History's Runway: The Lady Cowdray Mantua Gown, 1740-1746

This and all related images from The Victoria & Albert Museum

In the Seventeenth Century, a “mantua” was, ostensibly, a loose gown. As the decades passed, the garment became more stylized and, but the mid Eighteenth Century, the term “mantua” referred to an over-gown or robe which was worn over stays, heavy petticoats and stomachers. The mantua was, by this time, essentially worn in the Royal Court. Examples from the Eighteenth Century, such as the one we see here, show that these over-gowns were often extremely overdone and proportioned almost ridiculously. Still, they were the height of elegance and were truly the most fashionable article a woman could wear in the French and English Royal Courts.

Let’s examine this example of a mantua from the V&A. This would have been worn by a woman of aristocratic birth to show the Royal Family that her own family also possessed maximum wealth and and understanding of the fashionable arts. The opulence of a lady’s mantua was a direct indication of her family’s rank, power and financial standing.

This example contains almost ten pounds of weight from silver thread alone. The silver has been worked into an elaborate “Tree of Life” design. The train is signed “Rec'd of Mdme Leconte by me Magd. Giles.” “Leconte” is a name long associated with Huguenot embroideresses working in London between 1710 and 1746.

The mantua is composed of the over-gown, petticoat and fabric stomacher—all made of silk embroidered with real silver thread. Evidence of colored silk thread beneath the silver indicates that the textile was changed midway through in order to introduce the more aristocratic element of precious metals. Seven breadths of the textile create the wide skirt which, at its widest point is six feet across, filled out by a series of side hoops.

The gown has been altered. In the 1920s, the back seams were repeatedly taken in and let out in order to adapt the mantua for use as a fancy dress costume. Upon acceptance to the V&A, the mantua was relined and the damage from these Twentieth Century alterations was repaired.

History’s Runway: The Flowers of the Fields of France Gown, 1957

The Flowers of the Fields of France Gown
Norman Hartnell, 1957
This and all related images:
The Victoria and Albert Museum

Queen Elizabeth II is not the first name that comes to mind when you think of a fashion style-setter. But, iyou go back and look at Her Majesty’s collection of gorgeous gowns, you will notice that they are quite extraordinary, and some of them, rather cutting-edge. For many years, Norman Hartnell was the Queen’s personal designer. Here, we see a creation by Hartnell which is anything but dull.


This full-skirted, full length evening gown in ivory silk satin with a princess-seamed bodice and draped fold at hips, extends into a large self-fabric bow positioned at 7/8ths length down the skirt. It is carefully embroidered with miniature bees, grasses, wheat and wild flowers worked in relief in faceted glass stones, gold beads, “brilliants” and variously shaped pearls, with flowers of mother-of-pearl and gold petals. The gown was designed for the Queen's state visit to Paris, April 8-11th, 1957 and, fittingly, refers to French motifs, including the "Flowers of the Fields of France" (traditionally, poppies, daisies and crossed wheat sheaves) and Napoleonic bees. These diplomatic motifs are worked in relief. And, here’s where the Queen is clever. The dress was intended to both compliment the French nation and draw attention to the Queen. Knowing that she was going to one of the fashion centers of the world, she knew she had to dazzle them. And, she certainly did.

“The Flowers of the Fields of France Gown” was worn to the state dinner on the first night pf the visit. The dinner hosted by President René Coty at the Elysée Palace, and was followed by a visit to the Opéra to see a ballet by Lifar from The Diaries of Cynthia Jebb.

When the dress was displayed at Kensington Palace in 2006-7. Maureen Markham, one of the embroiderers who worked on the dress, recalled that she and her team worked with blacked-out windows to avoid the peering-eyes of the press and that she hoped that the Queen would have “nice plush cushions to sit on so as not to crush the embroidery.”

This is just one bit of Norman Hartnell’s brilliance. He had been court dressmaker since 1938, working the Queen Elizabeth, the Queen Mother and continued to work with the Royal Family until his death in 1979. 

History's Runway: A Walking Dress Ensemble, 1817-20

Walking Dress
1817-1820
The Victoria & Albert Museum

This day outfit dates between 1817 and 1820 and echoes military uniform in design, givimg it a decidedly masculine flavor. Passementerie (trim) in the form of crescent-shaped moulds, looped cord and balls covered in floss silk replace the gilt or silver buttons which would have adored the similarly-styled men's regimental coats. The tassels on the collar ends and cuff bands evoke the tassels which adorned boots, hats, sashes and cap lines of military accessories.

Military styles were worked into ladies' fashionable dress in Britain largely due to the influence of the Napoleonic Wars (1793-1815). The uniforms worn during this period were some of the most elaborate in the history of military dress with bright, vivid colors, frog (clasp) enclosures, braid and tassels.  These uniforms fueled the imagination of fashion designers for years to come.

