Introduction:Gail Cariou, 2003 |
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Coat and waistcoat
About 1775, 18th century 121 cm Gift of Mrs. Ludlow Haskell M972.51.1-2 © McCord Museum Keys to History:In the 18th century, fashion was considered an entirely legitimate interest for men, consistent with prevailing notions of masculinity. Men of wealth and influence devoted their attention to fashion, just as women did. What:Silk coats and waistcoats, with co-ordinating floral silk embroidery, were worn with plain silk breeches, usually in the same fabric as the coat.
Where:Coats this elaborate were worn at court or to formal balls or dinners. This coat was probably of European origin.
When:The cutaway front and shorter waistcoat date these garments to 1770-90.
Who:Professional embroiderers produced floral masterpieces in silk thread on men's coats and waistcoats in the 18th century.
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Keys to History:Over the course of the early 19th century, social pressures to keep the spheres of men and women separate gradually consigned fashion to women. A keen interest in fashion was considered unmanly. What:This early-19th-century fashion plate contrasts the sombre yet elegant man's clothing with the exuberant frills of his female companions.
Where:Men's fashion plates were usually found in specialized tailoring journals, but were rare in women's magazines. This one appeared in the Journal des Dames et des Modes.
When:This fashion plate is dated November 1828.
Who:A man's tailor would frequently draw his attention to fashion plates. This one, appearing in a woman's magazine, might have been brought to his notice at home.
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Photograph
Judge Monk's group, Montreal, QC, 1867 William Notman (1826-1891) 1867, 19th century Silver salts on paper mounted on paper - Albumen process 10.2 x 14 cm Purchase from Associated Screen News Ltd. I-27904.1 © McCord Museum Keys to History:As definitions of masculinity evolved throughout the 19th century, men conformed to the increasingly dominant social belief that they should not be interested in fashion. The sombre colours and unobtrusive styles that had begun to dominate men's wardrobes earlier in the century became entrenched during the last half of the century. What:The clothing worn by these men exemplifies the restraint that overtook men's fashions during the last half of the 19th century.
Where:Posed formally in a professional photographer's studio, these men are dressed relatively casually.
When:This photograph was taken in 1867, when men's clothing was much looser than in earlier decades.
Who:This group of men, who vary widely in age, show a few stylish touches--the contrasting stripe on the trousers, the carefully knotted ties and the negligently posed walking stick.
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Print
La Vie de Jeune Homme 1840, 19th century Lithograph on paper Gift of Mr. Louis Mulligan M972.81.13 © McCord Museum Keys to History:Despite inhibitions against involvement with fashion, men did not give up on it altogether. Their interest was, however, carefully balanced. Too great a preoccupation with fashion and personal appearance could be interpreted as not simply vain, but also unmanly. Too little interest was equally questionable. Either way, men risked ridicule and derision when their relationship to fashion conflicted with dominant cultural expectations. What:This print of two fashionable young men, one putting the finishing touches to his toilette, is part of the series La Vie de Jeune Homme by French artist Paul Gavarni (1804-66).
Where:The castoff slippers at his feet and discarded clothing heaped on a chair show that the young man is in his bedroom or dressing room.
When:The print is dated 1840. The man at the mirror, in his daytime frock coat, has probably just dressed to go out for the day.
Who:The young man carefully scrutinizing his appearance in the mirror and his studiously indifferent friend illustrate the uneasy relationship men have with fashion.
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Photograph
Dr. William Bell Malloch, photographer, Montreal, QC, 1869-70 William Notman (1826-1891) About 1869-1870, 19th century Silver salts on paper mounted on paper - Albumen process 17 x 12 cm Purchase from Associated Screen News Ltd. I-42589.1 © McCord Museum Keys to History:During the 19th century, increasing economic prosperity began to erode the obvious distinctions between men of different social and economic status. What:The clothing worn by William Bell Malloch gives little clue to his profession or social status. Wealthy industrialist? Politician? In fact, he was a medical doctor.
