Corsets I can understand…but intentionally shelfing your rear view is well, insane.
And yet…we wear them and think they’re awesome. Check out that side view! In 1885, that was tres chic.
Bustle
Defining Late 1880s Style – The Silhouette
With the recent release of the series “The Gilded Age,” there has been an increased interest in 1880s fashion and all it entails. As with all Victorian Era fashions, they were largely defined by structure and this is especially true when looking at the late 1880s. While late 1880s style sits outside of the time frame depicted in the series, it carries on many of the earlier trends and especially when it comes to fabric and trim selections. In this post, we attempt to give a general overview of late 1880s style and we hope that you find it useful.
When it comes to mid to late 1880s style, it’s easy for one to conjure up visions of dresses with severely sculpted lines that were largely defined by an extremely angular “shelf bustle.” Naturally, as with all fashions, they manifested themselves in both extreme and moderate versions but it was the more extreme versions that caught the attention of the press and assorted satirists. One of the most oft-repeated quips was “one could set a tea service on top of the bustle.” Here’s just one example from an 1883 German humor magazine in which the women is likened to a Centaur:
From Fliegende Blätter; Band LXXVIII (1883), p. 147.
Interestingly enough, the above cartoon was made in 1883 when the bustle was re-emerging- perhaps they were ahead of the fashion curve? 😁 All joking aside, to a great degree, 1880s style was defined by the “shelf bustle” as shown in the picture below:
Evening Dress, American or European, c. 1884 – 1886, silk; The Metropolitan Museum of Art (C.I.63.23.3a, b)
So how was this style achieved? Structure; structure was everything in Victorian fashion and below are some examples on how the distinctive 1880s silhouette was created:
Bustle, c. 1885; Los Angeles County Museum of Art (M.2007.211.399)
Bustle, Steel Frame, c. 1884; Victoria & Albert Museum (T.131C-1919).
Bustle, 1880s
Within the parameters created by the basic silhouette, there was a wide variety of possible styles. As a rule, day dresses were defined by an under and overskirt, one draped over the other, and these could either in complementary or contrasting colors and/or a solid color combined with a pattern or even two different patterns. As for bodices, this could either be one solid unit or a combination jacket and waistcoat. The waistcoat could either be a separate garment or a faux waistcoat that has been integrated into the jacket to create a single bodice. Below are just some examples:
Godey’s Ladysbook, January 1887
In the above plate, on the left one can see a combination jacket/waistcoat styled bodice combined with with a solid colored overskirt covering a patterned underskirt. Interestingly enough, the waistcoat fabric matches the pattern on the underskirt. On the right, one can see a solid bodice trimmed with an embroidered panel that matches the pattern of the underskirt. At the same time, the pattern on the overskirt matches the basic fabric of the bodice. While there may be contrasts in fabric patterns, the do harmonize in the way that they’re both used on the skirts and the bodices. At the same time, the colors also harmonize even when they’re contrast colors.
As a rule, 1880s day dresses were defined by an under and overskirt, one draped over the other, and these could either in complementary or contrasting colors and/or a solid color combined with a pattern or even two different patterns. As for bodices, this could either be one solid unit or a combination jacket and waistcoat. The waistcoat could either be a separate garment or a faux waistcoat that has been integrated into the jacket to create a single bodice.
In the above plate, we see the use of different shades of the same color that are used to harmonize. The dress on the left simply combines a lighter brown with dark brown trim on the bodice lapels and are continued down the dress front (the dress appears to be a princess line but it’s hard to tell from the plate). The dress on the right is a bit more sophisticated in that not only do we see a dark and light shades of green combined, but we also see the use of a striped overskirt combined with a striped and patterned bodice. Interestingly enough, in both dresses, the dark color is only used on the trim and patterns, the light color makes up the majority of both dresses.
Below is another example of how colors and patterns could be combined:
Magazine des Demoiselles, 1887
On the left, we see the use of contrasting colors, in this case rose-colored vertical stripes combined with a light gray. The stripes are distributed around the skirt and on the sleeves and front of the bodice. There appears to be only one skirt. On the right, we see a solid dark gray/blue overskirt and bodice combined with a black floral pattern with a rose background for the underskirt, cuffs, collar, and bodice front. It also appears that the bodice cuts away to reveal a waistcoat of the same patterned fabric- to us, the patterned fabric conjures up visions of cut velvet.
The following fashion plates from 1886 and 1887 further illustrate some other possible combinations:
Peterson’s Magazine, November 1886
Peterson’s Magazine, February 1887
Peterson’s Magazine, June 1888
Fashion plates are great but let’s take a look at some actual dresses:
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. 1887 – 1891; Metropolitan Museum of Art (C.I.55.40.1a, b, e)
Close-Up Of Bodice
Detail Of Shoulder
Pingat, Promenade Dress, 1888; Metropolitan Museum of Art (2009.300.7758a, b)
Rear View
Left Side Profile- Unfortunately, the photography does not do justice to the dress.
Right Side Profile
Day Dress, c. 1887 – 1889; Metropolitan Museum of Art (C.I.53.68.2a–c)
Side Profile
Close-Up Of Bodice
Worth, Day Dress, 1888; Metropolitan Museum of Art (2009.300.665a, b)
Madame Arnaud, Paris, Morning Dress, c. 1888; The Museum at the Fashion Institute of Technology (2008.46.1)
For many, the typical 1880s silhouette is off-putting and in our experience, we have found that for most people looking to recreate the styles of the 1880s, they tend to gravitate towards either towards the beginning of the decade with the Mid-Bustle Era styles or towards the end of the decade where the bustle was diminishing and we start to see a more cylindrical, upright profile that was to carry on into the 1890s.
However, we would argue that while there is no denying that the late 1880s fashion silhouette was defined by an often extreme, angular bustle, this was not always the case and there are many instances where women toned it down- just looking at the variety of bustle appliances and pads that were available for sale is testament to that. As with all fashion, there were those who went to extremes and others who tended to be more conservative and especially for those of more modest means.
Just as important, if not more so, the 1880s offers a variety of styles to suit every aesthetic and a lot of room for developing a unique “signature” style that’s unique to the individual. So, why not give it a try? 🙂
And For The Bustled Look…
Day 25 of @ladyrebeccafashions #VictorianFebruary is: “I like big b*tts”…and this pretty little extant gown doesn’t disappoint in the rear view! She’s a pretty two toned 1870s day dress that is #2 on my patterning list, so get ready to see lots of interior images and a sample from her pattern draft. 🙂
The Bustle Dress – A Brief Overview, Part 6
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
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)
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, c. 1885; Los Angeles County Museum of Art (M.2007.211.34a-b)
Day Dress, French, c. 1885 – Rear 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, Cotton, Metal, Copper, c.1883 – 1887; FIDM Museum Library (2005.5.174)
Bustle, c. 1884; Victoria & Albert Museum (T.131C-1919).
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…)