Garnitures and Accessories for Women - 1900
There is scarcely any limit to the number of beautiful devices for adorning the Autumn gown, and in their selection and disposition there is p wide field for the exercise of natural taste.
Exquisite color blending marks many appliques and delicate embroideries. An example of unusual beauty is a light chiffon applique in the soft shades of gray and violet.
Pansies embroidered in silk in the various colors of the natural flowers rest effectively on the gauzy delicate-gray background, the center of each holding a tiny rhinestone. This dainty trimming adorned a gown of pale-violet vailing intended for semi-formal or house wear.
The outline of the deep, round yoke of point Venice lace was followed by the appliqué trimmings, and the bottom of the elbow sleeves were similarly adorned.
The most unique feature of the mode was the fitted girdle of the appliqué; this was fastened with a jeweled buckle and was brought down in front to accentuate the waistline and lend grace to the figure.
The seams of the fashionably shaped skirt were finished with a band of the trimming, which was also disposed in an odd design around the bottom.
In the new band trimmings jets, cut-steel beads, spangles and mock jewels sparkle upon foundations of both coarse and fine net, chiffon and mousseline de soie; these trimmings are separable in many instances and may be disposed upon the gown as fancy suggests.
The ingenious and seemingly incongruous combinations that were a marked feature of last season’s modes bid fair again to become popular. So delicately combined are the rare laces, rich velvets and handsome furs as entirely to banish the idea of lack of harmony such associations would at first suggest.
Evening gowns of light, diaphanous fabrics and also costumes of fine cloth and silk for afternoon and carriage wear will be adorned with rich trimmings of this kind.
There being no gown so susceptible of pleasing changes as that of some rich, elegant lace, the creations of Russian, Cluny, Lierre and Chantilly will not easily lose the popularity they now hold.
The silken lining shimmering through the meshes of the lace lends an added charm to a mode of this kind and brings into relief more distinctly the delicate tracing of the design.
Robe of Black Chantilly
An odd conception in a robe of black Chantilly, of which the design was very large, consisted in covering the pattern here and there with appliqu6s of cream lace of the same description, while a row of tiny silver and black spangles outlined the design.
Around the bottom of the skirt there was a shaped flounce of the black lace, while one of creamy hoe was disposed above it; an extremely fluffy, graceful effect was thus attained. A white satin-Liberty foundation brought the delicate floral pattern into relief more clearly.
Robe of Lierre
Another method of adorning lace was exhibited in a robe of Lierre. Beneath certain portions of the design a very light, fine, gold tissue glittered through the lace in a fascinating way.
Bands of the tissue covered with the lace and secured with small gold buttons, in the center of each of which was an opal, formed the rather novel trimming on the blouse of this creation.
Silver tissue and buttons are similarly used and with pleasing result. These handsome robes are thoroughly appropriate for ceremonious occasions.
One of the most artistic novelties of the season for adorning evening gowns is a fringe composed of petals of flowers, the rose, carnation, orchid or pansy being the favorite blossom.
These delicate fringes are made of crepe, chiffon and mousseline de soie in the natural tints of the flowers and are disposed upon ball gowns of lace or any filmy textile beneath flounces of the fabric.
Rose Pink Taffeta
An exquisite creation of creamy white Renaissance made over rose-pink taffeta was further beautified by double rows of this rose fringe disposed about the bottom of the skirt beneath flounces of the lace.
The shadings of the rose petals were so softened and blended as to delight the most fastidious. Beneath the bertha of lace that outlined the low neck of the robe was a double row of the fringe.
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A handsome velvet appliqué decoration introduced this season is promised a popular reign for rich cloth gowns. The same shade as that selected for the gown is chosen in the appliqu6, which will be used in numerous ornamental ways.
An appliqué of the cloth carrying out the same though a smaller pattern is frequently used just above the velvet trimming, and the relief design is very attractive.
Trimming for Dressy Gowns
An unusually effective trimming for dressy gowns developed from a material having large floral or conventional designs consists of a narrow black gauze ribbon and white or ecru lace joined together to form a fluffy frilling or ruching; this is to be used to outline the pattern on the goods. Plain materials also may have an artistic design wrought out of this garniture.
For tailor gowns, where a more elaborate decoration than machine-stitching is desired, are shown extremely handsome braid ornamentations, the variety of designs in which make it possible to gratify all tastes.
There are elaborate set pieces ready to apply upon the skirt, while revers and other conceits may be secured for the blouse. Both silk and mohair combinations are fashionable, and the Hercules and soutache varieties remain popular.
These braid decorations are usually selected to match the color of the material, though black produces a rich result upon navy or royal blue, brown, dark green or red and upon black; if a bit of relief is desired, white may be used.
A fancy which will have many followers among those who need not consider expense is the hand - painted gown. The ingenious woman, however, who is skilled in the use of the brush will be able to indulge her artistic taste in this innovation.
Panne and the lustrous silks are usually selected for decoration in this novel way, though gauzy fabrics may be used.
Handsome Reception Gown
A handsome reception gown of pastel-blue had the entire front width of the skirt made of panne in a darker shade, upon which orchids were painted in exquisite shadings.
Bands of velvet with some attractive design painted on them will be used to adorn these costumes for ceremonious wear. Evening wraps will be beautified by the employment of this decoration.
The softening effect produced by the fluffy boas of chiffon, chenille and feathers has endeared these feminine conceits to every woman. An example of rare beauty was made of pale-blue chiffon shirred in a thick, heavy ruché and had long ends finished with a plaiting.
This dainty affair is intended to be worn about the shoulders and brought down to the waist, where the ends are passed through the girdle, falling almost to the bottom of the gauzy gown with which the boa is to be worn.
A Touch of Black
A touch of black is always a distinguishing feature to a delicately tinted gown, and in no way can it be more effectively added than in a boa of chiffon or chenille.
An especially attractive one is developed from heavy cords of chenille caught in shirred effect at regular intervals around the neck with tiny strands of jet.
The ends are left unconfined to within a short distance of the bottom, where this same idea is carried out. This boa would be very pleasing with a handsome white or delicate-colored silk blouse.
Feather and Flower Boas
Ostrich feather boas are always in good style, though to be thoroughly approved they must be of perfect plumage and very full. The pale shades of gray and mode in these conceits are very fashionable, and black is worn with costumes of almost every description.
Boas of flowers are worn by those who affect novelties, and with low-necked evening gowns are very artistic and effective, the petals and shadings of the rose being so realistically reproduced in mousseline and Liberty silk as to suggest the natural blossom.
In some of these the flowing ends are sometimes made of long, trailing sprays of foliage while chiffon in a harmonizing tint finishes other examples.
"Garnitures and Accessories," in The Delineator: An Illustrated Magazine of Literature and Fashion, Paris-London-New York: The Butterick Publishing Co. Ltd., Vol. LVI, No. 4, October 1900, p. 494-496.
Editor's Note: Some terminology used in the description of women's clothing during the 1800s and early 1900s has been changed to reflect more modern terms. For example, a women's "Toilette" -- a form of costume or outfit has an entirely different common meaning in the 21st century. Typical terms applied to "toilette" include outfit, ensemble, or costume, depending on context.