The House of Manning

The rise and fall of a 19th century family of couturiers

by Erin Frumet

The only existing photo of the exterior of 102 / 103 Grafton Street (source) + detailed illustration of the exterior (source)

Before Sybil Connolly, there was another famous couturier in Dublin: Alfred Manning. Frequently compared to Worth and credited as being the greatest costumier in Dublin in sources from both Ireland and abroad, he was a major player in the Dublin fashion scene of the late 19th century. However, even more forgotten than the famous designer himself may be his couturier mother, Harriet Manning.

Manning's was founded by Joseph Manning and his wife Harriett (nee Longford) around 1847, shortly after their marriage. The shop originally stood at 103 Grafton Street. By 1854,

they were able to buy out the shop next door, consolidating Mannings into 102-103 Grafton street. These addresses are still combined to this day.

Early advertisements separate Mrs. Mannings offerings from Mr. Manning's. It looks like Mrs. Manning was marketed as a true dress maker and milliner, Mr. Manning supplied the raw materials for making-up.

Dublin Daily Express - Wednesday 08 April 1863

Image © THE BRITISH LIBRARY BOARD

In 1865, the Mannings participated in the International Exhibition of Arts and Manufactures in Dublin. The Freeman's Journal 26 May 1865, describes the "French Department" portion of the exhibition:

"...there is shown an equally superior garment, the "Robe Violette", manufactured specially for this Exhibition by Channel and Cie, of Lyons, for Mr. Manning, of Grafton-street. ... Mr. Manning exhibits some black silks specially manufactured for him for the Exhibition by this French firm, who are reported to be the most celebrated manufacturerers of black silk in the world. Rich plain coloured silks of superior quality by the eminent French houses are likewise exhibited by Mr. Manning. ...probably the most superior collection of laces is that exhibited by Mr. Manning, who shows several articles of Brussels lace manufactured for him by Augusta Lafebrue at Fils. ... The collection of muslins manufactured by Josserand, Ferrot and Cie, of Lyons, for Mr. Manning, Dublin, will be found to be very excellent. "

Excerpt from "The illustrated record and descriptive catalogue of the Dublin international exhibition of 1865." p.402 (available at archive.org) Notable that Manning does not exhibit Irish made goods, which were discussed separately in the catalog.

From NLI: The Dublin International Exhibition at the Dublin Exhibition Palace and Winter Garden, Earlsfort Terrace, Dublin, Ireland, which was opened on 9 May 1865. Illustrated London News, dated August 19 1865 .

While I would give absolutely anything to see Manning's cases at the International Exhibition, it is a bit disappointing that he focused so much on imported textiles rather than Irish textiles. Later in the 1870s, Youghal laces are advertised by the Mannings, in each case called out in a special presentation.

At right: Freeman's Journal - Thursday 28 August 1879

As time progressed, we hear less about Mr. Manning, although he does pop up occasionally in the record with very specific offers, such as Norwegian Seal fur imports from this article in 1866:

Freeman's Journal, 18 October 1866

Image © THE BRITISH LIBRARY BOARD

Later advertisements exclusively focus on Mrs. Manning, as Joseph stepped away from the business in the 1870s to become an Alderman for the city. Now in her 40's, Harriett's reputation as one of the most exclusive dressmakers in Dublin was blossoming.

Saunders's News-Letter - Thursday 19 October 1871

Known as an importer of luxury trimmings and fashion "novelties" as well as a Court Milliner and Dressmaker, Mrs. Manning quickly became a staple dressmaker for Dublin Castle's "Drawingrooms", seasonal society events hosted by the vicereines of Dublin.

