Lily Absinthe- Musings from Tombstone

Tombstone panorama, 1909 during the Second Boom.

Tombstone panorama, 1909 during the Second Boom.

It’s been an exciting five days here in Tombstone and the fact that we have not been here since New Year’s makes it even more so. We have had a second home in Tombstone for the past 12 years and while we have seen many people come and go, it never seems to grow old or tired and there’s always something exciting going on.

As many of you may know, back in 2003 we bought a small house here that was originally built in 1904 and we have spend the past 12 years renovating it a bit at a time. Restoring a vintage house can be challenging but we accepted the challenge. 🙂 Sometimes the renovations are planned for and at other times, they are not; the most recent example of having to replace our stove since it was leaking natural gas was now a major hazard (not to worry, everything is all right now).

When most people hear of the town of Tombstone, they naturally think of the Earps and the Gunfight at the OK Corral with visions of gunslingers clad either in black or wearing red sashes walking down Allen Street to their ultimate “date with destiny”. Of course the reality was, and is, much different but to this day, Tombstone has been defined by a 30-second gunfight. To some, Tombstone is the epitome of everything Old West and harkens back to a day when life was more raw and seemingly free of the restrictions of 21st Century America. To others, Tombstone symbolizes an out-of-control “Wild West” awash with freely available firearms and little or no law and order.

Gunfight at the OK Corral from the movie Tombstone (1993).

Gunfight at the OK Corral from the movie Tombstone (1993).

There are some elements of truth to both these interpretations BUT they are interpretations that reflect our own modern 21st Century prejudices more than anything else. Setting aside all of this, let’s consider the following.

Tombstone was a town established as a byproduct of a growing mining industry, an industry based principally on the extraction of silver and gold at first and later more mundane elements such as manganese and lead. As such, the town catered to the needs of the mining industry and the miners themselves. All manner of businesses opened in town ranging from Assayers to attorneys to handle the legalities of mining operations to merchants supplying food, drink, clothing, and tools. And naturally there were those providing for the miners in the off-hours to include saloons, theaters, gambling establishments, and brothels. In short, it was the textbook boomtown.

Unissued Certificate

Unissued Certificate

Mining Activity in Tombstone

Mining Activity in Tombstone

However, as typical in the case of most boomtowns, the initial excitement dies down, mines begin to play out, the expenses of operating mines begin to outweigh the profits, etc. and the town began to decline in the late 1880s. Most significantly, as the mines bored further and further down, eventually they began to experience seepage from the local water table to the point where it was interfering with extracting the silver. The technology of the time was limited and expensive and thus more capital was required to keep the mines going, something that was not available in all cases.

Walking beam pump- One of many massive pumps brought in at great expense to pump water out of the mine shafts.

Walking beam pump- One of many massive pumps brought in at great expense to pump water out of the mine shafts.

Finally, several major accidents combined with a decline in silver prices forced a major cutback in mining operations and soon many people left the area looking for opportunities elsewhere. By the 1890s, the town was in decline.

Tombstone, 1891

Tombstone, 1891

The above is just a very cursory history of the town of Tombstone but it does highlight one point that’s often missed: the town was a byproduct of the developing mining industry, not the other way around. Often in Westerns, whether in film or books, towns just seem to exist in all manner of illogical locations. Towns just don’t spontaneously pop up anywhere, there has to be a reason and that reason is due to some sort of economic activity and often times combined with geography and Tombstone is no exception to this. In short, the town needs a raison d’etre or reason to exist.

While gunfights and all of the associated secondary activities such as saloons, gambling, and “soiled doves” provide color and excitement and bring in the tourists, it can give a distorted view of Tombstone and lead people to think that Tombstone is some sort of Old West Disneyland. It is not. Tombstone was, and still is, a functioning real town and not everyone who lives there is enamored about putting on a “show” for tourists.

Finally, it must be noted that much of Tombstone’s local economy is based on tourism and it’s an important element in the town. However, many of its inhabitants work in Sierra Vista, Bisbee, or Benson and as such Tombstone also functions as a bedroom community.

So for us, Tombstone is more than gunfights, saloons, gambling and soiled doves. While this aspect of the West can be interesting in its own right, it’s not the whole story. To us, the everyday lives of ordinary people and their daily lives to be far more compelling and this is reflected in our interest in dress/costume (the term “costume” is used here to indicate any form of clothing that was worn in previous historical periods).

Fashion Plate, 1881 from the Revue de La Mode.

Fashion Plate, 1881 from the Revue de La Mode. Too fancy for a place like Tombstone? Not so, with the money flowing in from mining, many people had money to spend and they spent it freely (so long as the boom lasted).

