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Fashion Transition- 1890, Part 1

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Mary Endicott (neé Chamberlain) by John Everett Millais, 1890 – 1891; Birmingham Museums (1989P60)

The 1890s opened with styles that were little different the year before but at the same time there was change, especially with a de-emphasis on the bustle/train. Yes, it’s still there a little but it’s less prominent and the look is softening up. To better illustrate this, below are a series of fashion plates from Peterson’s Magazine that cover the January through April, 1890:

Peterson’s Magazine, January 1890

Peterson’s Magazine, February 1890

Peterson’s Magazine, March 1890

Peterson’s Magazine, April 1890

In the above plates, we see a mix of styles with a varying degree of emphasis on the train/bustle. Also, we’re seeing a lot of the Directoire/redingote and jacket-bodice/faux vest styles in varying degrees; the jacket-bodice style was to further develop in the 1890s and especially with walking suits. At the same time, we see a series of pseudo-robe styles that seek to suggest somewhat loosely fitting robes, somewhat suggestive of aesthetic dress although they’re still fairly structured.

So, let’s take a look at each of these developing styles, staring with the Directoire and redingote styles.

The key elements of the Directoire style, as applied to the late Nineteenth Century, were jackets with wide lapels combined with simple, mostly un-trained skirts. Also, the Directoire style was often closely aligned with the redingote style and both were often combined as seen with this example:

One of the most eye-catching features of Directoire style were the lapels/revers. Here’s a few more interesting examples that we’ve recently come across:

In the above example from the October 1892 issue of La Revue de la Mode, we see a set of very wide, pointed lapels on a jacket with a diagonally cut front that calls away to reveal a white waist or pseudo-waist. The striped skirt offers an interesting contrast and the whole effect is a geometrical collection of straight lines going in a variety of directions. Along the same lines is this style on the left illustrated in an 1892 fashion plate from La Mode Française:

In terms of style, with its long revers and overall length, this one leans more towards a Louis XVI style but still overlaps somewhat in that the jacket is clearly mean to be worn open, displaying an ornately trimmed waistcoat (or pseudo waistcoat), complemented by the embroidered trim on both revers. Elaborate decorative designs were a characteristic of Directoire style, especially with the larger lapels that provided the perfect “canvas” as with this illustration from the March 1899 issue of The Delineator:

Both of these outfits are amazing and a bit over-the-top. The left dress features an elegant coat with elaborate decorative patterns that were no doubt, done in silver and jet beading (or some combination thereof). Although the fabric is not specified here, we envision a black silk velvet . The pale blue skirt offers an interesting color contrast with its white floral applique pattern running along the hem. The perfect outfit for Spring. The outfit on the right is a bit more dramatic with its burnt orange jacket combined with a green skirt with a vertical soutache pattern running down the front. The contrast colors make for a harmonious package that sets the stage for the dramatic striped patterns on the lapels and collar; these definitely catch the eye and direct focus towards the wearer’s face.

Like the Directoire style, the redingote had its origins in the early 19th Century and so it only makes sense to also see its revival, albeit in a more limited form. Essentially, there were two basic redingote styles during the late 1880s/early 1890s: the functional coat meant to be worn as outerwear and the redingote as part of a complete dress style. In this post, we’re going to focus on the redingote as a dress style. For a little history, the redingote’s origins go back to the 18th Century and the term itself is a French corruption of “riding coat.” Initially, the redingote was a closely fitted coat with a flared skirt and was intended to be worn while horseback riding. Over time, the redingote evolved to something more formal that was worn for a number of social occasions. The redingote was inspired by men’s styles and as such they were typically made by a tailor as opposed to a mantua-maker. For a little historical context, here are some illustrations:

Redingote, c. 1790; Los Angeles County Museum of Art (M.2009.120)

Some insight into the revival of the redingote can be found in this description from the January 12, 1889 issue of Harper’s Bazar:

The garment most worn this winter, which hitherto has been as mild as that of Nice, is the redingote; and if severe weather should suddenly set in and oblige us to take refuge in furs, suspending the usefulness of the redingote, it will resume its ascendancy again next March. Made as it is now, it closely resembles a man’s coat. The revers are cut and rolled in the same fashion, the sleeves are similar, and the bodice of the street dress over which it is worn, usually of cloth, or Cheviot [a variety of wool fabric], or sometimes faille, bears the same relation to it as the masculine waistcoat to the coat.