Where:Montreal men were reputedly fashionable in the late 19th century and followed both English and American styles.
When:This photograph of Dr. William Bell Malloch was taken around 1870, when rapid improvements to ready-to-wear clothes made them an attractive alternative to tailor-made garments.
Who:William Bell Malloch was a medical doctor stationed at Moose Factory, a trading post on Hudson Bay. He was also an amateur photographer.
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Keys to History:The rules dictated that certain styles of clothing were appropriate for different occasions, activities, degrees of formality and times of day. Wealthy men, who could afford to differentiate themselves this way, preserved their social exclusivity by adhering to these rules, which changed over time. Socially ambitious men, unsure of the rules, could refer to the many guides to correct dress that claimed to be authorities on the subject. What:This grey frock coat was worn by Mr. John George Savage of Montreal in the late 19th century.
Where:The grey frock coat would have been considered correct dress for a promenade in the park. Black or navy was deemed appropriate for more formal activities.
When:One authority on the rules of dress insisted in 1888 that: "There are only four occasions . . . when frock coats may be worn before noon. These are morning weddings, funerals, Sunday morning church services and before the bar of the higher courts."
Who:Only a man with the requisite black or navy frock coat in his wardrobe would indulge in a grey one.
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Evening dress suit
George Dean About 1911, 20th century Gift of the Estate of A. D. Savage M973.49.11.1-3 © McCord Museum Keys to History:The long-tailed evening dress suit and the rules that govern its wear have changed little over the past 150 years. What:This early 20th century evening dress suit is almost indistinguishable from those worn throughout the last third of the 19th century
Where:Full evening dress was considered essential for formal dinners, balls, concerts and receptions.
When:Full evening dress was worn after six.
Who:The evening dress suit was considered an absolute necessity by wealthy or fashionable men in the late 19th century, or by men who aspired to join the higher social stratum.
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Photograph
Edward Maxwell, architect, Montreal, QC, 1893 Wm. Notman & Son 1893, 19th century Silver salts on glass - Gelatin dry plate process 17 x 12 cm Purchase from Associated Screen News Ltd. II-100033 © McCord Museum Keys to History:The sack coat, the forerunner of the modern suit jacket, was introduced in the 1860s. Originally a loose, knee-length coat meant for casual wear, the sack become close-fitting and hip-length by the 1880's. Unlike the frock or morning coat, the sack was commonly worn with matching trousers and waistcoat. The sack suit, or lounge suit, was often made in coarser wool fabrics and novelty weaves, or in linen for summer. What:There were stylish variations on the basic sack suit, as worn in this late 19th-century photo, including the pleated and pocketed Norfolk jacket worn for bicycling and the striped blazer for tennis.
Where:Though the sack was still casual in 1893, Edward Maxwell, then an aspiring young Montreal architect, found the suit stylish enough to be worn for a formal portrait taken in Montreal's fashionable Notman studio.
When:This photo, taken in 1893, shows the sack suit worn in the casual manner popular at the time.
Who:Young men who were introduced to the comfortable sack style as boys in the 1860s became its greatest proponents in the 1880s.
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Keys to History:The morning coat, with its cutaway skirts, evolved from the sporting styles originally worn at the beginning of the 19th century for riding and shooting. Following the pattern set by the frock coat, the morning coat gradually lost its sporting associations and eventually became formal wear, rather than casual. What:This morning suit was made for Mr. C. M. Badgley in 1912 by the St. Pierre tailoring firm in Montreal.
Where:The versatile morning coat was as likely to be worn at the office as to a tea party in the 1890s. Bridegrooms still occasionally wear morning coats.
When:As its name suggests, the morning coat was originally worn before noon, prior to embarking on the real business of the day. Eventually it became acceptable to wear it throughout the day, but never in the evening.
