Pingat- Sometimes Less Is More…

August 2, 2016August 1, 2016 / Adam Lid / 1 Comment

When it comes to Victorian Era fashion and especially fashion of the period from 1870 through 1900, people have the idea that a dress with more trim and accents (i.e., “bling”) makes for a more elegant and opulent dress. However, this is not always the case and sometimes too much trim and accents can have the opposite effect with the end result being a mish-mash of details that ultimately do nothing towards creating a unified style or “look.” In some cases, we see little more than a fashion trainwreck.

However, this wasn’t always the case and often designers utilized more simple designs, relying on the use of the fashion fabric alone to achieve results. One example of this can be found with this 1880s dress designed by Emile Pingat that we found on the Augusta Auctions website:

Dress Ensemble, c. 1880s; August Auctions

Emile Pingat 2

Emile Pingat 3

Emile Pingat 2

Emile Pingat 5

According to the website, the dress is from the 1880s and we suspect that it was made sometime in the mid-1880s. Also, although the dress is described as having both a “day bodice” and a ballgown bodice, there was no picture of the ballgown bodice thus at a minimum, this dress was probably meant as a visiting or reception dress. However, that said, our interest is that there is no trim on this dress and it only uses the fashion fabric itself.

The vertical stripes serve to accentuate the length of the dress and give a nearly cylindrical appearance. Also, at the bottom, we see two layers of narrow knife pleating separated by ruching, all from the same fabric. Unfortunately, there were no pictures of the dress from the direct front and it’s hard to get a full idea of the bodice’s appearance but it’s evident that the strips on the fabric do accentuate the curves of the bodice. Although this dress looks fairly “plain,” the manipulation of the fashion alone does the work and gives the dress an overall sense of aesthetic uniformity. In short, “less is more”.

And here’s a view of the hem detail:

Emile Pingat 4

Now, admittedly, aesthetics and style are a very subjective matter and we all have our preferences but nevertheless, we see that designers utilized various methods to achieve their visions. While unfortunately we do not have a formal treatise on Emile Pingat’s design philosophy, it’s evident that he was flexible in his approach.

Many of Pingat’s designs involved clean lines and the use of the fashion fabric as the central focus. Here is another example that’s perhaps a bit more elaborate than the above example but still exhibits the same characteristics:

Emile Pingat, Dinner Dress, c. 1883 – 1885; Smith College Historic Clothing Collection (1989.1.3ab)

Rear View

What’s interesting here is that like this first dress above, Pingat uses only two colors as a combination only this time there are two separate fabrics, blue silk and white silk.

For a bit of contrast, let’s take a look at this reception dress from circa 1874:

Emile Pingat, Reception Dress, c. 1874; Philadelphia Museum of Art (1938-18-12a,b)

In many respects, this dress is a precursor for the above two from the 1880s in that we see a blue and white striped silk overskirt combined with a solid blue silk underskirt and bodice. Also, we see white lace trim used to edge the overskirt and trim the bodice cuffs and front. Finally, we see white silk used along the hem and part of the underskirt for contrast. While we would expect an early 1870s to be somewhat elaborate with several layers of draped fabric, it’s sill relatively simple for the period.

Perhaps we’re reaching here a bit but it’s still interesting to consider the idea that Pingat tended to be more restrained in his designs and that he was firmly in the center- being neither too fashion forward or too regressive. Anyway, we hope you’ve enjoyed this excursion through some of Pingat’s designs. 🙂

More Pingat…

February 3, 2016February 2, 2016 / Adam Lid / Leave a comment

Fashion often draws upon the past for inspiration and this was especially true during the late 19th Century. Like Doucet, and others, Emile Pingat often drew inspiration from 18th Century designs, using them as a backdrop for his own unique style in which he blended elaborate decoration with exquisite fabrics:

Promenade Dress, Emile Pingat, c. 1885; Shelburne Museum (2010-75)

Close-Up Of Front

Three-Quarter Rear View

The bodice is a polonaise with vest that provides a feminine version of an 18th Century men’s coat and waistcoat. The cutaway style of the polonaise provides for displaying the vest’s gold bullion embroidery to its best advantage and it complements the elaborate embroidery running down both revers of the polonaise. The jewel toned claret colored velvet of the polonaise and skirt provide a deep background for the ivory white vest and combined with the gold embroidery, the look is sumptuous yet not overdone. Further embroidery is used on the side pocket flaps and the back of the polonaise with restraint and claret is allowed to show through clearly.

