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What exactly is a guimpe?

I ran across this object recently, and was most intrigued:

Guimpe, mid 19th century, American, MFAB, 47.1527

The MFA Boston describes it as:

A guimpe of gathered and puffed white net, high round neck, open down front elbow length sleeves, foundation of tarlatan covered with net, white tulle ruching around neck held in place with narrow coral velvet ribbon.

While interesting, this still doesn’t explain what a guimpe is (other than a sort of lacy blouse thing which you obviously had to wear under or over another garment, which you can tell from the photo), or what you do with it.

So I did a little research.

Apparently a guimpe is a short blouse worn under a pinafore/jumper dress, or a fill in for a low-cut dress.

It’s very similar to a chemisette or dickey.  It was a word that was particularly common in the mid-late 19th century, and it comes from the Old French word for wimple, which is why the white thing that nuns wear around their necks/heads are also sometimes called guimpes.

Here is a very early gown with a what the fashion notes describe as a fichu-guimpe:

Redingote (on the left) with a fichu-guimpe

The notes say

1810.

1. Redingote en merinos garnie en brandebourgs. Fiche-guimpe. Capote a l’invisible garnie de roses.
2. Robe de tulle rose double de satin rose; garnie de tulle blanc. Coiffure de roses.
3. Redingote de velours a Coqueluchon, garnie de petit gris. Capote en rubans.

Here is what a more dickey-like guimpe looks like:

ca. 1912 Austrian Green Silk Gown with Separate Guimpe from Past Perfect Vintage

There we go.  Now I know what a guimpe is.  And so do you.  Unless you already knew, and it’s just one of those basic words that everyone except me managed to know.

Shell’s dress: a very historical bustline

While Shell’s dress is a modern wedding dress in most ways, I’m a historical seamstress.  So I’m using historical construction techniques to make the dress.

This is most noticeable in the bust.  To create the perfect shaping, and to make sure that there would be no chance of nipply weather, no matter how cold the day, I corded the bust panels.

Cording fabric for the bust panels

Based on my previous experience with the evilness of cording, I decided to cord full pieces of fabric, and then to cut the bust panels out of those (rather than cording pre-cut panels).

Teeny-tiny, very tight cording channels

Cutting the panel pieces out of full pieces of pre-corded fabric

Shell watched me cord the first piece of fabric, and got quite excited about documenting the process.

Documentation. This is how you do it.

Felicity got excited about the process too.  Felicity loves Shell.  She can literally walk all over her.

Oooh...it's so interesting!

It was fun letting Felicity get involved.  Usually when I sew for clients I lock Felicity out of the room, and she sits outside the French doors and looks sad.  But Shell is a good friend, and loves Felicity, so kitty got to sew with me.

Shell got to sew too.  After I finished the first cording piece, she sewed the second one, to see how it went.  It went well but evil-y.  Now she knows what I went through for her dress.

Her cording wasn’t quite as tight and narrow as mine, but that’s not a problem, as the fine cording went on the inner bust panels, and the wider cording balanced out the outsides.

My tight cording on the right, Shell's looser cording on the left

The technique worked beautifully.  The shaping on the bust turned out perfect, it provided lots of support, no gaping, and it was even strong enough to withstand running bones across the bust without flattening it.

Double-bones across the bust

I used LOTS of bones on the bodice support.  There is nothing worse than seeing a bride hiking up her strapless dress!

There are two bones running up the centre front, half bones ending just under the bust at the side-centre front, two bones running over each bust, a bone just at the side of the bust, and a bone on each side of the side seams.  Plus, there are double bones at the side-back, and bones on either side of the back fastening.

Beautiful bust cording, lots of bones for perfect support

A confession

I have a confession based on last week’s Liz Taylor Rate the Dress.

I don’t think Liz Taylor is particularly attractive.  And I really don’t think that she did the clothes she wore any favours, particularly the nipped-waist body-conscious frocks they put her in in her heyday.

Also, she let someone style her hair like this, which would be major points against anyone

There, it’s said.  You can now gasp in horror and question my taste forevermore.  Or rush to the comment function to add that you feel the same way and have never been brave enough to say it before!

So what’s this about?

Well, first I feel that when she was quite young, she was generically pretty, but never interestingly or memorially beautiful.  There was always something too round and bland about her face for it to be really striking or notable.

And then she aged so quickly.  At 17 she looked, 25, and at 25 she looked 35, and by the time she was 30 she looked like she was in her mid 40s.

18 year old Liz looks 26 in Father of the Bride

35 year old Liz Taylor looks 50 in Whose Afraid of Virginia Woolf

And her face always reminds me of those chicken breasts that the pump water into so that they look jucier.

Waterlogged Cat on a Hot Tin Roof

In addition, I’ve never understood the fuss about her figure.  Yes, she had a tiny waist and full breasts and hips, but she was shortwaisted, and had a large, square ribcage, so looks thickwaisted from most angles (and I say this as another shortwaisted woman with a large, square ribcage).

There is a reason they always photograph Liz from this angle

Someone said she could make a potato sack look good, and that I actually agree with:  She looked better in the figureless A-line shift dresses of the late 60s, than the nipped-waist ’50s glamour frocks

Short-waisted

With all that said, I do think she was a pretty awesome person.  She had a very hard childhood, wasn’t really given the tools to develop mature, supportive adult relationships which would have sustained her, but still devoted much of her later life to humanitarian efforts.  And she didn’t just pick glamourous, popular, media friendly causes:  she championed things that were taboo or unpopular, but most needed her support.

So that’s it.  Her looks don’t do anything for me, I don’t see her as a style icon, but as a person, and for what she actually did, I respect her.

And that must be worth more than just thinking she was beautiful.