Some Commentary on Walking Dresses & Walking Suits From the 1880s

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ne of the more interesting styles to develop during the 1880s was the walking suit/walking dress and they were both practical and stylish, incorporating both a wide variety of cuts, fabrics, and colors and were intended for wear while out in public. Just to preface, from what we’ve seen in the research we’ve done, the terms “walking dress” and “walking suit” seemed to be used somewhat interchangeably and it doesn’t appear that the concept was fully formed until the early 1890s with its characteristic jacket-waist-skirt combination. However, looking at this style in the 1880s, it would appear that first and foremost, the skirt was untrained and the hem tended to be a off the ground. Also, to a great degree, the bodice tended to be styled as a “jacket-bodice” in which the bodice was constructed to mimic a jacket over a visible vest or some sort of decorative treatment- often shirred chiffon. But, as mentioned above, the concept doesn’t seem to have been fully formed and the boundaries could get hazy at times (no doubt influenced by marketing concerns since much of the fashion press of the times was owned by various pattern-making concerns such as Butterick).

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The walking dress in action…

What ultimately became the distinct walking suit of the 1890s seems to have gotten it’s start by 1884 as a walking dress that was meant as a more practical garment. Below is some commentary from the December 1884 issue of Demorest’s Family Magazine:

In opposition to these dazzling house toilettes are the sober, neat street costumes which are almost universally worn. The material is usually some dark shade of cloth. Heavy serge and bure, a thick worsted goods with a coarse, shaggy surface, are especially popular for walking suits. The skirt is almost plain, simply a plaiting around the bottom, but a broad band of fur encircles it about a quarter of a yard from the bottom. A full overskirt drawn up high over the hips, and a little tight fitting fur-trimmed jacket complete a costume rich in its quiet simplicity. To be worn with it is a little bonnet fashioned from the same material, with plume 3 or tips of some contrasting color and velvet strings.

One suit is of dark-brown cloth, the skirt consisting of bayadère stripes {fabric]1A fabric with bayadère stripes is a fabric with horizontal stripes in strongly contrasted colors. of a lighter hue mingled with a grayish blue traversing the ground. No trimming except the foot plaiting of plain brown. Drapery and corsage are also of plain brown. The latter opens at the side beneath the full plaits of the waist proper so as to leave the striped vest unbroken in front. Cuffs and close collar are of the striped goods, and a band of the same about two inches wide reaches down the shoulder seam from the collar to the insertion of the sleeve.

The above passage defines the walking outfit as streetwear that is plain with an emphasis on darker colors and plain woolen fabrics. Skirts are meant to be simple and untrained with a minimum of gathering. At the same time, it’s noted that that the underlying vest is somewhat more colorful and loud and that the bodice is to be arranged to show it off to the best advantage. Finally, it must be noted that the skirt could be in a contrasting material, striped in the above example. The above points are further discussed in this passage below from the same issue:

The newest winter walking suits consist of skirt, jacket basque, and vest, real or simulated, and street-coat or cloak. The walking-jacket is not at all so indispensable a part of them as formerly. The jacket-basque, with vest, is cut in such a way that it completes a dress fit for the street; and when the temperature demands additional clothing, a longer, more protective. and adjustable garment is found necessary to meet varied requirements.

This is really an improvement, but a greater one is the getting rid of looped and bunched-up drapery from heavy cloth materials. “Tailors” proper—what are known as “ladies’” tailors—would have served a really good purpose, if they had strictly adhered to the original idea, maintained a certain standard, and not endeavored to copy the follies of tulle in solid cloth.

Redfern, the great Isle of Wight tailor, has done this less than others. He gets up astonishing contrasts in colors; his “yachting ” suits, his “men of war” costumes for girls, and his cloth “gowns,” are original and striking, but they are useful and suitable; his coats are full of inside pockets, and his traveling costumes seem made for the “road” and to have a satchel, or lorgette slung across them.

The above comments on Redfern are also interesting in that we see tailors trying to incorporate elements in their work that are more in the area of dressmaking, much to Demorest’s disapproval. Below is an illustration from the April 1885 of Demorest’s that illustrates some of the ideas expressed in the above passages in regard to the utility of the walking suit/walking dress. In the right figure, the skirt is simple with a minimum of gathering and the pattern provides a nice contrast to the solid colored skirt front and bodice sides and back. The jacket/bodice is also faced in the same material as the underskirt and helps create the appearance of a long waistcoat reminiscent of early 18th Century styles.

And just to show some of the variations in jacket/bodice styles, here’s another illustration, this time from the May 1885 issue of Demorest’s:

And lest we think it was just Demorest’s that was presenting this style to the public, below is an illustration below from the October 1886 issue of Peterson’s Magazine:

Below are some extant walking dresses from the 1880s, starting with this one from circa 1885:

Walking Dress, c. 1885; Metropolitan Museum of Art (1978.295.8a, b)

And below is another example from circa 1884-1885; and yes, it’s labeled as being a day dress and that’s true but it also encompasses elements of the walking dress style.

