Parisian Color Trends For Fall 1889

Georges Garen, Embrasement de la Tour Eiffel, 1889; Musée d’Orsay, Paris

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 Paris 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. 🙂



More On The Ensemble Dress

Here’s another ensemble dress from Maison Worth, also from circa 1893. Style-wise, it’s similar to the example that we presented in yesterday’s post but perhaps a little more restrained. Here are a few views:

Worth 1893 Day Reception Afternoon Dress

Worth, Ensemble Dress, c. 1893; Metropolitan Museum of Art (2009.300.620a–e)

To us, this bodice reads visiting/afternoon dress, more of a formal day-oriented garment. Below, the bodice reads more of a reception dress or possibly evening dress- although that’s probably stretching things a bit.

Worth 1893 Day Reception Afternoon Dress

The Alternate Bodice

Once again, we see a jacket style for the day bodice with a filler of tulle. The skirt and jacket bodice are a pea-green silk brocade with black lace trim and accents. The night bodice with its light cinnamon colored silk velvet provides a pleasant contrast to the pea green. Compared to yesterday’s example, this dress is a bit more restrained but it’s still a nice design. The silk brocade fabric is interesting and we only wish that there were some close-up pictures of the fabric detail. It’s evident that both the dress and the one in yesterday’s post used identical or fairly similar pattern pieces. Finally, here’s an interesting part of the ensemble- matching shoes:

Worth 1893 Shoes

Matching shoes to outfit.

Stay tuned for more posts on this subject. 🙂

 


The Ensemble Dress

Ensemble Evening Reception Dress Worth 1893

One interesting aspect of Charles Worth’s designs was what was called the “Ensemble Dress.” This was a dress that had two bodices, typically one for day wear and one for evening wear so one could have a nice semi-formal dress for calling on friends, going into town, or attending some sort of day function. At the same time, with a change in bodices, one would have also be properly dressed for an evening function. Below is just one circa 1893 example from Worth:

Ensemble Evening Reception Dress Worth 1893

Worth, Evening Ensemble Dress, c. 1893; Metropolitan Museum of Art (2009.300.622a–c)

First, we have a day bodice that’s designed like a jacket; no doubt some wort of a waist was worn underneath even though it would have been covered by the lace strips running down the front. And then we have a night bodice that’s perhaps a little more formal:

Ensemble Evening Reception Dress Worth 1893

The Alternate Bodice

And here’s a rear view of the dress with the day bodice:

Ensemble Evening Reception Dress Worth 1893

Rear View

In terms of silhouette, this is characteristic for the early 1890s with it’s fairly restrained train arrangement- most likely a small bustle pad was worn but not much else. The fact there’s small train points to it being more of a formal dress (with day and night configurations). The fabric is a silver colored silk satin with a gold leaf pattern decoration woven in broken texture that services to provide a contrast both in texture and color. The red silk velvet lapels and sleeve trim on the day bodice and the red bodice front on the night bodice. The effect is exquisite with either bodice. Below is a close-up of the fabric.

Ensemble Evening Reception Dress Worth 1893

Detail of fabric- too bad it’s not in color.

In 1890s fashion, the skirt and bodice have a minimum of trim and Worth lets the contrasting fabrics, both in color and in texture, speak for themselves. Just one of many exquisite examples from Maison Worth.

 


Tea Gowns- Some Notes

Image result for tea gowns 1890s

Perhaps the extreme hot weather we’re dealing with in Southern California or simply the aesthetics but tea gowns have been an object of interest for us lately. As noted in a prior post, the tea gown was an informal garment that was meant to be worn without a corset (in practice, this was not always the case) although many tea gowns were boned in the bodice area to provide a little structure.

Image result for tea gowns 1890s

There was certainly a wide variety of tea gown styles that were available ranging from ones mass-produced  for the middle class market to the haute couture varieties aimed at a more upscale clientele. Below is one example from 1894, complete with gigot sleeves, offered by Maison Worth:

Worth Tea Gown 1894

Worth, Tea Gown, 1894; Metropolitan Museum of Art (2009.300.637)

Worth Tea Gown 1894

Rear View

And here’s another offering from Worth, circa 1900 – 1901:

Tea Gown Worth c. 1900 - 1901

Worth, Tea Gown, c. 1900 – 1901; Metropolitan Museum of Art (2009.300.2498)

Tea Gown Worth c. 1900 - 1901

Rear View

61.219.8_front bw

And if one could not afford to buy a ready-made tea gown, they could make their own:

The tea gown offered another alternative for women’s wear and it’s interesting to see how the varieties that were out there. Stay tuned for more in the future. 🙂

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And A Little Something From Maison Worth

And for a extra little color, today we feature this Natural Form/Mid-Bustle Era day dress from Charles Worth in shades of orange:

Worth, Day Dress, c. 1878-1883; Augusta Auctions

The silhouette is quintessential late 1870s/early 1880s consisting of a long cuirass bodice with three-quarter sleeves that covers the hips along with an over/underskirt combination. Judging from the long train, it suggests that this dress was meant for more formal day occasions, whether at home or in public. The base fashion fabric for the bodice, overskirt, and train appear to be a wine-colored striped silk taffeta (perhaps?) overlaid with a burnt orange floral pattern. The colors are analogous, providing a palette of warm colors. The underskirt and front bodice insert appear to be a champagne-colored silk satin, trimmed with lace and ribbons on the skirt. The champagne color provides a cool color contrast that only serves to emphasize the bodice and outerskirt.

Here’s a nice view of the train and while it’s substantial, it’s still a demi-train (it’s fairly subjective here). Below is a close-up view of the fashion fabric. From the vertical ribs, it appears to be silk gold flower appliques laid over a silk burgundy stripe fabric. The fabric is fascinating and we would definitely want to study it up close in person.

The red-orange fashion fabric is definitely the centerpiece of this dress and gives it a special, unique appearance. While it’s tempting to classify this as “Fall colors”, it would be a mistake to do so in that Victorians were somewhat flexible when it came to associating colors with specific seasons. But, nevertheless, this is an excellent example of using color to define a dress style and it definitely carries a great impact.  🙂