A Brief View Of Men’s Clothing- The Sack Coat

Over the years we have been asked about making men’s clothing. While we are naturally flattered by the prospect of creating more period clothing designs from the late 19th Century, we have had to politely refuse on the grounds that it’s not our main business focus. More importantly, men’s clothing calls for a skill set- primarily tailoring- that is different from those used for women’s clothing. While there is some overlap (Redfern and especially with tailor-mades for women), it’s very much a separate speciality and we would argue that it’s an art form with a rich set of traditions that are not easily mastered. Well tailored clothes are a joy to behold and just the words “Savile Row” sets our hearts racing.

All hyperbole aside, we have chosen to restrict ourselves to the female side of historic clothing simply because if we made both types of clothing, we could not do justice to either. With that said, we would still like to present our views on the men’s side of clothing so from time to time we will be posting articles here covering various topics of men’s clothing and accessories. We would you enjoy our occasional series. 🙂


So, where to begin? Probably the best place to begin is with the sack coat/sack suit which gradually developed into the dominant style for men’s daywear during the late 19th Century, supplanting the earlier frock coat and the derivative morning coat. The sack coat/suit and the frock coat. The sack coat was meant for informal day wear while the frock coat/morning coat were reserved for more formal occasions (although there was often a lot of overlap between the two).

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The sack suit, or lounge suit as it was termed in Great Britain, originated in France as the sacque coat during the 1840s and took its name from the way it was cut (contrary to popular belief, the sack coat did NOT get its name from its loose fit “like a sack”). In contrast to the more elaborate frock coat whose back was constructed from four basic pieces, the sacque coat was simplified, consisting of two basic pieces. Moreover, the sack coat was designed to fit loosely.

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Sack coats usually had three or four button holes and often it was worn buttoned only at the top. In terms of colors and fabrics, wool of various weights was the predominant fabric although linen was often used for lighter weight coats intended for wear in more warmer climates. In terms of colors, they could range from solids to plaids, stripes, and checks. However, towards the end of the 19th Century, the dominant style increasingly were darker, sober colors such as charcoal gray, black, brown, and navy blue. Often they were accompanied by a matching pair of trousers and waistcoat, thus creating the three-piece suit. At the same time, the sack coat and trousers could be in different colors and fabrics. Below are some examples:

To start, here’s an image of an early sack coat from c. 1863 – 1864:

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Sack Suit, c. 1863 – 1864

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Three men wearing sack coats, c. 1860s; Image from Joan L. Severa, Dressed for the Photographer: Ordinary Americans and Fashion, 1840-1900, 1995

The second image really shows up just how loose-fitting sack coats were in the 1860s, especially with the coat worn by the man with his back to the camera. This is in contrast to the 1880s, 90s, and early 1900s where the coats (and accompanying trousers) become increasingly more narrowly-fitted and cut closer to the body.

In the next image, we have one from 1870:

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The West End Gazette, August 1870

The coat still hangs relatively loose but the trousers are gradually becoming cut more narrow.

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Sack Suit, British, c. 1875 – 1880

A bit on the loud side, the use of loud fabrics steadily diminished during the late 19th Century. Sack suits could be made from linen as well as wool as with this suit that was intended for wear in warmer weather:

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Sack Suit, c. 1885 – 1900; McCord Museum (M973.137.4.2)

 

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Sack Suit, c. 1895

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Sack Suit, c. 1911; Los Angeles County Museum of Art

The above picture depicts the ultimate development of the sack suit and it’s easy to see that the modern business suit was not far off in the future.

During the late 19th Century, the sack suit became the standard “uniform” for anyone aspiring to a degree of respectability and especially those involved in business and the professions. In fact, it could be argued that the sack suit was instrumental in democratizing clothing in that it allowed any man to look like someone substantial and respectable. The sack suit was relatively cheap which had been made possible by industrialization and the development of the ready-made garment industry in America and Great Britain.

