Something New…

She’s from Paris circa 1898 (ish), perhaps only worn a few times before coming to live with me. Did she dine at Maxim’s, or drink champagne at the Moulin Rouge? There’s got to be a story behind all the sparkle! The skirt’s lining is lost, and her bodice insides are a bit shatter-y. I have restoration plans in store for her, with perhaps a few changes. 🙂

Black As A Fashion Color Revisited…

Our recent post on the subject of black as a dress color prompted me to do a little more digging into the role of black in styles of the 1880s and 90s so here we go… 🙂


In the course of researching the use of black dresses for other than mourning wear, we were struck that there aren’t many extant black dresses/gowns in pure black. On the other hand, one sees black frequently used in combination with another color or colors with black being predominant. The utility of black as a dress color is commented on in the June 1892 issue of Demorest’s Family Magazine which notes in its commentary on current fashions that:

Old-fashioned gauzy-looking stuffs are used for dresses as well as for the elaborate garnitures which are now so popular. There are all-wool and silk-and-wool crépons in black, which are very much liked by conservative ladies; and as all-black dresses are not only tolerated, but highly commended for evening wear, attention has been drawn to the preparation of many elegant and
appropriate fabrics for this purpose.

Black’s utility is also noted in the November 1891 issue of Demorest’s when commenting the use of black foundation skirts or petticoats:

…though not an individual part of each costume, the foundation skirt is by no means abandoned: made. of silk, most perfectly fitted, trimmed at the foot with narrow ruffles or one or two plaitings, and just escaping the ground, it replaces the conventional petticoat, and when one wears black dresses habitually, one petticoat, or foundation skirt will serve for several dresses. When colors are worn, it is usual to have this undershirt matching in color the material of the dress, and on the street only the dress skirt is raised.

And just to give an idea of what one of these foundation or under skirts might have looked like, here’s one example:

Underskirt, c. 1893 (Metropolitan Museum of Art (C.I.42.54.2)

Demorest’s also notes in its March 1892 fashion commentary that:

A NOTE of black runs through many of the fashions for spring. Black garnitures are used on almost all colors, in silks black forms a. background for brilliant or delicate blossoms or vines, all-black dresses trimmed with jet are considered very stylish, and when a touch of color is necessary for becomingness, the vest is the favorite point for introducing it. Vests in plain red, blue. yellow, or the favorite sage-green, when used in all-black dresses are either veiled with lace having a more or less decided pattern, or seeded with finely cut jet beads or the more conspicuous clone, or nail-heads.

Now, lest you think that the commentary in Demorest’s was only there to sell patterns, here’s a passage from the fashion commentary in the March 1892 issue of Peterson’s Magazine:

Black dresses are much too useful, especially when the wardrobe is a limited one, to be discarded. A black dress with change of vests, or ribbons or other trimmings, can be transformed into a great variety of costumes and is always lady-like. Black net is rather newer than black piece-lace, for dresses.

And, as for underskirts (aka foundation skirts), in the same issue, Peterson’s notes that:

Underskirts At Present: probably because the upper skirt must be held up, are richer than ever. They are even richer than the dress itself. Thus, under a woolen dress of the most modest description, you may see a rich silk skirt of the same. color as the over-dress, and trimmed with a deep lace flounce, beaded with rows of velvet. Then again, under a black dress you may see a shot silk skirt, trimmed with a black lace flounce or pinked-out frills of the same silk. There is a new silk made especially for these under-skirts and is called the frou-frou silk- the “rustling ”
silk. one might say in English.

To show just how black was worked with, let’s start with this evening gown made in 1895 from Maison Worth:

Worth, Evening Gown, c. 1897 – 1899; Galleria del Costume di Palazzo Pitti, Florence, Italy (00000113)

Three-Quarter Rear View

What’s interesting about this evening gown is that the black silk fashion fabric is given further pops of “color” in the form of beading that reflects any ambient light. It’s a very clever effect and definitely draws the eye. At the same time, the wearer’s face would have been lightened up by the ecru/ivory lace running along the neckline. To take this idea further, here’s a day dress from c. 1897-1899 where we see a similar color scheme:

Day Dress, c. 1897-1899; Galleria del Costume di Palazzo Pitti

And for one one example of manipulating black in dress styles, here’s this day dress from Maison Felix:

Maison Felix, Day Dress, c. 1893-1895; FIDM Museum (2008.5.51AB)

With this day dress, we see a lighter color used as an underskirt combined with shirring around the neckline of the bodice, both in an ivory color. The distribution of color is more vertical and the contrast is toned down by the use of a black lace overskirt in the front.

