The Vancouver Museum curates another dazzling show of historical costume for women.

The vancouver Museum has mounted an exhibition of women's fashions from the 1890s through to 1914 called La Belle Epoque. Women’s fashion has always been a popular topic, since it reflects a society’s culture, morals, politics and a women’s role, and La Belle Epoque was a period of great ease and relateive luxury just before the First World War. Women’s fashion was accessible to all, even poorer citizens who could find lower-cost versions by buying the pervious season’s styles and updatiing them.

The Beginning of the1890s

Dresses from this period were tight at the waist, requiring the use of a corset, a bustle pad for the rear, a high bust, a slight vertical puff of the sleeves and straight skirts with a small drapery extended to the back.

At home, women wore loose teagowns without corsets, and their afternoon or reception dresses would often show off a bit of skin. Dinner and evening wear saw bare arms and some exposed décolletage, with evening coats concealing the outfits until they were ready to be revealed at the opera box, dinner or ballroom.

The Late 1890s

The end of the decade proved an even stronger pursuit of the tiny waist, with larger skirts and sleeves and smaller waistlines. Rich and strong colours were worn and were often paired in unusual combinations.

1899-1903 “Art Nouveau”

In staying with the Art Nouveau design popular at the time, a women’s garments clung to her figure with fitted sleeves, a high bust, padded chest and small bustle at the back of the hips. This created the “S” silhouette that was seen as beautiful.

1904-1908

This is a transition period where designers became celebrities, and styles traversed countries to expand internationally, mostly inspired by Parisian haute couture found in magazines. The “S” shape was replaced by a more vertical emphasis as sleeves expanded yet again, and skirts were high-waisted and angular.

1907-1909 “Directoire Revival”

Styles were slowly leaning towards a more angular and mannish design, creating an elegant hourglass shape and slender silhouette. The high-waisted skirts, slender sleeves, tailored coats, full cravats and large hats with sweeping brims were put on display. With cities expanding their narrow streets into wide boulevards, department stores joined cafes, theatres and cabarets that lined the streets and produced a “see-and-be-seen” atmosphere on the avenues.

1910-1912 “The Empire Revival”

First seen in France from around 1804 to 1813, vertical gowns were de rigueur, and waistlines began just under the bust. The thin, tubular skirts and tight-fitting sleeves and bodices were then called “Fairytale Dresses” and are now described as the “Empire Line.”

1912-1914 “The Hobble Period”

French designer Paul Poiret headed this phase after seeing the Sheherazade ballet by the Ballets Russes. Asian exoticism influenced the new “hobbled” skirts that draped into tunics and peg-topped “harem” silhouettes. Pictures of the day show kimono sleeves and obi-style sashes in rich colors.

1914: The End of La Belle Epoque

The beginning of the War brought with it new roles for women, and the focus turned from lavish fashion that constrained movement to a more practical approach. By the end of 1914, “hobble” skirts had disappeared as women adjusted to a more active lifestyle.

See the full exhibit at the Vancouver Museum, 1100 Chestnut Street, Vancouver, British Columbia (Canada). Telephone: 604-736-4431. Most dresses and accessories courtesy of Ivan Sayers collection.