Another Recreation-1878

As usual the process begins with research.  As I have mentioned before, fashion plates, photographs and actual specimens are all considered for various elements of design.  I cannot stress enough to the beginning re-creator to do their homework.  It will make the difference between a successful reproduction and a costume that looks like it was made for Halloween.  Many excellent books have been written on the subject of costume over the past 2 decades and they are also an invaluable resource.

Although the details in fashion plates of the period may be exaggerated, with careful study, the silhouette and construction details, such as, seam placement can be defined.  This is of particular importance if you are in the habit of drafting your own patterns as I am.  I never rely on the colourations of these plates for my fabric choices, I would much rather rely on extant garments.  If you are lucky enough to have access to the garment itself, take your colour from the inside or seam allowances.  This will give you the truest read.  Remember that to our eyes today, some of these colour combinations seem garish, but under the influence of gas or candle light they would have read somewhat differently.  You may have to make a judgement call here, depending on your desire for authenticity.  Electric light which was beginning to make itself seen in the best drawing rooms of the 1880's was considered at the time to be hard and unflattering.  Certain colours were cautioned against by the fashion commentators of the day.  From the fashion plate, the contrast of light and shadow and the desired drape of fabrics can also be discerned.

I find the period photograph to be of great help in the realization of what was actually worn.  How large are the actual decorative elements such as, flounces, cuffs, collars and other applied decoration as we see here.  Are the trains seen on these two dresses in keeping with what the fashion plates have been showing?  Certainly, the bulk of material is there.  Notice the bustle does not read as large in these actual dresses as it does in the fashion plate.

Artists, such as Tissot paid attention to the dress and manners of fashionable society at this time and his work makes another great resource for colours and details.  Don't ignore furnishing fabrics or wallpapers either. Generally, what was happening in home decor was reflected in fashion.

Obviously, the best source of information for you is the extant garment.  The internet is a readily available source for this material, but as usual, a word of caution.  Many posts can be wrongly attributed and like any editor, you must be prepared to cross reference these posts against a recognizable published source.  With enough study on the subject, you will be able to easily catch the errors yourself.

In the two dresses here, you will be able to see later, how I have begun to develop my reasoning for the materials and colour palette that I chose.  As the 1870's were coming to a close, for a short period of time the bustle was reduced to a small pad, wire frame or just extra ruffles on the back of the petticoat for support.  Blue, which had been such a dominant shade in the early part of the decade, softened to an ice or teal as we begin to move into the 1880's.  Stronger and earthier colours will develop throughout the '80's.

The long cuirass bodice which had made itself known as early as 1874-76 was lengthening into a polonaise shape which, along with the new princess line, was creating a slimmer more form revealing silhouette than had been seen earlier. Borrowing from history and men's wear, vests and cut away's similar to the 18th century could be seen as well.

My Version of an 1878 Visiting Dress

Harper's Bazaar, 1878

I chose to create in velvet, the colour of "mouse" and taupe silk.  The vest, also of silk, is in a damask of robin's egg blue and taupe.  Unfortunately the photographs do not represent the true colour of the silks.  The fish tail train is trimmed with a knife pleated edge under two layers of ruched flounces.  A balyeuse of antique valenciences lace lines the train.  

The front view reveals the jacket bodice and vest.  While it appears to be two seperate pieces, it is in fact, one.  Chinese knotted cord buttons, 20 in all, close the long vest and a brown frog the velvet jacket.  On the cuffs antique buttons of the period on antique lace cuffs I found in a flea market.  The hem of the skirt front is finished in tabs which reveals a taupe silk kick pleat.  Above, embroidered floral sprays.  The pattern for this style of bodice came from a very useful publication, "Fashion of the Gilded Age" by Frances Grimble.  I would consider this the definitive resource for patterns of the 1877-1882 period.

Another piece of antique lace has been used to create a jabot.  More borrowing from the wardrobe of the 18th century gentleman.  I also like to hunt through costume jewelry to find period appropriate pins to further enhance the illusion.

Ambitions:  I saw a production of the Misanthrope at the Stratford Festival yesterday.  Beautiful costumes of the Rococo period in France.  I am itching now to create a French Sack back gown, but first, I must finish my Edwardian Tea Gown.

Hepburn & Givenchy-A Dynamic Duo

An Enduring Relationship

Holly Golightly & Cat

Collections:  In my last post I talked about the influence Balenciaga has had on the work of contemporary designers such as, Ralph Rucci.  The Spanish master has also influenced the work of his contemporaries, such as Hubert de Givenchy.  With the anniversary of the film, "Breakfast At Tiffany's" and in keeping with the theme of the "Little Black Dress", I couldn't help but address the relationship between the actress and the designer.  As one blogger put it, 

"Audrey is the queen of the little black dress."


