An Artwork A Week: An Edwardian Gown [Part 1]
Originally published this time last year, this post covers the conservation processes used for restoring the exsqusite Buckley & Nunn Ltd evening gown, which was in the National Gallery of Victoria’s Australian Made exhibition. This is a double post (part 2 tomorrow) which will be of interest to textile enthusiasts and anyone interested in Melbourne’s fashion history.
This edition of An Artwork A Week features my expanded notes from the lecture: Conserving Couture – Beneath the Seams of Edwardian Extravagance (November 2010). Below are images from the exhibition, courtesy of the National Gallery of Victoria, as well as images (previously unavailable) of the gown which formed the subject of the Conserving Couture lecture. It is not a stretch to suggest that this is one AMAZING example of textile extravagance.
The Buckley & Nunn gown from c.1907 is a detailed collection of textures and subtle colours. Composed of bodice and a two layered skirt it exemplifies the Belle Époque style (meaning simply ‘beautiful era’). Perhaps the first details to attract the viewer are the multitude of sequins on the skirt of the dress. Varying sizes and shades of maroon and bronze sequins form a pomegranate pattern around the bottom of the skirt, and the branches weave from the centre front to either side. Circular sequin sections then give way to smaller individual sequins which cover the entirety of the sheer skirt fabric, known as bobbinet or tulle. The hem has a gathering of rich brown silk georgette.
Under the bobbinet is a peach coloured silk taffeta skirt, which gives the bobbinet its luminous tone. Under these two layers were the usual petticoats and bustle forming structures. The bodice includes the same detailed sequin work, on sections of bobbinet, as well as brown velvet and silk details. Tiny brown seed beads also adorn the bodice surface and pomegranates on the skirt. The asymmetry of the neckline and clear detail to texture and colour make this gown a stunning example of Australian craftsman ship and design.
Buckley & Nunn offered a complete shopping experience and prided itself as ‘the Shrine of Fashion’, custom made as well as ready-to-make garments (which would be cut by experienced staff to the customer’s choice of fabric, ready to sew at home. Custom made gowns were the preferred choice of women with means. It was important to observe the latest trends from Britain and Europe as well as to express one’s individuality and thus social standing. The Buckley & Nunn gown was made to the specifications of the client and may have only been worn once. Due to the weight and fragility of materials used a muggy day or a light rain shower were enough to reduce magnificence to rags.
Above is an illustration from the Ladies Home Journal, October 1900, contrasting the old Victorian corseted silhouette with the new Edwardian “S-bend” corseted silhouette.
The sinuous and flowing lines of this gown also exemplify the Belle Époque era. The posture of the manikin appears to bend forward, with both the bust at the front and bustle at the rear protruding. This uniquely uncomfortable shape was due to the S-bend corset worn at this time which forced a woman’s body, as the name suggests, into an S-bend. This style was also called the “Kangaroo stance”. See illustration. The fabrics changed during the late 18th century and early 19th century from bold colours to softer pastels with silk trimmings.
This gown is the centrepiece of the exhibition Australian Made: 100 years of Fashion. It is a stunning example of artistry – combining opulent materials, meticulous design and unmatched detail. My fingers tingled at the combination of textures! You could easily spend a long time looking at this gown; there is so much to take in. I was doubly in awe after the lecture on its restoration, the notes from which will be posted tomorrow.
Images of the Buckley & Nunn Ltd. gown above are courtesy of the National Gallery of Victoria’s facebook page.
Above:
Mrs Eeles, Melbourne (dressmaker)
1883–1908
Evening bodicec.1900
silk (satin), silk thread, diamantè, metal, baleen
30.5 cm (centre back), 13.0cm (sleeve length)
National Gallery of Victoria, Melbourne
Gift of Miss Bell, 1973
Above:
Miss Scott, Brisbane (dressmaker)
1874–89
Afternoon dress (c. 1878)
silk, cotton, metal, baleen
188.0 cm (centre back), 27.0 cm (waist, flat), 58.0 cm (sleeve length)
National Gallery of Victoria, Melbourne
Gift of Mr J. D. Oswald, 1970
Above:
Moubray, Rowan & Hicks, Melbourne (retailer)
1878–92
England (manufacturer)
Shoes (c. 1892)
silk, leather, paste pearl
(a-b) 9.5 x 5.5 x 23.0 cm (each)
National Gallery of Victoria, Melbourne
Gift of Mr J. G. H. Sprigg, 1971
