Evening Gown

And Now For Some Mid-1890s Style

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1890s style is definitely a thing with us and today we present you this circa 1895 evening dress:

Rouff, Evening Dress; Metropolitan Museum of Art (2009.300.6477a, b)

The color and texture combination of this dress are a very harmonious combination of an olive velvet bodice combined with a black silk satin skirt and bodice front panels. To finish the style, there’s gold embroidery and fringe which serve to offset the black skirt and front bodice.  Although there’s only one picture of the dress, it does appear that there’s a separate bodice and skirt and the skirt appears to be have been made from the black silk satin fabric; the gold embroidery is a floral design that’s rectangular, running down each side of the front part of the skirt and then running along the skirt bottom, above the hem. It’s too bad that there’s no pictures of the dress from the back or sides.

Close-up of trim detail.

Above is a close-up view of the bottom skirt front and the gold embroidery can be clearly seen. Also, one can also see that black beaded appliques were also used as part of the floral pattern design. In terms of style, the wide neck line and low shoulders  suggest an evening dress style but this style would also work as a reception dress. It’s a fascinating dress and we only wish that there were some more pictures available- there’s a lot of details that are obscured. But, nevertheless, this is another source of dress inspiration, especially with the large leg-of-mutton sleeves.

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More Late 1890s Evening Dress Style From Maison Worth

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Today we take a look at a circa 1897 evening gown from Maison Worth by way of the Olive Matthews Collection at the Chertsey Museum!

Worth, Evening Dress, 1897; The Olive Matthews Collection, Chertsey Museum (M.2017.013a–c)(Image 1897

Unfortunately, there’s not a lot of information online about the dress but style-wise, it’s consistent with what the Maison was producing during the late 1890s and early 1900s. The most striking aspect is this dress are the decorative floral motifs covering the overskirt on the sides and rear:

Florals and wheat designs were a Maison Worth signature style and it’s especially evident with the floral design here which is HUGE, covering the overskirt from hem to waist. We wish there were more pictures of this dress, it looks stunning, especially with the floral design. We hoped that you’ve enjoyed this brief glimpse into Maison Worth.

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Mid 1880s Evening Dress Style

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The topic of evening dresses during the late 19th Century has always been an interesting one to us in that style-wise, it covers a lot of ground. Some evening dress styles seem to be more like ball gowns while others lean more towards reception dresses or formal afternoon dresses. It also doesn’t help that period sources are often inconsistent (as well as modern museum classification). We have found that probably the most convenient way to separate the evening dress from the ball gown is to consider the presence of sleeves or lack thereof. Ball gowns tend to have either no sleeves or minimal ones consisting mostly of some sort of net, gauze, or organza.  Also, ball gowns tend to have lower necklines while this seems to be less of a thing with evening dresses. Finally, ball gowns tended to have lower neck lines on the back bodice.

Recently we came across an exquisite circa 1885 evening dress on the Augusta Auction website.

Evening Dress, c. 1885; August Auctions

The fashion fabric consists of a Prussian blue colored silk Ottoman fabric combined with a floral patterned gold on blue silk jacquard; the blue appears to be a shade different than the solid Ottoman. Silhouette-wise, it’s firmly in the mid-1880s and has a train, suggestive of a more formal dress.

The bodice is primarily made from the solid Ottoman fabric with a yolk made from the jacquard and all combined with a Medici collar trimmed in ivory (probably yellowed with age). The sleeves are three-quarter and trimmed with lace similar to the collar. This bodice is definitely reminiscent of Renaissance Era styles.

As with many dresses of the era, it’s got an overskirt that essentially is a train, combined with an apron that wraps around the waist area, below the bodice. Also, the jacquard underskirt has inset panels in the Ottoman. The side profile picture below gives an excellent view of this:

And with this rear view, one can definitely see that there’s a high back…

Below are close-ups of the upper front and back bodice:

And here are two views of the jacquard fabric:

And here’s a close-up of part of the bodice that gives a better view of the Prussian Blue fashion fabric as well as the corded trim. Note the horizontal weave pattern characteristic of an Ottoman fabric:

This is a really exquisite example of 1880s evening dress style and especially with the use of an Ottoman fabric- the Prussian blue Ottoman fabric provides a rich background for the floral pattern jacquard fabric which attracts the eye, leading it upwards to the wearer’s face (helped along with the yoke made from the same fabric). Overall, an exquisite example and perhaps a good style for recreating some day.  😄

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Butterflies, Ballgowns And Now Chrysanthemums

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It’s a truism in fashion that the natural world has always been a source of inspiration for artists and fashion designers and the late 19th Century was no exception. Examples of natural inspiration in fashion abound and in particular have often been a source of inspiration for many of Maison Worth’s designs. In a previous post, we discussed two examples of Worth’s use of the natural world theme in the form of wheat stalks and butterflies. Today, we look at another example, this time Chrysanthemums with this circa 1895-1900 evening dress:

