lunedì 9 agosto 2021

The "House of Worth"~Victorian Queens' and Empresses' gowns worth a fortune.


It was October 13th, 1825 when Charles Frederick Worth was born in a little town of the Lincolnshire, Bourne, in England.
His was a modest family and he began to work, when still a young boy, as an apprentice in a fabric shop in London.

His career began in 1838 when working in a big department store of fabrics and trimmings located in Regent Street where he learned the precious art of dealing with the capricious wealthy ladies. In 1845, at the age of twenty, he left for Paris with just a little of money and found employment in the Gagelin fabric shop where he met a lovely woman, Marie Vernet, who would have become his wife and for whom he will give life to many creations of his.
After only 5 years he became the head of the tailoring department, until in 1853, together with his colleague Ernest Walles, he entered into a partnership with the new owner Octave-François Opigez-Gagelin. Disagreements emerged between the three men, so that in 1858, when the company was dissolved, Worth set up on his own and, financed by a partner of Swedish origin, Otto Bobergh, opened an atelier at 7 rue de la Paix, hiring a twenty employees. Thus the Maison Worth was born.
He was one of the first to predict the success of the crinoline and determined its evolution by reducing its amplitude. In 1858 he collaborated with the American house Thomson.
His debut in society came after the Princess of Metternich, granddaughter of the great statesman of the Vienna Congress and wife of the Austrian ambassador, bought two of her wife's dresses that were offered to her at bargain prices by Marie Vernet herself. On the occasion of a ball at the Tuileries, the princess showed off one of them and aroused the admiration of the Empress Eugénie de Montijo, wife of Napoleon III who was not long in becoming a loyal customer of the Maison Worth (The House of Worth)
He was thus appointed her official supplier and became court tailor in 1864. 

Pauline Sandor Princess of Metternich wearing one of the dresses which belonged to Marie Vernet, Worth's wife

The upper middle class, however, constituted the majority of his clientele, of which he was able to win the esteem to the point of obtaining unconditional trust; he was able to impose his ideas on the ladies for the first time in history and thus determined "Haute Couture".
To promote his business Worth developed new and innovated ways to market his fashions to his wealthy clients. The main showroom had a wall of mirrors with mannequins placed in front to display the various dresses of the collection; 

female employees were standing by if the client requested the dress to be modeled. 

In another room the client would have the opportunity to try on the dress before making a decision to buy and then there was a room in which she could select the fabric and finishes to use for her own dress. 

Worth became the first fashion designer to sew labels and soon women throughout Paris were eager to have a custom made “Worth dress”.
Worth’s fashion was addressed to the wealthy women of Paris but soon he started designing dresses for one of the most important women in France, Empress Eugénie, the wife of Emperor Napoleon III.  The commission kept Worth very busy because the Empress’ royal duties required her to change her wardrobe several times during the day for various events.  The Empress needed numerous dresses for both day and evening wear as well more elaborate ball gowns for special occasions and Worth designed and made them all.  (An example of the quantity of dresses Worth designed for his royal client is that for the Empress’ short trip to Egypt for the opening of the Suez Canal: in 1869 Worth created 250 dresses).
By 1862, Paris fashion magazines began commenting on everything the Empress wore and that Worth designed from the unique blue color of her dress (Empress blue), 

Empress Eugenie dressed with a Worth's gown in the blue she loved - which became called 'Empress Blue' - portrayed by Franz Xaver Winterhalter (1862)

And again, 'Empress blue' for the silk taffeta on the back of her Worth's gown

to the shorter dress hemline that exposed her beautiful shoes, to her startling choice to omit wearing a shawl or cloak in public (unheard of at the time for a proper lady to do) because she didn’t want to hide her elegant Worth dress. 
Worth’s business continued to grow steadily and eventually Worth’s connection with Empress Eugenie led commissions to design dresses for many other women of the royal courts of Europe. Worth designed dresses for Queen Victoria of England, 

for Czarina Maria Alexandrovna of Russia 

and for Empress Elisabeth of Austria, 

Sissi wearing a famous ball-gown created by Worth and portrayed by F.X.Winterhalter in 1865

whose exquisite taste in fashion is well known to us. She was already Empress of Austria when the royal couple was officially crowned King and Queen of Hungary in June 1867 - and also the gown of this coronation bears the Worth's signature.

