The Girl From Up There - 1901

Caroline Siedle's designs for The Girl From Up There, a 1901 production starring Edna May, received a thorough description in this uncredited article from the personal scrapbook of the actress. I have not come across any drawings of designs from this show, but the souvenir album was well illustrated with images, including a number of sketches of the Siedle costumes drawn by Archie Gunn, another artist and costume designer.

Elaborate stage gowns are not a novelty; elegance and beauty are shown in every modern production, but such creations as clothe the slender figure of Edna May in "The Girl From Up There" are unusual. 

One of her frocks is Princess shape, and three shades of pink combine in it. First, a slip of cerise satin, over which are deep frills of accordian pleated chiffon; next, the princess slip of rose pink crepe de chine, which is entirely covered with gold spangles. These glittering bits of gold are not sewed on in the ordinary way, but hang from tiny threads of gold, shaping and reflecting the light at every movement. Across the bust, over the shoulders, down the side and around the bottom of this pointed slip is a continuous row of pink velvet roses, with occasional green leaves.

Over this poem in pink and gold is worn a voluminous cloak of silver completely covered with silver spangles. These spangles depend from little strings of silver bugle beads, so they glisten and shake continually. Long sleeves and a train has this cloak, and with it is worn an odd headdress with pendant strings of silver beads. The weight of this cloak is seventy-five pounds, and it requires all the strength of which Miss May is capable to hold it up the brief time she wears it.

To go back to the first act, another idyllic gown is that in which "the girl from up there" makes her first appearance. It is gold in effect, but has a pinkish tone which is soft and indescribable. The material is crepe de chine again, and it is heavily embroidered with gold arabesques and studded with topaz stones. Princess in style, with long sleeves, slightly low neck, a beautiful girdle of gold and rhinestones and a crowning beauty in the gold wreath for headdress, this costume is one of the loveliest ever seen on the New York stage. 

White panne velvet and chiffon seem an unusual combination, but another frock has a skirt composed of alternate panels of these materials, with a band of pearl trimming where they are joined. The bodice has a transparent yoke and high collar of white chiffon in the finest tucks. Sleeves of the same material come to the elbow. Across the bust and over the shoulders is a wide band of the pearl trimming. This bodice opens in the back and the front panel of the skirt extends beyond the waist line, fastening half way up the front of the bodice.

 

Another white frock which Miss May alternates with this is of mousselline de soie, spangled with tiny silver spangles. The narrow flounces on the skirt are bordered with tiny gold braid. The full bodice is of the mouselline, over which is worn a spangled bolero, edged with the gold braid and silver embroidery. This frock has a high lace collar. A big black hat and black gloves go with both these white gowns.

Charming is the little gray silk Quaker costume, also worn in the second act, and the boy's rig of dark green velvet is jaunty and dainty as a boy's clothes could possibly be. Knickerbockers and coat are of velvet, the latter trimmed with gold braid and buttons. Underneath the coat is a silk jersey, in white and turquoise stripes. A scarf of red crepe de chine is knotted about the waist, and a bit of the same brilliant color is shown in the big gray hat. High boots, of gray complete this fascinating rig.