Defunct Fashion

The name is Edward / Historic Fashion and Exceptional Recreations /New York City

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Reception Dress | 1888⠀ ———⠀ This second bustle era reception or dinner dress features fine black Chantilly lace draped over blush pink satin. The shoulder seams are decorated with jet epaulettes on a slightly puffed sleeve. ⠀ ⠀ (@museemccord item no. M20281.1-2)⠀ ———⠀ #fashion #dress #costume #victorian #victorianfashion #history #historicdress #style ⠀ #design #art #lace #antique #vintage #mode #moda #secondbustleera #fashionhistory #arthistory #museemccord https://www.instagram.com/p/B9UVVS7Avxc/?igshid=1fkmap8q371c9

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House of Worth (attributed) | 1910

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This elegant gown, presumed to be made by Worth, is heavily influenced by the Japonism movement sweeping across the arts in Europe. The cut and beading is heavily reminiscent of the kimono worn in ukiyo-e prints that held immense fascination for westerners at the time.

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Walter Plunkett | Costume Sketch for “Gone With the Wind” | 1939⠀⠀

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This sketch was designed for the character of Belle Watling, the good-natured madam of the Atlanta brothel, brilliantly played by Ona Munson in the most memorable role of her career. In order to further distance Watling from the "respectable" characters such as Melanie and Scarlett, Academy Award®-winner Plunkett designed a more garish wardrobe with brighter colors and brassy accoutrements. The costume shown here is not seen in the film and likely was one of many Plunkett masterpieces that landed on the cutting room floor. (via Bonhams)

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Visiting Dress | c. 1865⠀

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The inspiration for this visiting or late day ensemble was a toilette designed by the so-called father of haute couture, Charles Frederick Worth and worn by Princess Pauline de Metternich, wife of the Austrian ambassador to the French court during the Second Empire, who was known for her trendsetting elegance. A. A. E. Disdéri, the inventor of the carte de visite, recorded multiple views of the princess in her Worth gown with its distinctive vertical black velvet appliqués on the full, trained skirt between 1861–62. Although it is impossible to determine what sources the maker used to confect her à la mode dress, the inclusion of fullscale paper patterns in fashion periodicals from about 1850 and the expanding retail distribution of sewing machines, especially in the 1860s, allowed—even encouraged— women to re-create the most up-to-date styles at home. Two leading publications, The Englishwoman’s Domestic Magazine and Le Moniteur de la Mode, regularly offered their readers patterns that could be modified by the individual dressmaker and advertised the newest models of sewing machines. In her assertive interpretation of Worth’s influential design, the wearer, and likely maker too, of this gown announced her awareness of and participation in a widespread trend that originated from the most famous couturier in the long-acknowledged capital of fashion.

As one of the foremost authorities in the field of antique textiles and costumes, Cora Ginsburg sells and provides a wealth of information o

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Gucci | 1977⠀⠀ ———⠀⠀ By the 1970s Gucci was one of the most sought after luxury brands of the 1970s. After opening their first luggage store in 1921 they quickly expanded and began offering fine leather fashion in addition to their popular belts, wallets and bags. ⠀⠀ This finely brushed leather coat trimmed with sumptuous lynx fur sports the famous ‘G’ as its closure. The famous green and red color scheme, inspired by English equestrian tack, was introduced during WWII. ⠀⠀ ⠀⠀ Note: I do not support the use of fur in the modern fashion industry. However, fashion history cannot be truly appreciated with out the study of fur, leather, feathers, etc. Please save the comments, DMs and unfollow notifications regarding this post. ⠀⠀ ⠀ (Chicago History Museum Object No.: 1988.474.1)⠀ ⠀⠀ ———⠀⠀ #Gucci #fashion #coat #vintage #1970s #70s #70sfashion #vintagefashion #vintage #fur #furcoat #lynx #dress #style #costume #italy #italian #moda #mode #chicagohistorymuseum https://www.instagram.com/p/B73lPWMgMRB/?igshid=12aooyjh3qt33

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Jean-Charles Worth | 1931⠀ ———⠀ ⠀ The House of Worth saw business decline in the early years of the twentieth century, as it lost favor among a younger clientele. The house began to advertise for the first time in the 1920s, calling attention not only to its distinguished heritage but also to its ability to create modern, youthful designs. This dress demonstrates designer Jean-Charles Worth’s talent for embracing a modern aesthetic and silhouette while honoring the tradition of refined workmanship on which the house had built its reputation. Composed of silk tulle, the gown is densely embroidered with silver glass bugle beads that extend into deep layers of fringe and are worked into intricate braids at the shoulders. That the dress has survived is remarkable, given the fragility of the materials used in its composition. (via The Metropolitan Museum of Art)⠀ ——— #fashion #houseofworth #dress #couture #vintage #1930s #30s #1930sfashion #30sfashion #eveningdress #gown #style #design #glamour #jeancharlesworth #beauty #mode #moda #beading https://www.instagram.com/p/B7w0hdwAJND/?igshid=92gef340hp6n

