Another 1893 Ensemble Dress From Maison Worth

Here’s another ensemble dress from Maison Worth, also from circa 1893. Style-wise, it’s similar to the example that we presented in a previous post but perhaps a little more restrained. Here are a few views:

Worth 1893 Day Reception Afternoon Dress

Worth, Ensemble Dress, c. 1893; Metropolitan Museum of Art (2009.300.620a–e)

To us, this bodice reads visiting/afternoon dress, more of a formal day-oriented garment. Below, the bodice reads more of a reception dress or possibly evening dress- although that’s probably stretching things a bit.

Worth 1893 Day Reception Afternoon Dress

The Alternate Bodice

Once again, we see a jacket style for the day bodice with a filler of tulle. The skirt and jacket bodice are a pea-green silk brocade with black lace trim and accents. The night bodice with its light cinnamon colored silk velvet provides a pleasant contrast to the pea green. Compared to yesterday’s example, this dress is a bit more restrained but it’s still a nice design. The silk brocade fabric is interesting and we only wish that there were some close-up pictures of the fabric detail. It’s evident that both the dress and the one in yesterday’s post used identical or fairly similar pattern pieces. Finally, here’s an interesting part of the ensemble- matching shoes:

Worth 1893 Shoes

Matching shoes to outfit.

Stay tuned for more posts on this subject. 🙂

 


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And For A Little More Early 1880s Style…

Edouard Alexandre Sain, The Red Parasol, Private Collection

Today we continue our exploration of early 1880s style with a special emphasis on bodices. To illustrate the variety of bodice styles that were out there, here’s a small sample from the April 1880 issue of Peterson’s Magazine, starting with, what is described as a “walking costume of blue-stripe serge:”

Here’s some more detail from Peterson’s:

The demi-long train is kilt plaited, and the round tunic which ends in a point is caught up at the back, and finished with several rows of machine stitching. The deep basque bodice has a pointed waistcoat and revers, and is ornamented with buttons.

As befitting a walking dress, this dress is very simple and unadorned, consisting of an over/underskirt combination combined with a basque bodice. As with many bodices of this period, the bodice is one piece that mimics a coat and vest combination. The skirt is plain with a little fullness to the rear that creates a thin train of sorts that’s continued with a pleated demi-train on the underskirt. Overall, the effect is that of a woman’s tailored suit.

Next up are are visiting and house dresses, also featured in the April edition of Peterson’s:


And here’s the accompanying description of the two dresses:

[Left] Visiting dress of almond-colored Camel’s hair: The skirt has four plaited flounces edged with brown cashmere, shot with gold color. The over-dress opens part way down the front, is very plain, and slightly draped at the back; it is of almond-colored camel’s hair; the jacket with the added basque is of the brown cashmere, threaded with gold color. A brown straw bonnet trimmed with almond or with gold color would be very appropriate with this costume.

[RIght] House dress of gray bunting, trimmed with very gay plaid bandanna, or cotton material; the skirt is l:ilt-plaited to the knee, and the kilting is trimmed with two bands of cotton bandanna; the full tunic forms two points at the sides, and a draped breadth at the back. Bodice with a simulated waistcoat. Cuffs and collar of the bandanna.

As with the walking dress, both of the above dresses have basque bodices that have been cut as jackets. The bodice on the visiting dress on the left is long, extending past the hips and is reminiscent of the Louis XV style. On the other hand, the bodice on the house dress is much shorter, just covering the hips and follows relatively more sculpted lines. For skirts, both feature outer/underskirts; the outerskirt on the visiting dress is draped, falling open to feature rows of pleating on the underskirt. For the house dress, the skirts are both closed and lay directly on top of one another with the outerskirt falling away in an open “v” towards the bottom, revealing rows of pleating on the underskirt.

The polonaise was another popular style and like the basque, it could appear in a variety of styles as see with these illustrations from the February and March 1880 issues of Demorest’s Family Journal:

As can be seen from the above sampling, there were a wide variety of polonaise styles available on the market, all aimed at a mass market in pattern form.  In our next post, we’ll be looking at some extant dresses from the early 1880s that illustrate the wide variety of basque and polonaise bodice styles.

