Newly Arrived! The Piña Cloth Day Dress

Pina Cloth Day Dress Princess Line c. 1880

We’ve been making a major push to expand our collection of original dresses and gowns and after attending a recent auction, we’re are especially pleased to announce the acquisition of a circa 1880 day dress made from a combination of silk and piña cloth. What is especially exciting is that this particular dress used to be part of the collection at the Metropolitan Museum of Art and has now been de-accessioned. Many of you will probably recognize this dress- it’s all over Pinterest and we even wrote a post about it back in early 2016.

Pina Cloth Day Dress Princess Line c. 1880

This card came with the dress and has the accession number.

Pina Cloth Day Dress Princess Line c. 1880

The Label

We haven’t been able to conduct an exhaustive examination of the dress but here are a few observations:

First in terms of style, this is a princess line dress with a small train so it’s consistent with the circa 1880 attribution. The construction is quite complex and the upper part is boned and shaped so as to be worn over a corset. Finally, running down the front of the dress is wide panel of ruched turquoise silk satin.

Pina Cloth Day Dress Princess Line c. 1880

Interior of the bodice

Pina Cloth Day Dress Princess Line c. 1880

The upper outside back bodice

Pina Cloth Day Dress Princess Line c. 1880

Next, the fashion fabric appears to be a combination of white piña cloth with an ivory silk under layer, that is slightly rough to the touch. The piña cloth is very filmy yet firm- think a heavyweight silk organza. Running through the piña cloth are turquoise blue silk satin ribbon stripes; they appear to have been woven into the piña cloth itself. Finally, the dress interior is lined with a fine white cotton with a coarser cotton muslin running along the inside of the hem, acting as a guard.

Pina Cloth Day Dress Princess Line c. 1880

Part of the interior hemline

Pina Cloth Day Dress Princess Line c. 1880

The outer hem

Finally, here are some shots of the entire dress that were taken by the seller:

Pina Cloth Day Dress Princess Line c. 1880

Pina Cloth Day Dress Princess Line c. 1880

Pina Cloth Day Dress Princess Line c. 1880

Pina Cloth Day Dress Princess Line c. 1880

We are very pleased with this dress and we’re already making plans for a few designs inspired by it. Stay tuned for more!

Florals For The Spring & Summer…

Floral design motifs were a major element in dress styles throughout the late Nineteenth Century and especially during the 1880s and 1890s and came in many forms and were utilized both in the fashion fabric and trim to varying degrees. Here’s one interesting example from circa 1889 that was made by Maison Felix:

Day Dress c. 1889 Felix

Felix, Day Dress, c. 1889; Albany Museum of History and Art (u1973.69ab)

Day Dress c. 1889 Felix

Side Profile

The sheer expanse of the side panels utilizing the pattern is amazing and it definitely stands out.

Day Dress c. 1889 Felix

Close-up of  the fashion fabric.

Looking closely at the pictures, it appears that the fabric was most likely a silk brocade.

Style-wise, this dress is simple, sharply defined lines characteristic of the late 1880s and employs a pale green background fabric for the bodice back and sleeves as well as the front and back skirt that offsets the areas with the floral brocade with its various shades of green. The pleating and folds are used to create the effect of an overdress/robe but if you look closer, it’s actually one unit; the bodice and skirt appear to be joined at the waist but whether this is simply hooks and eyes or stitching, it’s hard to tell without a closer examination in person (Hmm..maybe a trip to Albany, New York is in order…). Finally, the total effect is enhanced by the lack of any extraneous trim- the fabric speaks for itself.

Below are a few fashion that show different uses of florals:

 Just for comparison, here’s another dress from the same year thereabouts:

Visiting Dress c. 1889

James McCreary & Co., Visiting Dress, c. 1889; Metropolitan Museum of Art

Visiting Dress c. 1889

Side Profile

Visiting Dress c. 1889

Detail of Cuff

This dress has a more elaborate construction in that we see the use of a rich silk brocade executed in several different colors set against a dark brown brown shades of velvet and silk, creating a multi-tonal color pattern. Also, the luster qualities vary between the fabrics with the silks having far more luster from reflected light versus the silk velvet which tends to absorb light. The above examples give only a small glimpse of the variety of design possibilities and we hope that they might provide some inspiration for people recreating historic fashions.

Fashion Push-Back: Tailormades

Walking Suit

It’s pretty much a given that fashions change but it doesn’t mean that change is necessarily accepted and there’s often push-back. One interesting example of this phenomenon was in during the 1890s with the increasing popularity of suits for women (aka “tailormades”). According to one commentator, a one Comtesse de Champdore, in the April 5, 1894 issue of Vogue (the precursor to today’s Vogue Magazine):

The great Parisian couturiers, with Worth, Laferriere, Felix and Doucet at their head, have put down their foot and at length carried out their threat of declaring war against tailor-made garments,which in future they will oppose tooth and nail. You may take it for granted that they would not have ventured upon such a momentous step unless they had previously assured themselves of the sanction and support of our principal leaders of fashion.