Pingat employs the velvet polonaise/skirt/vest combination again in this creation that was made a little later circa 1888, only this time in green tones:

Pingat, Promenade Dress, 1888; Metropolitan Museum of Art (2009.300.7758a, b)

Rear View

Right Side Profile

Here we see a polonaise and skirt constructed from a deep bottle-green velvet combined with a vest of a lighter shade of green. The embroidery appears to be a combination of gold bullion and another shade of light green that complements the polonaise, vest, and skirt. As with the first example, the embroidery is used with restraint, mostly trimming the front revers, rear, and side pockets of the polonaise. Colorwise, the first dress provides more of a contrast while the second dress works more in a single color pallette. For both of the above dresses, large expanses are unadorned with just the velvet showing. Overall, the effect is elegant and sumptuous but restrained.

The above is just a small sampling but it demonstrates Pingat’s mastery of design in that his combinations of fabric and decorate treatments are carefully contrived for maximum effect- nowhere does it feel like he simply piled on fabric and trim as often was the case with Worth. Finally, while many believe that today’s fashions are completely divorced from the past in terms of inspiration, such as not the case as with this design from Dior:

A model walks the runway during the Christian Dior show as part of Paris Fashion Week – Haute Couture Fall/Winter 2014-2015 on July 7, 2014 in Paris, France.

As it is often said, nothing is really new in fashion. 🙂

Jacques Doucet, Part 4

August 20, 2015August 20, 2015 / Adam Lid / Leave a comment

Next to Charles Worth, Jacques Doucet was one of the most prolific designers and his influence was felt far and wide in the fashion world. Bolstered by a legion of wealthy clients both in Europe and America, Doucet set the standard for luxury, using the finest materials and craftsmanship in the construction of his designs. Doucet’s clients valued his designs for their dignity and luxury rather than novelty.

Some of Doucet’s art collection.

Viewing himself as more of an artist rather than a clothing designer, Doucet incorporated his artistic sensibilities into many of his designs, drawing on his extensive art collection and this was especially evident in the use of 18th Century style elements. Doucet often used flimsy translucent fabrics in his designs combined with pastel colors and trims to create looks that were ethereal and delicate. Also, throughout his designs, one can see his extensive use of gold and silver lamé and metallic trim. Finally, there is also no doubt that Doucet was influenced by the fact that he was born into a family operated a concern selling lingerie and linens.

Although Doucet tended to favor gold tones in many of his designs, he also worked in other colors as this example from 1911 demonstrates:

Jacques Doucet, Evening Dress, c. 1911; Unfortunately, not much is known about the provenance of this dress.

Back

Front Close-Up

Unfortunately, there is not a lot out there in regard to the provenance of this dress. The basic style of the dress is empire, a style characteristic of the teens. The S-bend corset with its characteristic mono-breast had been left behind in favor of the smooth upright lines of the empire style; fashion had finally come full circle. The red and silver grey colors combined together stand in contrast with each other yet they do harmonize, helped along by the red trim and jeweling. The only part that seems somewhat discordant is the use of gold- it seems that Doucet just could not stay away from using this color. Finally, the use of the translucent sheer fabric over a base of silver grey silk creates gives the dress depth.

