Lily Absinthe Takes A Look At Chartreuse

Color is one of the basic building blocks in fashion design and we are constantly on the lookout for colors that will enhance the overall aesthetics of our designs. In the course of researching some dresses, we came across a dress that utilizes chartreuse, ochre/gold, and green for dramatic effect and we thought that we would share it with you:  🙂

Day Dress 1870s

Day Dress, c. Early 1870s; Centre de Documentació i Museu Tèxtil, Barcelona, Spain (11899)

Day Dress 1870s

Frontal Close-Up

The chartreuse base fabric appears to be a faille and the trim is a combination of yellow ochre and light green/chartreuse (it’s hard to tell exactly from the picture).

Day Dress 1870s

Side Profile

Day Dress 1870s

Rear View; Unfortunately, the skirt is discolored, most likely from poor storage at some point.

And here are some more details:

The basic fashion fabric is what appears to be a chartreuse-colored silk faille with the bodice and skirt front trimmed in yellow ochre and light green; the hem is trimmed in four rows of knife pleating. Also, the hem guard appears to be in green that matches the trim (you can see the hem guard peeking out from beneath the bottom row of knife pleating.

Finally, here’s a rough color palette:

 Pallette2

The above is merely one of many different design schemes possible but it’s definitely one on our list. :-).



And Something From Maison Worth

Maison Worth has always been a source of inspiration for us and we’re always on the lookout for new (at least to us) designs. Recently, we came across this circa 1902 ball gown/evening dress (the boundary between dress types often seems to be a bit fluid). Unfortunately, not a lot of information is available on it (the Europeana website is a dysfunctional mess) so we’ll have to rely on the pictures themselves. We first start with back and front views:

Worth, Ball Gown, c. 1902; Galleria del Costume di Palazzo Pitti via Europeana Fashion

A floral theme is definitely the focus of this dress style with the an ivory/cream silk satin embroidered with a gold floral pattern. The bottom third of the dress is covered in what appears to be a lace overlay decorated with gold-colored metallic spangles (no doubt these are probably stamped from steel). The bottom lace overlay is blended into the overall design motif and gives the appearance of the flowers and vines emerging from a forest ground cover. In terms of silhouette, this dress follows the graceful lines characteristic of Maison Worth during the late 1890s/early 1900s and the train is graceful but not overpowering. Below is a close-up of the skirt:

Below is a close-up of the lace overlay:

The bodice is an extension of the overall decorative effect, combining the floral and ground cover motifs. The shoulders are given some emphasis with blush-colored tulle and gold-colored lace on the sleeves creates a sleeve effect. Finally, we see sink silk satin running along the neckline and shouldered which combined with the pink sash, create a harmonious three-color combination of pink, gold, and ivory. Below is a close-up of the bodice:

This dress is another nice example of Maison Worth’s designs and follows a similar vein as some of their other works:

Worth, Evening Dress, c. 1902; Fashion Museum Bath

Worth, Evening Gown, c. 1895; Museum of Fine Arts, Boston (2003.288.1-2)

Stay tuned for more!



Spring Is Coming…

Day 5 for @pinsent_tailoring #modernlessmarch is: “Peace”. My source for peace of any kind is usually found in a garden or Nature, filled with roses and herbs all sun-warmed and dappled sunlight on silks and sheer cottons. The Impressionists knew this, now we follow in their footsteps with ruffly girly picnics. We SHALL picnic again!
Soon ❤😎



Modernless March

Day One of #modernlessmarch hosted by @pinsent_tailoring is: “What am I?”
I’ve been an Artist all my life, after I retired from being LA City Calligrapher, we jumped into Lily Absinthe full time. Our time is divided between our Woodland Hills house and our Victorian house in Tombstone, Arizona…and always with Angus and Fiona, our two fur peeps. Bringing old things to life is how I approach projects, old houses, old lace, old hats, old gowns, old sewing machines…they all need some love and a little magic. 🙂

 

 



At The Atelier: Design Creation- Part 5

In out last post, we completed construction on the canvases for the two front pieces of the Eton jacket and now it’s time to move on to completing the rest of it. As noted previously, this jacket pattern is one that we drafted utilizing a pattern drafting system developed by Charles Hecklinger in The Keystone Jacket and Dress Cutter.  So let’s move on…🙂


Turning to the sleeves, we note that these sleeves have near-90 degree elbow bends and curves which present some challenges for sewing. We found the most practical method to be to first sew and finish the inside seams first. Next, the outer seams are sewn up. We must emphasize that these require a high degree of clipping along the seam allowances and ironing in order to maintain smooth lines and preserve the shape. It’s a definitely more complicated than conventional straight sleeves.

And now, time to put together the lining:

We  decided  to use a moiré for the lining…

Above is the assembled back and side pieces…then the two fronts which combine the lining and facing fabrics:

And finally, assembling the outer layer:

And here’s the lining all assembled:

And finally the outer body:

We’re happy to say that all the pattern pieces fit together very nicely and only a minimum of adjustments were needed. It’s hanging very nicely on the mannequin and we look forward to finally putting the main body together. 🙂

(To be continued…)