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                                <td height="56" align="center" valign="top"><span class="detailpagetitle"><strong>Embroidered silk taffeta evening ensemble and parasol</strong></span><br>
<span class="detailsubtitle">French, ca. 1862&ndash;1865</span></td>
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This strikingly elegant evening toilette plays on the theme of the oval, both in the shape of the dress and in its ornamentation. The deep bertha, the sash with its long <em>&eacute;charpes</em> (streamers), and the fringe trimming are all stylish details illustrated in French fashion journals of the early to mid-1860s. The large-scale yet delicate intertwined ovals and rectangles trace an unusual pattern against the expansive crinoline skirt and streamers, while the lustrous ivory taffeta sets off the embroidered motifs in polychrome silk floss, black chenille thread, and beads.
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To create the elaborate fringe, short lengths of chenille, ending in silk-covered balls, were woven into a passementerie band. This type of ball fringe was known as grelots, meaning small round bells and aptly connotating a shivering movement. As noted in the captions of contemporary French fashion plates, fringes and passementeries were produced in Lyon, the leading center of the European silk weaving industry.
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By the 1860s, women's dresses were generally made with both a day and evening bodice. The richness of the silk moir&eacute; parasol with matching ball fringe suggests that it may have been part of a carriage ensemble, for which extravagant display was <em>de rigueur</em>. The carved Italian coral handle with a climbing cat and the coral-and-ivory stick are associated with the late 1850s and 1860s. The coral rib tips in the shape of hands suspended from rings are a delihgtfully whimsical feature of these luxurious parasols.
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Published in the <a href="https://journals.ub.uni-heidelberg.de/index.php/ginsburg/article/view/23992/17716" target="_blank"><em>Cora Ginsburg 1998</em> catalogue</a>.
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