Who:Fashionable men with extensive wardrobes considered the morning coat essential. Men on a budget in the late 1890s were advised to choose the morning coat in preference to the frock coat.
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Evening coat, Montreal Hunt Club
H. Young About 1880, 19th century Gift of Mrs. H. McEachran Young M978.32 © McCord Museum Keys to History:The specialized clothing required for participation in élite activities presented barriers to social climbers and reinforced existing social hierarchies. Any man could buy a frock coat, either ready-made from a mail-order house or custom-made by the finest tailor, and thereby challenge the status quo, but only those men who already had access to the right social clubs wore the clothing associated with them. What:The cutaway skirts of this Montreal Hunt Club coat identify it as an evening dress coat, as opposed to the full-skirted field coat.
Where:This coat would have been worn to formal Hunt Club dinners, receptions and balls.
When:The Montreal Hunt Club was founded in 1826. This coat was worn during the last quarter of the 19th century.
Who:Prominent members of the Montreal Hunt Club in the 19th century included Hugh Montagu Allan (1860-1951), a Montreal business man, banker and avid amateur sportsman, and Hugh Paton, president of McGill University from 1896 to 1899.
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Photograph
F. J. Francis and friend, Montreal, QC, 1895 Wm. Notman & Son 1895, 19th century Silver salts on glass - Gelatin dry plate process 21 x 16 cm Purchase from Associated Screen News Ltd. II-109450 © McCord Museum Keys to History:In the atmosphere of repressed masculine interest in fashion that dominated the 19th century, men turned to luxurious and colourful accessories for self-expression. Though men were generally apprehensive about appearing preoccupied with fashion, they were able to enjoy the pleasures of fashion by varying their waistcoats, ties, scarves, gloves and jewellery without being thought vain, frivolous or ridiculous. What:Mr. F. J. Francis and his friend are dressed in the height of fashion for 1895, having paid particular attention to their glossy top hats, pristine collars and carefully tied neckties.
Where:This photo was taken in the Montreal studio of William Notman and Son.
When:This photo of Mr. F. J. Francis and his friend was taken in 1895. The trousers of the man on the left have creases deliberately pressed into them, still a novelty at the time.
Who:Mr. Francis and his friend, posing indoors, have chosen to be photographed in their outdoor clothing, complete with top hats and elegant overcoats.
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Keys to History:The waistcoat was an essential element of men's wardrobes throughout the 19th century and often a fashion focal point. Fabrics, patterns and colours that had gradually become unacceptable elsewhere in a man's wardrobe were still used for waistcoats that contrasted dramatically with a black or navy wool coat. Showy silk-thread embroidery and silk brocade fabrics in brilliant colours, common in men's clothing throughout the 1800s, were used for waistcoats into the last half of the 19th century. Enthusiasm for flamboyant waistcoats declined toward the end of the century, when they were largely concealed by a buttoned coat. What:Many elaborate 19th century waistcoats survive in museum collections, probably because their beauty saved them from the ragbag.
Where:Waistcoats were sometimes embroidered at home, then made up by a professional tailor.
When:This waistcoat was worn around 1860, but elaborate embroidery was already on the wane. Fancy waistcoats came back in the 1890s.
Who:Charles-Elzéar Mondelet of Trois Rivières and Montreal, a lawyer and supporter of Louis-Joseph Papineau, wore this waistcoat.
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Keys to History:The necktie, one of the most powerful symbols of conformity to dominant masculine dress codes, has been worn for over 300 years. Throughout its long history, claims have rarely (if ever) been made for either the practicality of the necktie or its comfort. What:This necktie of heavily padded, figured silk is of the pre-tied variety.
Where:Men could purchase their ties from the haberdasher, who specialized in the accessories of dress, including ties, and advised customers on the latest styles and colours.
When:This tie dates from about 1890.
Who:In the late 19th century, the necktie was an essential part of every man's wardrobe, no matter what his age or social status.
