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.

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. 

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. 

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. 

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.

Antique Edwardian Shoes in Original Box Dated 1907

These amazing, gorgeous shoes are well over 100 years old and were never, ever worn. In fact, they are still in their original box. They are closely dated to 1907-1908 by the maker’s logo and advertising slogan as it appeared in trade & manufacturing reviews. With original box and condition that is no less than mint, this will make a perfect new acquisition for both museums and discerning collectors.

The box is marked that these are “Prince Albert” shoes. A Prince Albert slipper was a formal man’s shoe worn in a black tie formal setting and only worn inside the home as Edwardian etiquette dictated.

It is incredibly rare to to find a pair of unworn shoes in their original box…one that also includes the original tissue wrappings. The shoes are shiny black and beautifully made. They are dated by way of the advertising and marketing campaign that was documented to between 1907 through 1908 by Hamilton Brown Shoe Company at St. Louis and Boston. Their marketing slogan that year was “Watch Us” and “Keep the Quality Up”. This logo was also stamped on the soles of the Hamilton Brown shoes, printed on their boxes and other advertising media as the company attempted to become the largest in the world. More than once historical account states that they reached this goal not long after these shoes were produced.

The shoes are made of fine, supple, polished black leather.  They are lined with linen in the front and

soft leather within the interior of the heel area. The shoes are also marked with the word “maturity” next to the inventory numbers indicating that these would be intended for an older gentleman in style and design. Each sole is stamp with “Hamilton Brown Shoe Co. Watch Us” logo. The inventory markers on the interior read 4 EE73968. The very early elastic band used in their

design is notable. It is marked with Hub Gore. This elastic was created for use in shoe-making and one of the first mentions of its manufacture and usage dates to 1883. The front linen lining is stamped with 640.

There is not an overly obvious indication of left or right shaped sole found with this shoe style, which was not uncommon for this particular design. The length of the sole from toe to heel is 9-1/2 inches or 24.2 cm. The widest point of the sole is 3-1/8 inches or 8 cm. The width at the

slightly squared off toe is 2-1/4 inches or 5.7 cm. The heel of the shoe has internal support. The heel cap height is 2-7/8 inches or 7 cm. 

The box measures approximately 5-3/8 x 12 x 3-1/2 inches or 13.7 x 30.5 x 9 cm. The box is deteriorating due to the acidic nature of the cardboard. 

Actual Film Footage of 1917 Fashion Show

1917 Fashions: Actual film footage and fabulous reference for anyone interested in antiquarian fashions & textiles. World War  Era

The Year Was 1912...actual historical film footage.

Edwardian Spats or Spatterdashes Dated to 1901 in Original Box

Imagine popping back into time to go shopping...circa 1901... and coming home to 2014 with a boxed pair of warm, woolen spats complete with the button hook just as originally packaged....

This seems like a dream...but these incredible spatterdashes will make you feel as though you lived it!

They are indeed truly authentic. They are from the Edwardian era and dated to circa 1901 based on style, labeling, the maker's history and even the manufacturing logo on the lid from the box company.

The spatterdashes are in their original box labeled: G.G. Brown's High Grade Perfect Fitting Spats. The color is listed as "Faun." Still stitched together just as they were when offered for sale over 113 years ago...these spats have never, ever been used.
Hand sewn.They are made from a very light olive colored woven wool that has also been felted. The buckled strap and edging is made from soft, supple leather. There are four tortoise shell buttons on each spat and they come with the original metal button hook that was included in the box from G.G. Brown. The box itself is labeled as having been made by the Rhoades Paper Box Company.


The size on the box indicate that the spats will fit a size 11. We have measured and researched these sizing conversions from this era compared to ours, and can only offer that there is no comparison.  The height of the spats on the inside is 4 3/4 inches or 12 cm. The length at the longest point is 9 1/2 inches or 24 cm. 

Certainly, the value of these is due to their unworn condition and that they remain in their original packaging with original button hook. There is, luckily, no damage from moths nor acidic discolorations due to the packaging. This is simply a glorious find that will truly be appreciated by both curators and discerning private collectors. 

Civil War Era Miser's Purse Dates to Circa 1862

From a Maine estate, this is a black silk miser's purse. It appears as though it was never used...or if so, then the original owner was very gentle indeed.  This Civil War era purse is unique and almost magical to examine, because there appear to be no openings. Yet, the strings do pull apart in such a way as to open the double pouches so that coins, paper notes or any type of small object may be inserted safely inside. The purse closes when the strings are

pulled back into place, and the openings become almost invisible.

Of course, the purse appears as though the coins are permanently inside since there's no obvious way to extract them. This is how the miser's purse got its name. 

The purse is crocheted with black, plied silk, hand spun yarn.

The silver washed metallic beaded fringe is interwoven, creating a braided effect that echoes the textures of the crochet work.  The metal ring allows the purse to be attached to the dress or worn over a finger. This miser's purse measures 17.5 inches or 44 cm in total length. 

The Gilded Griffin...Welcome!

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.

If you would like to see more...

simply Google

The Gilded Griffin

for a link to the shop's current location.

     Original photography & text copyright 2014 J. Henri

     Please use images and text with appropriate citations.

Thank you!

Vintage Hat. This late 1930s hat has that forward thrusting crown and definitive style that was a favored design silhouette during this time. It is hand woven and made from straw.  The enormous bow is made from moiré taffeta and the hat is banded with black silk netting that is long enough to flutter in the wind.  No, the veiling was not designed to be a full face veil. It was added for textural interest and simply decorative. The hat is held in place with original elastic band on the interior and is faced with a French grosgrain ribbon. There is no millinery label...circa 1939.

Welcome to The Gilded Griffin...a Portfolio of Historical Fashions

This portfolio has been created to document the images & descriptions used within my online shop. This is where many of the antique & vintage hats, clothing, accessories & 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.

If you would like to see more...
simply google

The Gilded Griffin

for a link to the shop's current location.

 Thank you!

     Original photography & text copyright 2014 J. Henri.