Worth's Collections Were Influenced by Clothes
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ABOVE LEFT — ‘Espéranto’, OPPOSITE RIGHT — Robe DESIGN INSPIRATION like, while the style bears some resemblance to the North tea gown, crêpe de Chine with de bal, white satin and spangled Between 1909 and 1914 – in line with prevailing trends African djellabah (p.102, left). Another, of figured silk with gold brocade front panel and tulle embroidered with sequins trimmed with pearls, 1911–12. and beads in a cloud and – Worth’s collections were influenced by clothes from a wide contrasting lining, encircles the upper body and has oriental AAD/1982/1/57 shower of rain design, with lace, range of cultures. Charles Frederick and Jean Worth were overtones (p.103, right). chiffon, fringes and silk flowers, inspired by the fine arts and illustrations in their excellent ABOVE RIGHT — Evening 1902–3. AAD/1982/1/46 gown (with ‘Paisley’ border fashion library. Confirming this, a reporter (who might have design), embroidered cream OPPOSITE LEFT — Evening muddled the facts) recounted a conversation with Charles THE TEA GOWN ‘Liberty’ silk with cream and gown, white silk crêpe de Chine Frederick, who, he said, ‘always consulted Jules Breton for In The Cult of Chiffon (1902) Mrs Eric Pritchard noted, ‘At this gold lace overlay, 1908. and taffeta with nasturtiums AAD/1982/1/53 embroidered on green taffeta his Artois reproductions; he learned a great deal from Felon, very moment the perfection of a tea-gown may be realised by (matching the corselette), hem a master of Arlesian costume; from Landelle, the painter of a combination of Japanese colouring, Grecian lines and and falling sleeves trimmed with costume in the Pyrenees; from Guillemin, Leleux and Fortin, French frivolity. Was there ever a time when fashions of all ribbons with trailing corsage of artificial nasturtiums, 1901–2. who spent many a long day portraying the strange and poetic countries and periods were mingled with such excellent AAD/1982/1/43 costumes of Brittany. Bonnat and Henner he considered results?’17 A tea gown was generally a long, flowing, one-piece as the two best authorities on Italian costume, Hardy and garment, often cut in a high-waisted style and made Wells on English matters of dress, Theodore Delamarre in soft materials such as lace, charmeuse or chiffon. Worn on Chinese, Bida on Turkish, and Stevens on Parisian at tea-time, it was acceptable for a married woman to receive costume.’14 Jean stated that after attending the 1867 Paris her female guests thus attired – ‘fast’ ladies arrayed in tea Exposition, his father introduced kimono sleeves into his gowns were known (shockingly) to entertain gentlemen callers. coat designs.15 And, in 1869, the couturier was credited with While they were designed to provide comfort, tea gowns were launching the vogue for draping Indian shawls to form a not understated affairs. The same year Mrs Pritchard’s book mantle, which was said to be an art that he alone possessed.16 was published, Jean designed a white silk and lace tea gown Later, the decorative motifs and patterning of Indian shawls with a majestic draped back (p.83, (p.84, right) and the knotted silk fringing that decorates below right) and another in white silk crêpe de Chine shawls worn in China and Spain (p.86, centre) were to with voluminous sleeves, which was modelled by a house inspire Jean’s designs. A number of unstructured daywear mannequin (p.83, below left). A filmy garment from 1907 dresses, from 1910 to 1914, employ the flat-cutting features horizontal embroidered paisley or boteh motifs with techniques characteristic of various African and Asian coiled tips (p.83, top left), while ‘Espéranto’ (one who hopes), cultural clothing traditions. One afternoon dress is made of 1911–12, with its tabard-like front and beaded pearl trim using a textile with a broad decorative border that is shawl- has medieval overtones (p.84, left). 84 —— DRESSMAKING 85 OPPOSITE TOP ROW, LEFT ‘Toscarina’, evening gown TO RIGHT — Robe de bal, (with a large floral corsage), black ‘peau de soie’ full-skirted layered pale pink crêpe de gown overlaid with spotted Chine beaded in black and tulle, trimmed with a vine of white with diagonal borders silk grapes and leaves, 1889. of bold scrollwork, 1911–12. AAD/1982/1/62 AAD/1982/1/57 Robe de bal, pale green BOTTOM ROW, LEFT satin with silver embroidery TO RIGHT — ‘Medicis’, and applied silk garlands of evening gown, black satin over flowering bindweed, overlaid white chiffon with a cutwork with sheer tulle and with a diamanté studded ‘spider’s ‘bustle’ of silk and tulle, 1889. web’ and silk flowers, c.1912. AAD/1982/1/62 AAD/1982/1/58 Evening ensemble (taking Evening gown, green and gold elements from eighteenth- brocaded silk with asymmetrical century dress), ‘habit’ and skirt neckline over a short-sleeved in white ‘peau de soie’ with bodice trimmed with a large polychrome embroidered floral tassel and fabric rose, 1911–12. borders and flounced lace, AAD/1982/1/57 1902–3. AAD/1982/1/43 ‘Cupidon’, robe de dîner, MIDDLE ROW, LEFT TO apricot-coloured brocaded silk RIGHT — ‘Paquerette’, evening lamé, with tassel and fur trim, gown, bias cut flounced lemon- 1913–14. AAD/1982/1/61 coloured chiffon adorned with horizontal looped rows of pearls ABOVE RIGHT — Evening secured by tassels, 1913–14. gown (rear view), embroidered AAD/1982/1/61 pintucked eau de Nil satin, with lace and silk flowers, 1902. ‘Fuchsia’, evening gown, AAD/1982/1/45 violet chiffon and pink tulle over pink ‘Liberty’ silk, with BELOW RIGHT — Evening embroidered scalloped design, gown, court train suspended velvet sash, applied tassels from each shoulder, ‘Liberty’ and velvet pansies, 1909–10. satin, chiffon and tulle with a AAD/1982/1/56 deep lace border entwined with white silk roses, c.1902. AAD/1982/1/45 to be re-photographed 86 —— DRESSMAKING 87.