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This 1872 gown by the House of Worth is made of a

This 1872 gown by the House of Worth is made of a seafoam green silk along with woven braids and fringe trims. The dress itself is made of a skirt and two bodices; one intended to be worn during the day and the other for evening occasions. The 1870s itself was known for changing styles as the crinolined silhouette from the previous decade began to give way to a more narrow style. The dress features a bustle silhouette that is straight in the front and has soft drapery to add volume in the back. Woven braid and fringe trims are placed in a row down the skirt as well as on the edge of the bodice and end of the sleeves. The House of Worth was influenced by Middle Eastern enamels in the colors and the patterning that appears on the trim across the entire garment. Worth, considered the father of haute couture, was known for his ability to popularize and set trends. This 1872 gown reflects the growing interest in the use of horizontal trims for surface detail. In various gowns from the design house in the 1870s, Worth continually utilized the horizontal trim trend in order to reflect the detail and high quality of his couture garments. The use of a seafoam green silk for the base of the garment also reflects the popularity of various shades of green for garments during the time. Read more at the link in the bio!

#fashionhistory #digitalhumanities #19thcenturyfashion

As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the ‘Butterfly Dress’ by 1950s designer Charles James, which is featured among the Martin Scorsese designed vignettes in the Frank Lloyd Wright period room. The 1955 butterfly gown is emblematic of James’ work, showing his attention to detail and architectural techniques for his one-of-a-kind gowns. The designer was known for dressing some of the most famous celebrities and socialites of his day including Millicent Rogers, Austine Hearst, and Gypsy Rose Lee. The dress, made of silk chiffon, satin, and 25 years of nylon tulle in shades of cream and brown, features a shift silhouette and wide tulle ‘butterfly wings’ on either side. The detailing on the dress features James’ tucking treatment also featured on his swan gown. The dress itself represents the almost architectural capabilities of James’ work, in which he approached making his gowns in an technical and structural way. The wide tulle butterfly wings take inspiration from the Victorian style of large bustles in the early 1880s. Experimentation with numerous different forms of fabric as well as more structural garments were also particularly popular at the time. Read more at the link in the bio!

#fashionhistory #digitalhumanities #20thcenturyfashion

As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the early 19th century period room designed by director Autumn de Wilde. The fashions from 1800-1809 were still influenced by the dramatic changes ushered in by the French Revolution of 1789. The neoclassical style took hold on both menswear and womenswear with clothing heavily inspired from classical antiquity. The typical silhouette for women was an empire waisted dress in lightweight muslin whereas menswear took more influence from the refined tailored look of Britain. Compared to the late 18th century, womenswear in 1800 got rid of typical foundation garments including panniers as well as conical stays. The chemise dress that became so popular originated in the 1780s when it was worn by influential high society elites including Marie Antoinette and Georgiana, Duchess of Devonshire. Following the excavations of both Pompeii and Herculaneum, the second half of the 18th century showed a great interest in classical antiquity that eventually seeped into popular fashion. White as a prominent color in dresses, highly draped shawls, and even tightly curled hair all stemmed from an interest in replicating the ‘look’ of Ancient Greece and Rome. Read more at the link in the bio!

#fashionhistory #19thcenturyfashion #digitalhumanities

As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the work of Bill Blass whose evening ensemble is included in the exhibition. The 1973 look consists of a tailored jacket, top, and skirt made of silk, leather, and fur. The piece features a neutral geometric chevron and polka dot motif of white, taupe, and brown. Blass was unusual in that he favored blonde and camel colors rather than the flashy color schemes considered popular. Both the sleeves and collar of the ensemble are finished with a beige Canadian fox fur that complements the muted tones of the rest of the ensemble. The back of the skirt is made up of three wide panels to allow for greater movement. Blass’s designs were known for being simple but still able to convey the idea of wealth and seduction. Rich materials such as fur or sequined covered silks were frequently used by Blass in conjunction with simple silhouettes. Such pieces were referred to as ‘good investments’ by the fashion press since his work was praised for its high quality materials and construction. The piece is typical of the styles of the year and Yves Saint Laurent actually designed an ensemble with the same silhouette that featured similar uses of color and fur. Even today, the piece is considered emblematic of Blass’s technique of understated glamour. At the Met, the look is part of a highly theatrical “Battle of Versailles” installation by Tom Ford. Read more about the work of Blass at the link in the bio!

