Pattern Licensing From Maison Worth

Charles Worth is famous for being a pioneer in the world of haute couture and his impact on late 19th Century was immense. Although Worth’s designs are well known, the business aspects of Worth’s fashion empire are relatively unknown, aggravated by a lack of substantial documentation and a natural reticence on his part to discuss the topic. What we do know is fascinating and offers insight into Worth as a designer and below is just one small element for consideration.


One fascinating aspect about Charles Worth was that although he positioned himself as an exclusive couturier, he also licensed printed paper patterns of some of his designs. It’s well noted that Worth himself shied away from any overt publicity this to and you really have look hard for the evidence but it’s there. One example of this is this Redingote style was offered for sale for as a printed pattern in the 1882 edition of The Ladies Treasury:

And here’s the accompanying commentary:

Redingcotes are most popular in Paris. M. Worth makes them for summer dresses instead of polonaises. They are made in grenadines, over contrasting colours, for evening dresses. A mauve grenadine, on which are moons of black satin, two inches in diameter is made plain, over a lining of maize yellow satin. The grenadine is turned off in the front, to the sides, and is outlined in jet embroidery, black. A full frill of thread lace goes round the neck, and continues down the centre of the bodice. The petticoat of black satin has a pleated flounce of satin, and a front breadth of yellow satin, which is nearly hidden in jet embroidery, and bows of moire ribbons.

This style is M. Worth’s protest against the bunched-up paniers at the back, which it is said he detests.

Worth’s licensing of patterns is an interesting aspect of his business and is an area that’s not well documented. Of course, it would be interesting to locate the actual pattern but so far, our efforts to do so haven’t been successful. What’s also interesting is that even though Maison Worth was doing very well financially, it’s interesting that he would even bother with such pattern licensing- the revenue from pattern licensing could not have been much when compared to sales of his haute couture. Unfortunately, details about business side of Maison Worth are thin and we may never know the precise answer but it’s interesting to speculate on. As we find out more, we’ll be posting it here. Enjoy!



Seaside Fashion…

During the late 19th Century, there was an increase of interest in outdoor activities and in particular going to the beach. At the same time, there was a corresponding interest in having the right look for such occasions. For beachgoing, yachting, or simply spending time at the seashore, designers were quick to respond and by the 1890s, there was a plethora of styles available to women.

Beach 1890s

Sometimes bathing costume was not available…

It could probably be argued that the first seaside fashions per se where those created for yachting, an activity that was decidedly limited to the upper classes. John Redfern was one of the first to popularize Yachting costume in the 1870s, being conveniently located on the Island of Cowes, the site of the Cowes Regatta which was one of the largest yachting events in Europe. Yachting costume pretty much followed regular day fashions with the only difference being an incorporation of nautical themes derived from naval uniforms, both officer and enlisted (i.e. sailors). Because of the nature of sailing, fabrics tended towards wool, cotton, and linen and trim and ornamentation tended towards the more minimal (although there were always exceptions).

Redfern Yachting Fashion Queen 1887

Some of Redfern’s “boating” or yachting fashions in the July 16, 1887 issue of The Queen.

Here is one example of yachting dress that’s possibly attributed to Redfern (according to the auction website) from c. 1895:

Yachting Dress c. 1895

Yachting Dress, c. 1895 (originally made in 1890, sleeves have been modified); Kerry Taylor Auctions Website.

Yachting Dress c. 1895

Full Front View

Yachting Dress c. 1895

Another Close-Up Of Bodice

Yachting Dress c. 1895

Close-Up Of Bodice

Yachting Dress c. 1895

Side Profile

Yachting Dress c. 1895

Rear View

This dress is constructed from a cream-color wool with matching upper sleeves made from a silk “grosgrain”- we suspect that it might be a silk bengaline or faille but the picture quality is not good so it’s hard to determine. It would be interesting to know how it looked in its original configuration before the leg-of-mutton sleeves were installed but we can only assume that the sleeves would have been fairly close to the shoulders with perhaps a small “kick-out” at the top.

Here’s another example from 1897 constructed of a cream-colored linen:

Yachting Fashion c. 1897

Yachting Dress, c. 1897; Preservation Society of Newport County

This yachting dress was part of the wedding trousseau for Mrs. John Nicholas Brown (née Natalie Bayard Dresser) who had the dress embroidered with the insignia of the New York Yacht Club in 1897.

