1920s Couture Silk Faille Traveling Suit Remains Classic and Glamorous

This authentic 1920s ensemble features stunning design influences from both the Orient as well as the more masculine lines of a tuxedo. It is created from lustrous silk faille and pongee, circa 1927.  

Suit ensembles such as this were often designed for either fashionable automobile or train travel in mind. Skirts were long and silhouettes were sleek yet tailored for ease of movement.

This suit is exceptional. Perfectly tailored and also lined with exquisite silk pongee, the suit’s overall fabric is weighty enough to hang perfectly around the body.  This was not ready-to-wear, but a traveling suit custom created for a particular woman by a talented unknown designer. It is both hand sewn and machine stitched. 

The sleeveless slip styled dress has a delicate, yet strong, pongee bodice edged with lace. Tiny silk strips with snaps, beneath the shoulders, are designed to hold the bra straps well hidden and in place. The silk faille skirt features wide pleated folds on both sides. There is a single pocket in the skirt and two on the jacket, with silk arrowhead reinforcements at each corner. The bodice has 8 snap closures in the front. Please refer to the photographs. Also, please note that we have not pressed the suit nor cleaned the suit in any way. The photographs show some wrinkles in this suit, but to keep from setting any potential stains by the use of ironing, we have photographed this beautiful ensemble without touching any heat to it at all. 

The jacket features a wraparound kimono style with matching faille covered button using loop closures. The collar and sleeves are decorated with ivory top-stitched silk tape pleating, similar to what is used on tuxedos. Often collars were worn pulled up into a standing position around the head, which accentuated the sharp, closely shorn hairstyles that were popular at that time. 

Perhaps this suit was worn three times…. That is how lovely it looks and the only telltale hint of how many times it was worn is from the tiny pinholes in one lapel where the original owner pinned her brooch. 

There are no perspiration marks, but there is a very tiny pinhole under one arm. There is also a very small spot on the back, a tiny spot on the right sleeve as well as several other tiny rust spots on the skirt and jacket. These are not very noticeable in my opinion. The overall condition of both pieces is rated as excellent. The silk is strong and does not show any signs of degradation. 

The hem on the skirt is deep and hand sewn. It measures 6.5 inches or 16.5 cm.
 
This intentionally designed, loose fitting dress has a bust measurement of approximately 36 inches or slightly over 91 cm with flowing, draped waist of 42 inches or 106.5. The faille skirt measures 28 inches or 71 cm in length. The bodice dress measures 47 inches or 119.5 cm from shoulder to bottom of hem. 

The jacket measurements have a bust size of approximately 38 inches or 96.5 cm. The sleeve length is 22.5 inches or 57 cm. The overall jacket length is 29 inches or 73.5 cm. 

How many times have we wished that we could all be wearing such gorgeous clothing from the 1920s era and do so every day? This particular suit would indeed be appropriate wear for special occasions after cleaning and proper restoration by a skilled professional textile conservator. 

Certainly, the ensemble will make a stunning display for exhibition either for public or privately held collections. This is also one of those few truly wearable pieces from this era…again recommended for wear with tender loving care and following a conservationist’s attention. The long term value of this magnificent item depends on its overall condition so that it may be appreciated for generations to come.

Belle Époque Gibson Girl Styled Tea Ensemble with Provenance Dates to 1910

The elegance and finery of the Gibson Girl during the Belle Époque era is found within every tiny stitch used to create this exquisite 3 piece ensemble dated to September, 1910. 

It was illustrator Charles Dana Gibson, who created the original Gibson Girl fantasy of the perfect woman. For over twenty years, his pen and ink drawings created the romantic image of a brilliant, educated and beautiful woman: an artful vision that transcended his sketchbook, worldwide. 