Advertisement in Freeman's Journal, 14 January 1861

By 1869, their reputation was compared to that of Worth and credited for highlighting the skill of Irish Manufacture. Again, from Saunder's News-letter, 2 October 1869:

Some few weeks since we had the pleasure to announce a special mark of Royal patronage, on the part of her Majesty the Queen and the Princess Christian, towards the establishment of Mrs. Manning, of Grafton-street; and it now gives us additional gratification to state that the influence of Mrs. Manning's taste and an appreciation of the superior style and excellence of her goods has reached beyond the limits of our British Court, and has absolutely invaded the domain of what has heretofore been the almost exclusive province of Parisian manufacturers. This week direct orders to Mrs. Manning from her Majesty the Empress of Austria, her Royal Highness the Countess of Tranti, sister to the Empress; her Majesty the ex-Queen of Naples, Farnese Palace, Rome; the Countess Eleonore Sagri Wittgenstein, attached to the Austrian Court; and Madame de Minghetti, Palais Desoitra, Florence have been received by Mrs. Manning for articles of costume for each of these distinguished personages, and which have been forwarded to them. This speaks well for the native talent and enterprise, and only shows when Irish skill gets a fair chance in any market how successfully it can compete with the best British or Continental ability. We don't think Irish ladies need seek the aid of the great Mr. Worth or Paris for elegant dresses, when so flattering a testimony from the highest personages in Europe is thus shown towards a Dublin establishment.

In her advertisements, she highlighted her increasingly important clientele. Her "special appointments" included some of the who's who of Dublin society in the mid-19th century:

1865: Lady Wodehouse

1867: Marchioness of Abercorn + the Ladies Hamilton

1870: Countess Spencer

1872: Princess Louise

From her advertisements, it seems that Harriett and her husband sourced fashions from frequent trips to Paris and London, but also had a dressmaking team in-house. Their shop employed 150 people, mostly women, by 1866 (Freeman's Journal - 29 October 1866).

Harriett Manning died suddenly on January 31, 1883, at her home (21 Garville Avenue in Rathgar, Dublin). She was only 58 years old. Her husband Joseph had passed the year before. She had never retired from her career and was still advertising for Drawing Room exhibitions just a month before her death. Beloved by her former patrons, one newspaper reported:

"We greatly regret to have to announce the death of this estimable and respected lady, the widow of the popular Alderman Manning, who died no very long since. Mrs. Manning was for a considerable period at the head of the well-known millinery establishment in Grafton street, and was no less esteemed for her charm of manner, kindliness, and courtesy than for the remarkable business ability which contributed so largely to make the name and success of the house, which has so high reputation not only in Ireland but across the Channel as well. Her death will be heard of with very general regret." - Evening Irish Times, 2 Feb 1883

"With that kindness and condescension so characteristic of the Countess Spencer we may mention that her Excellency most graciously sent a magnificent wreath of the choicest exotics to be placed on the coffin of the late Mrs. Manning." - Irish Times, 7 Feb 1883

Shortly after her death, Harriett's son Alfred took over the family business.

Alfred Manning: costumer to the stars.

Trained in London and Paris, Alfred not only took over the shop but elevated it to the reputation of a couture house, on par with other major houses of the time such as Worth or Doucet. Luckily for us, this means there are many surviving illustrations of his work.

The earliest illustration I could find of his work is actually a photograph (how lucky are we!!!) in the Lady's Pictorial, Autumn Fashion Supplement, October 17, 1885. He's the only Dublin-based designer listed in the 5 page supplement. This early work fits squarely within the fashionable framework of the 1880s, but it's missing some of the exuberance of his later illustrated work.

Lady's Pictorial, Autumn Fashion Supplement, October 17, 1885

(Liberties Archive Collection)

After that, the next earliest illustrations I could find are from Penny Illustrated Journal, a London newspaper that ran from 1861 - 1913. The illustrations below are from June 15, 1889 issue.

The description reads: The wedding-dress, which was extremely beautiful and becoming, was of ivory-white duchesse satin: the front was entirely covered with pearl embroidery; but the long square train was without trimming of any kind, and a plain tulle veil was fasted on with a diamond crescent, the gift of the bridegroom. No orange-blossoms were worn on the dress; but the delicate pearl embroidery gave it a richness and grace which not the most lovely lace or flowers in the world could have equalled.

