FASHIONS OF THE PRESENT DAY.
1875 TO 1878.
Dinner, casino, and ball dresses in 1875—Importation
of false hair—Manufacture in France—Modification of
waterproofs—“Estelle” bonnets—Tunic aprons—Cuirass
bodices—“Montespan” sleeves—“Saut-du-lit”—Shoes of past
times—“Bonnes-femmes” pockets—Henri III. plumes—“Inez”
veils—Ribbons and flowers—Heavy style of dress—“Pouf”
petticoats—Composite fashions of 1876—Armenian toques—“Ophelia”
bonnets; “Danichef” bonnets—Mdlle. Bettina Rothschild’s wedding
trousseau—A splendid parasol—Gondolier hair-nets—“Baby” sashes
and “baby” bonnets—“Fontanges” fichus—“Platitudes”—Red, as a
colour—Pockets of various kinds—Majestic appendages—Princess
dresses—Bouquets on the bodices—Hair dressed in the Greek
style—A thousand curls—Breton style—Organ-pipe
frills—Coat-bodices—Trinkets in black and silver.
We have now reached the fashions of the present day, that is, the
fashions that have prevailed from 1875 to 1881.
It will be well to divide this period into two parts, the first extending
from 1875 to 1878, the second from 1878 to 1881.
What were the costumes worn at a dinner, casino, or ball in 1875?
We will describe a lady’s gown made of sky blue Italian silk. The front
of the skirt was trimmed with five flounces of antique lace, above which
were full ruchings in two shades of blue, one shade being the same as
that of the skirt, and the other rather darker. The upper skirt, widely
open in front in order to display the splendid petticoat, formed an
ample train at the back. A lace scarf fell gracefully over the folds
of the costume. The edge of the tunic was trimmed with antique lace
and ruchings. The bodice was cut low and square; the sleeves consisted
entirely of ruchings and narrow lace, and reached to the elbow, where
they were trimmed with two deep falls of lace—a most becoming finish.
The hair was dressed high with a Spanish comb, ribbons, and flowers.
We may mention here a curious fact that appears in the published accounts
of the trade of Marseilles during the year 1875. 75,000 kilogrammes of
hair, from the several countries of Asia Minor, Egypt, Hindostan, China,
Italy, and Spain, entered France through that port. Formerly, as we have
already stated, Brittany and Normandy supplied us with this article of
commerce.
The manufacture of false hair in France amounted in 1875 to 130,000
kilogrammes, and was insufficient to supply the demands of fashion. The
street-sweepings of hair, collected by the scavengers, were used for
making luxuriant tresses of all lengths and all shades—blond, red, black,
or brown.
Beaded and shining trimmings were very handsome, and much admired. Some
were of totally new design, and were even preferred to lace.
In woollen fabrics, and with the exception of serge and limousine, women
preferred “chiné” fancy mixtures, or striped materials of two shades.
Steel was again fashionable. Stomachers, berthes, and “Louis XV.
casaques” were much worn; and the waterproof, so long the very tomb of
elegance and grace, but the most convenient of garments, underwent such
improved “treatment,” that no woman, old or young, need any longer object
to shelter herself beneath it.
White bonnets, that had been absolutely proscribed for many years, came
into fashion again for visiting dress. The “Estelle” bonnet was in cream
felt, or in stiff white tulle, edged with white jet.
An expensive checked material, which cost fifteen to eighteen francs the
yard, was used for gowns; and with these were worn apron tunics in Scotch
plaid, and small “Louis XIII.” waistcoats with pockets. “Flora” bonnets
in beige chip of two shades; “Chevalier” bonnets made of jet; “Trianon”
bonnets in black chip, with a double bordering of Italian straw; and,
lastly, maroon straw bonnets trimmed with showy “François I.” ribbon,
were among the favourite shapes. Some of these bonnets looked like real
flower-beds, with their harmoniously blended heath, clematis, poppies,
and daisies.
Cuirass bodices did not long remain in favour; they were succeeded by
bodices with straight waist-bands, and armour bodices cut low and square,
and laced at the back. These bodices were embroidered, and edged with
Mechlin lace.
“Montespan” sleeves were worn as a reminiscence of the seventeenth
century; the material of which they were made was embroidered, and they
ended at the elbow in two deep falls of Mechlin lace, with frills of
crape lisse on the inside.