And the extraordinary thing is that almost every amazing creation from Worth inspired the famous Victorian painter Franz Xaver Winterhalter who portrayed them. 
Soon thanks to Empress Eugénie and Empress Elisabeth, both icons of beauty and elegance, Worth became famous all over the Europe, and began to create special gown for princesses and aristocratic women from everywhere

 Could Charlotte of Belgium, later Empress of Mexico - Sissi's sister-in-law - quite jealous of her, give up on a Worth's creation?

Princess Maria Antonietta of Bourbon

Princess Albert de Broglie

Princess Mathilde Bonaparte

Princess Tatiana Alexandrovna Yusupova

Eventually, Worth and the Empress collaborated on a new dress design that would eliminate the need for crinoline, something they both greatly disliked. The new dress design was known as the FOURREAU, which was straight and narrow in the front to show the shape of a women’s body with extra material in the back that formed a bustle. It proved to be an instant success.  
Unfortunately, Worth’s company closed for the duration of the Franco-Prussian War (July 19, 1870 – May 10, 1871). The brief war resulted in the collapse of the Second Empire, Emperor Napoleon III and Empress Eugénie were exiled from the country. (While the Empress remained in exile, quite often Worth would send her a large bouquet of violets tied together with a mauve ribbon embroidered with his name in gold thread) Worth had lost his best client and had enjoyed his collaborations with the Empress throughout the previous years but now with the royal court gone he did not take any new commissions since many of his wealthy clients had left Paris when the war started.
After the war, Worth decided to reopen his company but without his previous partner Bobergh: he was joined by his two sons, Gaston and Jean Phillippe. To promote his new business Worth put on fashion shows to advertise his twice annual collections and he also started supplying “ready-made” dresses to department stores, such as Le Printemps and La Samaritaine in Paris and the famous Harrods in London, England. Buyers would come each year to view the latest dress designs and then place an order for the department stores. English women were now able to purchase French style fashions at a reasonable price.
Meanwhile the fame of The House of Worth reached the New Continent and Worth began designing custom dresses for rich Americans women such as Alice Vanderbilt, the wife of Cornelius Vanderbilt. 

In the years since The House of Worth opened, Worth’s sons began to take more control over the daily business involved with the company, such as management, finance and design decisions, leaving Worth with some free time at home. Sadly, Charles Worth died from pneumonia in 1895 when he was just 69 years old and his wife, Marie, died three years later.
By the time of Worth’s death, Paris was becoming the center of "Haute Couture", which, invented by him, was the custom of designing and the making of high-quality and expensive clothes by a prestigious fashion house. Worth sons, Gaston and Jean-Philippe, continued to run the family business.

During the turn of the century, The House of Worth made the gown for the coronation of Queen Alexandra of Great Britain (August 9, 1902)

and two dresses of special note for Mary Curzon, the wife of George Curzon the Lord of Kedleston and later Viceroy of India made in the same year. The first dress is called The Oak Leaf dress and shows remarkable design and beautiful detailing. The silk satin dress features over 400 oak leaves created individually with an outline of satin cord to create the shape of each leaf and then filled with chenille thread.

The second dress was commissioned for the Delhi Durbar and is called The Peacock dress. By the way, the Durbar was held just in celebration of the coronation of King Edward VII and Queen Alexandra of the United Kingdom. The detailed gold fabric was made entirely in India for the House of Worth and features a pattern of overlapping peacock feathers made of gold beading attached with gold thread. 

Times were changed, people and tastes were different from the Victorian age, but we can consider without any doubt Charles Frederick Worth the firts fashion designer and the father of the "Haute Couture": in the XXth century The House of Worth was still dictating law as for fashion in the world of aristocracy and still will do under Worth's descendants until 1952. 
It closed in 1956.

Also today our time is over, but I hope, with all my heart,

 to have entertained you pleasantly, once again...

it's always a joy for me to have you here,

dear readers and friends!

See you soon 

La "Maison Worth"~ Abiti vittoriani di regine ed imperatrici dal valore inestimabile.

FOTO 1 - Frontespizio 

Era il 13 ottobre del 1825 quando Charles Frederick Worth nacque in una cittadina del Lincolnshire, Bourne, in Inghilterra.
La sua era una famiglia modesta e iniziò a lavorare, ancora ragazzo, come apprendista in un negozio di tessuti a Londra.

