We don’t normally associate Emile Pingat with more casual designs such as tea gowns and morning dresses but that’s not always the case. Recently, we came across this interesting 1890s era example that was on an auction website: 🙂
This dress is constructed from cream-colored wool trimmed with ivory lace at the sleeve cuffs and neck. The dress is also trimmed in a floral pattern constructed from soutache cord appliques mounted on linen running along the hem, neck, and dress front.
This dress has a silhouette that approximates the quintessential 1890s x-silhouette yet the lines are more loose and free-flowing, aided by the princess line style. This dress reads “tea gown” although it would also work for a house or morning dress; in any event, this was probably a bit too casual for going outside of the house and was intended for wear at home. As we’ve commented on other tea gowns, Pingat has taken what was meant to be a simple style and upgraded into more of a couture gown. Here’s some close-up views:
This close-up view from the rear shows the princess line seamwork although there are waist lines on the side pieces- whether these are simply stitch lines or actual seams is hard to determine from the picture but either way, the dress reads princess line. The sleeves are elbow length and have moderate poufs on the sleeve caps- based on the sleeve caps, we’d be willing to estimate that this was garment was made something in the 1893-1894 time frame but this is just an estimate on our part.1Unfortunately, like most auction website listings, the dating is very vague and in this case, it just stated that it was “1890s” which is not very helpful.
The above lace collar extends up the neck and is topped off by a row of tiny silk flowers. Also, the pictures above and below show excellent close-up views of the applique decorative design and in many respects it’s reminiscent of trapunto.
The dress was front opening and concealed by this elaborately worked placket consisting of raised appliques worked in a floral pattern designed to mimic a vine with flowers. It’s a very cleaver design solution and keeps the rest of the dress lines clean, unfettered by the need for an opening.
And here we seen Pingat’s label stamped into the petersham, something that was very common for couture houses to do. The petersham was intended as a way to control the dress and keep it firmly attached at the waist. With this tea gown, we see a design is simple and elegant, embodying the oft-quoted idea of “less is more;” it’s definitely that. With dress’s simple, clean lines acting as a canvas for the restrained decorative scheme, and it all harmonizes together nicely.