Evening dresses were often off toshoulder.
Hair was parted in tocentre with ringlets at toside of tohead, or styled with loops around toears and pulled into a bun at toback of tohead.
As were linen caps with lace frills for indoor wear, paisley or crochet shawls were fashionable accessories and large bonnets for outdoors. Moustaches and side burns were popular. With high upstanding collars and neckties tied around them, they also wore tight trousers and waistcoats. You see, swept to tosides, hair was worn quite long. Now look. With rounded chests and flared frock coats that gave them a rather hour glass figure inspired by Prince Albert, very fashionable men sported low, tightly cinched waists. This is where it starts getting very interesting. Print, ‘Mademoiselle Fleury / La jolie Fille de Gande’Alfred Edward Chalon,, Richard James Lane,, Hanhart, John Mitchell, Goupil Vibert 1 May 1844 Lithograph coloured by handMuseum no. Basically the print is unusual in showing a dancer of to1840s in a fashionable dress rather than a ballet costume. Now let me tell you something. In the course of the 1840s, women wore caps indoors and bonnets outdoors.
Covering one’s head was an essential side of etiquette in to19th century.
Fashions in hats and headwear changed more quickly than other items of clothing.
New styles of hats arrived annually, while a dress would’ve been expected to last at least a decade. Certainly, even if it meant recovering an old one themselves, most ’19th century’ women expected a brand new hat any year. There’s a lot more information about it here. Rather than a brand new shape, tolatest fashion in bonnets usually featured tolatest fabrics and trimmings. It’s created from silk satin in a tartan pattern.
Tartan fabrics were very fashionable in to1840s, thanks partly to tocontinuing popularity of Walter Scott’s historical novels, set in Scotland.
It has long tight sleeves, a high round neck, and a long pointed waistline.
This dress is typical of women’s fashionsfrom to’mid1840s’. Needless to say, queen Victoria Designer ‘unknown1845 55’, and 1871Great BritainJacquardwoven silk, covered buttons, lined with cotton and backed with scrim, foreparts lined with leather Museum no. Did you know that the jacket, trousers and waistcoat that comprised tosuit gonna be of one colour and were after that, known as ‘dittos’. That said, alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to tooutfit. That is interesting. So that’s an excellent example of a double breasted frock coat. Just visible over tocollar of tofrock coat is a bright waistcoat. In to19th century waistcoats tended to be to more elaborate and colourful pieces of tomale wardrobe, that is partly why they survive in relativelypretty large numbers.
Floral designs like this were fashionable in to1840s and 1850s.
Toelaborate applied decorations of to1830s are now no longer fashionable.
Towaist is lengthened in front with a point both front and back. Actually the neckline is wide with a deep collar or ‘bertha’. Have you heard of something like this before? This dress is characteristic of fashionable stylesfrom toearly 1840s. Now please pay attention. While toshort over sleeves recall toelaborate sleeves of to1830s, tolong, tight sleeves are typical of to1840s. Consequently, her dress is offtoshoulder, and her bodiceis long andpointed at tofront.The skirt is madewithtiers and frills of lace.
While showing her in fashionable dress, so it is a music sheet cover with a portrait of toyoung Queen Victoria. I know that the popularity of toyoung Queen Victoria coincided with a period when large numbers of illustrated music sheets were being published. Opera boots were also known as ‘Dress Wellingtons’ and were often worn when going out to dinner, totheatre, opera and similar social evening occasions. Oftentimes many opera boots had bows attached, and touppers were often made of different textures of leather to give toappearance of a dress shoe worn over a stocking. In to1850s, women’s skirts were domed and bellshaped, supported by crinoline petticoats. They often featured deep flounces or tiers. Tiered capejackets were fashionable, as were paisley patterned shawls. However, long bloomers and pantaloons trimmed with lace were popular. Of course, with hairstyles characterised by large mutton chop sideburns and moustaches, men wore matching coats, waistcoats and trousers, after tostyle set by Prince Albert. Nonetheless, though a completely new style called tosack coat became popular, High fastening and tight fitting frock coats were also very fashionable. Now look. Shirts had high upstanding collars and were tied at toneck with large bowties. Now please pay attention. A1913Given by Messrs.
Dress Designer ‘unknown184850Great’ BritainBlock printed wool, lined with cotton and tobodice boned with whaleboneMuseum no. Curling tendrils separated by undulating lines and a lattice work of simulated trimming adorn this block printed wool day dress. While focusing toeye on tofabric pattern or richness of tomaterial as well as tofashionable silhouette, lots of dresses of this date were decorated with trimmings of ‘self fabric’. Generally, while its lighter horizontal stripe complements tofullness of toskirt, tovertical emphasis of topattern suits tofashionable shaping of tobodice which is pleated over tobust into a ‘Vshaped’ point at towaist. With metal buttons, and whalebone stripsMuseum no, Day dress Designer unknownAbout 1858Great BritainMoiré silk trimmed with chenille and lined with silk. Of course made from moiré silk, it has a lustrous rippled sheen accentuated by torich Prussian blue dye, applied chenille flowers and sparkling metal buttons.
Even though its pristine condition suggests it been worn, Undoubtedly it’s beautifully constructed in tolatest style as should befit a young fashionable woman.
While emphasising their width, box pleated trimmings stand out in relief along tobottom edge and seams of towide pagoda sleeves.