FOTO 2 SULLA SINISTRA - Worth all'età di 14 anni 

La sua carriera iniziò nel 1838 quando fu assunto in un grande magazzino di tessuti e passamanerie situato in Regent Street dove apprese la preziosa arte di trattare con le capricciose dame benestanti. Nel 1845, all'età di vent'anni, partì per Parigi con pochi soldi e trovò impiego nel negozio di tessuti Gagelin dove conobbe Marie Vernet, una bella dama che sarebbe diventata sua moglie e per la quale darà la vita a molte sue creazioni.
Dopo soli 5 anni diventò capo del reparto sartoria, finché nel 1853, insieme al collega Ernest Walles, entra in società con il nuovo proprietario Octave-François Opigez-Gagelin. Tra i tre nacquero dissidi, tanto che nel 1858, quando la società fu sciolta, Worth si mise in proprio e, finanziato da un socio di origine svedese, Otto Bobergh, aprì un atelier al numero 7 di Rue de la Paix, assumendo una ventina di dipendenti. Nacque così la Maison Worth.

FOTO 3 SULLA DESTRA - Marie Vernet Worth e Charles Frederick Worth al vertice della sua carriera

Fu uno dei primi a prevedere il successo della crinolina e ne determinò l'evoluzione riducendone l'ampiezza. Nel 1858 collaborò con la casa americana Thomson.
Il suo esordio in società avvenne dopo che la principessa di Metternich, nipote del grande statista del Congresso di Vienna e moglie dell'ambasciatore austriaco, acquistò due abiti della moglie che le furono offerti a prezzi stracciati dalla stessa Marie Vernet. In occasione di un ballo alle Tuileries, la principessa ne sfoggiò uno e suscitò l'ammirazione dell'imperatrice Eugénie de Montijo, moglie di Napoleone III, che non tardò a diventare una fedele cliente della Maison Worth.
Worth fu così nominato suo fornitore ufficiale e divenne sarto di corte nel 1864.

FOTO 4 - Pauline Sandor principessa di Metternich con indosso uno degli abiti che appartennero a  Marie Vernet, moglie di Worth

Per quanto l'alta borghesia, di cui seppe conquistarsi la stima fino ad ottenere una fiducia incondizionata, continuava a rappresentare la parte più consistente della sua clientela; riuscì per la prima volta nella storia ad imporre le sue idee alle signore facendo nascere quella che verrà definita "Haute Couture".
Per promuovere la sua attività, Worth sviluppò idee rivoluzionarie e modi innovativi per far sì che le sue facoltose clienti fossero invogliate all'acquisto. Lo "showroom" principale aveva una parete di specchi con dei manichini posti davanti per esporre i vari abiti della collezione; le dipendenti erano sempre disponibili qualora la cliente richiedesse che l'abito fosse modellato.
In un'altra stanza la cliente aveva l'opportunità di provare l'abito prima di prendere una decisione sull'acquisto ed infine vi era una stanza in cui ella poteva selezionare il tessuto e le rifiniture da usare per il suo vestito.

FOTO 5-6-7 - Immagini degli interni della Maison Worth

Worth fu il primo stilista di moda a cucire etichette all'interno degli abiti e presto le signore di tutta Parigi erano desiderose di avere un "abito Worth" su misura.
Se è vero che la collezione di Worth era indirizzata alle donne benestanti di Parigi, è altresì vero che egli presto iniziò a disegnare abiti per una delle donne più importanti di Francia, l'imperatrice Eugenia, moglie dell'imperatore Napoleone III. La commissione tenne Worth molto impegnato perché i doveri reali dell'imperatrice le richiedevano di cambiare il guardaroba più volte durante il giorno per vari eventi. Ella aveva bisogno di numerosi abiti sia per il giorno che per la sera, nonché di abiti da ballo più elaborati per le occasioni speciali e Worth progettò e realizzò tutti quelli che gli vennero richiesti. (Un esempio della quantità di abiti che Worth disegnò per la sua cliente reale è rappresentato da quello che fu necessario per il breve viaggio dell'imperatrice in Egitto in occasione dell'apertura del Canale di Suez: era il 1869 e Worth creò per lei 250 abiti)
Nel 1862, le riviste di moda di Parigi iniziarono a commentare tutto ciò che l'imperatrice indossava e che Worth disegnava, dall'utilizzo di tessuti di un colore blu 'unico' che verrà perciò definito 'blu imperatrice',

