There are some issues that no restoration can cure. Today, this lady gets photographed for the last time, the silk satin of the skirt is shattering and I want to preserve as much of the embroidery and beadwork as possible.
Reception Dress
Something New…
Renaissance Revival style of bodice in our collection, circa 1880, with a hand smocked center front inset, silk covered tasseled wrist lacing cords and a surprise scarlet lining for the rear tails with heavy lead weights. She’s a beauty, should we lift a pattern? 🙂
Interior view- the seam finishing is a fascinating study in itself.
Fashion Evolution- The Late 1870s
In keeping with the theme of fashion evolution, here’s a post covering fashion evolution during the late 1870s. Enjoy! 🙂
The late 1870s were a time of transition as styles moved away from the full bustled trains characteristic of the First Bustle Era and evolved towards the cylindrical silhouette of the Middle Bustle Era or Natural Form Era. The transition to the Middle Bustle Era could be said to have begun as early as 1875-76 although it wouldn’t come into full flower until 1878-79. The June 1877 issue of Peterson’s Magazine notes that:
There are three popular styles now, the Princess polonaise, basque bodices, with upper and lower skirts, and Princess dresses. The prominent points in the best polonaises are the long seams in the back, the plainness of the tournure, and sufficient length to give a slender effect. Fringes and wide galloons are the trimmings universally used, and the galloon is very generally arranged in sloping lines, or a long V down the back from shoulders to waist; small fichus, or mantles or the same material, complete the costume. The aim appears to give the costume the effect of a Princess dress; and in most cases, the merest glimpse of the under-skirt is all that is visible; therefore it is made both narrow and clinging, and is usually trimmed all round alike. The drawing-string across the back breadths is always added, no matter how closely the skirt is cut to the figure.
In these new dresses the shoulder-seams are very short, the neck is cut very high at the back, and the tight sleeves have the upper half slightly gathered on the elbows, to fit the arm more perfectly.
From the above commentary, it would seem that there are three styles at work: the older conventional basque bodice and skirt combination dress; the princess line dress; and the princess polonaise which appears to be somewhat of a hybrid between the first two styles.
Le Moniteur De La Mode, 1877
So how do these styles appear? Well, to begin, here’s one princess dress design that was marketed as a pattern in the October 1877 issue of Peterson’s:
Here’s another princess dress style, this time from the April issue of Demorest’s Family Magazine, that was also marketed as a pattern:
The above design is described as a:
A short, tight-fitting “Princess” dress, with the front opened at the left
side in “Breton” style, side-forms front and back extending to the shoulders, and side gores under the arms. A wide sash is draped across the front, and tied loosely in a knot at the left side, and the edge of the skirt is finished by a side plaiting. The back piece is full, being crossed by three clusters of shirred tucks, and is finished by a deep flounce that is, in its turn, ornamented with three side plaitings [pleats]. Two back pieces are given with the pattern,the full outer piece extending the entire length, and a shorter plain piece to which the shirred tucks are to be secured. The sleeves are trimmed to match the back. The collar may be of the same material as the dress, or be of lace, to suit the taste. The design can be suitably made up in a variety of dress goods, excepting perhaps the heaviest, and is especially desirable for thin fabrics, and a combination of colors or materials.
The above description pretty much hits all the high points as to what characterizes the princess dress design and there was a lot of variation in terms of fabrics and trim. Below are a few images of extant princess dresses:
Day Dress, c. 1870 – 1880; V&A Museum (CIRC.606-1962)
Day Dress, c. 1876 – 1878; Manchester City Galleries
Day Dress, Princess Line, c. 1878; National Museum, Prague (H2-193316)
Next, there’s this design for a house dress in the “Princess polonaise” style that was also marketed as a pattern:
In the description of the dress, it’s noted that “the polonaise is trimmed to correspond with the skirt and that it’s princess in form and slightly draped at the back where it’s caught up in a row of ribbon to match.” Essentially, this dress consists of a skirt and polonaise with the polonaise cut in single long pieces in the princess style, with no sewn waist.
The Englishwoman’s Domestic Magazine, July 1877
Here’s another take on the princess polonaise style that was offered for sale as a pattern in the February 1878 issue of Demorest’s Family Magazine:
The description for this style is given as:
A “Princess” polonaise, having drapery in folds across the front, and revers turned back from the sides and joined over a full platting added to the short back pieces somewhat in the manner of a train. The design is tight-fitting, has a seam down the middle of the back, and is cut with side-forms carried to the shoulders; darts are taken out under the arms, and the fronts are fitted with the usual number of
darts on each side and buttoned down their entire length. The design is adapted to all classes of dress goods, and may be trimmed in any manner that will correspond with the material chosen.
