Passenger Fashions on Board the RMS Titanic
Attractive Day Costume. Leslie's Weekly (11 April 1912) p. 437-b. GGA Image ID # 102a90dc07
The Titanic Era fashions were as elegant as you might envision to more simple clothing. Dressing up for dining in either the First or Second Class required more formal attire - tuxedos for men, day or evening dresses for women.
Fashions on Titanic - 1912
Three Fashions on the Titanic. The Illustratged London News (May 1912) p, 714, 764, 794. GGA Image ID # 102bcc2a6d
Left to Right:
- For Spring Days - This dress is of smooth-faced cloth, lightly draped on both skirt and coursage. The blouse is of lace and muslin. (25 May 1912 p. 794)
- A Charming Costume in Striped Silk. This dress is trimmed with buttona and hoope. the neck being finiahed with a lace collar edged with a velvet band. (11 May 1912 p. 714)
- A Frock for Afternoon. This charming dress is composed of plain and figured tafetas. (18 May 1912 p. 764)
The unique feature of these white muslins are knitted or crocheted waist-belts, as gay and glaring and many-colored as Joseph's famous coat. No tints and no brilliant contrasts of color are considered too daring to enliven an all-white gown.
A Charming Costume in Striped Silk. This dress is trimmed with buttons and hoops, the neck being finished with a lace collar edged with a velvet band. The Illustrated London News (11 May 1912) p. 714. GGA Image ID # 102b3442f3
A Dress For Spring Days. This dress in of smooth-faced cloth, lightly draped on both skirt and corsage. The blouse is of lace and muslin. The Illustrated London News (25 May 1912) p. 794. GGA Image ID # 102b8e3054
One color that invariably holds its own in popularity, especially in the springtime of the year, is white. The smart Parisian houses have an unusually attractive stock of embroidered white muslins and Broderie Anglaise gowns, made for the most part with a most beautiful, if not especially exciting simplicity.
Some of the extravagant gowns of this description are so lavishly embroidered, by the hand of course, as to be perfect works of art, scarce a square inch being without its share of delicate and intricate artistry.
Some models also indulge in little buttons or the daintiest imaginable flowers in bright wool as an additional trimming. But, contrariwise, a few adorned with somber black head fringe and buttons of cut jet have been seen. Many of the smartest models are being made with quite long sleeves.
A Frock For Afternoon . This charming dress is composed of plain and figured taffetas. The Illustrated London News (18 May 1912) p. 764. GGA Image ID # 102ba920f3
A Handsome Dinner-Gown – The corsage and train an of fine lace, with chiffon sleeves and reveres of darker satin. The light chiffon skirt has a drapery of darker chiffon, embroidered with gold beads. The Illustrated London News (15 June 1912) p. 916. GGA Image iD # 102bc81f9c
Ladies' Smart Taffetas and Dinner Gowns - 1912
A Smart Taffetas Gown. This is made with panier skirt and long lace sleeves. The Illustrated London News (27 April 1912) p. 624. GGA Image ID # 102e8a6d77
The Parisian dressmakers have, at last, opened their salons and exhibited their novelties and surprises for the early spring, the most striking being the Tallien costume, which has caught on and made its début at Auteuil.
This daring costume takes its name from the famous Directoire beauty, Mme. Tallien and its prominent feature is the slit right up to the side of the skirt high above the knee, showing the knee of the wearer when she walks.
With this, will be worn the wide-meshed silken net Directoire stockings. The " Curate ” costume, with its two-piece skirt, fastened down the left side of the front and two or three buttons left undone at the foot, its straight-cut coat buttoned closely to the chin, where it is cut incorrect clerical style, has caught on.
A new feature in the tailor-made costumes this season is the V-shaped décolleté corsage which will be worn with them, but still, this can be modified to suit the convenience of the wearer, and the effect made quite modest and elegant by means of the ever-useful chiffon chemisette.
Amongst the multitude of novelties which are altogether too obtrusive for those women to whom the grotesque does not appeal, and who like to be neat and trim, the accordion-pleated effect will find favor, and the panier dresses are decidedly becoming, although they are showing many new developments; some being very voluminous, with much fullness over the knees instead of around the hips, as worn some years ago, and in some cases the panier effect is suggested instead of being added.
The general opinion expressed at both Paris and London exhibitions of spring toilettes was that the panier and looped skirts are perfectly charming when cut with a certain amount of fulness at the feet.
