Alexander Rauba

aka Mx. Sirel (they/them). I make stuff. 

[lookingbackatfashionhistory]

• Evening Ensemble.

Designer: Auguste Poussineau and Emile; Brand: Maison Félix

Date : 1893-1895

Medium: Silk brocade, velvet, chiffon, chenille & glass beads.

[lookingbackatfashionhistory]

• Woman's Dress.

Designer/Maker: Callot Sœurs (France, Paris, 1895-1952)

Date: 1910-1915

Medium: Linen lace and silk satin with silk-knotted fringe.

[lookingbackatfashionhistory]

~ Dinner dress.

Design House: House of Worth (French, 1858–1956); Designer: Charles Frederick Worth (French (born England), Bourne 1825–1895 Paris)

Date: 1880-1890

Culture: French

Medium: Silk, jet

[fripperiesandfobs]

Dress by the House of Worth, 1877

From MFA Boston

[fripperiesandfobs]

Evening dress ca. 1905

From Kerry Taylor Auctions

[lookingbackatfashionhistory]

• Woman's Bodices.

Date: ca. 1904-1905

Place of origin: United States

[fripperiesandfobs]

Worth evening dress, 1890's

From the Maryland Center for History and Culture

[fripperiesandfobs]

Day dress, 1881

From the Maryland Center for History and Culture

[fripperiesandfobs]

Evening dress, 1900

From the Kyoto Costume Institute via Fashion Press

[fripperiesandfobs]

Morin Blossier riding jacket of Queen Alexandra, 1902

From the Metropolitan Museum of Art

[fripperiesandfobs]

Day dress, 1870′s

From Hindman

[fripperiesandfobs]

Walking dress, 1860′s

From Hindman

[fripperiesandfobs]

Coat ca. 1815-25

From Enchères Sadde via Interencheres

[lookingbackatfashionhistory]

• Evening Gown.

Designer/Maker: A. Félix Brevete

Date : 1887-1888

Medium: Silk satin, chenille, floss, flowers & glass pearls.

[fripperiesandfobs]

Worth afternoon dress ca. 1870-72

From Tessier & Sarrou

[fashionsfromhistory]

Day Dress

Charles Frederick Worth

c.1870

Museum of Fine Arts, Boston (Accession Number: 2002.696.1-5)

[fashionsfromhistory]

Afternoon Dress

1874

United States

This dress was made from a paper pattern bought in Paris in 1874. Extant garments created from the early days of this type of garment are rarely identifiable. Sized paper patterns were introduced by Ebenezer Butterick (1826-1903) in 1863 and quickly spread to many different companies across the United States and Europe. Being able to create stylish garments at home by sewing machine (which was invented in 1790 but wasn’t affordable until the 1850s) revolutionized fashionable dress for the masses. This particular dress has distinctive features of its period such as heavy trim and decorative pockets. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.

The MET (Accession Number: 2009.300.777a–c)