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vintagefashionplates · 9 hours

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Ensemble, 1900 - 1901

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vintagefashionplates · 19 hours

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It’s April Fools Day – so let’s look at what many thought was a foolish fashion. The hoop crinoline and huge skirt of the mid 19th century was the source of much satire and derision. But the fashion-setters remained undeterred for almost a decade.

Yes, the new, lightweight hoop replaced the heavy layers of petticoats to extend the skirt to a circumference of six to eight feet, but at what cost? As the cartoons of the day show, any number of mishaps could occur – from brushing too close to the fire and going up in flames, to getting tangled in the carriage hardware resulting in an embarrassing tumble. Getting close enough to a fashionable lady could prove difficult for a gentleman dancing partner or a server delivering a party treat. These cartoons suggested the wearer could become airborne in a strong breeze or could hide all sorts of mischief beneath the wide berth. Indeed, more than one Confederate lady was said to have smuggled supplies and information hidden in special pockets under their voluminous skirts. Emeline Pigott of North Carolina reputedly carried up to 30 pounds of goods to aid Confederate soldiers, as did Mary Kate Patterson of Tennessee and others.

Nevertheless, the lilting motion of the almost floating skirt was appealing for many and was again seen in 1950s party-wear and for many wedding gowns. The wide skirt makes the waist appear even smaller, a truly desirable trait in the mid 19th century.

Our museum collection dress today is a beautiful figured cream moiré silk taffeta, trimmed with black lace. The dropped shoulders and v-bodice focuses on that tiny waist. Ours even has a hidden pocket (though this one is quite small) in the right front seam. It is currently on exhibit in Fashion in Fiction, up until April 22, 2014.

TEXTILE TUESDAYS: Each Tuesday we post a piece from the Charleston Museum’s textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

#crinoline #hoop skirt #text #victorian fashion #vintage fashion #fashion history #historical fashion

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vintagefashionplates · 2 days

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Robe à la française, 1750s.

Woven pink silk incorporating silver metal thread and silver metal strip.

Fashion Museum Bath Twitter

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La Mode nationale, no. 5, 2 février 1901, Paris. No. 1. — Groupe de toilettes de preineres communiantes et de dames. Bibliothèque nationale de France

(1) Dos de la figure 4.

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(2) Robe en mousseline blanche, en forme; au bas de la jupe volant en forme posé presque plat. Tablier orné de plis en V, séparés par des broderies légères. Corsage blouse à grand col faisant revers. Plastron plissé comme le tablier. Col drapé. Manches à l'enfant, longue ceinture de taffetas à frange grillagée.

Bonnet de tulle de soie et voile de mousseline.

(2) White chiffon dress, shaped; at the bottom of the skirt shaped ruffle laid almost flat. Apron decorated with V-shaped pleats, separated by light embroidery. Blouse bodice with large lapel collar. Pleated bib like the apron. Draped collar. Sleeves on the child, long taffeta belt with mesh fringe.

Silk tulle bonnet and muslin veil.

Matériaux: 8 mètres de mousseline pour la robe et le voile.

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(3) Toilette de cortège pour jeune femme ou dame d'âge moyen, en velours mousse. Jupe composée de trois jupes superposées bordées d'applications de luxeuil et ouvrant sur un dessous uni en velours mousse.

Quatre parties superposées, la première faisant col arrondi, composent le bolero appliqué de luxeuil comme la jupe. Col rabattant, orné de même façon. Ceinture haute et drapée en liberty noir.

(3) Wedding dress for young women or middle-aged ladies, in moss velvet. Skirt composed of three superimposed skirts edged with luxeuil applications and opening onto a plain moss velvet underside.

Four superimposed parts, the first making a rounded collar, make up the luxeuil appliqué bolero like the skirt. Turn-down collar, decorated in the same way. High, draped belt in black liberty.

Matériaux: 14 mètres de velours.

Grand chapeau en velours mousse coulissé à calotte basse; la passe est recouverte de dentelle blanche. Grand nœud de satin vert; dans la boucle sont piquées deux palmes de plumes beiges.

Large drawstring moss velvet hat with low crown; the pass is covered with white lace. Large green satin bow; in the loop are stitched two palms of beige feathers.