The attempt to ally the panier with the hobble skirt has not been favorably received as yet, though ladies may approve of it later in the season. The hoop, again, threatens to have some say in the summer styles, but not in the crude all-around fashion of years gone by, when it was worn by all and sundry and made the subject of so much jest by Punch, and the opposite sex generally.
No - we are certain the hoop will not appear in its old form, but in something much more graceful and becoming. At present, we hear of it as a drapery with its fullness at the back instead of the sides, and showing a straight skirt underneath, but it will never become a favorite for evening wear.
It is a pity the names of panier and hoop have cropped up again. Could our clever leaders of fashion not have invented happier terms for the artistic draperies they are displaying so temptingly?
Indeed, we are inclined to wonder whether the dress-improver is not waiting to make its appearance in the near future; we hear tales of experiments being made with wires, puffed panels tied back, and other devices, which makes us very suspicious.
A Tea or Home Dinner Gown, with long sleeves fastened with silk loops and buttons. A smart hat is trimmed with a feather mount and the brim turned up with dark silk. The Illustrated London News (4 May 1912) p. 668. GGA Image ID # 102ee38cc9
My Recipe for a Summer Dress - 1912
Lady Duff-Gordon. Photograph by Cambell Studio, NY. Good Housekeeping Magazine (August 1912) p. 213. GGA Image ID # 110359d57b
This is the first of a series of informed, personal talks to our readers by this famous, titled, modiste of London, Paris, and New York. The article appeared in Good Housekeeping in August 1912 and was likely Lady Duff-Gordon's first article after surviving the RMS Titanic disaster.
Dear Mr. Editor,
You have been kind enough to wish me to write a series of fashion articles for you. Here is the first. I am afraid that my papers will not be like the usual fashion discourses, because, odd as it may sound coming from me, I do not believe in fashions!
By that, I mean I do not believe in what is called “the mode,” the uniform dictated arbitrarily by a dressmaker sitting in his Paris atelier and made popular by some mondaine or demi-mondaine, thence to be worn by thousands of women whether it suits them or not, simply because it is “the mode.”
I do not believe in that thoughtless, unintelligent, spendthrift shifting from this to that in dress simply because, overnight, “the fashion” has changed.
I shall never believe that a woman should be a slave to her dresses, and that is what “the fashions” make her. But I do believe that dress was made for woman to form into coverings of such lines and colors as will best set off her charms and her individuality. In other words, I believe that dresses are made for women, not women for dresses.
And so, instead of this description or that description, I want to write letters to your readers which will make clear to them my ideas of the inner meaning of dresses-a distinctly feminine “Sartor Resartus,” perhaps.
Summer Fashions by Lucile (Lady Duff-Gordon). Morning Gown and Summer Dress. Good Housekeeping Magazine (August 1912) p. 214. GGA Image ID # 1103bdee42
Left: Gray linen morning gown designed by Lucite. The skirt has drawn thread border. The Russian blouse has belt of the material and fastens at the sides with buttons. Embroidered muslin collar and jabot enhanced ‘with real Cluny lace.
Right: Lucile model in pale gray voile embroidered in green and yellow silk flowers. The naval feature is the long not sleeve with a pull’ at the top. Round lace hat trimmed with flowers.
I would like to talk about the importance of simplicity; the folly and the dangers of exaggeration; the absurdity of blindly following “a fashion”; the importance of intelligently studying one’s personality and expressing and interpreting that personality in one’s dresses; the necessity of harmony between oneself and one’s manner of dressing, from the hair down to the boots; the paramount value of right taste in its effect on your fortunes, your every-day life, your happiness.
I would like to teach your readers to dare to foster and preserve their individuality. I do not think that it is immodest of me to say that I have won fairly the right to be considered an expert, and as such, I am at least worth hearing.
We may all, each in our own house, invent what we think are the most perfect things. And naturally we each think ours are the best. But because we think they are good does not make them the fashion. It is one individual that does that—a celebrated beauty in the Faubourg St. Germain, or a favorite actress.
Garden Party and Summer Frocks by Lucile (Lady Duff-Gordon). Good Housekeeping Magazine (August 1912) p. 215. GGA Image ID # 11043cdc24
Left: Garden-party frock by Lucile, of tambon lace trimmed with palest pink satin and Valenciennes lace. The pale yellow taffeta bonnet is decorated with blue ribbon and a bunch of varicolored flowers
Right: Summer frock from Lucile in white chiffon and fine lace mounted over shell pink. The belt and trimmings are of the palest pink satin embroidered with tiny white beads. A smart touch is lent by the pale mauve taffeta coat fashioned on the bolero lines. The leghorn bonnet is enhanced with violets and a cluster of mauve feathers at the side.
