Adam Lid

A Cape From Maison Pingat

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Capes were a major fashion during the 1890s and were made both for exclusive haute couture as well as the mass market. Below is one example of a cape made by Maison Pingat sometime circa 1891-1893:

Pingat, Cape, c. 1891-1893; Metropolitan Museum of Art (C.I.60.6.8)

A look at the interior.

Side Profile

This case is constructed out of black silk velvet with fur trim and panels of silver metallic beading running along the collar, front, and back. In many respects, it’s reminiscent of decoration found on church vestments. The use of a wide strip of fur trim on the front is interesting in that it appears to be a fixed panel with two separate arm openings. We would have loved to be able to examine the construction more closely because it certainly seems to be a bit more sophisticated design than what one usually sees with capes.

Rear View

The Label.

Here’s a good look at the silk lining fabric.

Close-up of the bead embroidery.

It would appear that the beading panels were constructed separately and applied as applique panels. This design utilizes a dark black ground to show off the beading which takes center stage, drawing the eye towards the center and neckline. It’s definitely a major showpiece and bears further study. We hope you’ve enjoyed this brief look at one of Pingat’s masterpieces.

House Dress? Wrapper? Morning Dress?

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Wrapper? House Dress? Morning Dress? When it comes to these three garments, there’s a lot of overlap and it’s sometimes difficult to tell them apart. One useful way to approach this is to consider the characteristics that all these garments have, or to tend to have, in common:

  • Princess Line Styling
  • Relatively Loose Fit (This can be subjective)
  • Worn At Home Either In Private Or For Social Situations

When  stripped of all their trim and lace, they become functional, stripped-down versions of day dresses characteristic of the 1880s and 90s. Also, while it envisioned that a corset wasn’t worn with these garments, that wasn’t always the case but either way, the created a less structured silhouette. The Princess line style with its lack of a defined waistline was especially useful in this endeavor.

To further illustrate, we start with this dress from circa 1879-1880:

Wrapper/House Dress, c. 1879-1880; John Bright Collection

Side Profile

Rear View

This dress has clean lines and little ornamentation except for the embroidered middle hem, cuffs, and pockets. While this dress appears to be somewhat looser than a conventional day dress, it’s clear that it was meant for wear with a corset. This dress below is more unstructured and almost could be mistaken for being a robe:

And dresses could be more structured as with this one:

House Dress, c. 1880s; University of New Hampshire Textile Library

In looking at the side profile, to a great degree it maintains the robe-like appearance although it’s much elaborately trimmed.

This one has far more ornamentation and in our opinion really is more of a day dress than a house dress per se. But, as with a lot of this, the border between something that was worn out in public versus strictly at home is blurred and it’s possible that dresses often served “double duty,” especially for those of lesser means.

 

In the end, probably the easiest way to distinguish between dress types is to consider the dress silhouette, style, and use of fabrics and trims. Dresses meant to be worn in the privacy of the home are more likely to be functional and not as structured as dresses that were meant to be seen in social situations in the home. Finally, we wish to note that while we don’t profess to have the definitive answer, we do hope that we’ve provided some useful tools for trying to distinguish between dress types while acknowledging that there’s bound to be inconsistencies. Stay tuned for more!

Trending For The 1890s: The Wrapper

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As with many garments, the wrapper started off as a simple, practical garment that was intended for informal wear at home. However, as with all fashions, the wrapper gradually morphed into a more elaborate garment that could be quite elaborate and was clearly intended for more a more public wearing at home, at least for close friends. The popularity of wrappers can be attest to in the variety of patterns that were available on the market and they were widely advertised as with this one from the Butterick Publishing Company that appeared in the February 1895 issue of The Delineator:

And here’s just one of their patterns, No. 7437:

And for a description:

This illustrates a Ladies’ wrapper. The pattern, which is No. 7437 and costs 1s 6d or 35 cents, is in thirteen sizes from twenty-eight to fourty-six inches bust measure…

Refined women are careful to be gowned as neatly when attending to their domestic duties, as when receiving formal callers, and the wrapper here shown, being planned with especial grace and precision,
will be a general favorite for a variety of indoor uses. Figured challis showing blue tints is here combined with plain silk.

The garment receives its trim and close adjustment from the lining, which extends only a trifle below the waist-line and is carefully fitted by double bust and single under-arm darts; and the fronts and back are shaped to outline a round yoke on the fitted lining, and are turned under deeply at the top and  shirred to form a frill heading; the fullness is drawn well to the waist-line and collected in short rows of shirring, and the part of the lining exposed with round-yoke effect is faced with silk. The rolling collar is of silk and had square ends that flare prettily, and a silk rosette decorates the front the front at the waist-line at each side of the shirring.

The full sleeves are mounted on coat-shaped linings, which are revealed with round-cuff and faced with silk. A band of silk decorates the lower edge of the wrapper. The wrapper may be developed in inexpensive silk, cashmere, Henrietta1Henrietta cloth is tightly woven twill fabric, usually made completely from extremely fine wool although silk warp threads were often used., challis or any pretty washable fabric, dark and pale tints being equally effective; and decoration may be contributed by a material that contrasts harmoniously.

Whew, that’s a mouthful! From the description, it’s clear that this is not a “simple” garment and that some work is required to pull this off successfully. 🙂

However, as with all fashion, there was also some push-back in regard to wrappers. In a commentary on warm weather clothing in the July 3, 1897 issue of Harper’s Bazar, it’s noted that:

While a thin gown fits well and is clean. it is the prettiest apparel possible, but when it is soiled, or, worse still, when it is in the form of a
loose Mother Hubbard wrapper, it is slovenly in the extreme. Many women who are neat in winter seem to think that carelessness of attire in summer is permissible and conducive to coolness. They therefore, on the hottest days, cast aside collars and cuffs, ruches and ribbons, and the other dainties that make women attractive and in their own homes remove their corsets, put on thin wrappers, and look generally deplorable. Still in the hope of keeping cool, they take as little exercise as possible and perform only such work as is absolutely necessary.