This ‘eyecatching’ day dress formed part of totrousseau belonging to Miss Janet Gilbert. Graceful movements and a perfect silhouette were promoted by tointroduction of springsteeled hooped petticoats in 1856, often referred to as crinolines. You should take this seriously. They have been also hailed as a blessing, nevertheless frequently ridiculed in topress for their ‘cagelike’ structure and size. Bequeathed by Mrs. Bracelet with portrait ‘miniaturesPierreJules’ ChaiseAbout 1850ParisEnamelled gold, rose and brilliant cut diamonds, ivory and ‘motherofpearlMuseum’ no. Ralli. Pandeli Ralli and Mrs. With that said, this miniature portraitis part of a bracelet thatwas made to take toportraits of Mr. Mr. Sitter is wearing a high upstanding collar with a high single breasted waistcoat cut straight across towaist. With that said, this photograph, of an unidentified male sitter,shows men’s dress typical of to1850s. He wears a newly fashionable sack coat, a slightly looser fittingcoat thantomore tailored frock coat.
Now this elegant pair of light blue and white low heeled shoes illustrates how tosandal form evolved.The satin upper with square toe and throat, decorative rosette and elastic ties are all features reminiscent of todainty flat shoes of toearly nineteenth century.
This coat is an example of men’s formal daywear from about The sleeves are long and tight, tocollar is wide, and tofront has adeep fasteningin order to show off towaistcoat.
Cutaway coat was still worn, even if at this date to’frockcoat’ was gaining in popularity as formal daywear. Promenade dress Designer unknown1855 7Great BritainSilk plush trimmed with silk fringe and braid, lined with silk and whaleboneMuseum no. In 1857 to’Illustrated London News’ announced. Just think for a moment. Luxurious velvet dresses embellished with fringe trimmings were highly fashionable throughout the 1850s. You see, fringes also simulated flounces and made skirts look even wider, when applied in rows. Bottom tier is attached to a taffeta underskirt. While flaring out over tohips, in this example tobodice is made with a basque, that was a separate extension below towaist. With totop tier extending from towaistband as far as tofifth row of fringe, toskirt is composed of two layers.
So it’s a portrait of Maharaja Duleep Singh, photographed by toLondon firm of Horne Thornthwaite around 1850.He is dressed and bearded in accordance with tofashionable formal English style.He wears a dark doublebreasted frock coat over a high buttoned light waistcoat. With a necktie tied intodistinctive ‘fourinhand’ style wherethecorners of a folded kerchief create pointed wings, his collars are starched and upstanding. Tiered skirts were popular in to1850s. It’s an example of a fashionable summer day dress of tolate 1850s. Typical of toperiod are tofull ‘pagoda’ sleeves and tobodice gathered from toshoulders into tolower front waist. Besides, tofabric was printed with a decorative border expressly for use as tiers of a dress. And therefore the delicate flat satin slipper with ribbon ties first became popular throughout the last decade of to18th century. Besides, the thin leather sole and delicate silk and satin uppers were relativelypretty simple and cheap to produce. Needless to say, this pair of shoes is a typical example of that style. Basically, by tomiddle of to19th century slippers or ‘sandal shoes’ were still widespread although by to1850s they’ve been worn largely only for formal wear in grey or almost white.
Whitish lace was popular for collars and cuffs, as were low sloping shoulders that flared out into wide sleeves.
Toskirt continued to be full and ‘bellshaped’ until around 1865 when it began to lose its volume at tofront and move its emphasis towards toback.
With loops or ringlets covering toears, hair was worn with a centre parting tied into low chignons at tonape of toneck. Whenever extending to tomid thigh, in to1860s it was fashionable for men’s coats and jackets to be single breasted and ‘semi fitted’. High, starched collars were worn with cravats and neck ties. Certainly, hair was parted from tocentre and moderately waved. You can find some more info about it on this site. Waistcoats were often collarless and single breasted, and trousers were occasionally cut from a narrow check cloth.
So this illustration type isknown as a ‘fashion plate’, and featured in magazines to advertise and promote tolatest styles.
This plate shows day dresses.
Introduced in 1856, and generally made from hoops of spring steel suspended on strips of material, these allowed skirts to expand to proportions beyond those possible using only layers of petticoats. While reflecting tocontemporary popularity of crinolines, todresses have fashionable wide skirts. Consequently, tosewing machine itself had only become widely available from tolate 1850s. Now regarding toaforementioned fact… Beeton also included paper patterns, a brand new phenomenon that, combined with tofashion plates, ensured tomagazine appealed particularly to toincreasing numbers of those who owned a domestic sewing machine.
In 1860 topublisher of this magazine, toEnglishwoman’s Domestic Magazine, Samuel Beeton, began including handcoloured fashion plates just like this one. Day dress Designer unknownAbout 1866Great BritainSilk trimmed with bugle beads and silk fringe, lined with cotton and whaleboneMuseum no. With tobulk of volume at toback, tocontours of tocrinoline have altered from a bell shape to a profile that is fairly flat in front. So this dress is a typical example of women’s fashionable day wear from tomid 1860s. Dresses incline more to toPrincess Shape. It is toEnglishwoman’s Domestic Magazine’ of 1865 reported tochange as follows. Fact, published by Beeton, London1865Paris and LondonLithograph, coloured by hand, ink and watercolour on paperMuseum no, Fashion plate from toEnglishwoman’s Domestic MagazineEngraved by Jules David, printed by Lamoureux De Beauvais. Introduced in 1856, and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats. Notice, france dominated toworld of fashion during this period and French fashion plates were an important source of information on tolatest styles and colours.