The redingote, which is almost as long as the dress, is worn with different dresses, but if it is slashed in the back the breadths of the dress are usually of the same color, only the bodice front and skirt being different, as for instance, a black redingote over a dress which has back breadths of black faille. The great and unfortunate popularity which it has attained is entirely owing to our unusually mild temperature. All the fur-lined long cloaks and small wraps are as yet unemployed although doubtless their turn will come.

Beside the redingote cloak there are many pretty redingotes which form part of the dress, of brocade, or of Pompadour silks; these have revers turned back on the front, sometimes meeting at the waist with the open space above filled in by a lace plastron; below the waist, it spreads apart again, displaying a skirt of glacé silk, with embroidery or passementerie, or of a crêpe de Chine embroidered.

Simpler but not less pretty is a redingote  of plain or changeable silk opening on a plastron and skirt front of ancient silk— some old silk of the eighteenth century, which may possibly have been employed for furniture drapery in the interim, and is now restored to its original use. There is a perfect rage for old-time silks at this moment, and when one does not possess a sufficient quantity to make an entire skirt front, still there must be enough at least to furnish a gathered plastron and a collar and cuffs for a dress restored to its original use.

The above quote differentiates two styles of redingotes: one that was a full-on coat; and one that was part of a dress style. The coat style is fairly simple and functional as noted in the December 1891 issue of Demorest’s Family Magazine:

Probably there is no garment more convenient and comfortable for cold weather than a redingote: it is thoroughly protective, the arms are free, and it constitutes a complete walking-costume in itself. The “Lorenza” is a perfectly plain, double-breasted garment with a lap in the middle seam in the back, and is adapted to all seasonable materials suit able for outer garments. The illustration represents tan-colored, rough-surfaced cloth, trimmed with seal far. The hat is of brown velvet with brown ostrich-tips and a bow of orange-colored velvet.

Here’s an illustration of the Lorenza pattern redingote:

For a better idea of what they looked like, here’s one extant redingote that I found on the Augusta Auctions website:

In viewing the above redingote, it appears that it’s most likely late 1880s vintage: it’s structure is clearly shaped to accommodate a bustled skirt. This is an interesting combination of functional and decorate styles and definitely fulfills its function as outerwear.

Now let’s take a look at some dress redingote styles starting with this style featured in the April 1881 issue of Peterson’s Magazine:

Below is a full description of the style:

No. 2 Is a walking costume for a young lady, the material of which is summer camel’s hair cloth, light twilled flannel, de laine, de beige, albatross, cloth, or any of the endless variety of spring fabrics, may be used for this style of dress. The skirt, has, first a narrow knife-plaiting two and a-half inches deep. Over this, a side plaiting, or more properly a kilt-plaiting, a-half yard deep, on to which a puff is laid, six inches
from the bottom. This puff is gathered with a cord in the edge.

The polonaise is a revival of the old fashioned Redingote—cut with loose fronts and a tight-fitting back—belted in at the waist to fit the figure. This garment is double-breasted and finished with a rolling collar of silk or velvet. The belt, cuffs, loops, and ends, forming the garniture of the polonaise, are all made of silver silk or velvet, to match, or else of a contrasting color, or darker shade of the same color.

From the illustration may be seen about how far in front to leave the garment open. The edges arc simply piped with the silk. The fullness in the back is arranged in irregular pouffs. A similar bow of loops and ends is placed at the back, just below the waist line. The bows may be made of ribbon, if preferred. Ten to twelve yards of double width material will be required. For collar, cuffs, and belt, three-quarters of a yard of silk or velvet. One yard extra for loops or four yards of ribbon. Two dozen buttons. Fancy buttons are most fashionable.