As a matter of fact this kind of self-indulgence is a mistake. Heat, like every other is comfort, grows in its power over us as we allow our minds to dwell upon it. We can not totally ignore its existence, but if dressed coolly and becomingly, we go about the duties of the day, we shall actually suffer less than if we cast aside outward conventionalities and devote the energies of our bodies and souls to keeping cool.

The woman who has not the time to sit still and pant and fan suffers infinitely less with heat than does her indolent sister. This kind of thing is after all, entirely a matter of habit, and a well-fitting gown, when one is accustomed to it, will prove quite as comfortable as the loose, unbelted, and thoroughly untidy wrapper. An abundance of will-power and a goodly supply of patience are the best qualities with
which to provide one’s self at this trying period of the year.

The arguments in the above commentary reflects the Victorian precepts of the importance about maintaining appearances and looking tidy. While one can argue the about the merits of the above commentary, it is interesting that loose-fitting wrappers are singled out because they encouraged a “slovenly” appearance. This is a bit reminiscent of the criticism leveled at athleisure wear today. It’s interesting that many of the same criticisms leveled at certain styles over a hundred years ago once again turn up again, albeit in a slightly different form.

Stay tuned for on wrappers in future posts. 🙂


The Combing Jacket

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During the late Nineteenth Century, the combing or dressing jacket was a fashion staple for at-home wear.1The terms seemed to be used interchangeably along with the occasional reference to morning jacket. These jackets were intended as an alternative to performing personal grooming wearing only one’s underwear. Originally these were relatively simple, unadorned garments but over time they became increasingly elaborate with lace and ribbon trimming.

The September 1881 issue of Peterson’s Magazine provides some detail in an article discussing the essentials of a proper lady’s toilette, stating:

Now we come to combing-jackets. Under this term, people often include, not only the loose garment, which one throws over one’s shoulders, while one is doing one’s hair, but the warm, becoming Jacket, required by an invalid sitting up in bed. It is best to distinguish between the two, and to call the latter a camisole. The combing-jacket should always be of some washing material. A three-quarters-length loose-fitting jacket, with long, open sleeves, is the best kind to have. White muslins and percales in summer, and white flannels and serges in winter, are the most suitable materials ; but ordinary prints, if the pattern be pretty, will answer every purpose of home wear. If meant for invalid wear, they should be made as coquettishly as possible—of pale-blue cashmere, with jabots of cream -colored lace falling down the front.

So, how might the combing jacket look like? One illustration is with the “Ilona Morning Jacket” pattern that was featured in the June 1892 issue of the Demorest’s Family Magazine:

The ad copy is especially interesting:

This simple model is suitable for a combing-jacket or for a house-jacket to be worn with different skirts. For the first purpose it is best made in washable goods, although smooth-finished flannel can be used ; and for a house-jacket, any of the light-weight woolens and silks can be used India or foulard silk, either plain, striped, or figured, being preferable. Embroidery or lace can be used for trimming. The back pieces and side forms are cut short, forming a dull point in the middle of the back, and a gathered skirt piece is added. The fronts are loose and full, and held in to the figure by a sash-ribbon proceeding from the back
side-gore seams.

Basically, this pattern could be used to make a garment intended for use purely as a more intimate dressing garment or something more general for wear around the house. From a marketing perspective, a multi-use garment definitely made more sense.

Below are some extant examples starting with this on from circa 1885-90:

Dressing Jacket, c. 1885-1890; Metropolitan Museum of Art (2009.300.121)

Constructed of an ivory colored silk, the most striking feature of this jacket is the use of pin tucks long the front combined with lace trim and ribbons. This has definitely transcended the purely practical. Below is a rear view:

And here’s another example that takes the concept further:

Dressing Jacket, c. 1885; Metropolitan Museum of Art (2009.300.69)

This jacket from circa 1885 combines a wool paisley outer shell with a ruched celedon blue silk trimmed with ivory lace. The pockets are especially fascinating with ruched silk insets and the jacket’s lines are reminiscent of Eighteenth Century styles.

The combing jacket could also be made of cotton and linens as with this one from the 1880s:

Dressing Jacket, c. 1880s; Metropolitan Museum of Art (C.I.56.10.10)

Finally, we leave you with this interesting example from circa 1895:

Dressing Jacket, c. 14895; Metropolitan Museum of Art (2009.300.370)

This jacket is made from a combination of salmon-colored silk moire combined in alternating stripes with a silk embroidered floral pattern fabric. Ivory lace on the front and collar offset the neck and face from the busy pattern and the gigot sleeves date this to the mid-1890s. The lines of this jacket give more the appearance of an over-sized waist. It’s hard to tell if there’s a front opening but we’re pretty sure there is given that there otherwise wouldn’t have been any way to put on this garment. Here’s a view of the back:

This has been an all-too-brief introduction into a fascinating topic and we intend on seeing what more we can  discover. Because of the nature of the garment, it’s not one that’s been recreated a lot but perhaps that will change in the future. 🙂

Excusez-Moi!

/ Karin McKechnie-Lid / Leave a comment

How many of you ladies have experienced the irritation of someone stepping on your train or your foot at a dance? Well, here’s one extreme reaction from the time, at least according to the February 5, 1898 issue of the Illustrated Police News… 🙂