 



The State Of Fashion- Spring 1889

The 1880s were drawing to a close and with it the Late Bustle Era. While the fashion press hinted at new trends for the 1890s, older styles still prevailed as revealed by this commentary in the April 1889 issue of Peterson’s Magazine when it discussed Parisian fashions:

The fashions of the present spring show but little positive change, so far, from the styles, of the past winter. This was to be expected, after the thorough revolution in the make of dresses which has taken place during the past six months. The .adoption of flat-plaited skirts, of short demi-trains, and of modified leg-of-mutton sleeves, together with the revival of dresses with corsage and skirt or over-skirt cut in one piece, such as the redingote, and the polonaise, and the princess dress, are sufficient to mark the* inauguration of a new era in feminine toilette. Hooped skirts are abolished, to the great misery of the dressmakers who have discovered, after years of disuse, that it is much harder to make a gracefully cut skirt falling in straight plain folds, than one that admitted of being looped up here and bunched up there whenever any irregularity presented itself.

It’s interesting that the writer notes that dressmakers used loops and folds characteristic of 1880s dresses to conceal their mistakes. What’s also interesting is that reference of made to the leg-of-mutton sleeve although its manifestation was no doubt a lot more muted that what was to come in the Mid-1890s. 🙂 The writer further notes that:

The polonaise and princess-cut dresses are very advantageous for spring wear, as they can be worn for promenading without a wrap as soon as the mild weather definitely makes its appearance. A very elegant form of the latter style of costume is to have the dress in cashmere, with underskirt, plaited vest, and corsage-revers in satin. The satin underskirt is made in flat square plaits in front, the perfectly plain princess-cut dress in cashmere falling over it in straight loose folds…

The redingote is universally adopted for the more elegant form of demi-toilette, such as is in vogue for small dinners, soirees musicales, and such like informal entertainments. It is made in brocade, usually in a solid color, and opens from the throat downward over an underdress that may be in lace, or in satin, or embroidered gauze, or in crepe de Chine, being about a quarter of a yard shorter than the round underskirt. Very often the sleeves are made with high puffed epaulettes. When the underdress is in crape or gauze, a wide belt in some soft silken material is often added with good effect. The whole dress should be in one color, every portion of it matching in shade..

So what this might have looked like? Well, to begin, here’s one fashion plate from the same issue of Peterson’s:

Peterson’s Magazine, April 1889

The redingote style is further illustrated in this plate:

The left dress above is interesting in that the redingote takes on the appearance of a elongated tail coat and the overall effect is distinctly neo-directoire.

The above plates illustrate a number of variations on the redingote with an princess line underneath and what’s interesting is that the line between outerwear and garments worn inside is blurred. And just to be complete, here’s a couple of extant dresses that captures many of the elements described above. First, this dress from 1888 embodies the whole idea of the redingote combined with a princess line dress:

Mme. Uoll Gross, Day Dress, 1888; Metropolitan Museum of Art (2009.300.618a, b)

From all appearances, both the outer redingote and the inner princess line dress both appear to be continuous and in fact, appear to be of one piece. Of course, these are only photos so without the benefit of examining closer, they may be in two pieces but we seriously doubt it. Style-wise, we see a large vertical sweep that draws the eye up towards the center bodice.  The patterned “interior” fabric really stands out when combined with a solid dark outer fabric. Finally, it’s interesting that the rear silhouette has been softened, lacking the sharply defined bustle silhouette characteristic of earlier 1880s dresses. Next, there’s this day dress that was made in 1889:

Mme. Uoll Gross, Day Dress; Metropolitan Museum of Art (2009.300.619)

Although hidden by the netting, the bodice features a faux vest underneath:

While it appears that the bodice and skirt are two separate pieces, the overall effect is still vertical with an emphasis on the large vertical paisley design motif in skirt.  While we acknowledge that some of our conclusions may be stretching a bit, it’s interesting to note the various micro style trends that were going on towards the end of the bustle era. Here you can see the beginnings of the transition to 1890s style and to us, the transition is fascinating to watch.