The Ornamented Being
Ornamented: -verb: Adorn; beautify. Be·ing: -noun: Fulfillment of possibilities; essential completeness.
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circa 1888
I love the evening bodice!
“ The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. . .”
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“French, late 1800
The princess line design with body of yellow mousseline de soie with silk tulle overlay embellished with pearls and grosgrain ribbon with a deep sprigged cartouche at hem, the buckram lined puff sleeve with tulle engageantes and Watteau train of striped vanilla and black ribbed satin taffeta, goldenrod silk satin lining, the boned bodice laced at back, center back length 60 1/2 inches, size 10, waistband interior petersham labeled: C Worth.
Fair to good condition, fractured sleeves, ruffles and edge of hem, one spot on bodice, tulle fragile at bodice, exhibition stitches affixing train, engageantes possibly later.
Gift of Helen Larson Estate Collection.” -
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House of Worth
circa 1898–1900
I love the light blue! It really pops!
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circa 1888
“ … Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats… “
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. . Sorry but it was begging to be done! Call it a blend of the old and new.
Dress circa 1880
Boots and brasserie circa 2011
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c. 1890
”In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth’s creative output maintained its standard and popularity throughout his life. The business continued under the direction of his sons, grandsons and great-grandsons through the first half of the twentieth century.”
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You have no idea how hard it was to not just reblog every photo attached to this dress.
This one is attributed to Jean-Philippe Worth and I’m sorry but I couldn’t wait to share it with you!
- circa. 1887–89
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This is the famous evil face dress. Of course that isn’t the name of the gown but when I look at the skirt I see a face!
(Source: metmuseum.org)
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Aha! I knew I had a photo of the actual dress being worn! It took some digging but voila!
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The met has just seriously outdone themselves with the photography this time!
This is a Charles Worth evening gown from c. 1889.
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Look at how extraordinarily bright this ball gown is!!!
In the psychology of colour yellow means: {you} shines with optimism, enlightenment, and happiness. Shades of golden yellow carry the promise of a positive future. Yellow will advance from surrounding colors and instill optimism and energy, as well as spark creative thoughts.
ca. 1887 designed by Charles Fredrick Worth
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This is the epitome of an Autumn gown!
circa 1875–76
“Winter is an etching, spring a watercolor, summer an oil painting and autumn a mosaic of them all.” ~Stanley Horowitz
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Dress, Afternoon
House of Worth (French, 1858–1956)
circa 1890s
For some reason when I look at this dress Mrs. Lovett starts singing “By the Sea”. I think it’s the stripes. I need to lay off the musicals. -
The following was written by a lovely lady from the Met, please see the content source for detail:
“Charles Frederick Worth, the designer who dominated Parisian fashion in the latter half of the nineteenth century, was born in Bourne, Lincolnshire, England, on October 13, 1826. As a young man, Worth worked as an apprentice and clerk for two London textile merchants. In addition to gaining a thorough knowledge of fabrics and the business of supplying dressmakers during this time, he also visited the National Gallery and other collections to study historic portraits. Elements of the sitters’ dresses in these paintings would later provide inspiration for Worth’s own designs, for both fashionable ensembles and masquerade costumes. …
Success in Paris
Worth’s rise as a designer coincided with the establishment of the Second Empire in France. The restoration of a royal house in 1852, with Napoleon III (1808–1873) as the new emperor, once again made Paris an imperial capital and the setting for numerous state occasions. Napoleon III implemented a grand vision for both Paris and France, initiating changes and modernization that revitalized the French economy and made Paris into a showpiece of Europe. The demand for luxury goods, including textiles and fashionable dress, reached levels that had not been seen since before the French Revolution (1789–99). When Napoleon III married Empress Eugénie (1826–1920), her tastes set the style at court (1978.403; 01.21). The empress’s patronage ensured Worth’s success as a popular dressmaker from the 1860s onward.
Worth’s designs are notable for his use of lavish fabrics and trimmings, his incorporation of elements of historic dress, and his attention to fit. While the designer still created one-of-a-kind pieces for his most important clients, he is especially known for preparing a variety of designs that were shown on live models at the House of Worth. Clients made their selections and had garments tailor-made in Worth’s workshop.
Although Worth was not the first or only designer to organize his business in this way, his aggressive self-promotion earned him the titles “father of haute couture” and “the first couturier.” By the 1870s, Worth’s name frequently appeared in ordinary fashion magazines, spreading his fame to women beyond courtly circles.
The House of Worth
The large number of surviving Worth garments in the permanent collection of The Costume Institute, as well as in other institutions in the United States, is testament to Worth’s immense popularity among wealthy American patrons, as well as European royalty and aristocrats. Many clients traveled to Paris to purchase entire wardrobes from the House of Worth. For the wealthy woman, a complete wardrobe would consist of morning, afternoon, and evening dresses (C.I.53.63a,b; C.I.49.3.25a,b), and lavish “undress” items such as tea gowns and nightgowns, which were worn only in the privacy of one’s home. Women also looked to Worth to supply gowns for special occasions, including weddings (C.I.41.14.1) and ornate masquerade balls (1994.462a,b), a favorite entertainment in both the United States and Europe. Worth’s clients also included stars of the theater and concert stage. He supplied performance costumes and personal wardrobes for leading actresses and singers such as Sarah Bernhardt, Lillie Langtry, Nellie Melba, and Jenny Lind. … “Jessa Krick
The Costume Institute, The Metropolitan Museum of Art
