Victorian (to 1901)

Trending For February 1887…

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And now trending for February 1887 in Peterson’s Magazine:

Petersons_Feb 1887

Peterson’s Magazine, February 1887

The above plate is described as follows:

FIG. I. – VISITING-DRESS, OF YELLOWISH GREEN CASHMERE. The back of the skirt (which falls in straight folds) is made of plain cashmere. The front drapery is of India silk of the same color, figured with red palms. A wide ribbon sash, of the color of the cashmere, and striped crosswise with emerald-green velvet, is tied in long loops, and forms panels at the sides. The full bodice is of the figured silk. The extremely stylish jacket is of emerald green velvet, faced with silk the color of the back of the skirt, and is ornamented with large buttons. Hat of yellowish – green felt, trimmed with ribbon of the same color and a red bird, and faced with emerald-green velvet.

FIG. II. – WALKING-DRESS, OF DAHLIA-COVERED SPOTTED CLOTH. The underskirt is of velveteen. The upper skirt laid to fall in wide plaits, and is shorter in front than at the back. The drapery at the back is short at the top, but falls in jabot-plaits almost to the bottom of the skirt. The close-fitting jacket is braided, and trimmed with gray fox-fur The muff is of the material of the dress, decorated with a bow of ribbon. Hat of purple velvet, trimmed with a yellow bird.

FIG. III. – WALKING-DRESS. The long cloak is made of fawn-colored striped cloth. The sleeves are very long at the back, wide, and trimmed with velvet. A band of velvet passes over the shoulders, and narrows at the waist. High collar of the velvet. Bonnet of red plush, with white plumes.

FIG. IV. – VISITING -DRESS, OF OLIVER-GREEN-COLORED SILK AND STRIPED VELVET. The under part of the skirt and side panels is made of the striped silk and velvet. The full front and back drapery is of plain olive-green silk. The bodice is also of the plain silk, laced, and the little close-fitting jacket is of green velvet, with elbow-sleeves, and trimmed with green jet-bead passementerie. Hat of olive-green velvet, trimmed with green feathers and a white bird.

FIG. V. – HOUSE-DRESS, OF POPPY-COLORED SILK. The underskirt is made of cream -colored silk, striped with red velvet. The overskirt opens on the right ride, and is faced with cream-colored silk, brocaded in red velvet. The plain red silk is arranged diagonally, in full plaits, oil the skirt, It is draped far back on the left side, and in loose folds at the back. The bodice opens over a cream-colored diagonal-plaited vest, and is trimmed on the right side with a velvet revers. Velvet collar.

In terms of style, one still sees the late 1880s bustled silhouette but it looks somewhat more restrained in this particular fashion plate. Of course, this being a fashion plate, some license is to be expected so perhaps one should not read too much into it; one must also consider other evidence such as original photographs and extant original garments. Nevertheless, it is still interesting and gives a hint of what is coming in the 1890s.

However, the following comment from the February 1887 “Our Paris Letter,” a monthly column in Peterson’s Magazine describing the fashion trends in Paris, notes:

The diminution of the tournure, the falsely- so-called “dress-improver,” appears to be definitely decided upon. Worth is using all his powerful influence in that direction, as he dislikes very much the ungraceful stiffness imparted to the upper portion of the toilette by its undue dimensions. The newest articles of this description are composed of ruffles of hair-cloth- the genuine “crinoline”- and the sides are simply laced together underneath, neither steel springs nor whalebone being used in the rubric. The most stylish toilettes have simply a silk cushion, stuffed with horse-hair, set just in the back of the skirt-band, and three rows of steel springs are set in the lower part of the skirt to hold it out. This is merely a return to the combination which was in vogue before the present- or, rather, the recent- exaggeration of his detail in feminine dress.

