History's Runway: The Firbank Day Dress, 1912-14

Day Dress
Britain, 1912-14
This and all related images from:
The Victoria & Albert Museum

This day dress shows the simple, elegant attire worn by a young woman at the seaside in the 1910s. The dress once belonged to Miss Heather Firbank—the daughter of the affluent Member of Parliament Sir Thomas Firbank and sister of the novelist Ronald Firbank.

With its simple collar and spotted cravat, the dress demonstrates the innocence of pre-World War I Britain’s feminine fashions when cravats and foulards adapted from menswear dominated designs for dresses and blouses.

In August 1912, “The Queen” magazine wrote of:

“the prettiest style of Robespierre collar, finishing with a Latin Quartier cravat of blue and white birds-eye spot silk.”

This is just one piece of the historical wardrobe of Heather Firbank whose many gowns and dresses were packed into trunks in 1921. They remained hidden in these trunks in storage for over thirty-five years until 1960 when the V&A acquired well over one hundred items from her wardrobe. Today, this collection remains one of the most important assortments of the kinds of garments worn by a fashionable and wealthy young woman between 1905 and 1920. Miss Firbank’s wardrobe was the centerpiece of a 1960 exhibition entitled “Lady of Fashion.”

Mr. Punch of Belgrave Square, Chapter 90

Chapter 90: 

Real Things 

Robert sighed contentedly as he gazed at the clouds in the sky. The thick blanket which he’d laid out on the lush grass felt soft and warm under his back. Dog Toby lay next to Robert—the dog’s side resting against Robert’s.

Colin was seated between his fathers, playing with a soft toy which Gamilla had made for him. The toy—made of calico—was in the shape of a terrier. Colin cherished the little thing and felt most secure when it was with him. He would spend hours cuddling it, examining it from many angles and squeezing its cozy rag stuffing.

At the edge of the blanket, Mr. Punch sat cross-legged—a pad of paper in his lap—sketching carefully and meticulously. His tongue stuck out of the corner of his mouth slightly.

“Look, Collin.” Robert said softly, pointing to the sky. “This cloud looks like your doggy. And, Dog Toby.”

Toby looked up for a moment before licking his left front paw and, then, settling his head down into the thickness of the blanket. Colin followed Robert’s hand with his eyes and gazed up at the sky. He seemed to recognize the canine shape in the clouds and gurgled in appreciation.

“Punch!” Colin chirped in his small voice.

Punch chuckled, glancing away from his drawing.

“Very good, Colin.” Robert smiled. “But, that’s not ‘Punch.’ That’s Dog Toby.”

Colin immediately lost interest in the clouds and returned his attention to his toy.

Robert sat up, expertly managing to not disturb Dog Toby.

“Julian used to do that.” Punch grinned. “Look at the clouds when we was here. He’d lie down on the roof of the tower and stare at the sky.”

“What did he see?” Robert asked.

“All sorts o’ things.” Mr. Punch answered thoughtfully. “Things what he loved and them what terrified him, too. Sometimes he’d see sweet bunnies. Sometimes there’d be horrible monsters starin’ down at him. It depended.”

“On what?”

“What real things he’d seen that day.” Punch shrugged.

Robert leaned over to look at Punch’s drawing. “Speaking of real things, what’s this?”

“Brooch.” Punch mumbled. “When Julian was ‘bout aged twenty-seven, I think, he’d planned to make a handsome brooch like a spray of flowers with a butterfly on it. All in diamonds.”

“He didn’t do it?”

“No.” Punch shook his head. “That were in the year 1840 when Julian first met Prince Albert. Her Majesty had invited Julian and Sir Colin to visit at Windsor for some such state dinner where there was to be a man what Sir Colin wanted to meet. Some bloke from Egypt what had been diggin’ for old things the way our pa used to. Her Majesty was just ‘bout to marry Prince Albert and it were then what Julian and the Prince met. Prince Albert was quite taken with Julian.” Punch chuckled. “Poor Julian were terrible nervous, but he did just fine. The Prince had seen one o’ the rings what Julian made for Her Majesty and liked Julian’s work so he asked Julian to make some fine jewels for Her Majesty what he could give her for their wedding. A fine parure of orange blossoms. Julian designed a lovely suite in gold and porcelain and from then on, the Prince always wanted Julian for special things what he didn’t want to give to Rundell and Bridge or, later, Garrard’s. Next came all them fine garter stars, and Julian used the diamonds what he planned for the floral spray brooch for a fine garter badge for Prince Albert.”

“Your memory is astounding, Dear Punch.” Robert smiled affectionately.

“Well, Chum. It’s been me job for over thirty years to be the one what remembers what happened with us.”