Therefore this fashion plate shows examples of ball dresses. While reflecting tocontemporary popularity of crinolines, todresses have fashionable wide skirts. In 1860 topublisher of this magazine, Samuel Beeton, first began including hand coloured fashion plates by Jules David. Beeton also included paper patterns, a completely new phenomenon that, combined with tofashion plates, ensured tomagazine a particular appeal among toincreasing numbers of owners of todomestic sewing machine. Sewing machine itself had only become widely available since tolate 1850s. Importantly their dresses feature pagoda sleeves, that were particularly fashionable in to1850s and 1860s. Both girls are wearing full skirts and both wear their hair pulled back and worn in a low bun or chignon. So, this photographic study imitates tocomposition of Raphael’s famous painting of toVirgin Mary and toChrist Child, that is now in Dresden. Nevertheless, it’s useful for dating purposes as it shows fashions typical of to1860s. DressDesigner unknownGreat BritainAbout 1862Silk trimmed with silk braid and beads, lined with glazed cotton, edged with brush braid, handsewnGiven by Miss Edith WestbrookMuseum no.
By to1860s, skirts had reached their fullest point.
This dress illustrates tostyle of toearly 1860s.
They were worn over wire ‘cage crinolines’, that gave maximum volume with minimum weight. Narrow at towrist, it has only a slightly pointed waist and a sleeve wide at toelbow. Although, topuffed epaulettes at totop of tosleeves indicate historical influences, particularly to16th century. Photographic study of Isabella Grace, Clementia and Elphinstone Agnes Maude on terraceViscountess Clementia HawardenLondonAbout 1863 4Albumen print from wet collodion negativeMuseum no. I know that the eldest daughter, seated, reveals part of her underskirt, though underneath this will have been a few layers more of crinoline petticoats or a steel cage crinoline to give toskirt its distinctively 1860s bell shape. Nevertheless, this study of Lady Hawarden’s three daughters shows them dressed in typical 1860s crinoline skirts. Her hair is typical of todecade -parted in tomiddle and scraped back into loops or buns at tonape of toneck.
So shoulders of her dress are sloping, and lowset.
Thus, toother side of toLondon Square onto which tobalcony looked are out of focus.
to while managing to photograph her daughters and a puppy without any discernible movement, lady Hawarden achieved a very short exposure with her large camera. Wedding dressDesigner ‘unknown1865EnglandSilksatin’, trimmed with Honiton appliqué lace, machine net and bobbin lace, ‘handsewnMuseum’ no. Then again, towide skirt of dress would have been supported underneath by a cage crinoline. Just think for a moment. By 1800 it had become usual for her to wear white or cream. With that said, tobride’s dress was a focal point just as Undoubtedly it’s today. Now this was a popular colour as it implied purity, cleanliness and social refinement. You see, queen Victoria helped popularise tofashion for almost white when she got married in She set a royal precedent by choosing very easy ivory satin dress which was very much in tofashions of today.
Weddings were amongst to most festive social occasions.
These could therefore for ages after tomarriage.
Not everyone, however, wore whitish. Usually, widows, older brides and toless well off often preferred more practical coloured gowns. Of course they gave families tochance to show off their wealth and even less ‘well off’ couples should make an effort to dress appropriately. Also, lined with glazed cotton and whaleboneMuseum no, Day dress Designer unknown1868 9Great BritainSilk and wool faced with silk, trimmed with silk fringe. You should take it into account. With that said, this ensemble characterises tonew style of fashionable women’s dress. I know that the crinoline went out of fashion quite dramatically about The lengths of skirt that used to fall over tocrinoline were gathered up at toback over a bustle. Actually, it has a ‘overskirt’ and tobodice now extends below towaist. Keep reading. Toferns added by tophotogram techniqueMuseum no, Photograph Kate Dore with frame of plantsJulia Margaret Cameron About 1864EnglandAlbumen print.
Therefore this print is a photogram, a technique of making a picture without a camera or lens.
In this example, ferns were placed in contact with toglass negative prior to ‘printingout’ in sunlight.
It was only in to1920s that women started to cut their hair short and so up until that point most for any longer hair, that was often given fashionable waves or ringlets and parted in tomiddle. Young girls generally wore their hair down, it was customary for grown women to wear their hair up. Therefore, photograms are made by placing objects on top of a piece of photographic paper and exposing tocomposition to light. Generally, towoman in this photograph sports a hairstyle that was very fashionable in to1850s.
Accordingly the woman in this photograph is either Lady Hawarden herself or her sister Anne. She is holding a photograph of bare trees. With extra volume and length at toback, toskirt is held out by a large cage crinoline petticoat giving toskirt a full bell shape. With that said, this dress is typical of a very fashionable early 1860s shape. Let me tell you something. Waist is set quite high and totorso is a pronounced for a while because being since tocorset commonly worn by women of every class. Therefore this photograph gives a decent idea of Lady Hawarden’s studio and toway she used it. Now let me tell you something. It was situated on tosecond floor of her house at 5 Princes Gardens in toSouth Kensington area of London. Here her daughter Clementina poses beside a mirror. On top of that, while accentuating tobustle that by this time was worn underneath, mostly there’s an overskirt over toback of todress.
That said, this ensemble is an example of fashionable women’s daywear for summer in tolate 1860s. They’ve been probably worn over an opaque ‘underdress’, tolight muslin bodice and skirt are unlined. While originating from tovisiting card, that was introduced in France in Cartes were mass produced, and those like Mayall’s pictures of toroyal couple were ordered by tohundreds of thousands, therefore this was a photographic format. Undoubtedly it’s held out in a pronounced bell shape by layers of petticoats or a steel cage crinoline. You should take it into account. In this image, toQueen’sskirt is tiered for fullness, that was fashionable in to1850s and very early 1860s. Her bodice is buttoned high at toneck and trimmed with a lace collar, ‘withlow set’ and sloping shoulders. Oftentimes todark red boots, that are of ribbed silk, come up above toankle and have a ‘military’ style heel covered in silk to match touppers.
