The Dreamstress

It’s entry #2 in my series of ‘Rate all the Party Dresses’.  This week we’re going back in time 210 years, and rating a formal Regency gown.  It’s a particularly exciting rating, because it also includes the shoes worn with the dress.

Last week:  a bright orange silk and embroidered net party frock from 1916

The reviews for last week’s frock were a very happy surprise.  I was afraid many of you would find it too bold and outrageous – but just one did.   I’m always delighted when you love a dress, and even more so when I’m really not sure you will.

(of course, it would be terribly boring if every one of you just adored everything, so don’t worry if you don’t!)

The Total: 9.5 out of 10

Definitely a belle of the ball dress!

This week: an 1800s dress – and the shoes to match

I found the bare footed mannequin that last week’s dress was displayed on rather disconcerting, so this week I picked an evening gown where we know what shoes it was worn with.  A museum’s choice of accessories can make or break a rating, and while this dress is otherwise shown un-accessorised, the shoes give us an authentic glimpse into how it looked when first worn.

Formal dress, French 1800—05, Cotton gauze, embroidered with wool, MFA Boston

The dress is a typical classically inspired Regency gown, with raised waist, brief bodice, and short sleeves, all intended to evoke Grecian drapery.

Formal dress, French 1800—05, Cotton gauze, embroidered with wool, MFA Boston, 22.665

The simple shape is enlivened by embroidery in fine red wool.  Little scrolling floral motifs cover the skirt, and borders of modified ‘Greek Key’ or ‘Meander’ motifs follow the hem and divide the front of the skirt, emphasising the vertical lines of the frock.

Formal dress, French 1800—05, Cotton gauze, embroidered with wool, MFA Boston, 22.665

The MFA Boston describes the ground of the dress as ‘cotton gauze’. The gown is probably made from gauze in the more generic sense: a very lightweight fabric with a slightly open weave, rather than the technical sense: a fabric with a leno weave.

Pair of woman’s slippers English about 1800 Made by John Staton (English, active about 1800), England, Dyed and painted kid leather, silk ribbon, linen lining, MFA Boston 22.666a-b

The red and white slippers that accompany the dress feature a wide, low heel, and painted stripes that, like the embroidered lines of the dress, emphasise the fashionable shape of the shoe: in this case, the pointed toe.

So, with dress and shoes to imagine together, what do you think of our Regency Cinderella?

Holiday party season has just stepped into high gear here in Wellington, and every venue in town is booked out for the rest of the month.  My seasonal event schedule is sadly lacking in soirees that call for elegant frocks, but I’ve been doing fantasy event shopping in various museum’s collections, finding dresses that I would DEFINITELY wear had I the occasion, and ones that I want to show you, to see what you think of them.  So the next few weeks are going to feature event-worthy (well, maybe) party dresses.

Last week:  a bright spring green pelisse  

Mixed reviews for last week’s dress, with bonus points for some people because the dress looked like a historical superhero costume!

I was really intrigued by all the speculation of who it would look good on, and the claims that most women couldn’t carry it off.  Though it’s not easy to find, the pelisse’s fresh green colour looks really good on me – and is one I think of as very flattering on most women, at least in the historical sense of flattering (tends to make them look pale and mysterious, and the emphasise the contrast between skin and lips).

The Total: 8.3 out of 10

Exactly the same as the week before!

This week: a bright orange silk and embroidered net party frock from 1916

To start off my showcase of historical party dresses that a guest could wear to one of those historical extravaganzas I wish I could go to, I’ve chosen a frock from my favourite fashion year: 1916.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

This dress would definitely benefit from a good steam, and the proper undergarments (a bit more petticoat-age in particular), but the basic essence of the design, and of the impact the dress would have had on the dancefloor, is still obvious.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

Like many 1910s dresses, this evening gown combines two contrasting design ideas: a bold colour, and delicate layering, with each element of the dress revealing subtle detailing.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015 detail

The skirt is made of three layers of net, each embroidered with silvery threads.  The topmost layer of elaborately worked net is almost completely hidden by the overskirt of vivid orange silk, and would only be revealed as the dress moved and swayed around the wearer.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

The orange silk, vibrant as it is, is not left alone to speak for itself.  Instead, it features panels of heavy beading, with pearl and glass beads of different sizes, and chenille embroidery, forming forming floral and geometric patterning down the front and back of the dress.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

The silver, orange, and white of the dress is offset with a splash of black in the form of a corsage of black velvet and aigrette feathers pinned to the waist.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

The whole dress is a play on contrasts: muted and vibrant, bold and subtle, delicate and robust, fitted and voluminous.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

The Goldstein Museum of Design website has some excellent images of the layers of the dress, and how it opens, which I highly recommend checking out if you’re interested in historical dress construction.

Evening Gown Of Cream Silk Satin and Orange Silk Taffeta, Hollander, L.P., 1916-1917, USA, silk, pearl beads, chenille yarn, aigrette feathers, Goldstein Museum of Design 1982.016.015

What do you think of it?

Rate the Dress on a Scale of 1 to 10