Inasmuch as the latter, at least those who influence La Mode, are no longer in the first bloom of youth it is perhaps only natural that they should have agreed to the proposal of the couturiers, since the severe simplicity of the tailor·made gowns requires a young face and figure to carry them off well, whereas beauty of a more mature type looks best when enshrouded in all kinds of flounces and furbelows. There is to be a complete change of fashion. We have done with 1830 and are back again in the Louis Quinze [Louis XV] epoch.

The balloon sleeves, the flounced skirt, the brimmed hat with feather tufts are from to-day obsolete, and the painters whom the couturiers’ designers are now studying at the Louvre are Boucher, Watteau, Lancret and Nattier. We are to come back to the paniers [panniers]; the genre Pompadour is to prevail, materials are to he transparent, colors are to be light, plenty of lace, plenty of guipure [Guipure lace], and, above all, plenty of essentially Parisian frou·frou. To use the words of Worth, “Woman is once again to become woman, and fashion is to find its task in giving emphasis to feminine form instead of concealing it. Masculine modes are to be abandoned.”

(Note: I have broken the original passage into several paragraphs for clarity.)

Well, that’s a pronouncement. 🙂 Getting past the concept of “designer-as-dictator,” this passage is interesting in that we see a style being rejected out of hand not only do we have primarily on the basis that it’s a “masculine mode” and as such, fashion’s primary objective is “giving emphasis to feminine form instead of concealing it.”

Why the resistance? The most obvious answers are simple: resistance to change in the status quo; it challenged established norms; and resistance to the changing role of women as more they began to enter the workforce in many Western countries for this first time in large numbers. It’s also interesting in that the style that the couturiers are advocating was the “Louis XV” style, a style that drew upon elements from the early to mid- 18th Century characterized by pale colors, silk brocades, lace, and elaborate trim.

Walking Suit c. 1896

Walking Suit, c. 1896; Nasjonallmuseet, Norway (OK-1962-0073)

But there’s also another interpretation: economics:

The decision meets with universal approbation alike on the part of our mondaines [worldly] and their tradesmen, for the Louis Quinze style is perhaps the most luxurious of all, and necessitates no end of jewelry and trimmings of every fashion and kind, all of which will help to revive trade, and perhaps render our fournisseurs [suppliers] less inclined to torment us for the payment of our bills on the time-worn pretext that “times are bad.”

Elaborate styles require more trim, expensive fabrics, and of course, accessories to include jewelry and that would keep the suppliers employed, an argument often heard today in regard to haute couture and the fashion industry in general.

Of course, one must ask if this is the opinion of just the writer or did this represent a major sentiment? Although a cursory online search yielded nothing helpful in this regard, there are hints scattered about that trends in Great Britain and America during the 1890s were going in the direction of simpler outfits for daywear as exemplified by the tailormade suit and skirt/waist combination. Yes, more conventional day dresses were also extant but what we see is greater variety of styles that were becoming available to women and especially those who were middle class.

1896 Waist Skirt Fahsion Plate

One element that would give this idea some weight is that going back to the early 1870s, Redfern, a house that had gotten its start in Britain, had built a thriving business offering women’s suits of various types aimed at women who were of the same class that also patronized Worth, Doucet, et al.

The idea of clashing trends between simpler styles and the traditional has always been a constant throughout fashion history and in many instances, it also symbolized conflicts between social and cultural ideas and in extreme instances, symbolizing seismic shifts in social and cultural attitude (the 1960 provide a prime example of this). Or perhaps we’re reading way too much into this… 🙂 In any event, it certainly reveals some cracks in the wall of seeming Victorian Era uniformity when it came to fashion and that bears further examination.

Bath- The Morning After

As a wonderful follow-on to the previous night’s ball at the Assembly Rooms, we were invited to breakfast at the Pump Room Restaurant by the ball’s organizer Izabela Pitcher. 🙂 We were extremely pleased by both the venue itself and the meal. The Pump Room is a restaurant that was originally built in the late 18th Century as part of a number of structures that were erected as part of developing the town of Bath as a resort destination for the rich. Here’s one view of the Pump Room in 1798:

And the front entrance today:

Also, the Pump Room was built as part of a complex that utilized the existing natural springs, to create the King’s and Queen’s Baths which were marketed as health spas; today, only the King’s Bath exists. Here we are arriving at the Pump Room:

Prior Attire Ball Bath Adam

Here I am wearing my wool sack suit- The weather in California is usually just not cold enough for this.

Prior Attire Ball Bath Karin

And here’s an interior shot:

Pump Room Bath

And yes, you can still “take the waters” of Bath…it’s really just warm cloudy water with the hint of various minerals… 🙂

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And here are a few more views:

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Image result for pump room bath

And an earlier view:

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Here’s a few more of us:

Prior Attire Ball Bath Adam Pump Room

And here I am pointing out the King’s Bath…

Prior Attire Ball Bath Karin

And finally, here’s one with our gracious hostess Izabela Pitcher: 🙂

Prior Attire Ball Bath

It was a wonderful culmination to our trip to Bath and it will always be a cherished memory for us.