Kate Strasdin

@katestrasdin

Lecturer, dress & textile history. Author of The Dress Diary of Mrs Anne Sykes. Amateur stitcher Fellow of the Royal Hist Soc

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Kate Strasdin@katestrasdin· 26d

This was a dress worn by Alexandra Princess of Wales for her visit to Cragside in 1884. It featured in a painting and Luca Costigliolo recreated it for the NT. I had a very tiny part, offering info about Alexandra’s proportions but it was great to see it in real life! #cragside #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· 27d

Like a helter skelter, the green silk wraps the body in a spiral from one shoulder to the hem, spangled along the way with sparkling rhinestones. C1910, it was designed by the House of Worth, Bunka Gakuen Museum #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· 28d

I first studied this dress in detail during a research fellowship 16 years ago, an unusual construction worn c1870 by Alexandra Princess of Wales. It is by Mme Elise, one of the makers that features in Dressing the Queen. The tartan almost glows #FashionMuseumBath #FashionHistory 🗃️🪡

Full length view of a tartan evening dress consisting of a white satin under skirt with tartan overdress and short sleeved bodice

Partial view of the early 1870s tartan evening dress that shows how the bustle section is arranged at the back

Skirt detail of the tartan 1870s dress showing the white satin pleated underskirt and the draped tartan overdress

Kate Strasdin@katestrasdin· 29d

Jeanne Lanvin bucked the flapper furore with her robe de style evening wear, including fullness at the hip that was so often absent from #1920s evening wear. This black silk is decorated with ferns of pale gold chenille embroidery that feature about the skirt #V_and_A #FashionHistory 🗃️🪡

A short sleeved black silk evening dress with short sleeves and a long full skirt with pale gold embroidery that wraps around the skirt in fern like leaves

A detail of the pale gold chenille embroidery decorating the 1920s Lanvin skirt

An alternative detail of the pale gold chenille embroidery decorating the 1920s black silk Lanvin dress but this time showing how it hangs in the folds

Kate Strasdin@katestrasdin· Jul 12

Shoulders out or shoulders covered, both options available with this early #1950s Horrockses printed cotton ensemble. The pattern is absolutely on trend in shade and design and ideal for summer evening strolls @jbrightcollection.bsky.social #FashionHistory 🗃️🪡

Full length view of a calf length, full skirted printed cotton ensemble. It consists of horizontal yellow stripes with a black and white pattern in between. It has parallel decorative buttons running from neckline to below the waist. It has a short matching bolero jacket

An alternative view of the yellow striped printed cotton dress without the matching jacket which shows it is a sleeveless design. Here it is worn with a narrow black belt

Kate Strasdin@katestrasdin· Jul 11

The folds of this tea gown hang perfectly at either hip in a series of ever increasing drapes. I can’t help thinking that whoever wore this ensemble had no problem with the concept of relaxing at home in a drift of lavender silk. 1910-15 @metmuseum.org #FashionHistory 🗃️🪡

A side by side image of a dusky blue purple tea gown with a draped underdress with a paler purple chiffon overdress. It has a V neck with a white chiffon infill and a pink silk rose offset towards one hip

Kate Strasdin@katestrasdin· Jul 10

The shape of Hardy Amies’s 1979 gown is an effective one, shaped here and there but with fullness in the sleeve, perfect for the Queen’s visit to Bahrain that year. A tangerine dream with gold repeat #RCT #FashionHistory 🗃️🪡

A side by side image of an orange evening dress with gold metallic repeat pattern next to a photograph of the Queen wearing the dress in Bahrain in 1979

The cover of my book Dressing the Queen spotted out in the wild of a local bookshop

Kate Strasdin@katestrasdin· Jul 10

Hazy summer days captured in gathered white muslin that has been printed with a pattern of swaying blue and green leaves. Not our idea of a July wardrobe but I appreciate the #1860s aesthetic all the same #FashionMuseumBath #FashionHistory 🗃️🪡

