was different than that of the rest of the dress. In an era where fabric was far more expensive than labor, this was a form of conspicuous consumption.

Simplified Diagram Of Knife Pleats

Knife pleating as a style element began to develop during the mid 1860s and it was relatively simple, mostly restricted to the hem line (although it could show up elsewhere). Below are some examples from fashion plates of the period:

Godey’s Ladies Book, 1863

Godey’s Ladies Book, May 1865

As can be seen in the above fashion plates, the knife pleating is minimal, when it’s actually used, and it just one of many style elements in the dress.

Godey’s Ladies Book, October 1867

Godey’s Ladies Book, September 1868

Godey’s Ladies Book, January 1869

As the years progress through the 1860s, one begins to see more and more knife pleating used to the point where it dominates the hem when used.

Godey’s Ladies Book, December 1870

By 1870, we see an explosion in knife pleating; it’s not just one strip but rather, it’s composed of multiple layers of varying widths. Also, one can see the knife pleating creeping up the front of the dress which is a logical result of the flattening of the dress front- it provides the perfect flat canvas. Finally, you see knife pleating being used in areas other than the hem.

Before going any further, let’s take a look at an original dress from Worth (naturally). This is an ensemble dress that had two bodices, one for day and one for evening wear; pictured is the evening bodice. The dress dates from circa 1864 – 1867 and it could be considered to be a precursor to the knife pleating style trend to come. Note that knife pleating is used on the hem, then another band running around the skirt, and finally on the sleeves and top of the bodice. Compared to his later designs, this is somewhat restrained and the pleating is every delicate and does not dominate the dress.

Charles Frederick Worth, Evening Bodice/Ensemble Dress, c. 1864 - 1866; Museum of the City of New York (35.365.3A-D)

Charles Frederick Worth, Evening Bodice/Ensemble Dress, c. 1864 – 1867; Museum of the City of New York (35.365.3A-D)

Bodice Detail

Hem Detail

And I’ll leave you with one final example, an ensemble dress from France made in 1869:

Ensemble Dress, French, 1869; Metropolitan Museum of Art ( C.I.40.76.1a–d); this is the day bodice.

The Evening Bodice

Day Bodice – Front Profile

Sleeve Detail

Day Bodice – Side Profile

Evening Bodice

Evening Bodice Close-Up

By the late 1860s, we see a greater sophistication in the way knife pleating is used. Here we see a wide strip running along the skirt hem and then another wide strip above. They are bold and definitely take focus, especially since the pleats themselves are relatively small and delicate. Also, we seen pleating on the sleeve cuffs of both the day and evening bodices. Interestingly enough, for the evening bodice we see that the tulle netting on the sleeves and collar have also been knife pleated.

Now the stage is set for the explosion of knife pleating that will follow in the 1870s…

To Be Continued…

1890s Casual…

August 22, 2015August 23, 2015 / Adam Lid / Leave a comment

1890s Casual?

Well, nothing is casual when it comes to clothing during the 1890s; it was more of a gradation based on the function the wearer was involved in. 🙂 Recently, I came across this day dress while researching something completely different (that seems to happen to me on a regular basis 🙂 ):

P. Barroin, Day Dress, Paris, France, c. 1897; Printed dotted Swiss, silk chiffon, silk taffeta & cotton braid; FIDM Museum (2010.1098.3A-C)

The dress fabric is a red cotton dotted Swiss print with white silk chiffon and white silk taffeta trim. It’s too bad that we do not have a close-up picture of the fashion fabric; the idea of a printed dotted Swiss is interesting but unfortunately the effect is lost at a distance. However, in spite of this, we have a very sporty day dress that has a minimum of trim and embellishment and is definitely meant for being out and about town. Also, the straw boater hat further reinforces this sporty effect. The lines are classic 1890s although the wasp-waist, measuring 28 inches in diameter, is somewhat toned down compared to evening dresses and ball gowns of the period.