If a woman was to become Gibson’s ideal Girl, she would be sensual, independent, athletic and scholarly.  Of course, Gibson's Girl only presented herself to the public while dressed in keen, elegant styles. Likely, she was a suffragette and considered herself equal to any man, although she would not break any rules of the genteel etiquette. Strong, stylish, confident, she might also conduct business outside the home. Acceptable careers for a woman during this time included working in magazine writing or illustration, or perhaps she was a shop keeper or assisted her husband in his business. Whatever it was that she was doing, The Gibson Girl was savvy, svelte and fashionable. 

The Gibson Girl imagery of feminine perfection strongly stuck in the public mind. So much so that women strived hard, and to great extremes, in order to match the lovely creature created within the artist's mind and through his drawings. Gibson used his wife as a model at times, but perhaps two of the most famous, obvious faces in his drawings were those of Nancy Astor and especially the infamous actress, Evelyn Nesbit. 

Gibson Girl styled gowns featured an “hourglass” silhouette that sculpted a soft S-curve in the woman’s form. Usually this was accomplished with a special corset that pushed the woman’s chest forward while extending her hips back. It was true that some corsets created an S-figure that was more rigid than others. Today, this tea ensemble may be successfully worn without any corset at all. 

The S-curve design here is created within the garments themselves. There is the pronounced pouf within the bodice designed over a small placket waist, which is enhanced with soft, voluminous pleats at the back. True to Gibson Girl fashions, there is a high neckline with puffed sleeves in a kind of reduced leg-o-mutton design. As one observer at the studio during the shoot accurately remarked, “there’s only just a hint of mutton here.” 

The ensemble includes three garments. These are all original to the overall design: an embroidered chemise or petticoat, a linen batiste under-gown and a separate over-gown made entirely of silk lace. 

Please refer to the photographs which show details of the three garments, by layer. The entire ensemble is original and authentic. Although three hooks and eyes were lost and replaced, this tea gown has not been altered nor adapted for wear since it was worn over a century ago. 

The first layer is the fitted, sleeveless chemise. It is made of fine, white cotton. The undergarment features winsome white-on-white raised embroideries across the front and back along the neckline. These areas are outlined with handmade lace and accentuated with the palest blue silk ribbon that laces through hand sewn eyelets. The deep flounce at the bottom is made from a slightly heavier cotton than that of the rest of the garment and decorated with hand-embroidered eyelet that is backed with cotton. It appears that the length of the petticoat was altered slightly and well over a century ago. The chemise fastens with seven original dainty mother-of-pearl buttons down the entire back and secured at the waist with the original hook and eye fasteners. It is both hand and machine stitched. 

The second layer is the under-gown created from ivory white linen batiste. This remains incredibly strong, yet soft as silk to the touch. The under-gown is angelic in appearance. It was created with an audacious use of the batiste, yet it was perfectly detailed to gracefully drape the body. The delicate, tiny gathers with generous lace-edged ruffles create a fullness that enhances every feminine curve. 

The under-gown is machine sewn and hand-finished. The front pouf is finely gathered and the back is fully buttoned down with original mother-of-pearl buttons as well as original hook and eye fasteners at the collar, also at the waist. 

Finally, the exceptionally strong over-gown is made from both machine and hand-made silk lace. There is a stylish, slight train to the back which was one of the fashionable silhouettes for tea gown designs dating to 1910. The over-gown features that desirable Gibson Girl standing collar. The full sleeves with slim cuffs are trimmed with lace. The entire gown is made with lace insertions between netted panels. The front placket and yoke are decorated with row upon row of hand sewn straw pleating. Appliquéd lace 
medallions finish the design. The over-gown is fastened by seven hook and eye closures; four are original.

The following list of measurements for each garment are close approximates. If you have strong and absolutely outstanding in all ways, in my opinion, and I feel sure that most anyone would agree. 

There is one mend in the over-gown, which was strengthened by our conservator. If you examine the photographs attached, you will find the image of this next to the full figure image of the mannequin’s back side, with the second mannequin turned toward her, with arm outreached. The mend in the netting is nearly invisible to the eye within all the fabric drapery and it is located in the back, lower part of the dress. 