“And, you’ve done so well.” Robert replied. “Is this the brooch which Julian had planned?”

“Somethin’ like it.” Mr. Punch nodded. “Only I added a bit to it. See here? Instead of one butterfly, I put three. Two big and one small. It’s us. See? You and me and Colin. Like we’re butterflies what’s sittin’ on the flowers.”

Robert’s eyes grew moist.

“I’ll make ‘em tremblers. You know?” Punch continued. “On wee springs so they move like real butterflies. They’ll sparkle so. Remember them lovely diamonds what I received ‘bout a month ‘go? Fine white ones and yellow ones and blue ones and even some pink and orange. There’s two small red ones, too. I thought instead of all white like what Julian planned, we’d do this one in colored diamonds, too. That way it’ll be more…excitin’ and…modern. Them brooches of all white diamonds were quite fashionable in 1840, but these days, folk like more color.”

“You’re truly brilliant, my dear.” Robert smiled, wiping his eyes. “It’s just lovely.”

“You think?” Punch beamed proudly. “Thanks, Chum.”

“It’ll be something which Colin can one day inherit and remember this time together—if a baby can remember such things.”

“Sure he can.” Punch nodded seriously. “And, that’s what I were thinkin’, too. But, we’re gonna lend it to His Majesty first.”

“Are we?” Robert laughed.

“Well, yes.” Punch sighed. “When you was ‘xaminin’ Her Majesty before Prince Leopold were born, Prince Albert and me—since I got stuck with him—talked ‘bout the New York International Exhibition. See, them folks in America—they want to copy what Prince Albert done here with the Great Exhibition two years ‘go. His Majesty wanted to make sure that England were represented and he asked if I would design some pieces what we could send there. He asked for three. This’ll be one of ‘em. Funny thing is he didn’t give me much time. The Exhibition is in July. So, I gotta work pretty fast, I do.”

“So that’s what you’ve been laboring over?” Robert smiled. “I wondered.”

“Sorry I didn’t mention it ‘fore. Only so much happened between then and now, I guess I didn’t think of it.” Punch sighed again. “Funny, ain’t it? All them years I watched Julian from inside our body. Never thought I’d have to do any of this stuff me-self.”

“You’re incredibly good at it in your own right.” Robert praised his companion.

“You know? I really am.” Punch answered sheepishly. “I gotta confess, Chum, I got a real thrill when I saw them diamonds and, then, I recalled that brooch what Julian planned all them years ‘go. I think he’d approve.”

“I’m sure he’s very proud.”

“I hope so.” Punch answered. He frowned slightly. “I just hope that Prince Albert is good to his word. See, he promised that the jewels would be returned to me after the Exhibition. I trust they won’t be lost.”

“I’m sure they won’t.”

“I s’pect His Majesty’ll want to try to buy this one. It’ll be pretty special.”

“We won’t allow it.” Robert winked.

“He can have the other two, but this one means somethin’ to us.” Punch laughed and looked toward Colin. “I ‘specially want to use the blue diamonds cuz they been good luck for us.”

“It’s true.” Robert nodded. “Though if you’d said that when we first met, I’d have disagreed.”

“Sure, the Molliner Blue Diamond brought us sadness first. When Barbara stole it, I never thought we’d get it back. All them weeks of lookin’ for it and for her. All the pain I had from it—knowin’ it had been put in me puppet body for safe-keepin’ and then I let it be stolen. But, were it not for that diamond, you and me would never have been together. We’d not have met Gamilla or Charles or Gerry. And, then, ‘course, the diamond bought us Colin’s freedom.”

“You’d not be the man you are today.” Robert answered thoughtfully.

“No. I’d still be a lonely puppet in a cabinet and poor Julian would be locked up in his own cabinet of sorts—his fear, his uncertainty. But, now, here we are—a family. We lost the diamond, but it got is such much more.”

“Perhaps Sir Colin knew it all along.”

“Maybe he did.” Punch smiled. “Maybe our pa hid that diamond in Julian’s puppet knowin’ that one day it would be his salvation. Like all good things, we just had to suffer to get there.”

“I believe that’s true.”

“Look here,” Punch pointed to the drawing. “See this flower. It’s a lily. I put that in for Julian. It’s a peaceful thing and I think Julian’s at peace now.”

“I know that he is.” Robert nodded.

Suddenly, Punch shuddered as a breeze ruffled his dark auburn hair.

“Do you want my coat?” Robert asked.

“Nah.” Punch shook his head. “Thanks, Chum.”

“You look a little pale, Dear Punch.”

“The sun’s growin’ dim…” Punch shook his head. “I thought that…”

As Mr. Punch spoke, a shadow passed over their comfortable spot. The two men, Colin and Dog Toby looked up to see a dark-haired man standing over them.

