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.



Interior Finishing

In the course of sorting out some period garments for Tombstone, we happened across one of the bodices in our collection and after looking at it, it struck me that this demonstrates some of the key elements in period seam finishing. First, the seam allowances have been finished off with an overcast stitch. Also, note the use of boning to add structure to the bodice- this didn’t replace the corset but rather aided in helping to define the bodice shape.

Also, we want to note that this bodice employs flat-lining- this is where a reinforcing piece of fabric is attached to the interior side of the fashion fabric to add stability. This is especially useful when dealing with lighter fabrics and especially silks (polished cotton was frequently used).

Finally, we note that hooks and eyes are used, all the hooks one side, the eyes on the other. You will see an alternating pattern with some bodices but either way is good and both were used.


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For Inspiration…

For inspiration…My current BFF. Extant 1890s Bridal Chic complete with original bust padding. American made…she’s a jewel. 😄


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