Background The tiny proportions (well under five feet) of his client did little to deter Worth from combining a wide range of textiles, trims, and finishes in the fabrication of this visiting costume. The bell-shaped skirt departs from the exaggerated bustle silhouette of the time, culminating in a slimly-seamed center-back cascade embellished by the color contrast of its crenulated hem. The dress epitomizes the verticality of the princess line. Description Redingote style, striped satin over lavender mock underdress; floor-length with slight train; bell-shaped skirt, flat in front, fuller in back; center front lavender panel, brocade mock sash crossed at right hip, draped either side of center front, brown and purple fringe at ends; lavender stand collar, integral brocade cravat; striped satin overdress, inverted pleats either side of center back, looped lavender ribbons, lavender fringe; stand collar; long, fitted sleeves, split at wrist, mock brocade undersleeve, pleated organdy cuff ruffle, lace edging; striped satin tabbed hem; center front button closure. Garment structure The dress is contoured with long vertical darts and is seamless at the waist. The floor-length overskirt hem is tabbed in a reprise of Worth’s mid-1860s designs. The 8½”-wide double dust ruffle is sewn to the underside of the hem on both the front and back of the skirt. The dress is lined with silk taffeta. The sleeves are hand sewn into the armholes and trimmed with narrow self-fabric piping, a wider brocade mock undersleeve and a pleated organdy cuff with lace edging. The edges of the seams are overcast with thread by hand. Worn by mother of donor. Gift of Mrs. Fritz J. Frank, 1940.

Background In addition to its elaborate non-theatrical designs, Maison Worth excelled in the production of opera and theater costumes, as well as fancy dress. New York’s late-19th century grand balls were ostentatious events, the most fantastic being the masquerade balls held by the city’s upwardly mobile nouveaux riches. The event hosted by William K. Vanderbilt, on March 26, 1883, marked the completion of his $3 million limestone chateau on Fifth Avenue and was a Gilded Age spectacle. It presented “The Wealth and the Grace of New York in Varied and Brilliant Array,” according to "The New York Herald." Mrs. Cornelius Vanderbilt II dazzled onlookers in Worth’s masterpiece the “Electric Light.” Description Bodice: Yellow satin; fitted, waist-length, center front busk point, basque, tulle drapery falling from shoulders to below hip; low wide neck, tulle inset, cord edging; sleeveless, tinsel, pearls, and cord at armholes; bead and looped fringe at hem; center front button closure. Skirt: Yellow satin, floor-length with extensive train; golden yellow satin peplum, embroidered yellow satin overskirt, open at back, gathered at center front knee, clear bead fringe either side center front, metallic and bead fringe at hem; velvet underskirt, starburst motif embroidery, twisted fringe at hem. Garment structure Fabricated in yellow and golden yellow satin with a midnight blue velvet underskirt and yellow tulle drapery falling from the shoulders, the dress is richly embellished with flat gold and silver metallic tinsel, embroidery with applied paillettes and clear and gold beads in lightning bolt and starburst motifs. Opulent quantities of metallic tinsel and looped cord edging in scallop motif, glass pearl and gold bead fringe, metallic twisted fringe and gold looped metallic thread fringe are all used in the design. The floor-length skirt has a pronounced bustle with a yellow satin overskirt and a midnight blue underskirt. The embroidered overskirt is gathered at center front and open at the back to showcase the starburst motif embroidery on the velvet underskirt and train. The overskirt is trimmed with metallic and bead fringe at the hem while the underskirt is trimmed with twisted fringe. Worn by mother of donor, Mrs. Cornelius Vanderbilt II, to the Vanderbilt Ball, March 26, 1883. Gift of Countess Laszlo Szechenyi, 1951.

Background The distinctive floral and organic patterns woven in Lyon for Worth became as much a house signature as customized design and workmanship. The highly dimensional rendering of the rose motifs is dramatically offset by the color depth of their background, causing them to project forward. The asymmetry of the design, with its scalloped hem and petal-pink chiffon trims, is typical of Worth’s work during this period. Description Bodice: Satin; boned, fitted, waist-length, center front busk point, sweetheart seaming at bust, inset brocade yoke; high V neck, chiffon ruffle; fitted, elbow-length sleeves, shirring at inner seam, turned-back brocade cuffs, pleated chiffon at opening; center front button closure. Skirt: Satin brocade; floor-length, flat front, pleated at back with train, hip drapery; brocade center front panel with inverted pleat reversing to rust satin, Van Dyked center front hem. Garment structure The asymmetrical skirt is floor-length with a train. The brocade front and side panels are gathered into a decorative drape on the right hip to expose the rust satin underneath. The front panel is finished with a facing. On the back, the blue satin is pleated to form the bustle and the train. Worn by mother of donor. Gift of Francis H. Markoe, 1931.

