Ball Gown (Detail)
Mrs.Osborn Company
1910
The over-the-top expression of opulence seen in this ball gown worn by a prominent member of the Astor family is a testament to the degree of ostentation required at certain events in order to stand out from the crowd. The dense sequin and bead embroidery on the gown would have created a beautiful shimmering effect.
Court Presentation Ensemble
1896
Presentation at court was a special event for American women of Roebling’s social status and court protocol regulated men’s and women’s formal attire for the event. The lavish embroidery, sumptuous textiles and long train are characteristics of the formal gown, making it appropriate for the occasion. Roebling appears to have had a sentimental attachment to the ensemble; she chose to wear it again for her portrait by Charles-Émile-Auguste Carolus-Duran
Fan
1800
The representative example of fan in the beginning of the 19th century has an eclectic design with a monogram on the center medallion and some motifs of Oriental pagodas and pine trees on the right and left side medallions. Monograms are a typical feature of fans made between 1780 and 1815 or so. Flowers are scattered all over the fan, surrounding those motifs. Some other motifs including cows, horses and foxes are placed on the upper edge. The fans made in China for the European market mixed Chinese-style and Western-style design, and they achieved considerable popularity. This fan is known as a brisé fan, with independent hard slats called sticks tied by threads or ribbons.
Evening Coat
House of Worth
1900
Historicism was a major hallmark of the House of Worth beginning with Charles Frederick Worth’s interest in studying historical costume through museum research. This evening coat readily includes iconography of the Tudors with a Tudor rose pattern alongside the silhouette of alternative 16th century negligées in the full sleeves, standing collar and unfitted style. Worth ingeniously manipulates the textile to create an entirely new pattern on the back panel and has a keen eye for the creating the subtle black on black patterning on the top to counteract the stark contrast of the roses in the skirt.
Evening Dress (Detail)
1909-11
This dress is a tour de force of beadwork embroidery, indicative of French couture craftsmanship. The juxtaposition of three-dimensional and trompe l’oeil tassels is stylish and witty, and highlights the level of planning and care taken in the design of couture garments.
Ensemble
House of Worth
1894
This extraordinary costume would have been worn while riding in one’s carriage, which at the time was a social event. It is likely the muff and mantle were bought from the House of Worth but due to the difference in stitching and trimming on the dress, the likelihood is that the client bought extra textile lengths and had the dress made in the United States after returning home.
‘Junon’ Evening Dress (Detail)
Christian Dior
Autumn/Winter 1949-50
‘Junon’, or Juno to the Romans, was more vividly conceived. The Magnificent skirt of forty-five petals, like abstractions of peacock feathers without their ‘eyes,’ obliquely references the bird associated with the queen of the gods.
Each petal on the ‘Junon’ dress sparkles with iridescent sequins in varying shades of pale greens and blues to emerald green and navy blue, with sprinklings of rust.
Evening Dress
House of Worth
1898-1900
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.
Ball Gown (Detail)
Jacques Doucet
1902
This is an exquisite ball gown of the period that exemplifies the fine work produced by the French ateliers. The placement of the paillettes into bee forms is a particularly engaging aspect of the overall embroidery and design, accenting the detailed ribbon work. The garland of bows and flower buds enhance the hem of the skirt and the bodice, making this a delicate and romantic masterpiece.
Afternoon Dress
Jacques Doucet
1903
Possibly worn by one of New York’s finest, Caroline Schermerhorn Astor Wilson, this afternoon dress is a perfect example of couture during this period. The sheer pink fabric, accented with lace and black and pink ribbon trim, is a dress to be displayed at garden parties and the races. Doucet added interest to his work with his use of unusual trims, illustrating his inventiveness and artistic taste.
