Paul Poiret- The Early Years

May 20, 2015June 7, 2020 / Adam Lid / Leave a comment

Paul Poiret was one of the most influential fashion designers of the early 20th Century and played a major role in moving fashion away from the corset and its highly structural silhouette. But before his rise as Le Magnifique or the “King of Fashion,” Poiret got his start in the fashion industry as a free-lance fashion illustrator, selling his work to the various fashion houses in Paris. Later, in 1898, Poiret landed his first major position with Maison Doucet.

An early design by Paul Poiret.

While the above design definitely reads “1890s”, one can see a hint of what was to come with its clean vertical lines and the tiered skirt.

A later design pictured in the April 1, 1906 issue of Femina.

A later design for a Costume Tailleur advertisement pictured in the April 1, 1906 issue of Femina.

Here again we see the use of clean lines. The use of a diagonal check pattern also creates an interesting effect. It would have been interesting to see what colors the original outfit were. This is a tailored look that predates the Oriental influences that were to take hold in the following years. In future posts, we will be exploring Paul Poiret more thoroughly but it’s interesting to see what was happening before his ideas took hold in the fashion world.

The Bustle Dress – A Brief Overview, Part 3

April 27, 2015February 13, 2019 / Adam Lid / Leave a comment

We now turn to the Late Bustle Period from 1882 through 1890. Unlike the brief period before it, the bustle returned with a vengeance, now more angular and sharply defined, with harder edges than its predecessor in the 1870s. Below are some examples of the later bustle:

Bustle, Cotton, Metal, Copper, c.1883 – 1887; FIDM Museum Library (2005.5.174)

Bustle, Steel Frame, c. 1884; Victoria & Albert Museum (T.131C-1919).

Bustle, British, Steel Frame, c. 1884; Victoria & Albert Museum (T.131C-1919).

Bustle Pad, French, . 1885Glazed calico trimmed with silk cord and stuffed with what appears to be straw; Victoria & Albert Museum (T.337-1978)

Bustle Pad, French, c. 1885; Glazed calico trimmed with silk cord and stuffed with what appears to be straw; Victoria & Albert Museum (T.337-1978)

From just the few examples above, it’s evident that that bustles during this period came in a variety of materials and shapes. However, in contrast with earlier bustles, these are shorter, concentrated around the natural waist.

Below is a an excellent example of the “shelf bustle” profile characteristic of the mid- 1880s. The “shelf bustle” profile was found in both day dresses and more formal evening and reception dresses. As could be expected, the formal dresses tended to be more dramatic and extreme in profile and the length of the train.

Evening Dress, American or European, c. 1884 – 1886, silk; The Metropolitan Museum of Art (C.I.63.23.3a, b)

The above evening dress epitomizes the sculpted “shelf bustle” that is characteristic of the 1880s. However, elements of the 1870s still remain: the bodice is remains at waist level and draped skirts are utilized to create a dramatic effect with the skirts being arranged to show off the pleating and trim to its fullest advantage. The is certainly the diametric opposite of the sleek, vertical lines characteristic of the Mid-Bustle Era.

Dinner Dress, French, c. 1883, Worth. Wine-red silk satin cut velvet with stripes and leaf pattern; figured additional cut velvet layer on leaf pattern; set of bodice and skirt with bustle; tulle and silk satin bows at cuffs; apron-shaped overskirt draped toward back. This dress of silk satin and cut velvet stripes is scattered with a roseleaf motif of cut and uncut velvet, causing shading of the motif. These beautiful materials, with a woven thickness created using complex techniques, show the high quality of Lyon silk textile. The overskirt, draped and gathered into an apron style, and the train greatly contribute to the dignified production of this bustle style dress. Kyoto Costume Institute (AC9712 98-29-2AB)

Day Dress, c. 1880 – Front View

Day Dress, c. 1880 – Side View

Day Dress c. 1880 – Rear View

Although the above two examples are day and evening dresses, they both have similar characteristics in that they exhibit the shelf bustle AND the draping of excess skirts characteristic of the early 1870s. One could almost terms this a hybrid style.

However, at the same time, the cuirass bodice characteristic of the Mid Bustle Era made its return, characterized by the bodice now lengthening to cover the hips. With the cuirass bodice, one can also see a reduction in the bustle size and a softening of the bustle angle in which the “shelf” beings to become more curved. Also at the same time, the excess skirts are reduced and there is no draping except for the area below the bustle. The dress below illustrates these trends excellently:

Day Dress, French, c. 1885; Silk plain weave (taffeta) and silk plain weave with warp-float patterning and supplementary weft, and silk knotted tassel; Los Angeles County Museum of Art (M.2007.211.34a-b)

Day Dress, French, c. 1885 – Rear View

Day Dress, French, c. 1885 – Front View

While there was an overlapping in styles during the Late Bustle Era of the mid to late 1880s, it is evident that the overall style was moving towards a more upright style with the bustle evolving into a vestigial pad.

