The Actress and Fashion

A short treatise on the actress' influence on Edwardian fashions followed by some fashion articles reproduced from period magazines.

• The Actress as Fashion Icon
• IN THE BOUDOIR (Article 1)
• IN THE BOUDOIR (Article 2)

The Actress as Fashion Icon

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 fashions thus 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. Following these articles is a short treatise on fashion in the Edwardian era.

IN THE BOUDOIR - FASHION ON THE STAGE

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

IN THE BOUDOIR

THE INFLUENCE OF THE STAGE ON FASHION

THE influence of the stage in the world of dress has never been more pronounced than it is now. Mlle. Mars was the first actress to decisively set the fashions, and she never realised her power until she wore that canary-colour terry velvet dress across the footlights, which, in her opinion, was a frightful gown. Such, hovever, was not the impression left on the minds of those who saw it, as the following day all Paris was discussing its charm, and the smart mondaines were ordering dresses made of terry velvet of this shade. The "Merry Widow" hat that made its debut at Daly's Theatre is too well known to require description here. It is many years ago since "Peter Pan" arrived, nevertheless collars of that ilk are still with us, and so are the Quaker collars, although their birth is of a more recent date.

A DRESS FOR BUSINESS

Miss Hilda Trevelvan in "Little Miss Llewelyn" looks perfectly charming in the first act when performing the mission of clerk in her father's office in a lilac print dress with a lily-of-the-valley leaf-green Princess overall, her hair is parted on one side and dressed low at the back. At the dinner, where her betrothal is to be announced, she is seen in a white chiffon dress, the skirt enriched with a deep flounce surmounted with ruchings of lace. The decolletage (low cut neckline) is finished with a neat turn-over collar bordered with lace, the picture completed by a folded blue silk sash, the ends weighted with fringe.

THE ELIZABETHAN MODES

That there will be a revival in the modes that prevailed during the Elizabethan period is a foregone conclusion. It is not the essentials that we borrow from the historical plays, but rather the accessories, that by skilled hands are woven into the fashionable toilettes of to-day. The velvet hat with soft crown and narrow brim decorated with an ostrich plume is seen in various shops in the metropolis; as a matter of fact, it made its appearance a few days after "Drake" was produced at His Majesty's Theatre. Furthermore, it is rather a strange coincidence that in "Doormats" Miss Marie Lohr's choice has alighted on a dress provided with a lace Medici collar, naturally in a modified form. To put the matter in a nutshell fashions are lance, but no one is able to authoritatively state whether they will be a success until the leaders of fashion have seen them. Hence it is that the leading couturieres, instead of concealing their creations as heretofore, now place their best creations on the stage, so that the world and his wife may have an opportunity of weighing them in the balance.

ALLIANCE OF PICTURESQUE AND SEVERE LINES

Many novel effects are introduced in the dresses worn in "The Little Cafe." It is much to be regretted that one has such a fleeting view of the evening gowns in the second act. Miss Seymour's royal blue velvet dress in the third act is an admirable example of the charm of the alliance of the picturesque styles of yesteryear with the long and graceful lines of to-day. The salient feature of the skirt is again the ridinghabit drapery at one side, which in this instancs is achieved by gauging. The corsage is of royal blue velvet, the front concealed from view by a drapery of lace fastening with velvet and softened with tulle. Another dress worn by Miss Seymour is innocent of all seams, the apple green velvet being swathed round her figure, while diamante lace forms the right side of the corsage. This is carried over the shoulders, and continues in a panel to the hem of the skirt. The left sleeve is likewise of lace, and depending therefrom is a long stole to match weighted with silver fringe. Quite charming is Miss Peggy Hyland's dress of white charmeuse; the skirt is looped up at the back with a single end of tangerine velvet ribbon that springs from the waistband; in front there is a narrow panel decorated with a line of small tangerine velvet buttons. The coat of the Russian character is provided with a deep basque, and then when she dons her pansy velvet coat she is the most adorable (cuddlesome, from a man's point of view) little creature imaginable.

THE RIDING HABIT SKIRT

Reverting to Miss Lohr's dress, the skirt is draped across towards the left side in the riding habit manner of the beginning of the last century, the draperies are held in position by a motif of passementerie, whence falls a cascade of lace. Attention must be drawn to the lace undersleeves of this gown. They are provided with a pointed cuff that extends to the knuckles, the fabricating medium of the dress is rose-pink bengaline. As everyone is discussing the ridinghabit draperies incidentally, it may be mentioned that Miss Constance Drever in the last act of "The Grass Widows" is seen in a white cloth costume in which this effect is very pronounced.

PANNIERS BANISHED

It is with the feeling of the greatest pleasure that the authorities in the world of dress have decided that it is no use to try and bolster up, as it were, the vogue for panniers. The word has been a misnomer from the beginning, now they are merely soft draperies; for no matter how broad-minded La Mode is in her commands, she insists that a straight silhouette be maintained from the waist to the ankle. Many of the new draperies fall away over either hip to expose the skirt underneath, or they may be provided with long slits on either side that are edged with fur, thereby giving the impression of mammoth pockets. Miss Ethel Irving, who is now play ing in "The Turning Point," has had her evening dress in the first act built on almost Princess lines, so that the graceful contour of her figure is not concealed. The fabricating medium of this dress is white crepe de Chine simply massed with tiny atoms of white jet, the waistline is not accentuated, the hem of the skirt also massed with tiny squares, oblongs and cubes of black jet with a Greek key border wrought in simuli gems; resting on the hem is an enormous scarlet poppy, a rather smaller one forming the Piece de resistance of the corsage in which black and white divide honours. Miss Lettice Fairfax's gown of sulphur-coloured ninon is provided with the softest of soft draperies embellished with superb diamond and pearl embroidery, that on the corsage alone cost nearly twenty pounds. In Miss Norma Whalley's dress in this act the pannier note is represented, but it may be regarded as the "last rose of summer," and would not have been there had not this talented actress shown a decided penchant for it. Miss Marie Tempest, whose pannier dresses in "In the Barn" created a furore of admiration, has abandoned them in "Art and Opportunity," fond as she was of them.

INDEPENDENT TRAINS

Quite a new departure are the independent trains, and it is to be hoped that they will play a prominent role at the fashionable dances this season. They are cleverly mitred into the skirts, and are so arranged that they can easily be swung over the arms when dancing, revealing the daintiest white lace petticoats and shoes with jewelled heels. The American woman is extremely fond of having the heels of her shoes treated in this way, but it has not found favour in the eyes of the Parisian and the English woman. Should they come into fashion this season surely a debt of gratitude will be due to Mr. Cyril Maude for producing "The Little Cafe."

First published in "The Playgoer and Society Illustrated", Volume 9, Number 49. October 1913