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Top hat
1892, 19th century 15.5 cm Gift of Mrs. Mariette O'Shea and Mrs. Gabrielle O'Shea M980.37.2 © McCord Museum Keys to History:Until well into the 20th century, almost all men wore some form of headgear outdoors, but not just for protection from the weather. No matter what the style, hats also conferred a degree of dignity, distinction and individuality. What:This 1890s top hat, of delicate silk plush rather than fur felt, required careful upkeep to maintain its glossy appearance. Properly cared for, a top hat would last many years.
Where:The label of the Montreal hatter, Lorge and Co., appears inside the hat on the inner headband.
When:Although introduced a century earlier as a form of "crash helmet" for horseback riding, the top hat became the most common form of daytime headdress by the mid-1800s. After World War I, it was worn almost exclusively in the evening and on very formal daytime occasions.
Who:For the well-dressed man of fashion, the top hat was indispensable. No other style of hat was acceptable with evening dress.
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Photograph
Charles Cassils, Temple, and H. Haig-Sims on beach, Cushing's Island, Maine, 1901 Harold Haig-Sims 1901, 20th century Silver salts on glass - Gelatin dry plate process 10 x 12 cm Purchase from Mr. I. Erlich MP-1978.82.151 © McCord Museum Keys to History:Over the centuries, evolving cultural norms of privacy, sexuality, modesty and vulgarity have motivated changes in men's fashions. Distinctions have evolved between what men wore in public and what was considered appropriate in private. What:The young man in the short bathing suit is coyly self-conscious about the amount of leg he is revealing to the camera.
Where:This photograph was taken at the beach on Cushing's Island, Maine, a posh summer resort area established in the 19th century.
When:The photo was taken in 1901, when close-fitting, sleeved, knee-length, wool jersey swimsuits were still the most common style worn on public beaches.
Who:Charles Cassils, Temple and H. Haig-Sims mug for the camera in their swimsuits.
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Bathing suit
1860-1870, 19th century 114 x 115 cm Gift of Howard and Valerie Smith M998.23.1 © McCord Museum Keys to History:Over the course of the 19th century, interest grew in vigorous sport swimming as opposed to leisurely, therapeutic bathing. Until the late 19th century, men commonly swam naked in the exclusive company of other men. The debate over appropriate swimwear revolved around the question of mixed bathing--men and women swimming together. Social prohibitions against public displays of sexuality meant that both sexes wore bulky swimsuits that revealed little. What:In the 19th century, grey wool, trimmed with braid, was recommended for swimsuits. Men's swimsuits were closely styled on underwear.
Where:This swimsuit was found in Georgeville, near Lake Memphramagog, a summer resort area in Quebec's Eastern Townships that became popular in the last century.
When:The style of this swimsuit dates it to around 1860. Close-fitting swimsuits of stretch fabrics were not introduced until the late 19th century.
Who:The wearer of this swimsuit is unknown. Could a family man who enjoyed his summer vacation at Lake Memphramagog have worn this suit?
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Dressing gown
About 1832, 19th century 51 x 131.5 cm Purchase from Mrs. E. J. Matania M966.8.1 © McCord Museum Keys to History:Discouraged from wearing brilliant and eye-catching colours and luxurious fabrics in public, men were unwilling to abandon these pleasures altogether. In private, colours and fabrics worn openly by men during the 18th century continued to be worn in private during the 19th century and into the 20th. What:This 1880s dressing gown was made from paisley-patterned fabric similar to shawls worn by women earlier in the century.
Where:Men wore dressing gowns in their bedrooms, studies, breakfast rooms and other private areas of their homes.
When:The dressing gown (not to be confused with the bathrobe) was worn in the morning before dressing, or over the shirt, waistcoat and trousers when lounging at home.
Who:Middle- and upper-class men who had leisure time wore dressing gowns.
