Worn by Wearer Once Known
Re-worn by Tyffanie Morgan
Carriage or Visiting Dress, Europe or North America, c. 1885–1889, silk velvet, ribbed silk, silk taffeta, silk twill, glazed cotton and cotton tarlatan. Agnes Etherington Art Centre. Gift of Mrs W. R. P. Bridger, 1962 (C62-552.2a-b). Made by Maker Once Known
Tyffanie Morgan’s Carriage or Visiting Dress, Kingston, 2025, gingham, cotton velvet, lace and crepe back satin, wool twill. Made by Jessica Dykins
Ingenious textile draping, lush materials and lavish appliqué work combine in this understated yet sumptuous example of late Victorian fashionable outerwear.
This two-piece silk dress, consisting of jacket bodice and skirt, would have been worn as fashionable daywear by someone of means in the mid to late 1880s, during what is known as the second or “hard” bustle era (c.1883–1889). The term “hard” bustle refers to the angular, shelf-like profile of the bustle at this time, compared with the softer iteration of the fashion during the first bustle period of c.1868–1875.
As a “carriage” or visiting dress, this ensemble was meant to be worn outside the home, in public and while making social calls. The plush velvet, substantial silk fabrics and colour palette point to this outfit being intended for cooler weather.
The ensemble would have been worn over a set of undergarments including a chemise, set of drawers, stockings corset, corset cover and probably at least two petticoats. Likely all but the corset was made of washable white cotton. The hair was pulled to the back of the crown into some form of knot or twist with a short, softly curled or frizzed fringe over the forehead and additional short, soft curls at the temples and nape of the neck. Hats were small in size but could have a tall crown, were often made of rich materials and perched on the top of the head. Gloves were a must when out in public, and day footwear usually comprised close fitting mid-calf button-up boots with small heels.
Carolyn Dowdell, Dress Historian
This two-piece ensemble incorporates inventive textile draping and manipulation to striking effect along with highly skilled construction throughout.
The body of the jacket bodice, made of brown silk velvet accented with heavy beaded and metallic appliqué work is closely fitted to the body through the bust, waist and upper hips with two sets of darts in the front and curved seams down the back. Draped and pleated panels of ribbed silk and silk velvet are attached to the jacket bodice hem somewhat creating the appearance of a draped overskirt. The bodice fastens up the centre front with metal hooks and eyes. The appliqué work on the bodice front and sleeve cuffs comprises a wide and intricate silk thread braid embellished with glass beads and metal ornaments. This trim would have been made separately from the bodice and hand-tacked as a whole to it.
The skirt comprises a brown silk taffeta foundation layer onto which is applied an overlay of brown silk velvet covering most of the front and wrapping around to the side back over the lower third of the skirt. The velvet is selectively applied to only areas where it is seen beneath the draped panels of the jacket bodice; this serves to limit the expense of the costly silk velvet. The skirt hem is furnished with a pleated silk taffeta ruffle on the outside and a double set of cream cotton organdy pleated ruffles on the inside. The taffeta ruffle is largely covered by the silk velvet skirt overlay but does carry around the entire hem, contributing to the skirt’s structure. The interior organdy ruffles also add to structure and also serve as a sort of dust ruffle, being their own separate component that could be removed for laundering.
Carolyn Dowdell, Dress Historian
Scroll through Carriage Dress details, with construction notes by Carolyn Dowdell, revealing the intricacy and skill of historical dressmaking.
Tyffanie Morgan
Introducing Tyffanie Morgan, the charismatic drag queen reigning over Kingston, Ontario, and a multifaceted talent whose influence extends far beyond the stage. With over two decades of experience, Tyffanie is not just a “Kingston Drag” sensation but a community leader, community icon, event manager, and the heart behind DragShow.ca.
Tyffanie’s performances are a dazzling blend of glamour, creativity, charm, and unmatched stage presence. As a drag artist, she has become synonymous with successful drag show events that leave audiences mesmerized and wanting more. Her 20 years of experience shine through every captivating performance, solidifying her status as a cornerstone of Kingston’s vibrant entertainment scene.
Beyond the spotlight, Tyffanie is a green-thumbed gardener and horticulturalist, sharing her passion through the popular hashtag #TyffsGarden. This unique intersection of drag artistry and gardening prowess sets Tyffanie apart, showcasing her diverse interests and connecting with fans on a personal level.
Adding to her repertoire, Tyffanie is the co-host of the live broadcast podcast “What’s the Maple Tea?!” where she brings her wit and charm to the airwaves. This podcast, like Tyffanie herself, is a lively mix of entertainment, culture, and candid conversations, making it a must-listen for fans and newcomers alike.
As the owner, operator, and administrator of DragShow.ca, Tyffanie has created a vital hub for drag enthusiasts across Canada. This platform serves as the go-to source for drag event listings, cementing Tyffanie’s role as a central figure in the Canadian drag community.
Explore the vibrant world of Tyffanie Morgan on her website where you can find updates on upcoming events, gardening tips, and exclusive podcast content. Tyffanie, the drag artist, gardener, podcaster, and entertainer, is not just a local sensation but a driving force shaping the narrative of Kingston’s dynamic cultural landscape.
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