Frivolous boots of silk and silk satin, some with high heels, were imported into England from France in to1860s and 1870s. These French styles were also imitated by English shoemakers. Additionally, by about 1860 chemical aniline dyes were widely available. Eventually, carte de visite’, forFlora and Julia BradfordCamille Leon Louis Silvy1860ParisMuseum no. Cartes de visite’, tosize of formal visiting cards, were patented in 1854 and produced in their millions in the course of the 1860s when it became fashionable to collect them. Then again, they have been albumen prints made of glass negatives, attached to stiff card backing printed with tophotographer’s name. Photography was a novel and exciting development in Victorian days, and many people had studio photographs takenfor ‘cartes de visite’ which should be presented when visiting friends, as introductions or with messages if toperson was out. In addition to portraits, their subjects included scenic views, tourist attractions and works of art.
So woman shown we have wearing a fashionably voluminous skirt.
They are ample and flowing, contrary to much speculation. That’s a fact, it’s true.
They have been for any longerer ‘bellshaped’ and by 1868 they curved out behind forming a kind of bustle, women still wore hooped petticoats to give todesired silhouette. Striped greenish skirt in this example is composed of eight gores that significantly reduce toquantity of bulky pleating and gathering at towaist characterising earlier styles. That said, throughout the 1860s tofashionable skirt became flatter in front with tofullness receding towards toback. Then, to fall gracefully over these new structures, skirts tended to be gored, I’m quite sure, that’s constructed with triangular panels rather than straight widths of fabric.
That said, this dress follows tovogue for historical revival with its separate draped overskirt loosely based on18th century polonaise gowns.
Toresulting puffs and draperies were copiously trimmed with silk fringe, brocaded satin braid, beads, marabou feathers, garlands and applied silk flowers.
Some loopedup styles were given nostalgic names similar to à la Watteau and ‘Marie Antoinette dress’ or were raised with cords and ribbon bows in tostyle of tooriginals. However, vivid magentacoloured silk gives this dress a rich and flamboyant appearance. Normally, although intense hues could also be created using natural dyes, it was probably dyed with amid to new synthetic colours produced from tolate 1850s onwards. I’m sure that the artificial forms of magenta were very popular and a battle for patents began as dyers sought to distinguish their inventions from those of their competitors.
In reality quite a few of todye samples from different manufacturers looked exactly identical, and it was only toexotic names, claims on colourfastness and improved visual quality that set them apart.
In toearly 1870s a German chemist found traces of arsenic in fabric dyed with magenta, that could leak out in washing, rain or perspiration.
Other disputes arose over tohealth risk posed by towearing and production of garments coloured with synthetic dyes. Englishwoman’s Domestic Magazine of March 1868 recommended that there gonna be no more than ‘two positive colours in a lady’s toilet’ and that ‘very bright tints’ going to be toned down with whitish, blackish or light grey to prevent a gaudy appearance. Brightly coloured fabrics also led to words of advice from tofashion magazines. While delicate puffs of tulle inserted into tosleeves soften toimpact of todramatic colour, satin bows and pleated biascut trimmings complement toribbed silk of this dress perfectly.
Two really similar shades colour were considered very fashionable, particularly if totrimmings were of a contrasting fabric. With a lace collarMuseum no, dress Designer unknown18635FranceSilk. Trimmed with blackish taffeta. Wide skirts were a focal feature of fashion during this period. By 1865 tofullness of toskirt had receded towards toback of togarment creating a flatter front. Women wore crinoline petticoats created from steel hoops under their dresses to give them this distinctive shape. For example, day dressDesigner unknownAbout 1862Great BritainCorded silk with glass buttons and velvetMuseum no. Given by Dr. With that said, machine embroidery developed for men’s waistcoats and women’s dresses throughout to1840s and 1850s. Examples were first brought to Britain in to1820s. They did not become commercially available until tolate 1850s, various inventions of machines for sewing seams occurred in to1840s.
Hand sewn, that said, this dress is machineembroidered. First machine for embroidery was invented in France. Hats were very small and tilted forward to toforehead. While falling to toshoulders, adorned with ribbons, bands and decorative combs, hair was dressed high at toback with complicated twists and rolls. On for agesated and tight bodice and a flat fronted skirt, towaist was lower in to1870s than to1860s. On top of this, low, square necklines were fashionable. Anyway, coats and jackets were semi fitted and ‘thighlength’. It’s a well generally, both jackets and waistcoats were buttoned high on tochest. Now please pay attention. With totips turned down into wings, shirt collars were stiff and upstanding.
Dress Designer unknownAbout 1872Great BritainSilk, trimmed with silk braid, lined with glazed cotton and buckram, faced with silk and ribbonMuseum no.
While accentuating tobustle that was now being worn underneath, there’s an overskirt over toback of todress.
Tosilk has a figured pattern of blackish and white leaves on a speckled ground. Open sleeves of tokind seen here were very fashionable in toearly 1870s. So, this ensemble is typical of fashionable women’s daywear of toearly 1870s. Basically the dress is trimmed with silk braid. DressDesigner unknownAbout 1872Great BritainCotton, trimmed with silk braid, fastened with bone buttonsGiven by Miss Julia Reckitt and Messrs and ReckittMuseum no. Surely it’s easily washed and dried, I know it’s created from cotton.
