Charles Worth & Textiles

Image result for silk fabrics charles worth

Textiles are a major element in any fashion style and a good designer will always seek to utilize the right fabric so that a specific style looks its best. For Charles Worth, fabrics played a major role in the design process to the point where he would commission textile manufacturers to create textiles for his exclusive use. Drawing on his background as a draper, Worth created relationships with a number of textile manufacturers, most notably the silk weavers of Lyon, France.

Charles Frederick Worth Haute Couture bridesmaid dress gown from American 1896. Probably made from silk and fabric material with contrasting woven flower floral pattern, pearl, bead and lace tulle. High neckline with blown up gigot puffed sleeve, contrasting color for the bodice, dress fully flared with train at the back. #Vintage #Haute #Couture #Fashion House of Worth.

Worth’s opinion of the role of textiles was neatly summarized in an interview quoted in the March 24, 1896 edition of the Los Angeles Herald:

When a manufacturer invents any special fabric or design, he sends me a pattern asking if I can use it. The fabric may require a severe style of dress, or if light and soft it is adapted for draperies and puffings. If the material pleases me, I order a large quantity to be mades specially for me, and design my dresses accordingly. A purchase by a large firm of a great quantity of material influences other firms, and that material, with the style it is suited to, becomes the fashion. All my models are first made in black and white muslin, then copied in the material and coloring which I select.

Worth notes that with enough yardage and the right design, one can create a popular fashion. In the above quote, Worth notes that the textile manufacturer would come to him in the hopes of an order. However, knowing Worth’s tendency to commission custom fabrics, it was a two-way process in that Worth’s designs often drove textile development. In future posts we’ll be covering this in more detail but it’s interesting to hear from one of the leading designers of the day.




Structuring & Silhouette…

With the shift towards unstructured fashions during the 1910s, it appeared to many that the corset’s days were numbered as a major fashion item. Leading the way, designers such as Paul Poiret and Jeanne Margaine-Lacroix introduced styles that harkened back to Classical Greece and the Directoire, styles that were diametrically opposed to the tightly structured s-bend corset/pouter pigeon silhouette of the early 1900s.  However, while garments themselves were no longer structured to follow the lines of the corset, the corset still lived on in modified forms such as the ones pictured in this advertisements published in the August 15, 1914 edition of Vogue Magazine:

Vogue Aug 15 1914_Corset Ad

Now the emphasis was on styles that were free and unrestrained yet at the same time, the body was still structured. What is also interesting is that the advertisement refers to a style created by Margaine-Lacroix, a designer who had recently acquired notoriety for a series of skin-tight body contour dresses that defied convention. However as seen below, many of Margaine-Lacroix’s designs were squarely within the major trends of the time:

Margaine-Lacroix 1914

Margaine-Lacroix c. 1908 - 1910 Dress

Margaine-Lacroix, Dress, c. 1908 – 1910; Metropolitan Museum of Art (1979.346.32)

Margaine-Lacroix c. 1908 - 1910 Dress

Flat Detail View

As with fashion in general, foundation garments were also changing but their effect was somewhat more muted and in another ten years, fashions would evolve into even more unstructured styles. Stay tuned for more as we bring forward various bits and pieces of fashion history for your please. 🙂

 

Clockwork Alchemy 2018

Clockwork Alchemy

We are happy to announce that we have been invited to participate in the fashion show at the upcoming Clockwork Alchemy Convention which will be held on March 23 – March 25, 2018) at the Burlingame Hyatt Regency Hotel located just south of San Francisco. This will be the third years that we will be participating and it’s going to be bigger and better- we’re hard at work coming up with some designs for the show but we’re keeping those under wraps for now. For 2018, the location and dates for the convention have been changed which overall is a better arrangement for us. While it gives us less time to get ready, it offers a better set of dates (no holiday traffic!) as well as a better venue with more amenities (can you say “pet friendly”? 🙂 ).

Clockwork Alchemy 2017

The Lily Absinthe Team at Clockwork Alchemy 2017.

So it’s time to greet the New Years’ hitting the ground running and we hope to see you there. Stay tuned for more details. 🙂

Off To Tombstone…

With Thanksgiving well behind us, it’s time to look forward to returning to Tombstone to prepare the house for the 4th Annual Tombstone Tour of Homes scheduled for December 2, 2017. Sponsored by Tombstone Forward, a group dedicated to marketing and promoting Tombstone as a destination and the home tour is  just one example. We’ve re-arranging furniture and have acquired some “new” pieces (or rather, re-upholstered some old ones 🙂 Stay tuned for more! 🙂

Tombstone Historic Home Tour 2017

 

Helldorado Days 2017

It’s October and that means Helldorado Days in Tombstone! This year, Helldorado is scheduled on October 20 through October 22, 2017 and the high point of the event is the parade to he held on Sunday October 22. First started in 1928 to publicize the town, Helldorado is held on the third Sunday of October and commemorates the town’s early years and especially that 30-second gunfight that took place somewhere close by to the OK Corral. We’ll be meeting with clients and otherwise working on some projects and having a little fun. 🙂

See you there!