A short treatise on the actress' influence on Edwardian fashions followed by some fashion articles reproduced from period magazines.
The period from 1890 to 1914 was the last great age of true style and elegance, and in no other area was this more true than in that of ladies fashions. The French called this period 'la belle epoque', and in ladies fashion it was characterised by sweeping flared skirts, frilled bodices and large hats. This was also the period of Art Nouveau, and not surprisingly ladies' fashion adopted all of the tenets that arose from that movement. Not just in decoration of embroidery and cording etc, but also in the basic sweeping lines of construction.
Throughout that period fashions changed constantly year upon year and it was the actresses of the era that led the way. They above all others were in the public spotlight and the best among them were dressed at great expense from the collections of the leading fashion houses. Society ladies would seek to emulate the stylish fashions being worn by the stage doyennes so that the styles seen on stage at the beginning of the season would lead the way for that years fashions.
Of course, this imposed something of a burden upon the actress herself, especially for those of more modest means. Clara Morris, in her book "Stage Confidences" described it as the 'bane' of a young actresses life. She went on to say:
"But times are changed, stage lighting is better, stronger. The opera glass is almost universally used, deceptions would be more easily discovered; and more, oh, so much more is expected from the actress of to-day. Formerly she was required, first of all, to sink her own individuality in that of the woman she pretended to be; and next, if it was a dramatized novel she was acting in, she was to make herself look as nearly like the described heroine as possible; otherwise she had simply to make herself as pretty as she knew how in her own way, that was all. But now the actresses of a great city are supposed to set the fashion for the coming season. They almost literally dress in the style of to-morrow: thus the cult of clothes becomes harmful to the actress. Precious time that should be given to the minute study, the final polishing of a difficult character, is used instead in deciding the pitch of a skirt, the width of a collar, or open sleeve-strap, or no sleeve at all."
It wasn't just that the young actress had to spend an inordinate amount of her valuable time studying fashion, it was also that she had to pay for it. An actress' wardrobe (except perhaps where some special 'uniform' was required) was supplied by herself, not by the theatre or the producer of the play. Moreover, she would be expected to have a fresh wardrobe for each new production which might require two or three pretty outfits. With most productions lasting only around ten or twelve weeks she may perhaps be required to purchase a number of expensive outfits in the course of an average year. All of this represented a considerable drain upon her meagre earnings. But if she did not do it, she might suffer the bitter experience of losing a better part to some other aspiring newcomer who could outdress her.
For the more established actress this was less of a burden. A famous name like Camille Clifford could do a deal with one of the major fashion houses to get her outfits free in return for free advertising. She could even obtain on loan expensive jewellery to wear on special occasions. She would in effect become a living mannequin, modelling their lines on and off stage. The less successful actresses could cash in on this too to some extent, getting their wardrobes from the same fashion house and being allowed a special discount.
The power of the actress in setting fashion can be no better illustrated than by an amusing anecdote relating to the famous french actress, Mademoiselle Mars. When she was preparing for an engagement at Lyons a velvet trader of that town prevailed upon the actress to permit him an interview. Allowed into the esteemed lady's company, he spread before her a lengthened fold of costly yellow velvet, a gift if only she would have it made up for her stage costume - it transpires that the enterprising fellow had a large stock of the material and could not sell it and was looking to the actress to create a demand. The lady accepted the gift and turned it over to her dressmaker, but when she saw herself in the finished gown on the morning of the first performance she was horrified. "I look really ridiculous !" she exclaimed, "just like a huge canary, and I cannot appear. Call the manager, and postpone the performance." On hearing of this, her co-star, Monsieur Talma rushed from his dressing-room and profusely complimented the lady, assuring her of how fine she looked. The play went on, and within days all the salons of Paris were aglow with golden velvet.
Thus it was that the fashions exhibited by the actresses would be eagerly copied by the society ladies of the day. Women of rank would eagerly attend first night theatre performances to study the fashions being worn, often to the total exclusion of the play itself. They would then eagerly copy what they had seen so that it quickly became that seasons vogue. The importance of the theatre on fashion is exemplified by the theatrical magazines of the period, which paid as much attention to the dresses being worn by the actresses as to the merits of the production being reviewed (see my section on Productions), and often had editorials dedicated entirely to fashion in its own right.
Reproduced here are two articles from a period publications discussing the effects of the Stage on the fashions of the era (click to display selection).
SIMPLE FROCKS.
Simplicity is the characteristic feature of the frocks worn by Miss Marjorie Maude in "The Headmaster" now running at the Playhouse. Her choice in the first act has alighted on a pale pink crepe de Chine dress, relieved with fine turn-over collar and cuffs of white muslin edged with lace, while the now ubiquitous touch of black is introduced by a black satin cravat. Her evening dress in another act is carried out in white satin, with a beautifully draped over-dress edged with a single row of diamante crystals, the decolletage and sleeves being likewise lightened in the same manner. The skirt at the hem is cut up a few inches, while the ceinture is of flame-coloured tissue shot with silver. In her coiffure two quaint little crescent-shaped combs of sea-green enamel are arranged. In the last act she appears in a modish coat and skirt of pale blue bengaline, the coat being very shortwaisted.