Background Otherwise formulaic in its classic mid-1880s silhouette and detail, this gown is distinctive in the bold contrast of its brocaded floral and solid background color. The hydrangea motif was also used by Worth in a more traditional scheme of primary rather than opposite colors to a more subtle effect. Description Skirt: Floor-length with train; center front pink satin panel with point d'esprit lace overlayer; lace drapery, hip to hem, left of center back, satin rosette below left hip. Bodice: Boned, fitted, waist-length, pleated basque; wide, V neck, point de gaze lace fichu over satin at front, lace ruffle at back; short lace sleeves, shirred and gathered satin bands at shoulders; center front lace-up closure. Garment structure The closely fitted boned bodice laces at center front to a deep V busk point. The brocade overskirt is open at the front to showcase a layer of point d’esprit lace, which scrims the center front salmon-colored panel. The lace drapes asymmetrically from the waist at center front to the back waist left of center. It is gathered just below the left hip and tacked with a satin rosette. The satin front panel has a slotted hem. Worn by mother of donor. Gift of Francis H. Markoe, 1931.

Background The mix of materials used to create 1880s garments, with their silk fringe, tassels, and heavy brocades, was more relevant to upholstery than to clothing. But in the hands of a master couturier, that combination seems perfectly appropriate. This ensemble’s key strength derives from the graceful blend of its materials and shapes: the petals of the elongated bodice fall fluidly over the hitched velvet bustle; the elbow-length mantle enhances the overall design; and the ornate fringes add unity. Description Skirt: Floor-length, flat in front, gathered in back; inverted V-shaped center front satin panel with seven graduated rows of fringe waist to hem; velvet drapery at sides, extending to bustle. Bodice: Satin; boned, fitted, hip-length; round neck; long sleeves with turned-back velvet cuffs, double lace ruffle at wrist; exaggerated points, with fringe, at hem; center front button closure. Mantle: Velvet; circular, fitted at shoulders; elbow-length; stand collar, silk ball edging, satin ribbon ties at neck; fringe at hem. Garment structure Petal-shaped points resolve the bodice edge and peek from beneath the fringe of the short mantle. The sleeves have turned-back velvet cuffs with lace ruffles at the wrists. The velvet overskirt opens into an inverted V-shape to showcase the beaded fringe design on the satin underskirt. Knife pleats finish the underskirt hem. The overskirt is directed to the back and gathered with the satin underskirt at the bustle. Worn by Mrs. Charles Boughton Wood. Gift of Mrs. Hokan B. Steffanson, 1936.

Background The innovative use of modular components to facilitate Worth’s custom process is particularly apparent in this evening dress. His popular contoured bodice is a focal feature, playfully accented by his use of contrasting, asymmetrical shoulder treatments. The combination of blood red satin and scarlet damask adds slenderizing interest to the bodice construction. Worth’s penchant for incorporating antique laces is masterfully demonstrated here. Notably, the lace has been draped and blended into the design with its integrity intact—no cuts have been made. Description Bodice: Boned, fitted; waist-length, deep busk points center front and back, satin stomach panels; wide décolletage, pleated satin at bust, pleated damask at back; sleeveless, satin ribbon and lace at right armhole, lace at left armhole, feathers at left shoulder; center back lace-up closure. Skirt: Floor-length with train; lace panels over satin at center front and sides; asymmetrical damask overskirt, draping at front from right hip to left knee, draped and gathered over bustle; feather cluster, satin ribbon at left knee; taffeta lining. Garment structure The draped skirt is lined with taffeta and has interior tie backs in the train to direct its thrust. The bodice is naturally boned with slender strips of baleen, which are inserted within hand-applied casings. The asymmetrical design is trimmed with ostrich feathers on the left shoulder and lace under the arm. The right shoulder is trimmed with a satin knot and lace, which is wired at the edge so it will stand up. Worn by mother of donor. Gift of Mrs. Phillip W. Livermore, 1941.

Background The very popular basic evening bodice is treated with only a light surface embellishment of beadwork and metallic. In keeping with the companion luxuries typical of a New York’s Gilded Age household, the bodice back drape is to be secured by hand stitches taken at the time of each wearing—and administered by a lady’s maid. Description Bodice: Boned, fitted, waist-length, center front busk point, crossover satin panel, right shoulder to left underarm, chiffon over satin at left bust and shoulder, applied rose motif, mock half sash; wide V neck, chiffon ruffle at back, applied beads, pearls and silver thread; sleeveless; shirred chiffon at armholes, center back lace-up closure. Skirt: Floor-length with train; applied rose motif on front panels, center front and left and right side inverted box pleats reversing to plain satin; plain satin back gathered into bustle drapery extending into train. Garment structure The skirt has three inserted, inverted, unadorned satin box pleats, one at center front and one at each side. The selvage of each inserted panel is used decoratively, with hand applied floral beadwork outlining each edge. Hand-applied floral beadwork sprigs sparsely cover the skirt front panels. The side back panels extend into an opulent bustled train. Worn by mother of donor. Gift of Mrs. Phillip W. Livermore, 1941.