Conservation Challenges in a 1910s Evening Dress

Western fashion changed dramatically during the first half of the 20^th century, reflecting the other technological and cultural changes of the era. The materials used to create these dresses can make them challenging to conserve, store, and display. This evening dress from the 1910s illustrates the effects of stylistic trends on garments that survive from the decade.

The dress (MdHS 1987.122.1) originally belonged to Mary Leigh Marriott (Mrs. Eugene Martinet), who wore it for formal events during her time as a student at Western High School in Baltimore. Fuller skirts became fashionable starting around 1915, so this dress’ relatively narrow skirt dates it to the first half of the decade. The dress is lightweight coral silk with a sheer chiffon tunic layered over it. In contrast to the bustles and full skirts of previous decades, this dress’ tunic and narrow skirt emphasize the vertical and recall the styles of the early 19^th century. The dress still requires a corset, but its silhouette bridges the 1900s hourglass and the almost purely columnar styles of the 1920s.

With its dolman sleeves, heavy beading, and kimono-effect collar, the chiffon tunic is an example of Orientalist styles popularized by couturiers like Paul Poiret and Callot Soeurs. These designers borrowed elements of Japanese and Middle Eastern design to replace the highly tailored and corseted styles of the 1900s and late 19^th century. Tunics and layered overskirts became especially popular around 1913-14. This highly fashionable element is also responsible for most of the dress’ condition issues.

Closeup of one of the fringed cuffs, showing both tarnished and untarnished beads.

The tunic’s collar and hem are trimmed with bands of white net, embroidered with small silver-core glass beads in a scroll and leaf pattern. Glass beaded fringe trims the hem and cuffs. Although the silver lining has tarnished in most of these beads, they were originally highly reflective, producing a dramatic effect in an evening setting.

Left: chiffon and net separating at the wearer's left shoulder. Tears in the netting are also visible.

Right: the tunic hem, with runs in the chiffon due to the heavy beading.

Closeup of the dress bodice, showing discoloration where the chiffon has contacted the beads.

Over time, the weight of the beads has stressed their lightweight chiffon and net backing. Both fabrics have torn and are starting to separate at the collar. At the tunic hem, where the beads have the least support, their weight has pulled at the chiffon, creating runs. The oxidized silver has also stained the fabric where the dress was folded for storage.

Although the stress points created by the beading make the dress too fragile to display on a form, comparable dresses like the one above at the Metropolitan Museum of Art allow us to envision the appearance of the Maryland Historical Society's dress when worn.  The effects of age and wear can make visualizing the dress' original appearance difficult, but it remains an important artifact of changes in early 20^th century fashion.

MdHS 1987.122.1 Gift of Doris Martinet

Sources and Further Reading:

Edwards, Lydia. How to Read a Dress: A Guide to Changing Fashion From the 16^th to the 20^th Century. London and New York: Bloomsbury Academic, 2017.

Glasscock, Jessica. “Twentieth-Century Silhouette and Support.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://metmuseum.org/toah/hd/20sil/hd_20sil.htm. (Last modified October 2004)

Koda, Harold, and Andrew Bolton. “Paul Poiret (1879-1944).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000-. http://metmuseum.org/toah/hd/poir/hd_poir.htm. (Last modified September 2008)

Olian, JoAnne. Everyday Fashions 1909-1920, As Pictured in Sears Catalogs. New York: Dover, 1995.