Monday, April 29, 2013

Titanic Era Gowns






This evening gown, made by Callot Soeurs in 1914, was owned by Ethel Willard Sperry Crocker.  Ethel was married to William Henry Crocker, a business magnate who was the founder and president of Crocker National Bank.  She was the leading patron of French Impressionist art at the time.  William and Ethel donated their Nob Hill property to the diocese after their home was destroyed in the San Francisco Earthquake of 1906. Grace Cathedral was built on that spot.



(the inscription reads, "At this location, "1150" California Street, now the site of the Choir, stood William H. Crocker's Queen Anne style mansion (1888). The Deuxieme Empire-Italian Villa style mansion (1877) of his father, Charles Crocker, was at the N.W. corner of California & Taylor. Both buildings were destroyed in the earthquake and fire of 1906.")

William and Ethel went on to have a new house built by Lewis Parsons Hobart in 1910 where I'm sure she continued to have many opportunities to wear lavish gowns.

Titanic Era Gowns

I originally began researching vintage gowns in response to some reading I was doing on the Titanic.  Reading books and watching documentaries spurred my curiosity about the lives of those who made the fateful voyage.  Lady Duff-Gordon was a passenger and when I learned that she was known as the dress designer Lucile, I couldn't resist looking up some of her designs.  One thing led to another and I began wondering what the passengers might have worn on board the unsinkable ship.  Which of course led me here.  

I am excited to see that so many beautiful costumes still exist today.  While it's nice to see a designer's sketches, there's just something about seeing the actual gown.  It imagine t's easy for me to imagine the excitement of wearing a beautiful gown like this to a ball.  Who was there?  Who was popular?  Was her dance card filled?  Who was her favorite?  What food and drink was served?  What did the band or orchestra play?  Did she go home that night with stars in her eyes or was it just another event in a long line of obligations?  I want to know.


This gown was made by the Paris fashion house of Callot Souers sometime between 1910 and 1914.  According to the Metropolitan Museum of Art

"In the Directoire revival, the waistline was raised in the manner of a century earlier, but with corsetting that had the vestiges of the monobosom. Perhaps even more importantly, the silhouette reflects Europe's examination of Eastern dress, the softness, raised waist, and lower bust stance suggesting "ukiyo-e" prints and other Japanese style.

Attuned to the Orientalism of the decade, Callot Soeurs reined the silhouette into a cylindrical wrap, effortless in lingerie-weight fabric. Yet, for its innovations, the work of Callot Soeurs does not stint the couture's roster of technical skills. Here, sequins vary: some are punched into a filigree pinwheel, others are hammered flat; in some instances metal is overlaid onto faceted crystal. But even this ornamentation is not entirely for the pleasure of diversity, but for the calculated and magical effects of such varied surfaces seen in evening and candle lights."


Can you imagine it? 

Queen Mary's Dollhouse


Queen Mary's Dolls' House
1924

Queen Mary's Dolls' House is the largest, most beautiful and most famous dolls' house in the world. It was created as a gift to Queen Mary from the people, and to serve as an historical document on how a royal family might have lived during that period in England. It showcased the very finest and most modern goods of the period.  It was made to a scale of one inch to one foot.  is over three feet tall, and contains models of products of well-known companies of the time. It is remarkable for its detail and the detail of the objects within it, many of which are 1/12 replicas of items in Windsor Castle. These were either made by the companies themselves, or by specialist model makers.  The carpets, curtains and furnishings are all copies of the real thing, and even the light fittings are working.  
Royal gun makers James Purdey & Sons donated working replicas of King George V's guns, complete with leather case and a magazine of 100 tiny cartridges.  

Every detail of domestic life is included, from lavatory paper, Lux flakes and Sunlight Soap, to a tin of Coleman's mustard and a bottle of Lea and Perrins Worcestershire Sauce.
In the living quarters, chamber pots can be seen under every bed, trouser presses await use in the men's bedrooms, and reading material is on hand for the servants.


The front foyer has working chandeliers and the grandfather clock chimes on the hour.  The paintings were commissioned by well known artists.  The hand carved ceiling is etched with gold leaf.  The floors are real marble.  




The King's Rooms are a cosy, quintessentially ‘English’ masculinity in their design, with the bedroom in particular being rather lovely with its soft peach bedhangings on the stately Lutyens designed bed, walls painted to resemble Chinoiserie wallpaper and comfortable furnishings. There’s also a lovely ceiling painted by George Plank with a flower covered trellis that is actually a musical stave with the national anthem picked out in flowers.


The Queen’s apartments are extremely luxurious with ivory painted walls, gilt ornamentation and more than a hint of 1920s glamour about them. There is a wardrobe inspired by the aisle of St Paul’s Cathedral, lined with clothes cupboards and with a tiny Chubb safe intended for jewels.


