Today we take a look at one of Pingat’s earlier works, in this case an evening cloak/coat from the later part of the 1880s (circa 1885-1889). Compared to previous examples we’ve posted from the 1890s, this cloak takes a completely different silhouette characteristic of late 1880s style. Here are a few views:
Pingat, Evening Cloak, c. 1885-1889; Metropolitan Museum of Art (2009.300.484)
This cloak is constructed from an floral-patterned ivory silk jacquard combined with a peach velvet with dark peach/gold appliques that creates a two-tone effect. In terms of silhouette, this cloak is somewhat of a hybrid in that it combines the upper body and sleeve styles characteristic of mantles with a long coat style on the bottom. The cloak shape closely follows the classic late 1880s dress style, allowing ample room for the bustled train.
One can get a fairly good view of the peach-colored fashion fabric that’s on the front , back, and lower sleeves. It appears to be a close-napped velvet but of course, this is speculation given the lack of any specific details on the museum website or a close physical examination. 😉
Three-Quarter Back View
Close-up of back detail.
From this close-up of the back, one can get a good look at the contrasting silk brocade floral fabric versus the deeper peach velvet fabric and it’s applique decorative design. Cloaks and mantles provided a large canvas for the designer to utilize all manner of decorative effects and Pingat was definitely one to use this to maximum extent; this particular example not only sees a combination of different design styles but does so in a harmonious way. Victorian Era outerwear has always been a source of fascination for us in that it combines the practical and utilitarian with the artistic and while each designer had their own take on this, Pingat’s was especially unique. We’ll be hunting for more interesting examples to post here so stay tuned. 🙂
Thinking a season ahead…two 1890s capes currently in the works. The purple one is awaiting its collar. 🙂
And here’s a couple of close-ups of the collar on the red cape:
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. 🙂
Ruby red cashmere, fur, and lace addition to our museum collection. I confess…I tried her on and twirled! 🙂
Here’s one our latest fit samples, in this case a cape based on an original 1894 pattern:
And for a colse-up of the collar:
And here’s a little of the construction process. Here we’re chalking out the lining:
And after cutting out the wool main cape:
And a burn test before starting- yes, it’s 100% wool. 🙂
This cloak is constructed from a patterned wool print fabric. The base fabric is a camel-colored brown and the pattern is black. The lining is a medium-weight cotton sateen. Stay tuned for more!