Besides the technical details, what’s interesting is that the idea that the polonaise is a revival of the redingote. This is an interesting proposition although we’re more included to think that it’s more of a blurring of styles. From the example above, it would seem that the redingote itself has been modified to be more loose towards the bottom and treated as more of an overskirt.  Moving forward, we see another Redingote style in the September 1888 issue of Peterson’s Magazine:


Unfortunately, there’s no description but it’s clear that this style runs fairly true to the classic 1790s style with a double-breasted front combined with skirt opening up to reveal a patterned underskirt. And for a little variation, there’s this style from the October 1890 edition of Peterson’s Magazine:


The above dress is described as a:

…handsome street or traveling gown. It is made of gray cashmere or camel’s hair. The petticoat, of two tints of gray in stripes, is kilt-plaited [pleated] on the left side, up to the waist. The overdress is the newest style of redingote polonaise, the front of which has a few plaits near the waist to give a slight fullness. The back of the skirt is very full. The trimming for this gown is of gray plush or fur, as the individual taste may decide…

The above redingote is styled as more of a robe than a coat but the effect is similar. Another variation of sorts can be found in these two dresses by Pingat:

Reception Dress, Emile Pingat, c. 1885; Shelburne Museum (2010-75)

Three-Quarter Rear View

Pingat, Promenade Dress, 1888; Metropolitan Museum of Art (2009.300.7758a, b)

Rear View

Right Side Profile

These two dresses are very similar in style and look back more to the mid-Eighteenth Century with  the cut of the coat and trim details. The redingote dress style was an interesting style variant in the 1880s and 1890s and while in many respects it reflected its 18th and early 19th Century predecessors, it also added new elements such as the robe. Unfortunately for us, there are not a lot of extant examples out there so we’ve had to work through fashion publications and the fact that patterns were offered through publications such as Peterson’s and Demorest’s suggests that there was a demand for these designs by the public.

(To be continued…)

 

The State Of Fashion- Spring 1889

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The 1880s were drawing to a close and with it the Late Bustle Era. While the fashion press hinted at new trends for the 1890s, older styles still prevailed as revealed by this commentary in the April 1889 issue of Peterson’s Magazine when it discussed Parisian fashions:

The fashions of the present spring show but little positive change, so far, from the styles, of the past winter. This was to be expected, after the thorough revolution in the make of dresses which has taken place during the past six months. The .adoption of flat-plaited skirts, of short demi-trains, and of modified leg-of-mutton sleeves, together with the revival of dresses with corsage and skirt or over-skirt cut in one piece, such as the redingote, and the polonaise, and the princess dress, are sufficient to mark the* inauguration of a new era in feminine toilette. Hooped skirts are abolished, to the great misery of the dressmakers who have discovered, after years of disuse, that it is much harder to make a gracefully cut skirt falling in straight plain folds, than one that admitted of being looped up here and bunched up there whenever any irregularity presented itself.

It’s interesting that the writer notes that dressmakers used loops and folds characteristic of 1880s dresses to conceal their mistakes. What’s also interesting is that reference of made to the leg-of-mutton sleeve although its manifestation was no doubt a lot more muted that what was to come in the Mid-1890s. 🙂 The writer further notes that:

The polonaise and princess-cut dresses are very advantageous for spring wear, as they can be worn for promenading without a wrap as soon as the mild weather definitely makes its appearance. A very elegant form of the latter style of costume is to have the dress in cashmere, with underskirt, plaited vest, and corsage-revers in satin. The satin underskirt is made in flat square plaits in front, the perfectly plain princess-cut dress in cashmere falling over it in straight loose folds…

The redingote is universally adopted for the more elegant form of demi-toilette, such as is in vogue for small dinners, soirees musicales, and such like informal entertainments. It is made in brocade, usually in a solid color, and opens from the throat downward over an underdress that may be in lace, or in satin, or embroidered gauze, or in crepe de Chine, being about a quarter of a yard shorter than the round underskirt. Very often the sleeves are made with high puffed epaulettes. When the underdress is in crape or gauze, a wide belt in some soft silken material is often added with good effect. The whole dress should be in one color, every portion of it matching in shade..

