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<td height="40" colspan="7" align="left" valign="top" class="headline1"><p>Sold Archive: <a href="http://coraginsburg.com/sold-costume2.html">Costume</a></p></td>
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<td height="56" align="center" valign="top"><span class="detailpagetitle"><strong>Round gown of "silver muslin"</strong></span><br>
<span class="detailsubtitle">Probably American (the textile Indian), 1795–1800</span></td>
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<a href="images/costume/P4054_lbox.jpg" data-lightbox="image-access2"><img src="images/costume/P4054_detail1.jpg" width="290" style="padding-right: 15px; float: left;"></a>
This round gown or one-piece dress, found in Rye, New York, is a fascinating survivor of a transitional period in the last five years of the eighteenth century when the silhouette of women'’'s clothes underwent a transformation from rounded volume to columnar simplicity. Patterned to maximize drape and minimize cutting into the precious muslin embroidered with hammered silver wire, the two back panels flow directly from the bodice without a seam, releasing elegantly into box pleats along the raised waistline, forming a train behind. A drawstring defines the low scoop neckline, and a tightly fitted falling front bodice secures at the shoulders with pins.
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<a href="images/costume/P4054_lbox2.jpg" data-lightbox="image-access2"><img src="images/costume/P4054_detail2.jpg" width="290" style="padding-left: 15px; float: right;"></a>
In England, where white silks heavily brocaded with silver threads enjoyed popularity in the 1740s and 1750s, a fervor for “silver muslin” boomed in the 1790s. Silver muslin also proved popular in the new American republic. Consumers in port cities such as New York, Boston, and Philadelphia eagerly awaited the arrival of imported textiles at regular "India sales." In August
1796, William Holdernesse of High Street in Philadelphia advertised "some fine India muslins embroidered
with gold and silver," and, in January 1799, New York merchants Isaac Moses & Sons heralded the arrival of the
latest "Madras & Bengal piece goods" including "gold and silver muslins."
<p>
Perhaps the most striking and rare feature of this dress is the pair of cream taffeta sleeves, fitted tightly over the arms and widening at the wrists, with short draped muslin oversleeves, called "epaulettes," caught up with a faceted glass bead at the upper arm. Evolving from menswear-inspired redingotes of the 1780s, tight undersleeves appear to have originated in France, where their adoption coincided with a parallel trend for jacket-like dresses with short sleeves. As the traditional overdress retreated from the front of the body throughout the eighteenth century and gained the appearance of a long jacket worn over a separate garment below, it acquired a litany of exotic provenances steeped in connotations of "eastern" informality. Nicolas Heidloff's <em>Gallery of Fashion</em> referred to garments featuring oversleeves worn over long-sleeved dresses or bodices as Russian, Persian, Hungarian, Mameluke, and Circassian robes.
<p>
For more information, see the <a href="http://coraginsburg.com/catalogues/2018/CoraGinsburg-Antique-2018.pdf"><em>Cora Ginsburg 2018</em> catalogue</a>.</p>
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