Definitions

For the purposes of this article, it might be helpful to start with some definitions of the various descriptors that are most often used when referring to a robe that is worn around the house as nightwear:

Wear

The English word ‘robe’ is taken from the Middle English word of the same name which means ‘garment’, the word ‘robe’ has its routes in the Frankish language as ‘rouba’. It is believed to have originated with the meaning of “loot” or “loot” which refers to stolen items and clothing and related to the word “steal”. The word was adopted by the Old French language to originally refer to the same ‘booty’ or ‘booty’, however the meaning has evolved to this day to now refer to ‘women’s dress’.

The point of distinction between a tunic and similar items, such as a cloak and cape, are its sleeves.

Bathrobes

Bathrobes are made with absorbent fabrics, most commonly terry towels, this has the benefit of drying the body after bathing. The bathrobe has two benefits; as a towel, which absorbs moisture after bathing, and as a casual piece of clothing, for use around the house after waking up in the morning, as well as for use at night after bathing

Coat

A robe is a term that has traditionally been associated with men’s clothing. Robes are loose, open dresses that are usually closed with a fabric belt around the waist – much more to come!

Housecoat

Although commonly made, the robe should not be confused with the negligee, this was a very popular eye-catcher in the 1940s. Also known as a duster, the house coat was a very useful garment; it was longer than an apron and more modest than an apron. At a time when women rarely left their homes without looking their best, the negligee was the perfect way to protect the chosen outfit of the day, women simply donned the negligee to do their daily chores.

House robes varied in style, but generally knee-length or longer to cover undergarments, they were made of a lightweight fabric that was sometimes padded to provide warmth. The robe would be fastened in the front with buttons or a zipper.

The use of the housecoat evolved over time, becoming more elegant, sophisticated and feminine, many women began to wear their housecoats at night, even when they received guests, the housecoat assumed a role similar to that of the male ‘robe’.

In recent times, the negligee has become a rather old-fashioned term that is rarely used. Most people prefer to adapt the term robe as unisex for both male and female home dresses. In a recent survey by thestudentroom.co.uk, 91% of the men and women surveyed preferred to use the term robe.

The history of the robe

It is believed that the use of a robe in the western world has its routes in the middle of the 17th century, originally it was only used by men and it was called ‘banyan’. The term ‘banyan’ encompassed many different styles of dress that were popular with men between the mid-17th and early 19th centuries.

Europeans began to adopt styles of clothing and influences from other cultures in the early 17th century and the banyan tree is the first example of this. Men are believed to have adopted the “banyan” design of Persian and Asian-inspired clothing (banyan in Portuguese, Arabic, and Gujarati, all meaning “merchant”).

By the middle of the 17th century, the popular penchant for the exotic and the oriental had become a widespread fascination in Europe. This coincided, and could be attributed to the strengthening of trade routes with the East. The Chinoiserie style emerged as a popular fad. This French term meaning “Chinese style” has since become a recurring theme in European art styles. Chinoiserie reflects Chinese artistic influences. This penchant for the exotic and the oriental was one of the main influences on the success of the ‘banyan’, a name that predates the ‘robe’.

Also described in the texts as a morning robe, bed robe, or nightgown, the banyan tree was a loose, floor-length robe. The banyan style in the 19th century was a simple T-shaped kimono style design, as seen below. Banyan trees were generally produced from imported Indian chintz cloth, although they were also sometimes made from Chinese and French silks.

The banyan tree was worn around the house as an informal coat and was most commonly worn over the shirt and pants. The banyan was usually paired with a soft, turban-like cap that was worn in place of the formal wig, a very popular wig worn by men in the 17th and 18th century. During the 18th century it was fashionable for men, particularly philosophically persuasive intellectuals, to commission and paint their portraits in their banyan trees or morning robes:

‘Loose-fitting dresses contribute to the easy and vigorous exercise of the powers of the mind. This observation is so obvious, and so generally known, that we find that studious men are always painted in robes, when they are seated in their libraries.

(Benjamin Rush, Founding Father of the United States. ‘Franklin and Friends’, 2006)

Later, the banyan evolved into a tighter style with fitted sleeves, similar to a man’s coat. The banyan tree was available in different lengths and shapes with different cuts and styles. After the 19th century, the name ‘banyan’ also evolved to become the ‘robe’ of today.

Women and robe

All this talk of men in robes is fine, but I hear you ask, what about women and robes?

While men in Europe were quick to adopt and incorporate Asian and Asian inspired textiles and clothing, it was not until the late 18th century that women’s fashion was influenced. At this time it was a small accent like a shawl or a fan and it would be another 100 years until women in Europe began to wear clothes from other cultures such as the kimono and the Chinese tunic.

There is little mention in the history books of women in dresses, although we do know that they did in fact wear an equivalent to the robe, although it was much simpler in style and fabric than the men’s banyan. In his study of the 19th century French bourgeois style, Philippe Perrot observed:

‘The robe was a curious division between men and women. The men were dazzling and the women drab.

(‘Modeling the bourgeoisie’ by Philippe Perrot, 1981).

Perhaps this ‘monotony’ explains why there is little written in the history books of style and fashion that relate the female gown. This lack of historical interest in the female equivalent of the robe continues in history books into the 19th century. Fortunately, things have changed and women now have an abundance of beautiful and opulent gowns to choose from.