At home, ladies wore muslin “peignoirs” of a shape called “mobile;” or
“saut-du-lit” (jump out of bed), an equally becoming garment, in fine
nansook.
For morning dress they selected “Samoyède,” or polar cloth; “Livonienne,”
or snow-flaked or gravelled cloth. Costumes made of these were trimmed
with a wide braid to match, or with a band of velvet, and the skirts were
trimmed apron-fashion in front. This was a step towards the revival of
plain dresses.
Among other evolutions of fashion in 1875, the change in shoes was
noticeable. Those shoes “à la poulaine,” which I described when treating
of the Middle Ages, were partially imitated by the new mode. Up to this
time shoes had been made square at the toes; they were now made pointed;
and some boots were made with the points curling upwards, in the same
ridiculous fashion as under the Valois.
This retrospective caprice did not, fortunately, last long.
Gowns continued to be made with trains, with tight-fitting basques, and
with large pockets called “ridicules,” “aumônières,” and “bonnes-femmes.”
A muslin flounce was placed inside the bottom of the skirt, coming a
little below it; and the “balayeuse,” as it was called, frequently
excited the mirth of the passers-by in the streets.
Polonaises came in once more. They were made of dolgai, a warm, soft,
thick, woollen material of a dull shade. Linen collars and cuffs,
hem-stitched; kid boots, and beaver gloves were fashionable. Velvet-cloth
mantles trimmed with monkey skin, and black velvet semi-tight paletôts
edged with skunk, were much worn.
A small bunch of yellow and white carnations, or of real rose-buds, was
attached on one side of the bodice. Our French ladies wore necklaces of
pearls and sapphires, and six-buttoned gloves.
A long, black, Henri III. plume was sometimes seen on bonnets; and
bodices were made more and more in the style of the Middle Ages, until
they strongly resembled the “corps piqués” of the time of Charles IX.
“Inez” veils of Spanish blond, or of tulle trimmed with lace, and worn
mantilla-fashion, afforded protection against the variations of climate.
Some of the bonnets, made in the style of the Directory, were charming
in shape; others were trimmed with figured silk of two shades, or of two
colours mixed.
Fashions were borrowed from every period of French history. There were
few original inventions, but many “reproductions,” to borrow a theatrical
term.
Ribbon was profusely used to ornament dresses; “Renaissance” ribbons,
“armuré” ribbons, “surah” ribbons and braid, &c. Some of these were both
plain and brocaded in jewel designs, and were so beautiful, that for
a time they held supreme sway. The flowers, also, with which bonnets
were loaded, were perfect imitations of nature; so much so, that the
bonnets of 1875 may be regarded as masterpieces of art, and not only as
reminiscences of the past.
Full-dress gowns had trains made with “Bulgarian” plaits, and bodices
laced or buttoned at the back, so as to display the shape of the bust
as defined by the cuirass. These dresses were trimmed with open-work
embroidery, white guipure lace, and Russian lace. “Mikado,” a very soft
pale grey woollen mixture, slightly touched with black, obtained an
extraordinary success.
Small Louis XIV. shoes, with two rosettes or puffs of ribbon, matched the
costume. They reminded us of Mme. de Sévigné’s letter to her daughter on
sending her a pair of shoes of this kind. “I must inform you,” she wrote,
“that you are not to walk in your new shoes.” What an illustration of
the saying: “Il faut souffrir pour être belle.”
Gold and silver braid was extensively manufactured. Mantles were trimmed
with several rows of narrow silver braid; the buttons were very large,
and of the same material as the garment; in the centre of each was a
little design in filagree representing a lily or a small bell-flower.
Buckles were also used in all full-dress costumes.
A heavy, rich, and handsome style of dress in damask, brocaded silk, or
stamped velvet, was adopted in Paris and other great centres; yet more
moderate costumes in neutral tints kept their place, the most fashionable
of all dark materials being a reddish violet, bistre, mixed with black,
and, above all, dark blue.
“Pouf” petticoats, or narrow dress-improvers, were made long enough to
support the heavy folds of the gown.
