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The Vintage Fashion Guild™ (VFG) is an international organization dedicated to the promotion and preservation of vintage fashion.
The Vintage Fashion Guild™ (VFG) is an international community of people with expertise in vintage fashion. VFG members enjoy a wealth of resources, avenues for promoting their shops and specialties, and camaraderie with others who share a common interest and passion.
As the Victorian era drew to its close, skirts for both day and evening were elongated at the back to form a train. The silhouette was slim at the hip, accomplished by pleating and smocking the excess fabric. Any fullness in the skirt began below the knee. Decoration was achieved through large and small tucks, hem ruffles, buttons, and lace inserts. For day, ladies wore very high necks, and the bosom had an undefined, full shape over the boned bodice, which often ended below the waist. These pigeon-breast or mono-bosom bodices often featured wide cape-like collars that dropped from the shoulders. Sleeves were generally fitted from shoulder to elbow, then full to the wrist. A double-sleeved effect, featuring a small, gathered under-sleeve revealed at the wrist, was seen often.
Evening dresses were more daring and were worn off the shoulder, with or without sleeves. The Edwardian era began mid-decade and initially took a retro step, with small balloon sleeves and very nipped-in waists last seen in 1895. Skirts, although full, were rounded. Fabrics were soft and allowed to drape. Wide sashes or cummerbunds were de rigueur.
The retro look quickly faded in favor of the revolutionary designs of Paul Poiret, who quickly became the most prominent fashion designer in Paris. He showed slim, straight skirts and insisted on fewer undergarments. His decrees resulted in the disappearance of the high, boned collar and in the loosening of women’s corsets, allowing them to literally breathe sighs of relief. This new freedom enabled a higher-waisted look, and Poiret’s empire line was popular. Most representative of the period were the amazingly detailed, superbly constructed gowns. These featured lace, cord work, appliqué, soutache, beading, tucking, and inserts—very often on the same gown! The great Haute Couture houses of this era include Worth, Doucet, Lanvin, Boue Souers, Callot Souers, Paquin, Lucile, and Fortuny.
Written by The Vintage Fashion Guild
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1900 Brown and Cream Silk Dress
1901 Battenberg lace wedding dress
1902 red silk print dress
1902 black and white silk afternoon dress
early 1900 rhinestone paste collar pin
early 1900 Cornucopia brooch
early 1900s 14k amethyst and pearl brooch
early 1900s Arts and Crafts celluloid brooch
early 1900 wool and tape lace dress
early 1900s piano shawl
early 1900s silk dress
early 1900s baby cotton dress
1902 lawn dress
1903 flecked wool walking suit
1904 silk gown
1905 beaded lace and tulle ballgown
1905 handmade Battenburg lace gown with mono bosom bodice and trained skirt, labeled B Altman, Paris New York
1905 net silk and lace blouse
1905 lawn dress
1907 steel gray Fortuny Delphos gown
1908 Fortuny gold painted silk tunic dress
1908 silk peignoir
1908 silk cut velvet gown, labeled Worth (designed by Jean-Philippe Worth)
1909 gauze and satin gown
1909 embroidered silk dress by Madame Glover