The Fashion Archaeologist - Online Photo Gallery

A SHOWCASE OF OUR AUTHENTICALLY REPLICATED ANTIQUE GARMENTS - VISIT OUR WEBSITE FOR MORE!
Most viewed
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Full Front View30 viewsThis photo displays both the late-Edwardian columnar cut of the front skirt, as well as the sweep of the formal train.
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28 viewsHere is the bodice shown inside-out, displaying the boned silk taffeta under-bodice, sleeve lining and collar lining.
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28 views
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View of Back of Gown with Train22 viewsA view of the back of the gown with the train swept to the side. 1911/12 was pretty much the last time these wide, swirling trains were seen. An Edwardian lady was often more elegant-looking leaving a room than entering it!
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22 views
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The garden party gown as worn to an historical event22 viewsFormal afternoon gowns such as this one would have been worn in 1910 with opera-length silk knit or kid gloves, and a very wide-brimmed hat with all the usual Edwardian trimming.
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20 viewsThis formal gown, like most Edwardian gowns, was constructed "from the inside out" in layers. The final two layers on the bodice were the French floral lace and silk satin over-bodice. The satin over-sleeves had to be entirely hand-sewn to the lace. The rouleaux embellishments are clearly visible in this picture.
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20 views
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1910 French Sketch20 viewsThe shorter sleeves and sleeve frills of this design were used in our style. Note that both this and the other design show dotted fabrics. Polka-dot silks were extremely popular from about 1910 through to 1912, and then virtually disappeared from fashionable wear until the 1930's.
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19 viewsThis picture shows the construction of the bodice back and the upper back of the skirt. The gown closes at centre back (hook & eye closures).
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19 views
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19 views
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18 views
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18 views
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18 views
1906_SilkPrint-GownFrnt.jpg
Full View of Gown Front(2)18 viewsThis is the quintessential early Edwardian silhouette -- pigeon-breasted bodice, full but softly draping, swirling skirt; narrow, defined waistline and high boned collar, with lace everywhere.
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Full View of Gown Back18 viewsLike most fancy day gowns of the era, this has an extremely full skirt with a wide, sweeping train. The size of the skirt (over 5 yards of silk) is belied by the lightweight quality of the silk, making the gown float smoothly over the body when worn. By 1906 dressy day gowns, and all evening gowns were made of lightweight, if not completely sheer, textiles, in stark contrast to the stiff, heavy brocades and failles of the Victorian era.
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Front view of gown18 views
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Detailed view of silk blouse17 viewsThis blouse is a rather "formal" style, consisting of an ivory lace collar and yoke, ivory silk taffeta trim at front, across shoulders, and on the outside of the sleeves, with ruby silk satin piped edging
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17 views
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View of Bodice Front17 viewsThis 1906 gown still has the separate bodice and skirt, which was a holdover from designs of the Victorian era. Toward 1907, the idea of both bodice and skirt being attached together as one garment became fashionable, and for the most part by 1910 bodices were no longer constructed as a separate garment.

The wide, stiffened silk satin waist sash hides the junction between bodice and skirt. Notice the lavish use of lace trim on the bodice, as well as the faux crystal baubles and faux pearl buttons.
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1910 French Sketch17 viewsOur replica was based primarily on this design, with the shorter sleeves and lace frill taken from the other 1910 fashion sketch shown
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17 views
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17 viewsRead the annotations on each photo describing the steps involved in sewing these seams.

CLICK on the photo to enlarge.
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17 views
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16 views
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16 views
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16 views
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16 views
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Our replica, shown with a copy of the 1912 French fashion sketch16 viewsWe constructed our replica from almost exactly the same fabrics, in the same colours, as described in the original 1912 French text for this style -- Glen check pure wool in cinnamon-brown tones, off-white silk shantung collar, cuffs and skirt contrast, with dark brown silk satin bands trimming the edges.
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Full View of Gown Front16 viewsIn this photo, the train was swept forward to show the "Edwardian swirl" of the skirt that would result when the wearer walked and then turned slight to stop.

This movement of the skirt created what was considered fashonable effect when a woman walked, hiding the feet almost completely. The more a woman could appear to simply float along, the more elegant she would be. Observing this movement of the "élégantes", the satirist Oscar Wilde described such women as "crabs on wheels".
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Antique Sketch from early 1912 issue of La Mode Illustrée16 viewsThese antique sketches show both aspects of this elegant cape-jacket, with its contrast collar, sash, and bands on the sleeve edges.
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1911 French Sketch15 viewsThis is the original sketch from late 1911, from the design in the French fashion publication from which our replica bridal gown was developed.
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Detail of Skirt15 viewsThe wool skirt had a shaped flounce or band embellished with soutache in a wine-red colour. The soutache design was authentic to the original 1912 fashion sketch (see the B&W antique sketch in this album).
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Skirt shown with our 1912 Cutaway Jacket & Silk Blouse15 viewsThe patterns for all three of these pieces (Skirt #1912-A-064; Jacket #1912-A-005 & Blouse #1912-A-009) are planned to be available for sale in our eBay store in the summer of 2014
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Detail of Underskirt14 viewsThe underskirt of this gown was finished in the way it would have been in 1911/12 -- with a pleated frill, embellished with a silk satin ribbon edged with Valenciennes lace
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14 views
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14 views
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14 views
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13 views
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13 views
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Detail of Blouse Front13 viewsThis blouse was created in exactly the same textiles as the original 1912 design -- Coral/strawberry coloured pure silk brocade (or jacquard), ivory silk taffeta contrast at shoulders, on back of sleeves, and on faux "lapels", fine guipure lace for yoke and collar, and ruby red silk satin piped edging and satin-covered buttons
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Jacket Front Detail13 viewsThe deep ruby-red fringe trim, silk velvet lapels and draped sash were a perfect foil for the maroon-brown colour of the wool. The jacket closes in front with hooks & eyes (the button is decorative).
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1912 French Fashion Sketch13 viewsThis was a very "fashion-forward" design for its time, anticipating the later rage for tunics in the latter part of 1912 and throughout 1913.
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Antique Fashion Sketch of 1912 for This Design13 viewsWe coloured this sketch to correspond to the description given in the 1912 fashion publication -- old rose linen with white linen underskirt, white linen contrast collar and white linen-covered buttons.

