The Ornamented Being
Ornamented: -verb: Adorn; beautify
Be·ing: -noun: Fulfillment of possibilities; essential completeness
-
Wine and Ivory Jacket
Jacket made of heavy wool in wine and cream. Tight fitting, hip-length jacket with stand-up collar. Front attached vest is ornately trimmed with maroon machine embroidery. The same trim is found on the shoulder, bottom of sleeve and on the back. Skirt of the jacket is shaped to fit over a bustle. c. 1890s.
The jacket was worn by Jessie Webb Corwin’s mother, Jessie Mason Webb.
c. 1890s -
I know I’ve posted this before but I still love it!
This is the description of the first costume: Emile Pingat (1820–1901), Paris, Skirt and polonaise, 1885. Velvet, beads, silk, glass. Collection of Shelburne Museum. 2010-75
Emile Pingat has taken a page from the 18th century, adapting a classical men’s court ensemble and feminizing it. Instead of breeches that match the coat, there is a long velvet skirt finished with a ruffle. The apparent waistcoat is not a separate garment but instead is constructed as two decorative panels set into the coat. Pingat has updated the style and beauty of aristocratic men’s clothing by adding the small pointed zigzag motif in the embroidery. This one-of-a-kind colonial revival style dress would have been worn to a ball or masquerade with appropriate accessories that could have included a wig, fan, and shoes.
”The 18th Century Back in Fashion” exhibit, Palace of Versailles. Victorian take on 18th century dress.
(Source: collection.shelburnemuseum.org)
-
-
I hope you are all looking forward to the upcoming green theme!
Happy Saint Paddy’s day!
c.1897
-
For all the June brides out there….just ran across Prior Engagement’s contest to design your own historic wedding dress! All of the info can be found Here.
It’s open to everyone (NOT JUST BRIDES!) and if your dress is selected you will see your design made into an amazing gown!
-
Wedding Dress. 18th century (1758). Cream silk. Shrewsbury Museums Service (SHYMS: T/1983/1/5).
(Source: darwincountry.org)
-
Robe 1775-1780 V&A
This one is rumored to be a Wedding Gown:
By the late 1770s, the sack-back gown, of which this is an example, was reserved for formal evening or Court dress. The shape of the petticoat, requiring a wide square hoop, also indicates the formality of the ensemble. An arc of precise, wedge-shaped pleats illustrates how the gown was shaped to fit over such a hoop.
The plain fabric and restrained decoration are typical of the late 1770s. Broad and narrow strips of the white silk satin have been edged with silk fringe, gathered and applied to the gown in undulating lines. The fringe is made of looped and knotted floss silk and chenille thread. Lengths of this fringe form tassels which hang from the gown and would have swung and danced as the wearer moved
-
c. 1857
V&A: Wedding dress of ivory figured silk with a pattern woven ‘en disposition’ of formal flowers with an undulating band above and a scalloped band below.
The dress consists of the evening bodice attached to the skirt. The bodice has a low, wide, pointed neckline, short straight sleeves covered with gathered bands of matching tulle, and a point front and back. The waist is trimmed with a double rouleau of self mate rail. The bodice is boned at front and side and back seams and lined with white glazed cotton. The neck is trimmed with a narrow frill of blond lace through which a black velvet ribbon passes. There is a lace fastening at the centre back with a hook at the top and bottom. On the front are stitch marks suggesting a jewel, flower or other trimming were attached.
The skirt is flat pleated except at the centre back where it is set in organ pleats. It has three flounces, the pattern en disposition each trimmed with matching silk fringe. The dress is lined with tarlatan.
T.10A-1970 The jacket bodice has a cape and basque trimmed ‘en disposition’ and with white silk fringe. The neck is high and the jacket fastens down the centre front with concealed hooks and eyes. Circular motif with pendant balls are stitched to the front, two more at the back waist. The sleeved are elbow length with a gathered top and a wide frilled fringed cuff. Body lined in white glazed cotton, skirts with silk.
The outfit would be worn with an orange blossom wreath.
-
c. 1900-10
Met: Rita de Acosta Lydig (1880-1929), a noted beauty and style icon of the early 20th century, owned these stockings, as well as another pair in the Brooklyn Museum collection, 2009.300.1855a, b. Known for her striking looks and elegant clothing, de Acosta Lydig built a wardrobe that featured numerous lace-trimmed garments, including underwear and accessories like these. The custom quality shows in the silk ribbon garter loops and the embroidery of the owner’s name on each stocking, while the seductive aspect of the pair is heightened by their color and the placement of the scrolling lace insets.
