Hello my darlings! I apologize for the neglect, not only was I rushed to pack my flat but I found myself without wi-fi until I reached Bath. I have now returned to the United States and will be in Texas next week for an interview. It’s a slow process of returning my life to some semblance of order but I am so relieved to be back in the States. I have so many things to share with you from last weekend but because it is so picture heavy I will be posting laster this weekend on The Mended Soul. Until then please enjoy this teaser photo of Katrina Edelweiss (in her beautiful handstitched smocked gown) and me (also in my handstitched court gown) at the Farthingales Ball in Bath!
Corsage de l’impératrice
Vers 1805-1814 Pékiné broché de petits bouquets
Crédit photographique :
(C) RMN-Grand Palais (musée des châteaux de Malmaison et de Bois-Préau) / Gérard Blot
19e siècle, période contemporaine de 1789 à 1914
V&A: This dress was worn by one of the two Rogers sisters, Cara or Anne, daughters of a wealthy American industrialist. Cara Rogers later became Lady Fairhaven - she was a ‘Dollar Princess’, one of several heiresses who came to Britain in the late 19th century, and married into the British aristocracy bringing much-needed glamour and financial capital.
Lady Fairhaven kept several spectacular outfits bought in Paris and New York for her sister and herself in the 1880s and 1890s. These surviving garments give us an insight into the sisters’ taste, and the range of dressmakers they patronised. Many of these dressmakers emulated the work of the House of Worth, which produced the most luxurious gowns created from bold French silks, combined with ingenious design touches in embroidery, lace and chiffon. The contrasting black and ivory textiles of this ensemble create a dramatic effect, while this is softened by the delicacy of the lace, and the rows of narrow ribbons encased in chiffon.
4 months ago I blogged about an American Civil War mourning costume I created for a project ( please find the original post here and here ). It is my pleasure (and utter happiness) to share the news with you that the same costume has been featured in a film!
Unfortunately the movie still has a working title but I can confirm that it was shot near Greenwich University and is set in the 1860s. It is so thrilling to be able to see what my costume look like from the other side of the camera lens. The trim was the perfect touch and frames the actress’ face in a very pleasing way.
To celebrate this momentous occasion I am going to share with you my top ten favorite mourning costumes as well as some interesting objects I found while working on the new exhibition, Mourning Memphis for The Woodruff-Fontaine House Museum.
Historic New England
C. 1839- 40
Cream silk satin wedding dress; bateau neck trimmed with cream fringe; attached capelet extends over shoulders with twisted silk satin braid and same silk fringe; bodice has satin lattice amd twisted satin braid to waist; silk fringe at slightly pointed waist; piping at armseye; pleats at drop shoulder broken by teo rows of satin rope braid; elbow length; two rosettes at elbow with same silk fringe. Five silk satin rosettes at center back; hook and eye closure. Skirt is pleated at waist, hem lined with cream cotton. Bodice lined with white cotton.
I think it’s fascinating to see how Swedish Court Gowns have changed over the centuries. The silhouettes are different but the sleeves are always the same.
1780’s Queen (consort of Sweden) Sophia Magdalena, wife of king Gustav III, by Niclas Lafrensen. She is wearing a formal court costume.
1812 La princesse Desideria de Suède Miniature par Nicolas Jacques aka Desiree, in Swedish court dress
Court Gown (with Train) with Evening and Day Bodices of Wilhelmina von Hallwyl, Léon Sacré, W W. Ullberg & Comp.: 1865, Swedish, silk velvet, Chantilly lace.
Jeanne Lanvin, Dress Made for the Swedish Court, 1926.
Museo del Traje
Disclaimer: I don’t speak Spanish, Castilian or otherwise. All typos are courtesy of Google Translate.
Vestido de lino en su color con cola. Cierra en el centro del delantero con dos pasacintas. Esta decorado con un bordado con hilo dorado y lentejuelas formando una ancha cenefa con decoración floral y pabellones.
Tras la Revolución Francesa el traje femenino cambió radicalmente. El talle se colocó bajo el pecho y se olvidaron las armaduras interiores. Se prefirieron la telas finas de algodón o lino a imitación de los tejidos que lleva la estatuaria clásica, modelos de inspiración para toda la moda potsrevolucionaria. En España, durante estos años, a este tipo de vestidos se les conocía con el nombre de camisa.
Linen dress with tail in color. Close on the center front with two bodkins. It is decorated with embroidered with gold thread and sequins forming a wide border with floral decoration and pavilions.
Neoclassicism 1800-1805 (ca)
After the French Revolution radically changed the female costume. The waist was placed under the chest and forgot the internal armature. He preferred the fine fabrics of cotton or linen fabrics imitating the leading classical statuary, models fashion inspiration for all potsrevolucionaria. In Spain, during these years, this type of clothing they were known by the name of shirt.
Ollivier Henry - “Aprés-midi”, d’inspiration robe à tournure XIXe siècle, 2009, Taffetas changeant garni de ruché, brodé de fleurs au point de feston et appliqué de mignardises, collection particulière, Exposition “Plein les yeux” au musée de la Dentelle à Calais.