Showing posts with label Rhinestones. Show all posts
Showing posts with label Rhinestones. Show all posts

Sunday, March 16, 2014

History's Runway: A Pierre Balmain Gown, 1950-1955




Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum



Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 





Wednesday, March 13, 2013

History's Runway: A Pierre Balmain Gown, 1950-1955



Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum



Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 





Tuesday, January 8, 2013

History's Runway: A Ball Gown from the House of Worth, 1900

Ball Gown
House of Worth
Paris, 1900
This and all related images from
The Cecil Beaton Collection at
The Victoria & Albert Museum




We have looked at several gowns by Charles Frederick Worth (1825-1895), the famed Parisian couturier whose “House of Worth” was the standard of elegant fashion. Worth was born in Bourne, Lincolnshire, and by the age of 12 was apprenticed to a draper's shop in London. At 20, he moved to Paris, working his way up the fashion ladder, finally opening his own house in 1858.

Worth caught the attention of the Empress Eugenie. This association was the key to his monumental success. What the empress wore, the ladies of the court wanted. Very quickly, Worth’s gown became symbols of social and financial greatness. His gowns defined how a wealthy lady of the early Twentieth Century should look.

This particular gown was worn by Princess Nicholas of Greece whose grandson, the Duke of Kent, donated the gown to his friend Sir Cecil Beaton, the society photographer and fashion buff, who was, in 1971, collecting fashionable dresses for his exhibition, “Fashion: An Anthology” at the V&A. 


Sadly, the some of the delicate trimmings of the gown have been lost to time. However, the rest of the gown has been painstakingly restored based on photographs from 1900 when it was made. The draped bodice is constructed of silk velvet and trimmed with diamanté and lace at the centre back. The inner foundation of the bodice has ten bones, and the bodice fastens at the left side with hooks and eyes. The skirt is also trimmed with diamante and flares from the panels that form the train.





Tuesday, August 28, 2012

History's Runway: A Pierre Balmain Gown, 1950-1955

Debutante Gown
1950-1955
Pierre Balmain
This and all related images from:
The Victoria & Albert Museum



Made between 1950 and 1955, this evening gown is the work of Parisian designer Pierre Balmain (1914-82). Chances are, it was made as a debutante's presentation dress. Adorned with ostrich feathers, sequins and rhinestones, the gown must have made a grand impression as its wearer made her debut. Constructed of white organza, the gown is beautifully embroidered—a difficult task on such a fine, light fabric. The exquisite embroidery work required immense skill, and was, therefore, sent to a special workshop in Lesage which Balmain had commissioned to create the detailed work. Each bead, each feather and sequin and each rhinestone was applied one-by-one by hand. 





Saturday, October 2, 2010

Object of the Day: A Rhinestone Encrusted Celluloid Comb

Complicated hairstyles are not a modern phenomenon. Our Nineteenth Century counterparts reveled in elaborate coiffures for women. In fact, for a woman to literally let her hair down in public was considered quite shocking. Given the fashions of the day, a lady had to find new ways to not only secure her hair, but also adorn herself. Elegant combs such as this one were the answer.


Ornamental combs were not new to the Nineteenth Century. They had been employed for hundreds of years, but women of the Victorian era really embraced the style and manufacturers and jewelry designers were happy to oblige. This comb, dating to the 1880’s is constructed of pierced celluloid. Celluloid, also called ivorine or “French Ivory,” was an early form of plastic which rose in popularity in the 1860’s—replacing costlier materials such as horn and ivory. While combs were sometimes adorned with precious or semi-precious stones, this one is dressed with blue rhinestones, the color of aquamarines, in a natural coral-shape which harmonizes with the florid lines of the piercing.

This comb would have been worn at the back or side of the head to secure the coiffure. Combs with stones were the stuff of evening wear. During the day, simpler combs were used. I like the idea that this is the finishing touch on a lady’s outfit. In perfect condition, this comb was well cared for. Today, as is the case with many of these objects, it has been retired from hair-dressing and is comfortably housed in a glass case—happily sparkling and reminding us of elegant times.