This is probably one of the most extraordinary things that’s occurred since we started this blog back in 2013 and it’s all because of a post we did on Emile Pingat, a Parisian couturier who operated at about the same time as Charles Worth.
We have been blessed by an early portrait of Emile Pingat that was kindly sent to us by one of our readers, M. Jacques Noel, who is a descendant of M. Pingat. M. Noel gave us permission to post the picture here and we are very grateful, anything pertaining to one of the foremost couturiers during the late 19th Century.
An early portrait of Emile Pingat; Courtesy of Jacques Noel, firstname.lastname@example.org
Pingat was famous for the sheer luxury of his designs, utilizing the best fabrics to create styles that, in our opinion, surpass those of Worth. Although we have discussed M. Pingat in prior posts, here’s just a sample of his work:
From day dresses…
Reception Dress, Emile Pingat, c. 1885; Shelburne Museum (2010-75)
Emile Pingat, Dinner Dress, c. 1883 – 1885; Smith College Historic Clothing Collection (1989.1.3ab)
Pingat, Evening Jacket, 1893; Metropolitan Museum of Art (2009.300.139)
Opera Cape, Emile Pingat, c. 1882; Metropolitan Museum of Art (C.I.60.42.13)
To something more formal…
The above is just a small sampling of Pingat’s work and we salute him. 🙂
Today we travel back to 1896 for today’s fashion, a combination of cape and evening gown or reception dress.
Here’s a rough translation of the illustration’s description:
Silk brocade skirt with large knots; bodice neckline covered with silk muslin embroidered with pearls and sown with precious stones.
The first thing that catches the eye is the dress, and more specifically, the belt with its ornate front piece. The centerpiece of this dress is clearly the Swiss Waist or corselet belt and essentially was a fitted belt/sash. The dress is constructed from a yellow silk brocade with a floral pattern with large repeats. The illustration only hints at the design and it’s unknown if there was a fabric with this specific pattern. The bodice neckline is covered in an embroidered silk muslin with jewels and pearls. Depending on the number and quality of the jewels and pearls, this part of the dress could cost substantially more than the rest of the dress. 🙂 Here’s are some examples of how elaborate the Swiss Waist or corselet style could get:
John Singer Sargent, Mrs. Wilton Phipps, 1884; Private Collection
Swiss Belt; from The Cutters’ Practical Guide to the Cutting of Ladies’ Garments by WDF Vincent.
And for an extant dress:
Day Dress, 1896-1899; Metropolitan Museum of Art (2009.300.833a, b)
And some closer views of the corselet:
In terms of silhouette, this appears to be either a ball or evening gown, or possibly a reception dress, characteristic of the mid 1890s and the cape would make the perfect garment for wear over gigot sleeves. Unfortunately, there’s no commentary on the cape itself but it’s probable that it was constructed from a lavender/light purple silk velvet decorated in what appears to be some sort of floral trim. Color-wise the combination of yellow and lavender/purple are complementary and make for an aesthetically pleasing combination that fits in for almost any social occasion.
Today’s look at 1890s fashion is this amazing cape that was featured in an 1896 issue of the French fashion publication Le Mode Pratique:
Here’s a somewhat loose translation of the description:
Visiting collar for young woman or middle-aged lady in velvet adorned with pearl heavy lace embroidery <guipure>. Rain of pearls at the bottom of the sides front stole; satin ribbon bows, overhanging feathers at the neckline.
The above cape is a fascinating combination of the practical and the decorative. The front is essentially an elaborate tabard trimmed in lace. At the bottom, the lace has pearls worked into it (as best as we can make out from the description) and reads pure luxury. The side pieces forming the actual cape are a bit more practical, relatively speaking, with more subdued trim. The overall fabric is a green silk velvet with decorative silk satin ribbons. This is an interesting example of just how elaborate 1890s capes could be. We would have loved to have seen this in person. 🙂
We’ve been taking advantage of the extra time at the atelier…this time it’s a 1894 cape… 🙂
Today, we have another interesting cape for your viewing pleasure. This particular cape was made circa 1893-1895 and definitely epitomizes high ’90s style:
Cape Jacket, c. 1893 – 1895; Victoria & Albert Museum (T.11-1932)
And let’s take a look at a few close-ups of the rear:
Close-up of the decorative trim pattern.
This cape is an interesting style with plain cape of red velvet combined with a decorated smaller over-cape and collar consisting of panels of black beaded lace applique. The same appliques also run along with hem of the cape and finished off with a red silk ribbon running down the front. It’s an interesting combination. Interestingly enough, this cape was made in India by a one “Mrs. Ball of Umballa & Kasauli,” no doubt a concern that catered to the European trade in the British India of the time. We hope you’ve enjoyed looking at this example of 1890s cape style and we look forward to finding more examples to post here.