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Keys to History:In the 19th century, exotic eastern styles, popular with men for hundreds of years, continued to excite the imaginations of fashionable men who wore black wool broadcloth and white linen on a daily basis. What:Smokers wore caps to prevent tobacco smoke from penetrating their hair.
Where:The smoking cap was usually worn at home in special smoking rooms or studies, or in men's private clubs.
When:Cigarette smoking became more common during the second half of the 19th century after the introduction of the safety match, manufactured cigarette papers and machine-made cigarettes.
Who:Although cigarette makers targeted women as potential smokers as early as the 1880s, smoking was largely the preserve of men. The smoking cap was worn only by men.
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Frock coat and waistcoat
1875-1900, 19th century Gift of the Estate of A. D. Savage M973.49.5.1-2 © McCord Museum Keys to History:By the beginning of the 19th century, no one exerted more influence on a man's choice of clothing than his tailor. Tailors, whose business it was to clothe men appropriately, collaborated with their clients, guided their fashion choices, fitted them carefully and influenced styles. What:The knee-length, straight-fronted frock coat, usually in black or navy, was the mainstay of men's wardrobes for most of the 19th century. It was usually machine stitched and hand finished.
Where:This coat and waistcoat were made by Gibb and Co., one of Montreal's most distinguished tailoring firms. The firm served Montreal's élite for almost 200 years, until 1968.
When:This frock coat was custom-made in the late 19th century, when ready-made clothing was increasingly challenging the supremacy of the tailor.
Who:This frock coat and waistcoat were made for J. G. Savage (1840-1922), a prominent Montreal businessman.
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Keys to History:During the 19th century, women of all social classes devoted countless hours at home to making men's clothing. The production of utilitarian items such as shirts was considered both a duty and a necessity. In middle-class homes, sewing highly decorative articles was as much a demonstration of virtuoso needlework skill as an expression of compliance with dominant social expectations of women. What:Berlin work, seen in this waistcoat, was a form of counted-thread wool embroidery on canvas.
Where:Berlin work, as its name suggests, originated in Germany.
When:Berlin work was introduced in the early 19th century as an alternative to more difficult needlework techniques and remained popular throughout the century. This waistcoat was made around midcentury.
Who:This waistcoat is thought to have been made by Lady Jane Franklin, wife of Arctic explorer Sir John Franklin, as a gift for Sir George Simpson.
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Photograph
McGill Hockey Team, Montreal, QC, 1904 Wm. Notman & Son 1904, 20th century Silver salts on glass - Gelatin dry plate process 20 x 25 cm Purchase from Associated Screen News Ltd. II-149897 © McCord Museum Keys to History:Sportswear has played an important role in the development of men's fashion. Frequently, clothing originally designed specifically as sportswear has crossed over into mainstream fashion and has edged out more formal styles. What:The origins of the modern pullover are easily recognized in 19th-century sports jerseys.
Where:Until indoor hockey rinks became more common, hockey was an outdoor game. The first indoor hockey game is thought to have been played in Montreal.
When:This picture of the McGill hockey team was taken in 1904. The McGill team is featured in the first known photo of hockey players in uniform, taken in 1881.
Who:The first McGill University hockey team was founded in 1877. McGill students are credited with helping to popularize the sport.
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Keys to History:Prior to the 20th century, gender in dress was considered irrelevant until the age of five or six, and young boys in well-to-do families often wore dresses that differed little from those of their sisters. Only simpler trimmings and a cap instead of bonnet distinguished boys' clothing from girls'. What:This silk dress is likely a boy's dress, because of its relative simplicity and lack of trimmings. It would have been worn with petticoats.
Where:Boys did not wear dresses once they were old enough to enter the public sphere on their own, generally when they started school.
When:The styling and material of this dress indicate that it was made in the 1860s.
Who:A boy under the age of five or six would have worn this dress.