And there were instances where black was more of a background color as with this circa 1896 evening gown design from Worth:

Worth, Evening Dress, Worth, 1896; Palais Galliera, musée de la Mode de la Ville de Paris (GAL1978.20.1)

Here we see the gold appliques take center stage while the white neckline trim plays the role of lightening up the wearer’s face.

This has only been a small sampling of what’s out there but we think it goes a long way towards establishing that black was very much part of the period fashion aesthetic and could be utilized in a number of different ways to achieve various style effect. In the future, we’ll be examining this topic in more depth so stay tuned! 🙂

Out Of The Gilded Age…

Today the theme is burgundy velvet and what better way to show it off than in an evening dress by Worth. 🙂 Better yet, we have both the dress AND a portrait of the individual that it was made for! The itself was made by Maison Worth around 1898 and belonged to Edith Kingdon Gould, the wife of railroad tycoon George Jay Gould and is on display at Lyndhurst Mansion in Tarrytown, New York; Lyndhurst had belonged to the Goulds at one time and is now a museum belonging to the National Trust for Historic Preservation.

Worth, Evening Dress, c. 1898; Lyndhurst Mansion, Tarrytown NY

The evening dress is interesting in that it’s a relatively simple style, unadorned by any trim or decoration (if you don’t count the fur stole she wears with the dress in her portrait). Overall, the effect is very restrained, reflecting Ms. Kingdon-Gould’s status married to a wealth railroad tycoon (she had been an actress prior to marrying Gould). And now for the portrait itself:

Théobald Chartran, Portrait of Edith Kingdon Gould, c. 1898

Unfortunately there’s not a lot of information available in regard to the dress or the portrait- they were part of an exhibition at Lyndhurst that’s ended. This dress provides a fascinating snapshot into a bygone era made more interesting in that the dress style is very restrained when compared with some  of the more over-the-top designs of the era.

Parisian Color Trends For Fall 1889

Color is a major element in fashion styles and, as with style in general, it’s constantly in a state of flux. The situation was no different during the Nineteenth Century and while there was no entity like Pantone to constantly monitor the color trends, they were still noted. In the October 1889 issue of Peterson’s Magazine, it was noted that:

The newest color of the season is a rich deep shade of chaudron-red, which has been christened Eiffel-color, after the famous tower of the Exhibition. It is supposed to be of the same hue as the red-painted iron-work of that stupendous edifice, since its tint has been mellowed and modified by the weather. Green, except in the dark-emerald shade, has gone entirely out of vogue. Yellow, in the warm golden tones, will be a good deal used for trimmings,

Probably the most interesting comment is about “chaudron-red” which is a mash-up of French and English for “cauldron red” (or Eiffel Red) and it describes the original color that the Eiffel Tower was painted when it was first erected for the parish Exhibition of 1889. The original paint was meant as a protective coating and had a copper-red color because of its active ingredient, iron oxide, which gives the paint its protective quality, preventing rust to the steel that made up the Eiffel Tower’s construction (even to this day, iron oxide paint is used for treating steel beams). So what did this look like? Probably something like this:

Interestingly enough, recently, when it’s time to repaint the Eiffel Tower in 2021, it has been suggested that it be repainted in the original chaudron-red, similar to the shade depicted above. So far, the French Ministry of Culture has not made a decision…

Besides “Eiffel Red,” it’s noted that green is completely out except in a dark emerald shade, perhaps along these lines:

And for yellow something like these:

And now well things together with some examples of the above colors at work, starting with this evening dress from Maison Worth:

Worth, Evening Dress, c. 1889; Metropolitan Museum of Art (C.I.59.20)

James McCreary & Co., Visiting Dress, c. 1889; Metropolitan Museum of Art

Detail of Cuff

Both of the above dress examples incorporate many of the colors noted in Peterson’s although we must note that there are also plenty of examples where other colors were used; in fashion there’s never any absolutes, just broad generalizations. We hoped you have enjoyed this brief excursion into trending colors of 1889 and stay tuned for more in the future. 🙂