oh my god what a perfect creature
Dark Matter, an exploded view, 1991
Sleeve, English, c.1600-1625. Embroidered & appliqued silk with cord & glass beads.
“During the late 19th century, authentic 17th century pieces of clothing were adapted and altered for wear as fancy dress. It was at this time that this fabric was cut up for sleeves, a process which unfortunately obliterated most of the evidence of their original 17th-century incarnation.”
Concept art by Eyvind Earle for Disney’s Sleeping Beauty
Robe by Liberty of London, ca 1897 London, the Victoria & Albert Museum
This garment with its full sleeves and long, flowing silhouette owes much of its inspiration to Pre-Raphaelite dress. The gown consists of a flared front panel attached to an open, flowing robe which falls from pleats at the back. The front panel has a patch pocket on the right side which is hidden by the deep plush edging.
Materials & Making
The puffed sleeves, wide cuffs and velvet edgings are inspired by plain, loose 16th century gowns. The sunflower and pomegranate motif on the fabric was a recurring design on objects associated with the Aesthetic Movement. The subtle gold and brown tones were popular ‘artistic’ colours used in both dress and furnishing fabrics during the 1890s.
Pre-Raphaelite painters had clothed their models in plain, loose dresses based on the forms of ‘early Medieval art’. The opening of Liberty’s dress department in 1884 helped popularise the taste for aesthetic dress. The Liberty designs which ranged from aesthetic gowns and children’s artistic dresses to more conventional ‘tea-gowns’ had a wide international appeal among the social elite.
Ownership & Use
This type of dress was seen as the healthy and aesthetic alternative to the corseted and constrictive fashions in conventional dress. Before long it was not only those with artistic leanings who chose to wear garments which fit more loosely. By the early 20th century many fashionable dresses had a softer shoulder line and a more natural silhouette.