She wears the dress, and in some insistent and mysterious manner it catches on to the public taste. Then everybody copies that particular model, and it becomes a uniform. I do not know whether this is a sign of the times, but I fancy not. Looking back along the past ages of fashions, you see the ladies in all the celebrated pictures of any given period seemingly dressed alike. I think it a great pity!
If my small voice has any weight in these matters, I shall try to induce each woman to study her own particular type and figure and, no matter what the fashions are that the dressmakers choose to invent, I shall urge her to stick religiously to her own type.
I am only preaching what I practice myself. I do not know whether any of your readers has ever seen me, but I have one particular style that I always stick to no matter what other people are wearing. I have all my clothes made in that same fashion from year to year, but in different colors and materials.
Someday, Mr. Editor, if you wish it, I will send you a picture of my particular tailor-made coat and skirt which at this moment many of my kind customers in Paris are adopting for their morning airing in the Bois.
I have another variation for my afternoon and evening gowns, but they are always of the same style. Terribly simple, with long lines and no “odds and ends and bits” anywhere. And it is my present intention (but I am only a woman and therefore may change at any moment, but I devoutly hope not) to stick to this fashion until the end of my time, providing (and this is a very serious condition) that I keep slim; and this I am determined to do.
This is not an idea that is original with me; not at all. I have always before me a very dear old aunt of mine who died lately at the age of eighty-nine. When she was forty years old, she adopted a mode of her own and never changed it.
You may say that a mode of forty or fifty years ago must have been a fright. Maybe so, but her individual mode was of such simple lines and personal charm and so expressed her personality that with her, it always seemed perfect. When she died, we found at the very least fifty dresses all made in the same style, but of different materials.
Mauve foulard frock from Lucile trimmed with while satin. The skirt is draped at the side in suggestion of the panier style, the draping taught with a buckle of the foulard and satin. A similar buckle fastens the belt of the foulard and satin. Collar and cuffs of Valenciennes lace and embroidery. White Tuscan straw hat with black ‘velvet ribbon and large pink rose. Good Housekeeping Magazine (August 1912) p. 216. GGA Image ID # 1104ab9faf
As she got older, she had them made in very thick satins and brocades, instead of the more flimsy materials. No one would ever have known she was not “in fashion.” The harmony was so fine that she was always in the best of fashion. All this is by the way, but it illustrates what I have said about daring to be free of “the mode.”
You tell me that this article will not appear until the August number and that it will then be getting a bit late for summer dresses; also that it is now too early to talk about autumn ones. But I am going to give you a recipe for a summer dress.
“Summer” is a word that always suggests to me complete satisfaction, and delight, and dainty beauty, and a laissez aller in modes, all the most flimsy and the daintiest fabrics. What more can I say? In my philosophy, the recipe is as good for next summer as this.
Keep in mind always the idea of a foundation of the palest pink, and the palest pink stockings, and over this drape chiffon, or lace, or voile, or muslin, in your own individual style and in any faint color you like; even in a dark one, providing you keep the pale pink, transparent effect of the foundation. And there you have my ideal summer frock.
The guest enjoying the cup of tea is wearing a simple frock of gray silk cashmere with sash and buttons of the material. The skirt is buttoned with four buttons halfway up the front, and displays a Cambria Petticoat, with Valenciennes lace insertion and powder blue ribbon edged with black. The collar and ruffs are of muslin matching the hat, with a tie of powder blue ribbon. Her hostess appears in a gown of black and white striped chiffon piped with white satin. The cuffs of the sleeves and the bottom part of the skirt are also of the white satin. This skirt is draped up on one side, revealing a petticoat of white lace bound with black velvet, and on the other side a black velvet sash is tied in a large bow. Fine Merklin lace and coarse lace embroidery are used for the collar and jabot. The other guest wears a handsome lace gown mounted over pale pink chiffon. The lower part of the skirt is very narrow, with a fuller upper flounce, falling straight from the raised belt of pale blue satin. The bébé bodice is of the lace with dear little puffed sleeves finished with lace ruffles. The hat is of the same lace, draped with pink satin ribbon and blue forget-me-nots. Good Housekeeping Magazine (September 1912) p. 355. GGA Image ID # 1104c3dbb7
An Opera Cloak and a Coiffure - 1912
An Opera Cloak and a Coiffure. This superb open mantle is in pale-blue miroir velvet, with yoke of fold tissue pleated; fold cord edging and loops, and band of Irish lace. Pearls and osprey form the head-dress. The Illustrated London News (8 June 1912) p. 876. GGA Image ID # 102bfe25e5
In Paris, nearly half the gowns of the class referred to—the little frocks for smart wear, if not on full-dress occasions—are built in shot taffetas, trimmed on corsage and skirt with quaint, narrow, flat ruches of the material, and lace collars.
