MISSES TURNER COURT DRESS MAKERS 151 STREET
White kimono fabric of figured “shibori” silk satin; embroidery of wisteria, chrysanthemum, peony, and Chinese fan motifs in metallic threads; wrapped buttons with Japanese “tomoemon”-like motif on bodice (only bodice and overskirt sur
This dress was remade from a Japanese kimono in London. Some traces of the original kimono seams remain in the textile. The underskirt is missing, but it is thought that an underskirt made of a different fabric was combined with this garment. There are some other indications of missing original ornaments.
In the late 19th century kimonos and textiles from Japan captured of the interest of many people in Western countries. Women in America and Europe made dresses from Japanese kimono fabrics and sometimes unstitched kimonos to make new dresses. They also wore kimonos as indoor wear. They especially favored kimonos for women in the highly ranked warrior families at the end of the Edo Period, like the source material for this dress.
Inventory Number(s): AC8938 93-28-1AB
Metropolitan Museum of Art
Black mourning dress reached its peak during the reign of Queen Victoria (1819-1901) of the United Kingdom in the second half of the 19th century. Queen Victoria wore mourning from the death of her husband, Prince Albert (1819-1861), until her own death. With these standards in place, it was considered a social requisite to don black from anywhere between three months to two and a half years while grieving for a loved one or monarch. The stringent social custom existed for all classes and was available at all price points. Those who could not afford the change of dress often altered and dyed their regular garments black. The amount of black to be worn was dictated by several different phases of mourning; full mourning ensembles were solid black while half mourning allowed the wearer to add a small amount of white or purple. This half mourning dress shows the care with which additional colors were implemented in mourning attire with the white accents carefully placed to not overwhelm the black and create a visually appealing transitional garment.
Madame Clapham day dress; Long sleeves bodice from cream day dress, cream silk printed with blue ribbons and pink flowers, peach silk pleated panel at front, leg of mutton sleeves, high stiff collar, long basques. Skirt, is cream with floral sprigs and blue ribbon details.
The Met says “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. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. 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. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.”