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(4) Robe de cortège pour jeune femme ou dame d'âge moyen en satin automobile. Jupe en forme collante, ornée de trois volants en mousseline de soie noire. Ces volants sont plissés à mi-hauteur et recouverts sur le plissé par des dents de bruges perlé. Corsage rentré dans la jupe, sous une ceinture de velours noir. Col-fichu, orné comme la jupe et ouvert légèrement en V sur un plastron de bruges. Col montant en velours noir. Devant, nœuds et barrette de velours descendant à la ceinture. Deux bouffants de satin séparés par un bracelet de dentelle forment le haut de la manche; au-dessous, jusqu'au poignet fourreau de dentelle rayé de satin rouge.

(4) Motoring dress for young woman or middle-aged lady in automotive satin. Skirt in tight shape, decorated with three ruffles in black silk chiffon. These ruffles are pleated halfway up and covered on the pleat with beaded bruges teeth. Bodice tucked into the skirt, under a black velvet belt. Collar-kerchief, decorated like the skirt and opened slightly in a V on a bruges bib. Stand-up collar in black velvet. In front, bows and velvet barrette going down to the belt. Two satin bouffants separated by a lace bracelet form the top of the sleeve; below, up to the wrist, lace sheath striped with red satin.

Matériaux: 12 mètres de satin; 4 mètres de mousseline de soie.

Grand chapeau de velours rouge, enguirlandé de grosses roses rouges.

Large red velvet hat, garlanded with large red roses.

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(5) Toilette de première communion en mousseline blanche. Jupe droite; au bas groupes de plis et guirlandes brodées. Corsage blouse avec grand col revers croisé à droite; chemisette plissée et brodée, col drapé, manches plates jusqu'au coude; bouffant de mousseline et haut poignet. Aumonière de taffetas blanc brodé. Couronne de roses blanches et voile de mousseline. Ceinture de mousseline de soie dont les pans s'ornent d'un petit volant froncé.

(5) First communion ensemble in white muslin. Straight skirt; at the bottom groups of folds and embroidered garlands. Blouse bodice with large crossed lapel collar on the right; pleated and embroidered shirt, draped collar, flat elbow-length sleeves; chiffon bouffant and high cuff. Embroidered white taffeta purse. Wreath of white roses and muslin veil. Silk chiffon belt whose sides are decorated with a small gathered ruffle.

Matériaux: 8 mètres de mousseline.

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vintagefashionplates · 2 days

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..."the joy of dressing is an art"...

~John Galliano

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An embroidered lace bridal gown, circa 1905-1910.

Source

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vintagefashionplates · 3 days

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Nasturtium (circa 1675-1715) by Alida Withoos (1659-1715).

Watercolour over black chalk.

Image and text information courtesy The Morgan Library and Museum.

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vintagefashionplates · 4 days

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La Mode illustrée, no. 34, 25 août 1867, Paris. Toilettes de Mmes Raboin, r. Nve. des Pts. Champs. 67. Collection of the Rijksmuseum, Netherlands

Description de toilettes (Bibliothèque Forney):

Robe de dessous en 'poult-de-soie lilas, garnie d'un volant presque plat, déchiqueté de chaque côté. Robe de dessus (forme fourreau) en dentelle blanche. Écharpe en poult-de-soie pareil à la robe, formant des draperies fixées par des azaléas lilas; cette écharpe est nouée par derrière; au corsage et sur les manches mêmes fleurs; dans les cheveux cordon de verdure et grappe d'azaléas.

Robe en poult-de-soie vert. Des bandes en biais de même tissu, mais de nuance plus foncée, simulent sur la robe une sorte de tunique se rattachant à un tablier court; sur le corsage montant ces bandes simulent un collier carré; même garniture à chaque extrémité des manches; a dernière de ces bandes est partout terminée par une frange de môme teinte.

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Underdress in lilac poult-de-silk, trimmed with an almost flat flounce, jagged on each side. Overdress (sheath shape) in white lace. Scarf in poult-de-silk similar to the dress, forming draperies fixed by lilac azaleas; this scarf is tied behind; on the bodice and on the sleeves the same flowers; in the hair cord of greenery and cluster of azaleas.

Green silk poult-de-silk dress. Bias bands of the same fabric, but of a darker shade, simulate on the dress a sort of tunic attached to a short apron; on the rising bodice these bands simulate a square collar; same trim at each end of sleeves; the last of these bands is everywhere terminated by a fringe of the same tint.

#vintage fashion plates #french fashions #ilovethis #victorian fashion #vintage fashion #emerald green #fashion history

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vintagefashionplates · 4 days

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Biedermeier dress with a shoulder scarf, c. 1837 Staatliche Museen zu Berlin