Off to our No. 11 in Tombstone this long weekend, all that fun holiday stuff has to get packed away and the sewing room disassembled…because during the next Phase of Old House Restoration, that room will become the guest room, then more foundation work, then a room addition, and so on… Missing the Little House, but happy to say we’ll be out there more often. 🙂
Gigot (aka leg-of-mutton) sleeves were a defining feature of mid-1890s style and as with all fashion trends, they could get somewhat excessive. Here is some commentary on this trend from the October 7, 1894 edition of the Los Angeles Times:
Today the big sleeve is declared possible in any material, its chief uses being to broaden the shoulders and give the waist that effect of a wasp-like slimness so much desired. Diaphanous textiles, too, have taken the place of tho stately gilt and sliver spun brocades, and the girl whose wardrobe docs not Include at least two bodices of transparent stuffs can safely be said to be outside the pale of fashion.
The foundations of a sleeve in any of the gauzy webs now fashionable, does not begin, as one would naturally think, with a simple silk lining. It Is a complicated and awe-Inspiring affair, and often calls for considerable thinking, no matter how accomplished the builder. First, there is a smallish lining in some soft, dainty silk: this covered by a huge one, puffed, folded and pleated in heavier silk or satin, which in turn, is interlined with stiff tarleton or crinoline, and perhaps padded at shoulders or bunched with
concealing looseness at the lower arm…
On this ballooned or mutton-legged structure, the chiffon or mousseline de sole ties in bows or knots or fall in graceful, drifting folds, or is, perhaps, cunningly captioned with hidden tackings to look for all tho world like a furniture covering!
It’s interesting that the trend is said to have started with using heavy silk brocade, often in metallic, but then expanded to using lighter fabrics, that utilized a complex construction process. Ultimately, sleeve styles were part of a greater whole, serving to help define an overall look which, in this case, was the wasp-waist:
In the course of creating our designs, we have drawn on a wide variety of period sources and especially ones that speak to us across the years such as in the case of commentary from those who were living in the era. As we come across more interesting items of this nature, we’ll be sharing them with you all here. 🙂
Yes, we’re on a roll here…it seems to be shaping up into 1890s week (or maybe month). Here’s another great dress we came across while looking for something completely different (funny how that always seems to happen). For today’s consideration is this ball gown that was made by Pingat sometime around 1894:
As ball gowns go, this is a relatively simple design with a minimum of trim (mostly beading on the front bodice), relying instead on combinations of lace, and silk satin to achieve its effect. With roses strategically placed on the skirt front, collar and shoulder, there are pops of color that offset the blush pink/ivory silk satin. The gigot sleeves combined with gored skirt definitely place this dress safely in the mid-1890s and create the classic hourglass style that was typical of the period. Overall, as with many of Pingat’s designs, this is elegant and clean and would definitely make an excellent bridal gown. Although best know for his outerwear, Pingat also produced many elegant dress designs- ball gowns, evening/reception dresses and day dresses and this is just one excellent example.
The styles of the 1890s never fail to fascinate us here at Lily Absinthe- at the same time they look represent one of the heights of Victorian fashion yet at the same time give a hint of fashion developments to come in later years. To start, here’s a more formal day or reception dress from the mid 1890s:
Style-wise, this dress has a silhouette characteristic of the 1890s, characterized by an upright cylindrical profile. The skirt and bodice are constructed of a bottle green silk velvet combined with what appear to be silk faille facings and collar created to look like a faux vest underneath (no doubt, it’s all one piece in actuality). The faux vest/waistcoat is especially striking in that it almost jumps out from the dress with its contrasting ivory silk faille set against the bottle green velvet, effect that’s enhanced by the velvet absorbing light because of its texture and depth. Here’s a closer view:
The jeweling and decoration on the silk faille further enhances the bodice’s effect:
Overall, this is a textbook case of how various different fabrics and colors and be combined to create an effect that’s greater than the sum of its parts. The eye is instantly drawn to the bodice, following the dresses’ vertical silhouette. Unfortunately, there’s no detail as to who designed and constructed this dress so that remains a mystery but never the less, this is a testament to 1890s style in that it’s both backward and forward-looking at the same time. The faux vest/waistcoat is reminiscent of later 18th Century styles while at the same time, the silhouette, fabrics and colors seem point towards later dress styles- the lines are clean and the bodice is restrained in its decoration and balances the skirt nicely. Definitely an aesthetic treat to behold and it will certainly serve as a source of inspiration for us.
We’re still sorting through all the pictures that we took in England and here are some more from our trip to The Vyne, an historic manor house located close to Basingstoke in Hampshire. First, here’s another picture of us…the red in the day dress really stands out in the grey background lighting:
And here are a couple with a good friend of ours: 🙂
Here are two of the chapel:
And one of the well-appointed sitting rooms:
And the tomb of Chaloner Chute, himself:
Here’s a better picture that I borrowed from online:
And finally, Henry VIII himself: