All my self drafted pattrns in one place. In the folder are scaled diagrams. In the blue card envelops are mainly flat patterns but also some card (armour and complicated bodysuits) and in the plastic a mix of WIP and templates to keep.
Rereading for obvious reasons. Yes the little book is the book I remember the beading is not what I recall so next on the future projects pile is to make my own beaded tablier design 🙂
Can you see the soot? Yeah… That’s how long ago I really worked on this! #sunburst #worth next step is to remove the last of the yellow from the satin.
10m of chiffon colour removed 🙂 also exciting, the satin scrap also faded which means I will get more remover and redo all the satin 🙂
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:1888–89 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, 1858–1956) 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, 1856–1926) 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 appliqués 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 🙂
In tidying all my beads I found my pearls again. All the pearls. The Metropolitan Sunburst gown uses faceted beads so would have glittered like a glittery thing. But I am short shighted, that effect would get very lost on me, especially while working so the more solid effect of the pearls of the Kyoto version is very tempting. It may also be down to the darkening of the lined beads (not sure what metal, but given they look nearly black.. tin? Silver?)
I’m not sure if the instagram importer will work so here is a quick grab from facebook 🙂
In this photo, clockwise from top:
~super delicate cotton tulle. It wobbles so I think it may actually be rayon. It’s still a very gold colour. So to the RIT color remover
~silk faced satin (a purchase from Cynthia Settje waaaay back in 2006! So it’s kind of perfect 🙂 ) Already knocked back to gold from green, it should soften further (6 skirt panels cut and interfaced, colour removed with pre-Dye by Dylon)
~hand drawn beading pattern (pinned to the face of my front skirt panel.) This may get swapped for a scan of my scale drawing which is more accurate 🙂
~glass pearls! You have no idea how expensive glass beads have been for the decade around my start date! These were a lucky dollar store find! (24 hanks)
~silk habotai- intensely yellow- to the RIT!
~silk chiffon- looks quite lovely, much more institutional mint in reality! To the RIT!
Not shown are my sequins and lined seed beads.
I may have enough sateen to line the bodice, but there may be a little Worth construction hunting before I commit!
I recently had a conversation where someone apologised for reading all my bog because it felt like stalking. To which, I hope, I replied it wasn’t at all 🙂
I pay for this website and so have full control over the content. If it’s posted here it’s intended to be read- at some point in history 🙂 I just share across different media so that no one has to tread over here! Mobile devices are great but for apps rather than browsers 🙂
The entire point of this website is to put down all the costuming resources I have used for myself and for anyone else 🙂
There is really only one thing that I would ask- is to share 🙂 If anything on my site has been of interest please share 🙂
(PS stalking is totally different, I only use the term for actual stalking. So that means taking screen caps of my words/photos of self and hoarding/obsessing over their meaning over many years might just get into the creepy area regardless of intent 😉 )
This is where I left my #sunburst #worth gown! All supplies except seed beads, skirt cut and backed even! I don’t know what knocked my confidence but it is difficult to imagine actually finishing!
http://www.arrayedindreams.com/tag/sunburst/
I don’t know if I grabbed all my lj posts- can only really grab tagged posts. But okay, now I remember why I kept stalling. And stalling, and stalling.
But this week has seen other projects able to be passed on and so a lot of reshuffling of my Must Make projects.
And I never have stopped obsessing over this thing. It started in my teens, it was one of the very first historic garments that grabbed me by the ears and shouted “this is art!” long before i found it recognised as such (any art courses dealt with fashion theory, not clothing as technical and artistic in and of itself.. textiles were seen as art, not cutting.)
Beaded tablier are an obsession so there will be a post about them at some point.
