Designs by Worth and Other Haute Coutures Part I

Can you imagine the size of the closet required to store these gowns?

What these ladies did before blow dryers, hot rollers and curling irons boggles my mind?

Does anyone know when cosmetics (full modern day make-up) came into vogue and became accepted by the society arbitraters on these manners?

TampaBay

I think the gowns were kept stored flat in wide drawers. Not sure about cosmetics, do not think they were used much by "quality" ladies though. Hair, well, maids and of course- WIGS!!

I think the gowns were kept stored flat in wide drawers. Not sure about cosmetics, do not think they were used much by "quality" ladies though. Hair, well, maids and of course- WIGS!!

Robert,

It is my understanding that Queen Alexandra wore wigs from about the age of 30 on.  Do you have anything info on this subject?

TampaBay

Does anyone know when cosmetics (full modern day make-up) came into vogue and became accepted by the society arbitraters on these manners?

Please see:
http://www.fashion-era.com/make_up.htm

The ancient Egyptians were big users of make up as were the Romans (who used a lead compound for skin enhancement).

Yes, of course makeup itseff goes back thousands of years.  Wigs as well.  Women [not girls], as well as men I suppose, would keep their heads  pretty close-cut, to avoid the " nasties".  Look at the "dos" of the  Louis' and Charles'!! It was easier to keep those washed and clean than the unfortunate heads of the people who wore them.
 I think Alexandra's togue was once describes as a "rat's nest".  I love wigs, so easy to work with when the person is not attached...

What these ladies did before blow dryers, hot rollers and curling irons boggles my mind?

They used hot tongs and papers to curl hair back in the 19th century--I remember the scene in Little Women (during the US Civil War) where Meg's hair got singed as they were preparing for a dance.

"Meg wanted a few curls about her face, and Jo undertook to pinch the papered locks with a pair of hot tongs. "Ought they to smoke like that?" asked Beth from her perch on the bed. "It's the dampness drying," replied Jo. "What a queer smell! It's like burned feathers," observed Amy, smoothing her own pretty curls with a superior air. "There, now I'll take off the papers and you'll see a cloud of little ringlets," said Jo, putting down the tongs. She did take off the papers, but no cloud of ringlets appeared, for the hair came with the papers, and the horrified hairdresser laid a row of little scorched bundles on the bureau before her victim. "Oh, oh, oh! What have you done? I'm spoiled! I can't go! My hair, oh, my hair!" wailed Meg, looking with despair at the uneven frizzle on her forehead. "Just my luck! You shouldn't have asked me to do it. I always spoil everything. I'm so sorry, but the tongs were too hot, and so I've made a mess," groaned poor Jo, regarding the little black pancakes with tears of regret."

1910 crimping iron



"Perms developed over time beginning with the Marcel wave, which gave body and style to limp or shapeless hair. Introduced in 1872 this technique (named for it's French inventor) crimped the hair in a tongue & grooved iron, which was heated over a spirit stove. The secret was crimping the hair at the right temperature, which was judged by the smell of the heated rod. To protect the hair it was wrapped in toilet tissue before the iron was applied. If the iron was too hot, the tissue would singe first. The invention was so successful that Marcel retired by the age of 45. By 1906 Charles Nessler advertised a permanent waving machine that would reproduce the look of naturally curly hair. He used the same principle as that of 17th century wig makers. This involved boiling the hair but did it by using a chemical reagent and enclosing the hair on a curler. This enabled the hair to be steamed while still on the head. The early permanent wave machines were heavy chandelier constructions. They required large amounts of electricity that heated their tubes to over 200 degrees F., which could burn the hair and scalp. The process had a tendency of leaving the hair with a crusty, brittle surface. Several improvements were made during the next couple of decades when permanent waves became standard processes in most salons."