In conclusion, it may be said that the long trains, the ornamented
sleeves, and the tight bodices that combined reminiscences of the Middle
Ages with the requirements of modern fashion, were principally remarkable
for their details of all sorts—twists, fanciful arrangements, knots,
bows, fringes, gold and silver braid, artistically carved buttons, and
beautiful fur.
From the commencement of the year 1876, fashion became more and more
of the composite order. Styles of every period were successfully
blended. That of the reign of Henri II. was resorted to first. Gowns
were made of sumptuous materials trimmed with Venice point, and with
long trains. Figured silks, satin brocades in Arabesque designs, or
flowers and foliage, were used for feminine attire, and looked to the
full as splendid as the dresses of former times. Among head-dresses, the
“Armenian toque” was very fashionable; then came the “Ophelia” bonnet in
black lace, with two wreaths of rose-buds; and the “Danichef,” in beaded
black net, taken from the bonnet worn by one of the actresses in a play
of that name, which was performed at the Odéon for more than a hundred
successive nights.
The fashionable world was at that time greatly interested in the splendid
wedding of Mdlle. Bettina Rothschild, which was described at length in
all the newspapers. The trousseau included under-garments worth 200,000
francs. The pocket-handkerchiefs were perfect marvels of needlework
and Alençon and Mechlin lace. There were several magnificent cashmere
shawls. Among the dozen and a half parasols, there was one deserving
of particular mention. It was made of rose-coloured silk, shaded
with white gauze, and again covered with point lace; the point was a
cluster of emeralds and brilliants, and the handle was of jade, thickly
encrusted with similar precious stones. A gold ring set with emeralds and
brilliants was used to close this truly Oriental toy. The numerous fans
comprised in the trousseau had been painted by our best artists.
I should need several pages for the bare enumeration of the contents
of this young lady’s jewel-case. I shall therefore content myself
with naming a microscopic watch set in a solid piece of coral, with a
châtelaine hook, and a triple gold chain, the hook bearing a baron’s
coronet, marvellously carved, surmounting the combined initials of the
wealth-laden young couple.
I have digressed, I admit; but the digression is not out of place in
a History of Fashion, for it proves that magnificent dress is as much
appreciated under a Republic as under a Monarchy.
Moreover, at the period of Mdlle. Bettina Rothschild’s marriage, luxury
had reached the highest possible development. Never had more splendid
textures been seen, and never had dressmaking been more ruinously
expensive. A few young matrons belonging to the aristocracy announced
their intention of opposing such excess in dress, but their project of
returning to simpler fashions failed of realization, and they soon found
themselves obliged, willingly or unwillingly, to float with the stream
that was bearing them away.
At the Grand Prix de Paris, the leaders of fashion carried large
carob-coloured sunshades, either plain or trimmed with cream lace, and
shortly afterwards “caroubier” was quite the favourite colour. This deep
red was worn in neckties, bonnets, and costumes, and combined with black,
white, grey, or blue. But this fancy, like so many others, soon passed
away.
Even in summer ladies wore large quantities of hair, stuffed into a
wide-meshed net called a “Gondolier,” which hung over their neck and
shoulders. This net was made of silk braid, and ornamented with two
“Catogan” bows, one in front and one behind.
A novelty of this period deserves special notice. It consisted of long
gloves of open-work China silk in all colours, of extraordinary fineness
and elasticity, fitting to perfection. Another novelty, the “Baby” sash,
worn round the waist and tied behind, was a fashion borrowed from little
girls, whose “Baby” drawn bonnets and low shoes had already been copied
by their elders.
The hair was dressed “à la Récamier,” that is, curled all round; or in
small rough curls like a poodle dog’s; or hanging over the forehead in a
fringe as far as the eyes, with a large chignon behind, and heavy Catogan
bows.
Veils, whose real use is to protect the complexion from the sun, were
worn tightly clinging to the face. They were stretched in folds over the
forehead; this was to use the veil Egyptian-fashion.
Fans, which were in greater demand than ever, were suspended to one end
of a silk girdle that was fastened with a slip knot round the waist, at
the other end was a large silk tassel.
“Fontanges” fichus in chenille fringe were an improvement on the small
knitted shawls that had been loosely thrown over the shoulders.