Dog Toby began to growl as the man drew closer. He was tall and lean with thin lips and a long, sharp nose. His green eyes seemed narrow and cold and his face bore a pinched expression.

“Your Grace,” The man said stiffly.

Mr. Punch set aside his pad and colors and stood up.

“I’ve not seen you in so long.” The man continued. “Isn’t it strange? We’re neighbors in London, and, yet, I must come to Scotland to speak to you.”

Mr. Punch nodded, forcing himself to smile.

Robert rose from the blanket, too, bending over to pick up Colin.

As if by magic, Mr. Punch knew the man though he didn’t recall seeing him before—at least not in his present state.

“Dr. Robert Halifax,” Mr. Punch said—speaking in Julian’s manner. He gestured to Robert and then to the shadowy man. “May I present the Baron Lensdown?”



Did you miss Chapters 1-89? If so, you can read them here. Come back tomorrow for Chapter 91 of Mr. Punch of Belgrave Square.

Drawing of the Day: George Cooke's Vesta Victoria, 1904

Vesta Victoria
November, 1904
George Cooke
The Victoria & Albert Museum

Regular readers of this site are familiar with Music Hall star Vesta Victoria’s work. The singer and performer was born in Leeds in 1874, and joined her famous father on stage at an early age. Vesta’s father was known as “The Upside-Down Comedian” because he sang songs while standing on his head.

Vesta’s first independent success was in 1893 with her hit song, “Daddy Wouldn’t Buy Me a Bow Wow.” She soon became a star both in the U.K. and the U.S. and had a repertoire of popular songs which included “Waiting at the Church.”

Regular readers also know the caricature work of George Cooke whose albums of drawings of famous Edwardian Music Hall stars are preserved in the V&A. This one depicts Vesta Victoria as she looked while performing at Collins’ Hippodrome, Stoke-on-Trent, during the week of November 7, 1904. During this period she was was billed as “England’s Brightest and Best Comedienne.”

The work of pen, ink and wash on pink paper depicts Vesta Victoria wearing a white hat with blue and red striped band, a blue jacket with white collar and gloves. She holds a parasol in her right hand.

Gifts of Grandeur: The Dame Joan Evans Bow Pendant, 1630-60

Bow Pendant
1630-1660
Dame Joan Evans Collection from
The Victoria & Albert Museum

This enameled gold pendant, from the important jewel collection of Dame Joan Evans, takes the form of a bow. This piece was once part of a rather substantial necklace which was part of a lovely parure which included a matching bracelet. The pendant is set with rubies and hung with a pearl. The reverse of the piece is adorned with enamel flowers. It was made in Europe between 1630 and 1660. 

Figure of the Day: The Bow Erato, c. 1750

The Bow Erato
Bow Porcelain Factory
England, 1750
The Victoria & Albert Museum

Made in the Bow area of east London at the appropriately-named Bow Factory, this figure dates to around 1750. The Bow Factory was known for its posh porcelain tablewares as well as their handsome figurines.

This figure is one of a series for which the Bow concern was celebrated. The series depicted the “muses” and was produced by a single anonymous modeler who history calls “The Muses Modeller.” The figures, though somewhat naïve, show a clever use of color and sensitive modeling style. Here, we see “Erato,” the Muse of Lyric (and “love” or “erotic”) poetry. 

Object of the Day, Caption Contest: Buttons and Bows

Click image to enlarge.

For some reason, I think Wednesday Addams would like this trade card. Well, if the doll had no head.  And...without the nice, bright colors.

As you know, in celebration of Stalking the Belle Epoque’s second anniversary, we’re doing several days of caption contests for some of the blank Victorian trade cards from my collection.

You know the drill. For what could this be advertising? What’s going on in the scene? Is the little girl actually an ancestor of Bette Davis? Enter your ideas in the comments section.

I’ve really been enjoying these this week. So, to quote Faye Dunaway as Joan Crawford, “Let’s go.”

Mastery of Design: The Canary Giardinetti, 1730-60

Giardinetti Ring
Unknown Maker
Europe, 1730-60
The Victoria & Albert Museum

The term “Giardinetti”—literally a little garden—is assigned to jewels, especially rings, which represent flowers, particularly those colorful pieces which were made in the Eighteenth Century.

Here we see a giardinetti ring with an openwork bezel. The ring takes the form of a flower set with a table-cut canary yellow diamond, rubies and emeralds, with chased scrolling openwork shoulders. Each shoulder is set with a brilliant-cut diamond.

Made between 1730 and 1760, the ring was created in western Europe by an unknown jeweler.