The Young Ladies’ Journal, 1889

As it can be seen from the above fashion plate, the bustle was pretty much gone and both the dresses and bodices were more tailored and hints at what was to come later during the 1890s.

The Bustle Era never fails to fascinate the modern viewer in that the concept of using elaborate undergarments (eg, the corset) and bustles to achieve a desired aesthetic look runs so counter to fashion aesthetics today. However, the basic idea still lingers one in the form of various form-shaping foundations garments and in some cases even the bustle has been revived in a modified form.

Finally, I leave you with this image:

Modern Day Wedding Gown

Nothing is really new in the fashion world…. 🙂

Japonisme

April 25, 2015May 21, 2020 / Adam Lid / 8 Comments

Throughout the ages, Western fashion has incorporated foreign influences and the late 19th Century was no exception. One major influence came from Japan, a nation that up until 1854 has kept itself secluded from the rest of the world. After 1854, Japan began to participate in the world economy and one of its major exports was textiles, both in the form of raw fabric and finished goods designed expressly for the Western market. Along with this, there also a flood of Oriental bric-a-brac that was exported in the form of fans, kimonos, lacquers, bronzes, and of course, silks, which began to attract much interest by Westerners, especially in Great Britain and France.

At the same time, Japanese designs began to attract the interest of various artists who began to incorporate them into their work. One area of special interest were woodblock prints in the Ukiyo-e Style and these designs influenced artists such as Tissot, Monet, Degas, and Whistler, and Toulouse-Lautrec. Below are some examples of these woodblock prints:

Otani Oniji II, dated 1794; Toshusai Sharaku (Japanese, active 1794–95)
Polychrome woodcut print on paper; 15 x 9 7/8 in. (38.1 x 22.9 cm)
Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939 (JP2822)

The Great Wave at Kanagawa (from a Series of Thirty-Six Views of Mount Fuji), Edo period (1615–1868), ca. 1831–33; Katsushika Hokusai (Japanese, 1760–1849); Published by Eijudo; Polychrome ink and color on paper; 10 1/8 x 14 15/16 in. (25.7 x 37.9 cm) (Oban size) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (JP1847)

Along with woodblock prints and other Japanese artwork, interest in the Japanese design aesthetic also included fabrics which incorporated motifs such as plants, flowers, insects, birds, and geometric patterns. Below are a few examples of textile designs from the 1880s:

We can see further examples depicted by various notable Western artists themselves:

Claude Monet. Monet painted his wife, Camille, posing in a kimono against the backdrop of his fan collection

Claude Monet, 1875; Monet painted his wife, Camille, posing in a kimono against the backdrop of his fan collection

James Tissot, The Japanese Bath (La Japonaise au bain,), 1864.

James McNeill Whistler, La Princesse du pays de la porcelaine, 1863 – 1865.

So how does this translate into fashion? Well, garments of the period began to use traditional Japanese fabrics, largely in the form of kimono fabric. In many instances, the garments themselves were made from re-worked kimonos which were largely made from silk. Below are some examples:

Court Dress, c. 1870; Material: White kimono fabric of figured “shibori” silk satin; embroidery of wisteria, chrysanthemum, peony, and Chinese fan motifs in metallic threads; wrapped buttons with Japanese “tomoemon”-like motif on bodice (only bodice and overskirt of this dress was remade from a Japanese kimono in London. Some traces of the original kimono seams remain in the textile. The underskirt is missing, but it is thought that an underskirt made of a different fabric was combined with this garment. There are some other indications of missing original ornaments. Kyoto Costume Institute (AC8938 93-28-1AB)

Tea Gown, American, c. 1870, Pink silk taffeta and embroidered crepe; This dress was made from authentic kimono fabric imported to America from Japan. The textile was probably originally intended for women of the samurai class. The Museum at the Fashion Institute of Technology (80.1.4)

Side profile

Close-up of the front.

The above pictures are interesting in that they illustrate typical Japanese design motifs that would normally be found in Kimonos. Also, interestingly enough, the two above dresses were made from re-worked Kimono fabric which suggests that new markets were being found for kimonos that normally would be worn by a small class of upper class Japanese, primarily the wives of Samurai.

The development of new markets for the kimono fabric is a logical result in that during the 1860s and 1870s, the traditional Samurai class in Japan was in decline as the nation modernized and increasingly adopted Western ways.