The above statement is interesting in that the sharp, angular “shelf bustle” was on its way out, at least in Paris, and was slowly being replaced by bustle pads with steel springs. Fashion was definitely on the move here. 🙂

For styles, we see a conventional one-piece bodice as with Figure IV while Figures I and V feature the jacket and waist combinations. Also, with Figure I we see a Directoire style jacket and both jacket and waist appear to be separate articles; in Figure V it appears more uncertain. Often with this style, the bodice was actually of a one-piece construction with a faux vest that only gave an appearance of a separate vest and jacket.

Turning to fabrics, one sees the velvet and velveteen being used and combined with silk and cashmere for winter daywear. This is to be expected, considering the time of year. The only exception to this is the house dress in Figure V.

Finally, based on the above descriptions, computer color-matching, and some subjective guess-work, below are some of the more dominant colors:

While the above is by no means an exhaustive overview of fashion in 1886- 1887, it is helpful as a means of determining what sort of fabrics, color, and silhouette should be employed in designing a late 1880s day dress that is suitable for fall or winter. The key points to keep in mind are that the fabrics used were of heavier weights (although nowhere near upholstery or curtain weight) and colors tend towards the darker tones. We hope that you have enjoyed this little window into what was trending in early 1887 and while fashions moved slowly during the 1880s, they were still moving. 🙂


The Advent of Sportswear- 1880s Style

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During the 1880s, sportswear became increasingly prevalent in women’s wardrobes as women increasingly spent more time outside the house and participated in various sporting activities. Cycling, tennis, and yachting were some of the more popular outdoor pastimes and while these started with women from affluent backgrounds, they gradually began to trickle down to the middle class.

Tennis costyme1881 - 1880s in Western fashion - Wikipedia, the free encyclopedia

 

As mentioned in an earlier post on John Redfern/Redfern & Sons, one of Redfern’s specialties was designing sports clothes and in particular, yachting dresses. Below is a plate from the July 31, 1887 issue of Harper’s Bazar:

Yachting and Tennis Dresses from Harper_s_Bazaar_1887

Moving from left to right, each dress is described:

Fig. 1- This youthful gown has a red serge Eton jacket, a white cloth waistcoat with gilt cord and buttons, and navy blue serge skirt with white cloth panels and a short apron. Gilt anchors of cord are on the white cuffs of the red jacket and anchors trim the skirt on the hips and at the foot. The red straw sailor hat has a white ribbon band and bow.

Fig. 2- This pretty dress for either tennis or yachting is of blue and white stripped serge or flannel, with a blouse-waist of dark blue India silk or of surah. The jacket is of simple sacque shape, quite short behind, pointed in front, open from the collar down. The lower skirt has wide pleats, and the apron is deep and pointed. White cloth sailor hat with blue ribbon band.

Fig. 3- This costume has a blue jacket, skirt, and cap, decorated with red anchors. The draped bodice is of white washing silk or of white wool, with a gilt belt and gilt buttons. The jacket is short and adjusted behind, but falls open in front in square tabs; it is lined throughout with red silk, which shows at the top when turned back.

Fig. 4- This gown is of white wool, with surplice belted waist and plastron, belt, sash, and borders of blue and white striped wool or of washing silk. It can also be made of navy blue with jersey webbing of blue and white stripes. Quite dressy toilettes of white nuns’ veiling or of challi are made by this simple design and trimmed with Pompadour-stripped silks, or those with Roman stripes or metallic stripes, or else with the silk tennis scarfs that have tennis bats, stripes, etc. wrought in them.

The first three dresses feature a jacket over a shirtwaist (or “blouse-waist”), a look that was characteristic of the 1880s and 1890s.1The Eton jacket was especially popular. The fourth dress is somewhat more formal and features a plastron bodice. Combined with masculine hats such as boaters or flat cap, the first three dresses give an air of casualness and ease of movement that is tempered somewhat by the bustled skirts. The fourth dress stands in contrast to the first three.

women-in-victorian-dress-playing-tennis-1880s

Of all the sporting activities women participated in, tennis was probably one of the most strenuous, requiring freedom of movement. Naturally, dress styles followed and here is just one example:

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Sports Dress, c. 1885 – 1888 ; Metropolitan Museum of Art (2009.300.2477a, b)

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Back View

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Side Profile

60.38.7_front bw

While the above dress gives an air of vigor and free movement, it is still anchored to the 1880s in that the bustle still remains, thought to be an aid to stabilizing the frail female body. At the same time however, we do see a shortening of the skirt to ease movement and a minimum of trim.