So what this might have looked like? Well, to begin, here’s one fashion plate from the same issue of Peterson’s:

Peterson’s Magazine, April 1889

The redingote style is further illustrated in this plate:

The left dress above is interesting in that the redingote takes on the appearance of a elongated tail coat and the overall effect is distinctly neo-directoire.

The above plates illustrate a number of variations on the redingote with an princess line underneath and what’s interesting is that the line between outerwear and garments worn inside is blurred. And just to be complete, here’s a couple of extant dresses that captures many of the elements described above. First, this dress from 1888 embodies the whole idea of the redingote combined with a princess line dress:

Mme. Uoll Gross, Day Dress, 1888; Metropolitan Museum of Art (2009.300.618a, b)

From all appearances, both the outer redingote and the inner princess line dress both appear to be continuous and in fact, appear to be of one piece. Of course, these are only photos so without the benefit of examining closer, they may be in two pieces but we seriously doubt it. Style-wise, we see a large vertical sweep that draws the eye up towards the center bodice.  The patterned “interior” fabric really stands out when combined with a solid dark outer fabric. Finally, it’s interesting that the rear silhouette has been softened, lacking the sharply defined bustle silhouette characteristic of earlier 1880s dresses. Next, there’s this day dress that was made in 1889:

Mme. Uoll Gross, Day Dress; Metropolitan Museum of Art (2009.300.619)

Although hidden by the netting, the bodice features a faux vest underneath:

While it appears that the bodice and skirt are two separate pieces, the overall effect is still vertical with an emphasis on the large vertical paisley design motif in skirt.  While we acknowledge that some of our conclusions may be stretching a bit, it’s interesting to note the various micro style trends that were going on towards the end of the bustle era. Here you can see the beginnings of the transition to 1890s style and to us, the transition is fascinating to watch.


The Bustle Dress – A Brief Overview, Part 6

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Emile Claus, Mrs. Claus, 1886

In our last post, we covered the mid-1880s which saw the transition to the Second or Late Bustle Era. In today’s post, we cover the rest of the decade and maybe bled over a little into the early 1890s since fashion often doesn’t precisely follow the calendar.  😉 Just to give a little perspective, below are a series of fashion plates from Peterson’s Magazine spanning the years from 1885 through 1889.

Peterson’s Magazine, August 1884

Peterson’s Magazine, November 1885

Peterson’s Magazine, August 1886

Peterson’s Magazine, June 1887

Peterson’s Magazine, June 1888

In the above plates, although specific bodice and skirt styles may vary, along with fabric and color choices, the emphasis is always on the train. And just to give a little more detail, here’s some views from 1887 issues of Der Bazar (aka Harper’s Bazar):

Fashion plates are great but as we all know, these tend to portray the ideal and not necessarily what people wore. So to add some perspective, here’s some period photographs that depict the Late Bustle Era silhouette:

Archduke Josef Karl of Austria and spouse, Archduchess Clotilde, neé Princess of Saxe Coburg and Gotha.

Miss Ethel Bond, 1886; Musee McCord (II-81334)

And finally, let’s take a look at some extant garments starting with this 1888 afternoon dress from Worth:

Worth, Afternoon Dress, 1888; Metropolitan Museum of Art (2009.300.664a, b)

The silhouette is distinctly later 1880s and nicely illustrates one of the major styles that utilizes contrasting under and overskirts. The overskirt is made from a dark brown silk jacquard with a cream-colored silk taffeta underskirt. Below is a close up of the outerskirt fashion fabric:

The bodice also utilizes the same fabric as the under and overskirts with the opening so to reveal the lighter colored fabric as a faux vest. Trimming the collar, inner bodice and underskirt is what appears to be brown-colored corded lace.  Below is a close-up:

Below is a three-quarter rear view of the dress:

With this afternoon dress, Worth masterfully employs the design elements and it definitely embodies the late 1880s look.  Next, Worth also employs the same design aesthetic in this circa 1888 combination day/evening dress (pictured here with the evening bodice):

Worth Combination Day/Evening Dress, c. 1888; Metropolitan Museum of Art (2009.300.1093a–e)

This dress has the same silhouette as the afternoon dress and employs a similar scheme of contrasting under and overskirts as well as a differently contrasting bodice. The front underskirt is a good/ivory silk taffeta or satin with gold floral appliques. On both sides, one can also make out jeweled inset panels that are set in the underskirt’s folds. Below is a close-up of the front underskirt:

Turning to the bodice, the evening bodice is constructed of a solid dark gold/yellow-colored silk taffeta that’s decorated with jeweling on the front and along the neck and shoulders. Below is a closer look at the bodice:

The side profile pictured below gives a good view of both skirts and the jeweled inset panels, a suitable feature that only further enhances the design effect.

