Queens outside of Fashion

Dearest Emily,

Of course I don't mean Fashion in the strict sense we understand it today. As you well know Em, Charles Frederick Worth (1825-1895) is the accepted wearer of the crown of the 'Father of Haute Couture'. After Worth, the machine was beginning to grow- its engine kick-started by Mr Worth- of British birth who established himself in Paris.

As an admirer, I revel in his work- and that he took the former Artisanial trade of dressmaking into a higher Art. Here are just some fabulous pieces (dear Dame Vivienne- you liked them too-didn't you?)

What's more he dressed some fabulous women of that time. Sarah Bernhart being my favourite example- but also look at these lovely illustrations for designs for Princess Eugenie's Ball...

The above illustrations were for a Ball in the 1860's, and Worth changed the way the maker was treated. The norm until then was that the 'dressmaker' would be told what to make. Worth- told the women he dressed- how it was going to be, and his demand was so high- that he turned clients away too. 

Over in the British Isles, Fashionable Society was corseted, and crinolined and bonneted. The 'Illustrated London News' reported the latest Fashions. Still mostly using Dressmakers- it was often more about the latest fabric trend than a change of style, for example Tartan being a new fave after Prince Albert's love of Scotland. Ruffles, ribbons, trims, bows- here's how it was being reported in 1860.

However- cross the water to a 'remote British Isle', where Tennyson led the way for Julia Margaret Cameron to set up her 'Salon'-  and we're quite outside of fashion. Naturally- the seaside climate being breezy, the surroundings rural- and clothing- even for the mannered Victorian, needs to change a bit. Little jackets perhaps? Even a shawl or two. But surely not so different from everyone else. For to be a mid-Victorian was to conform- to be exactly the same as everyone else.

Unless you are Julia Margaret Cameron or one of the famed Pattle sisters. As we've discussed Em- they were cut from a different cloth. In London before Julia's marriage- at Little Holland House (Sarah Prinsep's salon) the sisters would spend hours together chatting in Hindi, French and English- cutting up lengths of brightly coloured Indian silks- and making shock-horror- dresses that had loose waists- to be worn without corsets- the shape defined only by a tasseled sash-cord. 

Julia herself- not considered a 'Beauty' wasn't known for her own vanity. Often her clothes were stained with photographic chemicals, and she preferred observing and 'arresting beauty' rather than being observed herself. Rushing here and there- remarks were made- 'Mrs Cameron in her funny openwork shawl', 'The men cheered (jeered?) as Mrs Cameron crossed the down in her bright coloured dress'.

We know her work best- as a pioneering close-up- portraits of famous men, the romantic staged 'Idylls' and dreamy studies of children.

But here- we see an example of something else- almost a 'fashion-plate' Em. It's a Carte de Visite about 1873 of Julia's niece May Prinsep. I've done a bit of 'colouring-in' of course- but it is an example that leads me to think Julia might have been a bit more interested in style of dress than I've been led to believe.

We'll never be lucky enough to know what was in Julia's 'dressing-up box' Em- there are clues in her photographs- but the sepia record doesn't afford what must have been a riot of texture and colour.

We can only guess what influence the colourful character that was Mrs Cameron- along with her sisters- had on their circle and descendents- especially those more Bohemian-who went on to establish the Bloomsbury Group.

It is fun imagining though Emily, but one thing is certain- she would not have shared your love of shocking pink!

Give Annabel a kiss- but don't squash her.

Your ever-loving Grand-mother, GiGi xxx