magaret audley in high resolution

While a lovely friend was working out her costume inspiration, I went looking for decent resolution of images and woah! This did not come up in my google search, and it should, but rather another portrait with a link to the other works by the artist.

https://www.google.com/culturalinstitute/beta/asset/margaret-duchess-of-norfolk/bAHhU8C_AFAgZw

Maraget Audley, Hans Eworth

I think most historic costumers know this one already, this though is delicious in being able to see stitches. It’s actrually inspiring me to get back to Elizabethan as I could transfer that design almost exactly.

However I already have the Worth skirt I have had to set aside for hand health- not aside aside. Working out a safe way to store it between stitching. Also it is ivory silk satin. I have a dendency to get so far and then get something on projects made of pale silk. And my skin snags it, so basically still working out a Me safe storage and working space.

But it is inspiring, If not as a direct copy at least to enjoy my own tasks. I find that by imagining working with the materials above that I can imagine the embrodery as a privilege to work- being able to handle the fabric and threads.

So I just need to apply that inspiration to what I already have. For I have some lovely, lovely fabric and threads to work with as well.

 

In fact even with my mix of threads for my pink Cleves dress I enjoyed sewing the gown at the event. I may have to undo some (the bodice is a smidge too big- very stretchy fabric- and my sleeves should really go in the other way around.

 

rock the frock-Alexandra Fedorovna COurt gown

While looking for WIP photos I’m also finding inspiration photos and now I am really inspired by a few pearled garments.

Finding the original source of this is proving very difficult (the photo owner is in there but where she posted it is not) but there is a great interactive exhibit! Huge photos definitely worth the effort of being stuck in the site and no static pages.

http://www.hermitage.guide/costume/costume1.html#

Right click to translate to English (or your own) click Catalogue> Women’s Suit> Court Costume then the dress is after the royal blue velvet. I’ve grabbed info for my favourites after sharing info about this gown ūüôā

Dress by the court ceremonial of the Empress Alexandra Fedorovna
Russia, St. Petersburg. The end of XIX Рbeginning of XX century.
Workshop O. N. Bulbenkova

‚ąô Court costume of the XVIII – early XX century
‚ąô Empress Alexandra Feodorovna, wife of Nicholas II

artificial pearls, silk threads.
Leaf: back length 39.0;
skirt: the length is 103.0;
Train:length 300,0
On the strap of the corsage printed with gold Workshop mark: Mrs. OLGA DRESS
S.-Petersburg Sink No. 8
Post. in 1941 from the GME; earlier: in the dressing room of the Empress Alexandra Feodorovna in the Winter Palace of
Inv.¬†‚ĄĖ –≠–†–Ę-13146 –į-–≤

Silver eye, silver thread, silk, beat,  sequins, wire, fluff, lace; embroidery Leaf:
back length 33.0; skirt: the length of 169.0;
Train:length 340,0
On the strap of the corsage printed with gold Workshop mark: Mrs. OLGA DRESS

Dress of the court ceremonial Grand Duchess Maria Feodorovna
Russia (?). 1860s

‚ąô Court costume of the XVIII – early XX century
‚ąô Empress Maria Feodorovna, the wife of Alexander III

Silk, tulle, metallic thread, artificial flowers
Leaf: back length 32.0; skirt: length 140,0;

length 320,0
Post. in 1941 from the GME
Inv.¬†‚ĄĖ ERT-8612 –į-–≤

 

Dress the court ceremonial mourning dowager Empress Maria Fedorovna
Russia, St. Petersburg. 1894
Workshop of A. Ivanova

‚ąô Court costume of the XVIII – early XX century
‚ąô Empress Maria Feodorovna, the wife of Alexander III

Silk crepe with embossed texture, satin, lace, silk ribbons.
Leaf: back length 37.0; skirt: the length of 180,0; loop: length 440,0

At the corsage printed with gold workshop brand: FASHION AND DRESSES / AT T. IVANOVOY / S. PETERBURGH
Post. in 1941 from the GME; earlier: in the Anichkov Palace
inv.¬†‚ĄĖ ERT-9429 –į-–≤

Dress the court ceremonial
Russia, St. Petersburg. The end of XIX Рbeginning of XX century.
Workshop of Ivanovs

Velvet, satin, metal thread, beat, gimp, silver plates; embroidery

Leaf: back length 34,0; skirt: the length is 150,0; loop:length 330.0
On the tape of the corsage printed with gold the workshop brand: on the sides Рan image of two exhibition medals, a shield of arms
and an inscription – Supplier / courtyard of His
Imperial Majesty Ivanovs / Fashion
and dresses. Saint-Petersburg / Fontanka
at Chernyshova Bridge # 68-7, sq. M. 16. Phone K-2234
Post. in 1941 from the GME
Inv.¬†‚ĄĖ –≠–†–Ę-13132 –į-–≤

 

 

but yes, photo sorting because there is quite a backlog of photos to sort and lots more to try and locate.

correct shape or trick of the eye?

I am also finding it hard to trust all staged images, as there is a tendency to pouff out draped fabrics when they should fold inwards. I wonder how many people remember the infamous natural form pattern?

The Simplicity 4244 pattern with the paniers turned out and padded?

The original has the area padded out in display, though not turned inside out:

http://www.victorianbridalmuseum.com/about/index5.phtml

I would love to see this updated, polonaise style princesse dresses are a staple in the pattern books of the era that it’s nice to see real examples whenever possible. Seriously, every book has at least one princess and at least one is really a polonaise.

 

And if the Met can have a garment padded in inverse to what would be expected, then yes it’s very easy to to!


Centraal Museum too! (but this is another good example of the mid-late 1880s shape to the skirt, the pouffing over the hips and of the little puff over the bustle.. not really feeling it. But yeah, that’s another Sunburst reference!)

This is simply more a case of feeling too full at the front hip. But I have seen more extreme forms of firm support in contemporary photos.

But I was looking at a gown I adore but feels later than the date as well, and I am trying to tease out whether it is staged or original to the gown.

 

So what is it that makes this feel later than 1875?

Simply put the shoulders. They are very square. Very square indeed and that is not because the mannequin has square shoulders. The sleeve shape also is very angular, another feature of mid to late 1880s patterning.

Compare the shoulders to this very definitely mid 1870s garment:

See the slope of the shoulder, more obvious from the back. The front arm seams are further under the arm than above too. But this is a very well made example of the time so the structure is a bit firmer and so holds a firm line compared to other examples of this decade.

The split and pointed tails of the scaled gown can also be seen right through to early 1890s in Worth garments (see the silvery blue gown also from the met on this page.)

 

But this is why I am devouring everything I can find about what is absolutely known as far as dates of garments. There are a few garments dated to mid 1880s that have a very gored skirt shape that is, as above, original shaping. Even the above has a mix of gored and flat panels. So it may be that the house was experimenting in shifting fullness around very early. That though is proving difficult.

 

Anyway if anyone would like to sponso a trip to see the Worth Archives- maybe a month stay to be able to actually go through all documents then maybe my mind would be rested!

 

I already know the pattern books and periodicals do not show the flared gored skirt shape earlier than the early 1890s. I have gone through every single issue of Der Bazar that has plates and patterns, I have random patterns from other periodical, and of course the cutting books. In fact skirts go extremely boxy before they get pulled to the back and then the hem flares out again. But again Maison Worth was known to anticipate fashion as well as push it in a direction most especially in cut. SO that could apply to shoulders and elbows too…

So yes. Grubby mitts on the archive. Well very well cleaned and gloved mitts.

seeing double- are these both worth?

Philadelphia Museum of Art

Left &¬†right: Woman’s Evening Dress: Bodice and Skirt (1978-2-1a,b and 1978-2-2a,b)

Left vs right: Worth vs Artist/maker unknown, American.

Left & vs right: Worn by Mrs. Ernest Fenollosa

These are much too closely matched to be coincidence and were worn by the same woman.

