What I Did While I Wasn’t Here

Hi! Remember me? I used to blog here relatively regularly but then life happened and I didn’t for far too long. Yeah, I’m back.  Here’s what I did while I wasn’t here.

1: I became a BA of Liberal Arts! Today, even!

2: I came home from Edinburgh and am now pleasantly settled in Copenhagen. Within a week and a half, I had a place to live (where I’m moving this July!), my old job back, plus one new job acquired!

3: I decided not to continue in the field of English. It was a very happy decision and now that I know what I actually want to do, I am so much happier.

drumrolllllll

4: I’ve applied to nursing school and am fairly confident I will get in. If you’re family and I haven’t told you yet in person, I apologise, but it is a Real Decision™ and I’m very happy that I have made it. I shall let you all know (blog readers and family) whether I’ve been accepted in the end of July when I find out.

5: I’m going to New York in three weeks (exactly) and I’m so excited. I plan to visit lots of museums and take lots of pictures for you, my faithful readers.

6: This blog now has nearly 20,000 page views! That’s so exciting and I want to thank all of you who have stopped by and continue to do so. It makes me so happy to see that even this humble blog has some readership.

But enough about me, let’s take a look at some links I’ve compiled for your pleasure.

7:  Draw This Dress is one of my favourite blogs. Two talented artists share links to old-timey fashions and then interpret them in their drawings. These are a few of my favourites.

Go click on the source because there are so many wonderful pieces of art to gawk at.

8: My favourite new site has rapidly become xoJane. I can’t speak too much about why because it’s such a diverse site. Maybe, that’s it, actually.

9: If you’re into Vintage Fashion the place to live vicariously through a stranger’s blog is Vixen Vintage. Be warned: You will experience mad wardrobe envy.

10: Have you checked out Hark, A Vagrant! lately? The front page currently is my favourite flimsy, flirty, 18th century painting. Don’t forget to spend two hours going through the archives so I’ll at least not feel so alone in doing so.

And to finish up, here’s what I’m currently doing:

11: Here’s what I’m reading right now:

 

 

…and finally, here’s what I’m planning to post about for the foreseeable future:

12: I’ll continue my fashion history run-down

13: I’ll review a few of the books I’ve read lately

14: I’ll write about history themed dramas I’ve watched recently

15: and finally, I’ll write about a few of my favourite writers!

It’s great to be back to blogging, and I do solemnly swear to never stay away for so long ever again or at least until my school starts back up again.

Fashion from the 1880s

Evening shoes, ca. 1875-1885. The Metropolitan Museum of Art.

Fashion from the 1880s are recognisable by two things: big bustles and slim waists. Unlike the half-hoop skirts of the 1870s, the 1880s emphasised a less volume overall and focused the bulk and weight of the gown on the bustle which could grow to startling proportions. Necklines crept upwards and shoulders remained covered at balls and certainly also during the day. 1880s corsets emphasised an hour-glass figure, tightening the waist so the bulk of the bustle would stand out in contrast. The sleeves of the gowns remained smooth, wholly unlike the enormous sleeves the 1890s would introduce into ladie’s fashion.

Exercise like croquet and tennis grew increasingly important but exercise gowns were conservative when compared with what would happen some 10-20 years later. Ladie’s hats grew small and focused their attention on the back of the lady’s head, growing into a style called “capote” which emphasised a small brim and big ribbons tied under the chin. Would you believe that I have an extant example that once belonged to a great-great grandmother of mine? As soon as I am able I’m going to take pictures of it.

Corset, 1885-1895. The Victoria and Albert Museum.

Bustle, 1884. The Victoria and Albert Museum. This bustle is relatively small!

Bustle, ca. 1885. The Metropolitan Museum of Art.

 

In action, the size of the bustle varied from the truly enormous to a more sublte collection of cloth around the hips and back.

Evening Dress. 1884-1886. The Metropolitan Museum of Art

 

Dress. 1884. The Kyoto Costume Institute

 

Ensemble. 1885-1888. The Metropolitan Museum of Art

 

Evening dress, ca. 1884. The Costume Institute of the Metropolitan Museum of Art

 

Dress. 1880. The Los Angeles County Museum of Art

 

Dress. Charles Fredrick Worth, 1888. The Metropolitan Museum of Art

 

From the front, dresses emphasised slim waists and well-defined hips. The fabric of the skirt was flat and tight over the legs, a big change from the crinolines of some 20 years sooner and even the half-hoop skirt of the 1870s.

 

Dress. Charles Fredrick Worth, 1888. The Metropolitan Museum of Art

 

Dinner dress, ca. 1880. The Metropolitan Museum of Art.

 

Evening Dress. Charles Fredrick Worth, 1889. The Metropolitan Museum of Art. This dress is a bit more free with its shape but then it is Worth.