In contrast to the front underskirt, the overskirt is relatively plain, a solid dark gold/yellow-colored silk taffeta that matches with the bodice fashion fabric. The train is a double layer and has no adornment. This is an interesting dress in that it places its most dramatic effects to the dress front and bodice. The plainness of the overskirt can especially be seen below:

The above two examples illustrate both the daytime and evening late 1880s silhouette quite nicely. Of course, we could easily pull out a dozen more examples but the point’s been made. 🙂 In terms of style, one could say that the 1880s and the Late Bustle Era ended on a high note and as with all fashion, it would begin to experience another period of change where the rear was de-emphasized and greater focus was on a more upright figure that was in many respects similar to the Mid-Bustle Era. But in the years to come, the focus was to shift to the shoulders with gigot sleeves and the waist and hips with the wasp-waist or hourglass figure- but that was a few years off. We hope you’ve enjoyed this multi-part survey of the Bustle Era and in the future, we hope to expand on more.

 

The Bustle Dress – A Brief Overview, Part 5

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Fashion trends often involve dramatic shifts in style and the 1880s was no exception. In today’s post, we examine the return of the bustle in a more extreme form than what was found in the early 1870s and with it, a shift from upright and cylindrical to trained, placing emphasis on the derriere (or caboose, as some wags termed it). But however one views it, this was a great example on how fashion is always evolving. Enjoy!

We now turn to the Late Bustle Period from 1882 through 1890 when the bustle returned with a vengeance, now more angular and sharply defined with harder edges than its 1870s predecessor. Probably one of the most iconic examples of Late Bustle Era style is this circa 1884-1886 dinner dress:

Evening Dress, American or European, c. 1884 - 1886, silk; The Metropolitan Museum of Art (C.I.63.23.3a, b)

Evening Dress, American or European, c. 1884 – 1886, silk; The Metropolitan Museum of Art (C.I.63.23.3a, b)

Below is a closer look at the “shelf ” bustle/train:

The above evening dress epitomizes the sculpted “shelf bustle” that is characteristic of the 1880s. However, elements of the 1870s still remain: the bodice is remains at waist level and draped skirts are utilized to create a dramatic effect with the skirts being arranged to show off the pleating and trim to its fullest advantage. The “shelf bustle” profile was found in both day dresses and more formal evening and reception dresses and as could be expected, the formal dresses tended to be more dramatic and extreme in profile and the length of the train. The is certainly the diametric opposite of the sleek, vertical lines characteristic of the Mid-Bustle Era.

Transition in fashion is rarely dramatic, rather it’s a more gradual process as can be seen with these fashion plates:

Peterson’s Magazine, September 1881

Peterson’s Magazine, September 1882

For 1881 and 1882, the silhouette appears to mostly follow the Mid-Bustle style. However, here and there we see more fullness just behind the hips at waist level. But for 1883, we begin to see the emergence of a more trained or bustle style:

Peterson’s Magazine, March 1883

Peterson’s Magazine, August 1884

And by August 1884, we see the full emergence of a new bustle style. 🙂 Still skeptical? Consider these two illustrations from Demorest’s Family Magazine:

Demorest’s Family Magazine, March 1884

The above two illustrations were not simply based on a couture ideal but were firmly rooted in everyday style in that patterns to make the ablove dresses were offered for sale by Demorest’s. If a potential market of dressmakers and home-sewers didn’t exist, it’s doubtful that Demorest’s would have gone to the trouble of working up patterns of these for sale. On the couture level, the transition seems to have followed the fashion press as with this circa 1883 dinner dress by Worth:

Worth, Dinner Dress, c. 1883; Kyoto Costume Museum (Kyoto Costume Institute (AC9712 98-29-2AB)

This dress is constructed of a wine-red silk satin and velvet with a stripes and floral pattern, most likely utilizing the devoré technique. Silhouette-wise, it leans more towards the earlier Mid-Bustle style but then again it may be just the angle of the photo. Nevertheless, one can make out a very full gathering of fabric to the rear of the waistline and possibly padded or bustled.

