From The Lily Absinthe Collection

Ruby red cashmere, fur, and lace addition to our museum collection. I confess…I tried her on and twirled!  🙂

 



At The Atelier: Design Creation- Part 1

Every design starts out with an idea which in turn is transformed into a pattern block. Often when developing a new design, it’s necessary to revise the pattern after testing it out with a toille (aka mock-up) and sometimes this can be quite time-consuming, depending on the complexity of the design. Below is a rough idea of what we envision for the design. The pattern would be transformed into basic pattern blocks/sloper that could later be used to develop individual styles. Below is one source of design inspiration from the June 1892 issue of Demorest’s Family Magazine:

And onto the drafting…

The pattern has been drafted utilizing a period tailoring manual, in this case the 1895 edition of The Keystone Jacket and Dress Cutter by Charles Hecklinger. Now, it must be said that while Hecklinger provides fairly comprehensive details, you really have to parse some of his instructions because they ambiguous on first reading. Also, for the collar, I had to “fill in the blanks” with basic pattern drafting knowledge that’s not readily apparent in the book- this isn’t a complete cookbook for tailoring by any means but pre-supposes a lot of knowledge on specific details.

And now to put the pattern draft to the test and cut out the toille. I’ve traced out the pattern pieces onto muslin, adding a 1/2 inch seam allowance in the process.

The cut out pieces for the toille. Now to assemble them… 🙂

(To be continued…)

 

The New Woman Of The 1890s

Fashion history is integral part of what we do and it never fails to fascinate us. Although much of fashion can have interesting subtleties and nuances, at its core is that fashion reflects the zeitgeist or spirit of the times.


To the casual observer, the 1890s seemed to be little different from previous decades and was simply part of a monolithic seemingly never-ending “Victorian  Era.” However, the reality was far different and during this decade, major social, political, and economic changes were beginning to occur. Some changes would take decades to ultimately play out while others would occur at a much faster rate.

One of the most profound social changes during the 1890s was the rise of the “New Woman,” a woman who pursued an autonomous life independent from traditional marriage and motherhood. One key elements of the “New Woman” was that she was not economically dependent on a husband, pursuing an independent career. While this was the ideal, in practice it did not always work out this way but still it signaled a major change in women’s social roles. Along with this sense of independence, women also pursued leisure time activities outside of the home, something facilitated by the development of various sporting activities such as bicycling.

The rise of the New Woman was naturally reflected in the world of fashion. Most significantly, fashions began to become somewhat more functional (although the corset still remained part as an element of dress). With more women entering the workforce on the white collar level, more practical styles developed, the two most notable being the shirtwaist/skirt combination and the tailormade suit.

First, we turn to the shirtwaist/skirt combination. Shirtwaists were available in an almost endless multitude of styles and materials, the shirtwaist was a basic garment and available at prices for just about every wallet. Some were more feminine, featuring embroidery while others were meant to mimic men’s shirts. Fabrics could vary from sturdy cottons for day wear to silks and taffetas for more formal evening wear and came in white and various colors. Finally, sleeves tended to be larger around the shoulders during the early to mid 1890s, mimicking the distinct leg of mutton sleeve style found in dresses of the period.

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Shirtwaist, American, c. 1899 – 1902; Made of cotton; Metropolitan Museum of Art (C.I.51.15.16a, b)

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Detachable Collar, Metropolitan Museum of Art

The above shirtwaist has a band collar, intended for use with a detachable collar as pictured below:

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Shirtwaist, c. 1890 – 1899; Fashion Institute of Design Museum (2003.793.7AB)

The above examples are interesting in that the pleating is gathered into a band along the bottom of the shirtwaist. This would be covered by the skirt, thus creating a crisp, neat appearance. Now for something a bit more fancy:

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Shirtwaist, c. 1895; Metropolitan Museum of Art (C.I.56.10.8)

And it came in colors, mostly cotton prints:

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Shirtwaist, c. 1896 – 1898; Metropolitan Museum of Art (C.I.59.32.4)

The shirtwaist/skirt combination was extremely versatile and could be used as an early form of sportswear for activities such as golf:

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Shirtwaist and skirt combination with belt, c. 1893; Kyoto Costume Institute (AC2122 79-6-9AF, AC2123-2124 79-6-10AB)

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Charles Dana Gibson, once again…

  And of course, bicycling 🙂 :

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Charles Dana Gibson, 1896

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Unknown woman, probably early to mid 1890s, judging from the sleeves.

