Button Up!

QUESTION: I love to linger at the cases of “smalls” at flea markets and antique shows. In fact, that’s where I first spotted an unusual little item made of sterling silver that looked as if it might have been used as a serving utensil on a Victorian table. To my surprise, the dealer said that it was a buttonhook. We don’t see these at all today, but back in the latter part of the 19th century, they were as common as shoelaces are today. Needless to say, I bought it and ever since have been on the lookout for others. So far, I’ve only found two. What can you tell me about buttonhooks and where might I be likely to find them?

ANSWER: Buttonhooks do appear from time to time at garage sales, flea markets, and antique shows. But you have to know what you’re looking for and have the patience to search for them. They’re one of those items that may be best found on the Internet where you can search specifically for them. But before you start your search, why not learn a bit about them?

Although unknown now by most people, back in the 1890s buttonhooks were a common household tool. The earliest known reference to the them dates to 1611.

In a way, buttonhooks resemble crochet hooks with handles that come in various sizes, shapes, colors and designs. They’ve been made from abalone, agate, antler, bone, brass, copper, glass, gold, gold-plate, gutta-percha, hard rubber, horn, ivory, leather, mother-of-pearl, pewter, plastic, porcelain, silver plate, sterling, tortoiseshell, wood, celluloid, bakelite and pot metal.


Buttonhooks became popular in the 1860s for buttoning shoes which commonly had between two and 26 buttons, and by 1875 "buttonhook" was a household word with almost every child having his or her very own.



The button-up shoes of the time were generally constructed of leather or serge with hand-sewn buttonholes. The buttons them-selves were frequently sewn on with heavy twisted thread which offered flexibility when sing the hook to pull them through the holes. The button-up styles lost popularity during World War I when lace-up shoes and boots became available for men and shorter, open-styled shoes for women appeared in stores.

Children's leggins or gaiters as they were often referred to were very popular in the early 1900s. Constructed of leather or cloth, the apparel rose to the child's knee or above and buttoned the full length of the garment. Needless to say, mothers loved  buttonhooks saved them time and effort.

Long gloves were another often seen accessory during this time and the number of buttons varied with the style with some exceeding 20 buttons per glove. Since many styles were designed to fit tightly on the arm, it often took 30 minutes to button them up. Many of the early buttonhooks were actually glove hooks which were often more decorative in design but not as sturdy.

Detachable collars first appeared in 1819 so that instead of changing shirts, one could simply switch collars and use the same shirt for several days. The collars, made of starched linen, rubber or celluloid, had buttonholes in the front and back attached by studs.

 Buttonhooks came in a variety of designs. One common design was a handle similar in shape to a knife handle into which a steel hook on a long slender shaft was inserted. To use the implement on a shoe, a person grasped the handle, then inserted the steel hook through the eyelet, grasping the button and pulling it through. Unfortunately, aggressive use of the buttonhook often did more harm than good as it could tear the buttonhole or pull out the button.

They were about the size of a fork although they ranged in size from less than an inch to around 2 feet long. Many had a small ring on the handle end, so a lady could attach it to her chatelaine at her belt or wear it on a necklace. Some of the folding glove hooks also had rings and could be attached to a watch chain as a fob.

Fine hotels placed plain buttonhooks in their rooms for their guests to use. Dresser sets often included plastic or celluloid hooks.

Generally, buttonhooks were in fashion from around 1880 to 1915. The Victorian love of invention led to numerous buttonhook patents and attempts to combine the buttonhook with other useful objects such as the curling iron, can opener, tobacco cutter, nail file, shoe horn, scissors, and pen knife. Folding and retractable buttonhooks were available. Most inexpensive folding ones were made of steel.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about western antiques in the special 2019 Spring Edition, "Down to the Sea in Ships," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

The Most Romantic Accessory Under the Sun

QUESTION: I love fashion accessories. Recently, I purchased a beautiful antique parasol from a vintage clothing booth at a local antique show. It’s covered in lace and has an ivory handle. Other than they’re a cousin of the umbrella, what can you tell me about the history of these romantic fashion accessories?
           
ANSWER: Parasols go back almost 5,000 years to ancient Egypt. Then as in their heyday during the late 18th and 19th centuries, they shielded women from the sun. In fact, the word literally means "for sun" in Spanish.

The umbrella as we know it first gained favor in England as a way for women to shield themselves from English rain. English umbrella makers first constructed them of oiled silk which made them extremely heavy and difficult to open when wet. But it wasn’t until the late 18th century that French umbrella makers transformed this mundane accessory into the parasol, one of romantic beauty. It’s name literally means “for the sun.”

Traditionally ladies had accessorized their outfits with delicate cane walking sticks, but during the 18th century, they replaced them with the more fashionable and useful parasol.

