Last week I posted a ruffled 1850s dress in muted mauves and puce.  Some of you found it far too frilly and fussy, others too muted and boring. Some though, found it oddly appealing, strangely compelling, and liked it in spite of themselves, which is exactly how I feel.  It came it at 6.9 out of 10 This 1920s evening coat is attributed to Paul Poiret.  The construction is quite fascinating when you study it, and I strongly suspect it breaks down into a series of rectangles, so perfect for ‘Squares & Rectangles & Triangles‘.  It’s also got some slight Orientalist overtones. I’m afraid the display is letting it down slightly.  I imagine it being worn over a full length silk sheath, perhaps something a bit Fortune-y.  Or maybe this dress (would pairing Poiret & Vionnet be a bit too much?).  You’ll just have to imagine the coat as a full ensemble, or judge it on its merits as a single garment, without being distracted by bare legged mannequins. What do you think?  Do you …

I had anticipated that last week’s leopard-print suit would elicit a variety of responses, and I was not disappointed.  A few of you were utterly horrified, many of you were thoroughly delighted, and some of you belonged to the camp, best expressed by Melissa, that while the outfit was the “18th century equivalent of metallic platforms, it is fabulous anyway.”  Thanks to the less impressed, the rating came down to 7.7 out of 10 – pretty good for a guy in a leopard print suit! Since we looked at fauna last week, let’s rate a flora themed frock this week.  If you want flowers, I do believe this 1902 evening gown by Jean-Phillipe Worth fits the bill perfectly: The dress is a walking flower garden and a froth of femininity, with lace and diamantes and satin bows and flower garden chine silk which is appliqued to the lace. The romantic flower garden theme and delicate femininity of the dress are further emphasized by the soft pastel colours, and the blurred soft focus of the chine …