 Ties were sometimes worn with the shirtwaist for a more formal look:

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Radfahrkostüm (Bicycle costume), c. 1900; Wien Museum

Along with waists, walking suits also began to develop. Consisting of a multi-gored skirt and jacket and worn with a waist underneath, walking suits were extremely practical and were perfect for everyday wear outside of the house and especially for going to work. These were mass-produced at lower price points and made by tailors for individual order and were often referred to as “tailormades.”1The term “Ladies’ Tailor” was often used during the 1890s and it was a recognized sub-speciality in the tailoring trade.

Below are just a few examples of the walking suit:

Walking Suit, c. 1896; Nasjonallmuseet, Norway (OK-1962-0073)

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

Front Close-Up

The lines of the above suit are clean, the skirt relatively narrow although this could vary depending on the number of gores used Jackets could vary in style and overall, there is little adornment. Jackets cold be cut wide to expose the shirtwaist underneath s with the above example or more buttoned up as with the top example. Wide lapels were used to catch the eye and the trim patterns were often used to set them off. Overall, an understated look that reflected the rise of the “New Woman.”

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Doucet, Walking Suit, 1895; V&A Museum (T.15&A-1979)

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Another view.

Materials ranged from varying weights of wool to linen and cotton for the warmer parts of the year. Once again we see clean lines only now the skirt is perhaps a little wider and the sleeves taking on the leg of mutton style. There is little in the way of decorative adornments except for the lapels but even here it’s hard to make out.

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Suit, c. 1898; McCord Museum (M2003.12.2.1-2)

Finally, we have an example representative of the late 1890s. The lines of the suit are still clean only now both the skirt and sleeves are narrow and restrained. There is some decoration but it’s subtle. Also, like their male counterparts, Tailormades could also take the form of a three-piece suit:

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Finally, walking/tailormade suits also were a logical choice for women who wanted to ride bicycles and the market responded with some of the first examples of “sportswear”. Often, the only difference between the cycling suit and a regular tailormade suit was that the skirt was shorter. Below is one example:

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Cycling Suit, American, c. 1896 – 1898; Metropolitan Museum of Art (2009.300.532a–d)

The 1890s saw women taking on a more independent, autonomous existence and fashion followed this trend. While it fell short of what was to come during the mid to late 20th Century, it was still a major departure for women and one can see the traditional order of male/female relationships begin to shift. Fashion is constantly adapting to social change and the 1890s were no exception. The Victorian Era was definitely on its way out.


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Lily Absinthe- It’s All In The Details

When it comes to the fashions of the late 19th Century, it’s fairly obvious that there’s a lot of detail involved in these creations. In recreating the fashions of this era, the job of getting the details right can be a daunting one but the rewards in the end are priceless. Below are just a few examples from the atelier:

Lily Absinthe

Pleats can be worked with in a variety of ways plus they can stand alone or work as part of a decorative arrangement.

Lily Absinthe

A demi-train (or short train). Ruffles and pleats are some of the key ingredients that make dresses of the era stand out. However, fabric flowers are also used as can be seen below:

Lily Absinthe

Flowers were formed from fabric in various combinations and were often painted and/or gilded for an additional three-dimension effect. It’s couture details like these that puts our designs ahead of the rest. 🙂



Late 1880s Walking Dress Style

One of the more interesting late Bustle Era fashion styles was the walking dress and especially when it incorporated the jacket-bodice style. Below is just one interesting example of this style from the late 1880s (the museum lists it as being circa 1885-1890):

Walking Dress, c. 1885-1890; Metropolitan Museum of Art (1980.126.5

Silhouette-wise, this dress is definitely late 1880s with a somewhat moderate bustle (at least with the museum staging employed) and consists of a jacket-bodice and two skirts. The jacket-bodice is constructed of a black silk velvet which opens to reveal a faux waist that appears to be a light brown silk organza or similar. The front edges, collar, and hem of the outer jacket are trimmed with appliques made from gold bullion and brown and gold embroidery arranged in a floral pattern.  The outer “skirt” consists of panels of black velvet decorated in larger versions of the appliques found on the bodice and the inner skirt an embroidered silk brocade. Below is a close-up of the bodice:

The side profile picture below gives a good view of the velvet panels that have been decorated with the large floral appliques:

The picture below gives a good view of the train:

The jacket-bodice walking dress was an extremely versatile style that could be worked in a variety of fabrics , trims, and cuts and was available in paper patterns for the home sewer with these styles that were available through Demorest’s Family Magazine:

 

The walking dress is an interesting late 1880s style in that it provided a foundation for the more practical walking suit that later developed during the 1890s.