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Terminology: What is a Cromwell Buckle (or Cromwell Shoe)?

Do you love historical shoes?  I LOVE historical shoes.  After all, they combine two of my favourite things: shoes and historical fashions.

For this week’s terminology post, let’s look at a a historical shoe term: the Cromwell buckle & shoe and its stylistic relatives.

Basically, a Cromwell buckle is an ornamental buckle of metal (often cut steel, and sometimes nickel  or pewter) on the front of a shoe.  In addition to the sparkly cut steel the buckle might be ornamented with paste jewels.  A Cromwell shoe is obviously the shoe worn with the decorative buckle.  Cromwell shoes are generally somewhat 18th century inspired, and usually have medium to high heels.

A variant of the Cromwell shoe is the Moliere shoe, which sported a slightly lower heel, and a slightly turned-up toe (though it seems likely that which you chose to call your shoe depended more on the date and your location than the actual style).  Notoriously, Moliere shoes were worn by the first known victim of Joshep Vacher: the French Jack the Ripper.

Another variant of the trend was ‘Colonial’ shoes, which had the buckle and a tongued vamp.

Shoes ('Colonial' Pumps), Evening, Steigerwalt, worn to Yale Junior Promenade, 1890, Met

Not all shoes with Cromwell buckles were strictly Cromwell shoes.  Shoe designers did try sticking them on other styles, with mixed results.

Boots with Cromwell buckles, 1860-69, American, wool, Met Museum

Boudoir slippers with Cromwell buckles, E.D. Burt & Co. Fine Shoes, 1865-85, Met

All the terms had their roots in 17th & 18th century historical examples: Cromwell & Moliere as the polar opposites of the mid-17th century, and Colonial as a generic term for early America.

Pair of men's shoes of the type that inspired the Cromwell variants, probably Italian, about 1650—1700, MFAB

Cromwell shoes could be very historically inspired, or somewhat freer in their interpretation.  The Powerhouse Museum in Australia has a pair of ca. 1890 extremely  18th century inspired shoes  to be worn with Cromwell buckles, but alas, without the buckle.

Shoes with Cromwell buckle over bow, American, 1887, Leather, silk, CI46.27.10ab Met

The term arose in the late 1860s and was used until the 1930s, with its biggest period of popularity from the 1890s to the 1920s.

Shoes with Cromwell buckles, ca. 1867, Belgian, leather, silver, cotton, CI62.35.11ab, Met

A pair of woman's pumps, Bob, Inc. New York, USA, about 1914, Suede, leather, metal, 51.2628a-b, MFAB

The application use, and type of shoe the buckles were applied to varied greatly.  A  1903 fashion articles extolled the merits of practical ‘hygenic’ short skirts, and declared that the shoe to wear with them were equally practical “well-cut, laced-up, serviceable-looking black Cromwell shoes or one with three straps over the ankle to button.”

Practical could be elegant too, as extolled in a 1905 write-up for a  “ladies glace kid Cromwell shoe with one strap and moveable ornamental buckle.  It is in every way a dainty and at the same time serviceable production”

They also had less serviceable uses, as in the 1900s they were also advertised specifically as dancing shoes, where they cost more than wedding shoes.

Advertisement for Cromwell Shoes, Auckland Evening Post, Volume LXX, Issue 32, 7 August 1905, Page 7

Cromwell shoes weren’t just for adults.  In 1910 NZ papers advertised Cromwell shoes for children in buck, kid, and patent leather.  While they don’t make it clear if the children are boys are girls, later 1914 ads specifically describe Cromwell shoes for boys.

An early example of a child's Cromwell shoe "First pair of shoes worn by little Neddy," American, 19th c, MFAB

After the 1914 ad, mentions of Cromwell shoes disappear from NZ newspapers for 20 years.  They reappear briefly in 1933, and then are gone.  Despite this odd gap, there are numerous examples of 1920s shoes that are clearly 18th century inspired, and sport what would have been called Cromwell buckles in earlier decades.