Givenchy began his career in 1946 after completing his education at the Ecole des Beaux Arts in Paris.  Working first for Jacques Fath, he then moved to the house of Lucien Lelong where he worked with fellow assistants Pierre Balmain and Christian Dior before moving on to a working relationship with Elsa Schiaparelli!  An illustrious beginning to any career.  In 1952, he opened his own premises across the street from Balenciaga, who he admitted was his mentor and inspiration, at Parc Monceau.  Strapped for cash for his first fashion show, he chose to create his line in cotton.  Consisting of blouses and skirts, emphasizing comfort, he was an instant hit.  Elle magazine honored him by featuring a cotton blouse from his first collection on their front cover.  Playing on the newly developed concept of the "boutique", his collection played on spontaneity and individualism.  It would be the forerunner of pret-a-porter.

He first met Audrey Hepburn when she was in Paris shopping for pieces to supplement her wardrobe for the film, "Sabrina".  He later admitted that he was actually expecting Katharine Hephurn, he had never heard of Audrey.  Audrey became both an inspiration and ambassador for him.  Eventually he would design all of Hepburn's fashion apparel for seven other films between 1954 and 1966.  His work often contributed to the plots, illustrating the change from a simple girl to a woman of the world or vice versa.  Audrey would also pose for film and fashion photographs in Givenchy's models furthering his public personae.  She even acted as his mannequin at a fashion show for the benefit of war victims, organized by the firm, Gerzon, in Amsterdam.  The designer was often her choice for the clothes in her private life.  Their association would last some 40 years and numerous films later.

Sabrina, 1954
Funny Face, 1956
Love in the Afternoon, 1956
Breakfast At Tiffany's, 1961
Charade, 1963
How to Steal a Million, 1966
Two for the Road, 1966

"The dress must follow the body of a woman, not the body following the shape of the dress."
Hubert de Givenchy

Recollections:

Fashion Sketch for "Sabrina"

Audrey Hepburn, Sabrina, 1954

The much copied black cocktail dress.

Hubert de Givenchy would provide these two iconic dresses for the film.

Love In the Afternoon, 1956

Breakfast At Tiffany's, 1961

Yellow Wool Coat, Charade, 1963

Givenchy sketch for coat above

Two for the Road, 1966

How to Steal a Million, 1966

Audrey was the first star to endorse a perfume

December 8, 2009.  Hepburn collection displayed for auction

Now part of the collection of the Municpal Museum of The Hague in the Netherlands, this cocktail dress and coat employ the favorite colour of two of Givenchy's contemporaries;  Schiaparelli and Balenciaga.  In 1954, Givenchy was to come into contact with Balenciaga and from him he learned the importance to design of good proportions.  Balenciaga maintained that the current emphasis on the waist was often at the sacrifice of proportion.

Chado Ralph Rucci

Collections:  With the current interest over the past couple of years in the work of Cristobal Balenciaga, I thought that it would be worthwhile to discuss his influence on a contemporary designer of note. One of the best kept secrets on the couturier scene is the American Ralph Rucci.  I discovered him in 2007 when I visited the museum at F.I.T. in Manhattan.  Prior to this show I was totally unaware of this man's work, as I am sure, many people are.  What made the venue particularly appropriate is that he studied here in the late 1970's and I am sure that the Fashion Institute was proud to showcase pieces from his collections.  Influenced by designers, Balenciaga, Madame Gres, Charles James and Halston, his clothes were both structured and deconstructed with an eye for exacting detail and craftsmanship.  An artist, his gowns had a collage like quality, encrusted with applied textures and painterly effects.  Like Charles James, his collections evolve over seasons and ignore trends and fads remaining true to his own visions and personal style.  From the influences of Balenciaga, he sculpts and molds cloth creating new forms and techniques, reinterpreting the female form and pushing himself to discover new solutions to tailoring problems.

Charles James, Clover Dress, 

Rucci fashion Sketch

Rucci gown

Rucci, 2003 haute couture collection

Detail of knotted bodice

While Charles James relied heavily on an under structure that limited the wearer's mobility, often making it impossible to sit down, Rucci relies on exacting cut and tailoring to allow the body movement while retaining the garments silhouette.  This manipulation of the fabric is what ties his work to that of Balenciaga. The knotted jersey dress above is indebted to the influence of Madame Gres and the use of bias cutting that she favored.  Rucci does not shy away from hides or furs either and incorporates both freely in his work.