MODES IN "ESTHER CASTWAYS."
There is always an immense fascination in the dresses worn by Miss Marie Tempest, as she endows them with an individuality which is wholly delightful. She makes her first appearance in pale buttercup shade broche, relieved with a large damask design. The draperies of the skirt cross over in front, and at the back are quite straight; but at the hem are treated in a very novel manner so that a train is formed. The corsage is slightly draped, and is supplemented with a V-shaped vest and net sleeves.
WONDERFUL DRAPERIES.
Miss Tempest in another act wears a dress of a delicate champagne shade of charmeuse. The draperies that spring from the shoulders are decidedly novel, falling in stole ends and weighted with diamante. On the skirt the draperies are on one side only, and are imprisoned at the knees, whence falls a diamante tassel. Shadow moire is the fascinating medium of the third dress. Here draperies are conspicuous by their absence, the skirt, however, is three tiered, being cut out in the form of a very long U, the short sleeves and vest being finished with hem-stitched chiffon.
LAPIS LAZULI BROCHE.
Perfectly exquisite is Miss Gertrude Kingston's dress in the first act of "Three" at the Little Theatre. The material is a lovely shade of lapis lazuli broche, with a ribbon pattern in gold, the pattern being arranged to bring out the good points of the figure. In front the skirt is cut Up in a V several inches, revealing an underskirt of accordion pleated tulle. The chiffon sleeves are of the angel persuasion, and fall in long, graceful lines that sometimes almost envelop the figure. The corsage is a blaze of diamonds, as in the centre there is a diamond ornament in the form of a starfish. From time to time she throws over her shoulder a blue chiffon scarf with bands of skunk at either end.
A MAGNIFICENT EVENING CLOAK.
The dress is quite simple, of black velvet relieved with gold feather embroidery on the corsage and sleeves, a line of the same decorating the skirt. Over this Miss Kingston assumes a regal coat of black and gold broche lined with shellpink silk. The scheme is completed by a moleskin coat decorated with an aigrette of shaded cerise ribbon with serried edge, and then she toys with an ermine stole and muff outlined with moleskin. A glorious study in rose shades is her dress in the last act; it seems to have been moulded to the figure; the draperies, however, were most artistic.
THE DIRECTOIRE INFLUENCE.
Turning to fashions generally, there can be no two opinions that the Directoire influence still leads the van. In the three piece costumes a bolero is worn beneath. Imagine a suit of a shade of unripe green corn, the material serge, the skirt slightly draped to the left side, the corsage being built on bolero lines, and the chiffon being decorated with braid; the coat a true Directoire with deep lace ruffles at the wrist, with jabot to match. The tailor-mades that are suitable for morning wear are decidedly practical and free from extravagance of style and material. Speaking generally, the coats are rather short, and there is a feeling for decidedly long waists. Attention must be drawn to the many novel ideas that have been introduced with regard to the arrangement of the seams; on the shoulders this is most noticeable. The smart mondaines seem to prefer the cut-away fronts to the square. Decidedly original is the way in which the collar is treated sometimes. It is small and unobtrusive when the neck is finished by a jabot of finely goffered tulle or point d'esprit and the same idea is noticeable at the wrists.
THE DISAPPEARING BELT.
Decidedly quaint are what may be termed the disappearing belts. They either match the dress or are of patent leather. They disappear at the sides, but "peep" out again, as it were, to fasten in front. The corselet skirt still continues to pursue the even tenor of its way; indeed, it is more prosperous than ever. Quite a new departure is to have it finished with a ruched belt of material fastening at the back into a buckle, although there are many people who still prefer the half belt and buckle, as seen in a man's waistcoat.
SKIRTS SILIGHTLY WIDER.
There are signs on the horizon that as the season advances skirts will become slightly wider, indeed a maitre couturier on the other side of the Channel is making his skirts at the hem from 12 to 18 inches wider, and the majority are draped to the left side above the knee. It is safe to predict that wrap-over and panel skirts will be well represented. It is pleasant indeed to chronicle the fact that pockets are coming into favour, quite useful affairs into which one is able to stow away a large number of things.
DAINTY LINGERIE.
Some exquisite examples of dainty Paris lingerie can now be seen at Messrs. Debenham and Freebody's, Wigmore. Street, W. The set illustrated on page iv. (facing first page of souvenir) is of a specially dainty design. It is made in fine lawn, inset with lace motifs, with edging of Valenciennes, being buttonhole stitched for firmness, and finished with ribbons. The boudoir cap is. of fine net and lace. trimmed with chiffon roses.
First published in "The Playgoer and Society Illustrated", Volume 7, Number 41. January 1913