Last week’s rate the dress was a probably-by Callot Soeurs gown in what-do-we-call-this-bronze-blush-champagne with intricate embroidery.  A few people weren’t so enthusiastic, but most of you loved the dress – so much so it’s going to get a bit polygamous, because a number of us are in line to marry it.  (me too!).  The final rating was 9.3 out of 10. I’m currently obsessing over paisley, because I’m giving a talk on Paisley at CoCo, so this week’s Rate the Dress is on-theme.  In fact, it manages to combine paisley with another one of my obsessions: tea gowns. This tea gown is an example of a mid-century paisley shawl which has been re-made into a fitted garment.  This practice was very common from the late 1870s onwards, as shawls fell out of fashion as bustles came in, but the actual shawl fabric was still valued. Though paisley shawls of the 1860s were ENORMOUS, they still don’t contain enough fabric to make a full trained tea gown, so the dressmaker has combined the wool shawl with …

Apologies for the belated Rate the Dress post: sometimes life gets in the way of blogging! Last week I showed you Anna of Austria, in the full glory of 16th century continental fashions.  Her score of 7.7 out of 10, while very good for the  1570s, is typical of how much we struggle with the periods fashions. This week’s Rate the Dress pick is in total contrast to the dark colours, heavy fabrics, and restricting shapes of Anna’s ensemble. This 1910s ensemble in loose, floating silks carries on the tea gown’s tradition of elegant deshabille for wearing at intimate gatherings at home. The loose, draping underdress evokes Grecian chitons, and cranks up the risque potential  of the tea gown to the maximum with fully exposed arms and shoulders. While the gowns classical influences are clear, the elaborate lace embellishments are typical of the elaborate decorations popular in evening fashions at the time. For a little warmth, or a bit more modesty, an over-robe adds layers and modesty to the dress. One of the things that …