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Christian Dior | ‘Venus’ | 1949⠀ ———⠀ Joyeux Anniversaire, Christian Dior!⠀ ⠀ I can’t think of a better gown to wear to a 115th birthday fête worthy of Dior. ⠀ ⠀ Amidst the silvery spumelike net resembling sea foam, pearlescent shell-shaped scallops pronounce Venus risen from the waters. But Dior has not only evoked the story of Venus; he has also created an ideal of beauty. The sparkling splendor of such a garment is the dream of a ball gown. For Dior, fantasy was both marvelous and ideal. He strove to make an archetypal evening gown, but he was also creating the confections for the great postwar theme balls. (via The Metropolitan Museum of Art)⠀ ——— #Dior #ChristianDior #VenusDress #Couture #fashion #dress #ootd #ballgown #couture #design #art #style #history #glamour #beautiful #ocean #museum #tulle #metmuseum https://www.instagram.com/p/B7lxwP3AcPY/?igshid=17eeslpr0mx9c

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It’s been a while since I’ve completed an illo! But I have made it a point to at least sketch a bit each day. @zoeisabellakravitz was a vision in peach last night in this Jacqueline Kennedy inspired look by @oscardelarenta and I felt inspired. ⠀ ⠀ created with @procreate ⠀ ———⠀ #sagawards #redcarpet #fashion #illustration #dress #fashionillustration #fashionillustrator #zoekravitz #jackiekennedy #oscardelarenta #glamour #pink #procreate (at SAG Awards 2020) https://www.instagram.com/p/B7jYalBgFfa/?igshid=5y9tgkirf6dk

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Philip Treacy for Alexander Mcqueen | ‘Chinese Garden’ | 2005⠀ ———⠀ Treacy's work, for all its originality, is also rooted in his deep knowledge of the history of art, fashion, and design. This Chinese garden refers to the popularity of Chinoiserie in the eighteenth century and to the 1770s fashion for elaborate landscapes constructed in the topography of a woman's heroically sculpted hair. For his high-style coronet, Treacy has cannibalized the decorative shadowboxes of intricately cut-worked cork purchased in Asia and rearranged them into his own Orientalist fantasy. (via The Metropolitan Museum of Art)⠀ ⠀ (@ accession no. 2007.307)⠀ ———⠀ #PhilipTreacy #AlexanderMcQueen #IsabellaBlow #GemmaWard #McQueen #headwear #hat #millinery #milliner #art #fashion #sculpture #couture #chinoiserie #style #beauty #design #dress #mode #moda ⠀ https://www.instagram.com/p/B7g7DZrACWJ/?igshid=1akqj4gjrh5b3

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Jean Paul Gaultier | 1988⠀ ———⠀ Gaultier often uses leopard print in his collections. Leopard motifs, have been used to signify power and confidence for centuries in art and fashion, Female leopards, especially, are independent, fierce huntresses and this idea was portrayed in women’s power dressing of the 80s. ⠀ ⠀ (@museumatfit Object Number: P88.76.2)⠀ ——⠀ #jeanpaulgaultier #gaultier #fashion #couture #dress #80sfashion #80s #leopard #fauxfur #style #design #mode #moda #vintage https://www.instagram.com/p/B7em1gOAjdU/?igshid=11cfmf6svk95s

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Jean Paul Gaultier | 2001⠀ ———⠀ Jean Paul Gaultier is preparing to say goodbye to the runway. The prolific French fashion designer—known for his edgy and daring take on haute couture—announced on Twitter today that his upcoming couture show in Paris in a matter of days will also be his last.⠀ ⠀ “This show celebrating 50 years of my career will also be my last. But rest assured Haute Couture will continue with a new concept,” (Via Harper’s Bazaar)⠀ ⠀ Of all the iconic elements associated with him, perhaps the most famous or notorious is the corset. In this couture manifestation the satin corset of the ready-to-wear has been extended to full length, covered with a skin of fine silk tulle, and completely over-embroidered with tiny seed beads. Even in the elitist precincts of haute couture, however, Gaultier retains the playfully provocative humor that established his reputation as the bad boy of Paris fashion. Sophie Dahl, who wore this design on the runway, was a spectacular vision, with her pale skin and blonde hair blending with the powder pink of the corset dress. The audience could not have been prepared for Gaultier's punch line. When she turned, Ms. Dahl's back and buttocks were visible but for the veiling of corset ribbons that crisscrossed down the gown's back and formed its trailing hem.⠀ ———⠀ #jeanpaulgaultier #gaultier #fashion #couture #art #design #corset #pink #style #mode #moda #dress https://www.instagram.com/p/B7cAyDGA7Z7/?igshid=uetx07l4eei8

