Mrs. Catherine Donovan, Dressmaker to the NYC Elite

Irish–born dressmaker to New York’s elite, Mrs. Catherine Donovan (1826?-1906), studied fashion in Paris. Donovan created her gowns in her fashionable shop and showroom in New York. By 1900, she was located on Madison Avenue. In addition to her designs, which were heavily influenced by French couturiers, she also sold gowns by Worth and Pingat. In her use of materials and her design idioms, she favored the historical references employed by her French contemporaries.

Numerous evening, and afternoon dresses, and ball gowns survive in North American museum collections, and they frequently come up in auctions as well. It is clear that Donovan was able to provide a wide variety of styles for her discriminating and affluent customers.

As noted by the Philadelphia Museum of Art: 

“After her death in 1906, Irish-born Catherine Donovan was described by the New York Times as "the pioneer dressmaker of the 400," for dressing New York's social elite known as the "400." She owned a building on Madison Avenue at 40th Street, where she sold imported gowns from leading Paris couturiers such as Charles Frederick Worth and Emile Pingat. At least once, her employees' baggage was seized at U.S. customs on suspicion of smuggling. It was common practice for seized goods to be auctioned publicly, and in 1893 over five hundred people attended an auction of Worth, Pingat, and other gowns seized from Donovan.”

This evening ensemble (bodice and skirt), c. 1885, looks to France for inspiration, as well as historical references from the 17^thand 18^thcentury. The ensemble features a flowered, striped pale blue silk moiré, pale blue silk satin, and ecru lace at the Philadelphia Museum of Art (http://www.philamuseum.org/collections/permanent/176664.html)

Here, a red and ivory checked cotton dress, complete with ivory cotton dickie, c. 1885 from the Metropolitan Museum of Art.

A two-piece ball gown, c1890s, metallic silk brocade trimmed in cutwork velvet and cord, skirt pleated at center back, hem lined in lace. Courtesy, Whitaker Auctions (https://whitakerauction.smugmug.com/Spring2012-2/Clothing/ID-247/i-7BhBgWq/O)

Fortunately, her name and address is stamped on her petershams, providing an opportunity to trace her various locations from the 1880s through the early 1900s-- "Mrs. C. Donovan/315.5th Ave./N.Y.," "Mrs. C. Donovan/245 5th Ave./New York," or "Mrs. C Donovan & Co/280 Madison Ave./ New York."

A Study in Pink: Two Silk Victorian Dresses, c. 1870

A 1871 pink silk dress with day and evening bodices, maker unknown; French.

A lovely way to study design - both dresses are made of silk, with varying use of fringe (passementerie), self-fabric trim and lace -- with very different results.

More: http://www.metmuseum.org/art/collection/search/98301?rpp=20&pg=7&ft=*&deptids=8&when=A.D.%2B1800-1900&what=Dresses%7CSilk&img=4&imgno=5&tabname=related-objects

A pink silk evening ensemble, with button boots, c. 1870, maker unknown; American.

More: https://www.metmuseum.org/art/collection/search/80589?rpp=20&pg=5&ft=*&deptids=8&when=A.D.+1800-1900&pos=81

Breathtaking Bespoke Boots, c. 1890s

I have written about these bodacious boots before (http://www.silkdamask.org/2014/12/a-trio-of-victorian-party-boots.html), but had the opportunity to view them in person as part of the “Fashion Victims” exhibition at the Bata Shoe Museum in Toronto (now closed). (http://www.batashoemuseum.ca/fashion-victims/)

While they are visually arresting in published photos (as seen in the image above, courtesy of the Bata Shoe Museum; all other photos by author), seeing them up close was a very different experience. The level of artisanry, the luxury of the materials and the whimsy found in the overall design, is exceptional.

As noted by the Museum curator, Elizabeth Semmelhack, the gold kid leather appliqué and velvet are 'erotically charged' and they resemble a stockinged leg. Even a glimpse beneath a skirt would have been tantalizing. They are most likely of Swedish or German make, from c.1890s. 

These bespoke boots may have been commissioned by a specific client or perhaps more likely, as a ‘show off’ piece meant for display at an Exposition.  In any event, they are truly stunning. Enjoy the photos I captured during my visit.

An 1879 Wedding Dress Designed by Madame Shepherd of Boston

All images are courtesy of the NSCDA-MA

This striking silk satin wedding dress was designed by a Boston dressmaker, Madame Shepherd. Her studio was located in the Hotel Pelham, a fashionable French flat residence.  Madame Shepherd appears in the Boston City Directories over a number of years, listed under “Dressmakers.” 