FOTO 8 - L'imperatrice Eugenia con indosso un abito di Worth nel blu che adorava - che verrà chiamato 'Blu Imperatrice' - ritratta da Franz Xaver Winterhalter (1862)

FOTO 9 - Ed ancora 'Blu Imperatrice' per il taffetà di seta sul retro del suo abito firmato da Worth

all'orlo del vestito, originalmente corto, che lasciava scorgere le sue bellissime scarpe, alla sua sorprendente scelta di omettere di indossare uno scialle o un mantello in pubblico (inaudito all'epoca per una vera signora altolocata) perché non voleva nascondere il suo elegante vestito che Worth aveva confezionato per lei.
L'attività di Worth continuò a crescere costantemente fino a che il suo legame con l'imperatrice Eugenia lo condusse a disegnare abiti per molte altre donne delle corti reali d'Europa. Worth disegnò abiti per la regina Vittoria d'Inghilterra,

FOTO 10 - Vittoria del Regno Unito ritratta da Franz Xaver Winterhalter con indosso due abiti firmati da Worth

per la zarina Maria Feodorovna di Russia (FOTO 11),

e per l'imperatrice Elisabetta d'Austria

FOTO 12Sissi indossa un famoso abito da ballo creato per lei da Worth e ritratto da F.X.Winterhalter nel 1865

il cui gusto squisito per la moda ci è ben noto. Era già imperatrice d'Austria quando la coppia imperiale fu ufficialmente incoronata re e regina d'Ungheria nel giugno 1867 - ed anche l'abito di tale incoronazione reca la firma di Worth.

FOTO 13 - Sissi con l'abito dell'incoronazione a regina d'Ungheria in una foto di Emil Rabeding (1823-1886)

E la cosa straordinaria è che quasi tutte le incredibili creazioni di Worth ispirarono il famoso pittore vittoriano Franz Xaver Winterhalter che volle fissarle su tela.
Ben presto grazie all'imperatrice Eugenia e all'imperatrice Elisabetta, entrambe icone di bellezza ed eleganza, Worth divenne famosa in tutta Europa e iniziò a creare abiti speciali per principesse e donne aristocratiche di tutto il mondo.

FOTO 14 - Poteva Carlotta del Belgio, più tardi imperatrice del Messico -  cognata di Sissi ed un po' gelosa di lei, rinunciare ad una creazione di Worth? 

FOTO 15 - Principessa Maria Antonietta di Borbone

FOTO 16 - Principessa Albert de Broglie

FOTO 17 - Principessa Mathilde Bonaparte

FOTO 18 - Principessa Tatiana Alexandrovna Yusupova

Finalmente Worth e l'imperatrice decisero di collaborare per creare a un nuovo modello di abito che avrebbe eliminato la necessità della crinolina, che, così ingombrante, era qualcosa che entrambi non amavano molto. Il nuovo design del vestito era noto come FOURREAU: esso era dritto ed attillato nella parte anteriore per mostrare le forme femminili, con una quantità abbondante di stoffa nella parte posteriore che dava movimento. Si rivelò un successo immediato.
Sfortunatamente, la ditta di Worth chiuse per tutta la durata della guerra franco-prussiana (19 luglio 1870 - 10 maggio 1871). La breve guerra portò al crollo del Secondo Impero, l'imperatore Napoleone III e l'imperatrice Eugenia furono esiliati dal paese e, mentre l'imperatrice era in esilio, Worth le mandava spesso un grande mazzo di viole legate insieme con un nastro color malva con il suo nome ricamato in oro. Worth aveva perso la sua miglior cliente, ma non solo, ora che la corte reale se n'era andata non prendeva nuove commissioni poiché molti dei suoi facoltosi clienti avevano lasciato Parigi all'inizio della guerra.
Dopo la guerra Worth decise di riaprire la sua azienda ma senza il suo precedente socio Bobergh: a lui si unirono i suoi due figli, Gaston e Jean Phillippe. Per promuovere la sua nuova attività, Worth organizzò sfilate di moda per pubblicizzare le sue collezioni semestrali ed iniziò a fornire abiti "pronti" a grandi magazzini, come Le Printemps e La Samaritaine a Parigi e i famosi Harrods a Londra, in Inghilterra. Gli acquirenti venivano ogni anno a vedere gli ultimi modelli di abiti e quindi facevano un ordine per i grandi magazzini. Le donne inglesi erano ora in grado di acquistare capi in stile francese a un prezzo ragionevole.
Nel frattempo la fama della Maison Worth raggiunse il Nuovo Continente e Worth iniziò a disegnare abiti personalizzati per ricche donne americane come Alice Vanderbilt, la moglie di Cornelius Vanderbilt.