Shoes (Pumps), Evening Nancy Haggerty (American), 1918—22, American, silk, metal, glass, 1979.416.8ab, Met

Shoes (Pumps), Evening Pietro Yantorny (Italian, 1874—1936), 1925—30, Met

Shoes (Colonial Pumps), Evening Pietro Yantorny, 1925—30, 2009.300.1593a, b, Met

Sources:

O’Hara, Georgina, The Encyclopedia of Fashion: From 1840 to the 1980s.  London: Thames and Hudson Ltd.  1986

The Metropolitan Museum of Art

 

Side note: have you seen American Duchesses first prototype photos for her early 20th century Astoria shoe?   Swoon!

Saints heads

These early 16th century reliquary busts of saints in the collections of the Cloisters both intrigued and repulsed me.

Bust of a saint, 1520-30

I love the women’s serene faces, their elaborate hairstyles and meticulously rendered clothes.  I’m amazed by how precise the carving is, and how vivid the colours some 500 years later.

Bust of Saint Balbina, 1520-30, The Cloisters

They are such beautiful, unique, examples of what was admired and desirable in women in late Renaissance Belgium.

Bust of Saint Balbina, 1520-30, The Cloisters

At the same time, I can’t get past what they are: reliquary boxes.  Containers for holding human remains: the skulls and other bones of saints.  There are little doors in the top of the heads so that they could open the heads on feast days.  I presume that the bones were removed long before the busts made it to the Cloisters, but I still have trouble adjusting my beliefs on how human remains should be treated with the attitudes and customs of the Renaissance Catholic Church.

Bust of a Saint, early 16th century, The Cloisters

It’s another example of how my aesthetic attraction to the past constantly makes me consider and question my modern beliefs and attitudes, and how they compare to historical beliefs and attitudes.

 

Finished project: the very dreadful silver stays

Well, for better or worse the silver stays of doom are finally done.

For all their evilness, laid flat they rather remind me of angel wings

They continued their inclination to bad luck through the last few steps.  As I was working the eyelets they got sparkling apple juice splashed on them.  Luckily it didn’t stain the linen, but liquid is very bad for kid leather, so I think I’m going to have to replace part of the binding at some point.

And then, after all the fuss about loosing the shoulder straps and having to cut a new pair, once I got all the eyelets worked and was finally able to try the thing, on the shoulder straps just didn’t work very well.  So all that  perfect, painstaking hand stitching got unpicked, the back got cut down just a little and I now have strapless stays.

Bye bye pretty hand-stitched shoulder straps

Without the shoulder straps tying in pretty bows in front, the front has little visual interest, so I felt the need to lace it with fancy ribbon.  Of course, this means I can only unlace it via the back, which means I worked all those extra eyelet holes for nothing!

But the blue front lacing sure is pretty, isn't it?

And I messed up my measurements on the eyelet holes, and didn’t stagger them enough, which means that the top of the stays and bottom of the stays are mis-aligned

Sigh. It doesn't line up. But at least the bow is cute!

And the final insult of the stays is that they are tighter up top than in the waist, which never happens to me.  I’m thick waisted and small busted!  It must be the new boning pattern – it’s amazing what a difference that can make.  But they will fit lots of people very well, and they are quite comfortable, and I really did make them for models to wear, and…at…least…they…are…DONE.

But my next pair of stays is going to be back lacing only, and intentionally strapless, and as easy as possible!

The inside of the stays

Boring shoelace lacing for the back - it works so well I'm happy to ignore the inaccuracy

Evilness or not, they are very elegant on Isabelle

Slightly mis-aligned back lacing - gaping less in the top on Isabelle than it does on me

The sweep of side seams

All in all, the process was dreadful, but they are quite beautiful on Isabelle the dress form, and I think I may be starting to love them.

See the whole portfolio here.