 

 

Bathing and swimming dresses were only just coming back into fashion in the 1880s, so tennis and croquet were the sports of the day. Croquet outfits could be pretty much any day dress, but it was important that a tennis dress could be moved in. I couldn’t imagine playing tennis in either of these dresses, though.

Tennis dress ca. 1885-1888 via The Costume Institute of the Metropolitan Museum of Art

 

Tennis dress ca. 1885 via The Los Angeles County Museum of Art.

 

It is highly unlikely bustles were worn under tennis dresses, but the bustle effect would be created by pulling the fabric back and creating a modest hump.

Emile Pingat jacket ca. 1885 via The Victoria & Albert Museum

 

Outwear would also have to be loose to make room for the bustles, or like in the example above, be altered so the back of the dress wouldn’t be compromised.

Capote Bonnet. H. O. Hanlon, ca. 1887. The Metropolitan Museum of Art.

Capote bonnet, 1883. The Metropolitan Museum of Art.

 

1880s bonnet, Musee Mccord.

 

Often ribbons would be emphasised to compensate for the lack of shade, and tied in big, soft knots under the wearer’s chin. The one I own is a mourning bonnet and is primarily made up of black velvet and black ribbons. I really have to take photos of it for this blog.

That’s a small look into the fashions of the 1880s! Next up: the 1870s.

 

Fashions from the 1890s

Slippers. 1892. The Metropolitan Museum of Art

Yes, this fashion thing is a thing we’re doing now. Today’s post will focus on the last decade of the 19th century, the 1890s, which saw another remarkable change in the female silhouette. The most remarkable feature of the 1880s dress (which the next post will focus on, yes, this is going to get methodical) was the bustle which could grow to enormous proportions. In the 1890s the weight of the dress shifted to its sleeves while the skirts grew flat again. Hats remained a reasonable size. Bicycles became a fixture of upper class life which necessitated special cycling costumes designed to allow the wearer to move her legs while remaining reasonably covered. Corsets allowed for a normal body posture, unlike the S-corsets that soon would make their debut, focusing mostly on creating small waists.

1898 advert for corsets. The main functions of the corset is to support the breasts and clinch in the waist but it doesn't alter the female figure or silhouette drastically.

Without further ado, here are some examples.

Mourning Dress. 1894-1896. The Metropolitan Museum of Art

Wedding Dress. Jean-Philippe Worth, 1896. The Metropolitan Museum of Art

Dinner Dress. Worth, 1892. The Kyoto Costume Institute. This is perhaps one of my favourite dresses of all time.

All of these gowns have two things in common: the sizeable sleeves and a natural waistline. In Danish these massive sleeves are lovingly referred to as “ham-sleeves.” However, it was becoming increasingly normal and popular for upper-class women to engage in different forms of exercise.

Ball Gown. Worth, 1894. The Kyoto Costume Institute.

Bathing Suit. 1895-1900. The Metropolitan Museum of Art. Can you imagine wearing a bonnet to go swimming?

Gym suit. Ca. 1893-1898. The Costume Institute of the Metropolitan Museum of Art

(Walking) Suit. Jacques Doucet, 1895. The Victoria & Albert Museum

Riding Ensemble. 1896. The Metropolitan Museum of Art

Cycling ensemble. ca. 1895. The Kyoto Costume Institute

Another difference between the end of the century fashions and fashions from the rest of the Victorian periods is the headwear. Bonnets grew consistently smaller towards the end of the century until they caved in altogether and became hats. The 1890s was the first century where women exclusively wore hats instead of also bonnets.

Hat. Ca. 1892-1895. The Costume Institute of the Metropolitan Museum of Art

Hat. 1890s. the Costume Institute of the Metropolitan Museum of Art

Shoes. 1895. The Museum of Fine Arts, Boston

As for shoes, their basic shape stayed much the same throughout the century.

Capelet ca. 1895 via The Victoria & Albert Museum.

You can see how the capelet lifts upwards towards the shoulders to make room for the large sleeves of the gown worn underneath.
Next up: The 1880s. Yes, it’s going backwards. It’s my blog I do what I want etc etc.

I am so sorry that the format in this post is so jacked up. I’ve tried to fix it ten times now, it still refers back to the way it is now.

Fashions from the Turn of the Century

Shoes. 1900. The Metropolitan Museum of Art

Let’s start up with clearing up a few things.

1) I am keeping this blog running HOWEVER since I’m currently in the home stretch (spoiler: I’ve never ever seen a game of baseball in my life) of my final year as a University student updates may be a bit sparse until I’m done with exams etc.

2) I’ll be posting a couple of posts related to the “anniversary” of Titanic’s demise. I hate using that word to describe such a sad event, but it seems it’s the best word English can offer.

3) This blog has a new layout! And whenever I find the time to make one, a new header too!

