An Evening Out- Lily Absinthe Style

Last night we decided to take a break from work and hit the dance floor at the Social Daunce Irregulars Spring Ball– we don’t often get to attend events in period attire but the SDI Balls are always a favorite with us and it gives us an opportunity to wear some of our finery in a nice environment. Usually, we’re unveiling some new fantastical ball gown or evening dress design but this time the “headliner” was a new evening outfit for me. As previously mentioned in another post, Karin had graciously taken time out of her busy schedule to work on a new shirt, trousers, and waistcoat for me and the results are, in a word, FABULOUS!

For some time, I have not had any proper evening clothes. Years ago when I was involved in American Civil War, I had an extensive wardrobe but it was never my favorite period and while everything fit and looked good, it was never my favorite look and just didn’t really speak to me, especially since the clothing tended to be somewhat baggy. I much more prefer the 1880s- 1900s- the look works for me and I just feel better wearing them. Purely subjective on my part but fashion can be a highly subjective matter. 🙂

While I love wearing uniforms (I regularly switch between German and American), I also wanted something civilian of a more formal nature- something I could wear to evening events such as balls. At the same time, also wanted something that I would wear during the day for equally formal occasions. For evening wear of the late 19th Century, there is always the standard default position of black tailcoat, white or black vest, white shirt, and white tie but this really doesn’t appeal to me so I opted for something a bit more flexible- yes, I know that this is playing a bit fast and loose with the social conventions of the 1880s and 90s but this is just a temporary situation- someday I will develop a formal evening wardrobe. 🙂

So here’s what I put together for myself:

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The coat was sourced from a coat manufacturer and while it follows the lines of a frock coat, it’s lighter and lacks the outside pockets normally found. For my purposes, it worked perfectly and the fit is amazing for something bought off-the-rack. Technically speaking, this is daywear of a formal style but as I indicated before, I was looking for something that would work double-duty for both formal day events and evening affairs.

Of course, when one goes out for the evening, one must have the perfect accompaniment and that’s where Karin come in; 🙂

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Now for the more astute, I will point out that my outfit is 1880s-90s while Karin’s ball gown is from the late 1870s. Now for a look at Karin’s ball gown:

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This dress is the “Anastasia” from our line, consisting of a silk taffeta base fabric and completely under-sewn knife pleating with English net overlays and shirring, and silk duchesse satin bows and sashes. The bodice is silk brocade with antique Brussels lace bertha and matching sleeve flounces. Complete understructure attached with attached with petticoat. The “Anastasia” gown is part of our Lily Absinthe Bridal and Formal line.

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One side note on hairstyles- the hairstyles of the late 1870s were centered on “big hair” and Karin’s was no exception. Here’s some of our inspiration:

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Overall, the night was sheer perfection with no wardrobe issues and everything fitting perfectly. We concluded the evening with a late night supper topped off by our most favorite of beverages: 🙂

Butterflies, Ballgowns And Spring Fashions

The natural world has always been a source of inspiration for artists and fashion designers and the late 19th Century was no exception. Examples of natural inspiration in fashion abound but there were a few specific examples that caught our eye.

The first example is a ballgown created by the House of Worth in 1898 (Frederick Charles Worth himself has passed from the scene by this time) and it incorporates butterflies as a design motif:

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Ballgown, Worth, 1898; Metropolitan Museum of Art (2009.300.1324a, b)

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Three-Quarter Front View

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Rear View

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Three-quarters view of skirt.

This dress has a relatively simple, clean silhouette characteristic of late 1890s design. The skirt itself is made from a pale blue silk satin and has a full train and an unadorned hemline. The bodice is constructed of the same pale blue silk satin trimmed in a taupe silk chiffon. All of this is fairly standard but what separates this dress from others is that it’s decorated with butterflies on the skirt and bodice, are arranged to give the appearance that they are fluttering away from the hem.

The butterfly decorations appear to be of champagne/gold with metallic highlights and black beading; most notably, they’re woven into the fashion fabric rather than appliqued. Even more remarkable is that the butterflies are scaled, shrinking in size moving away from the hem- the fabric was deliberately woven this way, and there’s little doubt that there were “up” and “down” sides of selvage; this fabric was specifically commissioned by Worth. Worth sourced most of its silks on a custom-production basis from various firms in Lyon, France and the results were amazing such as in this case.

As a sidelight, what is even more remarkable about the butterfly fabric is that its width would have had to have been wide, no doubt approaching the 54 or 60 inch wide. 54 to 60 inch widths for fabric are standard in the textile industry today but that was not the case in the 19th and early 20th Centuries. Then, fabric widths tended to be narrow, ranging from 30 to 40 inches wide (or the metric equivalent thereof). In our collection of vintage bolts of fabric, none are wider than about 34 inches.

This “natural” theme can be also be found in this ball gown that was also designed by Worth in 1900, only this time incorporating wheat-like motif:

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Ballgown, Worth, 1900; Metropolitan Museum of Art (2009.300.1250a, b)

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Side Profile

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Skirt Detail

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More Skirt Detail

And here it is being “worn”:

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The silhouette is identical to the first dress only the basic fashion fabric for skirt and bodice is now a pink-colored silk satin. The skirt is decorates with a series of wheat stalks flowing upwards from the hem both on the front and the back. It is difficult to tell from the pictures if the yellow/gold wheat stalks were integrated into the basic fashion fabric (we suspect it is) but combined with the beading, the effect is imaginative. The pink color of the dress is further enhanced by the taupe/gold chiffon and fabric flowers that trim the neck and shoulders of the bodice. Once again, we see the natural world as interpreted into fashion.

As a side note, the above two ballgowns illustrate one of Worth’s basic design methods in that each dress was based on a standard pattern block that was modified for the individual client. At root, the construction details for each type of garment remained fairly similar, only the fabrics, decoration, and trim varied. From a business perspective, it was efficient-no point reinventing the wheel, so to say, each time a client ordered a dress. It’s also easily overlooked with all the distraction caused by the exquisite fabrics and trim found in Worth’s designs (the goal of every designer of the time 🙂 ). We hope that you’ve enjoyed this little excursion to the House of Worth. 🙂


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Lily Absinthe On The Road

I’ve been quiet lately but it’s only because they’re “secret” projects… 🙂 Next week, I’ll be at No. 11 in town (guess where!) and just working in our Old West Paradise, a somewhat simpler existence.

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Bring On The Fabric!

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I’m drowning in mountains of silk tulle, taffeta, and lace…our new Lily Absinthe designs for next season are starting to take shape. I’ll have more images next week of our most beautiful Victorian special occasion gowns yet. <3