Worth, Evening Dress, c. 1898-1900; Metropolitan Museum of Art (976.258.5a–c)

With a multi-gored trained skirt and minimally sleeved bodice, the dress silhouette reads late 1890s and more specifically in the 1898-1900 time frame. This dress is constructed of a salmon-colored silk satin and features a Chrysanthemum floral motif pattern. With the exception of the upper bodice, there is no trim on this dress and the Chrysanthemum design speaks for itself. Below is a close-up of the bodice:

The bodice features a semi-wrap style and continues the Chrysanthemum floral pattern with a jeweled net backed with salmon-colored tulle at the bustline. The sleeves are minimal, consisting of two strips of silk satin, some white chiffon and trimmed with gold fringe. Below is a close-up of the design motif:

As it can be seen in the picture above, the decorative design is composed of embroidered appliques that give the appearance of a velvet. It’s an amazing contrast to the silk satin skirt and bodice. Finally, not only does this dress have the Worth label, but also a label with a unique dress number which was likely to have been to a specific client. It would be interesting to know more about this… :-).

What’s also striking about this dress is that the design is not a singular occurrence but rather as part of a family of ball/evening gowns Maison Worth produced around the same time:

Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)

Worth, Ball Gown, c. 1895 – 1900; Metropolitan Museum of Art (2009.300.1290a, b)

House of Worth, Ballgown, 1898; Metropolitan Museum of Art (2009.300.1324a, b)

Worth, Ballgown, 1900; Metropolitan Museum of Art (2009.300.1250a, b)

The above garments are all masterpieces in their own right, all featuring a large design with a natural theme. Also, judging from the silhouettes and styles, it’s clear that these garments share many of the same pattern blocks.1Although they produced haute couture, Maison Worth was still a business and early on adopted many mass production techniques although they’d never publicly admit it.  Ultimately, while each of these dresses was a unique work, they all had common characteristics that made them part of a collection. Either way, they’re all artworks to be enjoyed in their own right. 🙂

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And Trending From Maison Worth For March 1894

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When it came to the media, Charles Worth was very reticent about discussing the details of his highly successful couture business. However, with his sons Gaston and Jean increasingly taking over the daily operations of Maison Worth, this attitude began to change and during the 1890s, one increasingly sees Worth designs being featured in the fashion press. One example of this can be found with the March 17, 1894 issue of Harper’s Bazar where a Worth evening dress is featured:

This dress is described in Harper’s thusly:

This superb gown is of very light ciel-blue satin bordered with black fur. It is further enriched with bead embroidery in iris dc~igns. The pointed waist is draped across the bust. and has a jabot falling between branches of embroidery done on the satin. Fur shoulder-straps complete the square décolleté. Short puffed sleeves of dotted mousseline de soie are under a ruffle of beaded satin. The graceful skirt falls in godet pleats, and is trimmed with embroidery and fur. The coiffure is without any ornament, a looped tress at the back extending above the top of the head giving a pretty profile. The fan is of black lace figures appliqued on tulle.

The silhouette is standard mid-1890s and interesting enough, the skirt gores are referred to as godets.1In modern usage, godets refer to triangular panels set into a skirt to make the skirt flare out more. The only different is that these panels are more inset into the skirt as opposed to being full panels.  In terms of skirt style, they are very similar to other Worth dresses of the the 1890s and early 1900s- all employed a graceful train and were constructed of solid silk satin with some sort of long flowing decorative motif, often floral or “sheaf of wheat.” Here’s a few well-known examples that follow in the same vein:

Worth, Ball Gown, 1893 – 1894; Metropolitan Museum of Art (C.I.68.53.10a–c)

Worth, Evening Dress, c. 1901; Bunka Gakuen Costume Museum

Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)

Worth, Ball Gown, c. 1895 – 1900; Metropolitan Museum of Art (2009.300.1290a, b)

Worth, Ballgown, c. 1894; Kyoto Costume Institute (AC4799 84-9-2AB)

Ballgown, Worth, 1898; Metropolitan Museum of Art (2009.300.1324a, b)

While the skirts are similar, the bodices exhibit a wide range of variation different trim, fabrics, and decorative effects. Also, sleeves for the most part tend to be minimal except for examples from the mid 1890s, which comes as no surprise. 😉 As for the color, ciel blue, here’s an approximation:

The one interesting, and subtle, twist with this dress design is the use of fur as trimming on the skirt hem and shoulders. We wonder if this design was ever actually made or simply was a concept that Jean Worth fed to the fashion press. Someday, we may know the answer.

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