There need be no hesitation as to what is the smartest fabric of the season for the useful, yet dressy, little frocks that fill so important a place in the wardrobe; those that are not too showy for morning wear and yet constitute an adequate afternoon toilette.
Shot chiffon taffetas is the fabric for choice. There are delightful color combinations in this material, ranging from sunset-like harmonies of pale gold-and-blue, or soft green shot with delicate pink, up to deep, strong shadings of purple and dark gold, royal blue and emerald, coral pink and silver-grey, and many another.
The new chiffon taffeta is not the stiff glacé fabric of earlier days; it is soft and pliable, yet it has the firm quality that has now the charm of novelty.
Little coats with short basques opening down the front to show a lace or net under- bodice, and edged all round with a flat ruche, are very- fashionable.
Two materials, that is to say, plain and shot together, are seen; sometimes a plain band of one of the colors of the shot is put on the skirt, laid flat; or is seen edging a tunic round, with the shot ruche again edging this band of plain taffetas—or it may be that there is a shot taffetas tunic over a plain colored skirt.
But the flat double ruche, with its quaint reminiscence of Mid-Victorian fashion, is always the trimming on shot taffetas frocks. As to the much-talked-about paniers, they are not often seen, except in the modified form of a few flat pleats on the hip, the folds thus produced set at the lower end, a little puffed, into a band edging the tunic.
Spring Suits and Gowns from Paris Designers - 1912
The newest designs for spring 1912 suits and gowns from the Paris designers are here. These suits and gowns would be typical of those worn by the women in first and second class onboard the RMS Titanic.
Afternoon Gown. Leslie's Weekly (11 April 1912) p. 437-a. GGA Image ID # 102a29217b
Beautiful afternoon gown, heavy while duchess lace over while silk, the skirt of chiffon wilh lace starting in knee height with yoke effect. Bell of black velvet.
Attractive Day Costume. Leslie's Weekly (11 April 1912) p. 437-b. GGA Image ID # 102a90dc07
This beautiful day costume features a black and white foulard, waist trimmed with black liberty, that also forms the skirt yoke. Sailor collar and cuffs of black and a small chiffon yoke complete the look.
Walking Suit. Leslie's Weekly (11 April 1912) p. 437-c. GGA Image ID # 102ac6a506
An adorable walking suit made of white cloth, the blouse showing yoke of shadow lace, veiled by black chiffon, white forming sleeves, and sash. A black hat, rough straw, trimmed with white taffeta and a small white marabou complete the look.
Gown Made for the Promenade Deck. Leslie's Weekly (11 April 1912) p. 437-e. GGA Image ID # 102b091e80
A gorgeous gown made for walking the promenade deck is made of light tan taffeta skirt, white lawn waist with accordion pleated ruffles, and large lapels covered with soutache embroidery. Peplum shoulder straps and belt of taffeta highlight the figure. Toque of white staw completes the look.
A Fashionable Gown for the Youthful Figure. Leslie's Weekly (11 April 1912) p. 437-f. GGA Image ID # 102b2799a1
This youthful highly fashionable gown of blue-flowered silk with a tunic-like drapery shown a pointed train of white lace and partly veiled by black chiffon is perfect for being seen onboard. Full sailor collar of white lace, edged with pale blue silk makes this costume an extraordinary gown for the youthful figure.
A Dainty Frock of Black Taffetas for Spring 1912
A Dainty Frock of Black Taffetas Is Finished with a Fine White Lawn Jabot and Frills on the Sleeves, and a Velvet Bow and Buckle at the Neck. The Illustrated London News (6 April 1912) p. 514. GGA Image ID # 105aced918
Never do our new clothes seem more acceptable, even indispensable, than in the spring. It is not only that one wants to lighten the weight and lessen the warmth of the costume, but the return of the bright sun shows up all the wear-and-tear of past wintry weather; and things that looked still quite respectable in the dull light of winter’s short days are found to be painfully dingy and dirty in the bright sunshine of the early spring.
The fewer clothes one indulges in, the more careful must be the choice, so it is not the part of wisdom to rush forth to buy without due consideration; if the garment will have to serve for a good time, whether it pleases or not, better wait awhile, till Fashion’s voice is distinctly heard proclaiming her intentions as to the season’s cut and style.