There are no tears, stains, holes nor are there other condition issues to the over-gown. 

The under-gown has no problems aside from missing one button, but this is easily replaced as the buttons are standard sizes. If you would like us to find a replacement for you, simply as as we do have resources for this and will be glad to assist. 

The chemise has a few tiny rust spots from age, which should be easily treated by a trained museum conservator. You will see one, if you look at the photograph of the bust line, and this is the largest one and it is faint. The ribbon is slightly discolored under the arms due to perspiration. This, too, could be easily replaced if truly required. The issues with this ensemble are quite few and it is in a condition that is rarely found today. 

To reiterate, the condition overall is rated to antique near mint condition. All three garments were cleaned by a trained museum conservator several years ago, but somehow the very few, very tiny rust spots on the chemise were missed. The ensemble is in exceptional condition and it is indeed strong enough for wear for a special occasion…and could be worn as it is now…. 

Of course…we strongly do advise that its value will only grow in time if it remains in such outstanding condition such that it is in presently. It has been stored away in a fully archival textile storage container within climate controlled surroundings for decades. No bleach, starch or other caustic chemicals have been used on this gown since it was initially acquired by its current owner. 

The gown does have a provenance, although gowns such as this are ubiquitous in fashion magazines dating to 1910. They are more often than not listed as tea gowns, especially with the high neck. However, this particular dress was apparently worn for a wedding during the autumn of 1910. Based on a handful of records that we are now authenticating, it appears that the couple lived a good life together. Another treasured thought! Not only is the dress beautiful, but it certainly stands for so very much both historically and within the heart! 

We are presently researching the story behind this gown, and if there is more to tell, we shall send the complete documentation to you for your records. 

This is truly a rarity in our world today…. Three major museum curators requested this ensemble to be included in their exhibitions and for permanent loan, but the most recent owner refused.
 However, it is now time for this exquisite piece of history to stand out within another collection and one where it will be cared for as lovingly as it has been to date. This is one of those gowns that is sturdy enough and beautiful enough to be enjoyed thoroughly by generations yet to come.... 

The measurements for the chemise: Shoulder width: 15 inches or 38 cm. Depth of neckline: 4.5 inches or 11.5 cm Bust: 35.5 inches or 90 cm…required measurement for dress overall Total length: 35.5 inches or 136 cm Width of gathered flounce with cutwork/lace edging: 11 inches or 28 cm 

The measurements for the under-gown: Shoulder width: 16.5 inches or 42 cm Sleeve length: 25.25 inches or 64 cm Waist: 27.5 inches (may be altered to slightly larger or smaller) Skirt length: 41 inches or 104.5 cm Neck circumference: Slightly over 14 inches or 38 cm 

The measurements for lace over-gown:  Shoulder width 18 inches or 46 cm Waist: 27 inches or 68.5 cm Collar height is 2.5 inches or 6.5 cm.

Original photographs and text copyright J.Henri, October, 2014. 

Civil War Era Lingerie

Gorgeous. Authentic. Circa 1862. Seductively feminine. 

Not bloomers, really. These are properly called "drawers" and this particular undergarment is absolutely breathtaking. From the Civil War era, these drawers appear to have never been worn. 

The drawers date to the early 1860s and similar in pattern to those found in the Victoria and Albert Museum. They are made of the most exquisite and finest batiste linen, and are expertly hand sewn. The undergarment perfectly drapes over the figure beautifully and is fastened by two tiny mother-of-pearl buttons at the back. 

The drawers truly appear exactly as they did when they were first created over 150 years ago. With a wide leg opening and split-gusset styling, they are also stitched together at the back, which helps to date this undergarment to the early 1860s. For added elegance, the drawers are graced with perfect handmade lace with white work embroidered inserts on both legs. 

Entirely hand sewn...the thousands of tiny stitches are expertly executed. This undergarment took many days to create. 

The garment measures in a size larger than most with a 32 inch or 81 cm waist. They are absolutely exquisite, strong and wearable for special occasions. Civil war reenactors will especially love the garment and appreciate every inch (or centimeter). 