Below is a tennis dress, circa later 1880s:

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Tennis Dress, c. 1880 – 1890; Powerhouse Museum (1880 – 1890)

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The 1880s version of sportswear was not the most practical by today’s standards but it was a start and it represented a major departure for women in the way they lived their lives. No longer did life center around the home but it now included other spheres of life. During the 1890s, sportswear was to evolve even further and especially with the growth of cycling and this trend would ultimately combine with other trends that propelled women into playing a greater role in public life, thus giving rise to the “New Woman.”

This post only gives a taste of what was to come later in the 1890s but it’s interesting to see how it got its start. What is especially jarring to modern eyes is how the bustle still remained a style element even though it hindered the body’s free movement. But nevertheless, the die was cast and there were going to be changes in the role of women, changes that are still playing out to this day.


And Now For Some 1890s Outerwear…

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Today we take a look at an interesting coat from circa 1895-1900 made by Marshall & Snelgrove Ltd.:

Marshall & Snelgrove Ltd, Coat, c. 1895-1900; Victoria & Albert Museum (T.49-1962)

The coat is constructed of a dark purple silk velvet with the decoration being described by the V&A Museum as “a spray of an English wildflower called Sweet Cicely hand-embroidered in yellow and green silk, with petals of white felt.” With a Medici collar, the effect is magnificent and the coat must be gorgeous to look at in person. Here’s a close-up of the shoulders and collar:

The coat provides a large canvas for the decorative floral pattern and the deep rich purple velvet provides the period background for the floral embroidery and this coat would be exquisite to replicate. 🙂


Fashion Transition- The Late 1870s

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Change has always been a key characteristic of fashion and the late 19th Century was no exception. While the late 19th Century was seemingly an era of bustles and trained dress designs, in reality that wasn’t the case and there one can see a series of transformations through the 1870s, 80s, and early 90s. Fashion change has always been an endless source of fascination for us and especially the years from 1876 through 1883 and today we return to this theme.

Even as early as 1876, one can see the transition away from the full trained style characteristic of the First Bustle Era to the Mid Bustle or “Natural Form Era.” This transition was a gradual one, gathering steam until coming into full flower by 1878. One of the best sources for documenting fashion change is through mass media and especially fashion magazines. Of course, these do need to be used with a bit of caution in that often they were ahead of their audiences and not everyone would immediately adopt a new style (even if they had the financial means to do so).

To begin, let’s look at this fashion plate from January 1875 of Le Moniteur De La Mode:

Le Moniteur De La Mode, No. 3, January 1875

Here we see the full train and bustle style in full flower, especially with the one pictured on the right. And here’s a few more examples focusing on day wear:

Le Moniteur De La Mode, No. 4, January 1875

Some more seemingly transitional styles- note the bodice extends over the hips with the dress on the right. We’re unable to tell with the dress on the left due to the mantle but the mantle pretty much neatly covers the hips. With both dresses, the bustle and train are restrained, making for a smooth silhouette.

Le Moniteur De La Mode, No. 5, January 1875

The dress on the right maintains the earlier train/bustle style but it’s a bit tucked in towards the middle which acts to control the fullness. On the other hand, with the dress on the left, we see a hybrid of sorts that also maintains the earlier train/bustle style but then maintains a fairly large skirt volume all the way to the hem- to us, it almost seems that this style is trying to create a modified bell skirt style reminiscent of the 1860s. Not the most flattering style, to say the least.

Le Moniteur De La Mode, No. 46, November 1875

Finally, with this example, we see another attempt to tighten up the silhouette and place a greater emphasis on a low demi-train. It’s definitely a hint at what’s to come. The above plates, along with others from the 1875 issues of  Le Moniteur De La Mode show an interesting mix of dresses: some have the extensive trains and bustles characteristic of the First Bustle Era while others show a smoother, more restrained style although the bustle is still noticeable at hip level.