Day Dress, c. 1884-1885; Museum of London (32.26/2a)

Finally, we have this circa 1885 walking dress from Worth:

Worth, Walking Dress, c. 1885; Metropolitan Museum of Art (2009.300.771a, b)



Style Analysis – The Early 1890s

When starting out to study any fashion era, it’s easy to get lost in the details- the old phrase of not seeing the forest from the trees comes to mind here. 🙂 But this situation is easy to overcome by approaching things in a systematic manner. To help, we found the following method to be very helpful in approaching l1890s styles.  Some key elements to look for when classifying garments are:

  • Silhouette- What basic shape is the garment or dress (since that is mostly what we are dealing with)? The easiest characteristic to look for is the bustle- is there one? Maybe a vestigial one? Does it have a sharp, shelf-like appearance or is it softer?
  • Skirt- Is it straight or does it have a train? Many formal dresses has some sort of a train, usually extending out from the bottom of the dress (for example the “fan train” or “mermaid tail” commonly found with Mid-Bustle dress designs). Is there just one skirt or a combination over and underskirt?
  • Bodice- Is there just a single bodice or is it a combination of an outer bodice/jacket and an under bodice/vest? Are the sleeve caps extended or blend in with the bodice body? The leg-of-mutton sleeve is an extreme case of this and reaches its height during the 1895 – 1897 time frame (although there were always exceptions).
  • Fabrics- What is the basic fashion fabric? Wool? Silk? Cotton? Some sort of a combination? Woolens were very common for day dresses and especially those meant to be more “practical” such as with the house dress. Cashmere was (and still is) a better grade of wool and of course, silk was used for more finer dresses for wear in public or for some sort of social event. China silk, dupioni, shantung, taffeta, faille, and bengaline were some of the more popular choices for silk fabrics. Brocades and velvets were also employed although often only as contrast fabrics. There was a wide variety of yardage used and one could easily write a book on it.
  • Trims- What sort of trim is there? Knife-pleated fabric along the hemline? Netting? Embroidery? Buttons? The possibilities are almost endless.

The above is only a very cursory review but it provides a good roadmap in analyzing fashion and especially if one is designing their own dress or simply classify a dress.

In this post we’re going to apply the above scheme a bit towards understanding the development of one of the key trends of 1890s fashion- the development of the jacket-bodice/jacket and skirt style. To begin, below are some examples of extant garments from the early 1890s that should give a better idea of what to look for. We start first with wedding/day dress from 1891:

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Wedding Dress, 1891; Minnesota Historical Society (9444.10.A,B)

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Side View

The above was made as a wedding dress and has provenance as such but it also illustrates one of the more typical day dress styles that are characteristic of the period. This dress was obviously meant to worn in public and could have been used for visiting or as a dress to be worn at home to receive visitors; the beadwork gives it a simple elegance. Style-wise, we see that the bodice is acting as a jacket (somewhat) and some sort of shirt-waist or vest was worn underneath (the display mannequin just has some black velvet filler). Here’s another example, a little more elaborate day dress from circa 1887-1891:

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Day Dress, c. 1887 – 1891; Metropolitan Museum of Art (C.I.55.40.1a, b, e)

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Close-Up

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This is clearly a much more fancy dress than the first one but it does share the same over-bodice/jacket style. If you look at the top two pictures carefully, you can see that the fashion fabric is a light brown faille or taffeta. The fabric lining the inside of the collar and trimming each side of the bodice appears to be a peach-colored chiffon and it acts as a contrast to better show off the beading.

Below is another example, this time a visiting/reception dress from circa 1891:

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Visiting/Reception Dress, c. 1891, attributed to Mme. Lambele de St. Omer, No.30 E. 21st St, New York; Smith College Clothing Collection (1985.5.4ab)

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The above dress utilizes a combination of rust-colored silk faille, rust/gold brocade, and a claret-colored velvet. The brocade overskirt skirt is covered with rust-colored silk tails leading down from the bodice/jacket and underneath is a matching silk underskirt. The bodice is styled as a jacket, suggestive of a bolero with its high sleeve caps and wide lapels/revers. The sleeves are made of velvet and contrast with rust-colored silk on the rest of the jacket/bodice. The vest is also made of a rust-colored silk. Also, it must be noted that the skirt does have a small bustle made of spring steel. Besides the classic bolero style effect, we also see the overskirt being topped off with a waistband of the same brocade material giving the appearance of a sash wrapped several times around the waist, giving the effect of an obi found on a kimono. It is interesting that the brocade pattern runs at a 90 degree angle to the pattern on the skirt.

Each of the above dresses attempts to utilize color and trim in different ways. The first dress is a mono-colored and uses the leaf-patterned embroidery to provide a contrast. The second dress uses two different colors- a light brown/khaki color as the base combined with peach-colored chiffon accents covered with elaborate beadwork. Finally, with the third dress, we see the use of three different colors (rust, claret, and gold) in three different fabrics to achieve its effect. The third dress is far more ambitious and it succeeds.