But the new materials are all ready, and the owner of a reasonable dress allowance naturally seeks her first new supply for spring with joy, as soon as the weather admits of doffing winter wear, as we may now hope is the case.
It is not only the cut of a costume that deserves to receive from the intending wearer an impartial personal study, but color demands individual thought also, to harmonize the dress with the complexion, the hair, and the eyes.
It is as real a blunder to select a color for one’s wear because it is "fashionable" as it is to follow an unsuitable outline. An eye for color seems to be a somewhat rare endowment: or perhaps it is that taste is not cultivated adequately in early life by observation, and by being surrounded by beautiful things.
Some colors may suit a face when used in small quantities, as in bows, trimming lines, or vests, and even in hats, that would have the reverse effect if the entire gown were made of the same tint. White of a creamy tone suits almost all complexions; there is a blue-white, however, that is becoming only to clear complexions, whether of the rosy or the olive type.
The golden-haired blonde with a pink-tinted complexion has the most comprehensive choice in colors; for her, white in all its tones, blue and green in all their shades, golden yellow, rose-pink, all shades of purple, grey or black brightened with pink, each and all enhance the appearance, and red is the only color that to this type is probably unbecoming.
Brown hair and eyes and a brunette skin should avoid the lighter tones of blue and green, but the deeper shades of these colors will probably suit them if the skin is clear.
Brown and dark blue in fabrics with deep lights and shadows, such as velvet, will suit brunettes excellently; but vivid reds, rich pinks, amber, tan and cream-white, are their best colors; purple is uncertain, it suits some brunettes, but most do well to eschew it.
Easy to suit with harmonious tints is the medium blonde type of beauty which is, perhaps, the most characteristically English—blue or clear grey eyes, hair appearing brown in the mass but well lit up by high lights of gold, a clear, fair complexion without very vivid color in the cheeks.
This type is " flattered’’ as the French say, by blue above all. A delicate yellow, from that of ripe corn to the deep creamy tone of a Gloire-de-Dijon rose, is also very becoming.
Green of a rather vivid shade, Lincoln, moss, willow, and lime green, especially when worn with a touch of pink, even only a pink bow or a rose, is very becoming.
Black relieved a little with white, or with pink or blue, is also excellent wear for the medium blonde with good skin.
Auburn hair is often unbecomingly treated by its owner, who ought to be pleased to possess it; but too often she has also a freckled and sallow complexion.
Olive-green, dark red, pale brown and tan and, with a good complexion, light blue and really pale shades of pink and yellow, are all possible, but generally, the auburn-haired woman docs best with the dark shades just mentioned.
It is interesting to note the revival of taffetas— the olden-time favorite—and, as a variety in make-up, the smart dressmakers are sending out taffetas tailor-made costumes in various colors; but we think taffetas in this form will not take the popular fancy, although it will be a useful and dainty material to wear.
For the spring, the three-piece schemes, giving a complete frock when the coat is removed, will be made up of serge or whipcord, and not a few will choose the hopsack which resembles Turkish toweling in make, and this combined with a blouse in charmeuse or taffetas will make up a smart affair for afternoon wear.
Another pretty fancy is the net blouse, with veiled medallions of thick lace, and worn over a plain taffetas slip to match the skirt. The lace jabot is always with us, but we are now to wear it with a difference, and one of the most becoming styles is to outline the front of the dress to the waist with a tastefully arranged cascade of lace, its scanty folds caught by long jeweled lace pins.
Petticoats are to be decidedly pretty this season, and one we saw the other day, which formed part of a trousseau, was made of thin muslin or cambria, with a good deal of lace insertion in stripes down the front, while the flounce was edged with hand-embroidered rose-buds and scallops. Indeed, it was almost pretty enough for a dress.
Of course, such a petticoat is made à la Princesse, so that the trimming extends in an unbroken line from bust to top of scanty flounce to meet the requirements of the one-piece dress, for although rumor has it that skirts are to be more extensive this season, still modistes are not allowing much flow in the underskirt, which would considerably spoil the set of the sheath-like skirt with its straight outline and carefully swathed draperies.
Much has been said about the new hairdressing, and the unanimous verdict has been that "Beauty unadorned is adorned the most,” and the Goddess of Fashion has decreed that additional puffs and curls are to be abandoned, and ladies will appear much more attractive and stylish in the natural simplicity of their own shining tresses.