Full length view of a gathered white muslin crinoline dress that has a printed repeating of long blue and green leaves. The bodice is gathered into the waistband and it has a full crinoline skirt

Back view of the white 1860s muslin dress with printed leaf pattern

Bodice detail of the white muslin 1860s dress which shows how the fabric is gathered from the round neck towards the waist. The printed pattern is visible amongst the folds of the fabric

Partial view of the back of the 1860s white muslin crinoline dress which shows the construction of the bodice and the gathering at the waistband of the skirt

Kate Strasdin@katestrasdin· Jul 9

She is a rosy bloom, a pink silken floral dreamy dress. The puff ball of the skirt mimics the furl of the pink rose with a miniature version applied centre front. Dior, 1960 #museumatFIT #FashionHistory 🗃️🪡

A knee length sleeveless pink dress with a full puffball style skirt and a fitted bodice with wide shoulders straps. It has a pink silk rose applied centre front of the bodice at the waist

Kate Strasdin@katestrasdin· Jul 9

I first learnt about textile designer Anna Maria Garthwaite over 30 years ago now, when I was studying for my MA. It was so refreshing to discuss a named woman designer from that period, one of the few whose legacy survives. This 1770s fabric is one of her creations #museumatFIT #FashionHistory 🗃️🪡

Partial view of a red 1770s robe a l’anglaise of red damask with a rich floral design. It has a fitted bodice and pleats into the waistband

Full length view of the back of the red 1770s robe a l’anglaise with long full skirt and whitework collar and cuffs

Kate Strasdin@katestrasdin· Jul 8

This is chic and slinky. A #1930s Molyneux evening ensemble blends the tailored with the altogether softer chiffon blouse. The tailoring is made more playful by the beaded collar and the peep of a ruffled cuff #FashionMuseumBath #FashionHistory 🗃️🪡

Side by side image of a black skirt suit ensemble. The jacket is short and fitted and the skirt is straight and long. The collar lapels are beaded. Beneath the jacket is a royal blue crossover chiffon blouse with ruffled cuffs

A partial view of the 1930s Molyneux ensemble that shows the fitted long sleeved black evening jacket with beaded collar

A partial view of the Molyneux ensemble with the jacket removed showing the royal blue chiffon crossover blouse beneath

Kate Strasdin@katestrasdin· Jul 8

Gorgeous, golden & gauzy, I am in awe of the 1820s approach to evening dress which so often includes not only fabulous fabrics but smart decorative details. Here the lovely silk rouleaux have been plaited across the bodice & arranged in waves around the skirt #FashionMuseumBath #FashionHistory 🗃️🪡

Full length view of a yellow figured gauze dress which has short puff sleeves and a long skirt. There is a yellow silk rouleaux trim arranged diagonally in a plait either side of the bodice and running in rows around the skirt

A partial view of the yellow 1820s evening dress which shows how the silk covered cord is an arranged on the bodice and the fullness of the sleeve. It also shows the pleating at the waistband

Kate Strasdin@katestrasdin· Jul 7

Recurring motifs are a part of the cyclical nature of dress as manifested so often in garments like this. The mid 1890s take on a sailor suit is repeated in the details of Norman Norell’s 1957 dress for decades of nautical chic #museumatFIT #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· Jul 6

For Blue Monday, a summer sky of a gown in rippling moiré silk, so effective deployed as fabric of choice in the #1860s when the dimensions of a skirt celebrated the scale of a textile. The jagged toothed trim is a catchy contrast. Sold via #1stDibs #FashionHistory 🗃️🪡

Partial view of the back of a pale blue 1860s moiré silk crinoline gown. It shows the decorative bow centre back with long broad tails and a white jagged trim

Partial view of the front of the bodice of the pale blue 1860s crinoline style dress with decorated buttons centre front and belt framed with white jag toothed braid trim

Back full length view of the pale blue crinoline dress showing the size of the skirt and the decorative elements centre back

Kate Strasdin@katestrasdin· Jul 5

It has been QUITE a weekend for a host of reasons and so I am bereft of words. I will, instead, just leave this green 1930s Fortuny peplos here and resume normality tomorrow @philamuseum.bsky.social #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· Jul 4

