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<td height="40" colspan="7" align="left" valign="top" class="headline1"><p>Sold Archive: <a href="http://coraginsburg.com/sold-antique-textiles.html">Antique Textiles</a></p></td>
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<td height="90" align="center" valign="top"><span class="detailpagetitle"><strong>Overskirt panel of <em>velours au sabre</em></strong></span><br>
<span class="detailsubtitle">French (Lyon), ca. 1880-85<br>
32 x 22 in. (81.28 x 55.9 cm), irregular</span></td>
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<a href="images/textiles/antique/W2213a_detail.jpg" data-lightbox="image-atq8a"><img src="images/textiles/antique/W2213a_detail.jpg" width="300" style="padding-left: 15px; float: right;"></a>Striking combinations of color and texture, lush patterns and a surfeit of trimming distinguished the asymmetric, layered and bustled female silhouette of the early- to mid-1880s. Greatly esteemed in the world of high fashion, Lyonnais designers and weavers of the late nineteenth century produced luxury dress textiles and passementerie aimed at an elite international clientele.
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The technique, pattern and palette of this overskirt panel convey the opulence of the early Belle Epoque aesthetic. Velours au sabre is a complex weave structure that was a specialty of the Lyon silk industry. Not a true velvet, it is, rather, a satin in which the pattern is warp printed prior to weaving, and the pile effect is achieved by hand-cutting the warp floats in the areas required by the design. Fashion journals of the period illustrate and describe in vivid detail the vogue for large-scale floral patterns, for a variety of velvet weaves and for rich, glowing colors like those in this example—carnation, cardinal, and ruby reds, yellows, and bronze.
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<em>La Mode Illustrée</em> of 1883 and 1884 cites the then current popularity of velvet ensembles trimmed with deep chenille ball fringe for the fall and winter seasons. <em>The New York Fashion Bazar</em>, which kept its readers abreast of the most up-to-date Parisian styles, declared in July 1883 that, "Chenille fringes of two kinds, the rat-tail and the fluffy, are both very fashionable." In motion, the quivering rows of ball fringe would have added a jaunty touch. Extensive yardage of both fabric and trimming would have been required for the full toilette, a visual index of conspicuous consumption.
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An identical panel of this velvet is in the collection of the Museum at FIT (P91.22.1).
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In excellent condition. Published in the<a href="catalogues/2005/CostumeTextilesCatalogue2005.pdf" target="_blank"><em>2005 Cora Ginsburg</em> catalogue</a></p>
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