And Trending From Maison Worth, January 1894

La Maison Worth and the fashion press did not seemingly appear to have a close relationship yet, it seemed that there was a steady number of Worth designs that were featured in Harper’s Bazar during the 1890s, no doubt pushed along by Charles Worth’s two sons, Jean and Gaston. Below is one evening dress design that was featured on the cover of the January 20, 1894 issue of Harper’s Bazar:

Below is a description of the dress:

This superb gown of rose-colored moiré and dark garnet velvet is one of the most beautiful of the season for stately women lo wear at dinners, balls, and the opera. The front of the corsage [bodice] is of pale rose moiré, sloping to a broad point from a large bow on the bust, and is lightly embroidered with black and white beads. The sides and the back of the corsage are of garnet velvet, forming a short basque, cut in square tabs edged with bead embroidery.

Over short puffed sleeves are short winglike frills of velvet, surmounted by white lace. A tucker of white mousseline and lace fills out the top of the square neck. The front of the skirt is trimmed with three flounces at the foot, and is embroidered twice down each side. The train of velvet, falls in full folds, and is edged on each side with paniers of moiré turned back on the hips and tapering to the foot, the further edge finished with embroidery.

From the above description, this dress is constructed of rose-colored silk moire for the skirt and bodice front and garnet-colored silk velvet for the bodice and train. For the silhouette, it’s firmly in the mid-1890s style-wise. Below are swatches that give an idea of the basic colors:

Finally, we note that the sleeves are trimmed in white lace and that the neckline is filled with white mousseline, a silk muslin fabric. This style dress is a fairly conventional one for the time but it definitely embodied an elegant look that was suitable for any number of formal occasions. It would be interesting to know if this dress ever got beyond the concept stage and if so, we wonder what it would have looked like. Unfortunately, we’ll probably never know.

 



And Trending From Maison Worth For March 1894

When it came to the media, Charles Worth was very reticent about discussing the details of his highly successful couture business. However, with his sons Gaston and Jean increasingly taking over the daily operations of Maison Worth, this attitude began to change and during the 1890s, one increasingly sees Worth designs being featured in the fashion press. One example of this can be found with the March 17, 1894 issue of Harper’s Bazar where a Worth evening dress is featured:

This dress is described in Harper’s thusly:

This superb gown is of very light ciel-blue satin bordered with black fur. It is further enriched with bead embroidery in iris dc~igns. The pointed waist is draped across the bust. and has a jabot falling between branches of embroidery done on the satin. Fur shoulder-straps complete the square décolleté. Short puffed sleeves of dotted mousseline de soie are under a ruffle of beaded satin. The graceful skirt falls in godet pleats, and is trimmed with embroidery and fur. The coiffure is without any ornament, a looped tress at the back extending above the top of the head giving a pretty profile. The fan is of black lace figures appliqued on tulle.

The silhouette is standard mid-1890s and interesting enough, the skirt gores are referred to as godets.1In modern usage, godets refer to triangular panels set into a skirt to make the skirt flare out more. The only different is that these panels are more inset into the skirt as opposed to being full panels. In terms of skirt style, they are very similar to other Worth dresses of the the 1890s and early 1900s- all employed a graceful train and were constructed of solid silk satin with some sort of long flowing decorative motif, often floral or “sheaf of wheat.” Here’s a few well-known examples that follow in the same vein:

Worth, Ball Gown, 1893 – 1894; Metropolitan Museum of Art (C.I.68.53.10a–c)

Worth, Evening Dress, c. 1901; Bunka Gakuen Costume Museum

Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)

Worth, Ball Gown, c. 1895 – 1900; Metropolitan Museum of Art (2009.300.1290a, b)

Worth, Ballgown, c. 1894; Kyoto Costume Institute (AC4799 84-9-2AB)

Ballgown, Worth, 1898; Metropolitan Museum of Art (2009.300.1324a, b)

While the skirts are similar, the bodices exhibit a wide range of variation different trim, fabrics, and decorative effects. Also, sleeves for the most part tend to be minimal except for examples from the mid 1890s, which comes as no surprise. 😉 As for the color, ciel blue, here’s an approximation:

The one interesting, and subtle, twist with this dress design is the use of fur as trimming on the skirt hem and shoulders. We wonder if this design was ever actually made or simply was a concept that Jean Worth fed to the fashion press. Someday, we may know the answer.



The Walking Suit Circa 1912

The Teens Era was a time of fashion transition as styles moved away from the tightly sculpted silhouettes of the 1890s and early 1900s. Corsetry was shifting, placing a greater emphasis on creating a smooth, slender upright profile and flattening the breast line- the “pouter pigeon” look was definitely out- and whether it was daytime or evening, the general silhouette remained the same. 🙂


Teens Era fashion wasn’t just about evening wear so today we present some daytime styles starting with the walking suit. The walking suit represented a major step in the evolution of women’s wear during the late 19th and early 20th Centuries. Starting in the early 1890s, the walking suit was considered an essential part of a woman’s wardrobe and by the Teens, it occupied a prominent place in fashion. Style details, construction, and fabric varied depending on price point but the objective was always the same- a outfit that a woman could wear out in public that was practical yet stylish. In response to the growing popularity of walking suits, clothing manufacturers produced walking suits in a variety of fabrics, colors and styles. Walking suits became to widespread that even the major couturiers couldn’t ignore it.  We start first with this this circa 1912 walking suit from Paquin:

Paquin, Walking Suit, 1912; National Gallery of Victoria (2015.670.a-b)

Now, we have to admit that this is bordering more on a dress than a walking suit but it illustrates one of the distinctive styles of the era- the faux kimono/robe jacket style. Constructed of ivory and salmon-striped silk chiffon and trimmed with black velvet, this dress gives a practical yet dressed up look and it was a very popular style. Here’s a similar style, circa 1913, from Maison Worth:

Worth, Walking Suit, c. 1913; Metropolitan Museum of Art (1980.16.3a, b)

Unfortunately, it’s difficult to determine just what the precise fashion fabric is but it’s mostly likely a tropical weight wool. The jacket silhouette is more of a robe held together by an elaborate waistband/belt.

