Redingcotes
Unlock with PatreonAnd Now For Some More Directoire Style…
One of the more interesting styles of the late 1880s/early 1890s was the Directoire. In an earlier post, we gave some details about this fascinating style so today, we’re going to add a bit more. 🙂 The key elements of the Directoire style, as applied to the late Nineteenth Century, were jackets with wide lapels combined with simple, mostly un-trained skirts. Also, closely aligned was the redingote style and both were often combined as seen with this example:
One of the most eye-catching features of Directoire style were the lapels/revers. Here’s a few more interesting examples that we’ve recently come across:
In the above example from the October 1892 issue of La Revue de la Mode, we see a set of very wide, pointed lapels on a jacket with a diagonally cut front that calls away to reveal a white waist or pseudo-waist. The striped skirt offers an interesting contrast and the whole effect is a geometrical collection of straight lines going in a variety of directions. Along the same lines is this style on the left illustrated in an 1892 fashion plate from La Mode Française:
In terms of style, with its long revers and overall length, this one leans more towards a Louis XVI style but still overlaps somewhat in that the jacket is clearly mean to be worn open, displaying an ornately trimmed waistcoat (or pseudo waistcoat), complemented by the embroidered trim on both revers. Elaborate decorative designs were a characteristic of Directoire style, especially with the larger lapels that provided the perfect “canvas” as with this illustration from the March 1899 issue of The Delineator:
Both of these outfits are amazing and a bit over-the-top. The left dress features an elegant coat with elaborate decorative patterns that were no doubt, done in silver and jet beading (or some combination thereof). Although the fabric is not specified here, we envision a black silk velvet . The pale blue skirt offers an interesting color contrast with its white floral applique pattern running along the hem. The perfect outfit for Spring. The outfit on the right is a bit more dramatic with its burnt orange jacket combined with a green skirt with a vertical soutache pattern running down the front. The contrast colors make for a harmonious package that sets the stage for the dramatic striped patterns on the lapels and collar; these definitely catch the eye and direct focus towards the wearer’s face. We hope you’ve enjoyed this glimpse into one of the more interesting styles of the 1890s and we’ll be featuring more in future posts. 🙂
From Maison Worth- Licensed Patterns
One fascinating aspect about Charles Worth was that although he positioned himself as an exclusive couturier, he also licensed printed paper patterns of some of his designs. Worth himself didn’t publicize this to any great extent and you have look hard for the evidence but it’s true. One example of this is this Redingote style was offered for sale for as a printed pattern in the 1882 edition of The Ladies Treasury:
And here’s the accompanying commentary:
Redingcotes are most popular in Paris. M. Worth makes them for summer dresses instead of polonaises. They are made in grenadines, over contrasting colours, for evening dresses. A mauve grenadine, on which are moons of black satin, two inches in diameter is made plain, over a lining of maize yellow satin. The grenadine is turned off in the front, to the sides, and is outlined in jet embroidery, black. A full frill of thread lace goes round the neck, and continues down the centre of the bodice. The petticoat of black satin has a pleated flounce of satin, and a front breadth of yellow satin, which is nearly hidden in jet embroidery, and bows of moire ribbons.
This style is M. Worth’s protest against the bunched-up paniers at the back, which it is said he detests.
Worth’s licensing of patterns is an interesting aspect of his business and is an area that’s not well documented. Of course, it would be interesting to locate the actual pattern but so far, our efforts to do so haven’t been successful. What’s also interesting is that even though Maison Worth was doing very well financially, it’s interesting that he would even bother with such pattern licensing- the revenue from pattern licensing could not have been much when compared to sales of his haute couture. Unfortunately, details about business side of Maison Worth are thin and we may never know the precise answer but it’s interesting to speculate on. As we find out more, we’ll be posting it here. Enjoy!