And as an aside, we have always wondered just how women managed to get on or off of a yacht, given the somewhat confining nature of late 19th Century fashion… 🙂

e6c8016d72f56b74bef014d6a546d733

But it wasn’t all about yachting dress, the nautical theme was carried over into dresses intended simply to be worn at the seashore, whether on the beach or close by:

Day Dress 1900 Linen Nautical Theme

Day Dress, American, c. 1900; Metropolitan Museum of Art (1980.171.3a–c)

Day Dress 1900 Linen Nautical Theme

Close-Up Of Front

Day Dress 1900 Linen Nautical Theme

Front Three-Quarter Profile

Day Dress 1900 Linen Nautical Theme

Rear View

This dress is made of a mocha or dark khaki-colored linen and was made around 1900; based on the full blouse silhouette (suggestive of the pigeon-breast style), we believe it dates from the early 1900s. With its free-flowing lines, this dress allowed freedom of movement and the linen material was the perfect choice for wear in warm weather.

Taking the nautical theme further, here’s a similar dress from c. 1895:

Day Dress 1895 Linen Nautical Theme

Day Dress, c. 1895; Metropolitan Museum of Art (1986.150a–e)

Day Dress 1895 Linen Nautical Theme

Side Profile

Day Dress 1895 Linen Nautical Theme

Rear View

Like the first dress, this one is also constructed of linen, also in a shade of khaki. This dress is a little more fitted than the first with a slightly longer, narrow skirt and a more fitted blouse but is still practical for wear on the beach on hot summer days. 🙂

Finally, here’s another dress from 1895 that employs a different color combination:

Day Dress 1895

Day Dress, American, c. 1895; The Museum at the Fashion Institute of Technology, New York ( P84.25.2)

The above dress is made from a white cotton pique with salmon-colored cotton trim that’s utilized on the hem, cuffs, belt, and collar. In contrast with the first two dresses, this one is a more structured and definitely has a typical 1890s silhouette (of course, the difference between the dresses may be simply be a matter of staging).

Beach 1890s

And sometimes one had to improvise at the beach…

Whether or not people wore the right look, the seashore never failed to attract people and especially on a hot summer day. Enjoy your summer! 🙂

 



Some Late 1880s Daytime Style…

As seen in a recent post, velvet was often used as an accent both in terms of the fabric itself and the rich colors it could hold. Today we take this theme a bit further with this late 1880s day dress:

Day Dress, c. 1880; Metropolitan Museum of Art (C.I.40.181a, b)

This dress is constructed from a medium brown silk faille with dark brown velvet panels on the front and sides of the skirt as well as panels on the bodice front. Also, one can see with the bodice that it’s been constructed to give the appearance of having an open v-neck with a faux velvet waist (it’s all actually a one-piece construction). Further decorating the bodice front, shoulders and cuffs in metallic gold filigree.

For dating the dress, although this has been labeled as being from circa 1880, we believe it was constructed during sometime in the 1888 to 1890 time frame based on the silhouette. In contrast with earlier 1880s dresses, this one’s silhouette is more moderate suggesting that the large bustle trend was beginning to taper off. Of course, it could also be the museum staging but we seriously doubt it.

Compared to the front, the back is plain and unadorned, suggesting that this was more of a mid-range dress than haute couture. This dress is interesting in that darker velvet combines nicely with the lighter brown silk faille. Darker colored velvet tend to absorb light but the gold filigree neatly counters this, thus creating a backdrop that only enhances the luster of the gold filigree decoration. One of the things that makes Victorian Era fashions so interesting is the seemingly endless unique design variations that one finds and it’s a constant source of inspiration to us.



Some More 1890s Style…

Saturated colors and jewel tones have always been a favorite with us but they’re something that we have to use somewhat judiciously here in Southern California. Here’s an interesting circa 1894-1895 day dress that definitely embodies the idea of saturated jewel tones, enhanced by the use of silk velvet:

Visiting Dress, c. 1894-1895; August Auctions

The bodice is designed to mimic an open jacket with an inset waist, a style that was very popular during the 1890s and would be carried forward into the early 1900s.

With it’s narrow waist, multi-gored skirt, and gigot sleeves, this has the silhouette characteristic of mid-1890s dress styles. The lines are clean and there’s a minimum of trim except for ivory-colored lace on the bodice front and sleeve cuffs. What is striking about this design is that it combines jewel tone wine/burgundy-colored velvet sleeves and bodice front with a lighter jewel tone wine-colored silk taffeta (at least that’s what it looks like from the picture). Further enhancing the bodice is the use of tapered velvet stripes on the bodice back. The overall effect is rich but not overwhelming. Here’s some close-ups:

Details of the rear upper bodice. Note the use of guipure lace trim.

Upper bodice front trimmed in guipure lace and net.

Here’s an excellent close-up of the silk velvet juxtaposed to the silk taffeta. Overall, this is an interesting dress in that it nicely combines a number of style elements that neatly define mid-1890s style in an aesthetically pleasing way.



Something New…

Renaissance Revival style of bodice in our collection, circa 1880, with a hand smocked center front inset, silk covered tasseled wrist lacing cords and a surprise scarlet lining for the rear tails with heavy lead weights. She’s a beauty, should we lift a pattern?  🙂

Interior view- the seam finishing is a fascinating study in itself.