Below is another example from 1910 that illustrates Doucet’s design principles but at the same adds something different- fur:

Jacques Doucet, Evening Dress, c. 1910; Metropolitan Museum of Art (2009.300.1154)

Side Profile

Three- Quarter Rear View

Once again we see the empire line and from casual observation, it appears to be far less structured and more simple than Doucet’s previous designs from the early 1900s. The basic fabric is a white/silver silk satin covered in heavily embroidered lace and with the cuffs trimmed in fur; this look definitely makes this a winter dress., Towards the bottom, the embroidered lace gives way to a lighter lace netting that falls away from the front of the dress. Also, while the layers of embroidered lace and netting are a major feature of the dress, the underlying fabric is also given prominence in the front and back. It is clear that the era of the lingerie dress had passed.

Evening Dress by Doucet, Les Modes, June 1909.

Doucet was one of the most influential of the designers that worked out of Paris during the Fin-de-Siecle and while his name is less known than Worth, it could be argued that he was as equally influential, if not more. Later designers such as Paul Poiret and Madeleine Vionnet got their start working for Doucet and while his designs became dated after the First World War, they are still used for inspiration by modern designers.

In the past installments I have attempted to show a range of Doucet’s work from the 1880s through the Teens and while the silhouettes and basic designs evolved with the times, the use of layered sheer materials, metallic trims, and pastel colors are a constant. However, there were exceptions and it is evident that Doucet was capable of designing in a wide range of fabrics and styles to include tailored coat and skirt sets and outerwear. This survey is by no means an exhaustive one but it should hopefully serve as a starting point for further study.

Jacques Doucet, Part 3

August 13, 2015August 12, 2015 / Adam Lid / Leave a comment

In this post, we look at some more facets of Doucet. One interesting area that Doucet excelled in was designing outfits for famous actresses such as Sarah Bernhardt and Gabrielle Réjane and especially in the early 1900s. Not only did his designs enhance these actresses but it also served as a form of advertising, a practice that continues to this day. The timing could not have better with the growing trend of the lingerie dress, a fashion inspired by the earlier chemise a la reine, a style that arose in the 1780s.

Dinner Dress for Rejane, c. 1902

Rejane, c. 1903

Below are some examples of Doucet’s day dresses:

Doucet, Afternoon Dress, c. 1900 – 1903; Metropolitan Museum of Art (2009.300.579a, b)

The above dress is made from silk chiffon that has a printed pastel-colored floral design finished with delicate ivory-colored lace trim. As a counterpoint to the ethereal effect of the silk chiffon is a bright aqua/teal-colored velvet sash that drapes down the back of the dress with matching velvet bands on each sleeve and the collar. The overall effect was one of Doucet’s signature looks and during the early 1900s, it became increasingly prominent in his day dress designs.

This dress neatly fits in with the lingerie dress trend developing in the early 1900s, a trend that took its inspiration from the late 18th Century chemise dress or chemise a la reine. Of course, the fact that Doucet was enamored of 18th Century designs no doubt influenced Doucet’s design is no surprise. At the same time, one could also argue that in Doucet’s case, his design was simply a continuation of pre-existing ideas. 🙂

In any event, Doucet’s design, and lingerie dresses in general, represents a break from earlier styles in it’s emphasis on the light and airy, in much the same way the chemise a la reine represented a break with previous styles. Below is one example of the earlier style:

Anna Maria and Thomas Jenkins, by Angelica Kauffman, 1790. National Portrait Gallery (London)

The fact that and there is no doubt Doucet drew inspiration from the chemise a la reine (although it could also be argued that this was merely a continuation of Doucet’s pre-existing design tendencies). At the same time, however, Doucet’s design was somewhat more sophisticated in his use of colors and fabric.

Below is another example:

Doucet, Afternoon Dress, 1903; Metropolitan Museum of Art (2009.300.1153a, b)

Three-Quarter Front View

Here we see the use of a layered tomato red-colored silk chiffon ribbon trim on the bodice. The sleeves and the collar are an ivory lace trim and a silk satin sash at the waist complete the outfit. Further trim details in the same red color run in rows around the skirt. In terms of silhouette, one sees the pigeon breast characteristic of early 1900s dresses. This dress is somewhat more restrained than the first example and its effect stems from the laying of fabrics and the use of trim.

