A Trip To The Fashion Museum Bath, Part II

The second dress we viewed at the Fashion Museum Bath was a complete contrast to the first: this time we were looking at an ivory-colored evening dress/day dress that was also made by the House of Worth either in the early 1890s (unfortunately there’s not a precise date). Once again, we’ll start with some general views of the entire dress:

The two above views really show off the skirt front and because it’s lying flat, one can readily discern the longer trained skirt back. The lining is a rough cotton and from what we could tell, the pieces have been flat-felled (although we can’t be 100% certain).

Unfortunately, given the close space I was working in, I was unable to get a good full-length picture so these will have to do. The dress is constructed of an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. The bodice sleeves and neck are three-quarter and trimmed with silk lace and ribbons. Here are a few more views that show off the fashion fabric better, in the bright morning light the pink blush was almost lost to the naked eye.

Here’s a closer view of the bodice:

The above two pictures give a good view of the bodice front. The buttons are fully functional and it appears that the buttonholes were sewn in by hand, utilizing strips of gimp. Below are two views of the bodice back:

The bodice has the characteristic back “tail” that laid over the train and one can get a good look at the fashion fabric itself. The pink blush stripes are very subtle and faint in some places- possibly a product of sun fading. Below are some more views of the skirt:

The above two pictures give a good view of the hem on both sides. On the outside, one can see a combination of pleating combined with small bows. On the inside, the hem is a simple double-fold with a hidden catch stitch. Below is a detail view of one of the sleeves:

And here’s the bodice opened up to reveal the interior:

As with most bodices of the period, the interior is lightly boned on top of the major seams to give the bodice structure. The bone casings are made of a gauze silk/cotton(?)-like fabric and have been stitched into the lining and seams allowances.

Boning channels have been sewn in parallel to the buttonhole line.

And, if you have ever wondered just what sort of stitching was used for finishing the interior of the bodice, here’s a good close-up view:

Interior view of the bodice with stitching and the iconic Worth label.

Judging from the skirt and the bodice, we’d date this one from the early 1890s. The longer skirt back suggests that a bustle appliance of some sort would have been worn, most likely probably a pad (small pads were still in use during the 1890). Because of the bodice’s fragility, I was unable to get a good look at just how large the sleeve caps are but there’s definitely some room there. It’s definitely not the full-blown gigot sleeves of the mid 1890s but the style of the bodice is definitely headed that way. The skirt is composed of multiple gores, at least five to seven (we were unable to get an exact count).

From this picture, one can get a good idea of the fashion fabric.

The fashion fabric, as stated previously, is an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. This is an interesting choice of fabric and it’s pretty subtle. Although it’s hard to say with 100% certainty, this dress reads “bridal” and it would certainly work for that purpose although it could just as easily answer as a better visiting/afternoon dress or even a reception dress, depending on the event. Well, this pretty much wraps up our visit to the Fashion Museum Bath and we want to thank the staff for their assistant and patience. We hope to return in the near future and view some more dresses from their collection. Merci beaucoup! ๐Ÿ™‚

A Trip To The Fashion Museum Bath, Part I

We began our first full day in Bath with a trip to the Fashion Museum Bath for a special viewing some select items from the museum’s collection. First up, is this evening dress/day dress made by the House of Worth either in the early or late 1890s (the official date is 1890). We’ll start with some general views:

General view of the bodice and skirt front. It’s kind of hard to capture the magnitude of the dress because it was on a table and the room was small.

The front of the bodice and upper skirt.

The bodice back.

Close-up of the bodice.

