When Queen Victoria died in January 1901 a reign, a century and an entire age were passing. Edward VII, Queen Victoria's son, would give his name to the era of unparalleled luxury and opulence. The new decorative style of Art Nouveau was emerging, with its flowing, organic forms, which were reflected in the sensuous curves of the Edwardian lady. Though we conveniently define these eras as Victorian and Edwardian, stylistically, the line between them is blurred. The flowing lines of Edwardian fashion were actually rooted in the final years of the Victorian age. The shape of women's fashions transitioned from the popular "hourglass" figure to dresses designed with an "S" curve. The new style allowed women to embrace the new "healthly corsets" that supported the spine and abdomen. The corset was changed due to medical research done on the Victorian "cincher" that caused permanent marks of lacing the corset and internal organ damage. The "Art Nouveau" style was the reason for curvaceous clothing line of this period. The hats worn by women became larger, a trend that continued steadily until 1911. The "Art Nouveau" style became a part women's jewelry styles as well, as peacocks, dragonflies and moths created out of dazzling enamels and gold filigree became standard adornments for ladies' combs and brooches. Throughout the period, women's fashions were highly influenced by the advancing feminist Suffrage movement. Women modeled their behavior and appearance upon the "Gibson Girl", the popular image of the "New Woman". Because of the influence of the Suffrage movement, designers borrowed from men's clothing styles. The suit, shirt, hard collar and tie, created fashions appropriate for women entering professions formerly occupied by men. The latter half of the Edwardian era, fashions once again transitioned from the "S" curve dresses to the pre-flapper, straight-line clothing of the late 1910s. "Sport clothing" became popular at this time due to women beginning to participate in athletics. Women's fashions became lighter in construction and materials, epitomized by the "lingerie dress", a feather-light white cotton dress inset with strips of open-work lace and net. During this time, women's fashions became progressively more comfortable, practical and "body heathly" during this era, such that the period from 1890 to 1914 is remembered as "la Belle Époque" ("The Beautiful Epoch").
August, 1885
Godey's Lady's Book
Philadelphia
Philadelphia, Pennsylvania
Vol CXI P. 190
PRACTICAL HINTS UPON DRESSMAKING.
The manner in which the draperies are arranged on a skirt does much to indicate the standing of the dressmaker. To do this well requires a considerable amount of taste which must be possessed by the worker, and which no indications will give. There are many, however, who if they know what is required, and definite directions are given, will be able to carry out well any idea; although they have not the artistic eye and skilled hand which at once induce materials to assume original but graceful flowing folds, but with reasonable instructions they can carry out the ideas of others, and do it well. It is for these that our “Hints upon Dressmaking” are written; these profit by them and find them useful. A drapery much in vogue is that arranged in vertical plaits of different kinds and dimensions. One of the prettiest modes is a large box- plait in the centre, with plain plaits on the right or left, or plain plaits alone are used, ironed quite flat or rounded like the “organ- pipe” plaits. One of the first considerations is to have sufficient material; two breadths, twenty- seven inches wide, are sufficient, and they should be long enough to reach within six inches of the skirt's edge. When the “organ- pipe” plaits are employed they are generally three in number, and unless the material is very stiff and rich it is indispensable to line these with a light but stiff muslin. All plaits, no matter of what kind, must be secured by a ribbon sewn horizontally across them. These ribbon bands must be placed at intervals, and the lower they descend the longer each must be, for the drapery should swell out and become wider and wider as it descends the skirt. A well shaped tournure is imperative with this kind of drapery, and it must be strong and well stuffed with horse- hair near the waist. To complete the work, the plaits must be secured here and there to the skirt, so that it cannot be blown aside by the wind or otherwise disarranged. These professional details given, it is easy enough to carry out countless varieties of one mode, which our space would not permit us to fully describe. Lace flounces can trim the edge, either reversed or loosely floating; coquilles, bows, ruches, or little flounces can replace them; or revers can be added, lined with a different material contrasting in shade. It very frequently happens, if a person is careful, that there are many little alterations and changes in the toilette which can be done by themselves, and not only proves more economical but more satisfactory than if left to a professed dressmaker to carry out such, for instance, as the addition of lace ornaments, or other means of lightening a sombre toilette for evening or theatre wear. If the bodice is pointed, three rows of lace or embroidery, sewn together and ending in a point, form a very pretty plastron, which may be fastened on to the dress by a tab or buckle, by a jeweled clasp, or by a rosette of ribbon. A lace fichu crossed on the chest, and with the ends passel under the waist- belt, looks well on a short- waisted bodice. Exceedingly pretty fichus are made of all kinds of light materials, tulle, plain or beaded gauze, or crêpe, plaited and trimmed with lace. Ladies who go to many evening entertainments are usually well provided with these little accessories to the toilette, which gives an entirely different appearance to the dress, especially as they ornament the parts most seen, the skirt of a dress worn of an evening being usually of far less consequence on account of being less conspicuous than the bodice. Young girls have adopted blouse bodices of the broché, gauze, net, or lace, over a low- necked colored silk bodice. They are gauged at the neck and waist, and finished off with a waistband tied at the side, or with a wide sash of moire ribbon tied in long bows and ends at the side or at the back. Some blouses are plaited, and in this case the plaits are continued below the band, and form a kind of rounded basque, others end in paniers, or a bouillonné and puffed back drapery. Net bodice with sheafs of fine plaits back and front are very pretty over low- necked silk bodices. These end at the waist, the low silk bodice being of the same color as the skirt. A blouse bodice made of lace, but suitable only for very slender figures, is cut very full, with a round basque, and has three rows of gauging, drawing it in at the waistband, taking the place of a waistcoat. The dress opens in V- shape in front, the fullness being drawn from the waist to the shoulders. The blouse bodice is an old fashion revived, with a difference, but is both pretty and economical, and is much adopted for evening demi- toilette, either alone, or combined with a little velvet jacket.
Fig. 1.— Sea- side costume of brown surah silk, the underskirt trimmed with a narrow plaiting, the sides and front being covered with a deep flounce of écru wool lace, the back is plaited silk. Polonaise trimmed with large bows of darker silk; heart- shaped heck, with revers of silk. Hat trimmed with bow to correspond with dress; Japanese parasol.
Fig. 2.— Afternoon dress of pink nun's veiling the skirt is trimmed with a deep plaiting, finished across the front with fans of embroidered muslin, divided with bands of black velvet- ribbon and loops. The overskirt hangs straight in the back, is trimmed down each side with embroidery, black velvet loops and ends in the back. Plain bodice, laced across the front; velvet belt and bow in front fastened with a buckle; collar and cuffs of embroidery.
References:
Gordon, S.S.(with introduction by Kristina Harris). _Turn-of-the-Century Fashion Patterns and Tailoring Techniques_. Dover Publications,Inc. September 2000.
Gregory, Alexis; John Kenneth Galbraith_Families of Fortune: Life in the Gilded Age_. Vendome Press, August 2001.
Grimble, Frances (Editor). _The Edwardian Modiste: 85 Authentic Patterns with Instructions, Fashion Plates, and Period Sewing Techniques_. Lavolta Press, September 1997.
Harris, Kristina. _Victorian and Edwardian Fashions for Women, 1840-1910_ Schiffer Publishing, Ltd., August 1995.
