#waistless dress

[eolewyn1010]

Downton Abbey Fashion 47 - evening dresses in 1922

Time for Edith’s evening gowns – since it’s season 4, you know what’s coming, but I’ll save the best for last.

Starting with a pretty orange dress with tons of golden embroidery, and already I know that Edith is killing it while Mary dwells in Mope Valley. This peacock feather motif is so pretty! And there’s little orange rhinestones worked into the pattern; I love it. Also, the embroidery seems to make the fabric quite heavy, allowing for a little draping down the sides.

What is this color, silvery mauve? What a terrible description, but the velvet is really lovely, and the dress stays into season 5. It’s a typical waistless sack dress, and the embroidery is of the sort that emphasizes the straight-lined cut, but the bronze color blends well in there and makes this look rather subtle overall.

Somewhere between pale gold and sandy, this dress doesn’t get a lot of screen time despite returning in season 5, and I don’t get better shots. Shame, because the embroidery is quite nice, fanning out from the center over the top and sides. The overall impression is a bit beige as the jewelry doesn’t give any contrast points; I wouldn’t have been opposed to more intense shades.

Edith knows no fear anymore and introduces bare shoulders to Downton’s evening fashion, which Mary won’t wear (yet) because she’s oh so demure and Rose probably doesn’t dare when her family can see it. I do like the halter bands of this, but it could��ve done without the drop waistband. The top would look less baggy for it. The beaded diamond shapes look a bit clunky, albeit nice in color, and I’d like to make note of that bejeweled crescent hair clip that looks like Edith picked it specifically to match the circle beading element on her chest, but that becomes one of her favorite repeat pieces.

Uhm. I don’t know about this. Somehow, it’s giving me ‘60s vibes instead of ‘20s… It’s not as cute as they possibly hoped it would be with the universe-themed embroidery, but I think it might have worked if they had done the front in a similar way to the back, the neck part only a choker over a bit of a V. As it is, it looks a bit baggy and a bit dowdy. We can make so much more out of the stars and planets!

A pale green dress that I think is one of the subtly loveliest Edith has this season and into the next one; it’s got such nice movement to it. It’s also lightweight enough to easily drape around her body, giving this a tad more shape that the usual rectangle. There’s this whole leaves-and-brambles embroidery over the lower half of the skirt and a very pretty beaded trim. And it’s got that asymmetrical layering that puts me in mind of a toga again. If Edith goes for classical motives, then it’s Classical™ in the ancient sense. The silver headband with the look of a wreath of leaves helps, too.

In this dress, Edith loses her virginity and gains a baby, because Fellowes can’t let her get away with literally any happiness without stressing her out for at least a year after. Well, I guess the dress was off at the point the deed happened, but this is not bad. Coral, slinky, with a golden lattice pattern all over (again, couldn’t tell you if that’s damask or embroidery) and with some pretty jewelry – the overall look is not spectacular, but definitely attractive. Edith is wearing this bracelet on her upper arm, an element that I’ve also seen on Mary a few times; this may be something of a trend.

And now for The Green Dress™. The seafoam gown Edith wears for her date at the Criterion. For the sake of honesty, I’ll admit that the top has the makings to look really baggy, but it doesn’t get to the worst of it because the drop waist isn’t tied in, allowing the entire thing to flow down unbroken. There is a sash, but it’s purely decorative, not structural, and then the rest is a fluttery, layered wrap skirt. Were leg slits up to the knee a thing in 1922? I don’t know why the top makes me think of peacocks when the motif doesn’t actually go into a feather eye spot design. It really boils down to “irregular oval green and golden shimmering spots”. Slap a little trim embroidery on it, skip the necklace because Edith does this bejeweled halter strap instead that swings down all her back, and all the flappers are dying with envy over “plain” Edith. This entrance was such a triumph.

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[items-i-know]

"This entry is part 7 of 26 in the series 1924 St. Louis Fashion Pageant

Here are 3 pages of local St. Louis advertisements for women’s dresses and hats from the August 1924 Fashion Pageant.

E.M. Thomas Company (one of the few clothing companies NOT on Washington Ave.) promoted Madame Thomas’s new line of “Elizabeth Dresses” has a lovely illustrated full page advertisement of a woman in a long waistless dress, shawl, and hair comb in front of a mirror."

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[houseofgerrard]

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[classifusion]

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[eolewyn1010]

Downton Abbey Fashion 67 - evening dresses in 1924

Onward to Mary’s evening wardrobe. Fourteen dresses altogether, several nice ones, one or two spectacular ones, and then, to my utter confusion, she ends the season on a whole series of generic beige dresses that I can barely tell apart. What was that about?

Starting off with brown silk satin and a heavily embroidered black layer, the latter of which is too dark that I could tell you much about the embroidery beyond “there’s beading”. I do quite like the enameled art deco necklace Mary wears in the first shot; she’s had it at least since season 2 and keeps repeating it on plain backdrops.

Beige dress, my beloathed. Well, this is not the worst; it’s working nicely with the black contrast points, and while the dress is the generic sleeveless, waistless, round-neckline cut that I will seriously get enough of later on, the lace is quite cute. But the main point of interest is, again, the jewelry. Mary wears a necklace in the traditional sense, and then she has this little beaded ribbon thingy that wraps around her neck in the manner of a choker and then the ends fall loosely down like a stola. 1920s experimental fashion is fascinating and at times bewildering.