The dinner-gown is made of sicilienne (1) of a beautiful shade of rose pink, with soft draperies of white mousseline-de-soie, which fall from the neck to the hem of the skirt. Rich frills of pink silk finish the skirt in front. The sleeves are full and reach a little below the elbow, where they are met by gloves of cream or pale fawn. (1) Sicilienne is a fabric of silk with a ribbed surface; a superior kind of poplin. Probably Irish-made in this instance, since Ireland was famous for it's poplin weaving at the time.

The tea-gown has a bodice and train of réséda(2) silk with long sleeves of the same; the full front, as well as the loose falling sleeves, and the soft drapery which forms the front of the skirt, is of terracotta crepe-de-Chine, exquisitely embroidered with réséda floss silk and gold wire. These lovely garments, which are admirably suited to the youthful bride, reflect the greatest possible credit upon the well-known establishment from which they come. (2) réséda is the pale green color of the mignonette flower.

The New JacketI am permitted to copy from the Lady's Pictorial is one of the latest designs brought from Paris by the famous Dublin modiste, if I may so call him, Mr. Alfred Manning. It would prove one of the safest garments for early autumn. Observe how gracefully it falls! It is a jacket cloth, in a pale shade of the new and fashionable cocoa colour, made with a detachable cape and the new box pleat sleeves. The simple hat suits this neat costume to a nicety.

The Penny Illustrated, Aug. 26, 1893.

Drawing of the costume worn by the Countess of Zetland at the first State Ball of the season at Dublin Castle, Penny Illustrated Paper 1890. A chastely beautiful toilette of grey-and-mauve shaded satin, brocaded in two colours, with. a piquant floral design. Elegantly draped with mauve crepe was the back of the skirt; while the front was veiled with a tablier of the same material, exquisitely embroidered in filoselle (3), and worn over a groundwork of the dark violet satin, which show up all the lovely tints. Mr. Alfred Manning merits great praise for designing and making this exquisitely tasteful and beautiful ball-dress, which I have much pleasure in printing as an example to fashionable matrons who are unduly décolletés (4). (3) filoselle is a type of silk embroidery thread, made of fibers that were too short to weave into fabric. (4) judgement the original author's own.

Lest we forget that the fashion industry has, throughout it's long history, taken advantage of workers: Alfred Manning's establishment was cited for unreported overtime (along with other titans of industry on Grafton street at that time; Switzer & Co., Mr. Sims, James Forrest & Sons, etc.) according to a 1894 Annual Report of the Chief Inspector of Factories and Workshops. This was at a time when the eight hour work day movement was in it's infancy and textile workers had not gained that right yet.

Ad from Irish Society (Dublin) - Saturday 01 September 1894

Image © THE BRITISH LIBRARY BOARD

Irish Society (Dublin) - Saturday 10 November 1894

Image © THE BRITISH LIBRARY BOARD

A cosy corner at Alfred Manning's - The Social Review - Saturday 04 January 1896

Image © THE BRITISH LIBRARY BOARD

The Harris Museum made an absolutely wonderful video about the Alfred Manning Dress from their collections, c.1890, and was able to include some of our research:

An Alfred Manning of Dublin black velvet evening gown with three bodices, circa 1900

From Kerry Taylor Auctions

"labelled to the waist stay, comprising historicist-inspired bodice trimmed with black sequin floral bands, with exaggerated puffed shoulders; the second with black satin and white organza trimmings, flounced organza sleeves trimmed with beads; the third trimmed with goffered organdie, gold sequins with short flounced and goffered sleeves, with matching long trained skirt"

Around the same time, Alfred Manning also started contributing to a syndicated weekly column that ran in papers across the USA. He was one of a slew of European designers in the series, which each contributed an illustration and a little article about what is trending that season. Through these articles, we get glimpse of his current clientele: he boasts appointment to the Queen of England, Princess of Wales, Duchess of York, Princess Louise, the Queen of Romania and the Irish Court. We also get to see a bit of personality come through in the article.