Fashion transition often see the retention of older style elements which can linger on even though the overall style has changed as with this hybrid style circa 1885 day dress which incorporates a long cuirass bodice while at the same time having a bustled train of sorts:

Day Dress, French, c. 1885; Silk plain weave (taffeta) and silk plain weave with warp-float patterning and supplementary weft, and silk knotted tassel; Los Angeles County Museum of Art (M.2007.211.34a-b)

Day Dress, c. 1885; Los Angeles County Museum of Art (M.2007.211.34a-b)

Day Dress 1885_13

Day Dress, French, c. 1885 – Rear View

Day Dress, French, c. 1885 - Front View

Day Dress, French, c. 1885 – Front View

However, we believe that the 1885 date may be a bit late and perhaps it dates more towards 1882-1883 and it could simply be more of someone holding onto an older style.  Below are two examples of Late Bustle Era day fashion in full flower:

Walking Dress, c. 1885; Metropolitan Museum of Art (1978.295.8a, b)

Silhouette-wise, this dress has come into its own, leaving earlier styles behind. As with many Late Bustle Era dresses, the bodice is short so as to allow the skirt (or skirts, it’s hard to tell) to be trained/bustled at waist level. Also, as with many of these dresses, it’s constructed of one type of fashion fabric, in this case a light-colored gold-brown paisley and trimmed with a solid dark gold-brown on the cuffs and collar. Also, the bodice is open with an inset faux waist, which was also a common style of the mid to late 1880s.

The pictures above and below perfectly illustrate the Late Bustle Era silhouette with a well defined train that’s concentrated at the top.

And finally, here’s another day dress from the mid to late 1880s that has the characteristic silhouette:

Day Dress, c. 1885-1890; From Augusta Auctions (Number 36.15757.100.2)

This dress is constructed from a dark teal-blue silk satin or taffeta for both the bodice and skirts. The bodice, shoulders, and part of the overskirt are also trimmed with a gold and the same dark teal-blue and give the dress a pop of bright color that lightens up the overall dress color. The slashed sleeve heads give the bodice a Renaissance style and provide further pops of color.

The two pictures below illustrate the dress silhouette and details of the upper train. There is a distinct bustle and there is fullness to both under and outerskirts but no train, as was common with day dresses.

So how was the Late Bustle Era silhouette created? With structured foundation garments- in contrast to earlier bustles and crinolettes, bustles were sharp and angular, often constructed of steel, as illustrated by the examples below:

Bustle, 1883 - 1887

Bustle, Cotton, Metal, Copper, c.1883 – 1887; FIDM Museum Library (2005.5.174)

Bustle, Steel Frame, c. 1884; Victoria & Albert Museum (T.131C-1919).

Bustle, c. 1884; Victoria & Albert Museum (T.131C-1919).

Bustle Pad, French, . 1885Glazed calico trimmed with silk cord and stuffed with what appears to be straw; Victoria & Albert Museum (T.337-1978)

Bustle Pad, French, c. 1885; Victoria & Albert Museum (T.337-1978)

From just the few examples above, it’s evident that that bustles during this period came in a variety of materials and shapes. However, in contrast with earlier bustles, these are shorter and more concentrated around the natural waist.

(To be continued…)

 

The Bustle Dress – A Brief Overview, Part 4

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In our last post, we focused on the influence of the princess line style on the Mid-Bustle Era. Today, we take a step back to fill in the reset of the picture with non-princess line styles.

