The wonderful Lady Lever Art Gallery
in Port Sunlight has recently hosted a small but beautifully formed exhibition
of ten gorgeous frocks, entitled ‘Style from the Small Screen’. The designs of these frocks date from the
period 1912 to 1923 – some were period originals, others were made in the 21st
century but true to the style of the period. Many were used in the filming of
my favourite television series, Downton
Abbey, and worn by such glamorous women as Lady Grantham, Lady Mary Crawley
and my favourite character, the Dowager Countess of Grantham.
As so many of my friends weren’t able to
get to the exhibition, I am publishing this blog to share the delights with you
all. These garments, especially the evening dresses, are quite simply ethereal
and a stunning endorsement of the designer’s creative skills and the dressmaker’s
craft.
The
photographs are my own and the words that accompany each item are taken from
the exhibition labels. All are reproduced here with kind permission of the
exhibitions team at the Lady
Lever Art
Gallery , for which I am
extremely grateful.
Evening dress with train, silk satin,
marquisette net and machine-made lace, trimmed with gold metallic lace (right)
Made by T & S Bacon, Young Ladies
Department, Bold Street, Liverpool , about
1911-14
Before the First World War evening dresses
were made from a variety of luxurious fabrics, including silk, satin and
metallic lace. Like this dress, they were often layered to give a subtle effect
of changing colours as the wearer moved.
Gift
of Miss Catherine Holland, 1960. National Museums Liverpool
(This
and the other dresses gifted by Miss Catherine Holland were donated to National
Museums Liverpool in 1960 as part of a bigger collection of clothes from the Holland family. The Hollands were
Liverpool ship owners, and partners in the
firm of Lamport & Holt.)
Evening dress with train, silk satin,
silk chiffon and marquisette net, trimmed with celluloid sequins and glass
bugle beads (above and right)
Made by T & S Bacon, Bold Street, Liverpool , about 1910-12
Between 1910 and 1914 fashionable dresses
became increasingly complicated in their construction. Their shirts were made
from several layers of fabric, often cut asymmetrically, and bodices had high
necklines. Evening dresses like this one usually had trains and were decorated
with heavy glass beads and sequins.
Gift
of Miss Catherine Holland, 1960. National Museums Liverpool
Day dress, silk with embroidered details.
Hat, silk satin and printed silk (above and right)
Made by Cosprop, London , 2009
This dress was designed by costume make
Susannah Buxton and is largely constructed from new fabrics, with some original
trimmings applied on top.
It was worn by the actress Dame Maggie
Smith as the imperious Dowager Countess of Grantham in series two of Downton
Abbey, set in the period between 1916 and 1919. By that time, the fashion had
changed, leaving the shirt straighter and shorter with no train. The Dowager’s
brimless hat is till in the earlier toque style made recognisable by Queen
Mary, the wife of George V. Dowager Countess Grantham’s costumes are
made to create a look that dates back to her early Edwardian heyday, rather
than the more up-to-date fashions worn by the younger members of her family.
Courtesy
of Cosprop
Walking outfit, gros grain wool and silk,
cotton lace inserts. Toque style hat, fine silk brocade with feather and fur
trim (left)
Made by Cosprop, London , 2009
This suit reflects the obsession with
military dress in the early 20th century, using frogging braid as the
decoration on a simple but finely cut jacket. Although this is called a walking
outfit, the long and narrow skirt would have made walking very difficult,
‘hobbling’ the wearer. These hobble skirts were very fashionable around 1912.
This garment was worn by actress Samantha
Bond as Lady Rosamund Painswick, the wealthy sister of Robert Crawley, Lord
Grantham. The hat is a toque style but designer and
maker Susannah Buxton chose a smaller more stylish shape for Lady Painswick
that worn by the Dowager Countess of Grantham. It perches on top of her head,
to create a coquettish look.
Courtesy
of Cosprop
Evening dress, silk with velvet and
chiffon sleeves (above and left)
Acquired by Cosprop, London , made early 1920s
As the storylines in Downton Abbey move
towards the 1920s fashionable styles change. There are also more original
dresses surviving from this period which can be used for filming purposes.
Most of this costume is original to the
period after the First World War. The shape of the dress is looser as women
began to follow more active lifestyles. This style began predominately as
daywear but quickly began to influence evening wear.
This dress was worn by the actress Zoe
Boyle as Lavinia Swire, Matthew Crawley’s fiancĂ©e during season two of Downton
Abbey, set between 1916 and 1919.
Courtesy
of Cosprop
Evening gown, silk and silk chiffon, with
applied silk folk motifs (above and right)
Made by Cosprop, London , 2010
This dress was worn by the actress Michelle
Dockery as Lady Mary Crawley during season two of Downton Abbey, set between
1916 and 1919. It was designed by costume maker Susannah Buxton. The garment is
a mix of new fabrics with old panels. Although off-screen the age of the panels
may be noticeable, on-screen the occasional flaw cannot be seen and so does not
detract from the overall effect.
