Beauty is more than skin deep with a Lily Absinthe Gown. <3
Victorian Dress
Celebrity & Fashion: The Countess Greffulhe
During the 19th Century, the connection between celebrity and fashion became increasingly intertwined. One of the first designers to exploit this connection was Charles Frederick Worth and assisted by the growth of the fashion press, Worth developed into an arbiter of fashion (while at the same time increasing his sales).
One such celebrity connection was Marie Anatole Louise Élisabeth, Countess Greffulhe née de Riquet de Caraman-Chimay (July 11, 1860 – August 21, 1952). Born to Belgian nobility and cousin of the poet and dandy Robert de Montesquiou, Comtesse de Greffulhe was the acknowledged leader of Parisian society by the 1880s and was noted for her association with various artists and writers and was even immortalized by Marcel Proust as the Duchess of Guermantes in his novel In Search of Lost Time. Some of her achievements as a patron are described here:
She was an early adept of ‘fundraising’. As founding president of the Société des Grandes Auditions Musicales, she turned charity work into public relations. With tremendous practical acumen, she raised funds and produced and promoted operas and shows, which included Wagner’s Tristan and Isolde and Twilight of the Gods, Diaghilev’s Ballets Russes, and Isadora Duncan. In addition to this, she was a political animal – a fierce supporter, for example, of Captain Dreyfus, Leon Blum, and the Popular Front’. She was also a passionate sponsor of science: she helped Marie Curie to finance the Institute of Radium, and Edouard Branly pursue his research into wireless telegraphy (Palais Galliera).
The Comtesse was also celebrated for her beauty and taste in clothing:
Countess Greffulhe was the epitome of elegance, with glorious outfits to match. Her public appearances were highly theatrical, with a sense of their being rare, fleeting and incomparably fascinating, in a cloud of tulle, gauze, chiffon and feathers, or in her kimono jackets, her velvet coats, with her oriental patterns, her shades of gold and silver, pink and green. The outfits were carefully chosen to emphasize her slim waist and her slender figure (Palais Galliera).
Countess Greffulhe
Much of the Countess Greffulhe’s wardrobe survives to this day and in fact, is the subject of an exhibition at the Palais Galliera in Paris and will be coming to this country later this year in September 2016 at the Museum at FIT, New York. Below are both pictures of one of the dresses along with the Countess wearing it:
Evening Dress, Worth, 1896; Palais Galliera, musée de la Mode de la Ville de Paris (GAL1978.20.1)
The dress itself is made from a black silk velvet decorated in white satin appliques embroidered with metal cannetilles and old sequins. The collar/bertha could be turned up like a pair of bat’s wings. Below are two pictures of the Countess wearing the dress:
When compared against the original dress, it is evident that that the collar/bertha has been altered. Also, it appears that the dress originally had a white embroidered panel running down the front that appears to have been removed.
Another Worth dress that belonged to the Countess is this iconic green tea dress:
Tea Dress, Worth c. 1895; Palais Galliera (GAL1964.20.4)
Three Quarter Frontal View
Three Quarter Rear View
This tea dress is made from a dark blue-black cut velvet on an emerald background
Illustration Of The Tea Dress – Specific Details Unknown
The Countess Greffulhe was a dynamic woman who was an influential force in Parisian society during the late 19th and early 20th Centuries and as such embodied the idea of “patron of the arts” and from the looks of it, fashion was no exception. In the end, fashion exists as part of society, not apart from it. 🙂
Tatiana- Lily Absinthe’s Latest Design
Finishing off the pleats for our new; “Tatiana” gown…then it’s off to the sheer overlays! This silk is as light as air. <3
Lily Absinthe Takes A Look At Outerwear By Pingat
Emile Pingat is a bit of an enigma. Although he was recognized along with Worth and Doucet as one of the foremost designers, almost nothing is known about the man (at least in English). Pingat was active between about 1860 when his name first appears an a Parisian trade directory to 1896 when he sold his business. During this time, Pingat was well regarded and his name often appeared in the fashion press and was cited as one of the three foremost couturiers in Paris. Hopefully, more information in regard to Pingat, his life, and his work will be unearthed that will shed more light on this enigmatic designer.
In a previous post, we discussed the designs of Emile Pingat and noted that while he created wide variety of styles, he was especially noted for his outerwear. As with all fashions, specific items can be functional, decorative, or somewhere in between. In Pingat’s case, his designs leaned towards the more decorative and they were meant to add to an outfit’s dramatic impact, as well as provide some protection from the elements, and especially open one’s making an entrance at a public affair.
Although Pingat was active from roughly 1860 through 1896, his most distinctive designs were created during from the mid-1870s through early 1890s. For outerwear, he was noted for being carefully designed and constructed. For our survey, we start with an opera cape made in c. 1882:
Opera Cape, Emile Pingat, c. 1882; Metropolitan Museum of Art (C.I.60.42.13)
Right Side Profile
Three Quarter Rear View
The Label
This opera cape is constructed from a white/ivory silk satin embroidered in a gold and silver floral design and trimmed in fur. This cape was definitely a fashion accessory rather than a functional garment and the light color would certainly have offset the relatively dim gaslight found in public places such as an opera house.
Form something a bit less formal is this “afternoon jacket” from c. 1885 – 1890:
Afternoon Jacket, Emile Pingat, c. 1885 – 1890; Metropolitan Museum of Art (2009.300.76)
Right Side Profile
Another Front View In Black & White
Rear View In Black & White
This jacket is constructed from a combination of a blue/black-colored silk velvet for the sleeves and a plum-colored silk faille or bengaline for the body; interestingly enough, it appears that the fabric might have been cut on the bias. The lower sleeves and body are also decorated with grey-colored leaf appliques and the jacket front and bottom is trimmed with hanging beads. Finally, a grey and gold trim runs along both sides of the jacket front and back. Overall, this is an elegant but understated jacket.
Most capes of the 1880s were designed to cover the upper body and were cut so as to allow for the bustle but below is one that is full length and sleeveless:
Evening Cape, Emile Pingat, c. 1885 – 1889; Metropolitan Museum of Art (2009.300.140)
Front View, Closed
Rear View
The outer cape is made from a royal blue-colored silk velvet trimmed with fur. The lining is quilted and made from what appears to be a blue and magenta/red silk faille. The large scale plaid pattern of the lining seems to be incongruous when viewed against the bright royal blue velvet- one wold expect something a bit more muted. As with the afternoon jacket above, the primary decoration are elaborate floral lace appliques in gray and trimmed with beadwork. The gray fur trim and appliques act as a contrast to the bright, jewel-tone royal blue velvet.
Moving into the 1890s, we see a design scheme similar to the above afternoon jacket in this evening jacket made in 1893:
Pingat, Evening Jacket, 1893; Metropolitan Museum of Art (2009.300.139)
The above jacket is made of two parts arranged to give the appearance of two garments being worn. The underpart is an composed of multi-colored/metallic embroidery, beading, and piping arranged in a Persian inspired design. The center front and the cuffs are trimmed in gray feathers. The overpart is constructed of black velvet and the silhouette is reminiscent of renaissance era schaube coat.
The above are only some samples of Pingat’s work but they do give a pretty good idea of the styles that were out there during the 1880s and on into the early 1890s. Outerwear is one element that is often overlooked by those recreating historical fashions but hopefully the above examples will service as a source of inspiration.
In Progress At The Atelier…
Sneak peek of our next two Lily Absinthe styles, all I will say is that…there will be pleating. Lots of it… <3