Some Late 1890s Daywear

Spring and Summer 1890s day dresses have always been of interest for us and we recently came across this interesting circa 1897 day dress that resides in the FIDM Museum collection:

P. Barroin, Day Dress, Paris, France, c. 1897; Printed dotted Swiss, silk chiffon, silk taffeta & cotton braid; FIDM Museum (2010.1098.3A-C)

The dress fabric is a red cotton dotted Swiss print with white silk chiffon and white silk taffeta trim. It’s too bad that we do not have a close-up picture of the fashion fabric; the idea of a printed dotted Swiss is interesting but unfortunately the effect is lost at a distance. However, in spite of this, we have a very sporty day dress that has a minimum of trim and embellishment and is definitely meant for being out and about town; the straw boater further reinforces this. The lines are classic 1890s although the wasp-waist, measuring 28 inches in diameter, is somewhat toned down compared to evening dresses and ball gowns of the period.

Interestingly enough, according to the FIDM Museum Blog, this dress was worn by a woman of about 5 feet 10 inches in height- this was a tall woman. The sleeves are indicative of the late 1890s- the leg-of-mutton sleeve style was diminishing. At the same time, we still see the faux shirtwaist style with the crimped silk chiffon in the middle. Finally, P. Barroin was not as prominent compared to the major designers such as Worth et al. but it still shows a sense of balance and proportion and the dress fabric is used to fairly good effect. This dress is representative of a more casual style of day wear that was coming into vogue during the late 1890s and could be considered to be a reflection fashion changing to reflect women’s shifting status in society (albeit, more gradual than what we’re used to today). We would say that this is definitely a worthy candidate for reproduction. 🙂


What’s On

The bodice is still pinned together, and I’m considering offering two different necklines, one could be worn with a guimpe…and there’s a different sleeve style for the tailored version. Stay tuned for more! 🙂

Close-up of the front.

Applying the lace.

View of the hem with a gold-colored petticoat peeking out from below.

 

 


Modes Pour La Plage – 1870s Style

Seaside fashion has always been a theme in 19th Century fashion and a a standard feature in most fashion journals of the time. Much of what’s depicted in fashion plates of the late 19th Century that’s labeled “seaside” are really no more than conventional warm weather styles that could just as easily be used in a variety of settings and there’s nothing really uniquely “seaside” about them and in fact, some seem pretty elaborate for an outdoor setting by the beach. But, fashion is always interesting even if the context is a bit muddied:

Le Moniteur De La Mode, No. 32, August 1876

The above plate is interesting on a few levels- from the background, it appears that the two ladies are talking to a man in front of what can only be changing sheds, judging from all the clothes on the rail. We suspect that it’s more about the men changing into clothes more suitable for going in the water… Style-wise, we see the Mid-Bustle/Natural Form Era in full flower with the dress on the left wearing a Directoire style bodice/coat worn with a trained skirt. The use  of vertical lines on the coat/bodice and the horizontal trim stripes on the skirt are an interesting combination that’s not often seen. The dress on the right is a bit more conventional with a polonaise worn over a plain trained skirt. The Polonaise is combined with a matching apron/short overskirt, creating an interesting silhouette. Of course, we speculating here a little and we wonder if this was ever actually constructed.

Le Moniteur De La Mode, No. 27, July 1876

With the dress on the left, long pleats and outline trim accentuates the demi-train.  The cuirass bodice sweeps below the hips, further accentuating the overall silhouette. The dress on the right has a smaller train and instead places emphasis on vertical lines, especially the two revers running along the bodice front.

Le Moniteur De La Mode, No. 36, September 1876

In the above plate, the dress on the left seems to be a compromise style where the hip bustle and train have not been completely abandoned. Also, the elaborate tassel trim running along the overskirt give the dress a more busy appearance, distracting somewhat from the overall silhouette. The dress on the right follows a princess line, de-emphasizing the hip and waist and placing the focus on the front and lower skirt with a combination of large bows and pleating.

Of course, the above dress styles would work in a number of environments other than just the beach but it must be noted that these are fashion plates, which by their very definition are meant to depict idealized fashions in idealized locations. Basically, they’re more about fantasy and that fantasy in turn generates sales. But in spite of the fantasy element, these plates are an interesting illustration of Mid-Bustle style. One final note- efforts were made to devise more practical beach wear but it was going to be a lengthy process; for more on this, check here.

 



Un Portrait de Emile Pingat

A few years ago, one of Emile Pingat’s descendants was kind enough to send us a picture of a younger Emile Pingat. It was a touching moment and it’s one of our most treasured memories. Recently we came across this post so we thought that we’d give it a little volume. Enjoy! 🙂


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.

Emile Pingat

An early portrait of Emile Pingat; Courtesy of Jacques Noel, jacnoel21@gmail.com

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…

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Reception Dress, Emile Pingat, c. 1885; Shelburne Museum (2010-75)

Pingat1 1885

Emile Pingat, Dinner Dress, c. 1883 – 1885; Smith College Historic Clothing Collection (1989.1.3ab)

To outerwear…

Pingat 1

Pingat, Evening Jacket, 1893; Metropolitan Museum of Art (2009.300.139)

Pingat Opera Cape1

Opera Cape, Emile Pingat, c. 1882; Metropolitan Museum of Art (C.I.60.42.13)

To something more formal…

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Pingat4

The above is just a small sampling of Pingat’s work and we salute him.  🙂



 

Fashion Inspiration- The Tissot Shipboard Dress

Enjoying the cool sea breezes at the Getty Villa during our recent excursion definitely energized me and it too me back to one of my major sources of inspiration, James Tissot and his especially his nautical-themed paintings and it takes me back to an earlier post… 🙂


Karin Tissot

Lately, James Tissot has been a major source of inspiration for some of my designs. Check out the brunette. Pretty curves, cotton batiste gown is weighed down with a hem of pleats, ruffles, ruches, and two huge silk sash bows in the back. When I realized I had an original bonnet like hers…well, you get the picture. 🙂 Below are a few pictures of my take on the Tissot shipboard dress:

Karin

Bonnet is original, complete with cobalt silk ribbons and silver medallions

Karin

Gown is completely hand finished, except for construction seams. It’s weightless, my corset is heavier than the gown!

Karin

So I forgot to prune…

Karin

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