Evening Dress/Gown

Color And The Perfect Dress…

/ Adam Lid / 2 Comments

Color is one of the cornerstones of any dress design and as such, it’s one of the designer’s first considerations along with silhouette, line, and fabrics. So, once the color and fabric are selected, that’s it- on to the other parts of the design, right? Well, most of the time, yes. Generally, fabric color is set during the manufacturing process either by dying the filaments before they’re spun into threads or yarns; dying the yarns/treads before weaving the fabric, or dying the fabric after it’s been woven. So it would seem that’s settled…or is it?

Well, there are exceptions…through the use of specific fabric types and fabric manipulation, the designer can present new colors as well and even create the illusion of changing colors to create new color effects while adding variety and interest to the basic design. One of the simplest techniques involves the layering one or more fabrics over each other, a style characteristic of the Nouveau Directoire style that was popular during the years 1908 -1913. One such example is this evening dress from circa 1909:

Evening Dress c. 1909

Whelan-Hannan, Evening Dress, 1909; Metropolitan Museum of Art (1981.518.3)

Evening Dress c. 1909

Rear View

Evening Dress c. 1909

Side Profile

In this example, the underskirt is a medium hued turquoise colored silk satin covered with a black net overskirt. The turquoise underskirt is still visible under the black net but now it’s become considerably darker. At the same time, the shiny luster of the silk satin fabric has disappeared and the luster has been dulled down.

Below is a close-up of the upper front. In the center above the waistband, there’s a cut-out portion in the lace/net overlay where the underskirt fabric is visible and one can see the difference between the two colors side-by-side.

Evening Dress c. 1909

Close-Up of Bodice

Finally, just for completeness, the label:

Evening Dress c. 1909

Label

In terms of color theory, the color palette of the above dress is monochromatic: the colors one sees with and without the netting are both a turquoise but one is a darker hue than the other with the dark hue created by the addition of the black net. This is a somewhat simplified explanation but important point is that the original fabric color was modified merely by the addition of another fabric. Of course, for this to work, it relies on a more solid structured fabric to be covered by one that’s thinner and semi-transparent such as net.

The layering effect described above is more pronounced in some eras more than others with the late Edwardian Era being one of the most prominent for this style. Here are a couple more examples of this style:

 Evening Dress Jeanne Paquin 1912

Evening Dress, c. 1913 – 1914; Nasjonalmuseet (OK-1962-0008)

Color has always been area fascination for us and we hope to present a little more of this in future posts so stay tuned.

Fashion Friday- The Dress Of The Day

/ Adam Lid / Leave a comment

We are constantly on the search for the new and different when it comes to dress designs and not a day goes by when we find something new. Today we present an evening wedding reception dress (although it would work in daytime) from circa 1885 belonging to the Palais Galliera musée de la Mode de la Ville de Paris:

Reception Dress Day Dress c. 1885

Blanche Bouchet, Wedding Reception Dress, c. 1885; Galliera, musée de la Mode de la Ville de Paris.

Reception Dress Day Dress c. 1885

Side Profile

Reception Dress Day Dress c. 1885

Rear View

This dress has a silhouette characteristic of the Mid to Late 1880s and the side/back bodice and overskirt are constructed of, what appears to be, a light blue silk faille. In contrast, the front bodice and underskirt are constructed of , what appears to be, a blue silk velvet with beadwork in a floral pattern. In viewing this dress, the first thing that the eye is drawn to is the beadwork and the skirts are arranged to show off the large floral motif to its best advantage. The floral motif continues up the front of the bodice in two pieces, cut to create a set of facings that become wider as they approach the neckline, and ending with a matching tall mandarin-style collar. Finally, the velvet beading is also carried out in the cuffs.

Below are some close-up pictures that I created from the original pictures with photo editing software (not perfect but it should give a good idea of the dress details):

Day Reception Dress c. 1885

Close-Up of the front bodice.

