This striking asymmetrical dinner dress was made by Lucile between 1910 and 1912. It was designed for a woman in “half-mourning”, the third phase of the very complicated Victorian mourning practices which still lingered in the Edwardian era. Half-mourning allowed for the addition of white, gray and lavender to black mourning garments and also allowed for additional jewelry and ornamentation.
I received quite a few comments on the teeny-tiny waists of the Lucile gowns I posted (this one was a personal favorite).
Early in her career Lucile may have enforced the Edwardian couture standard for ridiculously corseted physiques, but it didn’t last long.
Lucile later became one of the most prominent couturiers to publicly support the “big-waist movement”, which expanded the fashion-dictated waist measurement from a heavily corseted 18-inches to a far more natural 26-inches in a matter of just a few years.
This article discussing the movement is from The Washington Post and was originally printed on September 22, 1909.
A beautifully embroidered evening gown entitled ‘Revelry’, Lucile, 1905.
A tailored walking suit and a dramatically veiled straw hat, Lucile, 1905.
An absolutely gorgeous visiting gown and bolero jacket designed by Lucile in 1905.
A striking lilac opera gown entitle ‘Intention’, by Lucile, 1905.
A gorgeous purple visiting ensemble by Lucile, 1905.
Some of Lucile’s titles for her gown may have gone slightly overboard on dramatics. This 1905 ensemble is called “The Tender Grace of the Day that is Dead”!
Lucile was fond of giving her gowns dramatic and descriptive titles. This 1905 evening gown is called “The Elusive Joy of Youth”!
A design for a dramatic navy blue and black evening gown entitled ‘Oblivion’ by Lucile, 1905.