So style of todress had been inspired by tocolours and stripes of sailors’ uniforms. It’s a jaunty, sensible woman’s outfit of toearly 1870s designed for boating or seaside walking. Day dressDesigner unknownAbout 1870Great BritainSilk, trimmed with silk ribbon and silk satin, lined with glazed linen, machine and hand sewnGiven by Miss WilsonMuseum no. Fullness remained at toback, where it was swathed over a bustle and tied with tapes on toinside to allow toskirt to drape in a becoming fashion. Therefore this ensemble illustrates todecorations, especially fringing and applied ruffles, that were popular at totime. By 1870 tocircumference of toskirt had reduced considerably from its proportions in to’mid 1860s’. With a velvet collar, edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk. Morning coatDesigner unknown1870 5Great BritainFine wool. Morning coat was originally a ‘singlebreasted’ tailcoat, worn in toearly 19th century, and on top of that known as toriding coat.
By to1850s it was shaped halfway between a riding coat and a frock coat.
This example is a variation of tomorning coat.
It was introduced in 1870 and was known as to’University’ or ‘Anglefronted’ coat. Anyways, manners for Men, by Mrs Humphry.’ For morning wear tomorningcoat or jacket of totweed suit is correct. Normally, tomorning coat was worn in the course of the daytime, as toname suggests. Then, it became so popular that it began to rival tofrock coat for day and business wear. Morning coats were usually made from dark colours, and tofabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers.
Now this example has large wide sleeves, as was fashionable for toperiod.
After 1875 coats tended to be buttoned much higher.
It also has wide lapels and is buttoned very low on tochest. Gentleman’s Magazine of Fashion, who discovered tofirst famous artificial colour by accident in 1856 when he was a student at toRoyal College of Chemistry in London. On top of that, dried and digested with spirits of wine gave a mauve dye’, tointention to better remember the reaction he tested toprocedure using aniline and created a crude grey product that ‘when purified. For instance, he produced a reddish powder instead of tocolourless quinine, while experimenting with a synthetic formula to replace tonatural antimalarial drug quinine. Basically, soon other synthetic dyes were being produced with evocative names similar to ‘acid magenta’, ‘aldehyde green’, ‘Verguin’s fuchine’, ‘Martius yellow’ and Magdela red’ to match their gaudy appearance.
Textile manufacturers soon turned to his aniline process and toresulting fabrics were characterised by an unprecedented brilliance and intensity that delighted toconsumer.
In August 1859 tosatirical journal ‘Punch’ described tocraze for dark purple as ‘Mauve Measles’, a disease which erupted in a ‘measly rash of ribbons’ and ended with toentire body covered in mauve.
This dress is coloured with a chemical dye which closely resembles toaniline violet and dark purple fabric samples dyed with Perkin and Sons Colors shown in to‘Practical Mechanics Journal. Perkin’s discovery led to a revolution in synthetic colour from tolate 1850s onwards. Women’s dresses acted as a perfect advertisement for these rich hues, especially as trimmings usually matched tocolour of togown. Throughout the late 1870s tofashionable female silhouette changed. Known princess dresses, like that one, suited this style particularly well. Bodice and skirt were cut in one piece without seam at towaist.
Besides, the fitted look was also achieved by cutting tobodice with five seams at toback and inserting front darts that curved in at towaist and after all out again. Afternoon dress Halling, Pearce ‘Stone1879 81LondonSatin’, trimmed with figured silk, chenille tassels and ‘machine made’ lace, lined with silk and cotton, reinforced with whaleboneMuseum no. High neckline and elbowlength sleeves indicate that this dress was for formal afternoon wear, hitherto totrain was found only on evening dress. Nonetheless, by 1880 women’s fashions were becoming very elaborate. Whenever extending into a point below towaistline, tobodice is in to‘cuirasse’ style. Just keep reading! Halling, Pearce and Stone. Furthermore, todress bears tolabel of tomaker. With quite a few fabrics, with that said, this ensemble demonstrates to‘’over upholstered” look, rows of tassels and lace embellishment, all used on one outfit.
Following toexample set by Charles Worth in Paris, dressmakers had begun to identify toclothes they made.
Worn for dinner or toopera, to’elbowlength’ sleeves and square neckline show that it was probably not a ball gown.
Toback draped over a bustle, and on evening dresses extended into a train. As to follow tocontour of todress underneath, their shape had slimmed down considerably after to1860s, cloaks and mantles were still worn for warmth outdoors. So this ensemble characterises fashionable evening wear for women in tolate 1870s. By tolate 1870s toprofile of toskirt had narrowed considerably.
Afternoon dressDesigner ‘unknown18725Great’ BritainCorded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewnMuseum no.
With all todecoration depending on toapplication of a darker dark blue silk, tooverall effect is quite severe.
Toinfluence of masculine tailoring can be seen in tocuffs and bodice revers of this woman’s afternoon dress. Fashion is moving away from tofussier trimmings of toearly 1870s. Anyway, so that’s an excellent example of a ‘double breasted’ frock coat. Although, tojacket, trousers and waistcoat that comprised tosuit will be of one colour and were hereafter known as ‘dittos’. Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to tooutfit. Formal gentleman’s daywear of tolater 19th century was usually of grey or ‘blueblack’ wool. For example, dressDesigner unknown1870 3Great BritainAniline dyed silk, lined with cotton, trimmed with satin and bobbin lace, reinforced with whaleboneGiven by Mr Leonard ShieldsMuseum no.
Whenever in line with todonor, so this dress was worn by his mother on her wedding for a while sleeves and high necks was toacceptable for any longer because weddings in those days took place in tomornings.
It could’ve been her ‘going away’ ensemble, or it could’ve been todress she wore for toactual ceremony. By toend of todecade tobustle disappeared. This is tocase. While featuring ruching, flouncing, and embellishments just like bows and thick, rich fabrics and trims, at the start of todecade toemphasis was at toback of toskirt. Then the middle of todecade saw a brief revival of tobustle, that was so exaggerated that toderriere protruded horizontally from tosmall of toback. Actually, hair was worn in tight, close curls on totop of tohead.
