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 
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
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
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.
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