It’s been a long day of Pleatastic Fun for Everyone, I’m sure my fingerprints are scalded away!
Six days to make this gown to go with my new Tavistock boots before we leave for London! The clock is ticking and my client work for the year is done…
Our previous post on the Mid-Bustle Period, and the princess line dress in particular got such a favorable response that we decided to follow up on with some more examples.
One of the dramatic and interesting styles is the one above utilizing an open redingote combined with an underskirt in two complementary colors and contrasting ruffles. The train also employs several layers of the same complementary colors. Also, the use of revers is taken to an extreme, especially towards the bottom when the revers open out to create the illusion of turn-backs. Overall, the effect is very reminiscent of the 1780s and 90s, an era something that often influences mid-1870s styles.
This style is a bit more “conventional” in that it stays with one color, taking its decorative effect from the various ruffles, pleating, and trim. Also, while it’s impossible to tell just what the illustrator had in mind with the fashion fabric, one could easily imagine silk brocade or similar. 🙂
Here we see a couple variations with the trains with various degrees of pleating, bows, and contrast colors. In many respects, the only limits are one’s imagination. Also, it must be noted that the illustrator has used a bit of artistic license portraying two ladies’ dressed with trains that are clearly not optimal for trekking through the woods. 🙂
Looking past the sheer beauty of these designs (and making allowances for the fact that these are fashion plates), one can see that there’s a few different design options here when recreating this style. First is the train- trains varied in length ranging from a full train for the most formal of occasions to the demi-train which was pretty standard for the majority of formal occasions (and a lot more practical to maneuver in). For day wear, the train was either short or non-existent. Moreover, with the train, one could choose to leave it relatively unadorned, with maybe a small row of knife-pleating or one could go all out, adding rows of pleating, ribbons, and other lace trim.
Turning to the overall style, while upright sculpted silhouette set the basic shape, one sees a variety of variations to include a straight skirt all the way to the feet or the skirt is draped and gathered towards the bottom. Also, the entire dress could be styled as an open redingote with revers that opens up to reveal an underskirt that could be in a complementary color with ruching or a similar style. This style could also be done in either a single color or with complementary colors. In short, there was a wide variety of style choices available and designers/dressmakers/individual sewers utilized them all. Below are a few original dresses that help illustrate this point:
With the above dress, we see a simple arrangement of shapes and lines in blue and ivory combined with contrasts in the fabrics’ textures as well as the use of ruching.
With this dress, we see the fashion fabrics have similar textures but with contrasting steel gray and ivory. Pleating and trim are kept to a minimum and the style relies more on colors and fabrics to make its statement.
For this dress, while it utilizes complementary colors, it relies more on contrasts in textures: the ruching and pleating on the dress’s front panel are combined with a silk brocade covered by netting.
This final example utilizes two fashion fabrics in complementary colors combined with contrasting fabric textures: a pale blue flat textured silk combined with a lighter blue silk satin. To further add interest, floral embroidery has been added to the bodice front and train. Also, while the bodice has a fairly simple shape, the lower skirt incorporates a series of ruffles and pleats to give a draped appearance.
We hope you’ve enjoyed this brief excursion through the the world of the Mid-Bustle Era princess line dress and we want to emphasize that while we may have deluged you with a wide a variety of style variations, our intent was to show that one has a wide range of choices when it comes to recreating this style and perhaps provide a bit of inspiration. 🙂
My latest obsession to go with all my 1890s suits are the stunning boots from American Duchess: the “Camille”…these are so gorgeous, I plan on wearing them with *gasp* my “modern” outfits! Don’t miss out on these, I wanted the wine velvet, but the black velvet ones are just as beautiful…Lauren and Abby (the designers) are geniuses. Trust me…You Want These Boots!
This is Bonnie Prince Angus and I at our home in Tombstone for the Home Tours, I couldn’t resist showing off my boots to anyone who asked …check out the link, there’s still time to get them for Christmas. <3
Christmas came a bit early for us this year- yesterday we received a number of original garments from several auctions and right now, we’re in the process of sorting through them. Below is just a small glimpse of the treasures we received; when we get everything sorted out, we’ll be posting more. 🙂
This is a bodice that we date to circa 1878-1880. The bodice is relatively narrow with an inset pseudo vest that closes with hooks and eyes. The outside bodice closed with laces and each edge is bones, just beyond the eyelets. The boning is roughly 1/2 inch across and we believe that the boning is thin baleen.
Upon closer examination, the bodice is constructed from what appears to be an ivory silk brocade covered by a thin lace net that appears to have yellowed over the years.
Below is an interior view of the bodice, it’s lines with in a light yellow cotton (it doesn’t appear to have been white that’s yellowed) and the seam finish is very precise.
Overall, this is a very interesting study piece. It’s condition is fairly good although the silk fashion fabric has shattered in a number of places, especially where it’s not directly supported by the lining. This will make an interesting addition to our study collection.