Culture Club

By the end of the Edwardian era, there were many cultural influences from round the world, seen in art, design, fashion and the performing arts.

(Source: Wikipedia) 'Proserpine' By Dante Gabriel Rossetti. This depiction of a woman is infused with feelings of longing and a sense that she is musing over something - one thing I really love is how the shimmer of the silk gown is captured perfectly , almost as if it's not a picture, but something happening right in front of your eyes.

During the Victorian Era, a group of artists named the Pre-Raphaelite Brotherhood formed and their influence spilled over into the Edwardian era. Founded by Rossetti, Holman-Hunt and Millais, they strove to create romantic art which was true to nature, expressed individuality and in a heartfelt way, and above all, was of an extremely good quality. They mixed poetry and art, and almost always depicted a beautiful, almost bohemian type of woman in their works - draped in luxurious, loose flowing gowns with long tumbling locks of hair.

(Source: parhedros.com) 'Lilith' By John Collier. This particular Pre-Raphaelite artist showed women in more fantasy - type situations, but still in keeping with the rules of being exactly true to nature.

They put extreme detail into their compositions to highlight all the beauty found in nature, of which they were heavily influenced - perhaps that's why their depictions of women seem in their most natural forms of beauty.The Pre-Raphaelites spent much of their time developing new methods of working - one being working pigment into a wet glaze to give a jewelled tone, which also helps to give so many of their paintings the almost photographic feel.




(Source: artmastered.tumblr.com) 'Venus Verticordia' by Rossetti - though the main focus of the image is the serene looking woman, the detail around her is extraordinary - photo realistic images of roses fall behind her, and an anatomically perfect motif of a bird sits, out of focus in the top corner. I love the halo of butterflies and the attention to detail so rigorous that the way the light would hit her hair has been included .


(Source: anglik.net)'Ophelia' by John Everett Millais

(Source: magnoliabox.com) Kate Dickens Perugini painted by Millais - yet again I'm blown away by the artist's description of the fabric, it's so true to form and you can see every crease and bend. The emotion seems intense,  and I think it's left to the viewer's interpretation as to what the emotion may be.

(Source: parhedros.com)


(Source: postercartel.com) 'A Race with Mermaids and Tritons' by Collier. Again, one of his fantasy depictions of  the human form.

This romantic influence can be seen in movements such as Art Nouveau, in which although the artist was freed from making everything realistic, there's a sensuality and adoration for the beauty of nature and women.


(Source: rentego.com) Alphonse Mucha's Art Nouveau illustrations - you can see how the sensuality and emotion is influenced by the Pre-Raphaelite creations, also especially in the way that the hair flows and the drape of the dresses.


(Source: Telegraph) 'Lady Lillith' by Rossetti.

Another highly influential place was Liberty London. Still standing strong today, the shop opened in the mid-1800's and by the 1900's was selling all sorts, like an Aladdin's Cave of cultural treasures; highly influenced by the Orient and the East of the world, it was the place to shop. It sold exotic fabrics, works of art and trinkets from the Eastern world, bringing a whole new sense of adventure to shopping.


(Source: londontown.com) The Liberty store on Regent Street today.


(Source: tracepattern.wordpress) Oriental rugs in the current Liberty store - the whole shop would've been filled with wonders such as this, especially in the basement 'Eastern Bazaar' - the mismatched feel of this is still reminiscent of an Eastern market today.

Every piece of furniture was lavish and decorative, and, after the costume department opened, it became the rival to Paris' Couture Ateliers, selling its own made-in-house clothing inspired by all the eastern wonders in the shop. Works from movements such as the Pre-Raphaelite and Art Nouveau were sold there too - this shop was one of a kind, and a hub for all the most creative of people to gather in London.


(Source: forums.thefashionspot.com) Beaded velvet evening coat by Liberty & Co. The drape on this is beautiful - the shape is so simple and yet the folds of the fabric and the intricate detailing from the beads makes this feel even more luxurious, and it's clear that this has been heavily inspired by the way clothes such as kimonos and saris drape round the wearer. The backless detail adds a flash of skin and gives an elegant look.


(Source: manchestergalleries.org) Evening gown by Liberty & Co.


(Source: tracepattern.blogspot.com) Just one small part of the Liberty print archives - each print has a sample and as much information as possible about it - there are thousands and thousands!