This looks like a lovely exhibition open today #kunstmuseumdh Reflections on Fashion celebrates 75 years of collecting & change of perception from irrelevance to valued objects, a story mirrored in many dress collections. 1890s Worth dress & 1850s day dress photos Alice de Groot #FashionHistory 🗃️🪡

A vivid purple velvet sleeveless 1890s evening dress photographed in a museum store on a wheeled trolley

A pale green 1850s day dress photographed amongst museum mannequins

Kate Strasdin@katestrasdin· Jul 3

Just once I would love to know how it feels to wear a Madame Grès gown. This is a dove grey example from the mid #1950s with a lovely drapey scarf at the back and customary pleats around the bodice. Has anyone else had the chance?? #PalaisGalliera #FashionHistory 🗃️🪡

A side by side image that shows a pale dove grey pleated silk jersey gown. It has horizontal pleating around the bodice with an integral scarf that drapes down the back. It is sleeveless and floor length

Kate Strasdin@katestrasdin· Jul 3

Who says you can’t do stripes and florals or all the patterns and colours? Certainly not these gals from 1897, proving once more that 19th century women filled their wardrobes with vibrancy #FIDMMuseum #FashionHistory 🗃️🪡

A mannequin styled as a late 1890s lady wearing a red printed floral dress with bands of cream silk stripes around the skirt and bodice. She has a cream silk belt and is wearing a black straw hat with face veil

A fashion plate from summer 1897 showing a women in a pale blue patterned dress with red stripes decorating part of the skirt and bodice. She has a matching hat and parasol

Kate Strasdin@katestrasdin· Jul 2

Ordinarily I find the concept of a jumpsuit quite intimidating but this is a design that I can get behind. Arnold Scaasi created this striped silk in the late #1960s, the fitted bodice falling to a flared culotte style. Absolutely would wear tomorrow #mfaboston #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· Jul 2

I spent many happy hours in the Royal Archive at Windsor Castle. My most recent research visit was to see six volumes of dressers’ diaries for Queen Mary. They are records of what she wore, when. Fascinating! Here a statuesque #1930s evening dress @jbrightcollection.bsky.social #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· Jul 1

It is National Seaside Day here in the UK and so here is an ensemble to make a splash. Wool jersey in bright geometry, a bathing costume with a matching cover up for unmissable beach style #museumatFIT #FashionHistory 🗃️🪡

Kate Strasdin@katestrasdin· Jun 30

The #1930s was the decade that lost interest in the front of a gown and decided that all of the drama would happen elsewhere. Here the backless midnight blue velvet scoots down in the deepest V with a little line of glass buttons….. #AugustaAuction #FashionHistory 🗃️🪡

A side by side image of a sleeveless dark blue velvet dress. It has a scooped neckline and at the back it falls into a deep backless V with a line of glass buttons. It has a longer train at the back

Kate Strasdin@katestrasdin· Jun 30

I was so sad to hear that Penelope Keith had died. For me she will forever be Margot Leadbetter, rocking seventies chic in the Surbiton suburbs. I think she would’ve loved this 1976 Halston. I hope she & Jerry are somewhere sipping a martini together #museumatFIT #FashionHistory 🗃️🪡

Partial view of a hammered yellow silk evening dress, designed by Halston to resemble a knotted towel after a bath. It has a one shouldered cape style with centre front knot

Full length view of the buttery hammered silk dress by Halston. It is plain apart from the knot centre front and draped to the floor

A still of Penelope Keith in her role as Margot Leadbetter in Tue Good Life. She is wearing a draped blue evening dress with a matching headscarf

Kate Strasdin@katestrasdin· Jun 29

This is described as a summer party ensemble & though it is a subtle shade, I love its mutedness & attention to detail. The matching jacket is a neat piece of tailoring & the skirt & neckline are essentially a great swathe of smocking. Ceil Chapman, mid #1950s #AugustaAuction #FashionHistory 🗃️🪡

