In the late 19th century, vanity and dresser sets were often made from new and fashionable materials that captured the imagination of consumers eager for modernity. The 1893/1894 Marshall Field’s catalog featured examples in celluloid, zylonite (xylonite), and “Florence” composition, each offering its own distinct qualities of beauty and practicality. These materials allowed for elaborate molded designs, often decorated with scrolls, floral motifs, or Japanese-inspired patterns that reflected the Aesthetic Movement’s fascination with exoticism and natural forms. The result was an affordable yet stylish alternative to ivory or tortoiseshell, making such sets attainable for a broader audience while still conveying refinement.
Celluloid, first patented in the 1860s, was one of the earliest synthetic plastics. Made from nitrocellulose and camphor, it was hailed as a “miracle material” for its ability to mimic the appearance of costly natural substances such as ivory, coral, or mother-of-pearl. Lightweight, moldable, and capable of being tinted in many shades, celluloid quickly became a favorite for vanity items, jewelry, and decorative goods. Its drawback, however, was flammability—celluloid was notoriously unstable when exposed to heat or flame. Despite this, it was widely popular, particularly in pale ivory shades that imitated expensive tusk ivory.
Zylonite (also spelled xylonite) was a closely related material, essentially another trade name for early celluloid, developed in Britain around the same time. Like celluloid, it was derived from nitrocellulose and camphor, but it was marketed under different brand names by competing companies. In catalogs such as Marshall Field’s, zylonite was often used interchangeably with celluloid to describe molded dresser sets, combs, brushes, and mirrors. Its smooth surface and durability made it especially suited for everyday grooming tools, while still retaining the elegant look of ivory or carved bone.
“Florence” composition (sometimes called White Florence) referred to a molded composition material designed specifically to replicate ivory at a lower cost. Unlike celluloid and zylonite, which were true plastics, Florence was a composite material, likely a mixture of ground minerals, resins, and binders pressed into molds. It had a softer, chalky appearance compared to the glossy surface of celluloid, and was often left in creamy white finishes that mimicked polished ivory. Florence composition could be elaborately molded into ornate Aesthetic patterns, including Japanese-inspired motifs such as fans, birds, and stylized florals. Its affordability made it appealing to households seeking fashionable dressing sets without the expense of true ivory or sterling silver mountings.
Together, these materials signaled a turning point in consumer goods: the embrace of synthetic and composite materials that allowed middle-class buyers access to luxury-inspired products. The molded vanity sets from Marshall Field’s catalog not only highlight the technological ingenuity of the era but also reflect the aesthetic tastes of the 1890s—where exoticism, refinement, and affordability intersected in the intimate objects of the dressing table.
images: ebay seller mima48