The colour red was chosen for Mary as it
suits her skin tone but it also puts her at the forefront of the scene,
emphasising her place in society. Significantly, Mary wears this dress a the
dramatic moment when she tells Sir Richard Carlisle that they will not be
married.
Courtesy
of Cosprop
Maternity evening dress, silk crepe with
applied glass beading (left)
Made by Cosprop, London , 2011
This dress was worn by the actress Michelle
Dockery as Lady Mary Crawley during season three of Downton Abbey, set between
1920 and 1921. It was designed by costume make Caroline McCall and has been cut
to allow extra room during Mary’s on-screen pregnancy.
As Lady Mary likes to
follow fashion even whilst pregnant, the dress has been made in two separate
pieces and is heavily beaded, giving weight to the fabric and creating a draped
look.
Courtesy
of Cosprop
Tunic-style evening dress, silk net
embroidered with sequins and glass bugle beads, reproduction silk under-slip,
about 1920-24 (above and right)
Vibrant colour was an important element of
evening dress during the early 1920s. Previously, black and subtle shades of
other colours had been thought most appropriate but attitudes were changing.
Together with glittering sequins and beads, bright colours typified the new,
young feel of fashion at this time.
Gift
of Mr T A Towers , 1973. National Museums Liverpool
Tunic-style evening dress, silk net
embroidered with glass bugle beads, rayon silk under-slip, about 1921-23 (left)
By the early 1920s fashions in evening wear
were changing. Tunic-style net dresses, completely covered with heavy glass
beads and sequins, were extremely popular.
Despite the practical, shorter
styles encouraged during the First World War, hemlines became long again. They
grew gradually shorter as the 1920s progressed.
Gift of Miss Catherine Holland, 1960. National Museums Liverpool
Tunic-style evening dress, printed crepe
with diamante pearl and mirrored glass beading (right)
Made by Cosprop, London , 2012
This dress was worn by the actress
Elizabeth McGovern as Cora Crawley, the Countess of Grantham during season four
of Downton Abbey, set in 1922. t reflects the long, loosely draped style of the
early 1920s, a fashion which was especially popular for evening wear.
Her character carefully chooses her dress
styles, ranging from the theatrical fashions inspired by the French designer
Paul Poiret of 1912-14, to the looser trends and fashions of the war years and
beyond. As a Countess at the pinnacle of society, Cora would have been a setter
of trends as well as a follower of fashion.
Courtesy
of Cosprop
Shift-style evening dress, silk
underdress, net overdress with coloured sequins and glass beading (above and left)
Acquired by Cosprop, London , made early 1920
This dress is typical of 1920s evening wear
and was made during this period. It is quite fragile due to the weight of the
beading which can cause the supporting fabrics to tear. The entire dress has
been reinforced by handstitching new net onto the old, in order to conserve the
beading and make the dress wearable for filming.
The dress was worn by the actress Janet
Montgomery as Freda Dudley-Ward during the 2013 Downton Abbey Christmas
Special, which was set in 1923. Mrs Dudley-Ward was famously a mistress of the
Prince of Wales, later Edward VIII.
Courtesy
of Cosprop
Evening dress, gold metallic lace, rayon
satin under-slip and silk net trimming, about 1929-30 (right)
This dress belonged to Lady Helen Nutting
(1890-1973), daughter of the sixth Earl of Airlie. She was married three times
and spent much of her life campaigning for women’s rights, including their
economic rights and divorce reform.
By the late 1920s evening dresses such as
this were typically full-length and looked forward to the styles of the 1930s.
Gift
of Lady Helen Nutting, 1961. National Museums Liverpool
Evening dress, silk crepe with applied
glass bugle beads (left)
Made by Cosprop, London , 2012
This dress was worn by the actress Michelle
Dockery as Lady Mary Crawley during season four of Downton Abbey, set in 1922.
When Lady Mary wears this dress it symbolises the end of her mourning period
for the loss of her beloved husband Matthew, who was tragically killed in a car
accident.
During the early 1900s the mourning process
required women to wear only black when they were first bereaved. After a few
months purple, mauve and grey could be worn as a sign of half mourning.
Courtesy
of Cosprop
Tunic-style evening dress, cream silk
under-dress with front panel embroidered in silk flock Over-dress of black
chiffon with gold metallic trim (above and right)
Made by Cosprop, London , 2012
This dress was worn by the actress Shirley
MacLaine as Martha Levinson, the Countess of Grantham’s mother, during the 2013
Downton Abbey Christmas Special which was set in 1923.
Martha’s brash American
character embraces change and new ideas which is reflected in her style of
dress.
Interestingly, despite the character’s
onscreen age she has kept up with new trends in fashion and adapts them to suit
her more mature figure. In contrast, the Dowager Countess Grantham’s style look
back to the early Edwardian period of her younger days.
Courtesy
of Cosprop
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