Please refer to the photographs which show just how beautiful these look when worn. Seductive. Authentic. Wonderful in every conceivable way. 

The leg length measures approximately 22- 5/8 inches or 57.8 cm. The crotch length is approximately 37 inches or 94 cm. The bottom of the leg circumference is 29-1/4 inches or 74.2 cm. 

Victorian Maternity Blouse circa 1890, Appropriate for Deep Mourning

This early ready-to-wear mourning maternity blouse dates to circa 1890. It is simply one of those worth saving...an article of clothing that is worthy of historical study. 

Although in very poor condition overall, the blouse was made by one of the first ready-to-wear clothing companies and was also designed for maternity wear. This alone makes it unusual and noteworthy. The blouse also documents not only mourning in fashion history, but mourning for those who could not easily afford to follow fashion etiquette dictates at that time. 

During the Victorian era, there were strict social rules about the length of time spent in mourning. According to several fashion magazines from this period, full mourning could last as long as three years according to etiquette. This depended upon the woman’s relationship to the deceased and could even dictate what a woman wore if she even felt the slightest grief for a friend’s passing. Finally, a woman would enter a period called half mourning where small amounts of white, gray or violet colored accents were allowed. If there were multiple deaths to mourn during this time, a woman could spend many, many years of her life wearing only black clothing. 

Fashion couturiers responded by opening shops that sold only mourning attire. The specialized clothing was costly to families whose social and business statuses were often judged by what they wore. 

“Deep” or “First” mourning were the terms used for the immediate time following a beloved’s death. It was well documented that only lusterless fabrics were acceptable for wear. No decorations were allowed except for simple tape bands. Indeed, this blouse was made for the beginning stages of Deep Mourning and was also designed to accommodate the final stages of pregnancy. Yet, the wide silk lace around the bottom was added by the original owner well after it was first purchased. Likely, it was added after yet another death and during yet another pregnancy. 

Victorian fashion and social etiquette considered a woman’s pregnancy bump somewhat vulgar. However, there was little one could about this during the final months for most women and so maternity blouses were required. The need was answered with ready-to-wear designs sold through mail order catalogues for those who could not afford to have one specially made. 

This blouse has a ready-to-wear label that reads Better Made, Trademark. This label helps to identify when it was originally sold, circa 1890. The blouse was worn time and time again. It was also mended and altered many times by its original owner. Furthermore, it was passed on to yet another woman who wore a slightly different size and who also needed a maternity mourning blouse. 

If one takes the time to count the seams, it is obvious that this blouse was resized, reshaped, mended and altered to accommodate more than one pregnancy as well as more than one death. The blouse was used so many times, in fact, that it would have been considered in poor condition over a century ago. However, these many alterations make it all the more rare today. It is certainly filled with history and stories that we can only guess through examining its seams and the fabric it is made from...fabric worn so thin, so long ago, from use. For instance, one cannot help but speculate that the reason why the front of the blouse is worn so thin is because the area seems to outline where more than one baby rested in the arms of the wearer.

The blouse sparks the imagination. Simply to touch it makes wonder as to whom it originally owned it and what their circumstances were. It is a rare find, even in this condition. The Gilded Griffin shop typically does not carry items in poor condition under any circumstances. In fact, items must be in outstanding, excellent condition or above to be considered for inventory here. Yet, this worthwhile piece of American women’s history is being offered because it is so unique, and we hope that it will find an appreciative new owner.

Condition and measurements: The silk is shattering in several areas over the blouse. It has been altered from the original state several times. The flat braid decorative banding is original, but the wide lace was added after its original purchase. The slightly puffed sleeves are shattering at the elbows…that is, where the elbows were before the sleeves were shortened over a century ago (please see photographs). Several pleats have been altered by the original owner(s) and the silk is shattering where the original folds were located. The mid front plaque was added later by its last owner. There are mendings by the original owner(s). The original hook and eye closures are intact. The neckline and inner yoke are faced.

