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)

Collar1

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.”

Doucet

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.

 

An Early 1890s Day Dress

Sometimes we spot an interesting dress and just like to call attention to it. 🙂 Often, there’s not a lot of information on these so in some cases we are admittedly speculating but that’s half the fun. 🙂


Recently we came across this interesting circa 1893 day dress made by a one Mme Duboys of Paris that’s held by the Fashion Museum Bath.

Day Dress, c. 1893; Fashion Museum Bath

This dress is constructed from a black striped pink silk satin and trimmed with black lace on the lower sleeves and collar. Silhouette-wise, this is definitely leans towards the early 1890s- the sleeve style is full but hasn’t developed into the full-on gigot sleeve style that was to come long a couple of years later. This dresses effectively uses the black stripes to accentuate the dress’s silhouette and especially showing off the skirt’s bias cut on the rear panels. On the sleeves, the stripes are built up into strips of black velvet (at least that’s what it appears to be with the resolution of the photos), giving an effect reminiscent of Renaissance dress bodices.

As can been seen from the picture below, the stripes are arranged into chevrons that lead the eye upwards; it’s a classic fashion design standard. 🙂

Unfortunately, there’s not a lot of information about this dress online (hopefully one day we’ll be able to return to the Fashion Museum Bath in person and take a closer look at this dress) but to us, it’s an aesthetically pleasing dress of the period from a lesser couturier, which doesn’t make it any less compelling than dresses from Worth, Doucet, or Pingat. 🙂



Fashion Transition- 1890, Part 2

Jules Benoit Ivy, Femme dans un Atelier, 1890

In our last post, we discussed some of the styles that were trending in early 1890 starting with the Directoire and Redingote styles. Today we move on to take a look at the jacket-bodice and pseudo-robe styles. This example from the early 1890s gives a good close-up view of the jacket-bodice style:

Jacket/Vest Bodice, c. early 1890s; Metropolitan Museum of Art (C.I.55.41.3)

The jacket-bodice combines a fairly standard  form-fitting jacket with a faux vest that’s reminiscent of an 18th Century waistcoat. The faux waistcoat extends well jacket to reveal elaborate embroidery work that flows up the open front, ending at the neckt in a Mandarin collar. The close-up below provides a nice view of the embroidery:

The “faux vest” could often took the form of shirring made to look like a waist as with this circa 1890-1893 Worth day dress:

Worth, Day Dress, c. 1890 – 1893; Kerry Taylor Auctions

With this dress, the shirring runs down the opening in the outer bodice and then picks up again with the skirt front. The white shirring provides an interesting contrast to the black floral patterned dark green silk satin, especially in that the fashion seemingly sucks up light and the white shirring throws out light; the eye can’t help but be drawn to the dress front and then up to the wearer’s face. Below is a close-up of the bodice front:

And for another take on the jacket-bodice style, here’s  a circa 1890 afternoon dress made by Worth:

Worth, Afternoon Dress, c. 1890; National Gallery of Victoria, Melbourne (2015.688.a-b)

This dress combines a bolero style jacket constructed from a black and orange-brown patterned velvet with a lighter copper-colored silk satin vest/underbodice combined with an outerskirt of the same color. The underskirt utilizes the same black and orange-brown patterned velvet trimmed with embroidered flower appliques along the sides and bottom. With this dress, the contrast is one of harmonizing yet different fabrics.

One interesting variation on the jacket-bodice style is this circa 1890 reception dress that has the jacket acting as more of a redingote style:

Reception Dress, c. 1890; Goldstein Museum of Design (2013.004.012)

The jacket/coat is a black and olive green striped silk taffeta with gold/red floral motifs. The underskirt is a solid black silk taffeta trimmed with black jet beading. Finally, the collar is trimmed with black ostrich feathers. Below is a side profile:

Sometimes it’s difficult to neatly classify dress styles but this one to us emphasizes the outer jacket/coat as more of an unified bodice/overskirt rather than simply a coat over a skirt.

Finally, we take a look at the pseudo-robe style. Unfortunately, there’s not a lot of extant examples but here’s an early 1890s dinner dress made by Worth:

Worth, Dinner Dress, c. 1890-1895; Metropolitan Museum of Art (2009.300.636a, b)

Looking at large sash and knot combined with the plunging neckline this dress is reminiscent of a kimono and the floral pattern silk jacquard further reinforces the Japonisme style. Unfortunately, there’s not a lot of extant examples of this style.

Rear View

We hope that you’ve enjoyed this all-too-brief over of fashion in early 1890 and we’re always on the search for fresh content so stay tuned! 🙂

Illustrated London News, c. 1890