#waistless dress

[chic-a-gigot]

L'Art et la mode, no. 5, vol. 16, 2 février 1895, Paris. Costumes travestis. Carnaval 1895. Dessin de Marie de Solar. Bibliothèque nationale de France

Sirène. — Corsage blouse, et jupe en mousseline de soie pailletée nacré sur transparent vert d’eau. Manches de soie découpée rose corail très clair. Coiffure faite d’un coquillage nacré avec perles fines et corail posée en cas que très en avant.

Mermaid. — Blouse bodice, and skirt in pearly sequined silk chiffon on transparent sea green. Sleeves of very light coral pink cut silk. Hairstyle made of a pearly shell with fine pearls and coral placed in a very forward case.

—

Jeune fille en 1900. — Manteau sans taille absolument droit en drap livrée. Piqûres, revers et parements de velours beige. Col très haut. Cravate de satin prune Melon de feutre de soie livrée. Canne et monocle. Gants blancs à rayures vertes. Souliers vernis.

Young girl in 1900. — Absolutely straight waistless coat in livery cloth. Stitching, lapels and facings in beige velvet. Very high collar. Plum satin tie. Livery silk felt bowler hat. Cane and monocle. White gloves with green stripes. Patent leather shoes.

—

Vigne. — Corselet de velours, blanc raisin brodé de bandes de velours violet raisin de deux tons. Jupe plissée accordéon en mousseline blanche. Coiffure de pampres, avec motifs d’or, posés à la provençale.

Vine. — Velvet bodice, grape white embroidered with strips of grape purple velvet in two tones. Accordion pleated skirt in white muslin. Vine headdress, with gold motifs, laid in the Provençal style.

—

Sévillane. — Corsage collant en mousseline ou percale unie ou à fleurettes, fond criard rose vif, vert cru on safran. Jupe longue à deux volants. Châle crépon chine. Coiffure devant, fleurs jaune et rouge dans les cheveux, une près de la tempe. et l’autre sur le sommet des cheveux.

Sevillian. — Tight bodice in plain or flowered muslin or percale, bright pink, raw green or saffron background. Long skirt with two flounces. Crepe chine shawl. Front headdress, yellow and red flowers in the hair, one near the temple and the other on the top of the hair.

—

Chanteuse des rues. — Corsage fait de volants satin vert, rose, et jaune alternativement. Chapeau feutre mou gris cendre, cabossé à l'air de la figure. Deux plumes de paon très hautes. Banjo retenu par un ruban.

Street singer. — Bodice made of alternately green, pink, and yellow satin flounces. Ash-gray soft felt hat, dented to match the face. Two very tall peacock feathers. Banjo held by a ribbon.

—

Amour. — Blouse vague en mousseline de soie pailletée or et argent. Guirlandes de roses au corsage et à la jupe. Couronne de roses et cœur de satin rouge posés sur les cheveux. Carquois doré et sceptre d’or avec cœurs rouges.

Love. — A wavy blouse in gold and silver sequined silk chiffon. Garlands of roses on the bodice and skirt. Crown of roses and a red satin heart placed on the hair. Golden quiver and golden scepter with red hearts.

—

Abat-jour. — Coiffure faite de mousseline. Blouse Loïe Fuller en mousseline de soie accordéon blanche sur transparent rose. Petit empiècement de satin blanc, diamanté retenant la blouse vague plissée accordéon.

Lampshade. — Hairstyle made of muslin. Loïe Fuller blouse in white accordion silk muslin on pink transparent. Small white satin yoke, diamond-cut holding the accordion pleated wave blouse.

—

Souris grise. — Blouse et jupe à godets, en velours gris souris. Coiffure de velours gris souris avec oreilles grises, doublées de satin rose. Souris blanches en velours posées sur la robe.

Gray Mouse. — Blouse and skirt with gores, in mouse gray velvet. Headdress of mouse gray velvet with gray ears, lined with pink satin. White mice in velvet resting on the dress.

—

Neige. — Blouse de satin blanc froncée. Garniture de cygne blanc au corsage et à la jupe. Coiffure russe faisant toque en velours garnie de cygne. Cheveux ou perruque blonde. Bas et souliers blancs.

Snow. — White satin blouse gathered. White swan trim on bodice and skirt. Russian headdress in the form of a velvet cap trimmed with swan. Blonde hair or wig. White stockings and shoes.

[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.

[judginess]

well it's sexier than wearing just a shirt. idc about historical accuracy i want women to dress in waistless overalls and crocs and men to dress in bloody bandages and baby oil

[trendilyyours]

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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."

[cohenskicksposts]

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[maisoncandella]

Elegent Tassels Dresses For Women Party Club Evening Dress Fashion Robes Waistless Female Chic Gown Women Clothing 2024 New

[butlersforge]

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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.

[misslauraceleste]

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[angelandgypsy]

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[trendilyyours]

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[charlestownladyposh]

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[whosewhat]

French Gentle Slim Removable Bead Buckle Waistless Small Dress

(From French Gentle Slim Removable Bead Buckle Waistless Small Dress)