Pingat Bustle Ensemble
Dublin Core
Identifier
VC1992004
Title
Pingat Bustle Ensemble
Description
Two piece bustle ensemble (dinner dress) of burgundy velvet and satin with repeated motif of red, gold, blue, and burgundy glass beads; bodice (a): basque bodice of burgundy velvet with center front button closure, square neckline trimmed with ivory lace, waist angled in front with pleated bustle in back, 3/4 length 2 piece sleeves with beaded cuffs and ivory lace ruffle, ivory silk taffeta lining, ivory grosgrain ribbon inner waistband printed with designer label, metal boning, silk covered metal weights; Skirt (b): bustle skirt of burgundy velvet, angled velvet swag trimmed with beaded motif, draped burgundy silk satin swag continues into train, burgundy silk satin bows, knife pleated trim at hem, dark gray cotton broadcloth interfacing, metal hook and eye closures, hidden pocket.
Creator
Emile Pingat
Date
1876-1886
Subject
Clothing and dress
Extent
42.25 inches (chest), 28.75 inches (waist), 48 inches (hips), 78.25 inches (center back length), other measurements: Bodice: bust 42.25, waist 28.75, CB neck to waist 17.25, front shoulders 14.75, back shoulders 14.625, CB length 30.75, back bust 20.5
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Medium
cotton
glass
metal
silk
Type
Physical Object
Spatial Coverage
France
Temporal Coverage
1870s
1880s
Rights
http://rightsstatements.org/vocab/InC-EDU/1.0/
Rights Holder
© Vassar College Costume Collection. Images in this collection may be used for teaching, classroom presentation, and research purposes only. For other reuse, reproduction and publication of these images, contact costumeshop@vassar.edu.
Costume Item Type Metadata
Source Identifier
VC1992004
Cataloguer with Date
Arden Kirkland 1/12/2009
Color Main
burgundy
Technique
hand sewing
machine sewing
lace making
pleating
Dimensions Chest
42.25
Dimensions Waist
28.75
Dimensions Hips
48
Dimensions CB Length
78.25
Dimensions Other
Bodice: bust 42.25, waist 28.75, CB neck to waist 17.25, front shoulders 14.75, back shoulders 14.625, CB length 30.75, back bust 20.5
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Dimensions All
42.25 inches (chest), 28.75 inches (waist), 48 inches (hips), 78.25 inches (center back length), other measurements: Bodice: bust 42.25, waist 28.75, CB neck to waist 17.25, front shoulders 14.75, back shoulders 14.625, CB length 30.75, back bust 20.5
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Skirt: waist 28.75, center front length 42.625, center back length 61, back hips 48
Other: side length 44.5, sleeve: 15.375(+3of lace), underarm to hem 11.75, underarm to waist 7
Label
E. PINGAT / 30 RUE LOUIS LE GRAND 30 / PARIS'at center of inner grosgrain ribbon waistband
References
Steele, Fashion and Eroticism, p. 112. Coleman, Opulent Era, p. 178, 182-3, 188, 190. Arnold, 1860-1940, p. 36. (1882-3)
Date Earliest
1876
Date Latest
1886
Culture
French
Gender
womenswear
Classification
costume
clothing
Category
Bustle Ensembles
Exhibitions
Vassar Girls and Other Women
French 280
French 280
Public Information
This dinner dress by the French couturier Emile Pingat extends more toward the 'extravagance' discouraged by Miss Lyman (Vassar's first Lady Principal, from 1865-1871). Although it might indeed seem extravagant in comparison to 1992.124ab, such a gown might be the compromise of a more affluent young woman, as Pingat's designs have been described as 'murmuring elegance rather than shouting affluence. . .' (Elizabeth Ann Coleman. The Opulent Era- Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 177).
In the discussion of Pingat's typical clients, it seems likely that Vassar women, as pioneers of women's higher education, would fit the prototype of Pingat clientele: ‘By and large, his ladies seem to have been a more adventuresome lot than those who flocked to Worth. Pingat clients were not merely showpieces, women on pedestals, whose role was to represent their husbands' wealth; many were achievers in their own right,' (Elizabeth Ann Coleman. The Opulent Era: Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 188).
In the discussion of Pingat's typical clients, it seems likely that Vassar women, as pioneers of women's higher education, would fit the prototype of Pingat clientele: ‘By and large, his ladies seem to have been a more adventuresome lot than those who flocked to Worth. Pingat clients were not merely showpieces, women on pedestals, whose role was to represent their husbands' wealth; many were achievers in their own right,' (Elizabeth Ann Coleman. The Opulent Era: Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 188).
Condition Term
good
Condition
Bodice has buttons all missing, discoloration in shape of beads (from pressure in storage), some discoloration and tears under arms, black silk taffeta lining is extremely fractured, top section of bows on tail are missing, tie inside tail is loose on one side; skirt has slightly shredded pocket, discoloration from beads below back bustle swag (especially at left), some lace trim inside skirt hemline is coming loose, some discoloration at edges of beadwork, some small tears below bows, tacking at center back of train, 3.5' tear at front left above knee.
Mannequin
1992.004ab
Storage Location
C7
Repository
Vassar College Costume Collection, Drama Department, 124 Raymond Avenue, Poughkeepsie, NY 12604
Exhibition Notes
from 'Vassar Girls and Other Women: 1854-1925:'
This dinner dress by the French couturier Emile Pingat extends more toward the 'extravagance' discouraged by Miss Lyman (the first lady Principal at Vassar College, and the woman in change of the students' moral life). Although it might indeed seem extravagant in comparison to 1992.124ab, such a gown might be the compromise of a more affluent young woman, as Pingat's designs have been described as 'murmuring elegance rather than shouting affluence. . .' (Elizabeth Ann Coleman. The Opulent Era- Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 177).
In the discussion of Pingat's typical clients, it seems likely that Vassar women, as pioneers of women's higher education, would fit the prototype of Pingat clientele: 'By and large, his ladies seem to have been a more adventuresome lot than those who flocked to Worth. Pingat clients were not merely showpieces, women on pedestals, whose role was to represent their husbands' wealth; many were achievers in their own right,' (Elizabeth Ann Coleman. The Opulent Era: Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 188).
This dinner dress by the French couturier Emile Pingat extends more toward the 'extravagance' discouraged by Miss Lyman (the first lady Principal at Vassar College, and the woman in change of the students' moral life). Although it might indeed seem extravagant in comparison to 1992.124ab, such a gown might be the compromise of a more affluent young woman, as Pingat's designs have been described as 'murmuring elegance rather than shouting affluence. . .' (Elizabeth Ann Coleman. The Opulent Era- Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 177).
In the discussion of Pingat's typical clients, it seems likely that Vassar women, as pioneers of women's higher education, would fit the prototype of Pingat clientele: 'By and large, his ladies seem to have been a more adventuresome lot than those who flocked to Worth. Pingat clients were not merely showpieces, women on pedestals, whose role was to represent their husbands' wealth; many were achievers in their own right,' (Elizabeth Ann Coleman. The Opulent Era: Fashions of Worth, Doucet and Pingat. New York: Thames and Hudson and the Brooklyn Museum, 1989. p. 188).
Work Type
dress
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