The blouse is in poor condition and is not strong enough for wear. It is excellent for research, study and pattern measurements. The sleeves measure approximately 22 inches or 56 cm in length. The shoulder width is approximately 17 inches or 43 cm from shoulder seam to shoulder seam. The waist circumference is 10.5 inches or 26.8 cm. The hemline around the bottom (the sweep) is approximately 83 inches or 211 cm. The bust area measures approximately 49 inches or 124.5 cm in circumference as the blouse widens from the neck. The neck opening is 21.75 inches or 55.3 cm. 

Rare Civil War Garibaldi Blouse circa 1863, Hand Sewn Used For Maternity Wear

This exquisite, loose fitting blouse is dated by its silhouette to circa 1863, American Civil War. 

A treasure...the style is called a Garibaldi blouse and this particular one is utterly perfect...truly gorgeous condition. There is no indication that this blouse was ever worn. It has been stored away in wonderful condition for well over 150 years. 

One cannot help but wonder why.... With pieces like this, everyone wishes for a provenance, but in this case, that will forever remain a mystery....

Please take out your loop or magnifying glass because you will want to take the time to examine those unbelievable, meticulous hand stitches. Truly, this blouse was created with masterful workmanship that took hours upon hours to create. 

The blouse is made from checkered linen woven in a cross-barred pattern. This fabric was popular during the Civil War era and was created when a heavier cord than the rest was woven at regular intervals in both the warp and weft direction.  The blouse features 4 perfect mother-of-pearl buttons down the front and one at each wrist. The buttons have hand carved lines on each, like a sunburst around their centers. The hem and seam treatments are utterly superb. Hand-made silk lace edges the collar, wrists and high neck, which is also typical of the Garibaldi style. 

The blouse is exceptionally loose around the bottom compared to other styles of this era, and designed to blouse out from where it tucks into a tight waist. The style features dropped shoulder seams that became ubiquitous in both blouse and bodice styles during this era. 

However, this particular blouse has only four original buttons down the front, which are placed slightly higher than usual, and the pattern flares wide at the bottom. This appears to have been designed for the latter months of maternity, which would be quite sensible planning for a fashionable mother-to-be during the early 1800s. The bottom hem, or sweep, is measured to an impressive 62-5/8 inches or just under 159 cm. 

Authentic...yet, this antique linen blouse was obviously never worn. 

It was designed for a petite woman, which is most evident in the neck measurement. This is a circumference, when buttoned at the top, of only 12 inches or 30.5 cm. 

Thankfully, it remains absolutely perfect after one and a half centuries and will make a beloved addition to any discerning museum or privately held collection. It is truly rare to find an authentic garment in such magnificent condition without spots, snags, stains, holes or storage odors. 

The outer edge of the wrists measures 5-7/8 inches or 15 cm. The measurement across the back from the dropped sleeve seam to sleeve seam is 20 inches or 51 cm. The length at the front, from the top button to the base of the garment is 21-1/4 inches or 54 cm. The circumference of the blouse, where it begins to dramatically widen at the bustline, is 40-1/2 inches or 103 cm. 

Victorian Lapis Lazuli Blue Silk Beaded Purse or Reticule

Artists prefer a particular color of blue in their palette over all the others. It is rich to the eye and costly. 

Artists know that this particular color of blue makes hearts beat a little faster. It is a rich blue that draws the eye instantly, even from quite a distance away. It is a royal, expensive color and this is the very color of this purse. 

Lapis Blue. 

The purse is perfectly lined and features the original hand mirror that it was initially designed to hold. The little mirror is backed and stitched permanently inside the reticule with silvery gray moiré taffeta. 

The mirror’s reflection, however, is marred due to time. Although it is not cracked, chipped or otherwise damaged, it has an antique crackled glass appearance across its reflection because of the irregularities of the silver coating originally used in its manufacture. 