In the above three pictures, we have seen three very different dresses that still share come common style elements. In particular, each dress’s bodice is styled as more of a jacket than a true bodice and it continues a trend that stared in the 1880s and would culminate with the development of “tailormade” walking suits during the mid to late 1890s. While an under-bodice or vest was usually worn underneath, a shirtwaist could also be used. Below are some early examples of the walking suit style:

Redfern, Bodice Jacket, 1892; National Gallery of Victoria- Melbourne (D187-1974)

Walking Suit, c. 1892; Metropolitan Museum of Art (1982.82.6a, b)

Walking Suit, 1892; Metropolitan Museum of Art (C.I.53.72.9a–c)

Front Close-Up

Ultimately, all the above dresses feature a jacket and skirt style but each executes it in a different manner and this trend was present throughout the 1890s. Where before dresses tended to consist of a bodice/skirt or princess line styles, they were now supplemented by the jacket/jacket-bodice and skirt style. One of the end results was a style that was extremely practical for everyday wear which reflected women’s increasing involvement in public life.


 

The Advent of Sportswear- 1880s Style

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.

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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

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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.



1890s Day Wear & Poplin

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.



Doucet & 1890s Style

While the House of Worth was the leading fashion house during the late 19th Century, it was by no means the only one. Couturiers such as Jacques Doucet, Emile Pingat, and Jeanne Paquin, just to name a few, were in constant competition with each other. In today’s post, we’ll be taking a look at Doucet and his take on 1890s style.

Doucet Ballgown c. 1898 - 1902

Doucet was one of Worth’s leading competitors and like Worth, he utilized a number of marketing techniques that are now standard in the fashion industry to include dressing celebrities (and especially actresses). Doucet’s creations tended to have a softer silhouette, utilizing large quantities of lace, tulle, and chiffon as well as metallics and lame.

Doucet Ballgown 1898 - 1900

Doucet, Ballgown, 1898 – 1900; Metropolitan Museum of Art (2009.300.3275a–c)

Doucet Ballgown 1898 - 1900

Three-Quarter Front View

The above ballgown, made sometime between 1898 and 1900, is made from what appears to be a silk chiffon backed by layers of lame. Unfortunately there are no close-up pictures available- it would be very interesting to have a close look at the fabric. With the exception of some tulle at the top of the bodice and leaf garlands on the shoulders, there is no trim and the dress relies on the richness of the materials themselves.

However, Doucet’s designs were not always so “simple”. Here we see one of Doucet’s more iconic work, a ballgown made sometime in the 1898 – 1902 time frame:

Doucet Ballgown c. 1898 - 1902

Doucet, Ballgown, c. 1898 – 1902; Metropolitan Museum of Art (2009.300.3274a, b)

Doucet Ballgown c. 1898 - 1902

Side Profile

Doucet Ballgown c. 1898 - 1902

Rear View

Here once again we see the fabric itself as the central focus of the dress style only this time there is an elaborate floral pattern created by leaves and foliage appliques on a gold lame background backed by what appears to be a silk chiffon underlayer. The upper bodice and sleeves are lace the overall effect is of shimmering gold.

So what about day wear? Here’s one example:

Day Dress Doucet c. 1890

Doucet, Day Dress, c. 1890; Kyoto Costume Institute (AC10445 2001-4AC)

The fashion fabric for this dress is a silk crêpe de chine with a stencil print pattern of bamboo stalks and the sparrow motif has been hand-painted separately. The fabric was most likely made in Japan for the export market and is an excellent example of the Japonisme theme that was often utilized by fashion designers during the 1880s and 90s. One again trim is minimal, limited to the hem, sleeves and collar finished off with a silk chiffon fichu.

However, designers could also works against type as with this ballgown that Doucet made sometime around 1890:

Doucet Ballgown c. 1890s

Doucet, Ballgown, c. 1890; Mint Museum, Charlotte, North Carolina (1998.13A-B)

Doucet Ballgown c. 1890sDoucet Ballgown c. 1890s

Doucet Ballgown c. 1890s

Close-Up of Bodice

Doucet Ballgown c. 1890s

Rear View

The use of black and white stripes, artfully cut and blended together (especially on the bodice) reads “modern”, something we would expect to see from the 1950s. The black and white chevrons on the skirt front are especially bold and they immediately draw the eye. Unfortunately, there is not a lot of information about this dress (at least from what I could tell from the museum website) and it raised some interesting questions in regard to provenance- it reads so differently than the majority of Doucet’s work that we almost wonder if this is a dress that’s been mislabeled- it certainly bears further study.

Although we can see two different approaches to design by Worth and Doucet (with a bit of overlap), it’s evident that there was an increased emphasis on making using the dress itself as a canvas for creating the design’s major effect. By this time, the use of trim is completely secondary and does little to distract the eye from the main attraction of the fabric design and this can be especially seen with Doucet’s two very different ballgown designs. We hope that you’ve enjoyed this brief excursion into some of Doucet’s designs. Stay tuned as we bring you more in the future.