Side by side image that show a great lavender ensemble which consists of a short waisted long sleeved jacket with double breasted detail buttons. It is fastened over a matching dress which has been stitched into a smocked repeat. It is made of cotton poplin

A partial view of the grey lavender summer ensemble, this time shown without the jacket. It has smocking around the neck but then a plain bodice which allows the jacket to fasten smoothly over the top

Kate Strasdin@katestrasdin· Jun 29

Sleek suits all the rage in the early 1910s, often with sharp detailing like this. The brown linen was a trimmed with a pinstriped collar and cuffs with mother of pearl decorative buttons framed in elongated black braid buttonholes. Lovely! @KSUMuseum #FashionHistory 🗃️🪡

Full length view of a brown linen two piece skirt suit. It has a long line jacket and long straight skirt. There is black and white striped facings to the collar and cuffs and white decorative buttons with black braid buttonholes

A detail of the collar of the brown linen skirt suit focusing on the pinstriped revers, the decorative button placement and the V neck

A detail of the bottom of the jacket of the 1910s brown linen skirt suit focusing on the cuff and the decorative row of buttons centre left at the back of the jacket

A black and white line drawing fashion plate that shows two women in similar style skirt suits with long jackets and skirts. Both are wearing hats

Kate Strasdin@katestrasdin· Jun 28

The handkerchief points layered in chiffon gauze build into a bloom of skirt. With the wrapped bodice and matching scarf, it must have moved every which way when it was worn c1947. Norman Norell #museumatFIT #FashionHistory 🗃️🪡

A full length view of a deep yellow chiffon gauze sleeveless evening dress with a scarf around the neck, a horizontal wrap of fabric below the bust and multiple layered points that build a full skirt

Kate Strasdin@katestrasdin· Jun 28

The hill I will die on is that c19th women couldn’t move in clothes. This is a mid #1880s tennis dress. Yes it is not sportswear we recognise today. Yes there are layers. Yes women could ‘do’ sport & move in ways we might not imagine possible. ‘Played’ painting John Lavery #LACMA #FashionHistory 🗃️🪡

Full length view of a white cotton dress with a narrow red stripe. It has a small bustle, long sleeves and a deep pocket for tennis balls. It buttons centre front of the bodice

A detail of the white cotton tennis dress with red stripes c1885 focusing on the small gathered bustle centre back

Detail of the white cotton, red striped tennis dress which shows the arrangement of the skirt at the waist and the buttons centre front of the bodice

An image of the c1885 painting by John Lavery called ‘Played’. It shows a woman in a white dress playing tennis and participating very actively

Kate Strasdin@katestrasdin· Jun 27

Madame Grès’s designs are on the one hand instantly recognisable and on the other difficult to date. This pleated emerald silk jersey was created in the mid #1980s but could as easily have formed part of her collections half a century earlier #NGVMelbourne #FashionHistory 🗃️🪡

A strapless emerald green silk jersey evening dress with pleats that run horizontally around the bodice and then fall vertically into the drape of the skirt. There is a swirl of pleated blue silk that circles one side of the bodice and drapes down the skirt

Kate Strasdin@katestrasdin· Jun 27

This is a cute little set for high days and holidays. The printed cotton ensemble was designed by Margit Fellegi for Cole of California in 1939 and is perfect for beach and boardwalk alike. Extra stretch comes with the excellent shirred panels #LACMA #FashionHistory 🗃️🪡

A printed red cotton two piece play suit consisting of a vest style top and shorts. Both have shirred panels for extra movement

An alternative view of the red printed cotton ensemble, this time shown with the matching skirt worn over the top to create the effect of a sundress

A partial view of the printed red cotton ensemble focusing on the triangular panel of shirring for added elasticity

Kate Strasdin@katestrasdin· Jun 26

Love it or hate it? I am definitely a fan of the #1830s. I am drawn to its exaggerations and dramatic proportions which appear almost caricature like in drawings until you compare them to the real thing @metmuseum.org #FashionHistory 🗃️🪡