Above is some more detail of the front bodice- one can get a better sense of the beading on the blue velvet background set against a lighter blue tint. What is especially interesting is the texture of the light blue silk. Allowing for the vagaries of digital imaging, one can make out horizontal striping on the fabric for the shoulders and overskirt. The stripes are at a 45 degree angle on the bodice front to the left and right of the velvet panels- no doubt these were cut on the bias (at least we think so, a physical examination would clear up this point conclusively). Whether these stripes are the result of using different colored filaments in the weave or simply the product of the weaving process itself is difficult to tell.

Below is a close-up of the lower front under skirt and it’s here that one can see the flowered motif really come to life, the flowers and vines becoming much larger, creating a garden effect.

ROBE DE LENDEMAIN DE NOCES

Below is a close-up of the texturing mentioned above. From the picture, it would appear that a darker shade of blue have been woven into the fabric, interspersed with the lighter blue yarns (these would be the weft yarns). The warp yarns would only be the lighter blue. It also wouldn’t be surprising if the dark blue weft yarns were also thicker than the lighter blue yarns so they would be more prominent. Overall, the textile effect is brilliant and it’s a pity that we cannot have examined this in person.

ROBE DE LENDEMAIN DE NOCES

This dress is an interesting example of the styles that were coming out in the mid to late 1880s: elegant with simple, sharp lines. In contrast to the 1870s, this style is disciplined and “tidy”, relying more on the basic effect of the fabric and its surface decoration rather than added in trims and embellishments. It would seem that everything on this dress is done for a purpose and is all part of a cohesive whole with perfect balance and proportion. It’s a pity that we couldn’t get better pictures of the dress (the Palais Galliera is a horrible website to maneuver through) but we hope we’ve been able to adequately portray at least a portion of the dresse’s essence. Stay tuned for more! 🙂

At The FIDM Museum…

/ Adam Lid / 1 Comment

O

ne of the most overlooked museums in Los Angeles is the FIDM Museum. Located in Downtown Los Angeles, the FIDM Museum has maintains a small but excellent collection of fashion-related items (well, small when compared to the Met in New York 🙂 ). As noted in a previous post, we recently visited the museum to view the 11th Outstanding Art of Television Costume Design Exhibition. However, there was also an exhibit of historical garments from the Linda and Steven Plochocki Collection on display which, naturally, we had to also see.

On display were a number of examples from various eras to include our favorite, the 19th Century. First, is this stunning wedding dress designed in 1878 by Emile Pingat:

FIDM Pingat

20170823_151445

The upright silhouette is characteristic of the Mid-Bustle Era, and as such, the bustle/tornure is fairly minimal. At the same time, we see a full train outlined with a wide band of ruffled pleating. The dress is made from an ivory/champagne silk; the overskirt is smooth with  little adornment except for a band of ruffled net/silk band trim accented with strings of flowers and orange blossoms (a signature Victorian trim for wedding dresses). The underskirt has vertical pleats which presents a nice contrast to the plain overskirt. The bodice is a deep cuirass bodice with three-quarter sleeves, trimmed in silk ribbons and lace, especially around the neck.

Here’s a few more views:

FIDM Pingat

FIDM Pingat

FIDM Pingat

The orange blossoms and lace trim frame the front opening of the overskirt.

FIDM Pingat

Detail of sleeve treatment of lace and silk ribbon.

FIDM Pingat 1878

Detail of bustle.

FIDM Pingat

Here’s a close-up of the orange blossom trim. Originally utilized by Queen Victoria in her wedding dress in 1840, it rapidly became a fashion trend for wedding dressed throughout the mid to late 19th Century.

FIDM Pingat

 

The trim running along the skirt hem and the edges of the train is actually a netting that’s trimmed with silk tape on one edge. The wedding dress is a stunning example of Pingat’s work and it bears further study.