For some basic details, the dress appears to be constructed from a black silk velvet with a lighter gray floral pattern created by burning out the velvet (or so it would seem). Supplementing the floral pattern decoration on the bodice are crystals (probably Swaroviski since they were a major supplier to Worth). The official date on this dress is 1890 but to us, there may be some play in the dating- it’s hard to determine the precise silhouette since this dress is not on a mannequin but our best estimate is either early or late 1890s since the sleeves are relatively restrained, lacking the gigot sleeves characteristic of the mid-1890s. Of course, we could be wrong and if so, we graciously concede. ๐Ÿ™‚

So far, this dress seems fairly conventional within the range of Worth and we guess that this is either a better afternoon/receiving dress or even a reception dress (probably less likely). However, once we we were able to get a better view of the skirt, the beauty of the dress was revealed:

The front of the skirt is divided by a black silk velvet panel running down the front with a string of decorative flowers running down the center. Below is a close-up of the flowers:

The flowers themselves are created by long metallic beads combined with ribbon. If you look closely around the flowers, you will notice what appears to be white spots or collections of lint; but they’re not. Actually, these are discolored worn down spots in the velvet plush where the beads had pressed down hard into the velvet. It appears that this dress was stored folded up for a long time. Now, here’s a view of the back of the skirt which really shows off the decorative pattern. Notice how it grows as it gets towards the hem. The skirt, incidentally, appears to be either a five or seven-gored single skirt characteristic of the 1890s.

Here’s some more close-up views of the burnt velvet itself:

This picture is especially interesting in that is shows that the floral pattern had subtle outlines around the individual leaves and it was hard to tell if it was burnt-out velvet or if another process was at work. The backside of the skirt offered no clues since it was completely lined with a fairly sturdy cotton.

Although this is a bit blurred, note how it’s actually two pieces of fabric coming together in the middle. Also, it’s been sewn in on the bias since the floral pattern narrows as it moves towards the top. This is also illustrated below:

Turning to the bodice, here are some views:

Closures consist of hooks and eyes and the top of the bodice and neck were lined with lace. Below is a picture of the bodice back:

The bodice back is decorated in the same way as the skirt with the floral pattern completely covering the bodice back. Also, there’s a v-back with a plain black velvet fill and the a tail at the base of the bodice that provides a natural beginning for the pattern seen on the back of the skirt. The eye is naturally drawn up and down. ๐Ÿ™‚ Next, here are close-up views of one of the sleeves:

 

Note the crystals that add to the overall effect. ๐Ÿ™‚ And just to be complete, here are some interior views:

The bodice interior. It’s lined with what appears to be a black polished cotton. Note the three eyes- these attached corresponding hooks that are set in the back of the skirt to prevent any separation between the skirt and bodice. Here’s a view of the interior stitching:

The back and front of the bodice are lightly boned on top of the major seam lines to maintain their shape (a corset was worn underneath to maintain the basic silhouette (body contouring, if you will). Also, note that the seam allowances are all finished by overcast stitching, which was standard for the time, and tacked down to the lining. Compared to some Worth dresses we have examined, this is actually pretty tidy. Below are some more interior views:

In all the Worth dresses we’ve examined, the seam allowances are notched with gentle edges which allows the fabric to follow the bodice curves with no bunching or bubbles. Also, note that the bodice is NOT constructed as what’s referred to today as a “turn and flip.” Rather, the pattern pieces were flat-lined with each piece of fashion fabric stitched to it’s corresponding lining pattern piece BEFORE the pieces are sewn together.

And the iconic Worth label.

Overall, it’s a fantastic dress and is a good example of Worth’s later work and illustrates the construction techniques that were utilized during the period. The design is elegant and definitely catches the eye, leading it up and down the dress to admire the complete floral decorative effect. It’s simply brilliant. ๐Ÿ™‚ We’re honored that we had the opportunity to view it in person- merci beaucoup to the museum staff!

(To be continued…)

And For Some More Originals…

LBD*, circa most likely 1898 with those smaller sleeve puffs at the shoulder and that interesting shirred silk brocade contrast arm gusset that matches the applied collar pieces. Someone tried to steal some of her inner boning before she came to live with us, but that assault allows us to politely inspect her insides. Don’t you love that pretty cotton print on the inside and those precise hand stitches for her Hong Kong finishes? She’s not a mourning bodice, she was somebody’s special gown that glittered with every graceful corseted turn. I like to think she’s seen a lot of happy occasions and deserves the love we can give her. She’s definitely on my “must pattern her” list! ๐Ÿ™‚

*Little Black Dress- term made famous by Coco Chanel

The Princess Line, Redux

Our previous post on the Mid-Bustle Period, and the princess line dress in particular got such a favorable response that we decided to follow up on with some more examples.