Dalla riapertura della Maison, i figli di Worth cominciarono ad assumere un sempre maggiore controllo sugli affari quotidiani nell'azienda quali come decisioni di gestione, finanza e design, lasciando Worth con un po' di tempo libero a casa. Purtroppo, Charles Worth morì di polmonite nel 1895 quando aveva solo 69 anni e sua moglie, Marie, morì tre anni dopo.
Al momento della scomparsa di Worth Parigi stava diventando il centro dell'"Haute Couture", che, creata da lui, si era qualificata come la progettazione personalizzata nonché la realizzazione di abiti costosi e di alta qualità da parte di una prestigiosa casa di moda. I figli di Worth, Gaston e Jean-Philippe, continuarono a condurre la ben avviata azienda di famiglia.

FOTO 19-20-21 - Immagini degli interni della Maison Worth agli inizi del XX secolo

Agli inizi del XX° secolo, la Maison Worth realizzò l'abito per l'incoronazione della regina Alessandra di Gran Bretagna (9 agosto 1902)

FOTO 22 - La regina Alessandra del Regno Unito con i suoi paggi al momento dell'incoronazione

e due abiti di particolare rilievo per Mary Curzon, moglie di George Curzon, Lord di Kedleston e quindi viceré d'India, creati nello stesso anno. Il primo si chiama The Oak Leaf dress e mostra un design notevole e bellissimi dettagli: esso è in raso di seta e presenta oltre 400 foglie di quercia create individualmente. Con un contorno di cordoncino di raso è stata data la forma ad ogni singola foglia che è stata poi riempita con filo di ciniglia.

FOTO 23 - The Oak Leaf dress

Il secondo abito venne commissionato per il Delhi Durbar ed è chiamato The Peacock dress. A proposito, il Durbar fu organizzato proprio per celebrare l'incoronazione di re Edoardo VII e della sua consorte, la regina Alessandra del Regno Unito. L'abito, in tessuto dorato impunturato, è stato realizzato interamente in India per la Maison Worth e presenta un motivo di piume di pavone sovrapposte realizzate con perline dorate fissate con filo d'oro.

FOTO 24 - The Peacock dress

I tempi erano cambiati, le persone e i loro gusti erano diversi rispetto all'età vittoriana, ma possiamo considerare senza alcun dubbio Charles Frederick Worth il primo stilista e padre dell'"Haute Couture": nel XX secolo la Maison Worth dettava ancora legge in fatto di moda nel mondo dell'aristocrazia e lo farà ancora sotto i discendenti di Worth fino al 1952.
Chiuderà definitivamente nel 1956.

Anche oggi il nostro tempo si è concluso, ma spero, con tutto il cuore,

di avervi ancora una volta intrattenuti piacevolmente...

E' sempre una gioia avervi qui,

cari lettori ed amici!

A presto ❤ 


YOU'RE THE STAR August week 2

This blog post was featured by a lovely Lady, Bev at Ecletic Red Barn!
I thank you from the bottom of my heart, Dearie, I still cannot believe it!

38 commenti:

  1. Che vestiti e che ritratti magistralmente realizzati! Grazie della condivisione.
    Buona serena settimana, Daniela.

    1. italiafinlandia
      sia i vestiti che i ritratti sono stati realizzati da due geni dell'epoca vittoriana: il primo, Worth, appunto, consacrato l'inventore dell'HAUTE COUTURE quando ancora nessuno sapeva di cosa si trattasse, il secondo era il più ambito pittore delle Corti europee, Franz Xaver Winterhalter, colui che tramite le sue tele ci ha reso partecipi dei fasti di un'epoca.
      Grazie e te, mia cara, per l'entusiasmo con cui sempre vieni a trovarmi!
      E che il resto della settimana porti solo cose per cui gioire
      e sorridere ༺❀༻

  2. Beautiful. Beautiful women, beautiful gowns. Wow.

    Thank you for joining the Feline Friday Blog Hop.