Next, is a bodice from c. 1898 designed by Jacques Doucet:

FIDM Doucet

FIDM Doucet

FIDM Doucet

FIDM Doucet

FIDM Doucet

This bodice contains the signature elements characteristic of Doucet’s designs- rich old gold silk fabric trimmed with lace and lace appliques, some incorporating metallic gold thread. From a silhouette perspective, the leg-of-mutton sleeves are restrained, characteristic of late 1890s styles. The bodice is shaped like a jacket, reminiscent of 18th Century styles with a shirred gauze waist with a silk satin wide belt. Overall, it’s a rich, powerful style. It’s a pity that the skirt has not survived- the total package was no doubt a complete knock-out.

Well, that’s all for today. We hope you’ve enjoyed this as much as we did going to the FIDM Museum. 🙂

 

 

1890s Style – More Than Just Gigot Sleeves And Wasp Waists

/ Adam Lid / 1 Comment

Fashion-wise, the 1890s have always been a source of fascination for us and one that we’ve been focusing on intensely in recent posts. While this may seem somewhat excessive, we would argue the contrary in that 90s are one of the most misunderstood periods for fashion. In the popular mind, 1890s styles seem to be nothing more than a never-ending parade of women in with excessively large Gigot, or leg-of-mutton sleeves and wasp-waists created by tight-laced corsets. It’s an era of excess with lots of “stuff” going on and for many it’s a major turn-off, especially compared to the liberating styles that were to be developed in the 1910s and 20s by Poiret, Chanel, Vionnet, and others.

However, we would argue that the 1890s marked the beginnings of major fashion shifts that were to come to full flower in the following decades and it’s evident in day wear. During the 90s, we seen the introduction of more functional day wear styles that reflected women’s shifting roles in society and especially in going to work outside of the home and participating in outdoor activities such as bicycling. Also, in terms of design we see a simplification of dress styles that relied less on trim and excess yardage (especially compared to the 1870s and 80s) and more on the decorative effect of the existing fashion fabric.

Naturally, as with all of fashion there were exceptions to every rule and many styles of the 90s retained elements of previous ones but we’re painting with a broad brush here. With that said, let’s proceed…

Today we take a look at one unique example of 90s style:

Day Dress c. 1894 -1896

Day Dress, c. 1894 -1896; Metropolitan Museum of Art (1979.346.25a–c)

Day Dress c. 1894 -1896

Front View

Day Dress c. 1894 -1896

Rear View

Day Dress c. 1894 -1896

Close-Up Of Collar

Day Dress c. 1894 -1896

Close-Up Of Sleeve

This dress ensemble was an ensemble made for  James McCreery & Co. (1867 – 1954), a major New York dry goods retailer that was active during the late 19th Century. The dress has the silhouette typical of mid-1890s styles to include the gigot sleeves and cinched wasp waist. The purple fashion fabric is a wool combined with black silk velvet for the sleeves. The same velvet is also used as trim along the skirt hem and stripes along the bodice front and back. Also, depending on how you view it, the sleeves are trimmed with stripes of the purple wool fabric. Finally, note must be made of the striped black and white waist that’s visible under the upper bodice and at the sleeve cuffs- this is probably a faux waist that’s part of the overall dress.

However, what is most notable about this design is that the front bodice is cut asymmetrically, a feature that’s emphasized by the black and white trim panels running along the front bodice edges. The bold front bodice treatment balances out the black gigot sleeves, serving to create a style that’s both balanced and bold. Interestingly enough, the Metropolitan Museum of Art website terms this as a half-morning dress but to us, that really just doesn’t seem to be the case but that’s just our opinion.

But wait, there’s more! Although there’s no information from the Met website, it appears that this was an ensemble that also came with a black velvet jacket and separate waist:

Day Dress c. 1894 -1896

Day Dress c. 1894 -1896

Close-Up Of Under-Bodice

 There isn’t a good picture of the waist but it appears to be made of a white silk with gold embroidery and this is also carried over into the wide collar seen on the jacket. As with the bodice, the jacket is cut asymmetrically at the top. Compared to the bodice in the first set of pictures, the look is definitely more restrained and almost unexceptional. Perhaps that’s where the “mourning” aspect comes in but we seriously question that. 🙂