In conclusion, we would argue that if you are looking for that “one” outfit that accurately symbolizes the 19th Century man, it would have to be the sack suit. While fashion choices were often dictated by social and economic factors, it would be safe to say that the sack suit was the “default” outfit to be worn wherever possible- the sack suit symbolized respectability and social status. Even the laborer, miner, cowboy, and farmer wore sack suits when the occasion demanded and they had the means. In contrast with today’s emphasis on casual wear, dressing up was considered essential to showing one’s better side and more importantly, securing respect from one’s peers. Naturally, the above is a broad generalization but it does go a long way towards capturing the zeitgeist or spirit of the time.



Lily Absinthe At The FIDM Museum

As part of the A Graceful Gift: Fans from the Mona Lee Nesseth Collection Exhibit that we viewed at the FIDM Museum last week, we were struck by some of the dresses that were used to accompany the exhibition. Of course, while the fans are works of beauty in their own right, it was the dresses that really stole the show (sorry 🙂 )

First, we start with a design from 1903 by Jeanne Paquin:

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Afternoon Dress, Jeanne Paquin, 1903; FIDM Museum (2012.5.12AB)(Photo: Alex Berliner)

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Close-up view of the bodice (Photo: Alex Berliner)

In terms of style, this dress is very typical of the early 1900s with its s-bend/pigeon breast silhouette. The bodice and skirt are an ivory/cream silk satin overlaid with ivory/cream lave on the skirt and black chiffon on the bodice and sleeves. The bodice is further trimmed along the neckline with a double row of ivory/cream satin to include a line of flowers. The skirt is also trimmed in rows of ivory/cream satin ribbons and flowers over layers of black chiffon. Finally, at the waist is a wide belt of black satin ribbon. What is especially remarkable about this dress is the deft use of black- and this was NOT a mourning dress. During the 1890s and on into the 20th Century, there had been a trend taking black away from its traditional association with mourning and Paquin was one of those instrumental in this movement.

Below are some views that I was able to get. Unfortunately, because the dress was set far back from the railing, it was difficult to get good pictures so we had to rely on some from the FIDM Museum above in order to present a clear overview.

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Close-up of skirt trim.

The fan was also a nice addition but unfortunately it was impossible to get a good picture, especially since the right was reflecting off it it, making the image blurry. Also, at the same time, the fan was a bit of a hinderance in that it was so large that it tended to screen the dress, making it difficult to get good pictures. In terms of overall aesthetics, it’s our opinion that the fan is simply detracts detracts from the dress.

Finally, as an interesting follow-up, here is what is believed to be the original design sketch for this dress:

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Fashion Design Sketch Entitled “Bricette” For Paquin, c. 1903; V&A Museum (E.764-1967)

The relationship between the design sketch and the actual dress is discussed in the FIDM Museum blog and it’s an interesting account.

The next dress of interest was this circa 1904 design from the House of Pingat-Wallès (in 1896, Emile Pingat sold his fashion house to another house, A. Wallès who merged his name with Pingat’s and conducted business under that name). Here is the dress itself:

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Day Dress, House of Pingat-Wallès, c. 1904; FIDM Museum

As with the Paquin design, style-wise this dress also reflects the s-bend/pigeon breast silhouette characteristic of the early 1900s (although it must be noted that the silhouette is nowhere as extreme as some others of the period that we have seen). Instead of chiffon and lace, Pingat-Wallès utilizes a black and white floral ivory silk satin skirt covered in larger black floral appliques. The bodice utilizes the same floral silk satin styled with wide lapels/revers with the same black floral appliques as the skirt. The upper bodice front is also trimmed with velvet lattice-work framing a sheer waist.