Le Moniteur De La Mode, No. 47, November 1876

To continue our story, the Mid-Bustle Era was an interesting time in the fashion world where the bustle silhouette style characteristic of the early and mid-1870s give way to the late 1870s to a slim, upright, cylindrical silhouette. Often referred to as the “natural form era” or Mid-Bustle Era, the period from roughly 1878 through 1883 saw a dramatic reversal in dress styles: where once the style focused on draping and gathering of varied fabrics over a bustle, the emphasis was now on the controlled use of fabrics and trim to create a style with clean, sharp lines. Below are some examples, albeit idealized, of the basic style which could be found for both day and evening wear:

Le Moniteur De La Mode, No. 27, July 1876

Journal des Demoiselles, September 1878

Petersons_Sept 1880

Peterson’s Magazine, September 1880

Journal Des Demoiselles 1880

Journal Des Demoiselles, 1880

Revue de la Mode_1880_1

Revue De La Mode, 1880

Journal Le Printemps October 1881

Journal Le Printemps, October 1881

Journal Le Printemps June 1881

Journal Le Printemps, June 1881

Journal Des Demoiselles 1881

Journal Des Demoiselles, 1881

In examining this relatively short-lived period, it must be noted that “natural form” is somewhat of a misnomer in that the term refers to the ideal of the reform dress movement which centered around the idea that clothing should enhance the body’s natural form rather than constrict and re-shape it. The styles of 1878-1883, like their predecessors, relied on structured undergarments to modify the body’s appearance- something that dress reformers did not have in mind.

We start with this circa 1878-1883 day dress:

M2003.76.1.1-3-P1

Day Dress, c. 1878 – 1883; McCord Museum (M2003.76.1.1-3)

M2003.76.1.1-3-P3

M2003.76.1.1-3-P2

The silhouette is definitely later 1870s with a long cuirass bodice extending down over the hips and there’s no bustled train at the top. At the same time, there is a train extending out, above the hem of the skirt; an train extending out at a low level was one style variation found during this period and in extreme cases was known as the “mermaid tail.” This was probably meant as more of a reception dress and a dress meant for everyday activity. Also, note that these dresses often came equipped with a “train hook,” a small loop attached to the end of the train that allowed the dress’ wearer to pick up end of the train so it would not drag on the ground.

Color-wise, we see the use of two shades of red with silk for the lighter shade and velvet for the darker shade that read as a jewel tone. The use of velvet for the dark burgundy red provides a contrast to the lighter silk in that the velvet traps the light while the lighter silk provides a more reflective luster. This is a common effect used during much of the late 19th Century but a beautiful one nonetheless.

Here are some more examples of daytime dress styles, starting with this one from circa 1877-1878:

Constructed from a gold silk taffeta, this dress consists of a separate bodice and skirt. The bodice is cuirass style, extending over the hips, and has full sleeves and trimmed with rows of knife pleating. The is constructed in two pieces with a flat front of horizontal and vertical ruched strips and a rear has fullness running the entire length of the skirt. One could argue that this look is a trained or “bustled” but it still flows on a vertical plane. Here’s one more example of this style from circa 1878:

Afternoon Dress, c. 1878; Museum at FIT (70.65.6)

This dress is constructed of a combination of solid and patterned dark blue silk taffeta for both the skirt bodice. On the bodice, the patterned silk frames the center front of the bodice and ends in the collar. On the skirt, the underskirt is solid blue and the two layers of swagged material on the dress front is the black patterned material- it’s hard to tell and you have to really blow up the picture to see it. From the two above examples, it’s interesting to note that both are either monotone or near-monotone in color and use various textures such as ruching and gathering to create the design effects.

Finally, here’s one last example that utilizes designs elements that were very characteristic of late 1870s style, contrasting fabrics in two different colors/patterns:

Day Dress, c. 1870 – 1880 (more likely 1878-1881); De Young Museum (52.12.1a-b)

In terms of silhouette, the bodice is a cuirass bodice with three-quarter sleeves combined with double layer skirts. Most of the bodice and the underskirt are a green silk taffeta and the front bodice and outerskirt are a blue-colored floral patterned silk jacquard (or similar, it’s hard to tell from the picture). The patterned silk fronts on the bodice make for a harmonious contrast with the solid colored silk, especially since each silk’s luster is a bit different. For the skirts, the two fabrics provide a similar contrast and the v-shaped outerskirt draws the eye upwards, following the path of the patterned silk. Using a v-shaped outskirt in a contrasting fabric was one style device that was often used during this period.