#fashionhistory #20thcenturyfashion #digitalhumanities

As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the work of Elizabeth Keckley whose striped evening dress is included in the exhibition. This 1863 evening gown was made for Mary Todd Lincoln, who accessorized the dress with jewelry made of seed pearls and bunches of flowers in the form of corsage, headpiece and bouquet. It’s an excellent example of fashionable dress from the early 1860s, with timely details including the natural waistline coming to a point at the center, lace bertha collar wrapping around the shoulders leaving décolletage exposed, and wide pleated skirt worn over a crinoline to achieve the popular bell silhouette. The gown was likely altered in March of 1867 when Mary Lincoln donated some of her collection of dresses, as she was criticized for their expense. The following owner removed the bertha collar and remade the bodice from fabric in the skirt which resulted in a narrower silhouette, a closed front with button fixtures, and a lower waistline. Elizabeth Keckley was a talented seamstress, businesswoman, writer, and civil rights advocate. Born into slavery in 1818 Virgina, she worked as a dressmaker until she was able to purchase her and her son’s freedom. She then moved to Washington, built a highly successful business creating clothing for wives of politicians, and befriended First Lady Mary Lincoln, for whom she eventually created 15-16 dresses every season. Her work, along with the work of other late-19th century designers like Louvinia Price and Fannie Criss, helped pave the way for the rise of mainstream African American fashion designers. Read more at the link in bio!

#fashionhistory #arthistory #fashionresearch #digitalhumanities

As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the designer Ann Lowe who has her own room in the exhibition. Lowe was born into a family of seamstresses who had a longstanding dressmaking business in Montgomery, Alabama. When her mother passed away at 16, she took her place and became the new head of the family business. Lowe’s work became famous among the wealthy American elite and her one-of-a-kind dresses were known for their fine construction, delicate handiwork, and floral motifs. Lowe’s dresses featured couture-quality techniques such as gathered tulle and canvas at the hems, lace seam bindings, and hand-sewn organza facings. Most famously, in 1953 Lowe was chosen to design the dresses for Jacqueline Bouvier’s entire bridal party for her wedding to Senator John F. Kennedy. The beautiful wedding gown received much publicity, though the press simply referred to Lowe as a ‘colored dressmaker’ rather than referencing her by name. Lowe excelled in dressmaking, designing for a highly exclusive clientele, and yet she was paid less than white designers for her custom designs. Lowe is now recognized as a pioneering American couturier as the Met’s exhibition celebrates. Read more at the link in the bio!

#fashionhistory #20thcenturyfashion #digitalhumanities

This week we’ll be featuring garments included i

At FIT, we have a class on Gilded Age fashion and

At FIT, we have a class on Gilded Age fashion and art, so Monday’s Met Gala’s theme of ‘Gilded Glamour’ was a perfect fit for what the students have been studying all semester. After some intense debate, the class voted on the top 12 on theme looks from the Gala.

Celebrities and designers who did their homework included:
Slide 1- Billie Eilish in Gucci
Slide 2- Nicola Coughlan in Richard Quinn
Slide 3- Madelaine Petsch in Moschino
Slide 4- Molly Sims in Monique Lhuillier
Slide 5- Blake Lively in Versace
Slide 6- Adwoa Aboah in Tory Burch
Slide 7 (left)- Yahya Abdul-Mateen II in Thom Browne
Slide 7 (right)- Hamish Bowles in Ralph Lauren
Slide 8 (left)- Stromae in Cartier jewelry
Slide 8 (right)- Russell Westbrook in Thom Browne
Slide 9 (left)- David Harbour
Slide 9 (right)- Tom Ford

Who was your favorite look?
#metgala #gildedage #19thcenturyfashion

German painter Franz Xaver Winterhalter is most we

German painter Franz Xaver Winterhalter is most well-known for his portraiture of nobility. In 1865, towards the end of his career, he painted Empress Elisabeth of Austria and the portrait was photographed and widely distributed. She was a style icon and this portrait testifies as to why. Her lavish satin and tulle ball gown, which is thought to have been made by renowned designer Charles Frederick Worth, is ornately decorated with thousands of silver foil stars, precious stones, and pearls, as is her hair with diamond edelweiss pins, the emblematic flower of the Austrian Alps. The portrait has had a large influence on fashion history as many women have worn gowns, hair pins, and hairstyles similar to that of Empress Elisabeth. Her entire look from this portrait was also completely recreated in 2014 for a short film produced by Karl Legerfeld, starring Cara Delevigne and Pharrell. Read more at the link in bio!

#fashionhistory #fashionresearch #digitalhumanities #arthistory

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