Showing posts with label shawl. Show all posts
Showing posts with label shawl. Show all posts

Fichu: A Fun, Frilly Fashion Garment

A Victorian fichu was a gauzy, frilly, large collar or small shawl and was a carry-over fashion garment from the 18th century. Fichus remained popular throughout the 19th century. The word is a French term equivalent to the English ‘neckerchief’ or ‘scarf.’ Deeming it more feminine sounding, the French term ‘fichu’ was eventually adopted in England, America, and elsewhere. 

Nineteenth century fichus became more elegant and changed shape from those of the 18th century. In the Victorian era they were a suitable accessory for day wear as well as evening wear. They varied in shape, style, and fabric, from a small lacey confection to a longer, more dramatic fashion statement.

Following are a few quotes from Godey’s and Peterson’s, leading ladies’ magazines of the day.


Metropolitan Museum of Art

Peterson’s, June 1864
The Eugenie Fichu

This fichu is intended for an evening or a dinner toilet and makes an admirable finish to a dress, besides obviating the necessity of having any further trimming on the bodice. The fichu forms a kind of bodice, open in front, and with two long ends before and behind. It may be made in any bright-colored silk, and is covered with white tulle or net, put plain over the silk, with the exception of the back, which is arranged in five puffings from the waist. The fichus is trimmed round with a narrow black lace, and a wide white lace or blonde, divided by a narrow row of velvet. It is further ornamented with black lace leaves applied on the net or tulle. These leaves can be purchased separately, or they may be cut out from old pieces of black lace, the foundation of which is worn out. The dress has a trimming at the bottom to correspond.


Peterson’s, January 1864


Our fifth engraving is a fichu, trimmed in purple or blue, as the wearer’s taste may dictate.

Peterson’s, February 1864

For dinner or evening dresses, low bodies are very generally worn with a cape or fichu in black and white lace or guipure. For young ladies, silk dresses are often made with a low body, and a small squared shaped cape of the same material to wear over it, the body is then high, and if wished to be worn low, the silk cape is replaced by a tulle fichu, so that the dress is equally appropriate for walking or evening attire.


Barrington House Collection

Godey’s, August 1860

Fichu for summer wear, suited to dinner or evening dress, it is quite as graceful and a newer shape than the favorite Marie Antoinette. The bows may be either of black velvet, or a shade of satin ribbon harmonizing with the dress.

Godey’s, September 1860

Fichu for a low corsage or evening wear. It is of black lace over white; the medallions and ruche being of ribbon. Two rows of good black lace surround it.


Metropolitan Museum of Art

Godey’s, June 1861

The Antionette fichu, with ends crossing either behind or before, is also very much worn with muslin, barege or jaconet dresses. This fichu supplies the place of a high body, and makes, with spencers, a variety in the toilet. It is composed of white muslins, sometimes of either black or white lace.




Seen on Daguerre

Godey’s, August 1862

Besides the white waists, which are worn with low-neck bodies, there are numerous styles of fichus made of muslin, tulle, or lace, and trimmed with ruches, velvets, and bows of ribbon….Many of the fichus cross on the breast, and terminate in long, rounded ends trimmed with velvet, or in pointed ends which fasten underneath the sash or waistband.


My Re-Creations

I own a collection of original, antique fichus. When I decided to offer fichus in my shop, I based my creations on one of the fichus in my collection.

Fichus available in my shop

To Match or Not To Match

There is an ongoing discussion among reenactresses as to whether or not ladies of the 1860s matched their accessories to their dresses. On one end of the spectrum we see uninformed ladies buying cloth and making the dress, purse, and shawl out of it - all matching. On the other end we find reenactors cautioning us against being "matchy matchy" in any way. Period. As with all extremes, research shows us that the middle road is usually the most accurate.

In looking at engravings, fashion plates, and paintings of the times, it looks like 1860s ladies both matched and contrasted - just like we do today. While they didn't make their dresses, purses, and shawls out of the same material, they did often coordinate the colors.

Since a picture is worth a thousand words, following is a small sample for illustration.

Notice the lady on the right is wearing a pink dress and matching pink flowers in her hair. However, the lady on the left has chosen to accent her blue gown with white and green - contrasts.
Le Bon Ton, April 1863

In this fashion plate we see a lady matching her hairpiece to the trim on her dress.
Le Moniteur de la Mode, June 1862

Lest you think that matching is merely a fluke of the person adding color to these fashion plates, here is a formal painting showing some beautiful color matching. Only two shades of blue are used in the ensemble.

Mathilde, by Peirre Franois Eugene Giraud, 1861

Below is a helpful example of both matching and non-matching ensembles. We see the lady in white wearing the same roses on her dress that she has in her hair. On the other hand, we see a lady in purple and yellow wearing red trim! Wow! The lady in the middle front is quite harmonious as she uses pink, white and green florals to compliment her pink dress.

Godey's Lady's Book, January 1862

If you want to see some real "matchy matchiness" going on, take a look at these ladies! Both of them are wearing matching ribbons and flowers on their cap or bonnet. 


Le Monieur de la Mode, 1861

The lady below has matched her cap ribbons to the trim on her morning wrapper. 

Musee des Familles, 1860

Here is another gorgeous example of a complete contrast. This lady has chosen to accent her black dress with striking coral jewelry. 

Portrait of Marii Sawiczewskiej, 1861

This painting  below by John Bagnold Burgess is about as non-matching as you can get - pink dress, black and white hat, gold and white striped shawl and purple parasol!


I'll end with a lovely painting that shows both elements - matching and non-matching - in one lady's outfit. Notice that her neck bow and bonnet ties are apparently created from the same ribbon. However, notice that the bonnet itself is yellow, with a different shade of berries. And her gorgeous shawl has just about every color of the rainbow!

"Look At The Time" by Gustave de Jonghe

It seems pretty clear that Victorians enjoyed both matching and contrasting. The important thing to consider when creating your ensemble is not necessarily whether all of the colors match or not, but whether you are using the right materials for each item. This should rule out the improper "matchy matchy" look of the non-researcher, because we don't typically use the very same materials for every ensemble item - dresses, bonnets, purses, shawls, etc. Once you choose correct materials, enjoying matching or contrasting - it's up to you!