Just for reference, here’s another illustration of this style:
Finally, the basque bodice and skirt combination style was predominant during the early to mid 1870s and it could take a number of different forms. Below are a few examples from 1876-77:
Day Day, c. 1875 – 1877
Worth, Ensemble-Reception Dress, c. 1877 – 1878; Cincinnati Art Museum (1986.1200a-c)
Dinner Dress, c. 1876; Metropolitan Museum of Art (1975.227.3)
Day Dress, 1876; Philadelphia Museum of Art (1969-147-1a,b)
The above examples of all three styles are just a fraction of the wide variety of styles that were out there but it does convey that there were a number of different styles in circulation during the mid to late 1870s. Ultimately, the basque bodice and skirt combination would be left behind and by 1880 we see an almost complete transition in styles. Of course, as with every style shift, there were hold-outs who clung to older styles but as a mass movement, it was clear that styles were evolving. In future posts, we’ll attempt to further document fashion changes that occurred during the late Nineteenth Century so stay tuned! 🙂
Shades Of Green…
The color green in its various shades has always been one of the color cornerstones of the Lily Absinthe color palette. Below are a few dresses that illustrate the range of greens that have appeared in some of our designs:
1890s Evening Wear, Part 4
By the mid 1890s, the gigot sleeve trend was in full bloom and while perhaps not as extreme as the sleeves found on day dresses, it did exert an influence on evening dresses.
Morin-Blossier, Evening Gown, c. 1894; Vintage Textile sales website
Close-Up Of Bodice
Maison Felix, Evening Dress, 1895; Metropolitan Museum of Art (C.I.65.16.1a–d)
Evening Gown, c. 1895; The Museum at FIT (2007.27.1)
The above are just some examples of the gigot sleeve trend going on during the mid 1890s. Although not as extreme as the sleeves found on day dresses, we still see greater attention paid to this area than before.
Worth, Evening Dress, c. 1896 – 1897; Galleria del Costume di Palazzo Pitti via Europeanafashion
However, as with all fashion trends throughout the ages, a particular style will be developed to an extreme and a subsequent reaction will arise in opposition. This was the situation with gigot sleeves and by the late 1890s, sleeves had once again acquired become slender proportions. Fixing a precise date as to when this shift began is not easy but even as early as late 1896, there were rumblings in the fashion world as detailed in this passage from the September 13, 1896 edition of the Los Angeles Times:
The world may stop wondering now, for at last Mrs. Fashion has consented to speak about autumn and winter modes. The gist of her talk, however concerns skirts and sleeves (after all the two vital points of dress) both of which are to grow beautifully smaller and narrower until the reaction against width has been satisfied.
Already indeed, the circumference of the smallest skirt is reduced by more than half of what it was in the spring while a skirt with godets all around is to midish opinion, almost as old fashioned as overskirt and paniers [sic].
In reaction, evening dress sleeves began to become somewhat simplified with an emphasis on decorated straps or sleeves constructed with loose layers of gauze/tulle. Of course, there was a wide degree of variation in the sleeve style but nevertheless, one can see a movement away from the over gigot style.
Doucet, Ballgown, 1898 – 1900; Metropolitan Museum of Art (2009.300.3275a–c)
Three-Quarter Front View
Doucet, Ballgown, c. 1898 – 1902; Metropolitan Museum of Art (2009.300.3274a, b)
House of Worth, Ballgown,, 1898; Metropolitan Museum of Art (2009.300.1324a, b)
Evening Dress, Worth, 1896; Palais Galliera, musée de la Mode de la Ville de Paris (GAL1978.20.1)
Worth, Ball Gown, 1899; Metropolitan Museum of Art (26.381a-b_front 0004)
Aside from the sleeves, there was little else to distinguish evening dresses during the 1890s- all were designed in a distinct hourglass style with narrow waists and large multi-gored skirts with trains of varying length. Finally, although the pronounced bustles of the late 1880s had disappeared, padding was still used as a means of maintaining a smooth silhouette and providing support to the train.
Transitions in fashion styles is not always clear-cut and direct, rather it’s often more of a blur as an older style gives way a newer one. Fashion change came at a much slower pace than what we see today and changes that were measured in years are now measured in months, if not weeks and days. By no means to we profess to have the last word when it comes to evening fashions of the 1890s but rather, we try to point out some of the salient featured. We hope you’ve enjoyed this brief tour of 1890s evening wear and we look forward to posting more about this in the future.