Los Angeles Herald, Sunday Morning, March 21, 1897

ALFRED MANNING ON THE COMING STYLES

This week's article of the series by the great court costumers of Europe is to be by Alfred Manning of Dublin, whose house was founded sixty years ago by the father of the present proprietor. The present Mr. Manning was, however, the one to give the house an International reputation. The success is to a great extent attributable to Mr. Manning's education as a young man In the French capital under the tutelage of the best known Parisian modelers. This success of course could not have been attained unless a natural taste had combined to effect the result: but that the result has been attained and that he ranks with the greatest modelers of the continent, can be gathered from a fact, known to the writer, that Mr. Manning was offered not long ago by Mons. Felix, the great modeler of Paris, the management of his house at a salary not far from 250,000 francs per annum.

Notwithstanding that Dublin hardly gives Mr. Manning a great enough field for his talents, yet he prefers remaining there where he enjoys the patronage of the nobility (and elite) of Great Britain as well as that of the queen, the princess of Wales, the duchess of York and the ladles attached to the vice-regal court. He furnished the principal part of the trousseau (Including lingerie) of the duchess of York, and she was so greatly pleased that she sent him a photograph of herself, soon after her marriage, to which she attached her autograph, and besides wrote him a letter expressing her great satisfaction. To us in America it is hard to understand how great is such a special honor. Many people will remember the attire in which the princess of Wales sat for her picture in robes of doctor of music; this dress was by Mr. Manning, and the photograph has had probably a larger sale than any ever known. Mr. Manning is costumer to the queen of Roumania, to many ladies of the continent, and holds gold, silver and bronze medals innumerable, received for Lyons, Roubaix and Paris fabrics.

Almost every well known opera singer is a client of his, and his patronage in this particular line is probably as vast as that of most of the continental court modelers. His article this week will be found especially interesting; it is witty and not especially complimentary to the taste of the average British matron. He tells a good many hard truths and some good stories, exemplifying in each case a moral not easily forgotten. His words will be found especially sensible and valuable to every reader, and his design will show the individuality and taste which can emanate from a true artist only.

DUBLIN, March 11, 1897 - As to colors, red in various shades will be much worn. Soft grays will also be very fashionable, the outcome of the high favor in which chinchilla stood during the winter. People, particularly blondes, found the color so becoming that they desire it in spring costumes as well. It is an extravagant taste, however, as it is easily faded by the sun and spotted by water. Black is always pretty; it makes so desirable a foundation for the rich embroideries and multi-colored ornaments and trimmings now so much in vogue. Purple has survived the winter.

Our visiting gown is of violet-faced cloth. The skirt is very full, with small bands of the same cloth edged with black velvet at the hem. Folded belt of cream-colored satin, with very large steel buckle at back. Sleeves have puffs at shoulders and tight puckered arms. Bodice elaborately embroidered in steel, jet and chinchilla. Epaulets, yoke and jacket of ecru embroidery. Double ruff of white and purple chiffon, edged with narrow black velvet ribbons.

Woolen materials for spring costumes are pretty and serviceable. Small stripes and checks in tweeds (very good imitation) for cycling and hard country wear. Also smart faced cloths in new shades, and, as last year, some very elaborate, expensive fancy materials, very handsome, but exorbitant in price. Pellissier, a great manufacturer of expensive fabrics, makes, say, sixty novelties, of which forty or fifty will be failures as to selling, so he charges the successes to clear the failures.

The rage for cycling grows apace. A suitable costume is the want of the day. The difficulty is the same as the men. Ladies want a costume in which they can ride twenty miles with ease and comfort, come to town, shop, visit and walk in, and, of course, look well, all combined. This is an impossibility. Men can't do it. Why should women expect it? For touring, country riding, or any sever exertion, a skirt is an absurdity, quite exhausting. What man would ride twenty miles if he had to hamper his action with a skirt and stockings gathered at the knees? On a machine, bloomers, with well-fitting boots, is the dress for comfort, ease, elegance and modesty. Still, few of our patrons will disregard prevailing public opinion, and we make most of our cycling suits with short skirts over kickers.