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Woman's suit
About 1900, 19th century or 20th century Gift of Miss Winnifred Marler M977.44.2.1-2 © McCord Museum Keys to History:By the late 19th century, taboos against cross-gender dressing for women had eroded. Despite the long-standing social prohibition against wearing men's clothing, women frequently turned to men's fashions for inspiration, a tribute to the appeal of men's clothing styles and the power they represent. However, the masculine influences were sometimes so feminized that their manly origins were almost obscured. In the 1890s, "tailor-mades"--women's skirt suits like this one, modelled on the male version and made by men's tailors--became very fashionable. For many women entering the workplace outside their homes for the first time, the comfortable, practical and stylish tailor-made became a symbol of independence. What:Despite the strict masculine tailoring of this woman's suit, it conforms to the shapely fashionable female silhouette of the late 19th century.
Where:Women's tailor-made suits were not only worn in the workplace. The masculine styling was also adopted by fashionable women for walking suits and day wear.
When:Miss Winifred Marler wore this tailor-made suit in 1898, the year she made her social début.
Who:This suit was made by the notable Montreal tailoring firm of St. Pierre, "Ladies and Gentlemen's Tailor," for Miss Winnifred Marler.
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Photograph
E. Klingis, Montreal, QC, 1895 Wm. Notman & Son 1895, 19th century Silver salts on paper mounted on paper 17 x 12 cm Purchase from Associated Screen News Ltd. II-111063.1 © McCord Museum Keys to History:Despite the prevailing belief during the late 19th century that men were (or, at least, should be) uninterested in fashion, there is ample documentary evidence to the contrary. And despite their apparent indifference to fashion, men immortalized themselves (and their wardrobes) in paintings and photographs. Dressed for the artist or the photographer, men chose their best clothes, leading us to wonder whether some portraits weren't as much a portrait of a favourite hat or tie as they were of the man himself. Self-conscious attention to fashion is evident in a man's choice of suit, the jaunty set of his hat, or his detailed attention to his accessories, grooming or facial hair. What:From his straw boater to his carefully arranged watch chain and necktie, Mr. Klingis is undeniably and self-consciously fashionable. His crisply creased trousers were still a fashion novelty in the 1890s.
Where:Mr. Klingis's picture was taken in the studio of William Notman, photographer of Montreal's élite.
When:Mr. Klingis's photo was taken in 1895.
Who:Men at all social levels had themselves immortalized by the camera in the 19th century, once photography became cheaper.
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Conclusion:The social pressures that discouraged men's interest in fashion in the late 19th century pitted the belief that fashion was not for men against the lure that fashion still held for them. BibliographyA New York Clubman. Hints about Men's Dress. New York: D. Appleton and Co., 1888. Borrett, George Tuthill. Letters from Canada and the Colonies. London: J. E. Adlard, 1865. Martine, Arthur. Martine's Hand-Book of Etiquette, and Guide to True Politeness. New York: Dick and Fitzgerald, 1866. Web Pages Borio, Gene. "Tobacco Timeline: The Nineteenth Century--The Age of the Cigar" [on line]. http://www.tobacco.org (retrieved June 9, 2003). Bland, John. "Edward Maxwell Biography." [on line]. http://blackader.library.mcgill.ca/cac/Maxwells/edbio2.htm (retrieved June 9, 2003). Humphry, Mrs. Madge. Manners for Men. London: James Bowden, 1897. [on line]. http://www.bibliomania.com/2/1/324/2401/frameset.html (retrieved June 9, 2003). "McGill University First Hockey Team 1881" [photograph] [on line]. http://www.birthplaceofhockey.com/origin/pic-mcgill.html (retrieved June 9, 2003). "McGill University History" [on line]. http://www.athletics.mcgill.ca/articles (click on History, then McGill University History) (retrieved June 9, 2003). "William Bell Malloch" [on line]. http://www.archives.mcgill.ca/resources/guide/vol2_3/gen08.htm#MALLOCH,%20WILLIAM%20BELL (retrieved June 9, 2003). |