#Taffeta

[dozydawn]

[mahoganygold213]

Saiid Kobeisy |Fall Winter 2024 -2025 Haute Couture

[fashionsfromhistory]

Dress

1900s

Portugal

Museu Nacional do Traje (Accession Number: 3669)

[prissypixie]

Taffeta set by Mirror Palais ｡⋆｡ ﾟ🥀 ﾟ｡⋆

[lookingbackatfashionhistory]

• Dress, 'African Violet'.

Desogner/Maker: Linda Jackson, Bush Couture

Place of origin: Sydney, New South Wales, Australia

Date: 1984

Medium: Taffeta, tulle

[digitalfashionmuseum]

Green taffeta dress, ca. 1890.

Worthing Museum.

[threadtalk]

Today in "is it a dress or is it a layer cake" is this confection from 1872. There are so many layers here, it's a little difficult to tell where one ends and another begins! The listing is from Augusta Auctions, and it indicates that it's a four-piece gown--so indeed, parts of it can be added or taken away. The polonaise overskirt (the puffy part of the hips) is a callback to the 18th century, while the neckline is thoroughly 1870s.

The taffeta layers are edged in what's called double-boxed pinked pleats. The scalloped design is also certainly part of a 1700s revival (not to mention those sleeves!).

I absolutely adore the color of this pink, too. It reminds me of some of the cherry blossoms one might see in spring, especially with the trim.

[treasures-and-beauty]

Worth “Byzantine Dress,” 1904

[chicinsilk]

US Vogue November 1, 1951

Sunny Harnett in a little black tuller silk taffeta ball gown. Long basque bodice belted at the waist; the skirt a shower of flat pleats. By Larry Aldrich. Tabarin stockings in “Sonyette” color. Faille bag by Virginia Art. Rhinestone choker necklace by Marvella.

Sunny Harnett dans une petite robe de bal noire en taffetas de soie Tuller. Long corsage basque ceinturé à la taille ; la jupe une pluie de plis plats. Par Larry Aldrich. Bas Tabarin teinte "Sonyette". Sac en faille par Virginia Art. Collier ras de cou en strass par Marvella.

Photo Frances McLaughlin Gill vogue archive

[daily-plush]

1995 Banpresto Sniff Moomin Taffeta Plush

[tiphares]

the new vintage vestor italian reversible taffeta bedspread be hittin 😎 cant believe i found it mint w tags for 13 bux (it was 50 to dry clean it but worth it! these go for 1200 usd n mine is miraculously from the 1950s 🤯🤯🤯)

im still puttin a throw on it tho cuz my cats back claws....

[dozydawn]

[chic-a-gigot]

La Mode illustrée, no. 7, 16 février 1863, Paris. Toilettes de Bal. Ville de Paris / Bibliothèque Forney

Description de toilettes:

Jupe en taffetas bleu, garnie avec deux volants doubles, tuyautés à très-gros plis, ayant (le premier volant) 12 et 10 centimètres de hauteur. Sur cette jupe, robe de tulle blanc, composée de quatre bouillonnés disposés en ondulations; le dernier bouillonné est terminé par une blonde blanche, ayant 8 centimètres de hauteur, surmontée d'un ruban de velours bleu, ayant 3 centimètres de largeur; chaque bouillonné est séparé du suivant par un même ruban (le velours. A chaque pointe des bouillonnés, sur le velours bleu, se trouve une rose rosée sans feuillage. Le corsage est en taffetas bleu, et fait en forme de corsage bernois, c'est-à-dire très-bas; il est surmonté d'une haute draperie en tulle blanc; une rose est posée sur la pointe supérieure, c'est-à-dire devant le corsage; les manches sont des bouillonnés en tulle blanc ornés d'une rose, bordés d'une bande de taffetas bleu, terminée par une dentelle blanche, et surmontés d'une épaulette tuyautée eu taffetas bleu. Coiffure de roses rosées et de rubans de velours bleu.

Robe en satin jaune doré. Le bas de la jupe est garni avec une dentelle noire, ayant 6 centimètres de largeur, disposée en treillage; une dentelle noire étroite est posée sur le côté uni (opposé au dessin). Corsage décolleté, garni d'une berthe reproduisant le treillage de la jupe; manches courtes, composées (l'un large bouillonné de satin, et d'un second bouillonné moins volumineux en tulle blanc. Coiffure de grenades rouges; collier et bracelet en corail rouge; large broche assortie, c'est-à-dire en corail rouge à pendeloques.

—

Skirt in blue taffeta, trimmed with two double ruffles, piped with very large pleats, having (the first ruffle) 12 and 10 centimeters in height. On this skirt, dress of white tulle, composed of four bubbles arranged in undulations; the last bubble is terminated by a white blonde, 8 centimeters high, surmounted by a blue velvet ribbon, 3 centimeters wide; each bouillonné is separated from the next by the same ribbon (the velvet. At each point of the bouillonné, on the blue velvet, is a dewy rose without foliage. The bodice is in blue taffeta, and made in the shape of a Bernese bodice, it is to say very low; it is surmounted by a high drapery in white tulle; a rose is placed on the upper point, that is to say in front of the bodice; the sleeves are swirls in white tulle adorned of a rose, edged with a band of blue taffeta, finished with white lace, and surmounted by a piped epaulette of blue taffeta. Headdress of pink roses and blue velvet ribbons.

Golden yellow satin dress. The bottom of the skirt is trimmed with black lace, 6 centimeters wide, arranged in a trellis; a narrow black lace is laid on the plain side (opposite to the design). Low-cut bodice, trimmed with a bead reproducing the trellis of the skirt; short sleeves, composed (one wide bubbled with satin, and a second less voluminous bubbled with white tulle. Hairstyle of red pomegranates; necklace and bracelet in red coral; large matching brooch, i.e. in coral red with pendants.

[la-madame-x]

𝙰 𝚜𝚎𝚊-𝚝𝚑𝚎𝚖𝚎𝚍 𝚜𝚒𝚕𝚔 𝚌𝚘𝚕𝚕𝚊𝚐𝚎 𝚝𝚑𝚒𝚜 𝚝𝚒𝚖𝚎.

[digitalfashionmuseum]

Green taffeta wedding dress, 1874, American.

Worn by Harriet Elder.

Chicago Historical Society.

[threadtalk]

Brown dresses are often overlooked and so, too, is the entirety of the 1840s in terms of fashion. And that's understandable to some extent, buttressed as it is by the flamboyant 1830s and the young Victoria 1850s full of confectionary gowns and elegance.

But I have a soft spot for the 1840s, not the least of which is for the use of both monochrome and enterprising pleating and ruching.

This gown from 1845, from LACMA, has so much going on for it--but it all requires a closer look (and of course I've provided that). Making good use of sturdy silk taffeta, the modiste created an absolutely stunning bodice and sleeve to this dress, employing 18th century influences (like that faux lacing) and yet still predicting the drop shoulder that was so popular a few years later. The sleeves themselves are a work of art, with various techniques combined to add texture and dimension.

So what if it's brown? It's a marvel.