We had a chance to observe this dress up close and we noted the quality of the workmanship. For example, the spaces in the velvet lattice-work are cut out towards where they meet the waist- this sort of operation is very labor-intensive. Also, the floral appliques are neatly stitched to the skirt and bodice with dozens of tiny stitches. We shudder to think of the time that this must have taken but such is the nature of haute couture. 🙂

Below are some more views:

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And finally, here are some more detail views:

The next dress is by a lesser-known couturier by the name of Christoph von Drecoll who originally got his start in Vienna in 1896 and later opened a branch in Paris in 1902:

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Afternoon Dress, Drecoll, c. 1898; FIDM Museum

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The circa 1898 date on the this dress places it a bit earlier than the previous two but its silhouette is similar (we would venture to guess that the date given by the museum might be a bit too early). The skirt and bodice are a matching ivory/cream silk satin with floral appliques. Although it’s hard to make out from the angle of the pictures and the the black ribbon covering the bodice front, the bodice is of a cutaway design that tapers back to reveal a pleated faux-waist, also in ivory/cream silk satin. The skirt hem consists of a row of contrasting dull and shiny silk strips that harmonizes with the floral designs on the skirt. At the waist is a wide black silk ribbon belt separating the skirt from the bodice and a silk chiffon ribbon tie in front.

We have purposely omitted any discussion of the collar/neck treatment until now…in a word, it’s dreadful. The collar is completely incongruous with the rest of the neck and strikes a discordant note in what would otherwise be a smart, elegant design. The collar is thick and reads like a cervical collar and tends to draw the eye away from the rest of the dress. In some respects it reminds us of the collar/ruff on the Lucy wedding dress in Dracula. Hideous, to be sure.

Just to be fair, here are some more views of the dress:

Three different dresses from three different couturiers, all in similar ivory/cream and black and all representing three different approaches to style in the early 1900s (if we ignore the date on the Drecoll dress). Although these dresses were intended as a backdrop for the fan exhibition, we would argue that it’s really the reverse: the fans were simply an accessory to the dresses. 🙂 To be honest, if the goal was to display fans, there should have been a greater focus on that elements, perhaps sans dresses. But that’s just our opinion and in any event, it was all a work of art and sheer beauty and to be able to see these dresses “in the flesh” was a treat. 🙂

A Brief Look At Fans…

During the late 19th Century and early 20th Centuries, fans were considered an essential fashion accessory and especially for any woman who wanted to present herself in the best possible light. Recently, we had an opportunity to take a look at some as part of the A Graceful Gift: Fans from the Mona Lee Nesseth Collection Exhibition at the FIDM Museum in Downtown Los Angeles. Introduced into Europe during the 17th Century from the Far East, the folding fan evolved from a functional item designed to keep the user cool to something that was more decorative than practical.

Folding fans came in a variety of materials ranging from the very simple and utilitarian to the ornate and materials ranged from wood to brass and ivory. The fan itself was usually made from a treated parchment (although other materials such as silk were used) which often featured painted or printed scenes. Below are two fans from 18th Century France and the variation in style is readily apparent, from the practical…

To the ornate…

Now, from the FIDM Museum exhibit:

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Fan, Spanish, c. 1850 – 1865

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Close-Up Of Fan.

The frame appears to be made of mother of pearl. All manner of scenes were painted on the fan leaves, many focusing on Oriental themes, a reflection of the then-current fascination for Chinoiserie. Painting scenes on the fan leaves were also popular as an at-home pastime and blank leaves were readily available.

Below is another example:

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Fan, French

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Close-Up Detail

Finally, here is a fan that is attributed to having once belonged to Phoebe Apperson Hearst:

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Fan, Félix Alexandre, artist Dumoret, jeweler France, c. 1875–85; Constructed of Mother-of-pearl, point de gaze lace, gilded silver & diamonds; FIDM Museum (2013.975.2AB)

Overall, it was a small but interesting exhibit. Fans are an easily overlooked fashion accessory but were considered an essential element in any respectable woman’s wardrobe. As applied to recreating period fashions today, vintage fans are readily available at a variety of price points but it must be noted that many of these are fragile with age and are not able to withstand any sort of prolonged use. There are also reproductions and restored originals but it’s been our experience that the reproductions are for the most part, substandard and a faint echo of the originals.

We hope you all have enjoyed this brief overview of fans and in the future we’ll be posting more in regard fashion accessories. 🙂

Lily Absinthe On The Road

I’ve been quiet lately but it’s only because they’re “secret” projects… 🙂 Next week, I’ll be at No. 11 in town (guess where!) and just working in our Old West Paradise, a somewhat simpler existence.

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