With its characteristic pigeon breast silhouette and the use of sheer materials, lace, and ribbons, the lingerie dress served to define women’s day wear for almost a decade. In the next installment, we will continue our look at Doucet moving into the Teens.

To Be Continued…

Gold Lamé

August 7, 2015August 6, 2015 / Adam Lid / Leave a comment

In the course of researching the designs of Jacques Doucet, I was struck by his use of lamé and other metallic fabrics and trims. Doucet was especially fascinated with gold lamé; whether in the form of basic woven fabric, brocade or netting infused with metallic threats, Doucet used these with a lavish hand in his evening dress and ball gown designs.

So just WHAT is lamé? Most of us, including this author, have visions of horrific 1980s fashions such as those worn by Alexis Carrington on Dynasty. Lamé reads “excess” and if used with a heavy hand, it tends to dominate a design to the exclusion of all else.

DYNASTY – “The Aftermath” – Airdate October 7, 1987. (Photo by ABC Photo Archives/ABC via Getty Images) JOAN COLLINS

In reality, the word “lamé” derives from Old French and roughly translated means “thin metal plate” and such, it’s defined as “any fabric containing metal or metallic yarns as a conspicuous feature” or “any fabric woven with flat metallic yarns (similar to tinsel) that form either the ground or the pattern.” Lamé could also be used as part of a brocade.

Dating back to Classical Rome and the later Middle Ages, Lamé was was made by winding flattened metal wire around a thread core (commonly linen or silk but horsetail hair or wool were also used). This metallic thread was then woven into fabric. Also, even before this technique was developed, the metal itself was cut in thin strips from sheets of beaten or rolled gold or silver and these strips were then woven into the fabric. Finally, in some instances silver was mixed with the gold as a result, the lamé would often tarnish.

Early 15th Century gold brocade dress of Margareta (1353 – 1412), Queen of Denmark, Sweden, & Norway.

Later, in an effort to reduce costs various substitutions were sought out of which the most common was to use yarn made of aluminum laminated between layers of film. More recently in 1946 was the development of Lurex, a registered trademark for a type of yarn with a metallic appearance; Lurex is available in a wide variety of colors.

Lurex Fabric

Lurex in reeled yarn.

So needless to say, lamé was an expensive fabric that was used almost exclusively in the luxury trade (although lamé was also used to make clerical vestments). 🙂

While Doucet was noted for his use of gold lamé, it was used with relative restraint when compared to the following dress from circa 1879 – 1880 (at least according to the auction website):

Frontal View

Close-up of the upper bodice.

Three Quarter Front Profile

Front Three Quarter View

Rear View

Left Side Profile

Right Side Profile

Close-up of the hem treatment and fringe.

One more close-up. Note the fringe detail.

Close-Up Of The Base Fabric

Detail Of Cuff

Detail Of Button

The above dress is constructed from a combination of gold lamé brocade and burgundy velvet with violet and burgundy trim. Unfortunately, not much is known about the provenance of the dress. The style is a princess line and although the dress is supposed to date from 1879 – 1880, it’s hard to tell exactly what is going on with the train since there is no proper bustle on underneath; the fabric of the train simply falls to the floor in a jumble.

But bustle aside, the most striking thing about this dress is simply the volume of old lamé brocade that is used; it is almost everywhere with no relief. Yes, the scale is impressive but it’s also overwhelming and one could argue that it’s almost vulgar. Sometimes there can be too much of a good thing and this is amply demonstrated.

Like the excesses that characterized the 1980s, the “gilded age” of the 1870s and 1880s were also an era of excess and it only goes to show that not only do fashions re-circulate, but they often come full circle and never has this been so evident with the use of gold lamé.

Lily Absinthe

Gowns & Corsetry

Jacques Doucet

Pingat- Sometimes Less Is More…

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More Pingat…

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Jacques Doucet, Part 4

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Jacques Doucet, Part 3

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Gold Lamé

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