No change of any importance took place in costume. Gowns were still
made to fit closely over the front and sides of the figure, and to drag
at the knees, and even lower down. They resembled sheaths of the exact
shape of the body. Flat braid trimmings were still much used, and were
wittily called “platitudes.” Skirts were trimmed with wreaths of leaves
and flowers, many bodices were made of brocade, and many sleeves in the
“Louis XV.” style, with under-sleeves of crape lisse.
Among accessories I must not forget “dog-collars” in ribbon or quilled
velvet, the edges bordered with narrow tulle illusion or blond.
Bonnets were very various in shape and trimming. Some very elegant women
wore “jugulars” in feathers or fur, instead of bonnet strings. A few
bonnets were not unlike the leaning tower of Pisa.
Cashmere shawls regained their place. They were draped in the old classic
way; the bust being enveloped in soft folds, while the amplitude of the
rest of the figure was, as is always the case, increased.
It is my duty as a scrupulous historian to note the predominance of
“cardinal” or “carob” red in the costumes of 1876. Red sunshades, red
feathers, and red frocks abounded everywhere. This caprice could not be
enduring, and we must acknowledge that it soon passed away, to the great
advantage of real elegance in dress. Light shades took the place of
red, and also of dark blue. The most fashionable summer materials were
jaconets with pink, pale blue, grey, and lime-tree coloured stripes,
trimmed with Irish lace, thread fringe matching the gown, or kiltings and
bias pieces of the stuff itself.
Walking dresses were made with simplicity and good taste. Mantles were
large and long, and on the approach of autumn were made with wide
“Mandarin” sleeves. Polonaises in light woollen materials, with velvet
sleeves, were also fashionable; and all woollen textures were in high
favour. There was incredible variety in the shape of pockets; besides
those of which I have already spoken, there were “cornets,” “hottes,”
and “corniers,” all elegant articles of attire, beautifully made and
embroidered, and fixed in various ways on the skirt.
Faille and brocades of different shades were used for full dress.
Gowns were so tight, and so much “tied back,” that they almost impeded
movement; the knees were encircled with garlands of flowers or buds.
These flowers were succeeded by foliage, and there were more “Velledas”
than “Floras” among our women of fashion, as was remarked by a clever
journalist of the day. Metal buttons, at first enormously large, and
afterwards reduced in size, and sometimes shaped like grélots (sledge
bells), were used to ornament the costume. Skunk and Siberian fox took
the place of Swedish and Canadian furs, temporarily out of fashion, while
costly sable was worn by ladies of extreme elegance. A pelisse lined
with sable is like a costly piece of furniture, or a precious jewel; its
value is not affected by any caprice of the day.
Breton lace was used in morning dress, and this charming novelty looked
extremely well with the cascades of coloured ribbon that were so
generally worn.
To bring this short review of the year 1876 to a conclusion, I must state
that the type of costume was little altered; the only change was in
trimmings, or in the greater or less length of trains. Costumes consisted
principally of a scaffolding of flounces, fringes, and kiltings, without
the great trailing mass that had long been a result of wide skirts.
Trains became positive tails; but they no longer interfered with the free
action of the limbs, and developed into what might be termed a majestic
appendage.
Morning caps were made of white or coloured foulard handkerchiefs
twisted like a Mamamouchi turban, and ornamented with a little bunch of
mignonette, with a pale rose in the centre. There was something both
sentimental and artistic about these caps.
But even when the same style of dress lasts from one year to another, or
for several years, there is an absolute necessity for many variations
of type; otherwise we should cease to be ruled by caprice, which, as we
know, will never abdicate its power.
In January, 1877, princess gowns were still in fashion, the princess
shape being preferred to all others, both for morning and evening wear.
In the latter case, they were made high behind, and either cut low and
square, or in a V shape in front, and with sleeves to the elbow only.
The bodice and skirt of princess gowns were cut from one piece, but the
skirt was ornamented with fringes, sashes, and bows, or it was worn over
another and longer skirt.
Many mantles were made of the same material as the dress, and many were
black.
Bouquets of small delicate roses were worn on the bodice, one at the
breast, and the other just below the shoulder. Bonnets were chosen, as
far as possible, to match the rest of the dress. Some women wore their
hair in the Greek fashion, bound with three blue fillets, and a little
fringe of loose curls on the forehead.
