#robe de style
Robe de style attributed to Lanvin, early 1920′s
From the Cleveland History Center on Pinterest
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The very surprising and brief return of the crinoline, 1920-30
A brief fashion was the return of the crinoline in the 1920s. In a period dominated by women abandoning their corsets and stiffened underskirts to instead don the tubular shapes, this is an example of different trends living side by side.
The 1910s also saw experiments with hip shapening, especially through Paul Poiret’s “Lamp Shade Tunic” (Sorbet) in 1913. But this was a part of his interest in theatrical “oriental” garments like the harem pants, turbans and Ballet Russe ensembles, and not necessarily something that widely caught on.
Many of the 1920s “crinoline” gowns were court gowns of different kinds, but with the amount in existence in museums around the world it appears the style was also adapted for non-court wear. It’s often referred to as “Robe de Style”.
- Evening/court gown, ca. 1920, Boué Soeurs (with embroidery by Lesage). Kunstindustrimuseet/Design Museum Denmark, Copenhagen ( X).
- Court presentation ensemble, 1928, The Metropolitan Museum of Arts, NYC (C.I.68.48a–e).
- Evening gown, 1920s, The Metropolitan Museum of Arts, NYC ( X).
- Same as no. 2, without train.
- Robe de Style, 1929, by the Boué Soeurs ( X)
- Same as no. 2, back
- Court presentation ensemble, 1932-34 (?), Boué Soeurs. The Metropolitan Museum of Arts, NYC (2009.300.1251ab).
- Evening/court gown, ca. 1920, Boué Soueurs. Worn by Countess Astrid Ahlefeldt-Laurvig. The skirt width indicates a stiffened underskirt would have been worn originally, and with it the dress would have been near identical to no. 3 and no. 8. Holbæk Museum, Denmark ( X).
- Evening/court gown, 1925-28, Boué Soeurs. Palais Galliera, Paris ( X).
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Robe de style ‘Marion Delorme’ by Boué Soeurs, Les Modes January 1928. Photo by Henri Manuel.
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“Marquise”
Robe de Style
Jeanne Lanvin
1925 (Approx)
“Marquise” robe de style of cyclamen coloured silk taffeta with built-in pannier structure.
Medallions-formed by open-worked compositions derived from Japanese mon-encircle the skirt as well as forming a linear border just above the hemline. Because the mon structure is created with voids, the metallic gold lame underdress shows through revealing a hint of glimmer where beading used to be employed for the same effect.
Images and text taken from: Lanvin - Dean L. Merceron, pg 98
(I came across these old scans, will re-do when I get hold of the book again.)
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