Dress (Ball Gown)

Mrs. Osborn Company  (American)

c. 1910

(Source: metmuseum.org)

“The blue dress, c.1910s, has a blue chiffon overlay, covering an amazing underdress of pink velvet with corded cutwork, beading and lace insertion. The chiffon shimmered over the dress and this technique appears to have been very popular. It added mystery and delicacy to the garment. Though we do not know who wore this beautiful dress, it came to the Museum in 1940 from Mrs. D. R. Kirk of New York City.”

The Charleston Museum

(Source: charlestonmuseum.org)

Liane de Pougy, the courtesan who became a princess.

Cleo de Merode, Beauty of le Belle Epoque

Liberty & Co. Ltd.

V&A

ca. 1905

Wedding Gown

“Wedding dress of cream Liberty silk satin wedding dress with skirt and train. It has a low round neck, pendant girdle and is slightly trained. The sleeves are of machine made lace at the gilet which has a high boned band collar. The collar and girdle are embroidered with formal floral trails in white satin stitch enhanced with pearls and trimmed with fringe. Pearls also trim the edges of the gilet and the cuffs of the sleeves. The dress fastens at the centre back with hooks and eyes. The lining is of cream ribbed silk and the bodice is lightly boned. 

[Wedding train] The train of matching satin is attached under the collar at the back. It is pleated at the top, the fullness merging with the flow of the train, and edged with embroidery, which matches that on the body of the dress. It is lined with the same silk used for the dress lining. The borders are interlined.”

(Source: collections.vam.ac.uk)

Dress, Evening Mme. Jeanne Paquin 1905–7

c. 1905-07

The Met says: Produced several years prior to the 1908 Hellenic designs of Paul Poiret, the raised waist and decorative references to Greek antiquity indicate this classical aesthetic and change of silhouette were in the air from 1905 on. As the leading house of couture druing the Belle Epoque, Paquin’s promotion of this line would have been widely known to the public. The dress also incorporates signature decorative techniques such as velvet piping outlining peach satin ribbon at neckline and waist and the contrasting tones and reflections of silver, satin and velvet

Dress, Evening

Jeanne Hallée  (French, 1880–1914)

c. 1904

Met

Dress, Evening

Jeanne Hallée  (French, 1880–1914)

c. 1906-07

Met

c. 1911

AA

These shoes have me contemplating a career change. Maybe something in the criminal field?

Without a doubt one of my favorite dresses from the Met.

Dress (Ball Gown)

c. 1900–1903

c. 1910

The Met says: The over-the-top expression of opulence seen in this ball gown worn by a prominent member of the Astor family is a testament to the degree of ostentation required at certain events in order to stand out from the crowd. The dense sequin and bead embroidery on the gown would have created a beautiful shimmering effect. The donors Orme Wilson (1885-1966) and R. Thornton Wilson (1923-1995) were great-great grandsons of fur trader and entrepreneur John Jacob Astor (1763-1848). The ball gown may have been worn by their mother, Caroline Schermerhorn Astor Wilson (1861-1948), daughter of William Backhouse Astor, Jr. (1830-1892) and Caroline Webster Schermerhorn (1830-1908), who was popularly known at “the” Mrs. Astor.

Lace and velvet special occasion dress, c.1915

“This ethereal creation could be the costume of a fairy princess: it floats over the body like a butterfly’s wings. It could also be worn for your wedding, since it is stronger than it looks. Our heirloom quality dress offers one-of-a-kind design at a fraction of the cost of couture.

The dress was made from layers attached at the waist to an inner petersham. The skirt lining is of ecru silk charmeuse with a hem border consisting of three rows of trapunto cording. Trapunto is an especially refined technique of embroidery, dating from 14th century Sicily.”

(Source: vintagetextile.com)