Favorite decades: 1910's, 1800's, 1870's
Favorite artists: Anthony van Dyck, Giovanni Boldini, Henry Fuseli, Thomas Lawrence
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Vogue 16.3 July 19,1900, Page 37
(My school has a Vogue archive and I had noticed you didn’t have many from Vogue and I thought this was a lovely Fashion Plate and descriptions. I may submit some more in the future!)
Retail Information and descriptions:
LEFT FIGURE.—Toilette of embroidered batiste over taffeta. A circular foundation of white taffeta has a tiny-lace-edged accordionplaited dust ruffle; over this is a mousseline de soie circular drop skirt trimmed with six narrow accordion-plaited frills of sheer creamy batiste. The tunic of embroidered cream batiste is cut in deep points to show the accordionplaitings. It is bordered with Cluny, and exquisitely embroidered batiste flower appliqués. The all-over design on tunic and the waist is in pastel-pinks and buffs. The waist is of accordion-plaited cream batiste, which is very sheer; this is also used for the tops of sleeves, and puffs below elbow. The bolero of embroidered batiste is edged with the Cluny, and has occasional appliqués of the batiste flowers. Three narrow straps of black velvet fasten it in front. The folded girdle is also of black velvet. The collar is of the accordion-plaited batiste with Cluny band at top Sleeves of embroidered batiste to elbow, where they finish with a turned-back cuff. Hat of accordion-plaited white mousseline de soie, with clusters of pink roses and foliage and tulle pompons. Parasol of taffeta with lace insertion and chiffon ruffles.
MIDDLE FIGURE.—Yachting costume of blue linen. A foundation of taffeta is fivegored with two narrow accordion-plaited frills as a finish. The linen drop skirt is in three pieces, fastening at left side of front. The circular sides are stitched on front edges and around bottom, fullness in back an inverted plait. The front gore is trimmed in groups, with loops of heavy white cord, coming from under edges of side pieces; and fastening with white pearl buttons. The Eton waist has loops of cord on front edges, and is trimmed with a stitched bias fold. Edges of blue linen sailor collar and flare cuffs also stitched. An adjustable collar of white piqué is used, and the soft silk waist is a cream foulard handkerchief square with a blue figure and border which shows at neck. The knotted scarf, with hemstitched ends is of cream foulard.
RIGHT FIGURE.—Gown of buff barège over white taffeta. Circular taffeta foundation edged with lace-trimmed accordion-plaited frills. The barège drop skirt is also circular, and tucked, with a narrow stripe of black velvet ribbon following each tuck as far as stitched. Several rows of narrow velvet ribbon trim the hem. On the waist the velvet is placed to give a bias effect meeting in points in the back, which is tight fitting. The front droops slightly and has wide revers of white taffeta, with a border rever and jabot of Irish point. Three rows of Irish point appliqués on each rever, and above flaring taffeta cuff. Collar of the Irish point with black velvet bow caught with rhinestone buckle at left side. Strap belt of black velvet. Hat of white Manila with trimmings of pink mousseline de soie edged with tiny black velvet ribbon. Black velvet rosette with rhinestone ornament under brim at left side.
Yes, definitely submit more! Love this.
Day dresses, jacket and fashionable motifs, 1917 US, McCall’s Magazine
Couldn’t they have come up with a more flattering name for it than a “bowling pin skirt”? It’s like a couple years ago when they were trying to bring back drop-crotch pants by calling them “carrot fit”.