The Josephine…

Most of our Lily Absinthe Bridal designs tend to be ethereal and soft…this is our “Josephine”, a soft blue corset with an even softer sheer skirt, embroidered with lace and flower petals, worn over a pretty pale blue soft petticoat with oodles of ruffles. Her chapeau is designed and made by the talented Shurie Southcott of Lady Bird’s Hatberdashery. β™‘

A Trip To The Fashion Museum Bath, Part II

The second dress we viewed at the Fashion Museum Bath was a complete contrast to the first: this time we were looking at an ivory-colored evening dress/day dress that was also made by the House of Worth either in the early 1890s (unfortunately there’s not a precise date). Once again, we’ll start with some general views of the entire dress:

The two above views really show off the skirt front and because it’s lying flat, one can readily discern the longer trained skirt back. The lining is a rough cotton and from what we could tell, the pieces have been flat-felled (although we can’t be 100% certain).

Unfortunately, given the close space I was working in, I was unable to get a good full-length picture so these will have to do. The dress is constructed of an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. The bodice sleeves and neck are three-quarter and trimmed with silk lace and ribbons. Here are a few more views that show off the fashion fabric better, in the bright morning light the pink blush was almost lost to the naked eye.

Here’s a closer view of the bodice:

The above two pictures give a good view of the bodice front. The buttons are fully functional and it appears that the buttonholes were sewn in by hand, utilizing strips of gimp. Below are two views of the bodice back:

The bodice has the characteristic back “tail” that laid over the train and one can get a good look at the fashion fabric itself. The pink blush stripes are very subtle and faint in some places- possibly a product of sun fading. Below are some more views of the skirt:

The above two pictures give a good view of the hem on both sides. On the outside, one can see a combination of pleating combined with small bows. On the inside, the hem is a simple double-fold with a hidden catch stitch. Below is a detail view of one of the sleeves:

And here’s the bodice opened up to reveal the interior:

As with most bodices of the period, the interior is lightly boned on top of the major seams to give the bodice structure. The bone casings are made of a gauze silk/cotton(?)-like fabric and have been stitched into the lining and seams allowances.

Boning channels have been sewn in parallel to the buttonhole line.

And, if you have ever wondered just what sort of stitching was used for finishing the interior of the bodice, here’s a good close-up view:

Interior view of the bodice with stitching and the iconic Worth label.

Judging from the skirt and the bodice, we’d date this one from the early 1890s. The longer skirt back suggests that a bustle appliance of some sort would have been worn, most likely probably a pad (small pads were still in use during the 1890). Because of the bodice’s fragility, I was unable to get a good look at just how large the sleeve caps are but there’s definitely some room there. It’s definitely not the full-blown gigot sleeves of the mid 1890s but the style of the bodice is definitely headed that way. The skirt is composed of multiple gores, at least five to seven (we were unable to get an exact count).

From this picture, one can get a good idea of the fashion fabric.

The fashion fabric, as stated previously, is an ivory/pink blush silk moire fabric with both bodice and skirt having vertical stripes with alternating pink blush and ivory strips of which the ivory strips have the watered silk appearance characteristic of moire. This is an interesting choice of fabric and it’s pretty subtle. Although it’s hard to say with 100% certainty, this dress reads “bridal” and it would certainly work for that purpose although it could just as easily answer as a better visiting/afternoon dress or even a reception dress, depending on the event. Well, this pretty much wraps up our visit to the Fashion Museum Bath and we want to thank the staff for their assistant and patience. We hope to return in the near future and view some more dresses from their collection. Merci beaucoup! πŸ™‚

Getting Married In Old West Tombstone…

Some formal images taken in our Tombstone parlor, just before we left for the Courthouse. The bride is wearing a brocade gown in the mid 1870s style, with silk pleating and soft cotton netted ruffles with a corseted bodice in a ballgown style.

This gown has a detachable train, so she can wear it later for a Victorian Ball as a formal gown.

The bodice and skirt front had vintage lace applique and bobbinette (netted) ruffles all pinked with my antique tools and hand finished.

And the payoff… πŸ™‚

We fell in love with Martin as well…now they’re the prettiest couple in the West. πŸ™‚