Taking A Step Back To 1878…

And for a change of pace, we step back a few decades to circa 1878 with this wonderful Mid-Bustle Era/Natural Form day dress that’s identified as a wedding dress1This dress is part of the Metropolitan Museum of Art’s collection and on their web site, the dress as identified as a “Wedding Ensemble”, https://www.metmuseum.org/art/collection/search/156665. Unfortunately, they don’t provide any information on how they arrived at that conclusion so this has to be taken with a grain of salt.:

Wedding dress, c. 1878; Metropolitan Museum of Art (2009.300.18a, b)

Wedding dress, c. 1878; Metropolitan Museum of Art (2009.300.18a, b)

Below is a nice close-up showing details of the fashion fabric and some of the details.

Side Profile

This dress is constructed of an embroidered wine colored stripped silk satin for the overskirt and bodice combined with a purple silk satin for the underskirt, bodice front and cuffs. Finally around the cuffs, there’s a think band of the purple silk sating that’s been pleated and finished off with white lace. In terms of silhouette, this one is cylindrical, characteristic of the Natural Form/Mid-Bustle Era and has no train. The bodice is a cuirass style, falling over the hips. The decorate effect on the underskirt hem is interesting, employing a combination of pleating, ruching, and use of the stripped fashion fabric in the form of vertical tabs running along the upper hem.

Now, as for the dress being a wedding dress, this is a very possible. Unfortunately, there’s no documentation posted online at the Met Museum website and we can only assume that there is documentation but that it didn’t make it online for reasons unknown. But nevertheless, this dress could have been used as a wedding dress in that during the late 19th Century, the use of white as THE wedding dress color was not a rigid convention; a wedding dress was often a bride’s best dress and was meant for wear long after the wedding. Moreover, the idea that one would have a specific dress to be worn only on the wedding day and then put away was also not the norm and in fact, was simply not feasible for most people, not to mention that it was viewed as wasteful. The idea of the one-use wedding dress would start to develop towards the end of the 19th Century but only by the very rich.2For a more complete discussion of wedding dresses, check these posts HERE, HERE, and HERE. Ultimately, this dress presents a classic late 1870s/early 1880s day look and works for a variety of social occasions. 🙂



Some More From Pingat…

Lately, it seems that Emile Pingat has become the subject of interest for us here at Lily Absinthe and combined with our love for 1890s fashions in general, we’ve been finding all manner of Pingat’s designs. For today’s consideration is this circa 1894 ball gown:

Pingat, Ball Gown, c. 1894; Museum of Fine Arts Boston (56.816)

Rear View

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 known 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.



An 1890s Wedding Dress

Today we take a look at an 1890 wedding dress from the V&A Museum that not only has extensive provenance, but it even has a picture of the original owner, a one Cara Leland Huttleston Rogers, wearing the dress on her wedding day on November 17, 1890. This is a rare treat indeed. To begin, here’s some pictures:

Francis O’Neill/Stern Brothers. Wedding Dress, c. 1890; Victoria & Albert Museum (T.276,A-F-1972)

This dress has the simple, clean lines characteristic of 1890s styles with the addition of a train. The dress is constructed of a cream-colored corded silk for both skirt and bodice. The skirt is relatively simple and unadorned except for some artfully arranged swagging along the hem, punctuated by rosettes. However, the bodice is a completely different matter- built on the same cream-colored corded silk, the bodice is framed in the front by a embroidered gold/mustard brown-colored floral appliques jeweled with pearls running along the middle of the bodice and continuing up to follow an open neckline. Below is a picture of the bride:

Cara Leland Huttleston Rogers, wearing the dress on her wedding day on November 17, 1890.

The neckline is further accented by a row of ruffled silk chiffon leading up to the shoulders. The shoulders are decorated with upright panels that further continue the decorative trim design and are heavily jeweled with pearls. The upper sleeves are ruched and while there’s fullness towards the top, it lacks of the extensive gigot sleeves so characteristic of the mid-1890s. Naturally, the cuffs are also finished with more silk chiffon. Finally, the peplums on the bodice are also accented by the jeweled embroidered applique strips that harmonize with the rest of the bodice’s decorative trim. Below are some close-ups of the bodice:

The decorative appliques are even more extensive on the bodice back:

The decorative design on the bodice is very unique and it definitely attracts the eye to the upper dress and puts focus on the bride. The relatively neutral cream skirt and bodice provide a blank canvas for the decorative design. This dress design is definitely unique and is an interesting take on bridal dress designs of the period.



