Lilienthal Family Antique Chinese Robe

From our October 2021 newsletter:

Sukey and sister Andrea Lilienthal have been periodically making some generous donations to Lacis over the past few months. Since they were young, their family has had quite a significant collection of Asian textile art on display in their home, such as Buddhist kesa cloths (meditation robes) hanging as tapestries on the wall.
      We were unsurprised, then, to discover that the Lilienthal family is highly artistic; it is probably due in part to the influence of growing up surrounded by such storied, inspiring pieces. For eight years, Sukey, for example, was the Development Director at the Crowden Center, a music-centered private school for children, while Andrea has an incredibly striking paper art and sculpture practice, with her various works shown in galleries in New York City.
       One of their contributions to the Lacis Museum collection included the item shown above. It's a luxurious antique Chinese winter robe of sea-green padded satin. It elicited audible gasps from us as we inspected it, so gorgeously constructed inside and out. Just take a peek into the sleeve—it's embroidered on the inside, presumably for the exclusive delectation of the wearer. (And, perhaps, whoever may have dressed—and undressed—them?)
      What a lovely treat it must have been, having a secret to wear, or to privately share, according to the dictates of one's heart and discretion... Clearly it belonged to a person accustomed to a certain level of comfort, opulence, and mystery in their attire.

This fabulous object piquing your interest? We thought it might. Christie's has a little collector's guide for these kinds of Chinese robes—go on, give it a little read. It's fascinating.

Museum ID: ADM.37133
Photographs: Julie Ann Brown

In June 2022, much to our delight, we received a message from a Lacis friend—an amateur textile history and needlework enthusiast, with a fairly in-depth knowledge of Chinese textile arts and culture. They had much to contribute to our conversation about this robe! With permission, we have reproduced excerpts of their valuable insights for the further illumination of all who might be interested in this curious piece.

"The robe was originally a winter changyi, or an outer robe (as indicated by the long slits on both sides) for a Manchurian woman. At some point it was altered by an individual with very Western ideas about clothing construction, presumably to turn it into a dressing gown. Allow me to elaborate.
     "In the Chinese method of sleeved garment construction, the sleeves are not set in, but cut in one with the body and extended as necessary by piecing. Thus, there are no shoulder seams.
     "However, shoulder seams are clearly visible in this robe. The sleeves were cut off the garment and re-shaped into set-in sleeves, and thus the embroidery at both shoulder seams have become discontinuous. Embroidery for these garments are typically done á la disposition, because this was the most practical option for the large frames used by professional embroiderers, and also allowed for maximal continuity of the motifs across the completed garment.
     "An example of both practices can be seen in this embroidered Qianlong-era dragon robe "shape":

https://www.dpm.org.cn/collection/embroider/231362.html

     "Notice how the sleeves are 'in one' with the body of the garment, as can be seen from this example of a 19th C changyi at The Met:

https://www.metmuseum.org/art/collection/search/70499

"The Lacis robe would have had very long sleeves in its original and unaltered state. When it was worn, each sleeve would have been folded up to show off the embroidered sleeve bands (the polychrome silk embroidery on white). However, when unfolded, the sleeve bands would be on the inside of each sleeve.
"The ornate sleeve bands, as can be seen in countless extant garments and photographs of 19th C CE Chinese Han and Manchurian women, were a conspicuous and important part of their costume. The postulation that they were for 'the exclusive delectation of the wearer...?' therefore doesn't make much sense, especially given that the robe has already been significantly altered."

An excellent point! Our friend then offered up a far better theory:

"The most logical explanation for the concealed sleeve embroidery is also far simpler and prosaic than is currently postulated on the Lacis Museum website... The person who altered the sleeves simply cut off a portion of each sleeve from the top, so they'd be of the right length for them without extensive folding after setting them into the armholes.
"Embroidered sleeve bands have been reasonably valuable and collectible items, often sold in a pair and stitched together down the middle to make a nice display picture. It is therefore very strange to see the sleeve bands to be so scrunched up and thus subject to intense wear—the sleeves may have also been narrowed."

Furthermore, they brought to our attention a vitally important

"point of distinction: this garment in particular is definitely on the side of 'historical costumes' rather than 'traditional costumes', much like how a 1880s Worth evening gown would be regarded as a historical garment."

Well noted, friend! We deeply appreciate the insights you've taken the time to share with us; your intelligent and thoughtful favor will not soon be forgotten.
This is what we love the most about the connections made and fostered within the Lacis Museum community. Those who would otherwise be total strangers are instantly connected by their mutual love for the textile arts, crafts, and history—and can reach out to each other, sharing their work and discoveries—discussing topics in-depth—disseminating knowledge for the enlightenment and inspiration for all.