I study historic costuming and in class the other day we were having a discussion on our favorite designers. When it came to my turn I confessed that I couldn’t pick between Worth, Lucille, Callot Soeurs, Paquin, Lanvin, and Doucet, it’s just too difficult! I received so many blank stares in return.
That aside Doucet will always have a place in my heart. This dress dates from c. 1905-07 (from the Met) and is typical of the Belle Époque style.
We placed the wreaths upon the splendid granite sarcophagus, and at its feet, and felt that only the earthly robe we loved so much was there. The pure, tender, loving spirit which loved us so tenderly, is above us, loving us, praying for us, and free from all suffering and woe, yes, that is a comfort, and that first birthday in another world must have been a far brighter one than any in this poor world below!
These two items don’t belong to each other but I found them suitable to post together.
The Jacket is by Jacques Doucet, c.1898-1900
The bonnet is from c.1890
The boots are just fabulous and date c.1890-1900
The arts, in turn, captured glimpses of these vignettes, depicting fashionable women of the day on canvas. The salons, with artists like Tissot, Boldini, and Tanoux showcased the great couturiers Charles Frederick Worth’s and Jacques Douccet’s wondrous jacquard woven silks, moires, satins, laces, and velvets along with the sophisticated Paul Poiret’s brilliant colors.
The Met says («<=== see this is the part where I am citing my source. Not my fault you obviously can’t read) Worn while entertaining at home, teagowns express explicit femininity and represent a life of luxury. The lace of this teagown is of particular interest because of its overall design of interlinked flowers and scrolls. The high concentration of lace at the bodice adds visual interest as well as draws attention to the wearer’s face. It is apparent that the silhouette of the dress makes historical references in the open robe effect of the lace overskirt and the Renaissance shirred sleeves. The combination of fine materials and historical characteristics create an air of romantic fantasy.
This piece is an exquisite example of a lavish ball gown made by one of the grandest French couture houses of the period. The material used is of the finest quality, extremely delicate and dramatically embroidered. The cut of the bodice is quite seductive, enhancing the silhouette.