The 1870s Two-Tone Dress

Godey’s Lady’s Book, December 1875 fashion plates

Two-tone dresses were a major element in early to mid-1870s fashion and is one of the major factors that set 1870s style apart from 1880s style (apart from the changes in bustle configuration). A “two-tone” dress was essentially one that combined two major colors to achieve the fashion effect; often these were contrasting colors but they also could be more harmonious color combinations.

When we discuss color combinations, they can either be complementary colors or analogous colors as illustrated here:

As a rule, complementary colors provide the greatest visual impact but neutral colors such as black and gray can also perform the same role. Let’s take a look at some examples:

Day Dress, c. 1868-1872; Los Angeles County Museum of Art (M.82.272.1a-b)

The color combination on the above dress a harmonious combination of dark red/burgundy and a dark gold/yellow or old gold, both which are warm colors.

Day Dress, c. 1873; McCord Museum (M20277.1-2)

The above color contrast uses a combination of complementary colors- a blue-green and very light red orange. What is interesting is that the red-orange color is further broken up with with blue-green stripes.

Worth, Afternoon Dress, c. 1874; Metropolitan Museum of Art (1975.259.2a, b)

The color combination on the above dress is interesting in that it’s a combination of dark blue and celadon which are analogous colors. The next two dresses feature the use of monochromatic color combinations:

Day Dress, c. 1870; Museum of Fine Arts, Boston (64.1003a)

In the above example, we see the use of very dark purple combined with a more medium shade. It also should be noted that the fabrics can also be used to enhance the effect: The dark purple is on a rich velvet while the lighter purple shade is on what appears to be a taffeta. Also it must be noted that the knife pleating running along the bottom of the skirt is a third shade of purple. Here’s another example that uses lavender:

Day Dress, c. 1868-1872; Kent State University Museum (KSUM 1983.1.118a-d)

The dress features a monochromatic color combination of darker and lighter shades of lavender. Note how the contrast colors run vertical for the bodice and horizontal for the skirt. The above examples are only a small hint at the combinations that were possible with early to mid 1870s dresses and as we find some more examples, we’ll be sure to post them here.

 


Charles Worth & Textiles

Anglo-French costumier and dress designer Charles Frederick Worth (1825 - 1895 ). Born in Lincolnshire, he moved to Paris and his establishment became the centre of the fashion world. (Photo by Hulton Archive/Getty Images)

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 made 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. Also, 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.


The Countess Grefuhlle’s Tea Gown

Countess Greffulhe

One of the most iconic versions of the tea gown (or dress) was the one that was made by Maison Worth for the Countess Grefuhlle in 1895. Although tea gowns were initially intended as a form of Victorian “casual wear” for wear at home, the style eventually evolved into something less casual and more focused on achieving a fashion effect (as is the case with a lot of fashions that start simple and evolve into something far more complex). Here are a few views:

Tea Dress, Worth c. 1895; Palais Galliera (GAL1964.20.4)

Three-Quarters Front View

In this close-up, one can see the blue flocked velvet design set against a green silk satin.

Three-Quarters Rear View

Back in 2016-17, an exhibition about her was staged at Palais Gallieria in Paris and the FIT Museum in New York. Below is a link to a video about it:

In future posts, we’ll delve more into this gown but suffice to say, it’s simply stunning and we’re looking forward to someday seeing it in person, whether in Paris or somewhere else.


Designing For The 80s – Part 2

In Part 1, we discussed design approaches for early 1880s fashion, with a dash of late 1870s thrown in. In contrast with the early 1870s, the emphasis was on the vertical rather than horizontal with minimal bustling and trains. Today we move forward into the mid-1880s when the bustle seemingly returned with a vengeance.



Back At The Atelier With Our Latest Project

It Needs petticoats and a body, no judging. Faded old embroidered cotton, skirt is completely hand finished because I’m weird and do things the hard way. Snuck in a tiny black silk pleated strip at the hem. I know this project is supposed to be simple…but the chatter in my head is Joan Cusack from “Working Girl” when she says: “it needs some bows or something!”

There will be no bows.

TW- WHY IS IT that the things that appear the simplest are actually the most difficult? This skirt is entirely undersewn, that was an adventure! 😁 😆


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