Not The red dress of the season, but a red dress. Well, the most part of it is coral rather than red, but there we are. I swear this backline plunges at least as deep as that of the light blue dress Rose’s mother cussed her out for… The embroidery is nice, mostly a flurry feather motif that coils up into little vortexes around the neckline. I think the black gloves look nicer to this than the ivory ones.

A beautiful green dress of which I couldn’t get a decently-lit shot in either this or the next season, so I actually had to snatch a promo pic. Check out that silk satin! And I finally get a couple nice construction details to comment on; for one, there’s the two slits in the front of the skirt, each hiding a handful of gathering that probably fans out nicely if Mary dances in this. And then there’s the drop waist, the wide sash making it much more of a thing to look at than it would be otherwise. Interestingly, it keeps the front smooth; the only bunching of fabric is happening at the sides above the outlined hips. The buckle makes me wonder if Chanel already had their logo in 1924.

This seems to be an ensemble rather than one dress; when Mary wears it again in season 6, she puts the vest on separately. We have more silk satin, this time in a lovely dusty blue, and I think the golden sunflowers and leaves all over the vest are lace rather than embroidery. Altogether, a very pretty composition.

Okay, I guess. I do like the golden beading over the top and the way it runs down in the sides in an upside-down V shape, but that’s pretty much where my description ends. The rest is black chiffon, round neckline, no sleeves – we’ve seen all this before. The meander headband is nice.

She’s back in black, and this is interesting to look at next to the dress her romantic rival Mabel wears for the same scene: Mabel is dressed in classic golden roses, Mary in smooth silk satin, sleek lines, angular cuts, a bit of asymmetry. Compared to Edith’s styles in the later seasons, Mary may occasionally come off as the more conservatively dressed, but into this scene she clearly walks in cutting-edge fashion. The simpleness of the ensemble gives space for a little addition on the shoulder, which is easily swapped for a new look: It’s red velvet carnations in one scene, a plushy yellow tulle ruffle for another. When she wears the dress in season 6, the evening she breaks up with Henry, it has a black flower on it, and I get a look at the back plunge.

One of the beauties of this season, this lovely silver-champagne dress is one we first see on the fashion show Mary visits and that then makes its way into her possession. I almost like the back view of it better than the front because that’s where all the construction work is going on, but anyway. We’ve got some gorgeous black rose motives, entirely done in beading, and the rest of the surface filled with tiny silvery squiggly lines in yet more beading. Because sparkles, you guys. The skirt is so adorable; love the zigzag hem. It’s on the short end, only barely past her knees. And while I’m still not a fan of Mary’s hairdo in the last picture, I do love the beaded headband with the tassel design she’s wearing there.

I hate Mary with a passion in her haircut presentation scene, and I really dislike her oh so fabulous bob, but I’ll try to be objective about the deep red dress that comes back for season 6. Here’s my objective take: It is glorious. Mary’s going all in on the art deco design; it’s all constructed of sharp, clean lines, angular and smooth like her haircut, the only decoration to speak of that little golden trim and the flaring brocade train in the back. Many 1920s dresses have a design focus on the back that modern fashion rarely has. This dress looks quite chic from the front, but from the back, it’s a piece of art. There you have it; it’s a favorite of mine.

And with the previous two, the season has used up all the extravagance they could muster for Mary, and the rest of her evening wardrobe is decidedly mediocre. Like, not bad, just okay. This shiny brown chiffon is at least putting in an effort with the beading, running around the neckline and down the front to spread out into leaves on the skirt, and admittedly the color pairing is nice.

We’ve reached the beiges, guys. And I just don’t have enough to say about these, so I’ll do three in one go. They’re all cut the same, no waistline (although the first puts in a shiny sash on drop waist height, purely for decoration purposes, not structural), no sleeves, round neckline. What happened to Mary’s pretty jewel tones? The first dress is glittering squiggly lines and comes back just as blandly in season 6 (they do put a nice silver headband on her though, emulating a sort of corona of berry-laden twigs), the second doesn’t seem to do anything except being made of creped material and paired with a cute flowery headband and black gloves for contrast, the third has beaded lines and spirals. And that’s it.

Mary’s Christmas gown is, would you know it, more beige. Sandy beige. It’s longer and has a layered skirt, so it has that going for it, and the beading pattern running over it is a tad more interesting. Lord knows why Mary can’t at least put some colorful jewelry on top of this. This dress may be sparkly, but it’s not white enough that I’d buy it as a snow reference, so I can’t even tie it in thematically. It comes back in season 6 as your average evening dress.

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[whosewhat]

French Gentle Slim Removable Bead Buckle Waistless Small Dress

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[laura-tisdale]

FIT Museum Blog #1

The FIT museum exhibit is all about gowns in fashion history. There were silhouettes ranging from classical feminine with a synched waist to a full length gown with waistless drapery. I was attracted to a few pieces in particular that reminded me of something I would choose to wear to a black tie event.

Towards the front of the exhibit i was drawn to the elegant yet sexy Afternoon Dress cira 1892 in Paris. This gown is made with black ribbed silk, green brocaded silk, and a feather trim. The dress has a deep V neckline with a fur trim encompassing it. There is a high slit on the facing right side of the gown starting at the hipbone. The shoulders had big playful puffy sleeves and fur trim cuffs at the wrists.

I also was amazed by the white gown made by Ann Lowe in New York in 1965. It has a silloutte that hugs to the hips without sinching the waist and white flowers that lined the trim of the gown. The open back adds the bit of subtlety sexy that feels effortless.

[houseofgerrard]

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