A Little Commentary On Bridesmaid Dresses

As a follow-up from yesterday’s post, here’s a little commentary on colors for bridesmaid dresses from the February 1883 issue of Demorest’s Family Magazine:

 Quite a new departure has been taken recently in the adoption of colors for the dresses of bridesmaids instead of the repetition of the conventional white. Why it should ever have been considered necessary for bridesmaids to wear white does not appear. There is a pretty sentiment in the purity of the robes of the bride, but the bridesmaids ought to be differentiated in some way from their companion who is about to take a serious step, and separate herself forever from the old happy life. It ought to represent the innocence and joyousness of youth, the free hopeful spirit which is still theirs, and which would naturally express itself in tints and colors, in light delicate green, mauve, pink, and dull pale gold.

It’s interesting to note that it seems that having both the bride and all the bridesmaids all in white was a thing, at least in some weddings. The writer makes an interesting point in that visually, the bride should stand apart because of the significance of getting married. This is an interesting tidbit and just reveals that when it came to wedding dress protocol, things were a lot more mixed than what we’d expect.


Color Inspiration for No. 11

See that wall color? That’s really close to what No. 11 is going to be, rather soon-ish. It was going to be green, but I have been known to change my mind…


Color Selection- 1870s Style

One of the central tenets of choosing colors for a particular dress is that one must choose colors that are appropriate for when and where a particular dress or gown is going to be worn. A dress that looks fabulous in the noonday sun may look absolutely horrible when viewed in a gas-lit ballroom at night. In short, context is everything when selecting a suitable color or color combination for a particular dress and it’s one of the fundamental principles that drives our designs. However, this is not simply us reciting a fashion truism- From the January 1875 edition of Le Follet, Journal Du Grand Monde:

It is necessary to be very careful in the selection of shades for evening-dress, as they are so very different by day and gaslight. Many of the best shades for day wear have quite a faded or dull appearance by night. Thus, the peacock-green, so beautiful in the sunlight, takes a yellowish tinge by gaslight. Those greens with the most yellow in them are the best for evening toilette. Yellows of different shades- buttercup, sulphur, and, above all, maize- are all good for this purpose. Reds gain in brightness; rubies also become more brilliant; nacarat [a shade of pale red-orange] appears lighter; cerise changes to ponceau  {a red poppy color]. A rather yellow white is preferable to the purer white, and silver-grey looks well; but the bluish-grey is not a good shade for night.

Here’s an example of nacarat:

And cerise:

Image result for cerise color

And finally ponceau:

This is just one example but it makes an important point in that one must always be mindful of context when recreating historical fashions.

Lily Absinthe Takes A Look At Chartreuse

Color is one of the basic building blocks in fashion design and we are constantly on the lookout for colors that will enhance the overall aesthetics of our designs. In the course of researching some dresses, we came across a dress that utilizes chartreuse, ochre/gold, and green for dramatic effect and we thought that we would share it with you:  🙂

Day Dress 1870s

Day Dress, c. Early 1870s; Centre de Documentació i Museu Tèxtil, Barcelona, Spain (11899)

Day Dress 1870s

Frontal Close-Up

The chartreuse base fabric appears to be a faille and the trim is a combination of yellow ochre and light green/chartreuse (it’s hard to tell exactly from the picture).

Day Dress 1870s

Side Profile

Day Dress 1870s

Rear View; Unfortunately, the skirt is discolored, most likely from poor storage at some point.

And here are some more details:

The basic fashion fabric is what appears to be a chartreuse-colored silk faille with the bodice and skirt front trimmed in yellow ochre and light green; the hem is trimmed in four rows of knife pleating. Also, the hem guard appears to be in green that matches the trim (you can see the hem guard peeking out from beneath the bottom row of knife pleating.

Finally, here’s a rough color palette:

 Pallette2

The above is merely one of many different design schemes possible but it’s definitely one on our list. :-).



Setting The Mood With Color

We wrote this post a few years ago but we believe that it still holds true. Color has always held a fascination for us and it’s a key element in the design process. And just for interest, here’s the Pantone Color of the Year for 2020: 🙂

 


One of the key elements in fashion design is color and late 19th Century fashion design is no exception. The design process may vary between individual designers but no matter who they are, they all have to consider what colors they’re going to use in their designs. The selection of colors is dependent on the season (though not always) and as such, tend to follow nature. Today, heavy weight is given to predicting what colors will be popular with fashion consumers because this influences the color and types of fabrics that design houses will order for their new lines; a multi-million dollar industry has been created around predicting what colors will be in for the following year with Pantone being the leading firm because of it setting color standards for a variety of industries.. The following color palettes from Pantone give a good illustration of this:

First we have the palette for Fall 2017:

PANTONE Fashion Color Report Fall 2017, New York

Most of the colors are deep, darker earth tones with a neutral gray mixed in reflecting shorter, darker days, leaves turning and the dying off of plant life in anticipation of winter. Nest, here’s the palette for Spring 2018:

Image result for pantone colors fall 2018

Just for comparison, here’s the Spring 2020 Color palette (in some ways, it seems to be a close re-rum of the 2018 palette):

In the above palette for 2018 and 2020, the colors tend to be lighter, reflecting the increasingly longer days, more sunny weather, and new growth of plants and foliage.

However, before we go on, let us note that color trend prediction is a somewhat subjective and as such, it doesn’t always follow strict rules and as such, it’s more of an approximation today than it was during the 19th Century. Here are two examples from the late 19th Century:

As with other designers, consideration of color makes up a good part of the design process and it’s one of the first steps in the design process. For us, colors fall under three major categories: Fall, Winter, and Spring/Summer. At the same time, we also consider what sort of a garment we’re designing: ball gown, day dress, reception dress, etc. Also, we consider where it’s primarily going to be worn: outside, indoors, indoors at night (e.g., ball room, stage, etc.). Once those questions are answered, we can then proceed with more specific color selections. If the garment is to be worn during the daytime and outside, we tend to first use nature as the first starting point for inspiration.

To illustrate this, let’s consider our Camille picnic dress design. When we originally conceived of it, we were looking for a day dress that could be worn at an outdoor event in the Spring or Summer such as a picnic. The Mid-Bustle Era has always been a favorite with us, so we decided that the style would derive from that period. From there, we determined our color palette, drawing inspiration from the Impressionist painters and Claude Monet in particular. But even more specifically, we wanted to emphasize the Spring with its fresh vegetation and explosion of lighter green colors combined with occasional pops of red or violet and towards that end, Monet’s garden at Giverny was the perfect source of inspiration. After some online photo research, here’s what we came up with:

Karin Camille Mood Board Spring 2016

Ultimately, the decision was made to go with a bright chartreuse as the primary color based on the greenery found at Giverny that’s portrayed with in Monet’s paintings as well as actual photographs such as this one:

Giverny Monet

Giverny Today

Below are a few more illustrations of the final Camille picnic dress just to give an idea of how the color was ultimately brought to life:

Karin Camille Picnic Dress

Karin Camille Picnic Dress Impressionist

Karin Camille Picnic Dress

From a color theory standpoint, the colors that we ultimately used for the Camille picnic dress were: chartreuse (both pale and bright), pale champagne gold (on the lower sleeves), and yellow-orange (the fringed trim running on the skirt front):

Image result for bright chartreuse pantone

Image result for old gold pantone

Finally, if viewed on the color wheel, you will notice that they are all analogous colors that are located next to each on the wheel:

color-wheel-300

We hope you’ve enjoyed that this post has helped give you some insight into just one of the many elements that go into making a Lily Absinthe design.