Today Liberty still lives up to its name, and is well known for its printed fabrics, designed and used by many a high-end designer.

Idols and Insurgency

The Gibson Girl, created by Charles Gibson in 1890, was an comic published in magazines and newspapers, but she was more than that; she was an idol for women to copy for 20 years. She embodied the beauty ideals of this time and therefore the look women were conforming to, but also had an attitude to her that would spark off change. 

(Source: thehistoryofthehairsworld.com)

(Source: giam.typepad.com)

(Source: books0977.tumblr.com)

The Gibson Girl was seen as the first American pin up, but her popularity was widespread and so those in Europe would copy the look; she was a slender, tall women with curves - an s bend figure obtained in reality by the corsets. Her hair was piled high on her head - curls and a sweeping fringe framing her face, which had a soft beauty to it, yet mischief sparkled in her eyes. It wasn't uncommon to walk down any western street and be surrounded by women all wearing the same look - Gibson Girl hair, a wide-brimmed hat, usually adorned with floral imitations, and of course - the s bend look.

(Source: artistsandart.org)

(Source: glamourdaze.com) Camille Clifford

(Source: hollins.edu) Irene Gibson

Her sense of style wasn't the only thing which women began to take note of and weave into their daily lives; she had an attitude about her that would begin to challenge the dominance of genders. Although she wasn't a figure for the suffrage movement or become involved in politics (as the 'New Woman' illustration was), the Gibson Girl was free and independent in spirit - she'd do what she wanted, but wouldn't challenge the social system too much. Charles Gibson depicted her as an equal to men; in one infamous comic, she and the other Gibson Girls are looking upon a tiny man with a magnifying glass, symbolising their power over him - the Gibson Girl's power was her seductive nature that went hand in hand with her carefree, single spirit.

(Source: www.loyno.edu)

The Gibson Girl was almost like a predecessor to the New Woman and the suffrage movement - she gave women the opportunity to be much freer, less quiet, and go right up to the limits of the status quo. For some women this was quite alright, but others wanted total equality for Women's rights; most namely, their right to vote. 

(Source: wikipedia) 

The Suffragettes were a group of women who partook in protests to gain equality to vote with the attitude that if women were to obey the laws set by the government, then they should have the right to choose who is making the laws they must obey, as well as the men around them. 

(Source: foolz.us) 

The protests started off peacefully at first - simply holding up banners reading 'Votes For Women' and arguing their point with politicians, but as that did not work, and many were violent towards them, some began violent protests such as fire bombing homes of politicians, burning down churches, vandalism etc. When they were sent to prison, they would go on hunger strikes - however not all were violent in the end. A tragic accident occurred when Emily Davison tried to peacefully throw a banner over the King's Horse - the horse trampled her, and she was killed. The Suffragettes were ready to die for what they believed in, and this continued right up to WW1, in which Suffragette leader Emmeline Pankhurst ordered the end of their campaign to help with the war - after the war, due to all the work women had done for the country, women finally recieved their right to vote.

(Source: musingsusingsandloosethings.blogspot)

(Source: BBC) 

(Source: mirror.co.uk) 

Restriction, Constriction

Although the Edwardian Era was a time of peace, prosperity and a general happy period to live in, women were still restricted and constricted, both in social and physical ways; women were seen everywhere as the 'weaker sex' (i.e. men were the sole providers and dominant figures in every place, and women were seen and not heard). They had ideals to live up to, which came in the forms of the tiny waists and lifted rear in the s-bend shape; women were tightly bound into a quiet state of being with an almost factory-produced figure of 8 figure. This constriction crushed their vital organs and ribcage, repositioning the body in a way which was extremely damaging for their health.


(Source: allwalks.org) Edith La Sylphe in an S Bend corset. It's both amazing and gruesome how dramatically altered her shape is - there must be absolutely immense strain on her back, it's a wonder how she can stand!


(Source: thinkquest.org)


(Source: squidoo) Having the top half of your body thrust forward looks so impractical and uncomfortable to the highest degree - a great amount of self restraint and will to do anything for beauty must've driven these women to pull their bodies in this much.