Nearly identical in cut, the brocade gown doesn’t appear to have the same fit in the bodice. And that is what really marks a Worth garment. The curve at the side of the waist and generaly sweep feels very Worth. As well as the colours and fabrics.

This is part of my research as I try and identify when Worth started using very flared panels in skirts. These do feel mid to late 1880s. The gores are not heavily angled and there is a bit of bulk of fabric right around the front of the hips as well as sides, and obviously the bustle. But it is the slightly boxy shape of the front that makes these match perfectly to fashion plates.

I do know this flat boxy front was still in use in paterns by 1894! And that is the year we see three distinct skirt patterns.

 

19thc doppelganger…

Never realised but yeah. Virginia Oldoini, Comtesse de Castiglione...

I think this Queen of Hearts one is the one to do.. I knew of it from one of the hand tinted versions but they idealise her to be blander.

 

Anyway. Pointy nose, pointy chin, eyes that can be unfocused then too focused… and also determined to only work with photographers who work with her as an artist. Look she’s been treated as self obsessed but really, she wanted the captured image to be reflective of what she wanted to see. Not what someone else wanted.

ooooh sunburst beading

So obviously one uses silver lined glass beads and the other uses pearls. Of note, fake pearls. Which is very exciting. Beacuse I have vintage fake glass pearls so I suspect they are made the same way- I think it’s an enamel paint over glass.

Anyway notice the other big thing.

The pearls do not have a shadow line. I was originally working from The Opulent Era which includes a close up of the pink gown that shares photo space with the yellow sunburst. And in that the beads are outlined with fine seed beads. But that is not what is going on!

The yellow sunburst apparently has a silver cord laid down and the silver lined beads sewn around that.¬†You can see the couched threads once you look for them but especially on the cloud circle to the inside of the furthermost star. Also metal would explain how the cord stays so crisp as opposed to a silk over cotton core. Compare how firm they appear compared to the known beads and thread. The gown has a lot of shattering of the silk but how soon did the silver corrode? Was it a factor calculated into the making? Or did the gown get stored in a way that wasn’t completely optimised?

So I suspect the same rational I used to decide the pearls were the better option for me played a part in the original. I think the beads alone were not going to give enough definition so the couched silver does that.

I however love the effect of the the corroded metal! I love how it outlines in such a sharp graphic line. So I am really really torn as to just how “accurate” I want to go. I should only couch cord iff I use rocailles but it should also be silver. Also the rocailles are one size while the pearls graduate… will going for a single sized pearl and dark silver cord work? As somthing that could have been done?

But the same can be said of the sequins. I will likely use modern non tarnishing sequins so will that affect how this changes over time?

 

And now I am remembering why I stalled the last time!¬†My historic gear is rarely a copy. I much prefer to do as was done which is to take a fashion plate or photo of a celebrity and say “I like this, but do this” as is how the pink version came about anyway! But I love so much about the yellow (with hints of pink and green and bright yellow).

beaded tablier the hunt and the context

 

 

Contemporary style:

Harper’s Bazar Ball Toilette, (2.11.1882, cover). Magnolia satin with rosy hints. Tablier is embroidered in silks and beads, terminated at the food by two pleatings of the satin.¬†)

I did find a few more examples of a the tablier style covered in beads. But I need to explain what a tablier is.

It means apron. But it is important to understand what an apron in fashion in the natural form and sencond bustle era looked like. It was plain and pulled back. So it’s basically a plain skirt front as opposed to one covered in drapery or rushing etc.

Wedding dress Place of origin: Paris (made) Date: 19/02/1880 (worn) Artist/Maker: Worth, Charles Frederick, Materials and Techniques: Silk satin, lace and net, lined with silk, imitation of pearls embroidery, velvet Museum number: T.62 to B-1976
5: Wedding dress Date:1881 Culture:American Medium:silk, pearl Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art,Accession Number:2009.300.3847a, b
Wedding Dress c. 1882 – England Material Ivory silk brocade of gold thread with floral pattern; trimmed with silk tulle, Brussels lace, beads, and imitation pearls; 240cm-length train with fifteen tiered flounce. Inventory Number(s) AC2203 79-9-8AB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6:Dress About 1885, 19th century Gift of Miss Estelle Holland M20296.1-2 © McCord Museum Keywords: Dress (85)
2: Medium: Green/brown changéant silk velvet, lace, beads, rhinestones, and gold metallic cord Date: 1889-1890 Country: France  Object Number: P91.55.6
Evening dress Date:1888‚Äď89 Culture:American Medium:silk Accession Number:C.I.47.65.1a, b

