Wishing all of you a happy and prosperous new year from us at Lily Absinthe!!
Victorian Dress
Year End Round-Up…
The year is beginning to wind down and soon we’ll be in 2016. For us here at Lily Absinthe, it’s been a year of positive changes as we move forward with creating new designs and expanding our marketing efforts and it’s going to be more of the same in 2016. As you all no doubt know by now, we have decided to increase our presence in the bridal market and we are working on some new and exciting designs in this area. You can get an idea of where we’re headed simply by checking out our bridal pages.
But we also want to assure you that we are not abandoning our other lines and in fact, we are moving full speed ahead in these areas to include corsetry, day dresses, and evening wear. Also, we are also excited to be offering a line devoted to recreating the spirit of the Old West as depicted in the movies. And this is only just for 2015!
We also, we want to take this opportunity to emphasize that we produce one-of-a-kind creations that are custom made for the individual client and as such, they are not mass produced. Let us make one for you in 2016! 🙂
Trending For January 1891
In our last post, we took a quick look at fashion in the more formal lines for January 1890. Now, as most of us know, fashions do not always change lock-step with the beginning and ending of decades, often times it’s more of a slower transformation and especially in an era that predates the “instant fashions” of today.
Today, we will pick things up a year later and the probably one of the most significant changes we see is that dresses are once again acquiring a more narrow silhouette reminiscent of the earlier Mid-Bustle Era. Trains are still found but these seemed to have been restricted more to evening/reception dresses and ball gowns. The extreme “shelf bustle” look of the mid 1880s was definitely out.What we also see is that the faux robed look of January 1890 had diminished, reduced to just one style variation (but in future posts we will be taking a look at this some more just for completeness).
Below we see a fashion plate from the January 1891 issue of Peterson’s Magazine:
Fig. I – EVENING-GOWN, OF BLACK NET. The skirt is short and full, as all lace dresses should be. On the panel on the right side, are large trails of poppies with green leaves. The gathered bodice and high full sleeves are studded with smaller flowers. The sleeves are caught together on the outside of the arm by satin bows.
Fig. II – EVENING-GOWN, OF WHITE BENGALINE. The front of the skirt is slightly draped. The train is long and square. The only ornament of this stylish simple dress is a cascade of bows-and-ends of watered ribbon, of the color of the gown. The bodice is made of watered silk of the same color. A “tucker” of white crêpe-lisse fills up the low corsage.
Fig. III – WALKING-DRESS, OF CHESTNUT-COLORED CLOTH. The plain skirt has panels of a darker shade of brown velvet. The bodice is slightly pointed, is rather loose at the left shoulder, and fastens under a trimming of brown velvet. Small Medici collar, of velvet. Long tight sleeves of dark-green velvet under long pointed ones of the cloth, edged with brown velvet. Toque of the cloth, bound with brown velvet and trimmed in front with dark-green ostrich-tips or with a rosette of green velvet.
Fig. IV – VISITING-COSTUME, OF GREEN BROCADE, figured with branches of lilac. A band of gray fox fur passes around the neck and trims the cloak down the front. The sleeves are high and are cut in one piece with the cloak; they are trimmed with the fur, which falls to the bottom and passes around the lower edge of the cloak. Muff of gray fox, with a bow of green ribbon on the top. Large hat of green velvet trimmed with lilac-colored feathers.
Fig. V – VISITING-DRESS, OF GRAYISH-WHITE CLOTH, worn over a skirt of gold or garnet silk. The cloth skirt is quite plain. The bodice is close-fitting at the back, has a full silk vest of the color of the cloth, and is trimmed with steel passementerie. Long tight sleeves, with straight over-sleeves hanging loosely, put in with deep plaits on the shoulders, and reaching to the bottom of the dress. They are lined with silk of the color of the dress, and are trimmed with steel passementerie. Small hat of gray cloth, trimmed with loops of ribbon to match skirt, and an ostrich-tip.
Figure I is a good illustration of what was trending in dress styles with its slender, upright silhouette. Although it’s difficult to make out, the dress it made of black net which presumably covers a black base fabric of some sort. Off-setting the overall black are large poppies and leaf appliques.
The evening dress in Figure II is a bit of a throwback to the early 1880s with its long train and full, draped skirt. The use of bengaline is a practical choice and this could either be in full silk or a cotton/silk mix. A watered silk ribbon bows and ends trims the side of the dress (it would appear that it’s asymmetrical, just on one side of the dress). Note- while the plate description indicates that the dress is made from a white bengaline, the plate portrays the dress as a yellow. Perhaps the color was originally an ivory or cream.