As time went on, health specialists began to notice the links between health problems and corsets, and so a new, looser form of dress emerged - the tea dress. Every day, there would be a few hours where the women would sit down for afternoon tea, and they would be able to change out of their corsets and into the tea dress with its empire line and lightweight, floating fabrics - their bodies, for those few hours a day, were freed.


(Source: oldrags.tumblr.com) A Parisian tea dress - although the length isn't very functional, it's a world away from the corsetry - the soft draping paired with the rich, deep blue and embellishment make a very elegant look, and although the waist is still emphasised with a belt, it's apparent that this wouldn't be forcing the body to behave in a different shape.


Source: 4cornercollision.tumblr.com)


Source: ladieshistorictea.blogspot.com


Source: edwardianpromenade.com) Women out in the day wearing hobble skirts and corsets underneath their daily wear

Another constricting (although not health-damaging) garment was the hobble skirt. It was a straight-down skirt which did not flare out anywhere so the wearer would only be able to take tiny steps, 'hobbling' around. It made life difficult for the women due to the fact that they could not walk briskly anywhere, let alone climb some stairs! In many ways, the fashions of the time brought more social restrictions by emphasising and almost making a caricature of the female figure, making her seem less capable by the difficulty with movement, and giving them certain time frames in which to wear certain garments.

Haute Couture and Pret-a-Porter

At the beginning of the 20th Century Haute Couture had risen fashion to new heights - the dressmaker was now a Fashion designer, and Couture ruled supreme. Although most looked to Paris couturiers, there was one English man who revolutionised the art of fashion.

Although law dictates that something can only be called Haute Couture if it has been made in an atelier in Paris, Charles Frederick Worth put the British stamp on this exclusive and prestigious fashion category by moving to Paris and changing the face of dressmaking.



Charles Frederick Worth (source: wikipedia)

Worth, dubbed the 'Father of Haute Couture', took away what he deemed unecessary (such as bulk added by frills and giant ruffles) and focused on redefining and flattering the female shape - shapes were streamlined and smooth. He used luxury materials and tailored the garment exactly to his customers needs; people travelled from far and wide just to have a Worth creation, and he became so exclusive that he had to turn down customers, creating for Princesses and film stars.




Dress for Empress Elisabeth of Austria by Worth (source: rubylane.com) and Valentino Couture Cape (source: stylefrizz,com) - You can see how even in modern times, designers have been influenced by a) previous fashion masters and b) similar works of beauty in our world; both look inspired by wrought-iron designs, and the visual impact is stunning!


Evening dress by the House of Worth (in 1902) (source: madameguillotine.org.uk)



Tea Gown by the House of Worth (source: metmuseum.org) - the billowing sleeves are a slightly different look to the usual tailored Worth silhouette, and give a softer feminine look. The basque waistline is flattering to all shapes and the overall look has both elements of drama and elegance.



Evening dress by the House of Worth (source: metmuseum.org)

Callot Soeurs, a French couturier, was set up by the four Callot sisters (Marie, Marthe, Regina and Josephine). They were famed for their cylindrical silhouette, using exotic trims and fabrics to give their garments a new and exciting aesthetic. They were inspired by lingerie and so many of the lightweight, luxurious fabrics and intricate techniques evoke that of the finest lingerie, adding an exquisite feel to their creations - some of which wouldn't look out of place on the catwalks or red carpet today.

Source: Pinterest (Callot Soeurs 1901)



Silk and metal thread ball gown by Callot Soeurs - 1905 (source: metmuseum) - the use of metal thread looks so ahead of its time - the sheer of the silk evokes a look of the most lightweight, finest chain mail armour, used in such a feminine way.



Callot Soeurs evening gown, 1908 (source: pinterest)


Fashion was fast becoming accessible to the masses - ready to wear collections appeared in department stores such as Harrods, and now those who could not afford couture had an alternative - mass produced garments inkeeping with the couture trends; although there was still a huge gap between the upper and lower classes, the lower upper class and higher middle class were now able to keep up with the trends and get a feel for the lavish lifestyle the fashion elite were living.

Edward Epoque

The Edwardian era, although short, was jam packed full of culture and decadance. Prosperity was still at large and so there was enough wealth to spend on lavish materials and products.



