1910s Edwardian Era part 2

[DosViolines]

Beaded Evening Gown, c. 1910

whitakerauction

 

[DosViolines]

Egyptian Motif Late Day Dress
American, circa 1915
The black point d'esprit bodice embroidered with black silk thread in variegated Egyptian inspired motifs, chiffon lining, scoop neck and short kimono sleeve, the tulip skirt of black and bottle green silk satin and black taffeta horizontal stripes with piped hem, floating panel at each hip with picot edging, wide sash, no label.

doylenewyork

 

[DosViolines]

Alice Maynard Lace Dress
American, circa 1913
Of off-white lawn and embroidered net panels with point d'esprit, the empire bodice crossover and trimmed in lace ruffle, tulle modesty panel, modified short gusseted dolman sleeves concluding in triple tiered Valencienne lace ruffled cuff, tulle underskirt with three tiered lace ruffle at hem, tunic overskirt hemmed in lace, labeled: Alice Maynard/New York and Washington DC.

doylenewyork

 

[DosViolines]

White Gauze and Irish Crochet Tea Gown
European
The 1910 design modernized following World War I, the sleeveless bodice of whitework embroidery polka dots trimmed with Irish crochet of raised rose pattern with shamrocks at round neckline, two vertical bands and waistband of Irish crochet, hook and eyes left shoulder closure, the skirt with central panel front and back of whitework embroidery of stylized flowers and leaves, gathered at sides with three bands of Irish crochet insertions.

doylenewyork

 

[DosViolines]

Aitken Son and Co
Woman’s Hat, circa 1910
Velvet, metallic thread braid

lacma.org

 

[DosViolines]

Cooke Gowns
Woman’s Evening Dress, circa 1916
Baroque pearl and sequin embroidery on silk chiffon

lacma.org

 

[DosViolines]

Madame Terril
Woman’s Day Dress, 1913-1914
Velvet, lace, and jet trim

lacma.org

 

[DosViolines]

United States
Woman’s Afternoon Dress, circa 1914
Satin underdress; overbodice of net woven with small steel beads, silk chifon, and copper metal trim; chiffon overskirt embroidered with large pattern with silk and metal threads

lacma.org

 

[DosViolines]

United States
Woman’s Evening Dress, circa 1917
Silk and silk net, velvet sash, and caviar bead trim

lacma.org

 

[DosViolines]

Wiener Werkstätte (Austria, 1903 founded - 1932 closed)
Woman's Afternoon Dress, circa 1917
Silk chiffon, silk net, and silk embroidery

lacma.org

 

[DosViolines]

Black Velvet and Lace Evening Gown
American, Washington, D.C.circa 1910
With slightly raised waist emphasized with wide band, short net sleeves, square neckline, A-line skirt with small train, the bodice sides and part of skirt overlaid with fine black lace, the center bodice, waist and lower part of skirt further decorated with floral embroidered tulle worked in gold metallic. black and white silks and beads, the lower edge of skirt band trimmed with black fur

doylenewyork

 

[DosViolines]

Ivory Cut Velvet Evening Gown
American, probably Washington, D.C. circa 1910
With sightly raised waist, the bodice of white tulle ornately decorated with iridescent beads and pearl and rhinestone pendant ornaments, rhinestone bows at each shoulder, the skirt woven with buff velvet flowers cut to ivory satin

doylenewyork

 

[DosViolines]

Early Tricot Dress
American, circa 1915
Beige jersey with surplice closure, satin buttons down right side with faux button holes, long satin sleeves, elaborate cord embroidery at hem and on raised waist belt, elaborate American Indian beadwork chiffon dickey, the back fashioned and decorated in military style.

doylenewyork

 

[DosViolines]

Two Party Frocks
American,Washington , D.C.circa1915
The first of lavender satin and ombre tulle, with full layered skirt, the bodice and underskirt of white lace with woven lavender lilacs, side bands and bodice bretelles sewn with iridescent sequins, size 10, the second of maize georgette with altered pattern silk insets and overlaid panels, wide ruffle sleeve

doylenewyork

 

[DosViolines]

Two Party Frocks
American, Washington, D.C., circa 1915
The first of white tulle and lace, with full tiered and layed skirt, ruffled sleeves, taffeta silk waistband, size 10, the next of robin's-egg blue taffeta woven with lilacs and silver meanders, with full skirt sewn at waist with four folded points, layered tulle sleeves, hem curved in front to reveal lace petticoat

doylenewyork

 

[DosViolines]

A Liberty & Co black and gold damask evening mantle, circa 1915, labelled Liberty & Co, Paris & London, woven with leaf clusters against a chequered ground, large knotted tassels to the sleeve openings, large gilt thread buttons and fringed hem, un-lined

kerrytaylorauctions

 

[DosViolines]

Liberty & Co. Art Nouveau Velvet Opera Coat
English, circa 1910
Of muted wisteria silk velvet with muted rose silk satin lining, referencing a cope with curved hem corners stitched to overlap back to front, shawl collar with elongated ecclesiastical point at rear concluding in a knotted purple bronze shot silk tassel, two self buttons at hip level on left side, the collar and hem overlaps satin stitched embroidered with wisteria silk floss and bronzed metallic thread in a foliate design incorporating pomegranates, a garland of same parallel with right collar at front, no size, labeled: Liberty & Co/London & Paris.

doylenewyork

 

[DosViolines]

White Linen Traveling Ensemble
English, circa 1914
With whitework embroidery and cutwork trim on jacket, skirt and bodice, the jacket with elbow length sleeves and self covered buttons, bodice with drawstring closure at front, ankle length skirt, size 10, no label.

doylenewyork

 

[DosViolines]

The 1890s saw the opening of large couture houses in Paris, led by women such as Jeanne Paquin. During the same decade, Lucy Wallace (later, Lady Duff Gordon) opened her house in London. Known professionally as Lucile, she was a couturière and modern businesswoman who developed close working relationships with many of her clients, including the dancer Irene Castle. Denise Poiret was the wife and muse of the couturier Paul Poiret. Like Castle, she exemplified the youthful and modern woman of the early twentieth century. Castle would later graduate from muse to designer, and by the 1920s was promoting her own line of clothing.

LEFT

Lucile Ltd.
Afternoon suit
Cream silk velvet, silk satin cord, ecru lace
Circa 1913, USA

The dancer Irene Castle, whom Lucile declared “the first of the moderns,” wore a version of this suit. Lucile fused masculine and feminine elements into a youthfully elegant style with a cutaway jacket inspired by nineteenth-century menswear and draped skirt panels that reveal a lace underlayer. The narrow skirt has a back slit and full-skirted petticoat that would have accommodated a dancer’s footwork. Castle was dressed by Lucile onstage and off; she proclaimed the designer “one of the most remarkable dress artists I had ever known.”

RIGHT

Paul Poiret
Melodie
Afternoon dress
Purple silk damask, cotton velvet, cording
Circa 1912, France

This dress belonged to Poiret’s wife Denise, who served as model and muse for her husband. Acknowledging her modernity, he stated, “In dressing Madame Poiret, I strive for omission, not addition.” The bold color palette and rectilinear design, stripped of ornamentation, are typical of her style, as is the girlish, pleated white collar. Inspired by her slim, un-corseted figure, Poiret eliminated the waistline and played with proportion, creating a silhouette that appears to elongate and flatten the body. fitnyc.edu