Black…Not Just for Mourning

Wearing black wasn’t just for Mourning, it was considered an elegant color for fancy wear or even a wedding…a “best” dress. The dyes of the 19th century were often (but not always) “weighted” with lead, arsenic, and other lovely chemicals and metals…mostly for the purpose of keeping the color intact.

This lovely late 1890s bodice was obviously a favorite, there’s some wear, a self-fabric patch, and only the lace is a bit brownish and faded. Styles like this were common and sometimes were worn with different skirts for a bit of variety. Printed and colored linings were popular as well, sometimes “that’s all they had” or “pretty on the inside”. This one is heavily boned with baleen (what they called “whalebone”) and even though it was stiffened, a woman would have still worn this over a boned corset. Just a sweet example of What She Wore.


Off to the Getty Center

Today we decided to take a break from our film prep work and head over to the Getty Center in Brentwood, California. Los Angeles is decidedly not a museum town but the Getty Center and the Getty Villa are two stunning exceptions. The collections are a bit eclectic, containing a bit of everything ranging from Medieval manuscripts all the way up to Impressionist paintings with a large helping of 18th Century furnishings and objects d’art.

One of the most noteworthy takeaways from our visit was studying the way dress and fabrics are depicted in art, Below are some interesting examples:

Here we see a white silk satin dress portrayed through the medium paint in this painting “The Music Lesson” by Gerard ter Borch:

The Music Lesson by Gerard ter Borch, c. 1668

Another amazing painting is this one by Bartholomeus van der Helst that portrays metallic braid WITHOUT the use of a metallic paint:

Portrait of a Young Man in Military Costume by
Bartholomeus van der Helst, 1650

And for contrast, there’s the dress fabric in Jeanne by Édouard Manet:

Spring by Édouard Manet, 18881

There were a lot more examples but the above three encapsulate just what was possible and short of being able to actually view the original garments, these paintings provide interesting insights into fabrics and fashions. It also goes a long way towards depicting how clothes can look through the medium of film. We found this to be an incredibly powerful inspiration and it will inform our work in costume on screen in the future. Stay tuned for more!


Looking Back…

Plummy pleatastic silk and very red hair! That was me, many years ago at Old Tucson Studios. Now I’m just a brunette behind the machine and happily covered in thread snips.


Something More From The Lily Absinthe Collection

This transitional dress has elements in two fashion eras, dual openings in front (real and faux) and triple split tails in back (with skirt weights!) to accommodate a fashionably bustle’d rear view…definitely one of my BFFs in our collection.


What’s On

Lately, we’ve been on a big push to expand our wardrobe collection and in particular, 1870s and 1880s styles that can be used for both background as well as for principal characters. Because these are all day dresses, the basic fabric we’re using is cotton, either in stripes or small irregular patterns such as florals and plants. In some instances, we are also using silk taffeta for accent. In this example, the base fabric is a light blue cotton with an old gold/chartreuse floral pattern. For accent, we used a dark gold/chartreuse (depending on the light) silk taffeta for accents on the front and sleeve cuffs.

Here’s a close-up for constructing revers to be inserted on the fronts:

The green silk chartreuse velvet was a real pain to work with- it was constantly migrating and it took a lot of pins and basting stitches to keep everything in place. Below are close-ups of the sleeve construction:

It looks simple but there were a lot of steps involved, each requiring exacting attention to detail and taking a long time. In a future post, we’ll show more so stay tuned.