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A garment found several years ago on ebay.
Another earlier ebay find

 

 

 

 

 

 

 

 

 

There was some exploration of asymmetry of these overlayers of beaded silk especially when on a delicate fabric.

Name: Wedding Dress Date: 1887 Place: United States Medium: silk, beads, faux pearls
Classification: Women’s Ceremonial Dress Department: Fashion Arts and Textiles ¬†No: 1971.320
Maria Feodorovna (1847-1928), Princess, Tsaritsa, Glucksberg family, Romanov family
Maria Feodorovna (1847-1928), Princess, Tsaritsa, Glucksberg family, Romanov family

 

 

 

 

 

 

 

 

 

 

 

 

 

I adore these oversized pearls on thin silver beaded loops. Some of the other gowns how tassels and loops made from matching pearl beads (see garment immediately to right), but this is quite a statement.

 

And then we come to the two Sunburst gowns. Worth regularly repeated his designs, with some adjustments based on the new client.

Evening Dress© The Kyoto Costume Institute Evening Dress c. 1894 Designer Charles-Frederick Worth  Material Ivory silk satin two-piece dress; gigot sleeves; pale pink silk chiffon decoration at neck and bodice; skirt with sunbeam and cloud asymmetry pattern of pale pink silk tulle insertion and bead embroidery. Inventory Number(s) AC4799 84-9-2AB
Ball gown Design House:House of Worth (French, 1858‚Äď1956) Designer:Charles Frederick Worth Date:ca. 1887 Medium:silk, glass, metallic thread ¬†Accession Number:49.3.28a, b

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This just happens to be a very obvious copy due to the single large stylised motif across the entire skirt. These just stand out a mile away!  These do also make use of cut work and so perhaps represent an early start to the later gown with heavy use of cutwork. They certainly show more in character and line to the vertical plant motifs than the layers of net and beads.

And that seems to have lead to experimentation with full skirt length motifs.

Ball gown Design House:House of Worth Designer:Jean-Philippe Worth (French, 1856‚Äď1926) Date:1900¬†Medium:silk, rhinestones Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Accession Number:2009.300.1250a, b
Harper;s Bazar, 1894. (3.17.94, cover) Coiffure from Lentheric of Paris. Pale sky blue satin bordered in black fur. Beaded irises cover the side front seams.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(BTW that shape of the wheat sheaf gown is well represented in other garments Worth created especially in velvet or fabric a la disposition.)

And what can we say about this gown that has not already bean said:

THE ‘LILY’ EVENING GOWN, WORTH WORN BY COMTESSE GREFFULHE Worth Gift of the Duc de Gramont Circa 1896 Black silk velvet, white silk satin (for the partially modern collar), white satin appliqu√©s embroidered with metal cannetilles and gold sequins. GAL1978.20.1

 

Still no luck tracking down the book so I went looking on  Worldcat

So this allowed me to look for a book published between 1970 and 1996 (the year I know I saw it) that is about wedding dresses and probably by a museum. I though Museum of London based on the format I had in my head but well:

Wedding dress : 1740-1970
Author: Madeleine Ginsburg; Victoria and Albert Museum.
Publisher: London : H.M.S.O., 1981.
Edition/Format: Print book : National government publication : English

This sounds like the puppy!!!. And it is still available at the library I know it was from. And I recall the production I was in that caused the book to be at a rehersal:

Trial By Jury! Yes, a Gilbert and Sullivan operetta about a bride and with all her bridesmaids in tow! I then requested a whole lot of other useful book s ūüôā

 

CF Worth disposition gowns

Help. Obsessed. There may have been a Pinterest board created and it may be strictly properly sourced and maybe just updated with a gown that is included in one of the few Lafayette photos to have lots of close views. Such bliss.