Towards March a decided change took place in the shape of costumes,
and women looked like walking statues, clad in drapery that adhered as
closely to the front and sides of the figure as a wet bathing-gown,
while it was gathered into a bunch at the back. The portion of the skirt
that formed the apron hung flat, but the rest was gathered in soft folds
towards the back of the train. The bodice, whether cuirassed or not,
assumed reasonable proportions.
The ungraceful costumes copied from those of the First Empire were at
length about to disappear!
Muslin kiltings were once more restored to favour. The hair was dressed
in the “thousand curls” of which Mme. de Sévigné speaks, giving the head
a round shape, which admitted of no ornament save a flower on one side.
This was a becoming style in many instances.
For ordinary wear, costumes in the Breton style were largely adopted;
and also a costume in fawn-coloured Scotch cashmere, with a plain, short
skirt, a tunic flat in front, but not drawn tight; the plastron, or
stomacher, consisted of a wide embroidered band. With this costume two
square pockets, one on either side, trimmed at two-thirds of their depth
with three rows of narrow braid, were worn. The attire was completed by
embroidered or open-worked linen collars and cuffs, and a cravat-bow of
foulard, embroidered muslin, or plush ribbon, placed at the opening of
the collar.
Some of our “élégantes” seemed determined to rival Henri Regnault’s
“Salome,” on the pretext that yellow was a fashionable colour.
Large turn-down collars were revived; some were plainly stitched, and
were wide and rounded in the back; others, for instance, the “Artagnan”
and “Richelieu,” were made of antique guipure; and others, again, of
Renaissance lace—but all of them were very wide in the back.
Cuffs were worn on the sleeve itself, instead of on the arm.
The “blouse” gown, with full bodice and belt and buckle, was revived,
with the addition of a second skirt. This costume was made in Oxford
cloth, or light woollen textures, in foulard, or in Irish cambric.
Tussore also became fashionable again on account of the delicacy of its
folds.
A new way of wearing a watch, fastened on the breast like a decoration,
was adopted by ladies of fashion. This only applied, of course, to the
smallest watches, those of the diameter of a twenty-franc piece, and
which were usually emblazoned with the coat of arms.
Sunshades in plaid silk succeeded to red or yellow ones. Coloured glass
beads were manufactured for trimming costumes; “Périchole” and “Fleur de
Thé” bonnets were much worn; also Japanese hats lined with red silk, and
trimmed with flowers or fruit on the brim. Dust-coloured fans were used.
China crape was no longer despised, and Indian shawls remained in favour;
lace was worn in profusion on every article of attire.
“Louis XIII.,” “Louis XIV.,” and “Louis XV.” costumes, “Charles
IX.” collars, “Henri IV.” ruffs, Marie-Antoinette, and “Directory”
fichus, “Adelaide” collars of worked organdy muslin, trimmed with
valenciennes,—all these things were adopted by Fashion, which, while it
progressed with the times, made use of every style of dress belonging to
the past.
I must not omit to mention tulle-ruchings called “organ-pipes,” placed
on the front of the skirt; white satin shoes with “Louis XV.” heels;
“Rubens” hats copied from those which we see in the portraits of that
great master of the Flemish school, and some few hats in Russia leather;
“Gabrielle” cuffs, and “Mousquetaire” collars, large cloaks lined and
edged with fur; and lastly the “Pierrot” collars and cuffs, in plaited
muslin, trimmed with Valenciennes, and fastened with bows of ribbon alike
on both sides.
Gold and silver braid were quite out of fashion, and had been succeeded
by trimmings of chenille or of stamped and cut-out velvet, sometimes
placed on the edge of the garment and sometimes diagonally. Egyptian
veils were very popular, and were, in Eastern fashion, crossed at the
back, and tied in front. Sometimes they were tied in a large bow, framing
the face very becomingly. It was considered good style to arrange the
hair at the back, “knocker-wise,” or in graduated waves; the hat was
placed on the top, and this fashion was both coquettish and extremely
convenient.
The bonnet-strings, or “jugulars,” in fur, chenille, or plaited ribbon,
that had been so fashionable in the winter of 1876-7, were succeeded by
strings of flowers.
On the whole, women’s garments were less narrow; and the excessively
clinging “sheath” dresses disappeared. This was a great gain to freedom
of movement and grace, for feminine attire should not sharply reveal
the female form, but only indicate it. The charm of mystery ought to be
retained, and the too much or too little of substance should be carefully
concealed.