King Edward VII (source: englishmonarchs.co.uk): there is so much intricate detail on the garments in this - the layering of expensive materials gives a very exclusive look, complimenting his high status



(Source: mirror.co.uk) I love how this looks very orient-inspired; the collar and architectural qualities of this shirt give quite a mandarin vibe; perhaps influenced by the oriental and nature influenced Art Nouveau?

King Edward, unlike his mother (Queen Victoria), was very absorbed in society and frequently travelled, bringing back exotic clothes and objects and sharing them with society. He was always at the forefront of new fashions and became something of a style icon for those beneath him to be inspired by the new looks he was creating; heavily influenced by the fashions in France and the Belle Epoque.



(Source: vam.co.uk) Miss Lily Elsie - a popular performer during the Edwardian era; also one of the fashion elite. You can see Elsie positively dripping in jewels and lavish fabric - she is a perfect example of the public's ideals of living in the lap of luxury, which made her something of a style icon.

The Belle Epoque (French for Beautiful) is seen as a happy, peaceful time. France wasn't at war with anyone - like Britain, it too had an abundance of wealth and so this meant no rationing of materials was necessary; people were pretty much free to do as they wished! This in turn had a huge affect on the arts and fashion worlds - people were spending money to watch shows chock full of detailed and expensive costumes; the Moulin Rouge for example, was a place with luxurious decor and costumes; people were able to enjoy themselves.


Can-can dancers at the Moulin Rouge (source: pettipond.com)



(Source: exoticexcess.com) Take a look at the gilded walls/ceilings of this Belle Epoque apartment - it's all in itself a brilliant work of art!

Haute Couture raised in popularity, as many people wanted to wear one-off, exotic looking garments - around the same time, the first ready to wear collections were presented in Harrods; an infusion of the current fashions (tightly corseted with a bustle and wide hat) with hints of the sumptuous garments seen in couture. This made high fashion more accessible to the masses, so many more could enjoy the splendour of self expression!

Down by the Seine

Ohlala, Paree!

Paris was pretty much the epicentre of the art and fashion world at the beginning of the 1900's. It was the place where everyone looked to for the new ideas and trends, especially after the Exposition Universelle!



Above: Illustration of the Exposition Universelle - you can see how the landmarks are works of art in themselves and the perfect entrances/venues for this celebration!

The Exposition Universelle celebrated the best parts of the past century, and showcased new innovations which would lead the crowd into the new one. The Eiffel Tower, constructed for the previous Exposition Universelle served as an archway to lead the visitors in and served as a reminder of the past achievements in architecture.

http://www.youtube.com/watch?v=lasm1gGmck4 (Extracts of film from the exhibition)



Poster advertising the films to be shown in the Exposition Universelle (Source: wikipedia)

It was the first place to showcase filming and escalators; the films were of ballet and opera, both with moving images and sound. Visitors were also filmed and you can see them almost mesmerized by the moving floor! Things were changing and changing fast.



Whiplash hair: One of the most famous Art Nouveau illustrators, Alphonse Mucha, created images highlighting the beauty of the female form, surrounded by patterns of his own - I love how there's an edge of fantasy to this; her hair is impossible but amazing! (Source: kingofsenses.blogspot.com)

Another change kick-started in Paris was art - the Art Nouveau movement had begun. Pioneered by a new wave of artists in Paris who needed a change from the realistic forms of oil painting and simple stone setting, this movement saw art change - it became more abstract and adventurous, with smooth, fluid 'whiplash' curves in sculpture and lines allowing the artist to break free and make the work more dynamic. It also had influence from the orient, so the west was beginning to meet the east.



An example of the whiplash lines used in interior decoration - there's so much to look at and this is an art itself (Source: 4rts.wordpress.com)



A pewter Art Nouveau vase - again, celebrating the female form, the attention to detail is extraordinary (source: icollector.com)



New glass - this is just one of many examples of artists taking influence from nature and using old materials in new ways; I think using colour on the glass brings a whole new feel to the piece.



Close-up of Rene Lalique's 'Dragonfly' - the glass has been broken into pieces so tiny and the main jewels are unconventional; this is a prime example of how free jewellers had become - no longer were they just setting diamonds into gold jewellery - they were making art.

Jewellers used different and unusual materials to create their work - diamonds were set aside, and new gems such as emeralds were paired with ivory and copper to bring about a much more colourful, slightly whimsical style, and with this new sense of decorative arts, the world was entering an age of decadence.