History's Runway with Miss Oscar: A Silk Evening Dress, 1810

With the dawn of 1810, the fashion for white cotton and muslin evening dresses gave way to brightly-colored, embroidered silks.  Part of this change of fashion was due to John Heathcote's bobbinet machine, patented in 1809, which enabled fine net to be easily produced in wide widths for dresses.  These lengths of material could be hand-embroidered for dramatic effect. These net dresses were worn with under-dresses of plain silk, sometimes white, or, often, in a matching color.

Net Gown
English, 1810
This and all related images courtesy of:
The Victoria & Albert Museum

Often the embroidery on these net dresses was done in chenille thread.  As the V&A states:

Chenille (French for caterpillar) is a type of thick thread made by a weaving process. Cotton or silk is woven into a length of cloth which is then cut into very narrow strips, the severed weft threads creating the tufts which give the yarn its velvety texture. The dense colour of chenille thread creates a contrasting effect with the ground fabric.

Fashion icons of the time, such as Empress Josephine, Napoleon's first wife, helped to make machine net, or 'tulle', gowns popular.  Joseph's wardrobe featured many machine-made net dresses embroidered with silver or gold metal thread and spangles which she wore for formal court occasions.

Here, we see such a gown, created in England in 1810, made of hand-stitched red silk machine-made net, with a high waist, low neck and short, slightly gathered sleeves. A  narrow red silk ribbon at the waistline sets off the skirt which is cut straight with additional fullness gathered at the center back.

The bodice band, sleeves and a v-shaped insertion in the bodice front are embroidered with a design of rosebud garlands worked in pink, red and green chenille. This handsome embroidery pattern is repeated at the hem, with a wider trail of roses and rosebuds.

Before the dress was donated, it apparently had a red under-dress which was not brought to the Museum because it was "very perished."  The look of the red under-dress is recreated here.  Typically, the gown is displayed with a white under-dress as it might also have been worn.

History's Runway with Miss Oscar: Her Majesty's Hardy Amies Poppy Gown, 1983

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Not wanting to be left out, Oscar thought she'd offer the first of her fashion posts a bit early.

We begin with an attractive evening gown from The Royal Collection.

Hardy Amies designed this stunning gown for Her Majesty Queen Elizabeth II.  Featuring a cream chiffon skirt with an intricately embroidered bodice, the Queen wore the gown for  a reception in California during an Official Visit to Mexico and the United States of America, from February to March 1983. 

The bodice of the gown is embroidered with Californian poppies in shades of crimson, salmon and purple with stems of black and white.

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

History's Runway: A Silk and Velvet Sack-Back Gown and Petticoat, 1774-1890

Sack-Back Gown
Made in Scotland, 1774-1775
Altered between 1880 and 1890
The Victoria & Albert Museum

As we know, a sack-back gown, the predominant style of women’s fashions of the Eighteenth Century, is created from a single piece of fabric pleated and stitched at the back of the neck, creating an open front. The style evolved from a sort of loose negligee which was worn privately. By the 1770s, the fashion had become a more formal type of dress meant to be worn in public at important events, the opera, the theatre and at stylish dinner parties.

What sets this sack-back apart is the use of velvet. At the time, these gowns were made of woven fabrics which were printed after the weaving process. Here, the textile of silk has been combined with velvet—a technique unique to France--which created a fabric with vertical bands of ivory and pink silk alternating with stripes of floral chiné velvet. Records with the dress report that the textile cost a shocking 36 shillings a yard. The gown and petticoat are constructed of about 17 yards. Today, the fabric alone would have cost approximately £2,200—over $3400 U.S. 

While the fabric was imported from France, the gown itself was constructed in Scotland. The original garment was made between 1774 and 1775. Alterations were made to the gown between 1880 and 1890 when it was used as a costume for fancy dress parties. The ensemble was, for many years, part of the Castle Howard Costume Collection before being sold by Sotheby’s to the V&A. 

Painting of the Day: The Charles Conder Train, 1903

Design for the Train of a Woman's Gown
Charles Conder
Watercolor, 1903
The Victoria & Albert Museum 

Charles Conder, made a name for himself in the early Twentieth Century for the elaborate decorations that he would paint on the long trains of evening gowns and ball gowns.  He would use watercolors to adorn the trains—sometimes even while the gown was being worn.

Conder created this watercolor design for a train around 1903.  We can’t be certain about the dress for which this design was created.  We do know that it was finished for one Mrs. Florence Humphrey, an enthusiastic guest of many a fancy dress ball.  At this time, Conder was at the height of his popularity and his work was very much in demand. 

The fashion of this era had moved away from the stiffly corseted dresses of the Nineteenth Century in favor of “The New Reform Dress” which was a “princess style” which hung from the shoulders without a waistline.  Long full sleeves and dramatic trains defined this new style—giving condor many a canvas for his much-desired work. 

