Of course she’s still in pins, but what’s a little hand finishing the night before we leave for the Tombstone house? This silk faille is a dream to sew with…can’t wait to see this in my violet parlor room. 🙂
Karin McKechnie-Lid
Out And About…
Recovering from the Thanksgiving feast…we took a little turn about town. This time of year, Tombstone is pretty empty so we took the opportunity take a few pictures. 🙂
Happy Thanksgiving!
Carmencita, the early years? 🙂
We at Lily Absinthe want to wish everyone out there a happy Thanksgiving, no matter where you are. Thanksgiving is a somewhat unique holiday in that it speaks to our ideals and aspirations as a nation and while throughout the years we may have fallen short of the ideal, we still strive to make it a reality. President Rutherford B. Hayes’ Proclamation No. 247, officially establishing the holiday, says it best:
At no period in their history since the United States became a nation has this people had so abundant and so universal reasons for joy and gratitude at the favor of Almighty God or been subject to so profound an obligation to give thanks for His loving kindness and humbly to implore His continued care and protection.
Health, wealth, and prosperity throughout all our borders; peace, honor, and friendship with all the world; firm and faithful adherence by the great body of our population to the principles of liberty and justice which have made our greatness as a nation, and to the wise institutions and strong frame of government and society which will perpetuate it – for all these let the thanks of a happy and united people, as with one voice, ascend in devout homage to the Giver of All Good.
I therefore recommend that on Thursday, the 25th day of November next, the people meet in their respective places of worship to make their acknowledgments to Almighty God for His bounties and His protection and to offer to Him prayers for their continuance.
In witness whereof I have hereunto set my hand and caused the seal of the United States to be affixed.
Done at the city of Washington, this 1st day of November, A.D. 1880, and of the Independence of the United States the one hundred and fifth.
R.B. HAYES
By the President:
WM. M. EVARTS, Secretary of State.
With that, we give thanks for our good fortune and we give thanks to all our friends for being friends!
Adam & Karin
And For A Little 1890s Day Dress Style
One of the most interesting things about 1890s styles is the use of color and fabrics. Today we feature a day dress that was made in 1892, or close thereabouts:
Day Dress, c. 1892; University of New Hampshire Library 157a,b)
What immediately caught our eye was the near-florescent colors of the base fashion fabric and the trim. The fashion fabric appears to be a dark blue velvet trimmed with a combination of the dark and light blues and salmon red . In terms of silhouette, appears to be more early 1890s where the leg-of-mutton sleeve are prominent but haven’t reached the out-sized proportions later seen by 1895. Also, the dress “bodice” appears to be a jacket and waistcoat style although in reality, it’s probably just a one-piece construction. Here’s close-up of the bodice:
What is interesting is that the colors are in excellent condition, given the age of the dress and the luster is amazing- it’s almost iridescent. Granted that lighting and camera angle can alter a garment’s visual appearance but it’s still amazing. Here’s some close-up views of the trim:
The trim is especially interesting and especially towards the bottom where one can see grape-like bead clusters that give an effect is that of garden vines. Below are a couple of views of the skirt design:
The lining appears to be a combination of blue silk taffeta and a blue-red cotton(?).
The pictures do not give justice to this dress and it’s difficult to determine the specific construction. For the skirt, below is a full description from the University of New Hampshire Textile Library website:
The skirt has the effect of multiple layers but with just one waistband. A six-gored foundation skirt of blue silk is smooth-fitting in front and pleated at the hips and back, and is slightly longer in back than in front. Over this, four panels of the voided velvet hang from the waist to nearly the floor, free-floating except for a few tacking stitches to keep them from flopping over and with dark red silk facings just wide enough to cover the inside edges.
The panels are wide enough to show three of the voided pattern bands each, and at the bottom of each band is a grape-like cluster of silk-wrapped and crocheted balls in graduating sizes, left free to dangle. The two front panels are sewn together but have the same decorative buttons and loops as the bodice. Beneath the panels, more blue velvet is sewn to the foundation layer in flat panels and box pleats to make it appear that there is an entire underskirt of velvet. In back, a 96.5 cm/38 in. wide panel of floor-length blue velvet, partially sewn in at its sides, is cartridge pleated to a short band and hooks to the waistband to cover the center-back opening of the foundation skirt and provide fullness. Machine-sewn and hand-sewn.
The construction details are fascinating and we wish that we were able to examine this dress in person- one can only go so far from pictures alone. We hope you’ve enjoyed this brief view of a fascinating early 1890s day dress. Stay tuned for more!
And For A Little 1890s Bodice Style
Today we show a little 1890s bodice style with some interesting designs that we recently came across. First up is this somewhat de-constructed 1890s bodice from the John Bright Collection:
Bodice, 1890s; John Bright Collection.
Unfortunately, beyond a vague “1890s” date, there’s nothing specific so it’s hard to pin down the specific year. However, the basic shape does read 1890s, possibly mid-1890s. Below is a close-up view of the bodice front. Note the tight armscyes of the armholes. It would be interesting to know what sort of sleeves were attached. 🙂
It’s hard to make out the fashion fabric but it’s most likely on the order of a black silk taffeta with white/ivory-colored passmentarie combined with lace along the center front (presumably to cover the front opening). On the waist is a band of black silk satin with a large bow on the left side. Below is a close-up of the collar which combines a black silk satin straight collar with petals in the back. The petals are each decorated with an embroidered floral pattern reminiscent of 18th Century motifs.
Close-Up Of Collar
For comparison, below is a similar bodice style constructed with a faux vest in the front:
Bodice, c. 1895-1897; Minnesota Historical Society (9520.11)
In many respects, the above mid-1890s bodice is fairly similar and we could easily see it with a gigot sleeves. Of course, it could have just as easily reflected the more restrained sleeve styles of the early and late 1890s:
Bodice- 1893
Bodice- Late 1890s
Either way, this bodice style provides a nice “blank canvas” for a variety of fabric, color, and trim styles.