Le Moniteur De La Mode, 1876

One of the dramatic and interesting styles is the one above utilizing an open redingote combined with an underskirt in two complementary colors and contrasting ruffles. The train also employs several layers of the same complementary colors. Also, the use of revers is taken to an extreme, especially towards the bottom when the revers open out to create the illusion of turn-backs. Overall, the effect is very reminiscent of the 1780s and 90s, an era something that often influences mid-1870s styles.

Le Moniteur De La Mode, 1878

This style is a bit more “conventional” in that it stays with one color, taking its decorative effect from the various ruffles, pleating, and trim. Also, while it’s impossible to tell just what the illustrator had in mind with the fashion fabric, one could easily imagine silk brocade or similar.ย  ๐Ÿ™‚

The Englishwoman’s Domestic Magazine, June 1878

Here we see a couple variations with the trains with various degrees of pleating, bows, and contrast colors. In many respects, the only limits are one’s imagination. Also, it must be noted that the illustrator has used a bit of artistic license portraying two ladies’ dressed with trains that are clearly not optimal for trekking through the woods. ๐Ÿ™‚

Looking past the sheer beauty of these designs (and making allowances for the fact that these are fashion plates), one can see that there’s a few different design options here when recreating this style. First is the train- trains varied in length ranging from a full train for the most formal of occasions to the demi-train which was pretty standard for the majority of formal occasions (and a lot more practical to maneuver in). For day wear, the train was either short or non-existent. Moreover, with the train, one could choose to leave it relatively unadorned, with maybe a small row of knife-pleating or one could go all out, adding rows of pleating, ribbons, and other lace trim.

Turning to the overall style, while upright sculpted silhouette set the basic shape, oneย  sees a variety of variations to include a straight skirt all the way to the feet or the skirt is draped and gathered towards the bottom. Also, the entire dress could be styled as an open redingote with revers that opens up to reveal an underskirt that could be in a complementary color with ruching or a similar style. This style could also be done in either a single color or with complementary colors. In short, there was a wide variety of style choices available and designers/dressmakers/individual sewers utilized them all.ย Below are a few original dresses that help illustrate this point:

Day Dress, Swiss, 1880; Metropolitan Museum of Art (C.I.55.40.5)

With the above dress, we see a simple arrangement of shapes and lines in blue and ivoryย  combined with contrasts in the fabrics’ textures as well as the use of ruching.

Day Dress, Princess Line, c. 1878; National Museum, Prague (H2-193316)

With this dress, we see the fashion fabrics have similar textures but with contrasting steel gray and ivory. Pleating and trim are kept to a minimum and the style relies more on colors and fabrics to make its statement.

For this dress, while it utilizes complementary colors, it relies more on contrasts in textures: the ruching and pleating on the dress’s front panel are combined with a silk brocade covered by netting.

Afternoon Dress, c. 1878-1880; Manchester Art Gallery ( 1947.4118)

Rear View

This final example utilizes two fashion fabrics in complementary colors combined with contrasting fabric textures: a pale blue flat textured silk combined with a lighter blue silk satin. To further add interest, floral embroidery has been added to the bodice front and train. Also, while the bodice has a fairly simple shape, the lower skirt incorporates a series of ruffles and pleats to give a draped appearance.

We hope you’ve enjoyed this brief excursion through the the world of the Mid-Bustle Era princess line dress and we want to emphasize that while we may have deluged you with a wide a variety of style variations, our intent was to show that one has a wide range of choices when it comes to recreating this style and perhaps provide a bit of inspiration. ๐Ÿ™‚