Recollections:  "If Dior is the Watteau of dressmaking-full of nuances, chic, delicate and timely-then Balenciaga is fashion's Picasso.  For like that painter, underneath all of his experiments with the modern, Balenciaga has a deep respect for tradition and a pure classic line."  Cecil Beaton

If Beaton were alive today, he would have to re-address this quote and make mention of Chado Ralph Rucci.

Balenciaga Tweed Suit

Rucci, 

Rucci

In his tailored garments, Rucci has developed an open seam, garment inserts, and at times a mosaic of piecing, a technique that is highly distinctive to his work.  Often the garment appears to be made up of cloth "tesserae" linked together with threads or 'brides" as seen in traditional lace making or faggoting inserts.  These details create a surface embellishment and construction detail in one, giving the garment an architectural nature of its own.

Balenciaga, flamenco influences

Rucci-similar influences

These construction characteristics married to Asian influences in necklines and drapes free Rucci from being merely a copyist of Balenciaga to a designer in his own right.

Vivian Vance and Lucille Ball, "I Love Lucy"

Aspirations:  Would Ethel and Lucy aspire to a suit by Chado Ralph Rucci?  Most certainly.
Luckily a publication of his work exists.  "Ralph Rucci: The Art of Weightlessness"  ISBN 978-0-300-12278-7

That Little Black Dress

Collections:  I remember an exhibit in London at the Fashion and Textile Museum entitled, "Little Black Dress".  It was around 2008 or 09 I believe.  I thought that it might be fun to muse on the subject myself, since, as a collector, one is always presented with the opportunity to acquire one.  I don't know how other collectors feel on the subject, but I have noticed that the sheer quantity of black or white garments available from dealers or on ebay demonstrates the historical popularity of these neutrals.

Contrary to popular assumptions, black isn't nor has it ever been solely used for observing the ritual of mourning.  We probably inherited that opinion, like so many others, from our Victorian grandmothers, who were obviously influenced by the Queen herself.  Black can be seen in the portraits of the fashionable as early as the Renaissance and 19th century artists, such as Ingres, Whistler and Tissot were masters at capturing its subtleties.  In fact, this neutral was quite expensive to produce due to the instability of the dyes and consequently the most expensive textiles could be acquired in black.  It has denoted rank and authority, hence its popularity in men's wear, and of course has had strong religious associations for many cultures, like the Anabaptists, Amish and the old order Mennonites, the Dutch Reformers of the 17th centuries, and Muslim faiths.  Add to this, the fact that it hid dirt well, in an age when cleaning textiles was next to impossible, and its popularity must have been born more of neccessity than preference.

But when exactly did we throw away our Victorian notions and associations with death and embrace that highly prized, "Little Black Dress?"  An editorial staple since the 20th century phenomenon began.

Ingres, Madame Le Blanc

Sargent, Madame X

While both artists were masters at catching the nuisances of black, Victorian society was particularly shocked by Whistler's portrait.  Not so much the colour, but the lack of sleeves.
Below, the use of black for women's sports wear.  When Bonnie Butler, the daughter of Rhett and Scarlett, needed a new riding outfit, Rhett wanted to defy convention by ordering one in blue.  "A basic black broadcloth is what li'l girls wear." So Mammy admonished!

Riding outfit, circa 1860

Edwardian Swimsuit

Why are the hottest of pursuits performed in black?  Luckily, tennis and croquet costumes were generally in white.  (We'll address it next time)

Victoria 1862

Forever our associations with the use of black. Until......

Black velvet and jet ball gown, circa 1895

Beaded Tulle, circa 1910

1926

Trompe l'oeil dress.  Necklace, belt and bracelets are actually beaded on the garment!

cuff detail

Dior, Taffeta

When Barbie had influence!

Who could forget what Audrey did for this colour.

Breakfast at Tiffany's

Or when a woman is seeking revenge, black is always useful in the right hands!

Recollections:  Like any collector, I try to acquire as wide a representation of the development of dress as I can.  The advantage to collecting black or white garments, is that the eye is free to concentrate on the silhouette and not be distracted by the textile. Still, having said that, whenever possible, a neutral garment will be passed on or traded as soon as a more interesting coloration makes itself available.  When re-creating, I will accent with black, but have yet to tackle the all black costume.

Authors collection, circa 1908

Ambitions:  If you are not familiar with the fairly new Fashion and Textile Museum in London then be sure to put it on your list for the next time you visit.  Their focus is on fashion from 1950-present.  An area that is just beginning to draw the interest of other institutions.