There was an obvious tendency towards greater simplicity in dressing the
hair, enormous quantities of false hair being no longer worn, as they
would have been out of harmony with the rest of the dress. The hair was
sometimes divided in a slanting direction; or on the forehead with a
second parting from ear to ear; or it was drawn back, Chinese fashion,
and then divided into two loose twists crossed one over the other, and
arranged something like a helmet above the forehead; or in rings on the
forehead. Every style was admissible—plaits, curls, and straight or waved
bandeaux.
In like manner, bonnets were worn of very different shapes—in coloured
straw, or chip, and trimmed with roses, azaleas, eglantine, and
rose-buds. The “plate”-bonnet was rather popular, as were also small
bonnets in Belgian straw. I am now speaking of summer bonnets.
Feather aigrettes came once more into fashion.
The favourite textures were “Milan moss” and “swan’s down.” The favourite
ribbon was that in the new colour called “pink-coral.” Light-coloured
belts, with gilt and inlaid buckles, and harmonizing with the colour of
the dress, were very much worn. Jewellery was restricted to a simple
bracelet, a “porte-bonheur,” a locket, studs in the ears, and a white fan
suspended to the wrist by a pink ribbon. A few ladies took to wearing
Japanese trinkets. Long Swedish gloves with at least four or six buttons,
and “Charles IX.,” “Molière,” “Victoria,” and “Richelieu” shoes were
adopted.
At the approach of winter, gowns and mantles were trimmed with fur: blue
fox, marten, and sable were preferred; chinchilla and Astrakan came
next in order. “Coat-bodices” partially revived the fashions of Louis
XIII. and Louis XIV.; they were worn with long waistcoats, embroidery,
cascades of lace, and gold braid. Plaited chemisettes fastening behind,
were generally worn with square-cut bodices; also pocket-handkerchiefs in
clear cambric and “Fritz” fichus.
The “La Vallière” cravat was succeeded by a longer one with square ends,
and by the “Malesherbe” in silk guipure, or in guipure and grenadine.
Nickel and strass buckles were extremely fashionable, and looked
remarkably well with corded silk belts.
Dress stuffs had curious designations in the year 1877. For instance,
“ventre-saint-gris,” a woollen texture with long rough hairy surface, in
two shades of grey and green; “mousse-des-bois,” (wood moss); “frisé”
(curled) “Malabar;” “frimas,” a speckled material; “chenillé velvet,” and
“myosotis,” a mixture of wool and silk, speckled in two shades of blue,
and in gold-colour. English velveteen now seemed to have reached its
zenith of fashion.
I must note the very handsome muffs that made their appearance about the
end of November. They were of small size, and made of cloth, velvet, or
satin, lined and bordered with fur, and ornamented with a large ribbon
bow. They were transformed into scent-sachets, perfumed with essences of
heliotrope, rose, and gardenia.
A manufacturer of fans invented a fan composed of real flowers and
leaves; but it was not a success, on account of the extreme fragility of
such an article. Fans were then made of artificial flowers; but these
too were a failure, for they sinned against good taste. And both were
far inferior to mother-of-pearl, tortoise-shell, and ivory fans, either
beautifully painted or trimmed with lace.
Costumes, bonnets, and mantles, were designated by Russian names,
doubtless on account of the war that had just broken out between Russia
and Turkey. Otter-skin, fur, and plush hats were much worn. Flowers were
“out,” but feathers were “in,” and the plumage of the “impeyan,” the owl,
the golden ouzel, and the gorgeous breast of the pheasant, were profusely
employed. Jewelled ornaments were worn on bonnets, and double-headed
pins in jet, gold, or pearl. “Sita” veils, and veils of mohair lace,
with white and black shawls, mantles, “Marie-Antoinettes,” and elegantly
contrived headkerchiefs, served to shield the fair wearers from the cold
winds of winter.
In December, a novelty made its appearance in the shape of ornaments,
in _black silver_. These did not detract, however, from the value of
coral, which became more and more fashionable every day, from that of old
silver, filagree, or, especially, the old jewels, whether simple or rich,
of past eras.
[Illustration]
[Illustration: Present Fashions 1879
Present Fashions 1880]