1880 Style- Some Details

July 5, 2021July 7, 2021 / Adam Lid / 1 Comment

The styles of the Mid-Bustle/Natural Form Era were a definite contrast from what had come before and by 1880 we see this in full flower. The early 1870s fashion silhouette of the fully trained bustle dress had given way to a slender, tightly sculpted cylindrical silhouette that had minimal, if any, bustling or padding. The above fashion plate from the May 1880 issue of Peterson’s Magazine clearly shows this style while at the same time showing a variety of individual styles within the overall trend. Here’s a another fashion plates:

The first thing that immediately catches the eye in the above plates is that the bodices are long, covering the hips in varying degrees- with the train disappearing, bodices could extend downwards, unimpeded. The next element that’s striking is the use of various forms of draping and ruching on most of the skirts. Yes, a few are plain and smooth but overall, it would seem that the skirt front was now a palette for displaying various decorative schemes. One especially popular style the “Louis XV” style which incorporated many late 18th Century style elements:

Bodice style could also take up a polonaise style with the bodice back forming part of the train, or at least helping to place emphasis on it (in varying degrees):

Peterson’s Magazine, April 1880

Finally, just to distinguish between basque and polonaise, below are images of two patterns that were offered for sale in the January 1880 edition of Demorest’s Family Magazine:

Now let’s look at some extant dresses:

Amedée Françoise, Day Dress, c. 1880; Metropolitan Museum of Art (43.72.2a–c)

Side Profile

Style-wise the above dress is similar to the plate in that the bodice is cut in a polonaise style, emulating a coat and underlying waistcoat/vest covering an narrow underskirt; the horizontal rows of pleating on the skirt further emphasize the skirt’s cylindrical silhouette. Note that the bodice back extends down to form part of the train. With its demi-train so it’s fair to say that this dress was meant for more formal public events. Here’s another dress that captures a similar style:

Day Dress, c. 1875-1880; Wadsworth Atheneum (1968.213)

This one’s shows a little variation with the skirt combining both horizontal rows of overlapping contrast fabric along the bottom hem along with asymmetrical draping further up. The rows of contrast fabric are continued onto the demi-train. It could be argues that the bodice of more a basque style since it’s obvious that the the outer “jacket” is merged with the inner “waistcoat” are actually one piece and it doesn’t appear that any part of it extends further down to form a train. It’s a subtle difference but obvious if one looks closely. In future posts, we’ll be discussing early 1880s fashion more and exploring the various individual styles that were out there.

Color Selection- 1870s Style

July 3, 2021July 2, 2021 / Adam Lid / Leave a comment

One of the central tenets of choosing colors for a particular dress is that one must choose colors that are appropriate for when and where a particular dress or gown is going to be worn. A dress that looks fabulous in the noonday sun may look absolutely horrible when viewed in a gas-lit ballroom at night. In short, context is everything when selecting a suitable color or color combination for a particular dress and it’s one of the fundamental principles that drives our designs. However, this is not simply us reciting a fashion truism- From the January 1875 edition of Le Follet, Journal Du Grand Monde:

It is necessary to be very careful in the selection of shades for evening-dress, as they are so very different by day and gaslight. Many of the best shades for day wear have quite a faded or dull appearance by night. Thus, the peacock-green, so beautiful in the sunlight, takes a yellowish tinge by gaslight. Those greens with the most yellow in them are the best for evening toilette. Yellows of different shades- buttercup, sulphur, and, above all, maize- are all good for this purpose. Reds gain in brightness; rubies also become more brilliant; nacarat [a shade of pale red-orange] appears lighter; cerise changes to ponceau {a red poppy color]. A rather yellow white is preferable to the purer white, and silver-grey looks well; but the bluish-grey is not a good shade for night.

Here’s an example of nacarat:

And cerise:

Image result for cerise color

And finally ponceau:

This is just one example but it makes an important point in that one must always be mindful of context when recreating historical fashions.

Modes Pour La Plage – 1870s Style

July 1, 2021July 1, 2021 / Adam Lid / Leave a comment

Seaside fashion has always been a theme in 19th Century fashion and a a standard feature in most fashion journals of the time. Much of what’s depicted in fashion plates of the late 19th Century that’s labeled “seaside” are really no more than conventional warm weather styles that could just as easily be used in a variety of settings and there’s nothing really uniquely “seaside” about them and in fact, some seem pretty elaborate for an outdoor setting by the beach. But, fashion is always interesting even if the context is a bit muddied:

Le Moniteur De La Mode, No. 32, August 1876

The above plate is interesting on a few levels- from the background, it appears that the two ladies are talking to a man in front of what can only be changing sheds, judging from all the clothes on the rail. We suspect that it’s more about the men changing into clothes more suitable for going in the water… Style-wise, we see the Mid-Bustle/Natural Form Era in full flower with the dress on the left wearing a Directoire style bodice/coat worn with a trained skirt. The use of vertical lines on the coat/bodice and the horizontal trim stripes on the skirt are an interesting combination that’s not often seen. The dress on the right is a bit more conventional with a polonaise worn over a plain trained skirt. The Polonaise is combined with a matching apron/short overskirt, creating an interesting silhouette. Of course, we speculating here a little and we wonder if this was ever actually constructed.