For evening wear, dainty curls will fill in the nape of the neck, and a jeweled filet is to encircle the crown, holding in front or at side an osprey, with its stem buckled by a sparkling ornament.
The Witchery of a Parisian Night in 1912
It is an evening in Paris-every kind of costume and color is seen, from the simplest lingerie frock to the gowns of the most gorgeous description. Lady Duff-Gordon describes her latest designs by Lucile including a new Coat and Skirt Suit, Black Satin Evening Gown, Afternoon Frock of Bottle Green Charmeuse, and Stunning new Evening Gowns.
A New Coat and Skirt Suit - Designed by Lucile - Of a rich green faille with the tunic of the skirt draped at the side, and the coat following the same line, both being caught up with a beautiful belt of dull silver brocade finished with a heavy silver buckle. The coat has a collar of heavy silk embroidery, and a long tassel of silk and silver at the side. A row of small buttons of the material trim the coat. Her Wardrobe: The Witchery of a Parisian Night With Sidelights on Gorgeous New Gowns in the Restaurants and Ballrooms. Good Housekeeping (October 1912) p. 521. GGA Image ID # 1106af819b
Black Satin Evening Gown By Lucile - The black satin skirt is gracefully draped at one side, and the pointed train is finished with a long black silk tassel. A silver tissue lace is used for the bodice, the draping of which is caught in the front with orange colored tissue ribbon. Good Housekeeping (October 1912) p. 522. GGA Image ID # 1106e48c73
Afternoon Frock of Bottle Green Charmeuse From Lucile - The skirt is slightly caught up near the bottom. The bodice is draped in a low V, displaying a vest of lace, and a garland of silk flowers nestles against the turned-back revers. The sash of the material is knotted at one side with long fringe on the end. Good Housekeeping (October 1912) p. 522. GGA Image ID # 110767604d
STUNNING EVENING GOWNS – From Lucile. Good Housekeeping (October 1912) p. 522. GGA Image ID # 1107b23157
On the left, standing, the dress is an emerald green with draped chiffon. The embroidery around the corsage is emeralds caught with a large cabuchon buckle.
Standing beside her is a girl wearing a gown of two shades of smoke-colored chiffon over flesh pink foundation. A wide band encircling the waist is gorgeously embroidered in green, gold and purple and studded with sapphires. Across her right shoulder is a wreath of flowers in different shades of blue, scarlet and white.
Seated below her is a young girl gowned in a pale blue and while chiffon embroidered with tiny diamonds, diamond flowers and silver leaves. The waistband and corsage is trimmed with small diamonds and colored beads which is draped over a transparent underdress of very pale pink, embroidered with small rose and silver tubes.
Sitting beside her is another girl who has adopted the taffeta panier costume in a dark blue and mauve taffeta, faded orange flowers with green leaves distinguishing the pattern. Its lining of blue, vert de gris, turns over the feet. There is an indigo blue and gold embroidered high waist band. The top of the bodice is of indigo blue, embroidered with gold thread and tiny bluish-green sequins.
The girl on the arm of the sofa is wearing a yellow chiffon frock, embroidered all over with tiny pink rosebuds on a trellis of silver tubes. It is-draped over a flesh pink underskirt, and there are several shades of very pale pink and green around the waist, with a corsage drapery of pale lemon chiffon.
"Ladies' Page," in The Illustrated London News, May 1912, p, 714, 764, 784, 794 and 15 June 1912, p. 916
Lady Lucile Duff-Gordon, "Her Wardrobe: A Monthly Department of Fashions and Patterns: My Recipe for a Summer Dress, With a Personal Chat Setting Forth My Ideas Concerning Women's Clothes" in Good Housekeeping Magazine, New York: Good Housekeepin Magazine, Vol. LV, No. 2, Whole No. 406, August 1912.
"Ladies' Page: An Opera Cloak and Coiffure," in The Illustrated London News, New York: The International News Company, Vol. 50, No. 1309, 8 June 1912, p. 876.
"Ladies' Page," in The Illustrated London News, New York: The International News Company, Vol. 50, No. 1300, Saturday, 6 April 1912, p. 514.
Lady Duff-Gordon ("Lucile"), "The Witchery of a Parisian Night - With Sidelights on Gorgeous New Gowns in the Restaurants and Ballrooms," in Her Wardrobe - A Monthly Department of Fashions and Patterns, in Good Housekeeping, New York: Good Housekeeping Magazine, Vol. LV, No. 4, Whole No. 408, Annual Achievement Number, October 1912, p. 521-523.