Unless you’re living under a rock, you may have noticed that Titanic’s Centennary is coming up right soon. You may also have watched Downton Abbey (which I thought was called Downtown Abbey for the longest time). I’ve watched most of Downton Abbey, mostly for the costumes because the drama in season 2 turned me off most of the characters, to be honest.

I’ve long since been fascinated with historical fashion. My mother recently reminded me that I could often be found looking through books on historical fashion I had brought home from the library, studying them quite intently.

So since the centennary of Titanic is coming up, I though I might take a look at what the ladies of Titanic and Downton might be wearing. Think what you want about the 1997 Titanic movie, Kate Winslet’s costumes were porn for fashion nerds.

Beginning with the basics, the silhouette of the Edwardian lady changed quite a bit with the advent of the S-shaped corset. The difference is illustrated below. Putting it into the words the new style of corset would push the torso forward, by putting pressure on the stomach and spine.

The difference between a "regular" and an S-shaped corset illustrated.

The S-line corset is so named because it makes the lady's figure vaguely resemble an S

Dress. 1908. The Kyoto Costume Institute

Ball Gown. Jean-Philippe Worth, 1900. The Kyoto Costume Institute

Dress ca. 1908 via The Costume Institute of the Metropolitan Museum of Art

Ball Gown. Jean-Philippe Worth, 1900-1905. The Metropolitan Museum of Art

The gowns above show us what wearing the corset would make a gown look like in action. You can tell how the bust tips forward, and the stomach slopes inward. The dress shown from the back is interesting also, because it shows that wearing an S-corset almost creates a mini-bustle effect, harking about 30-40 years back in time.

Evening Dress. Jean-Philippe Worth, 1900-1905. The Metropolitan Museum of Art

Necklines were often high (if you can even call the above example a neckline). Ball gowns were more liberal with the amount of cleavage shown, but walking gowns, evening dresses and basically anything not used at balls would close at the neck or envelop the neck itself in fabric. This can also be referred to as “My Biggest Nightmare” in a gown. I can’t abide turtlenecks, and however much I adore the dress-type above I could never dress like that day in and out.

Dress. Jeanne Paquin, 1906-1908. The Metropolitan Museum of Art

Evening Dress. Jean-Philippe Worth, 1906-1908. The Metropolitan Museum of Art. For the Turn of the Century Goth!

Dress. Jean-Philippe Worth, 1900. The Metropolitan Museum of Art

The pink dress almost reminds me of 1790 post French Revolution gowns. I think it’s the bodice.

Evening Dress, 1911. The Metropolitan Museum of Art.

Ball gown ca. 1900-1903 via The Costume Institute of the Metropolitan Museum of Art.

Evening Dress. 1907.The Metropolitan Museum of Art

Of course, it takes more than just a gown to complete an outfit.

Cape. 1905-1910. The Metropolitan Museum of Art. This is an example of Turn of the Century outerwear.

Turn of the Century hats grew to astounding sizes and were elaborately decorated. I love how over the top they are.

Hat. Mme. Pauline, ca. 1911. The Metropolitan Museum of Art.

Hat ca. 1908-1910 via The Costume Institute of the Metropolitan Museum of Art

Hat. 1905. The Metropolitan Museum of Art

Hat. Madame Alphonsine, ca. 1910.

And also these swim costumes, because they are amazing and I want to wear them everywhere, except, perhaps, the beach.

Bathing Suits. 1900s. The Kyoto Costume Institute

So that’s an insight into what Turn of the Century, Edwardian, Gilded Age, Nouvelle Vague, whichever term you prefer,  ladies might wear out and about. Now, should I work my way backwards through fashion history or not? Decisions, decisions.

Child’s Pose

Duchess Sophia Frederica of Mecklenburg-Schwerin

There’s something about this girl’s gown that seems off to me. Perhaps it’s the enormous bustle in an 18th century gown? I suppose it could be attributed to the angle, and perhaps it’s as wide as it is big but it looks odd. Maybe it’s just very, very fashion forward of Duchess Sophie’s mother to order a dress like this for her child.

This is, by the way, yet another Sophie/Sophia from Mecklenburg-Schwerin to marry a Danish prince or king. Mecklenburg, in northern Germany, is quite close to Scheswig-Holstein. These two duchies used to belong to Denmark until the war in 1864 and still has a sizeable Danish-speaking minority. My point is that Mecklenburg is so sufficiently close that the procuring of brides was no big matter. For some eery reason, nearly every Mecklenburg bride was called Sophie or Sophia.

Duchess Sophia with her brother Duke Friederich

This portrait of the princely children is quite sweet, though. I’m no art historian (English literature is where it’s at for me) but there’s a playfulness about it which is usually exempt from portraits of children (or for that matter adults) in the time. The siblings look very alike, especially their smiles and chins.

Sophia