Side Profile

Rear View

Here’s a more detailed view of the jacket back:

Close-up of the back.

The above walking suit is Jackets cold also follow a more conventional style such as with this circa 1910 Paquin walking suit:

Jeanne Paquin, Walking Suit, Spring/Summer 1910; Metropolitan Museum of Art (2009.300.474a–d)

The suit follows a fairly conventional silhouette and as with many of Paquin’s designs, it was very practical, especially with the skirt. Although the “hobble style” was coming into being during this period, this dress is open and allows for complete mobility. The fabric appears to be a gray tropical weight wool with excellent drapability- it simply “flows.”

Three- Quarter Rear View

Close-Up Of Sleeve/Back

The cuffs have been artfully cut so as to give the illusion of lace cuffs underneath. Here’s what was actually worn underneath the jacket and note that the half-sleeves. 😉

Close-up of the front without the jacket.

We conclude with a more conventional walking suit style with this circa 1910 suit:

Walking Suit, c. 1912; McCord Museum (M976.35.2.1-2)

This suit embodies functionality with a minimum of trim except for decorative buttons and the double-layer collar. The skirt is also practical, allowing for full mobility. Unfortunately, there’s no indication what the fashion fabric is- it cold be linen, cotton, or even a tropical weight wool.

Walking suits came in a variety of styles with varying amounts of trim and decorative elements but no matter what, the emphasis was on practicality. In future posts, we’ll be exploring Teens Era walking suits further so stay tuned. 🙂



And Now For A Tea Gown From Maison Worth

Today’s video feature is a tea gown from circa 1893 that was made by Maison Worth and worn by either Helen Olivia Brice (1871–1950) or Margaret Katherine Brice (1873–1911):

Here’s are a few stills of the dress:

Worth, Tea Gown, c. 1893; Museum of the City of New York (MCNY 42.146.10).

As expected with a tea gown, it has a relatively unstructured silhouette and appears to be one-piece with no distinct waist. It’s unclear whether the gown is a princess line but given the nature of the tea gown style, probably so. While the sleeves are gigot or leg-of-mutton, they’re relatively muted fitting in perfectly with the 1893 time frame. The fashion fabric is a voided velvet with a dark blue silk velvet pile combined with a lighter purple silk satin to create a floral pattern. The bodice top is cut on a curve, reminiscent of early 16th Century Renaissance styles, and the area between above is filled in with guipure lace going all the way to the neck. Similar lace is also used on the lower sleeves to create a glove-like appearance. The close-up of the bodice below gives a better idea of the fabric:

The fashion fabric takes on a very fluorescent appearance, no doubt designed to make maximum use of the gaslight or early electrical lighting typical of interior lighting during this period.1There are a number of examples of Maison Worth’s work that utilize this fluorescent design effect with the fashion fabric- The Madame Greffuhle tea gown is a good example. The bodice top is trimmed with a strip of gold bullion and above it is the guipure lace insert.

And the interior of the bodice. The bodice is lightly boned and appears to have been flatlined in a pink silk satin combined with an ivory (it looks like a pistachio color but that’s probably the lighting) petersham and bone casings. This tea gown when worn must have been been amazing sight and it’s clear that this was intended for a more formal in-home affair than simply taking tea. 🙂



And For The Winter Season From Maison Worth

Norbert Goeneutte, “The Boulevard de Clichy under Snow 1876”

Winter is here and with it, outerwear takes on a whole new importance. Here’s one spectacular design from Maison Worth from the late 1890s to help keep the winter cold at bay… 🙂

Worth, Evening Mantle, c. Late 1890s; Metropolitan Museum of Art (C.I.51.69.2)

This mantle/coat is a stunner with silk velvet (most likely) floral pattern fashion fabric combined with sleeves lined with black silk velvet and collar and upper capelet also of the same black silk velvet. As a counterpoint, the facings are a cream/ivory colored silk satin edged in lace filigree. Finally, trimming the neck are cream/ivory feathers. Below is a close-up of the upper front:

Close-Up of Front

Side Profile

The sides and back really show off the floral pattern fashion fabric nicely.

And below is a close-up of the fashion fabric:

Close-up of fashion fabric.

From the above photo, it appears that the fashion fabric’s floral pattern is either created from burned out velvet or the black floral elements are velvet appliques. It’s hard to tell without examining it in person. And finally, we have the characteristic Maison Worth label:

Label

As with many of Maison Worth’s creations that we’ve viewed online, mere photos don’t tell the whole story and it’s too bad that we aren’t able to view this coat in person because we’re sure it would have a lot more to tell. But in spite of this, it’s still a marvelous example of the designs that Maison Worth produced during the 1880s and 90s. 🙂