Some More From Pingat…

Lately, it seems that Emile Pingat has become the subject of interest for us here at Lily Absinthe and combined with our love for 1890s fashions in general, we’ve been finding all manner of Pingat’s designs. For today’s consideration is this circa 1894 ball gown:

Pingat, Ball Gown, c. 1894; Museum of Fine Arts Boston (56.816)

Rear View

As ball gowns go, this is a relatively simple design with a minimum of trim (mostly beading on the front bodice), relying instead on combinations of lace, and silk satin to achieve its effect.  With roses strategically placed on the skirt front, collar and shoulder, there are pops of color that offset the blush pink/ivory silk satin. The gigot sleeves combined with gored skirt definitely place this dress safely in the mid-1890s and create the classic hourglass style that was typical of the period. Overall, as with many of Pingat’s designs, this is elegant and clean and would definitely make an excellent bridal gown. Although best known for his outerwear, Pingat also produced many elegant dress designs- ball gowns, evening/reception dresses and day dresses and this is just one excellent example.



Inspiration Doesn’t Punch A Time Clock

We are often asked about how we get our inspiration for our designs. Well, there’s no easy answer there but there is one thing that can be definitely be said: inspiration doesn’t punch a time clock and neither do we here at Lily Absinthe! 🙂 Often inspiration can arrive at the oddest of moments- whether we’re driving to an appointment, drinking coffee in the backyard and watching the dogs, or simply thumbing through a magazine. 🙂 One just never knows but the one element that’s constant is that it’s a nonstop process.

John Singer Sargent, Carmencita, 1890, Musée d’Orsay, Paris

At Lily Absinthe, we constantly strive to explore new colors and new style elements, working them in various combinations. Some don’t feel right and are quickly discarded, others get filed away for awhile and perhaps re-worked at a future date, and some we immediately act on- there are those moments when the design exerts such a power influence that it simply can’t be ignored.

Many of our designs focus on the creation of three-dimensional effects in the fabric, something that’s achieved through combinations of fabrics of different textures and the use of complementary and contrasting colors, aesthetics that were commonly used in the 19th Century and are very relevant even in more modern designs.

With that said, let’s take a closer look at just one of our many projects:

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Here we have silk velvet (the ONLY kind of velvet we use, by the way) revers and beribboned silk organza flutings for a beautiful Lily Absinthe bride. <3

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And here’s another view of the hem- that’s a lot of knife pleating going on there. 😉

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And a little late night silk velvet piping for one of the dresses… In this design, the whole objective to present something that’s unified yet unique in its elements. Fabrics of varying luster, weight, and texture are combined to create a dress that has a life of its own. We hope you’ve enjoyed this one example of our designs here at Lily Absinthe.



Water Lily Inspiration…

This dress has always been a favorite of mine- inspired by Monet’s waterlilies, it has layers of different silks all dyed to match and a suite of antique lace. Dreaming of when we can dance again at balls. 🙂



Shades Of Green…

The color green in its various shades has always been one of the color cornerstones of the Lily Absinthe color palette. Below are a few dresses that illustrate the range of greens that have appeared in some of our designs:



 

1890s Evening Wear, Part 4

ball gown fashion plate 1899

By the mid 1890s, the gigot sleeve trend was in full bloom and while perhaps not as extreme as the sleeves found on day dresses, it did exert an influence on evening dresses.
Fashion Plate Ball Gown 1897 Evening Gown

Evening Gown c. 1894 Morin-Blossier

Morin-Blossier, Evening Gown, c. 1894; Vintage Textile sales website

Evening Gown c. 1894 Morin-Blossier

Close-Up Of Bodice

Maison Felix Evening Dress 1895

Maison Felix, Evening Dress, 1895; Metropolitan Museum of Art (C.I.65.16.1a–d)

Evening Gown c. 1895

Evening Gown, c. 1895; The Museum at FIT (2007.27.1)

The above are just some examples of the gigot sleeve trend going on during the mid 1890s. Although not as extreme as the sleeves found on day dresses, we still see greater attention paid to this area than before.

Evening Gown Ball Gown Worth c. 1896 - 1897

Worth, Evening Dress, c. 1896 – 1897; Galleria del Costume di Palazzo Pitti via Europeanafashion

However, as with all fashion trends throughout the ages, a particular style will be developed to an extreme and a subsequent reaction will arise in opposition. This was the situation with gigot sleeves and by the late 1890s, sleeves had once again acquired become slender proportions. Fixing a precise date as to when this shift began is not easy but even as early as late 1896, there were rumblings in the fashion world as detailed in this passage from the September 13, 1896 edition of the Los Angeles Times:

The world may stop wondering now, for at last Mrs. Fashion has consented to speak about autumn and winter modes. The gist of her talk, however concerns skirts and sleeves (after all the two vital points of dress) both of which are to grow beautifully smaller and narrower until the reaction against width has been satisfied.

Already indeed, the circumference of the smallest skirt is reduced by more than half of what it was in the spring while a skirt  with godets all around is to midish opinion, almost as old fashioned as overskirt and paniers [sic].

In reaction, evening dress sleeves began to become somewhat simplified with an emphasis on decorated straps or sleeves constructed with loose layers of gauze/tulle. Of course, there was a wide degree of variation in the sleeve style but nevertheless, one can see a movement away from the over gigot style.

Doucet Ballgown 1898 - 1900

Doucet, Ballgown, 1898 – 1900; Metropolitan Museum of Art (2009.300.3275a–c)

Doucet Ballgown 1898 - 1900

Three-Quarter Front View

Doucet Ballgown c. 1898 - 1902

Doucet, Ballgown, c. 1898 – 1902; Metropolitan Museum of Art (2009.300.3274a, b)

Worth Ballgown 1898

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

Worth Evening Dress 1896

Evening Dress, Worth, 1896; Palais Galliera, musée de la Mode de la Ville de Paris (GAL1978.20.1)

Worth Ball Gown 1899

Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)

Aside from the sleeves, there was little else to distinguish evening dresses during the 1890s- all were designed in a distinct hourglass style with narrow waists and large multi-gored skirts with trains of varying length. Finally, although the pronounced bustles of the late 1880s had disappeared, padding was still used as a means of maintaining  a smooth silhouette and providing support to the train.

Transitions in fashion styles is not always clear-cut and direct, rather it’s often more of a blur as an older style gives way a newer one. Fashion change came at a much slower pace than what we see today and changes that were measured in years are now measured in months, if not weeks and days. By no means to we profess to have the last word when it comes to evening fashions of the 1890s but rather, we try to point out some of the salient featured. We hope you’ve enjoyed this brief tour of 1890s evening wear and we look forward to posting more about this in the future.