Parisian Color Trends For Fall 1889

Georges Garen, Embrasement de la Tour Eiffel, 1889; Musée d’Orsay, Paris

Color is a major element in fashion styles and, as with style in general, it’s constantly in a state of flux. The situation was no different during the Nineteenth Century and while there was no entity like Pantone to constantly monitor the color trends, they were still noted. In the October 1889 issue of Peterson’s Magazine, it was noted that:

The newest color of the season is a rich deep shade of chaudron-red, which has been christened Eiffel-color, after the famous tower of the Exhibition. It is supposed to be of the same hue as the red-painted iron-work of that stupendous edifice, since its tint has been mellowed and modified by the weather. Green, except in the dark-emerald shade, has gone entirely out of vogue. Yellow, in the warm golden tones, will be a good deal used for trimmings,

Probably the most interesting comment is about “chaudron-red” which is a mash-up of French and English for “cauldron red” (or Eiffel Red) and it describes the original color that the Eiffel Tower was painted when it was first erected for the Paris Exhibition of 1889. The original paint was meant as a protective coating and had a copper-red color because of its active ingredient, iron oxide, which gives the paint its protective quality, preventing rust to the steel that made up the Eiffel Tower’s construction (even to this day, iron oxide paint is used for treating steel beams). So what did this look like? Probably something like this:

Interestingly enough, recently, when it’s time to repaint the Eiffel Tower in 2021, it has been suggested that it be repainted in the original chaudron-red, similar to the shade depicted above. So far, the French Ministry of Culture has not made a decision…

Besides “Eiffel Red,” it’s noted that green is completely out except in a dark emerald shade, perhaps along these lines:

And for yellow something like these:

And now well things together with some examples of the above colors at work, starting with this evening dress from Maison Worth:

Worth, Evening Dress, c. 1889; Metropolitan Museum of Art (C.I.59.20)

James McCreary & Co., Visiting Dress, c. 1889; Metropolitan Museum of Art

Detail of Cuff

Both of the above dress examples incorporate many of the colors noted in Peterson’s although we must note that there are also plenty of examples where other colors were used; in fashion there’s never any absolutes, just broad generalizations. We hoped you have enjoyed this brief excursion into trending colors of 1889 and stay tuned for more in the future. 🙂



More On The Ensemble Dress

Here’s another ensemble dress from Maison Worth, also from circa 1893. Style-wise, it’s similar to the example that we presented in yesterday’s post but perhaps a little more restrained. Here are a few views:

Worth 1893 Day Reception Afternoon Dress

Worth, Ensemble Dress, c. 1893; Metropolitan Museum of Art (2009.300.620a–e)

To us, this bodice reads visiting/afternoon dress, more of a formal day-oriented garment. Below, the bodice reads more of a reception dress or possibly evening dress- although that’s probably stretching things a bit.

Worth 1893 Day Reception Afternoon Dress

The Alternate Bodice

Once again, we see a jacket style for the day bodice with a filler of tulle. The skirt and jacket bodice are a pea-green silk brocade with black lace trim and accents. The night bodice with its light cinnamon colored silk velvet provides a pleasant contrast to the pea green. Compared to yesterday’s example, this dress is a bit more restrained but it’s still a nice design. The silk brocade fabric is interesting and we only wish that there were some close-up pictures of the fabric detail. It’s evident that both the dress and the one in yesterday’s post used identical or fairly similar pattern pieces. Finally, here’s an interesting part of the ensemble- matching shoes:

Worth 1893 Shoes

Matching shoes to outfit.

