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Natural Form Era
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.
More Late 1870s Asymmetrical Style
If you liked our previous post in asymmetrical style, here’s another example from the same couturière, Maison Cécile Laisne:
Maison Cécile Laisne, c. 1878-1879; Metropolitan Museum of Art (C.I.45.38.1a, b)
This time, the designer utilized a combination of an ivory-colored silk jacquard overskirt arranged in a spiral drape that works its way upwards towards the bodice combined with a silk underskirt covered in an elaborate network of woven cords and what appear to be large metallic beads. If one looks carefully underneath the net, one can see an underskirt consisting of rows of knife pleating, also in an ivory color.
The bodice is long, going over the hips and is typical of Mid-Bustle/Natural Form styles. The bodice is symmetrical, consisting of what appears to be some sort of plain ivory-colored silk satin fabric framed along the hem and front by wide rows of ivory silk satin with passementerie consisting of cording and metallic beads similar to that of the net underskirt. Below is a close-up of the fashion fabric found on the overskirt:
From the pictures, it appears that the net underskirt is visible on the left side only while covered with the outerskirt draping on the right.
The cord work netting is amazing and the steel beads really give it definition. It also appears that there’s some ruching of the fabric of the underskirt foundation. The dress’s asymmetrical style can really be seen from this rear view picture:
The demi-train is pleated and has two or three rows of knife pleating running along the hem. Further up, one can see where the spiraling outerskirt ends, secured in the folds of the train (can we say draping? 😁 ). A small bow on the bodice back at hem level completes the look. And last, here’s the dress label:
Compared to Maison Cécile Laisne’s design in the first post, we tend to like this design a lot better because the asymmetrical elements are arranged more harmoniously with the dress achieving a unified style rather than having elements seemingly “bolted on.” But as with all of this, it’s a very subjective thing. 😁
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Mccall’s M8076 1870s 1880s 19th Century Hat Pattern 4 - Etsy
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Simplicity 5457 Circa 1880 Evening Reception Dress Sewing - Etsy
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Butterick B6305 Natural Form Mid-bustle Era Late 1870s Early - Etsy
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Mccall’s M8189 Misses’ Costume Angela Clayton C. 1880 - Etsy
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Mccall’s M8191 Misses’ Skirt Angela Clayton C. 1880 - Etsy
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Simplicity 4078 Circa 1895 Ballgown Evening Dress Sewing - Etsy
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Butterick B5969 Misses’ Corset and Skirt 1870s 1880a - Etsy
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Butterick B6692 Misses’ Costume 1870s Style Day Dress - Etsy
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Past Patterns No. 904 1880s Polonaise With Walking Skirt - Etsy
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Patterns of History 1876 Bustled Day Dress Sewing Pattern - Etsy
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Mid-Bustle Era/Natura Form – Asymmetrical Style
We’re on a roll when it comes to Mid-Bustle/Natural Form style! Today we feature this day dress that was made by Maison Cécile Laisne sometime around 1879 in Paris. What’s interesting about this dress is the use of asymmetrical design elements:
Maison Cécile Laisne, Day Dress, c. 1879; Metropolitan Museum of Art (C.I.45.38.2a, b)
The skirt and bodice are made from a gold/champagne-colored silk jacquard with a silk satin knife-pleated hem made from the same color. The neck and upper bust are filled in with a gauze that’s also in the gold/champagne color. However, the most striking element are the wide jeweled/gold metallic braid trim stripes that run up both sides of the bodice front and decorate the cuffs. Below, a larger strip of trim with the same jeweled metallic braid runs along the lower bodice and skirt, starting at the center back of the bodice and then spiraling down and following the train on the left side. Below is a close-up of the front upper bodice:
The trim definitely makes the front bodice stand out and it catches the eye, combined with the large center bow.
The view shows the dress silhouette nicely and one can make out the floral jacquard pattern. Two rows of pleating along the hem further serve to accentuate the train. Below is another view of the train:
In the above and below pictures, we see the trim to its fullest extent, running along the one side of the lower bodice and then down the left side of the demi-train.
Below is a close-up of the silk jacquard fashion fabric with it’s floral motif:
And the cuff accents:
And finally, a nice close-up view of the trim- this was, no doubt, all set by hand and represents hours of work.
The use of asymetrical design elements is one major style that’s common in late 19th Century dresses and the above dress is just one example. What makes this one so striking is the use of a wide, very elaborate stripe that immediately catches the eye, especially from behind and while it’s a bit jarring, it does succeed in capturing the viewer’s immediate attention. While this wasn’t a style for everyone, it was definitely one that was guaranteed to get attention- can you say Mrs. Bertha Russell, anyone? 😁