Interestingly enough, according to the FIDM Museum Blog, this dress was worn by a woman of about 5 feet 10 inches in height- this was a tall woman. The sleeves are indicative of the late 1890s- the leg-of-mutton sleeve style was diminishing. At the same time, we still see the faux shirtwaist style with the crimped silk chiffon in the middle. Finally, P. Barroin was not as prominent compared to the major designers such as Worth et al. but it still shows a sense of balance and proportion and the dress fabric is used to fairly good effect.

This dress is representative of the casual styles of day wear that were coming into vogue during the 1890s and as such acted as a counter some of the more extreme looks one can see with evening wear of the period. This is definitely a worthy candidate for reproduction. 🙂

Jacques Doucet, Part 4

August 20, 2015August 20, 2015 / Adam Lid / Leave a comment

Next to Charles Worth, Jacques Doucet was one of the most prolific designers and his influence was felt far and wide in the fashion world. Bolstered by a legion of wealthy clients both in Europe and America, Doucet set the standard for luxury, using the finest materials and craftsmanship in the construction of his designs. Doucet’s clients valued his designs for their dignity and luxury rather than novelty.

Some of Doucet’s art collection.

Viewing himself as more of an artist rather than a clothing designer, Doucet incorporated his artistic sensibilities into many of his designs, drawing on his extensive art collection and this was especially evident in the use of 18th Century style elements. Doucet often used flimsy translucent fabrics in his designs combined with pastel colors and trims to create looks that were ethereal and delicate. Also, throughout his designs, one can see his extensive use of gold and silver lamé and metallic trim. Finally, there is also no doubt that Doucet was influenced by the fact that he was born into a family operated a concern selling lingerie and linens.

Although Doucet tended to favor gold tones in many of his designs, he also worked in other colors as this example from 1911 demonstrates:

Jacques Doucet, Evening Dress, c. 1911; Unfortunately, not much is known about the provenance of this dress.

Back

Front Close-Up

Unfortunately, there is not a lot out there in regard to the provenance of this dress. The basic style of the dress is empire, a style characteristic of the teens. The S-bend corset with its characteristic mono-breast had been left behind in favor of the smooth upright lines of the empire style; fashion had finally come full circle. The red and silver grey colors combined together stand in contrast with each other yet they do harmonize, helped along by the red trim and jeweling. The only part that seems somewhat discordant is the use of gold- it seems that Doucet just could not stay away from using this color. Finally, the use of the translucent sheer fabric over a base of silver grey silk creates gives the dress depth.

Below is another example from 1910 that illustrates Doucet’s design principles but at the same adds something different- fur:

Jacques Doucet, Evening Dress, c. 1910; Metropolitan Museum of Art (2009.300.1154)

Side Profile

Three- Quarter Rear View

Once again we see the empire line and from casual observation, it appears to be far less structured and more simple than Doucet’s previous designs from the early 1900s. The basic fabric is a white/silver silk satin covered in heavily embroidered lace and with the cuffs trimmed in fur; this look definitely makes this a winter dress., Towards the bottom, the embroidered lace gives way to a lighter lace netting that falls away from the front of the dress. Also, while the layers of embroidered lace and netting are a major feature of the dress, the underlying fabric is also given prominence in the front and back. It is clear that the era of the lingerie dress had passed.

Evening Dress by Doucet, Les Modes, June 1909.

Doucet was one of the most influential of the designers that worked out of Paris during the Fin-de-Siecle and while his name is less known than Worth, it could be argued that he was as equally influential, if not more. Later designers such as Paul Poiret and Madeleine Vionnet got their start working for Doucet and while his designs became dated after the First World War, they are still used for inspiration by modern designers.

In the past installments I have attempted to show a range of Doucet’s work from the 1880s through the Teens and while the silhouettes and basic designs evolved with the times, the use of layered sheer materials, metallic trims, and pastel colors are a constant. However, there were exceptions and it is evident that Doucet was capable of designing in a wide range of fabrics and styles to include tailored coat and skirt sets and outerwear. This survey is by no means an exhaustive one but it should hopefully serve as a starting point for further study.