Today we travel to January 1890 as the extreme bustle fashions of the late 1880s were fading out and transitioning to something different. So how did the new decade open up for fashion? Below is a fashion plate and accompanying description from the January issue of Peterson’s Magazine:

Fig. I – DINNER DRESS OF STRIPED RED AND BLACK SILK. The front of the skirt and surplice-vest are of gauze of a lighter shade, over a plain silk of the color of the gown. The overdress is a princess polonaise, which a short train and elbow sleeves. The revers, which begin at the back of the neck and are run down the entire length of the skirt, are covered with either a passementerie of silk cord or else heavy Spanish lace, in black. A black velvet ribbon, three inches wide, forms the girdle. Long black Suede gloves.

Fig. II – EVENING DRESS OF PLAIN EMBROIDERED BLACK GAUZE LACE. The underskirt is of the plain material and laid in accordion plaits [pleats]. The overdress and bodice are of embroidered gauze or lace and simply gathered to form the sides and back. The bodice is pointed front and back, and has Grecian brebelles (?) across the bust. The shoulder-straps are simply sprays of flowers corresponding with the design and color of the embroidery on the overdress; the same trim the front and sides of the dress, arranged in festoons tied with knots of pale-green ribbon. Likewise, a similar ribbon forms the girdle and adorns the shoulder straps. Long Suede gloves, High coiffure.

Fig. III – EVENING-DRESS, OF PRIMROSE SATIN AND BROWN VELVET. The skirt of this gown is much wrinkled in front, and has a moderate train. The sides are of the golden brown velvet and also are slightly wrinkled over the hips. The pointed bodice is composed of satin and velvet, with a, simple puff for a sleeve. Long white Suede gloves. High coiffure.

Fig. IV – POMPADOUR EVENING-DRESS, OF FIGURED BLUE CHINA SILK combined with a striped Pompadour brocade, The skirt is short and the edge trimmed with two rows of fringe. The full bodice has a short jacket of the brocade which is worn over the full bodice. The edge of the full bodice, the sleeves, and the ends of the sash are also fringed. Hair dress low.

Fig. V – VISITING OR HOUSE DRESS, OF PALE ROSE SURAH OR NUN’S VEILING. The edge of the short, round skirt is finished by a wide ruching of pinked-out silk. The bodice is cut in one with the skirt on the right side, and it laps surplice-fashion over a vest of pale-green surah or China silk; the same forms the long sash and the deep ends for the full sleeves. A large black velvet or lace hat entirely covered on the brim with ostrich-tips. In front, a high standing loop of velvet ribbon.

In Figure I, we see an underlayer of a skirt and surplice/vest made of a light gauze in a light red or rose color (we assume that the skirt of a base layer to anchor the gauze). Covering this it an polonaise utilizing a princess line with a small train and designed to be open in front so as to show the gauze underlayers. The overdress fabric is striped with dark and light red, the light red being the same shade as the skirt and surplice-vest and makes for a dramatic effect, especially when combined with the revers which are decorated in a passementerie. Finally, black velvet ribbon is ties around the waist and draped down the front to create a girdle effect that is reminiscent of Medieval fashion and for this dress gives the impression of the overdress being a robe. The overall effect is dramatic and perfectly fitting for a dinner dress. Below are some extant examples of dresses with similar style effects:

Figure II is an evening dress that is somewhat understated, utilizing an light green plain underskirt with accordion pleats. The overdress and bodice are constructed of a black gauze. The black overdress is somewhat offset by the use of flowers for the shoulder straps and  for decoration on the dress.  Finally, as with the dress in Figure I, there is a sash of light green that is also arranged to create a Medieval style girdle.

Figure III is an interesting combination of primrose satin and brown velvet. The skirt has a moderate train and is in primrose satin and the bodice is of brown velvet with the primrose satin trimming the front and shoulder straps. The bodice is pointed and has stripes of skirt-length brown velvet running on each side. The primrose and brown make for a complementary color combination and was often used during the late 19th Century. Primrose is not a term often used these days so here’s what the color looks like (don’t let the “rose” in “primrose” fool you). Below is the color itself:

And in dress form…although it could be argued that this is more of a gold color…

Style-wise, here’s something very similar to Figure III:

 

The dress in Figure IV is a bit of a mystery in that the description reads that the dress is made of “figured blue China silk” yet the fashion plate portrays a white fabric with what appears to be some sort of design in black. Perhaps it’s a matter of semantics combined with looking at a fashion plate that is over 110 years old with attendant fading and the like. In any event, it doesn’t bear much of a resemblance.

Getting past the fabric description, the skirt has two layers with each layer trimmed in fringe. The bodice is covered in short bolero made from a brocade and also trimmed in fringe. Style-wise, this dress is a mishmash of styles that are not harmonious and overall, this style just does not work. Well, every era has its fashion fails…

In contrast to the dresses in Figures I, II, and III, the dress in Figure V is more restrained as befitting of a house or visiting dress. The skirt is made of a pale rose colored surah or nun’s veiling that is round with no train and is plain except for rouching of pinked silk running along the skirt hem. Underneath is a vest of pale green surah or China silk that is covered in a bodice that matches the skirt. Finally, a matching light green sash in surah or China silk tied with long tails creating the Medieval girdle effect completes the dress. Overall, the dress style resembles a draped robe.

In this collection, we see that each of these dresses attempts to create a draped effect, mostly through the use of a loose over bodice combined with a long sash that has been tied to create a girdle similar to Medieval style. With the exception of the dress in Figure IV, each of these dresses gives the effect of a robe that has been bound by the sash. Depending on one’s perspective, one can see Japanese and Classical Greek influences at work and it could be argued that this style hints at what was to later develop during the Teens.

The above was just the beginning of the 1890s and as we will see in future posts, fashion underwent some dramatic changes during this period. Stay tuned for more! 🙂

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