Tea Gown, Japanese c. 1875; This at-home gown was made in Japan for the western market, and is a typical example of the 1870s bustle style. It may have been ordered by a foreign resident living in Japan, but it is more likely to be a good example of an export item. One side of the Japanese label attached on the gown is entirely covered with logo marks, and on the other side there are the remains of some brushed characters, but they are illegible. After a long period of national isolation, Japan opened up to the rest of the world, and the promotion of trade became a major preoccupation. Following the opening of the Port of Yokohama in 1859, silk became a major export, but it was more desirable to export silk products, which had greater added value. The Yokohama silk merchant Shobey Shiino was dispatched to the International Exhibition in Vienna in 1873 together with other Japanese delegates. His market research resulted in the production of quilted at-home gowns made of “habutae” silk (a fine Japanese silk). Kyoto Costume Institute (AC989 78-30-3AB)

Moving forward, the Japanese influence still remained strong as can be seen in these examples:

Day Dress, Japanese, 1880s

Rear Close-Up

What is interesting about the above dress is that this one appears to have been made for the Japanese market. In this case, the dress reflects Japan’s increasing westernization and is a mix of traditional fabric design with western dress style. Note that the line of the cuirass bodice has fringe running along the bottom, creating a visual effect of elongating the bodice’s lines, covering the hips completely.

Rear View

The use of kimonos as dressing gowns and even tea gowns was popular in the West and it allowed women to be able to wear something that did not not require the use of the corset, or at least having to lace up the corset to the degree normally required when wearing a dress. As the bustle disappeared from use in the 1890s and the lines of women’s dresses became more upright, kimonos began to be incorporated into designs for evening wear and some day wear and this is especially evident during the years from 1900 – 1913

Day Dress, American, British, or French c. 1894 – 1896, brocade, velvet, organza, silk taffeta; Indianapolis Museum of Art (74.351A-B)

The above example is a day dress typical of the mid 1890s with the characteristic leg-o-mutton sleeves, thin waist, and open bodice designed to appear to be a coat with an exposed shirtwaist (which was often a fake one that was actually part of the bodice itself). What is interesting in terms of Japonisme is the geometric pattern of the fabric which follows a fairly standard Japanese design motif. The provenance of the fabric is unknown but it’s clear that it’s not material from a reworked kimono.

Finally, we end this series with a wonderful example of Japonisme in the form of a Viste or cloak from Paris, c. 1890:

Viste or Cloak, French, c. 1890; Constructed of off-white cashmere twill; appliqués of embroidered fabrics with kabuto (samurai helmet), butterfly and cherry blossom motifs; feathers at front, collar and back slit. This piece is a fascinating example of Japanese designs referenced by Paris fashion. These motifs were hand-worked in elaborate cord embroidery onto separate silk cloths, which was then applied to the cashmere. The sideways-oriented kabuto that acts as a counterpart to the cherry blossoms is laid out symmetrically in a European fashion. The visite is one version of a coat created for the bustle silhouette. Kyoto Costume Institute (AC5367 86-17-7)

The above illustrations and descriptions barely touch the range of Japanese influences that were found in Western fashion during the late 19th Century but even from this limited sample, it can be seen that they served to create some stunning effects that only served to enhance the aesthetics and sheer beauty of the period styles. This is an area that has been largely neglected by those striving to recreate the fashions of the period and it merits further consideration.

The Bustle Dress – A Brief Overview, Part 2

April 15, 2015February 13, 2019 / Adam Lid / 5 Comments

We continue on with our brief survey of the bustle dress and today we’re going to discuss the Mid-Bustle Era or years from 1877 through roughly 1882. Compared to the large, overstuffed and somewhat chaotic-looking bustles of the early 1870s, the Mid-Bustle Era was a direct contrast, acting in reaction to the excesses of the previous period.

The most striking characteristic is that now the profile is much slimmer, with just a vestigial hint of a bustle, and a general lengthening of the bodice creating a more slimming, upright appearance. The end result is a sculpted silhouette that in many ways is reminiscent of a Classical Grecian statue (of course, aided by the corset).

Below are just a few examples of the Mid-Bustle Era dress and in each of them, you can discern a much reduced bustle:

French, 1879; Metropolitan Museum of Art (C.I.51.23.1a–c)

Wedding dress, c. 1878; Metropolitan Museum of Art (2009.300.18a, b)

Wedding dress, American c. 1878; Metropolitan Museum of Art (2009.300.18a, b)

Here are two more pictures of the above dress from the front and side:

: Front View

: Side View

The example below depicts a more extreme version of this trend with almost no bustle whatsoever and an extremely elongated cuirass bodice.

Day Dress, c. 1875 – 1880.

Another excellent example showing the sleek, upright style characterized by the cuirass bodice combined with a near-elimination of the bustle. For further inspiration, some fashion plates from 1877:

Some final observations- although the rear silhouette has become significantly reduced, many dresses, even day dresses still featured trains. Naturally, one has to question whether or not this represented a fashion ideal and if the train was eliminated for more practical walking.