Although the wedding dress appears as a two piece ensemble of bodice and skirt, it is in fact constructed in one piece. Worn on November 5^th, 1879, the balance between pleated upper bodice, the high neck trimmed with lace, and the floral patterned silk skirt, embellished with beads and faux pearls, is dynamic. The silk, the details, and the quality of the dressmaking are excellent. 

The wedding dress and the accessories shown here are from the NSCDA-MA Costume Collection, Accession Number MA-CC-1953-13A. For more, contact https://nscdama.org

The author thanks Rebecca Putnam and the members of the costume committee for their assistance.

Embellishments in Victorian Fashion: Exhibition, Saco Museum

On view at the Saco Museum, Saco, Maine 

May 13 - August 27, 2017

Sumptuous fabrics, vibrant colors and textures, masses of elaborate trims - all are defining elements of fashionable Victorian women's clothing. Nineteenth-century designers had very definite ideas of what constituted beauty, and these concepts had a widespread impact on art and design. Embellishments in Victorian Fashion focuses on how nineteenth-century aesthetics influenced women's clothing design and construction.  A variety of Victorian design concepts are examined in detail, including self-trim, color and texture contrasts, ruching, pleating, ribbon work, and asymmetry.

Curator Astrida Schaeffer notes: “This is a greatly expanded exhibition from the original Embellishments show, exploring the nine design building blocks with garments from five institutions. For most of the clothes, this is a rare opportunity to be seen by the public, and having them together in this way not only showcases their beauty, but gives the elements of their design a context. In a way, the exhibition is a giant scavenger hunt — is that piping there? Look at that texture contrast! The wonderful techniques and the textures, fabrics, and colors offer an inspiration for anyone interested in fashion and design.”

The exhibition features fifty garments from five institutions in Maine and New Hampshire: the Saco Museum, the Irma Bowen Textile Collection of the University of New Hampshire, the Portsmouth Historical Society, Strawbery Banke Museum, and the Woodman Institute of Dover, New Hampshire. 

 Astrida Schaeffer has been making reproduction historical clothing since 1986 and museum mannequins since 1998. Her recent book, Embellishments: Constructing Victorian Detail, focused on the UNH Irma Bowen collection and has received high praise. Astrida holds a Master of Arts in History from the University of New Hampshire with a focus on material culture and museum studies, and was assistant director at the UNH Museum of Art for ten years, where she was responsible for collections care, exhibition installation, and object preparation. She trained in mannequin production at the Textile Conservation Center in Lowell, MA and with the Northern States Conservation Center.

Lecture:

How Victorians Got So Fancy
Friday, August 18, 6:00 p.m. 

How Victorians Got So Fancy will be the final program in our Embellishments in Victorian Fashion summer exhibit. In this program, guest curator Astrida Schaeffer will focus on the silvery grey 1870s day dress made and owned by Celestia Freeman of Somersworth, New Hampshire. Freeman was the wife of a mill overseer who likely saw this dress as a way of marking her status in the new community she moved to with her husband. Schaeffer will use Freeman's well preserved dress to explore the development of the sewing machine, the importance of pre-made patterns, and the effects of the fashion magazine industry. 

For more about Astrida Schaeffer and Schaeffer Arts, see: http://www.schaefferarts.com/exhibition-embellishments-constructing-victorian-detail/

For details about the exhibition and the Saco Museum, see: http://www.sacomuseum.org/mus_current_exhibits_temp.shtml?id=EuApFyAluyCerpUNRW

A Trio of Victorian Party Boots!

Pondering parties past as we welcome 2015….The Victorian elite knew how to capture the glitter, sparkle and shine of the holidays, from their dresses and accessories, right down to their selection of footwear..

The ultimate in Victorian party boots, these crimson silk satin brocade showoffs were worn to the "opening" soiree at Chicago society and fashion maven, Mrs. Potter Palmer's new home by one of her friends, Mrs. A.F. Ratray Grieg, in 1883. The black kidskin is decorated with cut-out foliate pattern, underlaid with gold-colored kid. The scallop-edge closure has brass buttons. The “baby” French heel finishes the composition. Unfortunately, the maker is unknown. I can only imagine what the evening dress looked like!

http://digitalcollection.chicagohistory.org/cdm/singleitem/collection/p16029coll3/id/123/rec/5

This pair of rather astonishing velvet & gold leather button boots are true attention getters.  Note the gold leather details which echo the form of stockings and spats. The heels on theses c. 1880-90s boots is particulary graceful.

Featured in the 2008 exhibition “HEIGHTS OF FASHION: A HISTORY OF THE ELEVATED FOOT” at the Esplanade Museum [Alberta, Canada]. Image via www.wornthrough.com/

Though not as robust as the boots pictured above, the use of a brocaded silk satin creates an air of restrained luxury. The maker is not known, but they are likely from France, c.1889. Via the Los Angeles County Museum of Art