We urge everyone who comes to visit Tombstone to look a bit under the surface to see the richness of both Tombstone’s and Arizona’s history. There’s a lot there and we’re constantly discovering new things. We hope to see you in town in the near future! 🙂

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Just off the Line at Lily Absinthe – Plaid Taffeta!

Hot off the line at Lily Absinthe is this plaid taffeta dress in the style of 1876. There is netting behind the puffs between the hip and the knee that serves to hold the skirt out in the style fashionable for the Mid-Bustle Era. The colors utilized are a dark emerald/absinthe green and amber representative of the new aniline dyes that were coming onto the market during the 1870s. Of special note are the various details to include knife-pleating, ruffles, rouches, shirring, overlays, bows, and lace. In short, it includes all the “Karin food groups”. 🙂

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From my perspective as a male, this epitomizes the look of the Mid-Bustle Era where the silhouette became slim and streamlined with a de-emphasis on the bustle but still having abundant hem detail.  The fit came  out perfect and she is going off to her new home. It looks like we have another winner here! 🙂

P.S. We sew everywhere these days- whether it’s a wedding gown in a hotel room the night before the wedding or red-carpet frock for that once-in-a-lifetime moment, we have  you covered! 🙂

Lily Absinthe and the American West – A Bit of Philosophy

Family portrait taken by Frank Albert Rinehart (1861-1928) at the 1898 Indian Congress in Omaha.

Family portrait taken by Frank Albert Rinehart (1861-1928) at the 1898 Indian Congress in Omaha.

The American West of the 19th Century has always held a fascination for us both in terms of history and its effect of fashion (and vice-versa). Fueled by movies and television shows, the American West is symbolized by seemingly vast emptiness filled with larger than life landscapes that are both harsh and beautiful at the same time.

Group of outlaws- One of the more typical images but one that still fascinates.

Group of outlaws- One of the more typical images but one that still fascinates.

Also, the various people of the West were no less larger than life. On the one hand, there were the Native Americans who were composed of many tribes, each with their own unique culture and language. And then there were the Americans, a culture with roots initially in the British Isles but increasingly expanding as people from different parts of Europe (and to a lesser extent, Asia) immigrated. And to further add to the mix were African-Americans who were initially brought to America as slaves.

Nat Love (aka Deadwood Dick) - One of many African-American Cowboys that were in the West.

Nat Love (aka Deadwood Dick) – One of many African-American Cowboys that were in the West.

Of course, the reality was more complex and as we learn more, the popular images about the American West change and transform themselves and what beliefs that were certain about have now come into question.

In front of a saloon in Georgetown, Colorado with a Chinese man who is identified as Chan Gow and his pit bull type dog. This photo is dated 1875-1892.

In front of a saloon in Georgetown, Colorado with a Chinese man who is identified as Chan Gow and his pit bull type dog. This photo is dated 1875-1892.

So what does this mean for us here at Lily Absinthe? Well, to us it provides a rich tapestry that to a great degree shaped and influenced who were are today, for good and bad. We would like to believe that the end product will be for the best but we are also realistic enough to know that this road is a bumpy one, full of twists and turns and featuring many shades of grey.

Mexican Vaqueros - Wild Bill's Wild West Show

Mexican Vaqueros – Wild Bill’s Wild West Show

It is a truism that the past informs current fashions and that was no different in the American West of the 19th Century. In looking at the pictures above, one can see influences transferring across cultures. From our corner, we are always on the lookout for examples of this diversity.

Paul Poiret- The Early Years

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Paul Poiret was one of the most influential fashion designers of the early 20th Century and played a major role in moving fashion away from the corset and its highly structural silhouette. But before his rise as Le Magnifique or the “King of Fashion,” Poiret got his start in the fashion industry as a free-lance fashion illustrator, selling his work to the various fashion houses in Paris. Later, in 1898, Poiret landed his first major position with Maison Doucet.

An early fashion sketch by Paul Poiret.

An early design by Paul Poiret.

While the above design definitely reads “1890s”, one can see a hint of what was to come with its clean vertical lines and the tiered skirt.

A later design pictured in the April 1, 1906 issue of Femina.

A later design for a Costume Tailleur advertisement pictured in the April 1, 1906 issue of Femina.

Here again we see the use of clean lines. The use of a diagonal check pattern also creates an interesting effect. It would have been interesting to see what colors the original outfit were. This is a tailored look that predates the Oriental influences that were to take hold in the following years. In future posts, we will be exploring Paul Poiret more thoroughly but it’s interesting to see what was happening before his ideas took hold in the fashion world.