The Day Nursery with every toy that a 1920s upper crust child could possibly want – toy soldiers, hobby horse, train set, a piano and Winsor & Newton paint set. There’s also a very contemporary touch with the excellent and rather stately gramophone, which is in full working order and comes complete with a set of tiny recordings of such patriotic classics as God Save the King and Rule Britannia.  Additionally, there is a simple night nursery with a gorgeous ivory and applewood cot for the baby as well as miniature rusks, vaseline and a 2.54 cm long bottle for milk. 




The Dining Room, lavishly appointed for entertaining on a grand scale. The inventory includes 48 champagne glasses, 24 oyster forks, 24 finger bowls and two pairs of asparagus tongs 




In the kitchen, 2,500 tiny sections of oak recreate a wood-block floor.
A copper kettle made out of a King George V penny is on the stove and three ivory mice in a humane mouse trap are forever under the gaze of a ceramic cat.
The kitchen and pantry are filled with a wide variety of grocery and provisions, all in perfect packaging. Tiny jars of Tiptree Jam and Frank Cooper's Marmalade, boxes of Cadbury's chocolates, tins of Fry's Cocoa, McVitie's biscuits, Colman's Mustard and packets of Rowntree's toffees and sweets available to tempt the miniature inhabitants!




The Library
Each volume is leather bound, tooled in gold and bears Queen Mary's monogram and crown. Each volume has a tiny bookplate and each book was written by a contemporary author or poet specially for the Library, notably Sir Max Beerbohm, Walter de la Mare, Thomas Hardy, Arnold Bennett, Sir Arthur Conan Doyle, G K Chesterton and Rudyard Kipling among many others. A drawer in one of the cabinets contains drawings and watercolours by such artists as Mark Gertler, Russell Fling and Adrian Stokes.


and a teeny tiny book




Upstairs there is the saloon, a graceful space that was clearly designed for entertaining and follows the same eighteenth century aesthetic as the dining room with delicate, spindly legged chairs, beautiful shimmering gold embossed wallpaper and even a gorgeous little grand piano.  There are portraits of both King George V and Queen Mary on either side of the fine marble chimney piece. The ceiling was painted by Charles Sims and it depicts 'The Children of Rumour with her Hundred Tongues' (a warning against gossip!) The sofas and chairs are upholstered in fine Aubusson style tapestry.


The grand piano with painted decoration was done by Thomas Matthews Rooke


The Queen's Sitting Room is furnished and decorated in a Chinese style. the walls are painted by Edmund Dulac, with water lilies and golden clouds. The glass cabinets are copies of those used by Queen Mary and are filled with miniature carvings in jade and amber alongside small ceramic ware pieces. The chairs are carved and painted to simulate bamboo.




The King's Bathroom
The bathrooms are fully plumbed, with a flushable toilet and miniature lavatory paper. The taps can produce hot and cold water in the bathroom with its green marble bath.


There is even a fully operational strong room to hold the Crown Jewels - weighing 1.5 lbs, rather than 1.5 tons.



The house also includes a fully stocked wine cellar filled with 1,200 thimblefuls of Champagnes, wines, spirits and beers from Berry Bros of St James's, London.




The Garage is stocked with six fabulous cars, supplied by Daimler, Sunbeam, Vauxhall, Lanchester and Rolls-Royce and painted in the royal livery colours of black and scarlet. There’s even a Rudge motorbike with sidecar, a fire engine and their own petrol pumps and equipment.


The first two levels


I like this picture because it really shows the scale of the dollhouse. When the dollhouse was taken off exhibit it was packed away in 45 boxes weighing four and a half tons.

The information for this post came from several sources including Madame Guillotine and dollhouses and miniatures.

Sunday, April 28, 2013

On becoming a royal


King George VI; Queen Elizabeth, the Queen Mother
January 18, 1923

Three months before the wedding.  I wonder what all is going through their minds.  I know it took three proposals before she would agree to become his wife.  It wasn't him she objected to, it was being "afraid never, never again to be free to think, speak and act as I feel I really ought to."  Bertie, however, was insistent that he would marry no one else.


Queen Elizabeth, the Queen Mother; King George VI
1923

He looks pleased, I think.

Evening Dress ca.1900 by Maison Laferrière


Evening Dress
ca. 1900
Maison Laferrière

This elegant evening dress was designed by the famous Paris fashion house Maison Laferrière, located at 28 rue Taitbout in Paris. Maison Laferrière was frequented by aristocrats and others of great wealth, who admired its exquisite designs and fine workmanship. Madame Laferrière's creations were among those shown by the Collectivité de la Couture at the Universal Exhibition of 1900 held in Paris.
This dress was worn by Princess Alexandra of Denmark (the future Queen Alexandra), who was considered to dress with exemplary taste.

The tight-fitting bodice is mounted on a boned silk foundation. It fastens at the centre back with original hooks and eyes (with positions reversed alternately to take the tension). A draped panel conceals the centre back and fastens at the right-hand side with hooks and eyes. 

