Antique Linen Combing Jacket, Hairdressing Towel or Smock c 1910

Hairdressing was a most elaborate task during the Edwardian and Post Edwardian periods, as any devotee to Downton Abbey knows. Typically, this was facilitated by a lady’s maid or for the very rich, a professional coiffeur. 

Whether it was dazzling head of tightly wound ringlets in 1910, or a glistening powdered “pyramid” of coifed hair in 1912…a sophisticated woman required the constant adjustments and corrections of her hair between changes of clothing. In the Edwardian period, all woman of any means changed their dresses multiple times for every conceivable reason…and this lovely, embroidered combing jacket was a requirement at any woman’s vanity table. 

This garment was used to cover elegant lace day dresses and gowns during hair touch ups and styling. The piece measures a full 36 inches or nearly 92 cm in length and is wide to cover the chest, as well as the back, down to the waist. 

It was made from a linen towel and embroidered with pink, blue and pale green plied silk floss. The decorative edges of the garment towel are finished simple drawn work and tatted lace. 

Combing jackets were used through many decades, so it is important to date these interesting pieces of women's fashion history through identification of the actual textile and embellishments.

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. 

Antique Edwardian Cape circa 1910 with Grand Sweep Embroidered and Trimmed with French Silk Passementerie

This exquisite cape is exceedingly fine and will cause anyone to pause and look twice, if not three times. Certainly, this is an exciting find from the Edwardian era, circa 1910. 

In a what could be termed tea length, the cape was created in an ivory silk crêpe georgette, then lined with silk chiffon. Originally, it would have been worn as a wrap over a full length gown. The drape at the back is ever so slightly longer and this exquisite creation moves with both drama and grace. 

The cape was decorated over the front, shoulders, back and sides with an elegant, hand-embroidered floral motif executed with glistening silk embroidery floss. The raised embroidery is masterful and breathtaking. The grand French silk passementerie closure across the front adds luxurious prestige to the overall design. 

The sweep is glorious and measures 186 inches or 472 cm around the lower edge of the hem. The cape is almost circular in shape, with nicely tailored shoulder seams and features slits for the arms. These measure 7 inches or 20 cm in length inside their seams, and begin approximately 11 inches or 28 cm below the shoulder seams. The shoulder seams measure approximately 16-18 inches or 40.5 to 45.5 cm. 

Due to the beautifully tailored cap shape over the shoulders to the cape, it can easily accommodate more than one size. 

The length from the front shoulder seam to the base of the hem is 48 inches or 122 cm. The measurement at the bust region is approximately 55 cm or 140 where the cape flares. The circumference around the neck is approximately 17.25 or 43.8 cm. 

The matching collar is self lined and has a single hook and eye closure in addition to the six original closures down the front. The passementerie features rosettes, tassels and knotted braiding. It has two silk wrapped hook and eye closures at each end. This is designed so that it may be removed entirely if required. 

This cape is amazingly beautiful and in fabulous condition, in our opinion. It is rated at excellent plus condition overall and could easily be improved upon through the hands of skilled conservationists. We have not attempted to clean it. There is no shattering whatsoever from what we have determined from in our opinions during inspections. The cape is wonderful and strong.

This cape is such a magnificent example from the Edwardian period that we do not recommend wearing it. However, it is strong enough for wear if one so desired…of course, with tender loving care since its long term value depends on the overall condition. 

For those who might purchase the cape with the intent to wear it, there are a few relatively minor problems. Please refer to the photographs, although the issues with this cape are relatively minor and most were quite difficult to capture in the imagery. If you have any questions, please inquire prior to purchase as we would be very pleased to spend any amount of time with you and answer all your concerns then. 

The cape comes from a private collection and was stored in such a way that it has a few minor stains and a very few tiny pinholes. The spots and stains may be cleaned by a skilled conservationist experienced in antique silks. We cannot guarantee the results, but this is certainly a very strong candidate overall for restoration. We have not attempted to clean this nor have we ironed the cape at all so as to not further set in any of the problematic areas. 

If one intends to wear this cape, the small spots (that might not come out) and tiny pinholes (which shall require restorative attention) are so minimal that they could be hidden with matching embroidery over silk chiffon supports. This must be done by a museum level, skilled professional. There is a small stain or soiled mark from storage on the left side corner just below the arm slot. There are also two faint red marks, one on the hem at the back. There is a miniscule snag that is quite fixable by a skilled hand, in the embroidery over the left shoulder. There are very small areas here and there causing slight shadows from dust. All are less than a dime’s width in size. The largest stain is on the interior lining and may be seen in the photograph of the draped, open cape that was photographed off the mannequin. 

The cape has a label on the back that is handwritten and stitched in such a way that makes us believe that this is a museum decommission. It is illegible and appears equally old as the cape. The passementerie trim may have been added at a slightly later date by the original owner. It is, however, authentic to this period.

Circa 1901 Edwardian Silk Pagoda Parasol

This parasol resembles a giant ivory morning glory with its pagoda styling.

Early Edwardian. Pagoda shape. Hand-embroidered. Sublime condition. All this adds up to this rare and exquisite example of fine collectible parasols and umbrellas. 

The parasol dates either during the last sigh of the Victorian era, or with the first breath of the Edwardian, circa 1901. The dating is obvious due to its shape, the complex folding mechanism, length of spokes and embroidery design. The parasol is entirely authentic, original and in glorious condition over all.

The parasol is made from natural silk stretched over metal spokes. Metal spokes replaced whalebone during the 1850s. As the 20th century approached, spokes became longer since they were also stronger. The spokes on this parasol are approximately 20 3/4 inches or 53 cm in length. It is approximately 32.50 inches or 82.5 cm across when open. 

The parasol was created in that grand pagoda shape. It is lined with sea glass green colored silk georgette. This is so finely woven that it is transparent and so delicate that it adds a just a polite suggestion of color to the underside. One of the most beautiful details about the parasol’s interior is that each spoke is perfectly faced with the same, matching silk and decorated with ruched georgette ruffles. 

The exterior of the parasol is covered with raised, white-on-white silk hand embroidery. The floral pattern, including butterflies, seems to drift across the entire outer side. The outer seams are strong and its overall silhouette is absolutely beautiful. 

The parasol is entirely hand sewn. The simple, sleek maple wood handle has a fascinating mechanism made so that it unscrews and folds easily, nearly in half. The long, natural silk cording with long fringed tassel were added to hide the place where the umbrella folds down.

Obviously, this magnificent pagoda parasol opens easily. However, we do not recommend using it as the silk has just started to split along the very edges of the parasol as well as one small place on the interior lining that is approximately 3/4 inch or 2 cm in length. It is starting to weaken on the interior as well. Please refer to the photographs. 

Under curatorial care, this parasol will make a magnificent display item. Discerning collectors will also enjoy this immensely…although its value for the long term will require careful, controlled storage and a loving hand. 

Overall the parasol is in excellent condition with minor age spotting and shadowing on the silk. This is not overly noticeable and typical of what most people would expect to find on silk that is well over a century old. It is a marvelous candidate for restoration of the inner lining which is the only area that shows indications of shattering.