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| Velvet gown with daytime bodice, Charles Frederick Worth (1825-1895), Gibson House Museum (1997.111). |
There is a gem in the collection of nineteenth-century dress at the Gibson House Museum. It is a sumptuous purple velvet gown, richly colored and trimmed in velvet ribbon and silk fringe. A drape sweeps off the waist and gathers at the back in a dramatic bustle. The dress has two separate bodices: one for day wear (long-sleeved with a high collar) and one for evening wear, with a low, square neckline. The skirt is stiff from a horsehair lining, and metal stays are sewn directly into the bodice fabric.
Likely made in
the early 1870s, the dress is a pitch-perfect example of Victorian fashion from
that decade. The tightly corseted waist and prominent bustle create a
much-desired silhouette, one that shows off a more “natural” form in comparison
to the large hooped skirts of the 1860s. In dress, as in most other things, the
Victorians preferred a high level of specificity, and the two bodices signify
the expectation of different attire for day and evening.
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| Mary Crowninshield Warren Hammond (1841-1890), Gibson House Museum (1992.413.27) |
Mary Warren
Hammond, Rosamond Gibson’s older sister, was the proud owner of the dress. She
was married to Samuel Hammond IV, Charles Gibson Sr.’s cousin, and they lived
across the street at 116 Beacon Street. In photographs from the 1870s and
1880s, Mary looks elegant and confident, someone to notice. She was clearly a
fashionable lady, and it seems fitting that this beautiful gown belonged to
her.
The dress was
made by Parisian couturier Charles Frederick Worth. Born in England, Worth moved to Paris in 1845 and found work
at Maison Gagelin, a luxury textiles firm. By 1860, he had set himself up with
his own dressmaking business and by 1870, he was the most sought-after designer
in Paris. He was especially known for his use of luxurious fabrics and
trimmings.
What explains Worth’s
popularity? Part of his success was due to the patronage of Empress Eugénie;
after seeing a Worth gown at court, she treated the House of Worth as her
official dressmaker. Worth was also innovative in business. He used live
models, rather than mannequins, to show off his designs to potential customers.
Clients like Mary Hammond would visit his offices at 7 rue de la Paix and
select from the clothing on view. Chosen items would then be tailor-made for
the client. His popularity spread through fashion magazines, and many wealthy
American women traveled to Paris to visit the House of Worth, where he put on
fashion shows and created seasonal collections. Due to these innovations and to
his immense popularity, Charles Worth is considered by many to be the father of
haute couture, or high fashion.
Tucked into the
Gibson House Worth dress box, a handwritten rectangular label reads, “Aunt
Mary’s Worth Dress.” It’s the only item of clothing in the house that Charlie
personally labeled, giving us an idea that he, too, understood its value and
beauty.
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| Velvet gown with evening bodice, Charles Frederick Worth (1825-1895), Gibson House Museum (1997.111) |
The Charles Worth gown will
be on display at the Gibson House Museum May 30–August
12, 2018. Visit the Gibson House Museum website to plan your visit,
www.thegibsonhouse.org.
- Meghan Gelardi Holmes,
Curator
To learn more:
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