The Ornamented Being
Ornamented: -verb: Adorn; beautify
Be·ing: -noun: Fulfillment of possibilities; essential completeness
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This is my inspiration piece I’m using on my costume mood board for Saturday’s evening dress
Woman’s silk and tulle dress with hobble skirt, trimmed in fur, flowers, and rhinestones. Made by Cummings, St. Louis, Missouri, ca. 1910-1912
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I love finding old photos where people are smiling!
This is from Edna May’s wedding
. c. 1906
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Court gown & train
London, England
Redfern
1907
Museum Purchase, Funds provided by Yvonne Hummel
2008.932.19ABI have picked a short sample of what I found to be interesting in the article but I encourage you to click the link at the bottom left hand corner and read the original post by FIDM. It’s well worth the read!
“To be presented at court, a woman had to be sponsored by another woman (often a mother, mother-in-law or other relative) who had already been presented at court. During Edward and Alexandra’s reign, American women presented at court were always sponsored by the wife of the American ambassador. In her application, the sponsor vouched for the character of the presentee, ensuring that only women of good character were presented. Under no circumstances could a woman who wanted to be presented make an application for herself. All applicants were investigated before being accepted for presentation. Women eligible for presentation included wives and daughters of the aristocracy, clergy, navy or military officers and certain “aristocratic” professions, including physicians and barristers. Ineligible women included divorcees who were considered legally at fault for the divorce, and actresses… . The train on our court dress is the required 11 feet, and attaches at the shoulders with hand-carved cameos depicting classical dancers. The classical theme is continued in the graduated laurel leaves decorating the train. Vertical lines of laurel leaves accent the princess seams of the gown, a silhouette named for Queen Alexandra when she was the Princess of Wales.”
(Source: blog.fidmmuseum.org)
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1906
“The appliquéd and cutout stylized flowers—either peonies or plum blossoms—are drawn in an Art Nouveau style, which was prevalent from 1890 to 1914. The dramatic sleeve silhouette along with the great amount of ruching and hand pin tucking throughout the bodice and skirt make this a very expensive garment, perhaps part of a trousseau. The period from 1900 until the outbreak of World War I in 1914 was an era of beautiful, extravagant, and ultra-feminine clothes. The high-collared bodice and the soft, draping trained skirt were worn over an S-shaped corset. The corset pushed the bust forward and the hips backward, creating an S-curve in the silhouette of the body.”
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Dress 1902, British, Made of silk, taffeta, chiffon, and lace
Manchester Galleries
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Liane de Pougy, the courtesan who became a princess.
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Jacques Doucet (French, Paris 1853–1929 Paris)
c. 1902
Jacques Doucet was first, and foremost, a connoisseur of art. Additionally, his passion for the refined and exquisite overflowed into his dealings with fashion, making him one of the finest French couturiers during the Belle Époque. The House of Doucet began as a family business, specializing in women’s lingerie and laces, as well as articles of clothing for men. Founded in 1817, the company rose to fame under the hand of Jacques. The house was known for its luxurious offerings, which were worn and coveted by royalty, members of the elite society in both Europe and America, and actresses of the stage.The Met says:
This evening dress is an exquisite example of the surface embellishment of the Belle Époque era. The multiple layers of silk, net and lace, accented with satin ribbon, beads, sequins and embroidery show how carefully each piece of couture was constructed. This dress is especially interesting, for it was worn by Mrs. Frederick Augustus Constable, wife of the manager of the high-end New York store Arnold Constable & Co. The establishment imported European dresses, some being Doucet’s, as illustrated by both names being included on the petersham. -
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)
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Dress, Evening
Jeanne Hallée (French, 1880–1914)
c. 1901-05
Met