(Sorry they're so big but I was torn about losing some of the detail or shrinking them.  )

Worth beaded velvet/lace cape owned by the Countess de Pourtales, c.1900. "The outer layer of fine black silk tulle is decorated with black cut-glass beads and sequins that sparkle as the light shifts. Interspersed throughout are appliqués of handmade Point de Venise needle lace, which are embellished with black sequins. The collar is also handmade needle lace. Rows of black silk ribbon ruching are used throughout the design. The lower edge of the cape is bound with green silk velvet and bordered with black lace ruffles. The cape is lined with emerald green satin. "



Berthe, Countess de Pourtales in one of her Worth gowns

"The brocaded silk damask fabric used to fashion the bodice of this lovely gown glows with beauty. The soft peachy pink taffeta/satin damask ground is highlighted with ivory floral brocade in a play of light and texture. We see here an important principle of good design: sometimes, less is more. The cut of the bodice is simple and the ornamentation is restrained, allowing the beautiful fabric to take center stage. The upper part of the boned bodice is lined with beige cotton twill. The bodice closes in front with silk thread covered buttons. The neckline is trimmed with a collar of Brussels application lace. I love the two-tone silk taffeta trim around the sleeves and hem—see the close-up picture below. Hand-knotted pink silk fringe completes the hem border. The skirt is fashioned from substantial-weight ivory satin and is lined with matching cotton. The front has deep, over-lapping pleats with self-corded piping; the trained back has built-in metal metal bones to hold the shape. The skirt closes in back with hooks."

Fox watered silk, ribbon-weave gown, c.1895

beaded satin gown, c.1888-1900

"The gown is fashioned from high quality ecru satin damask. I love the stylized foliate design. The contrasting beads are opaque white glass. The front of the skirt features alternating rows of beaded tulle and delicate beige floral lace. The keyhole neckline and sleeves have lace insertions that can be gathered with inserted silk ribbon. The bodice is boned and lined with matching cotton sateen and closes in front with hooks. The skirt, lined with lightweight cotton, has pleated satin hemline ruffles on the outside of the front and pleated dust-catcher lace ruffles on the inside. The skirt has a metal band across the inside of the back to hold the shape. "

Satin damask evening gown, c.1905

"The restrained princess line allows the magnificent fabric to dominate the design. There is genius in the marriage of a simple cut with elaborate decoration. The bodice is appliquéd with panels of intricate bronze and silver metallic embroidery. The medallion centers have embroidered silk floss flowers that echo the damask floral weave. The design is highlighted with faceted black glass beads and faux emeralds. The gown is fashioned from substantial-weight black silk satin woven with a damask floral pattern in shades of rose, gold, and pale blue. The cap sleeves, which are remarkably intact, are black silk chiffon. The gown is totally lined with a separate, boned black satin underdress attached at the neckline and at one side of the back opening. Both layers close in back with hooks. "

["Queen Maud bought her clothes from a variety of fashion designers, court dressmakers and ladies tailors. One of the famous names in her wardrobe is the couturier, Worth. The company was founded in Paris in 1858 by Charles Frederick Worth , the most important and influential designer of the 19th century. His sons and grandsons carried on the Worth name until the company was taken over in 1954. This is the earliest surviving dress Worth made for Queen Maud..."



"This dress is part of the last order of clothes Queen Maud made from Worth before her death 26 November 1938 at the age of 68. The original design for 'Flirt' survives in the Worth archive in the V&A Museum. Comparing the two, it is clear that the wide shoulders fashionable in the late 1930s were not to Maud's taste. Nevertheless she obviously liked the striking design of Rococo style scrolls appliquéd in black velvet and red on plain black silk. "

"...made by Charles Fredrick Worth (1825-1895) in Paris around 1873 and was owned by Mary Augusta Green de Camp Corning, who wore it on her honeymoon..."

Worth dress:

And the perfect present for TampaBay:







I think I might even order a set of these for myself, I mean, my daughter Katie. 

The Countess de Pourtales certainly had some beautiful Worth designs! Did the hand made lace used on the Dresses in general come from Ireland?