Mauveine

One of the most notable developments in textiles and fashion during the Victorian Era was the invention of synthetic dyes of which aniline violet or “Mauveine” was the first. Mauveine was invented accidentally in 1856 by a chemistry student named William Henry Perkin. Perkin, aged 18, had been given a challenge by his instructor, August Wilhelm von Hofmann,  to develop a method of synthesizing Quinine that would be cheaper than its natural form. After one failed attempt, Perkin was cleaning a black substance, aniline, out of the flask with alcohol when he noticed the alcohol reacting with the substance to produce a purple solution.

William Henry Perkin in latter years.

William Henry Perkin in latter years.

After further experimentation, Perkin found that the purple aniline substance was suitable as a fabric dye, working especially well on silk. Subsequently, Perkin patented his new invention in August 1856 and then proceeded to develop it for commercial use and marketed under the name “Mauveine”. Also, Perkin found that tannin acts as an excellent mordant, allowing the dye to be fixed to cotton. On the other hand, silk was so receptive to aniline dyes that it could over-absorb the dye, making it difficult to dye in light shades, thus the silk was dyed in weak soap lather. Also, if too much dye was used, the silk also became hard, acquiring more scroop (a crisp rustling sound) which was not always desirable.

Up to this time, the only major source for true purple dye was Tyrian Purple which was made from the secretion of several species of predatory sea snails found in the Eastern Mediterranean (later, other suitable species of sea snails were found in the Atlantic and Pacific). Tyrian Purple was very expensive and hard to produce in quantity and traditionally, the color had been reserved for the upper classes. In comparison, Mauveine was extremely cheap because the aniline was derived from coal tar and coal was abundant throughout Great Britain and Western Europe.

The significance of Perkins’s discovery was not so much in the discovery itself but rather in that fact that that fact that he was the first to turn it into a commercial product, thus founding a new industry. The idea of synthetic dyes were not new; as early as 1834, a chemist named Friedlieb Runge had isolated a substance from coal tar that turned a beautiful blue color when treated with chloride of lime.

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Mauveine caught on with the public in a major way and it wasn’t long before Perkin and other chemists had developed and brought to market a wide range of aniline and other chemical dyes in colors including various shades of blue, green, red, and yellow.

The advent of synthetic dyes revolutionized fashion. It was now possible to dye fabric in colors far brighter than anything possible with natural dyes and it could be done inexpensively. When combined with the development of mass production processes for fabric, it was now possible to produce brightly colored fabrics in large quantities that were affordable for more people. The industrial revolution had truly arrived for fashion.

Shade Card, Friedrich Bayer & Co., Germany, 1896 Victoria &  Albert Museum (T.173-1985)

Shade Card, Friedrich Bayer & Co., Germany, 1896 Victoria & Albert Museum (T.173-1985)

So, with that said, let’s take a look at just a few dresses made from the new synthetic dyes:

Fashion Plate by François-Claudius Compte-Calix (1813 - 1880),Braequet (engraver) , France, c. 1860, Victoria & Albert Museum (E.22396:330-1957) Gallery location: Prints & Drawings Study Room, level C, case 96, shelf D, box 15

Fashion Plate by François-Claudius Compte-Calix (1813 – 1880),Braequet (engraver) , France, c. 1860, Victoria & Albert Museum (E.22396:330-1957)

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Afternoon Dress, Great Britain, c. 1860; Fashion Institute of Technology, New York (2006.43.1)

Day Dress 1873

Day Dress, Great Britain or France, 1873, silk; Victoria & Albert Museum (T.51&A-1922)

The popularity of Mauveine was cemented when the Empress Eugenie of France (who was one of the leading fashion mavens of Europe in the 1850s – 1860s) adopted the color into her wardrobe, allegedly because it matched the color of her eyes. The development of the crinoline also helped push things along in that the vast expanses of fabric used in a hoop skirt showed off the luster of the mauveine dye to its best advantage.

Franz Xavier Winterhalter,

Franz Xavier Winterhalter, “Portrait of Empress Eugenie”, 1854

Color Chart1

By the early 1860s, the craze for mauvein had died down and the public’s attention had turned to a wide variety of other aniline-based dye colors coming on the market such as Magdala Red,  Manchester Brown, Martius Yellow, Nicholson’s Blue, aniline yellow, Bleu de Lyon, Bleu de Paris, and aldehyde green. Almost overnight, the market for natural dyes collapsed and eventually, even the natural colors had their synthetic replacements.