For men, lounge suits were becoming increasingly popular.
They were often quite slim, and jackets were worn open or partially undone to reveal tohigh buttoning waistcoat and watch chain.
With their tips turned over into wings, collars were stiff and high. With striped velvetMuseum no, dressSara Mayer Morhanger 188992ParisFigured silk. Velvet ribbon, machine lace. So, while upstanding collar, that is a distinctive and fashionable feature of 1880s daywear, with that said, this dress features a high. Did you know that the sleeves sit close to toline of tobody, as opposed to to1890s when they have been exaggerated into a ‘leg of mutton’ shape. Cara Rogers later became Lady Fairhaven -she was a ‘Dollar Princess’, one of a couple of heiresses who came to Britain in tolate 19th century, and married into toBritish aristocracy bringing ‘muchneeded’ glamour and financial capital. Itwas worn by to two Rogers sisters, Cara or Anna, daughters of a wealthy American industrialist. Known evening dress Charles Frederick Worth About 1881ParisSilk satin, trimmed with pearl embroidery and ‘machinemade’ lace, lined with whitish silk, tobodice supported with whalebone struts, machine and hand sewnGiven by Mrs MortonMuseum no.
That said, this silk satin evening dress, designed by Charles Frederick Worth, represents toheight of couture fashion in toearly 1880s. It was worn by Mrs Granville Alexander, a daughter of to sewing machine pioneer, Isaac Singer. It extends into drapes at tohips and merges with totrain, that falls in inverted pleats from toseams of tobodice. Normally, tobodice is seamed and gored for a moulded fit. As a result, with tapes for adjustment, toinside of toskirt is hooped at toback, to create tobustle effect. Worth was a celebrated Parisian couture dressmaker. Eight years later he moved to Paris, where he opened his own premises in He was soon patronised by toEmpress Eugenie and her influence was instrumental to his success. He was born in 1825 in Bourne, Lincolnshire, and started working at toage of 12 in a draper’s shop in London. I’m sure that the separate skirt is made out of shot cream silk, trimmed with iridescent bead motifs over which machinemade lace is asymmetrically draped. Considering toabove said. Therefore this evening dress shows how fashion was changing in tolate 1880s. It’s an interesting fact that the for ageser predominant and emphasis is focused on contrasting fabrics and decorative effects.
Basically the closely fitting bodice of dark green velvet is embellished with an iridescent beaded panel. One totrain side is faced with a triangular panel of gold and almost white figured silk. With figured satin panels, ellen Terry Charles Frederick Worth, probablyAbout 1889ParisWool, edged with silk braidMuseum no. His Portraits of Many Persons of Note fills three volumes with nearly 200 portraits and comprises a pictorial Who’s Who of late Victorian and Edwardian celebrities. Some info can be found on toweb. Hollyer was tophotographer of choice for toartistic set of tolate 19th century. With that said, this day dress illustrates tosmoother silhouette that began to appear in tolate 1880s, with its minimal bustle and strong emphasis on tosleeves.
Basically the bodice is waist length, panelled with satin and edged with grey moiré ribbon.
It is trimmed at toback for awhile pendant ends.
Collar and cuffs are faced with gold beaded tulle. Then the for awhile with a high pleated shoulder. Notice that todress fastens at toshoulder over a boned, greenish silk bodice lining. With toback flared and arranged in deep pleats, toskirt has a slightly draped front. It’s a well Undoubtedly it’s mounted over a greenish silk petticoat, and boned and taped to a bustle shape at toback. Worth Paris’ is stitched to towaist tape. DressDesigner unknownAbout 1880Great BritainSatin, trimmed with applied beading, chenille tassels and needle lace, lined with cotton, reinforced with whalebone, edged with brush braid, machine and hand sewnMuseum no. Of course given for any longer sleeves and high necks was toacceptable for any longer as weddings in those days took place in tomorning.
Horizontal bands of applied frills and ruching on toskirt are typical decoration for this period.
For her wedding, a woman invariably wore a coloured dress that would serve as a ‘best dress’ for years to come.
By 1880 toskirt was quite slender in profile, often with an overskirt swathed in front, gathered over tobustle at toback and falling into a train. Although, it could’ve been her ‘going away’ ensemble, or it could’ve been todress she wore for toactual ceremony. Whenever in line with todonor, therefore this dress was worn by her mother on her wedding day.
Lined with grey satinMuseum no, Evening dress suit Morris CoAbout 1885LondonWool barathea with satinbuttons and ribbed silk lapels.
This is an example of a formal evening dress which should have been worn to smart dinners, totheatre and similar fashionable evening entertainments.
It was important at this period to be properly dressed in public and private. Nevertheless, since after that, evening dress has altered very little. Whenever affecting details similar to tolength and width of tolapels or tofullness of totrousers, any stylistic changes were very subtle. Which was cut with tails, toback of todinner jacket was cut whole, unlike toevening dress suit. In 1888 todinner jacket was introduced for more informal evening wear. Jacket of this evening suit still has to’button stand’ around toouter edge of tolapels. With ‘machineembroidered’ panels and silk collar, dressDesigner unknownAbout 1888Great BritainSatin, cuffs and front with a velvet warp figured stripeMuseum no.
With that said, this trained overdress is styled to suggest a man’s coat of toDirectoire period in France.
Tosides of tocoat hang down plain and straight.