As the popularity of the parasol grew so too did its ornamentation. Until 1800, the fabric used on parasols was mostly green to cast a complementary shadow over the bearer's face so that a woman’s overly flushed complexion might appear fashionably pale. After this period of restraint, parasols became sumptuous with canopies adorned with laces, ruffles and fringes. Parasol makers replaced utilitarian wooden handles with costly ones made from porcelain, ivory, or ebony, enriched with elaborate carvings and inlays of mother of pearl, gems, and precious metals.

By the Victorian era the parasol was an essential accessory for ladies. Many had parasols made to match the fabric of their dresses, while the truly fashionable even had fans made to match their parasols. The length of the handle and shaft, the number of spokes and the diameter of the canopy, at one stage no larger than a handkerchief, were constantly shifting with changes in fashion. But in 1852, Samuel Fox, the founder of the English Steels Company, had a surplus of steel stays used in making corsets. Fox had the idea of using his steel stays in place of wooden or bone ribs, thus reducing the weight of parasols and improving their opening and durability.

To Victorian women, an unblemished complexion was essential to their concept of beauty. Like fans, parasols became part of the Victorian feminine mystique and even developed their own secret language useful for flirting.

Parasols were as a much a part of a well-dressed lady's outfit as were her gloves, hat, shoes and stockings. A fashionable lady carried a different parasol for each outfit. They became popular gifts for men to give their lady.

By the dawning of the 20th century, wide-brimmed hats became fashionable and women no longer needed parasols to protect complexions. Parasols eventually disappeared during the 1920's, when a tanned complexion replaced pale skin as a status symbol.

Vintage I Do

QUESTION: I have in my possession my great-grandmother’s wedding dress and accessories. They have been passed down from mother to daughter since my great-grandmother left them to her daughter. They’re in remarkably good shape, considering that they date from the1890s or perhaps earlier. I’d like to know more about how to care for them and since I have no daughters of my own, where I might donate such vintage clothing. Can you offer me any suggestions?

ANSWER: Vintage clothing has undergone somewhat of a Renaissance. As more and more people got interested in history and antiques through shows like the Antiques Roadshow, naturally attention turned to what people wore back then. Also, the proliferation of consignment shops selling vintage clothing has brought more people in touch with well-preserved older items.

Before looking at where you can learn more about the dress and accessories you have, you should understand the difference between old clothes, vintage clothes, and vintage costumes.

Old clothes are just that. Usually, they’re items that people recycle to charities so that less fortunate people can benefit from them. They can take in any time period, but are usually more recent in age. Vintage clothes, on the other hand, are items in good condition from particular periods of history, such as the 1890s, the 1920s, or the 1950s. And vintage costumes are sets of clothes in a style typical of a particular country or historical period. While vintage clothing can be purchased and worn and accessorized to complement today’s fashion styles, vintage costumes are special and can only be worn on special occasions like fancy dress events or in film or the theater.

One of the best places to learn about vintage clothing is at your local historical society. Often the organization will have a museum in which all sorts of historical objects are on display. Some have extensive vintage clothing and costume collections, but unfortunately, most have limited gallery space, so much of the clothing doesn’t get displayed. Many colleges also have costume collections, depending on the courses they offer. These are often unknown to the public, again because of the lack of exhibition space, staff, money, or interest.

The vintage clothing and costumes are usually donated by area residents. They bring in grandmother's or great-aunt Sarah’s clothes that they discovered when cleaning out her house after she died. The items run the gamut in type and condition. Sometimes they have an interesting story or provenance. Aunt Sarah may have even pinned a note to certain items.

These donations may then sit in the institution’s attic waiting for someone to resurrect and restore them. They present opportunities for a hands-on learning experience with costumes. Volunteering at your local historical society will enable you to to gain access to reference materials and vintage costumes. You can also view, close-up, exquisite workmanship and fabrics not available to the average person.

Even though museum visitors rate costume exhibits as one of the most popular attractions, sadly, some museums have little interest in displaying their costume holdings. At one Massachusetts historic site a visiting costume conservator was horrified to find a gown made by premier Parisian designer Worth stored in a shower stall. The director's reaction to her protests was "Why should I care about a woman's dress?"

While this attitude is common and a reason more costumes aren't on display, it opens the door for those who do care. The advantage of volunteering at an unenlightened institution is that a volunteer working on costumes might have a freer hand there than at an institution where the curator considers every thread sacred.

A few museums organize groups and programs centered around their costumes. These often include special seminars and teas, access to archives and the costume collection, and a newsletter.

These are ideal places to learn how to preserve your vintage wedding items. You’ll learn to wear white cotton gloves, what cleaning methods are best, and about different fabric types and safe storage methods, plus the names of suppliers of conservation supplies, such as acid-free boxes and tissue paper.

If you don't want to get involved in volunteering or groups, but want a close-up look at period clothing, some museums will set up appointments with their curators to see their collections.

And before blindly donating your items, be sure to ask how they’ll be cared for and if they’ll ever be displayed.

