FRENCH TRAINED IVORY SILK BENGALINE WEDDING GOWN, 1860.
Open V-neck boned back lacing bodice with points, short sleeve with lace on net bell, trimmed in bands of satin ribbon, muslin lined. Bustle skirt with large train having applied hem band of Van Dyke points bound in satin, satin bow at waist and below bustle, hem stiffened and trimmed with pleated voile and lace, lined in glazed cotton.
2-piece claret satin and taffeta having iridill fringe, buttons and crescent ornament, boned polonaise bodice ruched into back bow, lace collar, underskirt decorated with bands of ruching and pleats, brown cotton lining.
WORTH BUSTLE DRESS with TWO BODICES and CAPE, 1880 - 1882
.Ivory silk damask, day bodice with square neck, elbow length sleeve and peplum with self buttons and satin bows, sleeveless back-lacing evening bodice with ecru lace, both having deep point and decorated with white beads, trained bustle skirt with fringed center panel, trimmed with self pleats, train edged in satin, underskirt of muslin with fourteen lace ruffles, satin cape with tulle overlay beaded and sequined in an allover floral, satin trim and plush lining
Medium: silk, passementerie
Location: The Metropolitan Museum of Art
Special notes: the passementerie on this elegant dress is clearly influenced by the Arts and Crafts Movement design aesthetic which was extremely popular around 1880 and 1910. This is an excellent example of how a movement which is mostly based in architecture and interior design crept into clothing, showing the proponents desire to live the style in its entirety.
It’s so convenient that we live in a society with zero misogyny, homophobia, or penalty for behaving outside of prescribed gender roles so the phrase “gay girls don’t dress like that” can be taken as universally upholding and rewarding “masculine” lesbians at the expense of the beleaguered femmes