Yet, there is something surreal and beautiful when you peer into the mirror…because whether we admit it or not, there is that quiet wish that you might actually see the original owner peering back.

 

The purse or reticule dates to circa 1885. It is absolutely sublime…strong enough for use...but we caution collectors that its long-term value lies in the fact that it is in such gorgeous condition. 

The bag will make a stunning, eye-catching museum display. This is certainly a most special example of a reticule style from the Victorian era. 

The actual purse is 9 inches or 23 cm long and measures 6-1/2 inches or 16.5 cm across at the opening. The base is 6-7/8 inches or 17.5 cm wide. The corded handles alone in measurement are 6.5 inches or 16.5 cm. The purse's total length, including handles is approximately 19.5 inches or 49.5 cm.

A Portfolio: The Gilded Griffin

Original photography & text copyright 2015 J. Henri

     •••• Please use images and text with appropriate citations. ••••

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This portfolio has been created to document the images and descriptions used within my online shop. This is where many of the antique and vintage hats, clothing, accessories and fine textiles that have been used in our research are sold. The Gilded Griffin shop supports the work we are doing on written projects about historical fashions and the women’s millinery industries.

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Authentic Civil War Era Capelette in Claret Red Silk, circa 1862

It is effortless to imagine the moment when the original owner extinguished her candle, just before she untied the ribbons on this capelette...because her fingertip left a tiny mark from the candle's hot wax upon the interior lining when she went to pull it from off her shoulders.

Aside from this, the capelette is in extraordinarily rare and magnificent perfect condition. It is destined only for the most discerning collector....

Curators, civil war reenactors and discerning collectors will all be drawn to its elegance. 

It is absolutely breathtakingly beautiful. The capelette is in such a rarely found, nearly perfect condition that it will delight everyone who sees it.

It appears so lovely, that we have to wonder if it was ever actually worn. However, yes, there the tiny waxy mark is the only evidence that it was indeed used at least once by its original owner....well over 150 years ago. 

This short, rounded cape style is seen in Civil War era tintypes dated to circa 1862. 

It is, of course, entirely hand sewn. The capelette is made from deep, claret colored silk and lined with a luxuriously contrasting, warm rose colored silk. It has front ties that are made from the matching claret silk. 

The second layer of fringe around the neck is actually edging a very deep collar...creating a drape similar to a double shawl that also accentuates the dropped shoulder as found on dresses from this era. This is perfectly lined with matching silk. Again, the hand stitching is simply a joy to examine. 

This capelette will bring awe to anyone who loves antique textiles. Typically, when one finds silk articles of clothing from this era, they are filled with splits or tiny pin holes. This is so nearly perfect. Simply hold it up to a bright light and you will see nothing more than the shadows of exquisite embroidery. There are two very small dark spots likely created by the original owner. These actually appear to be tiny stains caused by something such as candle wax on a fingertip. This small discoloration is less than 1/4 inch or 1/2 centimeter wide and is found only on the interior lining, near the neck. The pin head sized dot is next to it. Aside from what was mentioned already, this c. 1862 cape is in extraordinarily rare and magnificent perfect condition. It is destined only for the most discerning collector.... 

The silk shows no signs of degradation.  The capelette's design was created in a simple half circle. It measures approximately 10.25 inches or 26 cm around the neckline. It is approximately 63 inches or 160 cm in length. Shoulder width is 12.5 inches or 32 cm. Mid back length (not counting fringe length) is approximately 21.5 inches or 54.5 cm. The secondary layer is approximately 7 inches or 13 cm measuring at the back, again not counting fringe length. The silk hand-knotted fringe is approximately 4.5 inches or 11.5 cm in length overall. 

Haunting Romance

Circa 1951 Vintage Hat With Matching Gloves

Bows! 

This is an estate find and it is a rare treat to find a matching set that was obviously carefully chosen as an ensemble by the original owner. This has not been on the market since the set was first purchased about 60 years ago. 

The hat and gloves are perfectly coordinated! 