The walking dress in Figure III illustrates some of the new fashion directions was the bodice style known as the Louis Quinze jacket which was basically an asymmetrical bodice that gave a double-breasted effect. There is a clearly defined opening on the right side. It is unclear what the chestnut-colored base fashion fabric is, most likely it’s a wool of some type, and the both bodice and skirt are trimmed in a dark brown velvet. Another element that was beginning to be employed was the “Medici collar” of which this dress has one in a brown velvet that matches the rest of the dress. Allowing for the age of the plate, below are approximations of the color scheme:
Chestnut – An Approximation
Brown Velvet
Example of a Medici Collar
Example of Bodice Done In The Louis Quinze Style With Medici Collar
The Louis Quinze Jacket Today – One Interpretation
And with Figure IV, outwear is featured (which makes sense, considering that this fashion plate is portraying winter fashions) consisting of a full-length “cloak” that follows the basic silhouette of the dress underneath. The fashion fabric is a green brocade with lilac-colored feathers as the design. The lower part of the cloak is gathered into the waistband, giving a skirted effect. Also, the edges of the cloak are trimmed in a grey fox fur that complements the fashion fabric.
Finally, with Figure V we see a fairly plain visiting dress made of a “grayish-white cloth” overskirt (once again, presumably a wool) combined with a gold or garnet silk underskirt (very little of this is visible in the plate). The bodice is an open style with a vest underneath, both matching the overskirt and While the outer color appears to be somewhat uninspired, it is interesting because light colors are not normally associated with winter yet they are being used here in the form of the gray/white (i.e., light gray). The trim is of a steel passementerie and it is noted that the sleeves are long and narrow. Finally, as an added decoration are a pair of decorative over-sleeves also decorated in steel passementerie.
To supplement the above, the following are some general comments that are also found in Peterson’s in regard to skirts:
Skirts are close-fitting in front, full at the back, and still too long for comfort or neatness in walking. Bias bands near the bottom of skirts are frequently the only trimming, but rose quillings and rows of braid are popular.
The above does not come as any major surprise- dress silhouettes had been moving in this direction for a few years. But in regard to bodices, things there were some new developments:
Bodices have been made in such great variety for so long that there can be but little that is new to say of them. Fancy has had full sway, and, if the bodice has been unbecoming to the figure, it has been the fault of the wearer only. The one thing that is new is the gradual adoption of the deep basque, extending all around the edge of the bodice, much like the Louis Quinze jacket cut short to the hips; but this style has been seen as yet on only one or two imported garments. It is not so becoming to stout women as the fashion now in vogue, with points back and front, with the slope above the hips; but for slender people it is a good mode.
In some respects, the above notes that bodice styles have been relatively static and especially in noting bodices with “points back and front.” However, the Louis Quinze jacket (sometimes the dividing line between “bodice” and “jacket” seems to be blurred) was a new development and while it’s somewhat downplayed in that the “style has been seen as yet on only one or two imported garments,” the fact that it is discussed on some detail seems to counter this. Peterson’s also adds that:
Jackets of the so-called Louis Quinze shape are the newest wraps; these, to be quite correct, should have deep basques, large pockets, wide cuffs, and a jabot of lace at the neck. This style is varied, however, to suit many fancies : so we see them with high full sleeves, high Medici collars, small cuffs, jackets of all style, and double-breasted; and they look well, too, if not quite a copy of the original.
The Louis Quinze jacket never caught on as a major fashion trend, it was only one of many styles that developed during the 1890s but it does demonstrate that the basic bodice-skirt combination so characteristic of Victorian dress was beginning to change and in some ways, it could be argued that the development of a more “jacket style” bodice pointed the way towards the development of the tailormade suits that were to be become increasingly popular with women as the decade progressed.
We will be exploring further into the world of 1890s fashion so stay tuned! 🙂
The Sewing Machine That Won The West
An Old West moment-
A period sewing machine with period fabric in a period house in a period town- this is our Old West moment. Have fun with your umbrella drinks on the beach, this is where it’s at for us! 🙂
She sits in The Dressmaker’s Cottage at #11, the Sewing Machine that won the west… <3
Trending For January 1890
In today’s post, we travel about ten years ahead, beyond the Late Bustle Era and into the early 1890s where the bustle was fading into the pages of fashion history. So how did the new decade open up for fashion? Below is a fashion plate and accompanying description from the January issue of Peterson’s Magazine:
Fig. I – DINNER DRESS OF STRIPED RED AND BLACK SILK. The front of the skirt and surplice-vest are of gauze of a lighter shade, over a plain silk of the color of the gown. The overdress is a princess polonaise, which a short train and elbow sleeves. The revers, which begin at the back of the neck and are run down the entire length of the skirt, are covered with either a passementerie of silk cord or else heavy Spanish lace, in black. A black velvet ribbon, three inches wide, forms the girdle. Long black Suede gloves.