A pretty blonde, who will expose her fair skin to old Sol's rays in coming dog days, has ordered a cycling suit from us, which will be both novel and striking. It will be of white canvas, with short skirt, dividing only at the back, and looking like an ordinary round short skirt when off the machine. The short jacket fits closely at the back, and opens in front, with revers over a tight-fitting double-breasted vest of scarlet moire, and closing with six gold buttons. A mannish linen color, with dickey and white moire four-in-hand tie, will be worn. On the curly golden hair there will be a white canvas cycling cap. THe hands will be protected by white camois gloves, and heavy black silk stockings and patent leather low shoes will complete this unique costume.

Our mothers hunted in long, trailing habits; the present hunting lady wears riding breeches, long boots and a very short-shaped habit, fitted to the saddle. Why should a lady expect a walking suit to look well on a machine? On horseback you merely see the foot of the boot in any position; in cycling you have front and back view, equally ungraceful and often worse. Our charming, prudish, hypocritical countrywomen, English especially, turn up their eyes and say: "How vulgar!" "Shocking!" "No lady!" etc. etc. These ladies told me two years since that no lady would ride a bike or wear bloomers, and would never let their daughters do either. They are doing both now - grandmothers, mothers, and daughters. So much for the stability of opinions of our English ladies.

An English lady of rank, coming from Dublin castle, missed her friend's carriage and had to take a cab. She was so amused with the cabman's conversation and brogue that on her arrival at her friend's house, she asked for some whisky for him, and, throwing off her cloak (she was stout and very decollete), poured out a quantity of the whisky in a glass and asked if he would like some water. The man at ample nature unadorned: "Ah, no, me lady; I'll take it plain and naked, like yourself." This lady told me the story herself, but would not allow her little daughter to ride a bicycle or wear bloomers - "it was immodest - unladylike", etc.

I fear this letter is straggling - incoherent. I am a bad writer, even if I had time. Make what you please out of it, but, with all respect to the American public, particularly the feminine part, I cannot spare the time to write. Very truly yours, Alfred Manning, Dublin.

Illustrations from the syndicated column (L to R): 1900, 1897, 1898

Description of dresses by Manning. Irish Society, May 11 1889

Image © THE BRITISH LIBRARY BOARD

There is little mention of Manning after 1900, until 1910 when they advertised a "Rebuilding Sale", selling off all stock and furnishings. The building was torn down shortly after, and the new building erected in 1913 still stands in that location.

Just before the shop on Grafton Street closed, Manning followed in his father's footsteps to become a Justice of the Peace for the city. The only known image of him comes from Dublin and Co. Dublin. Contemporary Biographies, published in 1908 (5), along with his qualifications:

There is a blurb mentioning him (from an unknown author) in the Dublin Daily Express from 16 November 1917:

Image © THE BRITISH LIBRARY BOARD

Alfred Manning passed away in 1927. I couldn't find a notice or obituary, and unfortunately all memory of his fashion house has seemingly faded into obscurity.

There are a few additional extant garments in museum collections, but I was unable to secure photos of them for this article. I will post an update once I'm able to get photos or access to these collections.

If you have more information about the Mannings or images of extant garments, please email us at thelibertiesarchive@gmail.com! We would love to hear from you and update this article.

Additional Sources:

1. Alfred Manning on the Coming Styles (Los Angeles Herald 21 March 1897): https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=LAH18970321.2.53&e=-------en--20--1--txt-txIN--------1

2. Irish Society (Dublin) images from the British Newspaper Archive

3. Dublin, Cork, and South of Ireland: A Literary, Commercial, and Social Review. Stratten & Stratten, 1892 - Google Books

4. Annual Report of the Chief Inspector of Factories and Workshops. Great Britain. HM Factory Inspectorate, Jan 1895 Google Books

5. MacDowel Cosgrave, Ephraim. 1908. Dublin and Co. Dublin. Contemporary Biographies. Edited by W. T. Pike. Vol. 26. London: W. T. Pike & Co.

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