A memento of 19th century Australian fashion

While an evening out is currently not possible, Sylvia Walsh reminds us that we should aspire to more than ‘tracky dacks’ during the COVID curfew. Sylvia writes:

Portrait of my cousin (1893-1894) by E. Phillips Fox is a life-scale (206.0 × 92.00) portrait that gives us the opportunity to study Lottie Fox, who seems relaxed in her surroundings, comfortable and familiar with her artist cousin but we can wonder: Is Lottie about to depart for evening out or arriving home? Preparing for an entertainment at her family’s home or joining friends for a celebration around town? Are her outer garments being discarded or about to be put on?

We can gather possible details about Lottie, her lifestyle through this moment caught in oil paint, by the visual clues provided through the richness of her outfit, accessories and the interior décor. The textiles and fashion decorating this scene indicate Lottie’s family have sufficient wealth to recognise and acquire luxuries associated with an elevated social-standing.

Lottie’s face is animated though peaceful with a youthful-bloom on her cheeks and rosebud-tinted lips, enhanced by the glow of her pink gown. Her coiffure is fashionable – hair arranged atop her head secured at the back with a matching decoration or flower. The up-styled-hair demonstrates formality and shows she is more of a young lady than a girl. We do not conclude her marital status; no rings are visible and her left hand is gloved but her fine, gold bracelet further displays a subtle symbol of affluence, being a popular and significant gift for an emerging lady. Also, perhaps in Lottie’s case, the painting showcases a beautiful, young woman as an attractive marriage prospect?

Her gown is the height of Empire-line fashion with a raised-waistline in a pastel, translucent rose-hue often favoured by aristocrats. The back-skirt extends into a train, replicating formal, court dress which we are directed to appreciate, displayed to her right side. A progressive silhouette shows the gown varies from previous fashion, by not distorting the natural figure shape with heavy corsetry, at the waist, bust and hip.

Styling and demur shade are deceptively simple since the soft, flowing appearance would have been well supported inside, and the colour, although maybe girlish, was simultaneously sophisticated. The light-weight, woven fabric, probably silk judging by the lustre, with generously gathered skirt, puffed-sleeves and ruched bodice would require a structure of layered lining to hold the fullness into shape. The scooped neckline draws attention to Lottie’s fine, shoulder-line complexion, attractive without being immodest, and the width of neckline, shoulder and sleeves balances the flared, frilled hemline. A toe of a dainty, matching slipper peeps from under the hemline suggesting that Lottie is not expecting to walk outdoors instead, perhaps to dance, another clue of a formal occasion.

Maybe originating from Europe, or more likely, the gown’s fabric was imported and made locally in one of the developing designer-dressmaking workshops by following the latest intelligence in magazines and patterns from overseas fashion capitals. The high standard, custom-made style is a further sign of prosperity and fashion awareness.

A full-length mirror assists our observation of the whole gown with the glimpse of the back reflected and extra glamour of the fleece floor rug, connecting our views. The image of fashion is additionally gained when looking beyond Lottie to her chic, dove-grey cape, an Opera cape perhaps, trimmed with ostrich feathers, where her right-hand rests on her pale glove, probably fine, kid-skin leather.

Lottie is the focal point and her surroundings frame and balance her figure and strengthen her presence. Vertical orientation format and the large-scale proportions dominates the composition. Foreground illumination and shadowed space behind, with the mirrored-view combine to enhance three-dimensional figure qualities, props and room perspective. The impression of depth is also created by her hand on the table, being slightly behind, where her cape lies, and a feeling of the receding floor and a swag of dark drapery give Lottie the appearance of advancing, welcoming; as may display the easy relationship with her cousin.

The cousins enjoyed a close relationship, shown in this flattering, empathetic portrait which remained part of the Fox family collection until 1925 when purchased by the Felton Bequest for the NGV. The Portrait of my Cousin was aimed for exhibition at Paris Salon 1894, when Fox became the first Australian to win a gold medal. This work presents a high degree of oil painting technique, finish and convention, through which Fox aimed for acceptance in Academic circles. Sketched directly in charcoal on canvas it probably referenced many studies in-situ before the final painting was completed in the studio.

Phillips Fox undertook early studies in drawing and he enrolled at the Gallery school progressing to teaching there. During 1887 Fox travelled to Europe and became part of an expatriate artist group acknowledged in London and Paris before returning to Australia 1891, where he enjoyed continued success. Portraits of community leaders gained popularity as Australian society established and, with increasing affluence and artistic taste, the portraitist emerged and profited. Commissioned portraits established the basis for Fox’s income and reputation being well received by art critics who accepted them a worthy theme being elegant, distinguished and well executed.

Beautiful, artistic objects like oil paintings were valued interior decoration and formed durable status symbols particularly during the buoyant economic times such as those known as Marvellous Melbourne. Portraits of well-attired refined, socialites and their families enjoying fine surroundings were a statement of growing prosperity and respectability and reassured Australians of their capability to emulate distant European lifestyle models.

Thank you, Sylvia, for a ‘deep dive’ into Melbourne’s fashionable world. And, if you haven’t been persuaded,   ‘Tracky Dack Day’  – a fundraising health initiative for sick kids – is on Friday 28 August for New South Wales (Victoria’s was on 29 May) if you wish to support our northern neighbour.