    Have a purrfect Feline Friday and weekend. ♥

    1. Sandee
      Dearest One, don't tell me that I've confused the blog hops, I was persuaded to have linked this post of mine to AWWW MONDAY!
      Forgive me, please and thank you for your visit and for your kind words!
      Have a lovely remainder of your week ஜ~Ƹ̴Ӂ̴Ʒ~ஜ

  3. Such beautiful gowns fashioned by such creative individuals. Creative minds with a vision for beauty. Then the seamstresses with the talent to execute the visions. Thank you for sharing.

    1. Janice
      you're right, they were all very talented people who gave life to unique masterpieces thanks to their creativity.
      I'm so, so glad you enjoyed this post of mine, it is I who thank you, sweet friend!
      *♥* Have a most beautiful weekend to come *♥*

  4. beautiful gowns. interesting post.

    1. klara
      I thank you from the bottom of my heart for your words!
      May your day be blessed with Joy ಌ•❤•ಌ

  5. He was a great designer, many of the dresses in his early years would have made lovely wedding dresses, they were just beautiful! It looks like he made a good life for his family and even passed it down to his sons who in turn also did very well with it, how exciting that must have been to have well known people wearing your creations!

    1. Conniecrafter
      you're right, almost every dress of his dating back to the Victorian age could have been and still today could be a wedding dress!
      They were stunning creations, weren't they?
      I'm always in high spirits when you come and visit me here, and today your nice words of enthusiasm bless my heart and make my day, Dearie, thank you, always.
      In the hope you're having the best of weeks,
      I'm wishing you a wonderful fun-filled weekend ahead ∗⊱༺♡❀♡༻⊰∗

  6. Oh my, such an exquisite post filled with exquisite dresses. I can just imagine the workrooms where swirls of silk, laces, taffeta and other sumptuous fabrics were the chatter of the day. I can imagine the conversations as they stitched for each royal lady. It is the stuff of a seamstress' dreams. I adore each photo of the beautiful ladies in their exquisite creations. I did smile though, when I read of The House of Worth changing into 'ready to wear' fashion. Thank you, Dany, to transporting me to a bygone era of royal courts and ladies sashaying in those to-die-for creations.

    1. Kim
      I have no words to express the gladness you made me feel with your words of appreciation and enjoyment, you made me shiver with joy, really, thank you for gracing my Blog today!
      It is such a satisfaction that I cannot put in words: I so love to put together these posts so rich in images, informations related to people who really lived in our past, paintings and, after that, to read in your words that I can give you a little bit of carefree moments, well, it leaves me speechless!
      I really would hug you!
      Thinking of you and sending wishes for a peaceful and beauty-filled end of your week ✿⊱╮

  7. The dresses are beautiful, and i would imagine the ladies were used to wearing such things. It would take me a long time to become accustomed to such elegant clothing with so much material! At first i am sure i would hardly be able to move for fear of ruining the dress.

    1. messymimi
      you're right, those dresses were as beautiful as they were delicate, but the ladies of those times didn't wear them to go shopping with all the hurry we have today!
      Worth created clothes for ceremonies, so they were worn just for parties or for balls and were used just for a few times: well-to-do ladies weren't accostumed to show themselves with the same dress for several times; queens and empresses didn't have to wear the same dress more than once.
      Today we have other problems to face, haven't we, my lovely friend?!?
      Thank you for visiting and for leaving such a delightful comment, sweetie,
      ⊰✽*✽⊱ take care ⊰✽*✽⊱

  8. ...a time of such privilege. It still goes on, but perhaps at on the same scale. Thanks for sharing.

    1. Tom
      thank you for popping by ~ My little old world ~!
      'The House of Worth' is one of the lovely memories the Victorians have left us, it doesn't exist anymore.
      Hugs coming your way ❥

  9. Uno splendido post, soprattutto per chi come me ha una grande passione per la moda, e non intendo l'effimera moda della stagione, ma la creazione di un capo senza tempo, srotolando con grazia una stoffa da sogno e scegliendo gli abbellimenti migliori
    Lieta settimana!