From the 1950s, this matching set in a color that is unusual and warm. It is the color of hot chocolate with extra cream...or perhaps a steamy latte.

If you are looking for a vintage gift for a 50s vintage clothing enthusiast, this set is recommended and should delight! 

Authentic 1920s Flappers Garters Decorated with Felted Beads and Silk Hand Embroidery

These unmistakable 1920s garters are from the early Roaring Twenties when flappers cut their hair shorter than short and for the first time dared to raise their skirts to expose their knees. And such pretty provocative knees these were, decorated with colorful garters. 

As they used to say back then, garters such as these come along once in a blue moon. 

Certainly, it is all the more wonderful to find a pair that is still attached to their original cardboard backing just as they first sold to their original owner. Or perhaps they simply were stored away and found as what is called "dead stock"...inventory that was lost or never pulled out onto the showroom floor for whatever reason. Regardless of the back story, these garters are most certainly rare and wonderful and they are without a doubt, authentic. 

They were never worn. 

They are designed in vibrant blushing pink against a color best described as green apple. Colors that are bright and simply filled with happy energy! The ruched background is made of early green rayon topped with pink silk satin. 

The decorative wreath design on each is absolutely marvelous because it is created with the most incredibly fine detailing. One almost needs magnification to fully appreciate the handwork. First of all, the tiniest slivers of silk ribbon hand stitched into tiny bows on top of slightly contrasting pink ribbon base. There are six tiny bows that make up each wreath motif, which measures less than 1 inch or 2.5 cm across. Then, colorful beads made from woolen felt are stitched atop the wreath. These loosely resemble fruits. The wreath is then finished with a multitude of colorful silk French knots. 

The garters were made to be worn just above the knee and were truly created during the early 1920s for a rebellious Flapper. Exceptional!

Important Historical Fashion Design: Merry Hull Linen Gloves Dated 1938

Glove collectors will be enchanted by this early, exquisite pair of linen Merry Hull gloves.

Gladys Whitcomb Geissmann moved to NYC from Columbus, Ohio and changed her name  to Merry Hull. In 1938, she invented the first 3-dimensional glove design with additional panels that gave a more tailored fit as well as more freedom in movement. Her unique design eliminated the problem of popping seams and bulky gathers around the fingers. 

Merry Hull's name was well known to fashionable women in the late 1930s, through to the 1950s. Her glove advertisements were in multitudes of fashion trade and retail magazines including Cosmopolitan and Vogue...as well as nearly every newspaper. 

Merry Hull's early label is in this pair of exquisite gloves, which date to between 1938-1939 by patent filing and grant dates. The gloves carry that brilliant gold, embroidered label with the hand-with-wings logo and first patent number of 2,125,673 also embroidered inside. Her patent filing date for this glove design was March 1, 1938 and it was granted that year.  

It is Merry Hull's ingenious design that allows the gloves to be made from fabric that is not stretchy. The gloves fit the hand like a well tailored couture suit.

This particular pair of Merry Hull gloves are made from extremely fine, woven linen with what appears to be a small amount of silk plied into the linen fiber, which adds that additional sheen. The gloves are nothing less than luxurious. 

From an estate, these gloves have not been on the market since they were first purchased decades ago. Not only are they stunning in color and quite unusual, but they are also historically important in the history of American fashions. 

Merry Hull gloves just like these are found in important museum collections and curators have written academic papers about this designer and the importance of her patented glove-making designs. In fact, it is said that she alone changed glove design for the first time in 300 years. 

One reference to research if you wish to learn more is from The Costume Society of America's Gayle Strege, curator at Ohio State University Historic Costume & Textiles Collection titled Merry Hull’s Gloves. The paper was presented by Strege at the Costume Society of America Region III annual meeting, St. Paul, Minnesota, October 2002. 

According to history, Hull's patent was sold almost immediately, and Merry Hull made an impressive $200,000. Today, Hull is listed as one of the top American inventors in history as well as historically important fashion designer.