Le Moniteur De La Mode, No. 27, July 1876

With the dress on the left, long pleats and outline trim accentuates the demi-train. The cuirass bodice sweeps below the hips, further accentuating the overall silhouette. The dress on the right has a smaller train and instead places emphasis on vertical lines, especially the two revers running along the bodice front.

Le Moniteur De La Mode, No. 36, September 1876

In the above plate, the dress on the left seems to be a compromise style where the hip bustle and train have not been completely abandoned. Also, the elaborate tassel trim running along the overskirt give the dress a more busy appearance, distracting somewhat from the overall silhouette. The dress on the right follows a princess line, de-emphasizing the hip and waist and placing the focus on the front and lower skirt with a combination of large bows and pleating.

Of course, the above dress styles would work in a number of environments other than just the beach but it must be noted that these are fashion plates, which by their very definition are meant to depict idealized fashions in idealized locations. Basically, they’re more about fantasy and that fantasy in turn generates sales. But in spite of the fantasy element, these plates are an interesting illustration of Mid-Bustle style. One final note- efforts were made to devise more practical beach wear but it was going to be a lengthy process; for more on this, check here.

The Aesthetic Movement & Reaction

June 30, 2021June 30, 2021 / Adam Lid / Leave a comment

The Aesthetic Movement, and more specifically Aesthetic Dress, arose in response to the predominant fashions of the Victorian Era and as such, sought to replace challenged convention in advocating for less structured and confining fashions. Of course, as with all fashion movements, there’s always friction between competing trends and styles and this is captured somewhat subtly in this 1881 painting by William Powell Frith:

William Powell Frith, A Private View at the Royal Academy, 1881

This painting is a somewhat of a who’s who of British society and many notable people are depicted:

The annotated version…

For our purposes, what’s notable are the two groups of people in the front wearing aesthetic dress. Oscar Wilde is included with the right aesthetic dress group, speaking about the artwork. Also, behind the right group is a group of men reacting negatively to Oscar and his group. The painting was meant to be a caricature in that Frith had little regard for aesthetic dress nor Oskar Wilde, one of the aesthetic movement’s most vocal advocates. Frith explains in My Autobiography and Reminiscences, Vol. 2 (pp. 256-27):

Seven years ago certain ladies delighted to display themselves at public gatherings in what are called aesthetic dresses; in some cases the costumes were pretty enough, in others they seemed to rival each other in ugliness of form and oddity of colour. There were — and still are, I believe — preachers of aestheticism in dress; but I think, and hope, that the preaching is much less effective than it used to be. The contrast between the really beautiful costumes of some of the lady habituées of our private view, and the eccentric garments of others, together with the opportunity offered for portraits of eminent persons, suggested a subject for a picture, and I hastened to avail myself of it. Beyond the desire of recording for posterity the aesthetic craze as regards dress, I wished to hit the folly of listening to self-elected critics in matters of taste, whether in dress or art. I therefore planned a group, consisting of a well known apostle of the beautiful, with a herd of eager worshippers surrounding him. He is supposed to be explaining his theories to willing ears, taking some picture on the Academy walls for his text. A group of well-known artists are watching the scene.

The motivation for making this painting could simply be attributed to his simple dislike of Oscar Wilde (often referred to as “the apostle of the beautiful”) but it also reveals a reaction towards aesthetic dress and the aesthetic movement whose ideas ran counter to the structured realist painting style that was predominant in Victorian Britain. It certainly strikes us as modern readers as seemingly much ado about nothing- aesthetic dress was pretty innocuous and with it’s emphasis on unstructured movement, it did offer an alternative for women.

Liberty & Co., Day Dress, c. 1890s; Metropolitan Museum of Art (1986.115.2)

Ultimately, what we found compelling here is that we see a trend and a reaction before us in an explicit way and it’s interesting to watch the conflict develop. As a fashion trend, aesthetic dress didn’t last long; fundamental changes in women’s wear was another 20 years or so off with visionaries such as Paul Poiret. However, it’s a good illustration of how fashion trends and their reactions are often rooted in cultural conflicts. We hope to explore these ideas some more in future posts.