 The gored skirt has seven flares panels, the two longer at the back are gathered into the waistband and form the train. Its hem is padded to maintain the flared line and the train has a frilled petticoat of cotton gauzes and lace.

Looks like sunshine


Afternoon dress, c 1892.
House of Worth
Worth designed in an era when a multitude of rules governed dress, and small details told a great deal about a woman’s social standing. During the 19th century, ladies wore certain garments only when receiving guests, making calls, and attending a wide variety of functions, including teas, dinners, balls, and the opera. This handsome two-piece ensemble, designed by the House of Worth in the early 1890s, would have been worn during the spring or summer, in the afternoon to a party or when visiting socially. One can imagine how the brilliant yellow would have shimmered as its wearer moved in bright sunlight.

Growing older


King George VI, 1911
and


August 15, 1919

A lovely ensemble for carriage riding...




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.


The Steps of the Throne

Seriously, that's the title of this picture. 


1901
Prince Edward, King George VI, and Princess Mary

 I wonder if the pout on Mary's face is because she's third.
I do love the smile on the future King's face though.  Prince Edward may want to practice keeping his kilt down.  (Evidently that wasn't a lesson he learned very well.)

Zenobia


The House of Worth fashioned a gown for Louise, Duchess of Devonshire, to be worn at Queen Victoria’s Diamond Jubilee Ball, held at Chatsworth in 1897. The gown was made to transform the Duchess into Zenobia, the warrior queen of Palmyra. A concoction of cloth of silver, cloth of gold, brilliants, gemstones, and embroidered with more metalwork, the dress has a peacock feather fan motif at the hem and a train of turquoise velvet embroidered with gold. 

Callot Soeurs Evening Dress c. 1909


Evening dress, c 1909. The sisters Callot - Marie Gerber, Marthe Bertrand, Régina Tennyson-Chantrell, and Joséphine Crimont - often used delicate materials in their very feminine creations. They were especially renowned for their exquisite lacework, such as the black, imbricated leaf pattern overlaid on pale taffeta seen here. This dress, finely embellished with black and silver sequins and rhinestones, represents the magnificence of fashions in La Belle Époque.

No more dresses for me!


1900
Queen Victoria, Prince Henry, King George VI, Princess Mary, and Prince Edward.

Again, I am tickled by the expression on the Queen's face.  She seems to be trying to figure out how on earth this baby got on her lap. It's nice to see that the King is old enough for big boy pants too.

Great-Grandmama


1898
Queen Victoria, Princess Mary, King George VI and Prince Edward (yes, I know he was King Edward VIII but really, his reign was so short and inconsequential.)

Most pictures of Queen Victoria taken after Prince Albert's death depict her as being very solemn.  I love how this picture has her looking at the little princess with concern or curiosity.  It makes me wonder what Princess Mary was up to.

happy baby


Albert Frederick Arthur George
1896
Someday he'll become King George VI.
But on this day, he's a plump happy baby, the proverbial "spare" to the throne.  I wonder if he's smiling because at this point, he's just a normal little boy.

the beginning

I love history.  To be more specific, I love the story behind the history.  I see abandoned buildings and I wonder about their lives.  Were they happy and fulfilled or were their lives filled with tragedy and discontent?  Did they marry for love or convenience?  Did they leave any piece of themselves behind?  I want to know.

I've always been curious.  One of the reasons that I loved Stephen King's The Stand was because I was fascinated at the thought of having the nation at my disposal, wandering through houses, picturing the families that live there.  (Never mind something like 99.2% of the population died.)  I often wonder about the stories behind the homes I pass as I drive down the street.

When I began pinning on Pinterest, I discovered a whole world of ball gowns, day dresses, tea gowns and other costumes at my disposal.  I began spending quite a bit of time researching the stories behind the fashion houses and if available, the women who wore them.  After all, why be content with just admiring a dress when it's more fun to find out who wore it and why.  Was it for a court presentation with Queen Victoria?  Perhaps a ball where she met her one true love?  A visiting gown to go out and about gossiping about the night before? Those stories are so much more fascinating than just seeing a dress in a display.

(Case and point: The Diana exhibit came to our fair city recently.  While the exhibit was gorgeous, it meant so much more to me because I "grew up" with Diana.  I remembered seeing her wear many of the dresses-including the famous little black dress she wore right after her divorce from Prince Charles.  I always felt that she had to prove something to herself after the divorce and what better way to do that than by looking stunning in that little dress?)

Pinterest wasn't big enough to tell the whole story, though.  After all, they only give you 500 characters to explain what's going on.  I took my pictures and stories and began a tumblr. Sometimes there's a lot of maneuvering that has to be done to set everything up on Tumblr, though so my daughter suggested blogging. (She likes blogger better anyway.)  So here I am.

While we have all kinds of technology today to preserve our every thought and action, stories from earlier decades could be lost forever if we don't do something to preserve them.  I hope that in addition to satisfying my curiosity, this little blog might help save some of those stories for the future.