The above dress is an interesting example of one of the better dress designs to come out of the mid-1890s and especially since it did not directly come out of the Paris couture house (although they did license designs for the American market) with a specific designer name. We would certainly love to know more about the design and how it got its initial inspiration but we fear that this information is probably lost to the ages. We hope you’ve enjoyed this little excursion into the 1890s- in future posts we’ll be bringing more 1890s dress designs to light. 🙂


1890s Designs- Doucet

/ Adam Lid / Leave a comment

While the House of Worth was the leading fashion house during the late 19th Century (and 1890s in particular), it was by no means the only fashion house- there was also Doucet, Pingat, and Paquin, just to name a few, and each was in constant competition with each other. In today’s post, we’ll be taking a look some of Worth’s competitors and illustrate their “take” on 1890s style.

Doucet Ballgown c. 1898 - 1902

Jacques Doucet was one of Worth’s leading competitors and like Worth, he utilized a number of marketing techniques that are now standard in the fashion industry to include dressing celebrities (and especially actresses). Doucet’s creations tended to have a softer silhouette, utilizing large quantities of lace, tulle, and chiffon as well as metallics and lame.

Doucet Ballgown 1898 - 1900

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

Doucet Ballgown 1898 - 1900

Three-Quarter Front View

The above ballgown, made sometime between 1898 and 1900, is made from what appears to be a silk chiffon backed by layers of lame. Unfortunately there are no close-up pictures available- it would be very interesting to have a close look at the fabric. With the exception of some tulle at the top of the bodice and leaf garlands on the shoulders, there is no trim and the dress relies on the richness of the materials themselves.

However, Doucet’s designs were not always so “simple”. Here we see one of Doucet’s more iconic work, a ballgown made sometime in the 1898 – 1902 time frame:

Doucet Ballgown c. 1898 - 1902

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

Doucet Ballgown c. 1898 - 1902

Side Profile

Doucet Ballgown c. 1898 - 1902

Rear View

Here once again we see the fabric itself as the central focus of the dress style only this time there is an elaborate floral pattern created by leaves and foliage appliques on a gold lame background backed by what appears to be a silk chiffon underlayer. The upper bodice and sleeves are lace the overall effect is of shimmering gold.

So what about day wear? Here’s one example:

Day Dress Doucet c. 1890

Doucet, Day Dress, c. 1890; Kyoto Costume Institute (AC10445 2001-4AC)

The fashion fabric for this dress is a silk crêpe de chine with a stencil print pattern of bamboo stalks and the sparrow motif has been hand-painted separately. The fabric was most likely made in Japan for the export market and is an excellent example of the Japonisme theme that was often utilized by fashion designers during the 1880s and 90s. One again trim is minimal, limited to the hem, sleeves and collar finished off with a silk chiffon fichu.

However, designers could also works against type as with this ballgown that Doucet made sometime around 1890:

Doucet Ballgown c. 1890s

Doucet, Ballgown, c. 1890; Mint Museum, Charlotte, North Carolina (1998.13A-B)

Doucet Ballgown c. 1890sDoucet Ballgown c. 1890s

Doucet Ballgown c. 1890s

Close-Up of Bodice

Doucet Ballgown c. 1890s

Rear View

The use of black and white stripes, artfully cut and blended together (especially on the bodice) reads “modern”, something we would expect to see from the 1950s. The black and white chevrons on the skirt front are especially bold and they immediately draw the eye. Unfortunately, there is not a lot of information about this dress (at least from what I could tell from the museum website) and it raised some interesting questions in regard to provenance- it reads so differently than the majority of Doucet’s work that we almost wonder if this is a dress that’s been mislabeled- it certainly bears further study.

Although we can see two different approaches to design by Worth and Doucet (with a bit of overlap), it’s evident that there was an increased emphasis on making using the dress itself as a canvas for creating the design’s major effect. By this time, the use of trim is completely secondary and does little to distract the eye from the main attraction of the fabric design and this can be especially seen with Doucet’s two very different ballgown designs.

We hope you have enjoyed this post and stay tuned for yet more…. 🙂