Next, we turn to evening wear such as this circa 1877 dinner dress created by Worth:

Worth, Dinner Dress, c. 1877; Metropolitan Museum of Art (C.I.69.33.3a, b)

This is another brilliant illustration of the late 1870s silhouette- the bodice and overskirt are constructed of a gold-colored silk jacquard in a floral pattern combined with a pistachio-green front underskirt that appears to be made of silk taffeta. Below is a closer view of the silk jacquard:

Close-up of fashion fabric.

Below are views of the rear train. As with the first example, the drapes from the bottom. The double-layered train has an underlayer of the same green pistachio used in the front underskirt, shown off through a series of folds, and is combine with an overlayer of the fashion fabric; it’s an interesting design effect. Below are some more pictures that show off the train:

Side Profile

Rear View

The above pictures give a really dramatic view of the train, especially with the rear bow giving the illusion of being the only support for the gold jacquard train.

Close-up of rear

Generally speaking, Mid-Bustle Era style emphasized vertical lines but at the same they could also emphasize horizontal lines as with this reception dress from the early 1880s:

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Reception Dress, French, c. 1881 – 1883; Metropolitan Museum of Art (C.I.38.61a, b)

The dress silhouette is definitely slim and cylindrical with a bodice that’s somewhat shorter than what one normally finds with dresses of this period and a very high-waisted skirt to compensate. The dress is constructed from a gold silk satin with alternating layers of ruffles and gold metallic appliques; the same appliques are also on the bodice front and sleeve cuffs. The multiple layers on the dress front emphasize horizonal lines while keeping within the overall silhouette. Below is a closer look at the bodice front and upper skirt:

C.I.38.61ab_d

Close-Up Of Front

One interesting thing of note here is that in contrast with the prevailing norm of a longer bodice coming over the hips, this one has a shorter bodice and relies on a form-fitting upper skirt to do the work.

C.I.38.61ab_S

Side Profile

From the side profile, one can discern a small amount of fullness running up the entire length of the skirt that creates a small train. Here’s some rear views:

C.I.38.61ab_TQL

Three-Quarters Rear View

Rear View

 While not as elaborate as the front, the back of the dress has three layers of knife pleating extending to about mid-way on the dress. In contrast to the front, vertical lines are emphasized. Just for completeness, here’s some details:

Detail of bodice.

The above dress illustrates several elements of the Mid-Bustle Era style and in particular, the silhouette which is slim and cylindrical with a minimal bustle. Day dresses tended to have either no train or at most, a demi-train while evening dresses and ball gowns retained a longer train. However, either way, the train was low, flowing from the bottom of the skirt rather than off of an elevated bustle.

Luis Alvarez Catala, “Woman Before a Mirror,” 1878

And just for one final example, this circa 1880 evening or ball gown:

Evening/Ball Gown, c. 1880; Augusta Auctions

The silhouette on this evening or ball gown (it could really work for either, in our opinion) is interesting in that while it maintains the cylindrical silhouette characteristic of the period, the skirt has been shaped so that a train of sorts is created that runs down the entire skirt length and there’s no train leading away from the skirt hem. Both skirt and bodice are constructed from a yellow silk taffeta trimmed in white lace. The bodice is an extreme cuirass shape with deep points, both front and back. The flatness on the front of the dress is emphasized with horizontal rows of pleats and ruches trimmed with white lace. To the rear, the fashion fabric is fairly plain with two layers of lace trim running along the hem.

The side and rear profiles give a good idea of how the skirt is shaped in the rear and we can see a deep gentle pouf running down from the upper to mid-skirt combined with fullness leading to the bottom. While this skirt follows the basic design aesthetic of the period, it’s made some gentle departures with the rear skirt shaping and the lack of a train of any sort.

The above examples and those in the previous post give only a hint of the variety of Mid-Bustle Era styles and there were a wide variety of fabrics, colors, and trims that were utilized and the possibilities were endless. Stay tuned for more… 🙂

(To be continued…)