Moving forward into 1876, we see the near-total elimination of any sort of bustle at hip level and an extension of the bodice over the hips. Also, interestingly enough, we see a number of dresses constructed in a princess line style with no waistline whatsoever. At the same time, we see greater emphasis being placed on the lower skirt and the development of a more complex lower train. Below are some examples from the 1876 issues of Le Moniteur De La Mode:

Le Moniteur De La Mode, No. 33, August 1876

The above dress is especially compelling with its clean princess line that emphasizes a cylindrical silhouette, aided by the stripped fabric that further serves to emphasize the vertical line. At the bottom, there’s a very simple multi-pleated demi-train. The whole effect is drastically different than what was before.

Le Moniteur De La Mode, No. 40, September 1876

With the above two dresses we see the cuirass bodice in full flower, completely covering the hips. Both dresses also employ extensive pleating and swagged fabric which accentuates the cylindrical silhouette of the Mid-Bustle Era and it combined with extensive trains (well, we’re assuming for the dress on the right).

Le Moniteur De La Mode, No. 45, November 1876

And without the swagging and pleating except along the hem and train. The dress on the right have a very elaborate train that’s an extension of the over and under skirts and they provide an interesting contrast both in color and texture. On the right, we see a more simple princess line dress that employs a rust brown and blue patterned overskirt over a plain rust brown underskirt. Both examples have no train at hip level and the train has been pushed to the bottom of the dress. No matter if it’s a princess line or not, the emphasis is on a slender “natural” form that’s been sculpted through corsetry and the right underpinnings. 🙂

Le Moniteur De La Mode, No. 47, November 1876

Finally, this dress displays all the attributes of the Mid Bustle Era style with very precise, clean lines. With this dress, the strategically placed striped edging delivers the greatest impact and creates a look that definitely reads “18th Century revival”. Christian Lacroix would be proud. We’ll conclude this post by saying that the above commentary is based on a very small sample of fashion illustrations culled from two years of one fashion publication but it’s still compelling to see an evolutionary process happening right in front of us on its pages. We intend to delve into this a bit more and hopefully gain a better understanding about how fashions evolve and change.


1890s Day Wear & Poplin

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From the July 16, 1899 issue of La Mode Illustree, this elegant yet functional walking suit style described as a toilette de visites ornee d’applications (roughly translated as a “Visiting outfit decorated with appliqués”):

This style features a simple wrap-around multi-gore fan skirt characteristic of the 1890s and decorated with a large floral design on the outer corner of the wrap skirt. The bodice is interesting in that it’s a jacket-bodice that’s intended to mimic a jacket over a vest although if you study the illustration, it seems that the vest blends into the jacket revers but you can just barely make out a faint line dividing the two- talk about optical illusion. 😉

Here’s some more details from the description: The dress is made from a bottle-green summer-weight poplin.  Also, the skirt is decorated with a large white lily appliqué on the right front of the skirt and white trim run along the edge of the skirt. On the jacket-bodice, the lily theme is taken further with a white decorative lily motif trim on the sleeves and bodice front- it’s also noted that the appliqués are edged in bottle-green silk to match the overall dress color.  At the top of the vest portion of the jacket-bodice, there’s a silk green plastron covered by white ecru lace.1This is an extremely rough English translation from the description in the original publication.

This is an interesting style and it would have been nice to see fully created. What really sticks out is the use of a poplin fabric. During the late 19th Century, poplin was a plain weave fabric that usually combined silk warp yarns with wool weft yarns and often given a moire finish.2Dictionary of Textiles, 8th Edition; today, Poplin is woven from a variety of fibers, mostly cotton and the finish is often flat. Often confused with Broadcloth, Poplin is heavier. Although the fashion illustration doesn’t really provide any clues in terms of finish, it still bears more investigation as a fabric for spring and summer garments.