The original 1912 design called for the embellishment to be embroidered entirely by hand. However, we located some Venise lace trim that very closely mimicked the antique embroidery design. In 1912, the hand-embroidery would likely have taken several workers a number of weeks to complete.
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View of Skirt Soutache Detail13 viewsWe copied exactly the soutache design from the 1912 fashion sketch. Soutache was applied by machine with a free motion foot using the finest silk thread (#100 weight) in a matching colour to make the stitching as invisible as possible.

Click on the photo to enlarge and see details.

The individual soutache "medallions" were shaped and sewn into place by hand.
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Back closures of gown(with under-bodice fastened)13 viewsThis evening gown closes in the very typical manner of most formal Edwardian gowns of this era - layer by layer, asymmetrically, over a boned silk (or sometimes cotton) foundation or under-bodice. See the following photo with the under-bodice opened to show its fastenings. A full day's work was involved in completing and hand-stitching in place all the hooks, eyes and snaps that formed the closures on this gown.
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13 views
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13 viewsThe gown made in taupe charmeuse, with pewter-grey china silk Underskirt, silver-grey silk taffeta Foundation, and tea-coloured lace Overbodice.
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13 viewsRemember you can click on any photo to see details!
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13 views
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12 views
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12 views
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Blouse and Skirt with velvet sash12 views
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12 views
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Jacket Opened to Show Silk Satin Lining, Silk Blouse, and Draped Velvet Sash12 views
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1912 French Fashion Sketch of Skirt12 viewsThis skirt design is available as our antique sewing pattern #1912-A-064.
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12 views
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View of Bodice Back12 viewsThis gown's closures were designed in the typical early Edwardian manner -- outer bodice open to bottom at front, crossing right-over-left over the boned under-bodice, and fastened at the side and shoulder with hooks, eyes and snaps; Collar attached at front, but looping around to close at centre back with hooks, eyes and snaps.
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1912 Antique Sketch of Walking Suit12 viewsThis was the sketch of the 1912 French walking suit design that we developed for our pattern and the replicas. The wool replica suit was made in a size considerably larger than the French original, so the proportions appear somewhat different from the fashion sketch.
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12 views
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1913/14 French Fashion Sketch of Gown Back12 viewsFortunately for me in this project the original French design included a sketch of the back -- it helped enormously to be able to refer to this during the process of re-creating the gown.

More often than not this information is completely absent in the French antique designs I develop, and it sometimes becomes a matter of having to make an entire mock-up in muslin to be able to see and make sense of the structure of a garment. The finished concept or structure of an Edwardian gown isn't always obvious from the antique pattern pieces!
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12 viewsA sublime late-Edwardian evening or dinner gown, in the typically complex multi-layered cut so fashionable at the time. The gown is built up on a boned ivory taffeta foundation, with a China silk skirt lining to just below knee level, so altogether there were 8 layered sections to this gown.
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12 views
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11 views
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11 views
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11 views
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View of suit front, jacket collar detail, side-front and back of jacket11 views
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Walking Suit Displayed with Replica Edwardian Hat11 viewsThis walking suit design was from the early summer of 1912 and was originally intended as a summer ensemble. However, we also made this pattern in wool for winter, in two colour variations. See the other albums for this 1912 walking suit for those photos.
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Lower Front of Skirt and Underskirt11 viewsThe full underskirt, lined with a dark grey silk satin lining closes at left. The tunic (overskirt) closes at centre front with a number of strong hooks, eyes and snaps, as well as the silk/wool twill covered buttons.
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11 views
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Detail of Cape-Jacket11 viewsHere the detail of the bronze silk satin band is clearly visible, as well as the bronze-coloured silk satin (a slightly paler shade) that was used to line the jacket.
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Detail - Blouse Front11 viewsThe main fabric used to produce this blouse was a beautiful iridescent coral-strawberry coloured very lightweight silk brocade. The faux "lapels", shoulder trim and triangular trim on the back of the sleeves was done in pure silk taffeta, and the edging in ruby-coloured silk satin. A fine French lace in ivory was used for the high boned collar and yoke. These colours worked perfectly against the deep maroon-brown of the skirt and jacket.
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Blouse (pattern #1912-A-009) & Skirt (pattern #1912-A-064)11 viewsThese two pieces looked particularly good together as a set. Blouse shown in this photo without the velvet sash that would have been worn with the jacket + skirt ensemble.
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11 views
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Shown as worn with Silk Blouse11 viewsOur blouse pattern #1912-A-009 is planned for availability in the summer of 2014.
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Front View of Skirt, Showing Soutached Panels11 views
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11 viewsThe September, 1913 French fashion sketch from which our replica was developed. The original text described the gown as being made of emerald green silk with white silk chiffon overlays, and we created our replica in the same fabrics and colours.
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11 views
1912-A-040_EnvCover_001.jpg
11 viewsPattern envelope cover for #1912-A-040 with size details.
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10 views
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