Stay tuned for more posts on this subject. 🙂

 


The Ensemble Dress

Ensemble Evening Reception Dress Worth 1893

One interesting aspect of Charles Worth’s designs was what was called the “Ensemble Dress.” This was a dress that had two bodices, typically one for day wear and one for evening wear so one could have a nice semi-formal dress for calling on friends, going into town, or attending some sort of day function. At the same time, with a change in bodices, one would have also be properly dressed for an evening function. Below is just one circa 1893 example from Worth:

Ensemble Evening Reception Dress Worth 1893

Worth, Evening Ensemble Dress, c. 1893; Metropolitan Museum of Art (2009.300.622a–c)

First, we have a day bodice that’s designed like a jacket; no doubt some wort of a waist was worn underneath even though it would have been covered by the lace strips running down the front. And then we have a night bodice that’s perhaps a little more formal:

Ensemble Evening Reception Dress Worth 1893

The Alternate Bodice

And here’s a rear view of the dress with the day bodice:

Ensemble Evening Reception Dress Worth 1893

Rear View

In terms of silhouette, this is characteristic for the early 1890s with it’s fairly restrained train arrangement- most likely a small bustle pad was worn but not much else. The fact there’s small train points to it being more of a formal dress (with day and night configurations). The fabric is a silver colored silk satin with a gold leaf pattern decoration woven in broken texture that services to provide a contrast both in texture and color. The red silk velvet lapels and sleeve trim on the day bodice and the red bodice front on the night bodice. The effect is exquisite with either bodice. Below is a close-up of the fabric.

Ensemble Evening Reception Dress Worth 1893

Detail of fabric- too bad it’s not in color.

In 1890s fashion, the skirt and bodice have a minimum of trim and Worth lets the contrasting fabrics, both in color and in texture, speak for themselves. Just one of many exquisite examples from Maison Worth.

 


An 1883-1884 Reception Dress/Ballgown Ensemble

Ensemble dresses have always been interesting to us and today we feature one that was made by a one Alice Mason1Although Alice Mason is long gone as a concern, a quick look-up of the address on GoogleMaps reveals that it was located a block east of Saville Row. It’s clear that this was concern with an upper class clientele. in London and dated c. 1883-1884 from the Metropolitan Museum of Art that features both reception dress and ballgown bodices; the skirt is common for both but the bodices differ. First is the reception bodice:

Evening Dress Ensemble- Evening Bodice, c. 1883-1884; Metropolitan Museum of Art (C.I.54.5.1a–e)

The overall fashion fabric is a light pink/champagne silk satin with the skirt trimmed with vertical lace panels on the sides and front. Both bodices are also constructed from the same silk satin and are trimmed with ivory/champagne lace (most likely it’s yellowed a bit from age). The skirt sides are trimmed with long and wide strips of the same silk satin fashion fabric, finished with a simple demi train and some bustling towards the rear skirt top. The reception bodice features three-quarter sleeves with a square neckline lined with lace; wide lace strips matching the ones on the skirt form a “V” on the front, framing a ruched upper bodice front.  And here we see the ballgown bodice:

With The Ballgown Style Bodice

As characteristic with ballgown bodices, there’s no sleeves and shoulders are minimal, trimmed with lace. The fashion fabric on the bodice front has been shaped so as to give the effect of cross-swagging that creates a large “X” on the bodice front. The neckline is “V” shaped and also trimmed with more lace. Both bodices are high-waisted so as to facilitate the bustled/trained upper skirt. Below are some side profile views with the reception bodice:

Side View- Evening Bodice

Note the side bows and peplum on the rear of the bodice.

Three Quarter Rear View- Evening Bodice

Rear View- Evening Bodice

Here’s a rear view with the ballgown bodice. Note that the ballgown bodice back lacks any peplum and just curves down ending in a sharp point. Both rear views of the skirt give a good view of the train which is free of any sort of adornment or decoration.

Rear View- Ballgown Style Bodice

Below is a close-up view of one of the sleeves on the reception bodice:

Close-Up Reception Bodice Sleeve

And finally, a close-up of the reception bodice front:

Close-Up Reception Bodice Front

And finally, the shoes that were worn with the dress:

This ensemble is a relatively simple but elegant and practical ensemble that would have been useful for a wide variety of formal events and it reveals a practical side to fashion that one doesn’t normally associate with this period. Stay tuned for more as we delve further into 1880s fashion. 🙂


Something From The Gallery- The Lucy Gown

Our Lily Absinthe Gowns & Corsetry “Lucy” gown, in the front parlor bedroom in “The Dressmaker’s Cottage” at #11, Old West Tombstone. We can do something similar for you! 🙂