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Your blog is the most wonderful place in the world!! I can't believe I ever lived without it!! :D

🥰🥰🥰

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Norman Hartnell | 1933⠀
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This wedding dress was made for Margaret Whigham, who would later become the scandalous Duchess of Argyll, for her first marriage to Charles Sweeny. The dress took a team of 30 seamstresses six weeks to make, and the bride thought it shockingly expensive at £52. British Pathe filmed society beauty Margaret Whigham and her as they emerged from London’s Brompton Oratory. The film shows crowds of women jostling with photographers to catch a glimpse of the bride and her extraordinary gown with its 9 foot train. ⠀
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(@vamuseum museum no. V&A: T.836-1974)⠀
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#fashion #weddingdress #wedding #bridal #couture #costume #dress #art #history #mode #moda #design #style #glamour #vintage #duchessofargyll #margaretduchessofargyll #normanhartnell #1930s #1930sfashion #30sfashion 
https://www.instagram.com/p/B7WF4migqYa/?igshid=1c0nx38ecfhn0

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Christian Lacroix | “Qui a le Droit?” Wedding Dress | 1993⠀ ———⠀ In the early 90s, bridal wear accounted for 40% of the orders from Lacroix’s fashion house. He named this piece “Qui a le Droit?”,(“Who has the right?”). Perhaps reference to modern brides and their affinity towards simple, white gowns that represented outdated notions of purity and chastity?⠀ ⠀ (@vamuseum museum no. T.241:1)⠀ ———⠀ #christianlacroix #lacroix #fashion #couture #bridal #wedding #weddingdress #style #design #moda #mode #history #art #costume #dress #museum #lacroixsweetie #90s #1990s #90sfashion https://www.instagram.com/p/B7MdC-uAGX1/?igshid=whb0abhhqvds

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Jean Dessès | 1953⠀ ———⠀ Jean Dessès began his fashion career designing for a small couture house, Maison Jane, in 1925, where he was hired on the strength of his original design drawings. He opened his own maison de couture in 1937 but received his greatest recognition following World War II, having successfully built an international clientele. Dessès gained a particular reputation for evening gowns of intricately pleated and gracefully draped sheer silks, which became signature features of his collections beginning in the late 1940s. These fabrics, whose fragile nature necessitates expert handling, offered a pliancy that allowed Dessès to create endless variations of form, drawing inspiration from a range of historical sources. Here, the influence of 1860s ball gowns is revealed in the dress’s grand proportions and swagged drapery. Although Dessès captured the expressive opulence of the era of haute couture’s birth, he modernized and softened the nineteenth-century paradigm with his fluid draping and airy textiles. (via The Metropolitan Museum of Art)⠀ ⠀ (@metmuseum accession no. L.2018.61.35)⠀ ———⠀ #JeanDessès #inpursuitoffashion #couture #1950sfashion #50sfashion #yellow #fashion #mode #moda #design #fashiondesign #style #belle #gown #ootd #dress #jeandesses #glamour #beauty #couturier #art #history #defunctfashion #metmuseum https://www.instagram.com/p/B7KeiFUAeCc/?igshid=bvs03x0aiya1

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John Galliano for Dior | 1998⠀ ——⠀ Galliano sought inspiration in the eccentric Italian socialite and patron of the arts, Marchesa Casati Stampa di Soncino, for his Spring/Summer 1998 Couture collection for Dior. This opera coat looks as if it was plucked straight out of Poiret’s atelier with it’s kimono silhouette and decadent nouveau embroidery and beading. ——⠀ #Dior #ChristianDior #Galliano #JohnGalliano #fashion #design #costume #glamour #decadence #90sfashion #couture #style #mode #moda #marchesacasati #poiret #artnouveau #velvet #history #fashionshow https://www.instagram.com/p/B63oCGDgIB4/?igshid=1gayw9rf7tdx3

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Evening Dress | 1925⠀ ——⠀ Anytime I think of the perfect ensemble to ring in a new year I always think of the 1920s silhouette - carefree, decadent and literally made for dancing. This exquisitely embellished dress perfectly captures the era with its haute deco layers. The glittering constellation of beads is all held together by a delicate layer of chiffon. If you have a chance you must see this amazing piece in person at “In Pursuit of Fashion: The Sandy Schreier Collection” at the Met Museum. It’s absolutely incredible up close. ⠀ ⠀ (@metmuseum accession no. L.2018.61.71a,b)⠀ —— #fashion #dress #costume #style #design #mode #moda #nye #newyearseve #1920s #20sfashion #inpursuitoffashion #2020 #silver #art #glamour #metmuseum https://www.instagram.com/p/B6wO4qHgeM3/?igshid=17z8fto5b7ln5