    1. Franca
      quella era davvero moda da scriversi con la 'm' maiuscola, hai ragione: Worth aveva un talento indescrivibile nel trasformare le sue idee in abiti che incontravano sempre i gusti delle sue clienti, abiti la maggior parte dei quali si sono conservati e sono tutt'oggi custoditi in musei.
      Sono quelli che si possono definire a pieno titolo 'abiti senza tempo'.
      Grazie carissima per le tue parole che sempre mi donano gioia ed entusiasmo ed arricchiscono i miei scritti.
      Ti abbraccio con il cuore
      augurandoti uno splendido weekend d'estate ஜ ♥♡♥ ஜ

  10. I have long heard about the House of Worth but I didn't know any of the background apart from that it was fabulous couture before we even thought of that. I love the research you shared here and the fabulous images. I've always loved Winterthaler's portrait and you have a wonderful selection. And look at the subject -- anyone would look glorious in a Worth gown. Thank you, Dany.

    1. Jeanie
      I heartily thank you for being so supportive and enthusiastic, I'm sincerely glad you liked the article!
      You know, I just love your comments, you always seem to make my day a bit brighter.
      I pray your weekend is a blessed one and
      I'm sending gratitude hugs across the many miles •♥•♥•♥•

  11. Interesting post. The portraits are gorgeous!

    1. Linda
      I so appreciate your visit and your kind words, sweet friend!
      May your day be filled with joy and wonder ღ❀ღ

  12. Combining fashion history wth portraits was delightful to read! Thank you.

    1. Linda
      thank you for gracing my Blog today!
      I'm as pleased as Punch after reading your words, I thank you wholeheartedly, blessed be.
      ⊰♥⊱ Hugs and ever much love to you ⊰♥⊱

  13. This made my head spin. Oh to have a gown or other fashion created for you with everything you choose. I loved the details of these stories. You spent countless time to create this post. I am grateful to you too. You have a kind heart and I love how you share everything. Have a terrific weekend. Appreciate you very much. HUGS and much LOVE across the miles. xo xo

    1. Anne M Robinson
      your delightful comment, your kind words are like bright rays of cheerful sunshine, thank you! Hugs!
      With my heart filled to overflowing,
      I'm wishing you too a weekend blessed with joy ♡❤♡

  14. Risposte
    1. R's Rue
      may your weekend be as Beauty-ful as you, Dearie!
      Thank you hugs coming your way ♡ஐ♡

  15. This was a marvelous read - well-researched and beautifully illustrated. I thoroughly enjoyed reading it. This was my first visit here - I discovered you through the blog hop at Beverly's Pink Saturday; however, I will follow you to catch future postings! Thanks for sharing.

    1. Tristan Robin
      I heartily thank you for gracing my Blog today, your words of praise fill my heart with joy!
      I'm just coming back from visiting your web-page and I've just become a new follower of yours :)
      Thanking you once again,
      I'm sending hugs across the miles ❥

  16. Such beautiful gowns and a lovely post with so much info. You are amazing. Thank you HUGS and LOVE

    1. Anne M Robinson
      You're such a sweetir, my friend, thank you for your words of appreciation, I'm so glad you liked this Blog-post of mine!
      Sending blessings from across the Ocean ✿⊱╮

  17. We love the fancy dresses of that time period. A post with "worth"!

    1. Timmy Tomcat
      I heartily thank you both for taking the time to visit and for leaving such nice words!
      Big hugs coming your way •♥•♥•♥•

  18. What a delicious story, romance history and fashion what more beautiful mix could you find. So pleased to have found you. Thank you

    1. Pamela
      I welcome you with the warmest hug ever, your so beautiful words have touched me in the deep, thank you!
      I've visited your website and it's truly amazing, but I wasn't able to leave a comment, alas!
      With utmost gratitude,
      I'm wishing you a lovely week ༺❀༻

  19. Risposte
    1. Tom,
      You're right, my friend, they weren't common gowns at all, but we can say without any doubt that they were truly stunning, cannot we?
      Always far glad to have you here,
      I'm sending hugs and more hugs on your way ಌ•❤•ಌ