And Something For The Bridal Line…

I‘ve been slowly building a dress sample based on the styles of tea gowns and lingerie dresses from the 1899-1905 era for our Bridal line. This one is all fine sheer cottons, mostly pearl white worn over buttercream yellow, antique lace front panels and insertion, and dyed to match silk ribbon. Our original idea was to make this from white over blue…and then a friend gifted me with a bolt of vintage white and yellow dotted Swiss, and everything changed!  🙂

 



Wedding Dresses of the 1890s

For wedding dresses, the late 19th Century was a time of change in terms of what was considered proper for a wedding. In the 1870s, weddings tended to be small affairs held at home with little or none of the trappings that we today associate with weddings. But at the same time, marriages among the wealthy elite began to grow into large scale affairs that were meant to be more of a public spectacle/social “happening” than an intimate affair centering around getting married.

John Henry Frederick Bacon, The Wedding Morning, 1892

Also, with the rise of the mass market consumer culture, companies offered a wide variety of wedding goods to include wedding rings, wedding dresses, specific wedding gifts, et al. In order to stimulate demand, efforts were made to generate business by creating traditions and then marketing them, spurred along by the increasingly elaborate weddings staged by the wealthy. In many cases, marketing centered on the idea that an elaborate wedding was essential towards maintaining social status. Of course, this was the ideal and not always followed; it was not until the 1920s and 1930s that the bridal industry truly began to take shape and develop into what we know today.

Charles Dana Gibson, The Night Before Her Wedding


The 1890s saw a continuation of wedding dress trends that developed during the 1870s and 1880s. Wedding dresses still came in both colors and white but the trend towards the white wedding was we understand it today continued, spurred along by the development of a mass consumer economy.

Wedding Party, c. early 1890s

Below is an interesting example of a non-white wedding dress in a gray-green. This dress was made by a Mary Molloy, a local dress maker in Saint Paul, Minnesota for Martha L. Berry (nee English) for her wedding day on July 6, 1891:

Wedding Dress, 1891; Minnesota Historical Society (9444.10.A,B)

Wedding Dress, 1891; Minnesota Historical Society (9444.10.A,B)

Side Profile

The above wedding dress is fairly restrained and it’s obvious that it was meant for use long beyond the wedding date. The construction appears to be mostly likely silk with silver beading; the lapels are wide so as to permit an elaborate silver beading pattern. Also, there is further beading along the bottom of the bodice. Finally, one can see a small, vestigial bustle.

Turning towards more specific wedding dresses, here is an example from 1892 that was made by the Fox Dressmaking Company of New York (a concern that was actually run by four sisters, catering to an exclusive clientele):

1983.115.1ab_F

Wedding Dress, Fox Dressmaking Company, 1892; Metropolitan Museum of Art (1983.115.1ab_F)

Side View

Rear View & Train

Close-Up Of Bodice

Close-Up Of Left Upper Sleeve

Close-Up Of Trim Design

Close-Up Of Neckline

Close-Up Of Fashion Fabric; If one looks very closely they can see that the stripes are straight and that embroidery has been added to create a swirling effect.

Maker’s Label

The base fashion fabric for this dress consists alternating stripes of silk satin and faille in an ivory/gold. The difference in the weaves of the satin and faille makes for a difference in lusters and this in turn gives the dress an interesting visual effect: while the satin gives a right, lustrous appearance, the faille provides a duller luster, each one complementing the other. Considering that most weddings during this time were held in the morning (and especially society weddings), a dress completely made of satin would probably been too bright thus the faille tones it down a bit. Of course, this is just conjecture on our part. 🙂

In contrast to the sleeves and skirt, and train, the bodice is covered in lace and pearls combined with silk ribbon ruching along the neckline and ribbon trim along the hem of the bodice. The pearls and lace definitely take center focus, drawing the eye of the viewer. Combined with the fashion fabric, this dress reads opulent and it’s certainly the rival of Worth and Doucet.

Wedding dresses could also be restrained such as this one made in 1896 by the House of Worth:

Wedding Dress, Worth, French, 1896; Metropolitan Museum of Art (C.I.41.14.1)

Wedding Dress, Worth, French, 1896; Metropolitan Museum of Art (C.I.41.14.1)

Close-up of the bodice.

Close-up of the upper left sleeve and shoulder.

Close-up of the lower sleeve.

Here we see the height of wedding fashion for 1896 with the characteristic leg of mutton sleeves. The dress is constructed from an ivory silk brocade with a minimum of lace at the cuffs and pearl trim on the neckline. The look is relatively restrained with clean lines. The dress gets its impact from the symmetrical floral leaf pattern running down the front of the dress and skirt, a look facilitated by the one-piece princess line design. The sleeve design is reminiscent of late Medieval styles.

The above has only been a small sampling of what is out there but we think that it provides some interesting wedding ideas. At the same time, it also demonstrates that wedding traditions are never set in stone, as much as the marketers would like us to believe, but rather they are constantly evolving.