I know a lot of people have been inspired by RedThreaded’s Worth gown, but there may be some weird web archiving glitch so here it is for anyone not yet seen! Cynthia’s gown next to the originals!

Garment entirely created by Cynthia Settje of red threaded.
Date:1898‚Äď1900 Culture:French Medium:silk Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.1a, b
Date:1898‚Äď1900 Culture:French Medium:(a, b) silk Credit Line:Gift of Mrs. C. Phillip Miller, 1957 Accession Number:C.I.57.17.8a‚Äďd

 

 

 

 

 

 

 

 

 

 

 

 

 

So while looking for themes and understanding my favourite gowns in context the velvet and satin gowns came up over and over again. So I shall add to this blog post as more pop up, and I wrestle with WP layouts.

First one that I adore:

Sitter: Lillie Langtry (stage name) Lady De Bathe, née Emilie Charlotte Le Breton (1853-1929).

LANGTRY, MRS
Neg. No: 2194
Neg. Size: 15″X12″
Neg. Date: 10-11-1899

I think this may be my favourite of all the gowns Worth produced like this. Though that may be because it’s Lily Langtry!

Yes, I often combine my interest in theatre, costume, and stage so of course I have a lovely file archive of Mrs Langrty.

 

I think my other favourites would have to be these

Date:1899 Culture:French Medium:silk Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of Edith Gardiner, 1926 Accession Number:2009.300.2981a, b
Date:1898‚Äď1900 Culture:French Medium:silk, cotton Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.4a, b
Date:1898‚Äď1900 Culture:French Medium:silk, glass Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.5a‚Äďc

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

These next three fascinate me, the high neck of two and the delicate butterflies of the third.

Palais Galliera Worth, Tea gown, 1895 © Photograph rights reserved / Mairie de Paris
Date:1896 Culture:French Medium:silk, pearl Credit Line:Gift of Miss Agnes Miles Carpenter, 1941 Accession Number:C.I.41.14.1
Date:1898 Culture:French Medium:silk, Credit Line:Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Paul Pennoyer, 1965 Accession Number:2009.300.1324a, b

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

This first one has horizontal bust darts! As well as curved bust seams and a waist seam to get that beautiful shaping of the velvet.

Date:1889 Culture:French Medium:silk Credit Line:Gift of Mrs. James G. Flockhart, 1968 Accession Number:C.I.68.53.11a, b
Bunka Gakuen Costume Museum

 

 

 

 

 

 

 

 

 

 

 

 

 

And finally we have the gowns for those slightly more conservative. Which is nice- obviously the gowns caught the eye of many and they wanted a part of what made these gowns so special. No less care, just a slightly less start style!

REFERENCE46.258.2A-BTECHNICAL DETAILS Black voided velvet with branching floral and foliate motif Label: Worth / Paris; 66271 (handwritten)
Date:1898‚Äď1900 Culture:French Medium:silk, cotton Credit Line:Gift of Miss Eva Drexel Dahlgren, 1976 Accession Number:1976.258.3a, b
WORTH EVENING DRESS with COURT TRAIN WORN by FORMER FIRST LADY HARRIET LANE at the COURT of ST. JAMES, c. 1898.

 

 

 

 

 

 

 

 

 

 

 

 

 

But all this has been part of my life tidying that has been happening- organising books, papers, digital files. So this has meant reorganising my patterns and WIP and thus my recent flurry of posts.

 

I’ll be trying to get all my Mina posts from before the website changeover, but that may be a bit difficult!

another dress making book

How to dress well on a shilling a day: a ladies’guide to home dressmaking and millinery.

 

Highly recommended for the text as it describes the order of sewing and how to. That paragraph on the “bulgarian fold” is really amazing! At least for coming out and stating that the “peacock” style train is impossible to self arrange! Which is something I have trying to get across when getting photos of my gowns with trains- they need a wrangler to look good!