History's Runway: A Walking Dress Ensemble, 1817-20

Walking Dress
1817-1820
The Victoria & Albert Museum

This day outfit dates between 1817 and 1820 and echoes military uniform in design, givimg it a decidedly masculine flavor. Passementerie (trim) in the form of crescent-shaped moulds, looped cord and balls covered in floss silk replace the gilt or silver buttons which would have adored the similarly-styled men's regimental coats. The tassels on the collar ends and cuff bands evoke the tassels which adorned boots, hats, sashes and cap lines of military accessories.

Military styles were worked into ladies' fashionable dress in Britain largely due to the influence of the Napoleonic Wars (1793-1815). The uniforms worn during this period were some of the most elaborate in the history of military dress with bright, vivid colors, frog (clasp) enclosures, braid and tassels.  These uniforms fueled the imagination of fashion designers for years to come.

Drawing of the Day: Dinner Dress Ensemble; Field Rhoades Haute Couture, 1948-49

Design for a dinner ensemble.
Marjorie Field for Field Rhoades Couture
London, 1948-1949
The Victoria & Albert Museum 

Dating to 1948-49, this drawing is a fashion design for a black dinner dress ensemble consisting of a black sheath under a cerulean and peach bolero jacket, trimmed with black bobble passementerie.

The gown was designed by Marjorie Field for the haute couture firm Field Rhoades of London.  A type-written description of the ensemble is included with the drawing in order to specify the materials required.  Field intended that the gown should be made of crepe while the jacket would be constructed of slipper satin. 

This drawing is one of twelve in an album which Field assembled between 1948 and 1949 to present to her partners at Field Rhoades—allowing the firm to select the designs, colors and materials which they desired for the couture collection. 

History’s Runway: The John Cavanagh Orchid Gown, 1953

Gown
John Cavanagh, 1953
The Victoria & Albert Museum

Can you picture the young Queen Elizabeth II wearing this beautiful gown?  Here, we see an evening dress of brocaded silk with a design of semi-naturalistic orchids woven in oyster, pale-pink and green silk punctuated with gold threads. The gown has a heart-shaped, fitted bodice with two shoulder straps, and a semi-full skirt with a small train at the back.

This dessert-like creation is composes of two layers of fine silk which are separate except where they are joined together to form the design. Lines of gold thread peek through at random points allowing the gown to shimmer.

This magnificent evening gown is the work of the John Cavanagh (1914-2003) and was part of his Spring/Summer 1953 “Coronation Collection.” The gown was made for and worn by Lady Cornwallis (nee Esme d’Beaumont, 1901-69) expressly for the coronation celebrations in June.

The intricate fabrics were designed by Oliver Messel (1904-1978), at the time Britain’s foremost designer of costumes and sets for stage and film.

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. 

History's Runway: The Weisweiller Balenciaga Gown, 1960

This and all related images from
The Victoria & Albert Museum

In 1960, Madame Alec Weisweiller commissioned Balenciaga, her favorite couturier,  to design a special one-off gown for the 18th birthday party of her daughter (who was also exclusively dressed by Balenciaga). Both of the Weisweiller ladies were considered quite the Parisian personalities and were especially close with both Balenciaga and Cocteau.

The gown is unique in that Balenciaga, who favored linear shapes, bold colors and embroidery, has veered from these ideals to create a more youthful piece in pale pink organza and delicate floral patterns which lean more toward Dior than the usual Balenciaga look.  

This evening dress boasts a fichu-like collar which encircles the shoulders and crosses over at the front to attach to the bodice with hooks and eyes.  One side is adorned with a pink organza bow. Embroidery of cream lace florets, ribbon-work pink and green flowers with colored silks, and with white and pearl colored beads decorates the collar and the upper third of the skirt. 

Originally, a satin ribbon was worn at the waist.  This is now lost.  the ribbon would have served to hide the waist seam.  

History's Runway: A Charles James and Jean Cocteau Evening Gown, 1938

Charles James (1906-1978) donated this printed silk gown to the V&A.  The fantastic dress of emerald silk was designed by James in 1938.  James, an Anglo-American couturier, was celebrated for his masterful creations of complicated, sculptural shapes built with meticulous cutting and seaming. 

Take for example, the short sleeves of this dress which spiral under the arm, over the shoulder, and form cross-over drapery.  This section is formed from one piece which continues to form the bodice front. 

Normally, James preferred for the shape of the gown to speak for itself and, to keep from distracting from the architectural quality of his work, opted for solid-color silks.  Therefore, the use of printed silk in this gown is unusual.  The textile is all the more special given that it was  designed by the artist-illustrator Jean Cocteau. In 1937, Cocteau had met and fallen in love with the young actor Jean Marais. The masks in the print are portraits of Jean Marais and of Cocteau himself, celebrating their relationship.

The gown is wholly emblematic of the marriage of fashion design and modern art which took place in the 1930s, rising even more so with the Surrealist Movement.  Couturiers such as Charles James and Elsa Schiaparelli worked with artists such as Cocteau and Salvador Dali to produce wearable art.