ToQueen magazine of August 1888 illustrated a very similar ‘Directoire’ reception dress, and in November of that year commented. For instance, this dress is made from satin. Eventually, tocollar, cuffs and front of toseparate skirt are made from silk with a velvet warp figured stripe. For example, tobodice fronts are faced with machineembroidered panels and trimmed with Japonaiserie buttons of cast metal. Then, todress fastens with a ‘halfbelt’ and buckle. Therefore this elegant bustle dress displays a dense pattern of violets springing from a bed of vine leaves.
While accentuating toclosely fitted lines of tobodice and drapery on tofront of toskirt, tofloral design complements toconstruction of this dress.
It also flows in sweeping folds over tobustle, that by to’mid1880s’ jutted out almost at right angles from behind.
By 1885 tobustle was often incorporated into toback of tofoundation skirt itself in totype of a small pad attached to towaistband and horizontal rows of steel which gonna be pulled into a curved shape. Furthermore, bustles were often a separate structure attached around towaist and included crinolettes created out of steel half hoops, down filled pads and wire mesh structures. Given’ by toHonourable Mrs.
EnglandFlannel’ trimmed with mohair, lined with sateenMuseum no.
Redfern and Co.
Riding habit jacketMessrs. By to1880s their dress was so similar that type of decoration inspired by ornamentation on regimental dress as well as toflamboyant hussar designs. That said, many women’s jackets were embellished with details borrowed from military uniform. Therefore, here torows are shortened, and fanciful whirls at toproper right edge and on tocollar do not relate to military models. It is this elegant example is depending on toregimental patrol jacket characterized by parallel rows of applied braid across tobreast, looped at intervals into designs known as ‘crow’s feet’ because of their distinctive shape. Notice that toQueen magazine of 10 May 1884 commented on some particularly striking examples including, ‘The Hungarian. They have been famous for their sporting costumes, smart tailor made dresses and coats suited to everyday fashionable wear.
In the course of the ‘mid1880s’ Redfern incorporated braiding into lots of their designs for walking outfits and outdoor jackets.
Polish, of royal dark blue faced cloth.
Totailoring firm Redfern and Co, made this riding jacket for May Primrose Littledale. Aesthetic dress was popular in to1880s and 1890s, particularly within artistic and literary circles.Those who supported it repudiated tight corsetry and cumbersome petticoats in favour ofless restrictive clothing. Make sure you write a comment about it below. For much of tofirst half of to19th century flat shoes were popular amongst fashionable women.
Did you know that the curved construction of toheels on this brownish velvet pair was influenced by toheel shapes from toprevious century. It was known as to’Louis’ after tofamous French kings of to1700s. Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking. Certainly, in toearly part of todecade, women wore tight bodices with high collars and narrow sleeves, much as they had done in toprevious decade. Wide shoulders were fashionable and horizontal decoration on tobodice further exaggerated toline. Skirts were worn in a full length, simple ‘A line’. From about 1893 however, sleeves started expanding into a ‘legofmutton’ shape, that was tight at tolower arm and puffed out at toupper arm. Fact, hair was worn high on top of tohead, in tight curls. Anyway, generally by older or more conservative men, frock coats were still worn. Also, hair was cut short and usually parted at toside. With totips pressed down into wings, collars were starched and high, though by toend of tocentury collars were more frequently turned down for any longer, knotted tie style. Anyways, heavy moustaches were common, and older men still sported beards. By the way, the threepiece lounge suit was very popular and regularly worn from to1890s onwards, and it became increasingly common to have creases at tofront of totrousers.
Hollyer was tophotographer of choice for toartistic set of tolate 19th century. That said, this photograph is taken from a family photograph album. It’s a personal keepsake and document of a wealthy family of to1890s. Then again, this family photograph album contains single and group portraits and depictions of sports and pastimes that should have amused family, friends and visitors. A well-known fact that is. There were great changes in attitudes throughout the last decade of tocentury. Basically the traditional role of women was questioned and some women openly defied convention. After marriage, throughout a number of to19th century women had few legal rights to property. Children, or even, their own bodies. They educated themselves by reading widely and took up what were seen as ‘unladylike’ activities similar to smoking and cycling.
By the way, the dress worn by toladies in this photograph is typical of to1890s. They wear high collars with puffed, leg of mutton sleeves. Photograph, portrait of Constance LyttonFrederick Hollyer 1899Great BritainPlatinum printMuseum no. So this dress also has a lot of tofeatures associated with todress reform trend of tolate 19th century, thedress worn in this photograph is distinctly 1890s in style.The sitter wears a high lace collar with leg of mutton sleeves. Collars were turned over into wings, and became taller throughout todecade. Sitter in this portrait sports a generous and groomed moustache, fashionable throughout to1890s. It was common to have a pointed beard similar to this became popular from to1890s. Matching coats, trousers and waistcoats, known as ‘dittos’, in ‘pin striped’ flannel were accepted dress for summer sports and holidays. Striped jackets were originally worn for cricket, tennis and rowing and became fashionable for seaside wear in the course of the 1880s. Conventions in dress applied to informal as well as more formal wear. With all that said… It was important to be dressed appropriately for tooccasion. Hollyer was tophotographer of choice for toartistic set of tolate 19th century. Essentially, his ‘Portraits of Many Persons of Note’ fills three volumes with nearly 200 portraits and comprises a pictorial Who’s Who of late Victorian and Edwardian celebrities. Notice, tositter sports a high collar folded over into wings and a high buttoned waistcoat. For any longer and twisted at toends. So this dress has loads of tofeatures associated with todress reform trend of tolate 19th century.
Basically the clothes were homemade or produced in commercial studios.
Smocking apart from tohigh silk hat, before so it would have been a social crime for any man pretending to fashionable dress.
By to1890s it had become popular for city wear.
It was only last summer that Londoners began to wear straw hats with any freedom.
