We’re happy to announce that we were able to secure more yardage for sale from our suppliers and we’ve posted some new sales at Angus’ Attic on Etsy:
In contrast to the blogging of our prior trips, we’re going to blog our recent trip to England one somewhat out of order but it should still make sense (hopefully). So sit back and relax… 😄
While we were in England, we had a chance to visit the Whitchurch Silk Mill. Located in the town of Whitchurch in Hampshire, the mill was constructed from 1813 through 1815 by Henry Hayter on a plot of land called Frog Island. Taking advantage of the nearby River Test, the mill’s looms were powered by a waterwheel (today, the looms are run off of electric motors).
Since its initial construction in the early 1800s, the mill has had a number of owners and today it’s a public site managed by the Whitchurch Silk Mill Trust. Interestingly enough, silk is still produced here by commission, mostly for film and television productions. Below are some pictures of the machinery:
We couldn’t get any good pictures of the looms themselves so we found some images online:
One of the most interesting aspects of the mill were the looms and they even had two small ones that were set up for visitors such as ourselves to try out 😄:
The most compelling thing about the mill was that we were able to see how a typical silk mill might have looked (the looms you see date from the 1890s and later). Moreover, looking at the looms, one can instantly understand why the selvage widths of period fabrics were narrow- older looms simply were not as big as the massive ones now commonly used.1Admittedly an “Oh wow!” moment for us. We’re still processing the whole experience but the one major takeaway is that we have a deeper appreciation of how silk fabric was manufactured.
When designing an 1870s dress, one is often faced with an overwhelming number of choices. While the basic 1870s style was characterized by the all-encompassing bustle silhouette, all of the other details were far from uniform and there were a bewildering variety of choices available in selecting the fabrics and trims. Moreover, there were many available choices in bodice, skirt, sleeve, and train design to include the princess line that came into vogue in the late 1870s. Finally, compared to earlier eras, there is also a variety of color choices, all made possible by the development of aniline dyes.
With all these choices, where does one begin? One of the most effective methods that we have successfully employed throughout the years is through the use of contrasting colors. Below are some examples of the possibilities:
The color contrast could come in the form of a striped fashion fabric with one basic color and the stripes with the other color as shown on the above left figure. On the right, the contrast comes from the trim, in this case large bows and ribbons.
With the above plate, the contrast comes from the fabrics themselves. The dress on each figure consists of two sets of fashion fabric and in some instances, one of the fabrics could be patterned. Below is another example of this:
In the above plate, we see a base fashion fabric combined with a second fabric that’s been draped over the first. The large scale use of fringe enhances the contrast and in the case of the left figure, the second fabric looks like it’s ready for slide off. Of course this is fashion plate and a bit of artistic licence is to be expected. 😉
Wide stripes could also be used for a more dramatic effect as demonstrated with the above two figures. The cuirass bodice offered a wider “canvas” for these effects because of its larger continuous surface era. The princess line dress offered even greater scope for dramatic effect as seen below:
In the above plate, the dress on the left uses contrast to its fullest extent by unifying the contrasting colors in a continuous flow of fabric and especially with the train. The dress on the right is a little different in that contract color is limited to stripes and edge trimming and with the embroidered back panel on the bodice enhancing the overall effect.
In the above plate, the contrast effect is achieved through the use of striped trims to “outline” the dress in key areas. Once again, the princess line allows for this technique to be used to its greatest effect. Now let’s look at some examples of extant garments:
A color contrast can be achieved through a variety of methods. One of the easiest, as shown above, is to utilize two solid colors with one color acting as the base fashion fabric that covers the largest expanse while the other plays a secondary role with the contrast color. Note that the backside of the fashion fabric that has been turned out as shown along the bottom of the skirt while on the bodice there are revers and a faux waist coat. Below is another example of the solid color method:
With the above example, the secondary contrast fabric has been used to create a series of stripes running in a up the skirt on a diagonal angle to create a spiral effect. On the front of the bodice is a large panel in the same color along with two large sleeve cuffs. Another creative way to approach contrast colors are to use two different colors in two different fabrics as with the silk velvet combined with a silk faille in the dress below:
But why stop there? 😉 Contrast can be also achieved by having one of the fabrics be a stripe or other type of pattern as with the dress below:
In the above example, the two contrast fabrics are nearly equal in volume with the striped fabric being employed as an overskirt on the bottom and as trim on the bodice. Plaids and checks were also employed as with this dress:
Note how the striped fabric is dominant in the above dress, comprising most of the bodice, overskirt, and train. The solid color fabric shows up in the sleeves and underskirt and it’s the same color as the stripes in the patterned fabric with the ecru providing the contrast. This is just one possibility of many.
The princess line dress also offers many possibilities. While is maintains the bustle silhouette, the fact that there is no separate bodice and skirt creates a unified whole that runs smooth and uninterrupted as with this dress:
All right, so we went a bit overboard with the last dress but it’s an interesting color combination of light pink and steel grey (although it’s hard to detect with the lighting- it shows up best on the rear). In the front is a wide panel of light pink that’s offset by the steel grey on the remainder of the dress (with the exception of some detail on the rear). The above examples are just a small sampling of the color possibilities that are available. Combinations could simply be a matter of varying color shades such as dark and light blue or they could involve a combination of two different colors.
In choosing an effective color combination, keep in mind that while Victorians loved combining different colors, they also sought to have those colors harmonize at the same time, acting as complementary colors. Below is an illustration of a Victorian era color wheel developed in 1867 by Charles Blanc:
In the above illustration, the complementary colors are directly opposite of each other (e.g., yellow-purple, green-red, blue-orange). Naturally there are various shades in between and the complementary pairs will shift. The above is admittedly an over-simplification but it does give an idea of what designers were aiming for during the late 19th Century. And just to complicate matters further is the idea of saturation. Saturation refers to the intensity/vividness of a color. Colors that are highly saturated are bold and rich, while those that are desaturated lack in vibrancy.
An effective color combination could employ the principle of using two colors that are the same except for the difference in saturation. This is somewhat related to juxtaposing fabrics of two fabrics of different color shades as mentioned above:
The above is by no means a comprehensive overview and admittedly a lot of this is subjective. The best suggestion we can give is to look and pictures of original fashion plates and extant garments, making allowances for fading and deterioration. Certain combinations are going to look “right”, others not so much (and some could be downright ghastly- no different than today). We hope that this has provided some ideas to help you get started. 😎
We still have a large supply of the Raspberry Stripe Cotton Batiste fabric available for immediate shipment and just in time for Summer! 🙂 Sold by the yard at $5 per yard. To order, please contact us at email@example.com.
We have secured an additional supply of the Raspberry Stripe Cotton Batiste fabric that so many you have been looking for! The stripe is woven (see detail where I pulled the threads) and it burns to a grey ash (see detail) stripes run parallel to the selvage. It’s 55″ wide with a soft hand and begs to be your next project…it reminds me of gowns worn in French Impressionist paintings! Sold by the yard at $5 per yard. To order, please contact us at firstname.lastname@example.org.
Sweet and sheer 100% cotton batiste in a soft daffodil yellow and white stripe, going fast there’s twenty yards left. There’s still this pretty textile for your next summer gown. $5 a yard, 60″ wide…no more after this, I bought all there was! For more information, email us at email@example.com or check out our Facebook Page.