Hi everyone! Welcome back to my deep dive into the fascinating world of Charles Frederick Worth!
Last week, we explored three incredible curiosities about the father of haute couture - from his secret pricing code using a mysterious French phrase, to how his wife Marie became history's first fashion model, and the amazing stories of his famous clients like Empress Sissi and the eccentric Duchess of Castiglione.
But Worth's innovations didn't stop there! This week, I'm sharing three more captivating discoveries about this fashion revolutionary: how he transformed the female silhouette (and the surprising resistance he faced), his role in democratizing fashion through patterns, and his spectacular theatrical costumes that made all of Paris talk.
If you missed Part 1, you can catch up here - but these stories are just as fascinating on their own!
Ready for more Worth secrets? Let's dive in!
4. The Revolution of the Female Silhouette
Worth was instrumental in transforming the female silhouette of the 1860s, though he faced significant opposition. While he wanted to abolish the crinoline entirely, he encountered resistance from authoritative fashion publications like "Le Follet", which considered the crinoline indispensable. According to some, the crinoline was "fundamental as a product of modern science", more than a fashionable item, that allowed for wide and voluminous skirts.
Despite Worth's revolutionary vision, he had to compromise with his clients' preferences. He introduced elliptical dresses and pioneered two new styles: the "princesse" dress - flat at the front with gathers and train at the back, and the "fourreau" or "sheath dress".
The term "fourreau" had been used for centuries, but during the 1860s it described a specific garment featuring a princess cut with body-skimming fit achieved through curved seaming. Worth's interpretation maintained the streamlined silhouette that resembled a cassock in its straight lines, while still incorporating the fashionable train at the back.
For more information about the fourreau's origins and evolution, see the bibliography - there's a fascinating recent study I found that explores this topic in depth
Interestingly, even under the streamlined fourreau, Worth's clients insisted on wearing a small crinoline, showing how essential this undergarment was in women's fashion consciousness. This tension between Worth's innovative vision and social expectations illustrates the complex process of fashion evolution.
A silouhette of the 1860s that features princesse cut.
5. The Surprising World of Worth's Patterns
While Worth is famous for his exclusive haute couture, he had a surprising side business that few people know about: selling patterns to the masses. Worth understood that his influence could extend far beyond the wealthy elite who could afford his custom gowns.
He developed a clever strategy, publishing patterns in popular magazines like Le Printemps, The Englishwoman's Domestic Magazine and Harper's Bazar.
His reasoning was both practical and somewhat protective of his reputation - as he put it, he'd rather provide the pattern for a beautiful gown than watch someone create a "shockingly bad copy" of his work.
This wasn't just about extra income (though Le Printemps alone published 480,000 paper patterns!). Worth seemed to genuinely believe that women of more modest means deserved the chance to wear his designs. A dress à la polonaise pattern he offered in The Ladies' Treasury in 1882 is a perfect example of this democratic approach to fashion.
In essence, Worth was pioneering what we'd now call "diffusion lines" - making high fashion accessible to a broader audience, over a century before it became standard practice.
6. Theatrical Costumes and Masquerade Ball Creations
Beyond haute couture, Worth created spectacular costumes for theatrical productions and elaborate masquerade balls that were all the rage in imperial courts. These weren't your average parties; they were spectacular theatrical events where society hosts competed to throw the most lavish celebrations imaginable.
Worth had built up an incredible archive of historic engravings, paintings, and actual period costumes for inspiration. He particularly loved styles from the 16th to 18th centuries, which made perfect sense since his wealthy clients lived in residences decorated in those very periods.
Some of his most famous creations were for Empress Eugénie herself: a "Night" costume in black tulle with white marabou feathers, a stunning Dogaressa outfit in black velvet and red satin for the 1863 Carnival Ball, and a robe à l'anglaise copied directly from Marie-Antoinette's portrait by Vigée-Lebrun.
Some of Worth House spectacular theatrical and masquerade costumes from the 1860s-1890s
But the real innovation was the legendary "Bal des Bêtes" (Ball of Beasts) in 1885. Princess de Sagan appeared as a peacock with a magnificent train of peacock feathers and a diamond headdress - actually a recycled design Worth had originally created for Empress Eugénie!
Worth peacock gown, 1864.
Meanwhile, Mme Lambert caused absolute chaos dressed as a tiger, complete with a tiger-skin train and a hood made from an actual tiger's head - something that would horrify us today, but was considered the height of luxury in 1885!
Worth was so brilliant at this that celebrated photographers like Paul Nadar made entire albums of his costume creations, many of which survive today. In 1891, he even donated his complete collection of historic costume designs to the Maciet library - quite the legacy for someone who started as a draper's apprentice.
Conclusion: The Legacy of a Visionary
If you get the chance to visit the Worth exhibition in Paris, definitely go! It's fascinating to see how one man basically created the fashion industry we know today and those costumes are amazing!
As someone obsessed with historical fashion, Worth is a huge inspiration for my work. His perfectionism, creativity and respect for traditional techniques are exactly what I try to bring to my own patterns.
Have you ever dreamed of wearing a Worth gown? While I don't have Worth-specific patterns yet, you can recreate that elegance having fun with my historical patterns.
Bibliography:
- Saunders, Edith. Age of Worth, Couturier of the Empress Eugenie. Available at: https://archive.org/details/ageofworth00edit/page/n5/mode/2up
- Lacroix, Christian. The House of Worth: Portrait of an Archive. Thames and Hudson.
- Worth: The Father Of Haute Couture by Diana De Marly: https://archive.org/details/worth-the-father-of-haute-couture-diana-de-marly
- The Fashion Archaeologist. "Understanding Fourreau." Available at: https://www.thefashionarchaeologist.com/uploads/1/2/1/6/121630325/understanding_fourreau_pdf_.pdf
- Museo del Traje, where the elizabethan style dress was hosted
- Worth exposition in Paris
Explore my collection of Victorian and Edwardian patterns in my shop