Fig. II – EVENING DRESS OF PLAIN EMBROIDERED BLACK GAUZE LACE. The underskirt is of the plain material and laid in accordion plaits [pleats]. The overdress and bodice are of embroidered gauze or lace and simply gathered to form the sides and back. The bodice is pointed front and back, and has Grecian brebelles (?) across the bust. The shoulder-straps are simply sprays of flowers corresponding with the design and color of the embroidery on the overdress; the same trim the front and sides of the dress, arranged in festoons tied with knots of pale-green ribbon. Likewise, a similar ribbon forms the girdle and adorns the shoulder straps. Long Suede gloves, High coiffure.
Fig. III – EVENING-DRESS, OF PRIMROSE SATIN AND BROWN VELVET. The skirt of this gown is much wrinkled in front, and has a moderate train. The sides are of the golden brown velvet and also are slightly wrinkled over the hips. The pointed bodice is composed of satin and velvet, with a, simple puff for a sleeve. Long white Suede gloves. High coiffure.
Fig. IV – POMPADOUR EVENING-DRESS, OF FIGURED BLUE CHINA SILK combined with a striped Pompadour brocade, The skirt is short and the edge trimmed with two rows of fringe. The full bodice has a short jacket of the brocade which is worn over the full bodice. The edge of the full bodice, the sleeves, and the ends of the sash are also fringed. Hair dress low.
Fig. V – VISITING OR HOUSE DRESS, OF PALE ROSE SURAH OR NUN’S VEILING. The edge of the short, round skirt is finished by a wide ruching of pinked-out silk. The bodice is cut in one with the skirt on the right side, and it laps surplice-fashion over a vest of pale-green surah or China silk; the same forms the long sash and the deep ends for the full sleeves. A large black velvet or lace hat entirely covered on the brim with ostrich-tips. In front, a high standing loop of velvet ribbon.
In Figure I, we see an underlayer of a skirt and surplice/vest made of a light gauze in a light red or rose color (we assume that the skirt of a base layer to anchor the gauze). Covering this it an polonaise utilizing a princess line with a small train and designed to be open in front so as to show the gauze underlayers. The overdress fabric is striped with dark and light red, the light red being the same shade as the skirt and surplice-vest and makes for a dramatic effect, especially when combined with the revers which are decorated in a passementerie. Finally, black velvet ribbon is ties around the waist and draped down the front to create a girdle effect that is reminiscent of Medieval fashion and for this dress gives the impression of the overdress being a robe. The overall effect is dramatic and perfectly fitting for a dinner dress.
Figure II is an evening dress that is somewhat understated, utilizing an light green plain underskirt with accordion pleats. The overdress and bodice are constructed of a black gauze. The black overdress is somewhat offset by the use of flowers for the shoulder straps and for decoration on the dress. Finally, as with the dress in Figure I, there is a sash of light green that is also arranged to create a Medieval style girdle.
Figure III is an interesting combination of primrose satin and brown velvet. The skirt has a moderate train and is in primrose satin and the bodice is of brown velvet with the primrose satin trimming the front and shoulder straps. The bodice is pointed and has stripes of skirt-length brown velvet running on each side. The primrose and brown make for a complementary color combination and was often used during the late 19th Century. Primrose is not a term often used these days so here’s what the color looks like (don’t let the “rose” in “primrose” fool you):
Primrose
The dress in Figure IV is a bit of a mystery in that the description reads that the dress is made of “figured blue China silk” yet the fashion plate portrays a white fabric with what appears to be some sort of design in black. Perhaps it’s a matter of semantics combined with looking at a fashion plate that is over 110 years old with attendant fading and the like. In any event, it doesn’t bear much of a resemblance.
Getting past the fabric description, the skirt has two layers with each layer trimmed in fringe. The bodice is covered in short bolero made from a brocade and also trimmed in fringe. Style-wise, this dress is a mishmash of styles that are not harmonious and overall, this style just does not work. Well, every era has its fashion fails…
In contrast to the dresses in Figures I, II, and III, the dress in Figure V is more restrained as befitting of a house or visiting dress. The skirt is made of a pale rose colored surah or nun’s veiling that is round with no train and is plain except for rouching of pinked silk running along the skirt hem. Underneath is a vest of pale green surah or China silk that is covered in a bodice that matches the skirt. Finally, a matching light green sash in surah or China silk tied with long tails creating the Medieval girdle effect completes the dress. Overall, the dress style resembles a draped robe.
Nun’s Veiling
In this collection, we see that each of these dresses attempts to create a draped effect, mostly through the use of a loose over bodice combined with a long sash that has been tied to create a girdle similar to Medieval style. With the exception of the dress in Figure IV, each of these dresses gives the effect of a robe that has been bound by the sash. Depending on one’s perspective, one can see Japanese and Classical Greek influences at work and it could be argued that this style hints at what was to later develop during the Teens.
The above was just the beginning of the 1890s and as we will see in future posts, fashion underwent some dramatic changes during this period. Stay tuned for more! 🙂