Ooolala...Art Deco French Style

QUESTION: I have a pair of upholstered arm chairs that originally belonged to my great grandmother and were passed to my grandmother and then to me. They have an unusual shape. Can you tell me anything about them?

ANSWER: Your chairs seem to be classic French Art Deco, dating from the late teens to mid 1920s of the last century.

The term Art Deco, actually coined in 1966, refers to a design style that originated around World War I and ran through World War II. It’s epitomized by the works shown at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern and Industrial Decorative Arts), held in Paris in 1925. Indeed, the name of this vast exhibition would later be abbreviated to Art Deco, giving a catch-all and rather imprecise label to an enormous range of decorative arts and architecture.

Most people associate Art Deco with the mechanized, metalicized objects that appeared in the U.S. in the 1930s. Like haute couteur fashion, this high style was more popular with the wealthy and avant garde than with the average person, mostly because this group had more education and its tastes ran to fine art and design.

Developed by a group of French architects and interior designers who banded together to form the Societe des Artistes Decorateurs, the Art Deco style incorporated elements of style from diverse artworks and current fashion trends. Influence from Cubism and Surrealism, Egyptian and African folk art are evident in the lines and embellishments, and Asian influences contributed symbolism, grace and detail.

Disillusioned by the commercial failure of Art Nouveau and concerned by competitive advances in design and manufacturing made by Austria and Germany in the early years of the 20th century, French designers recognized that they could rejuvenate a failing industry by reestablishing their traditional role as international leaders in the luxury trades, a position they once held during the 18th century. The founding in 1900 of the Société marked the first official encouragement of new standards for French design and production through annual exhibitions of its members’ works.

In 1912, the French government voted to sponsor an international exhibition of decorative arts to promote French pre-eminence in the design field. The exhibition, originally scheduled for 1915, had to be postponed because of World War I and didn’t take place until 1925. If the exhibition had taken place as scheduled, the sophisticated style of Art Deco probably wouldn’t have evolved.

The Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris was a vast state-sponsored fair that dazzled more than 16 million visitors during its seven-month run. The works exhibited—everything from architecture and interior design to jewelry and perfumes—were intended to promote and proclaim French supremacy in the production of luxury goods. The primary requirement for inclusion was that all works had to be thoroughly modern, no copying of historical styles of the past would be permitted.

But creating from scratch isn’t something that occurs in the arts. All art—painting, sculpture, writing, music, theater—evolves from what’s been done before in some way. So many of the objects exhibited had their roots in the traditions of the past. The stylistic unity of exhibits indicates that Art Deco was already an internationally mature style by 1925—it was just getting started before World War I but had peaked by the time of the fair. The enormous commercial success of Art Deco ensured that designers and manufacturers throughout Europe continued to promote this style until well into the 1930s.

In France, Art Deco combined the quality and luxury of the French furniture tradition with the good taste of Classicism and the exoticism of distant, pre-industrial lands and cultures. Many designers used sumptuous, expensive materials like exotic hardwoods, lacquer, ivory and shagreen in order to update traditional forms like armchairs, dressing tables and screens. Motifs like Meso-American ziggurats, Chinese fretwork, and African textile patterns offered a new visual vocabulary for designers to play with in order to create fresh, modern work.

Early Art Deco furniture introduced sleek, rounded corners, and futuristic styling. Seating often curved slightly inward, suggesting intimacy and sensuousness. Geometric designs and patterns often provided a counterpoint to the soft rounded lines of classic Art Deco furniture. Designers often incorporated fan motifs using layered triangles, and circular designs were common.

The concept behind French Art Deco furniture was one of luxury and comfort using rich wood and textural elements. Finishes were shiny or glossy. Wood was heavily lacquered or enameled and polished to a high sheen.

Fabric choices enhanced the feeling of luxury and opulence in Art Deco furniture. Designers used bold geometric, animal or exaggerated floral prints in soft, sumptuous materials to contrast and compliment the sleek styling.

French Art Deco reflected the general optimism and carefree mood that swept Europe following World War I. Sunbursts and chevrons represented hope and prosperity. They also employed vivid colors in paint and upholstery. Both furniture and textiles tended to use decorative designs that exhibited a strong painterly quality reminiscent of Impressionist, and post-Impressionist, Fauve, and Cubist techniques.

Sometimes ornamentation was straightforwardly applied to the surface of an object, like a decorative skin. At other times, potentially utilitarian designs—bowls, plates, vases, even furniture—were in and of themselves purely ornamental, not intended for practical use but rather conceived for their decorative value alone, exploiting the singular beauty of form or material.

After the 1925 Paris Exposition, American designers began working in the Art Deco style in the U.S. For American audiences, however, there was less of an emphasis on luxury and exclusivity and more interest in mass-production, accessibility and the machine age. The modern influences heralded a bright and shining future outlook that found its way to architecture, jewelry, automobile design and even extended to ordinary things such as refrigerators and even trash cans.