In contrast with what came before and what will come after, the Middle Bustle Era represents a short-lived moment in the broader fashion trends of the period from 1870 through 1890. While it is tempting to thing that this marked the decline of the bustle, that was not to be for another ten years or so in the early 1890s. However, while the bustle may have had its moment, it will always remain immortal in the eyes of Lily Absinthe.

Next: The Late Bustle Era from the early 1880s through 1890.

The Bustle Dress – A Brief Overview, Part 1

April 14, 2015May 27, 2015 / Adam Lid / 1 Comment

The terms “Bustle Era” and “Bustle Dress” are often tossed around indiscriminately with the vague idea that it describes a dress from 1870 through 1890 or thereabouts. Well, this is true to a degree but it falls short in that there is a lot more depth and subtlety to it and more precision is needed if one is to be able to intelligently discuss women’s fashion during the late 19th Century. It’s as if one were to refer to the period from 1960 through 2000 as the “Blue Jeans Era”- yes, blue jeans existed and were worn but in no way does it describe the fashions of the era.

To begin, the “Bustle Era” could be said to cover the years 1870 through 1890 with a bit of overlap in either direction (fashion rarely puts itself in neat date categories ;-)) and it could be broken down into three phases:

1) Early Bustle, 1870 – 1878

2) Mid Bustle, 1878 – 1882

3) Late Bustle, 1882 – 1890

Now, just to reiterate, the dates that I give are not meant to be precise start and stop dates, but rather rough “fuzzy” parameters and I don’t profess to have the last word in this. With that, let’s proceed.

This illustration gives a rough guide to the changing profile or silhouette of the bustle dress. Of course, as the skirt changes, so does the bodice.

A somewhat simplified chart depicting the three styles.

In the beginning, the bustle evolved from the earlier crinoline of the 1860s and as the decade progressed, one could see the skirt gradually being gathered in the rear as opposed to the earlier look of it being evenly distributed. Below is an example of a day dress from the late 1860s:

Moving forward to the early 1870s, we see the bustle look begin to take shape (pardon the pun :-)):

Day dress, is British from c. 1870 and you can see the bustle profile consisting of several layers of draped fabric arranged to draw the eye towards the rear (Metropolitan Museum of Art, 1980.409.1a–c).

Here is another example that gives a better profile view:

Here is another day dress, American, c. 1870 that illustrates the flow of the bustled skirt.

Here is another day dress, French, c. 1870 made of blue silk taffeta that illustrates the flow of the bustled skirt. Note the contrasting patterns of ruffles with straight skirt panels (Kent State University Museum, KSUM 1983.1.127 ab).

And one final example, this time from 1876:

This is an American day dress from 1876 that in combination with the previous images, illustrates the basic bustle profile from the early to mid- 1870s. Here you can see the look becoming more refined.

The above are only three examples of the variety of dresses extant through the period. Trim and decoration could vary, some had trains of varying lengths, and contrasting colors and patterns were also often used. When it came to evening wear (i.e. ball gowns and evening dresses), trains were longer and more fancy fabrics were used.

However, the key element was that the bustle profile was achieved by a combination of artful draping and a defined understructure that served as a skeleton in much the same way a modern skyscraper’s structure is defined by steel girders, no matter what sort of decorative exterior there is. Below are a few examples of what went on underneath:

The first example is the Crinolette which represents the first stage in the development of the bustle, As such, it was a half-way point between the earlier cage crinoline and the bustle. This example is from c. 1870.

The first stage was the Crinolette, which was a half-way point between the earlier cage crinoline and the bustle. Victoria & Albert Museum (T.775C-1913)

Crinolette, c. 1870; Victoria & Albert Museum (T.775C-1913)

Nest, we see an example from 1871 that is more defined as a bustle:

British, c. 1871; Metropolitan Museum of Art (1985.27.4)

Bustles came in a variety of styles and made from various materials. Bustle pads were also used which tended to give a more softer look to the skirts. Bustle pads came in a variety of fabrics. Here is one example of a bustle pad from 1875 that was made from linen and horsehair:

Bustle Pad, made from linen and stuffed with horse hair. Victoria & Albert Museum (T.57-1980)

And here’s another one from 1873:

Bustle Pad, 1873

The above has been somewhat brief and as with all historical costume, there were exceptions but this should give a general idea. Finally, just a cultural note: during the Bustle Era, there were those that considered the word “bustle” to be vulgar and thus, alternative names were used to include the “tournure” or “dress improver”. 🙂

Next: Part 2, the bustle reduces and the profile becomes more upright and streamlined. In the meantime, below are some more images from the early 1870s for your edification: