And Still More 1890s Style…(We’re On A Roll Here)

Yes, we’re on a roll here…it seems to be shaping up into 1890s week (or maybe month). Here’s another great dress we came across while looking for something completely different (funny how that always seems to happen). For today’s consideration is this ball gown that was made by Pingat sometime around 1894:

Pingat, Ball Gown, c. 1894; Museum of Fine Arts Boston (56.816)

Rear View

As ball gowns go, this is a relatively simple design with a minimum of trim (mostly beading on the front bodice), relying instead on combinations of lace, and silk satin to achieve its effect.  With roses strategically placed on the skirt front, collar and shoulder, there are pops of color that offset the blush pink/ivory silk satin. The gigot sleeves combined with gored skirt definitely place this dress safely in the mid-1890s and create the classic hourglass style that was typical of the period. Overall, as with many of Pingat’s designs, this is elegant and clean and would definitely make an excellent bridal gown. Although best know for his outerwear, Pingat also produced many elegant dress designs- ball gowns, evening/reception dresses and day dresses and this is just one excellent example.

Trending For Christmas & New Years…1878

The late 1870s has always been a source of fascination for us and recently, we came across some interesting fashion plates published by The Young Ladies Journal dating from that period. To us, it’s simply amazing that wide variety of styles and colors that were available as depicted in this fashion plate:

The Young Ladies Journal, Christmas & New Years, 1878

What we find especially interesting is that there seemingly was no set “holiday color palette” like one sees today. What’s also interesting is that colors range from the jewel tones to pale pastels (something normally associated with the spring and summer months). Now, making allowances for artistic license in regard to colors, the styles themselves are still even considered on their own. And no surprise, the various pleatings and ruffles all serve to emphasize the cylindrical silhouette characteristic of this period.

So just in case you’re lacking in holiday inspiration, this should help.  🙂

The Princess Line, Redux

Our previous post on the Mid-Bustle Period, and the princess line dress in particular got such a favorable response that we decided to follow up on with some more examples.

Le Moniteur De La Mode, 1876

One of the dramatic and interesting styles is the one above utilizing an open redingote combined with an underskirt in two complementary colors and contrasting ruffles. The train also employs several layers of the same complementary colors. Also, the use of revers is taken to an extreme, especially towards the bottom when the revers open out to create the illusion of turn-backs. Overall, the effect is very reminiscent of the 1780s and 90s, an era something that often influences mid-1870s styles.

Le Moniteur De La Mode, 1878

This style is a bit more “conventional” in that it stays with one color, taking its decorative effect from the various ruffles, pleating, and trim. Also, while it’s impossible to tell just what the illustrator had in mind with the fashion fabric, one could easily imagine silk brocade or similar.  🙂

The Englishwoman’s Domestic Magazine, June 1878

Here we see a couple variations with the trains with various degrees of pleating, bows, and contrast colors. In many respects, the only limits are one’s imagination. Also, it must be noted that the illustrator has used a bit of artistic license portraying two ladies’ dressed with trains that are clearly not optimal for trekking through the woods. 🙂

Looking past the sheer beauty of these designs (and making allowances for the fact that these are fashion plates), one can see that there’s a few different design options here when recreating this style. First is the train- trains varied in length ranging from a full train for the most formal of occasions to the demi-train which was pretty standard for the majority of formal occasions (and a lot more practical to maneuver in). For day wear, the train was either short or non-existent. Moreover, with the train, one could choose to leave it relatively unadorned, with maybe a small row of knife-pleating or one could go all out, adding rows of pleating, ribbons, and other lace trim.

Turning to the overall style, while upright sculpted silhouette set the basic shape, one  sees a variety of variations to include a straight skirt all the way to the feet or the skirt is draped and gathered towards the bottom. Also, the entire dress could be styled as an open redingote with revers that opens up to reveal an underskirt that could be in a complementary color with ruching or a similar style. This style could also be done in either a single color or with complementary colors. In short, there was a wide variety of style choices available and designers/dressmakers/individual sewers utilized them all. Below are a few original dresses that help illustrate this point:

Day Dress, Swiss, 1880; Metropolitan Museum of Art (C.I.55.40.5)

With the above dress, we see a simple arrangement of shapes and lines in blue and ivory  combined with contrasts in the fabrics’ textures as well as the use of ruching.

Day Dress, Princess Line, c. 1878; National Museum, Prague (H2-193316)

With this dress, we see the fashion fabrics have similar textures but with contrasting steel gray and ivory. Pleating and trim are kept to a minimum and the style relies more on colors and fabrics to make its statement.

For this dress, while it utilizes complementary colors, it relies more on contrasts in textures: the ruching and pleating on the dress’s front panel are combined with a silk brocade covered by netting.

Afternoon Dress, c. 1878-1880; Manchester Art Gallery ( 1947.4118)

Rear View

This final example utilizes two fashion fabrics in complementary colors combined with contrasting fabric textures: a pale blue flat textured silk combined with a lighter blue silk satin. To further add interest, floral embroidery has been added to the bodice front and train. Also, while the bodice has a fairly simple shape, the lower skirt incorporates a series of ruffles and pleats to give a draped appearance.

We hope you’ve enjoyed this brief excursion through the the world of the Mid-Bustle Era princess line dress and we want to emphasize that while we may have deluged you with a wide a variety of style variations, our intent was to show that one has a wide range of choices when it comes to recreating this style and perhaps provide a bit of inspiration. 🙂

 

Trending For The Late 1870s- A Look At The Princess Line Dress

As many of you might have figured out already, we at Lily Absinthe have a love for the Mid-Bustle period and we’re always returning to it for commentary. Don’t get us wrong, we love all the styles of the late 19th and early 20th centuries but the silhouette of the Mid-Bustle period of the late 1870s continues to draw our attention. Maybe it’s the upright sculpted lines or perhaps the various fabrics and colors, it’s hard to say. And then, there’s the subset of the princess line style, the focus of today’s post- executed correctly, it’s an aesthetic joy to behold. So without further adieu, here we are… Enjoy!


Today we return to the Mid-Bustle Era to take a look at some interesting examples of the princess line style. With its long horizontal lines and lack of a waist seam, the princess line style was especially suited for the “natural form” aesthetic, especially with its low train and lack of a bustle. First up is this example from circa 1876:

Dinner Dress c. 1876

Dinner Dress, c. 1876; Metropolitan Museum of Art (1975.227.3)

Here’s a close-up of the bodice:

Dinner Dress c. 1876

Dinner Dress c. 1876

Side Profile

Dinner Dress c. 1876

Rear View

And here’s a view of the upper hem:

Dinner Dress c. 1876

Close-up of hem.

Here we see knife pleating combined with bow attached to what appears to be beaded cables. It’s hard to determine just what exactly the bow are made of. Above the upper hem line, we also catch a glimpse of the silk brocade fashion fabric. Here’s a close-up of the fashion fabric which appears to be a silk brocade composed of a combination of French blue and gold:

Dinner Dress c. 1876

Close-up of fashion fabric.

Overall, it’s an incredible dress with a luminescent color combination and very clean princess lines. Next, for a little contrast, we have this example from circa 1876-1880 (although the original auction site had this labeled at 1874, we believe that date is too early):

Side Profile

Rear View

In terms of silhouette, this example is somewhat less “sculpted” (although this may be due to poor staging) and features a more conventional two-color combination of a dark teal silk velvet combined with a light mint green/celedon silk and incorporating lace trim on the front and lower hem to frame the velvet. The low train is typical of the Mid-Bustle style, characterized by a low demi-train. Below is a close-up of the train:

The train is fairly standard with one row of knife pleating running along the hem accented by a strip of teal piping running along the tip. Below are some views of the skirt:

Finally, here are some views of the bodice:

Although the colors are faded and the velvet has worn down, it’s still an interesting color combination. Based on the use of a two-color scheme for the fabric, we would be inclined to date this a bit towards 1876-1877. We hope you have enjoyed this little excursion in the princess line style of the Mid-Bustle Era and we’ll be featuring more in future posts. 🙂

Another Take On Wedding Gowns…

In contrast to today, the term “wedding gown” was far more flexible in the late 19th Century than it is today. When we think of a wedding gown, we invariably think of some sort of dress that’s in some shade of white or ivory that’s only worn once on the wedding day and then stored away forever, unless a descendant chooses to wear the dress for their wedding. However, in recent scholarship, it’s been noted that the concept of the “white wedding” with its one-use wedding gown is a fairly recent development, as much a product of merchandising as social convention.

As discussed in a previous post, during the late 19th Century, a wedding dress was typically a woman’s “best dress,” often enhanced by netting, lace, and flowers (especially orange blossoms). The dress was definitely meant to be worn long after the wedding and in fact, the idea of having a dress for that’s only worn once and then stored away forever was considered the height of wastefulness. With that said, here’s just one example of what a wedding dress could be, at least if we accept the Walsall Museums’ description:

Day Dress c. 1885

Day Dress, c. 1885; Walsall Museums (WASMG : 1976.0832)

Day Dress c. 1885

Side Profile

Unfortunately the photography is not the best…style-wise this is mid-1880s with a defined train/bustle and is constructed from a silver-gray silk satin for the overskirt and bodice combined with a silk brocade floral pattern for the underskirt, under bodice and sleeve cuffs. The bodice is constructed to create the effect of a jacket over a vest (although these were usually made as a single unit) and the red flowers on the silk brocade provide pops of red that add richness and variety to what would otherwise be a somewhat dull monochromatic silver-gray dress.

Day Dress c. 1885

Close-up of front bodice.

And here’s a nice close-up of the silk brocade fabric:

Day Dress c. 1885

Close-up of fashion fabric.

Here’s a couple of more pictures (although the color is a bit off):

Day Dress c. 1885

Three-Quarter rear view.

Day Dress c. 1885

The red flowers on the silk brocade panels definitely draws the eye up and fixes the viewer’s eyes (As should be the case with all bridal dresses!). Of course, as with much of fashion history, there’s rarely any absolutes and this was the case with using “regular” colors versus the more bridal colors of white and ivory during the 1880s. However, in the end, it’s important to realize that the dividing lines between “bridal” and non-bridal were not as rigid was we tend to view them today (although that’s changing). This was just a brief glimpse into the world of bridal dresses during the 1880s and that there are alternatives to the “traditional” when it comes to bridal dresses. 🙂