Tostraw hat was at first only accepted for holidays and summer sports. In 1894 toNYC Herald of Fashion observed. He is condemned more universally than if he had committed some crime, if he goes to a garden party in a ‘frockcoat’ and a straw hat. Of that he might be certain, So if he commits flagrant shall not be invited out very much. So boater was worn by all social ranks and had no ‘class distinction’. If a man was to be a success in society he had to wear it for tocorrect occasion, as another extract from Manners for Men shows.
Accordingly the sitter in this portrait sports a ‘four in hand’ Ascot tie, very fashionable throughout the 1880s and 1890s.The Ascot tie is made out of a narrow neck band with a wide cravat style front, neatly folded and pinned with a tiepin. It was generally worn for morning dress, and is now commonly worn for weddings. Pair of bootsAnton Capek, Coulson 18951915″ Vienna, London Glacé kid leather lined in cotton sateen and yellowish silk satin, buttonsMuseum no. Besides, this boot is one of a pair made in Vienna for display in a London shop. Fact, it shows European ‘shoe making’ at its finest. As a result, others were richly decorated and made in bright colours, so this example is elegantly restrained. It is their stylish boots made good display pieces for retailers. Viennese and Belgian bootmakers produced plenty of to most striking footwear of toearly 20th century. Display shoes and boots were stored or sold, when their style went out of fashion and they have been for awhileer useful to shops.
DressDesigner unknownAbout 1897FranceWool, trimmed with ribbon, braid and machine made lace, tobodice lined with cottonMuseum no.
ToQueen showed examples with epaulettes, blouse fronts and pointed belts.
It was probably ready made. Therefore this dress was worn by tomother of todonor and is said to been bought in Paris. Boleros and figure moulding, flared skirts were very fashionable at totime. Another magazine illustrated a similar example. Portrait of Violet Lindsay, Duchess of RutlandFrederickHollyer About 1890EnglandPlatinum printMuseum no. So it is a portrait of Violet Lindsay Manners, Duchess of Rutland. Basically, todress she is wearing here has a few features of artistic dress. Very good known female painters of toVictorian era, so this portrait is of toLouise Jopling Rowe massive crinoline skirts and tight corsetry.At toturn of tocentury she served as vice president of toHealthy and Artistic Dress Union, that championed this less restrictive mode of dress. With insertion and trimmings of cream silk gauze, day dress Designer ‘unknown18924France’ or ItalyPrinted silk, hem bound with pink velvet, lined with silk, whalebone supports in tobodice, and metal hook and eye fasteningsMuseum no.
With that said, this dress should have been worn for fashionable day wear. With a pointed waist, it has a fitted bodice, and a frilled collar and cuffs trimmed with gauze and a ‘machineembroidered’ border. Marked, horizontal emphasis at toshoulder line meant that it was often difficult to wear fitted coats and jackets out of doors. In about 1892, flared skirts were introduced. Basically the growth of tosleeve was balanced by an increase in tosize of toskirt. On top of that, tolow collar is an unusual feature, more common towards toend of to1890s than at the start. However, engraving of outdoor dress designed by Maison Worth. Did you hear about something like this before? The Lady’s Newspaper 17 August 1895Paris Museum no, Sandoz Derbier. Oftentimes while illustrating stylish outdoor dresses, designed at Maison Worth, Paris was published by The Queen, The Lady’s Newspaper, on 17 August Both women wear tofashionable ideal of mid 1890s dress, so this engraving. While contrasting with tomassive skirts and bustles of previous decades, for ages but moulded at tohips in a Aline shape.
With that said, this portrait of Lady Duckworth shows her in Victorian mourning dress.
More practical clothing styles were adopted, as women engaged in a wider range of activities in to19th century.
Tailor made outfits like this one helped meet toneeds of a diverse lifestyle. Plain woollen costumes were considered ideal for plenty of leisure pursuits and could’ve been adapted for sports similar to shooting and golf. While closefitting designs graced topages of tailoring journals, style was not necessarily sacrificed for function as elegant. Like that one, some featured jackets and skirts in contrasting checks. Others, were created out of really similar material throughout. It shows off towaistcoat underneath since Here tojacket is semifitted without any shaping in tofront or fastenings. Vests depending on toman’s waistcoat were another popular feature. With collar and cuffs embroidered with silk cord, coat and skirtJacques Doucet About 1894ParisLinen, elastic stays attached to toinside of toskirt to control tofullness, hand and machine sewnMuseum no.
Bequeathed’ by Mr.
During to1890s,women’s tailored suits were very popular.
They borrowed details from men’s dress, like wide lapels and exterior pockets. With that said, this suit might well was worn for a tour abroad. Remember, reddishbrown dust was found on tosurface, when it was conserved. Essentially, he was famed for his extravagant gowns, tailored suits and luxurious coats. Now regarding toaforementioned fact… Inheriting a lace and lingerie establishment in Paris, Doucet expanded tofamily business by opening a couture department in to1870s. Jacques Doucet (‘1853 was’ very good known and most highly respected couturiers of tolate 19th and early 20th centuries. While exciting events and toVA Members’ Room, vA Members enjoy a wealth of benefits, including free entry to exhibitions.
In this early hours day in 1918, the Romanov family was murdered in a basement Ipatiev room House in Ekaterinburg with their last faithful retainers Princess Charlotte of Prussia, eldest surviving daughter of Frederick William III of Prussia and his wife Luise of Mecklenburg Strelitz, was born in the Charlottenburg Palace in Berlin on this day in Princess Charlotte would later take the name Alexandra Feodorovna when she married the Grand Duke Nicholas Pavlovich of Russia, the future Tsar Nicholas I, in July 1817.
What do you reckon?