Ghost
Mourning coat by House of Worth, 1907 Paris, the Metropolitan Museum of Art

Jean-Philippe Worth began as an assistant to his father, Charles Frederick Worth, in 1875. Gradually he was allowed to create his own designs and when his father died in 1895, he became the lead designer for the house. He was praised for making elaborate artistic gowns with intricate trimmings on unique textiles, much like his father had before him. Although the House of Worth was still favored by royalty and celebrities through the turn of the century, their styles were no longer the forefront of French fashion after 1900. Around 1910 Jean-Philippe limited his design work to important orders and hired his nephew, Jean-Charles Worth, as the new lead designer before leaving the company entirely after World War I.The House of Worth, alongside other couturiers of the time, would produce mourning attire upon request for its regular customers. Mourning was an important feature through the Edwardian period as it had been for the previous half century. Black mourning dress reached its peak during the reign of Queen Victoria (1819-1901) of the United Kingdom in the second half of the 19th century. Queen Victoria wore mourning from the death of her husband, Prince Albert (1819-1861), until her own death. With these standards in place, it was considered a social requisite to don black from anywhere between three months to two and a half years while grieving for a loved one or monarch. The stringent social custom existed for all classes and was available at all price points. Those who could not afford the change of dress often altered and dyed their regular garments black. The amount of black to be worn was dictated by several different phases of mourning; full mourning ensembles were solid black while half mourning allowed the wearer to add a small amount of white or purple. Haute couture mourning garments, such as this one, are rare but show the importance of mourning in every echelon of society. The heavy fringe and lace appliqué create an interesting texture on the plain black bengaline, which was commonly used for mourning attire.

Mourning coat by House of Worth, 1907 Paris, the Metropolitan Museum of Art

Jean-Philippe Worth began as an assistant to his father, Charles Frederick Worth, in 1875. Gradually he was allowed to create his own designs and when his father died in 1895, he became the lead designer for the house. He was praised for making elaborate artistic gowns with intricate trimmings on unique textiles, much like his father had before him. Although the House of Worth was still favored by royalty and celebrities through the turn of the century, their styles were no longer the forefront of French fashion after 1900. Around 1910 Jean-Philippe limited his design work to important orders and hired his nephew, Jean-Charles Worth, as the new lead designer before leaving the company entirely after World War I.

The House of Worth, alongside other couturiers of the time, would produce mourning attire upon request for its regular customers. Mourning was an important feature through the Edwardian period as it had been for the previous half century. Black mourning dress reached its peak during the reign of Queen Victoria (1819-1901) of the United Kingdom in the second half of the 19th century. Queen Victoria wore mourning from the death of her husband, Prince Albert (1819-1861), until her own death. With these standards in place, it was considered a social requisite to don black from anywhere between three months to two and a half years while grieving for a loved one or monarch. The stringent social custom existed for all classes and was available at all price points. Those who could not afford the change of dress often altered and dyed their regular garments black. The amount of black to be worn was dictated by several different phases of mourning; full mourning ensembles were solid black while half mourning allowed the wearer to add a small amount of white or purple. Haute couture mourning garments, such as this one, are rare but show the importance of mourning in every echelon of society. The heavy fringe and lace appliqué create an interesting texture on the plain black bengaline, which was commonly used for mourning attire.

Mourning ensemble by L Monney, 1907 US, the Museum at FIT

Black silk crape-anglaise, silk chiffon, wood

Mourning ensemble by L Monney, 1907 US, the Museum at FIT

Black silk crape-anglaise, silk chiffon, wood

(Source: fashionmuseum.fitnyc.edu)

Mrs William Howard Taft (Helen “Nellie” Herron Taft), ca mid-1900’s US
Another shot:

Mrs William Howard Taft (Helen “Nellie” Herron Taft), ca mid-1900’s US

Another shot:

Miss G C Knox, ca late 1900’s?
Madame Pereyre, ca late 1900’s
Ros… Traenkle, ca late 1900’s
Miss E Elliotte, mid-late 1900’s?
(Left) Dress, mid-late 1900’s
(Right) What I’m assuming is fancy dress, Victorian or Edwardian
The lot contains several other damaged Victorian and Edwardian pieces, reflected in the starting price.

(Left) Dress, mid-late 1900’s

(Right) What I’m assuming is fancy dress, Victorian or Edwardian

The lot contains several other damaged Victorian and Edwardian pieces, reflected in the starting price.

(Left) Silk dress, ca 1865
(Right) Mourning dress on which little information is given, ca 1907-08? (my guess)
Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 10:30 AM GMT (5:30 AM EST).  You will need to register to bid ahead of time.

(Left) Silk dress, ca 1865

(Right) Mourning dress on which little information is given, ca 1907-08? (my guess)

Click to go to the absentee bidding page.  This Kerry Taylor auction will end October 16th at 10:30 AM GMT (5:30 AM EST).  You will need to register to bid ahead of time.

Summer day and sport dresses, 1907 US, McCall’s Magazine

Summer day and sport dresses, 1907 US, McCall’s Magazine

Wedding dress, 1907 Australia (Hobart, Tasmania), National Gallery of Victoria

Wedding dress, 1907 Australia (Hobart, Tasmania), National Gallery of Victoria

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