With that said, this dress is a go to for any occasion.
They all serve an unique occasion and are all great to have in your wardrobe.
I have a couple and definitely recommend having options when it boils down to blackish dresses. Of course before you go and get a super trendy dress ask yourself if a classic LBD would do tojob. So this ensemble is typical of fashionable women’s daywear of early 1870s.
Silk has a figured pattern of blackish and whitish leaves on a speckled ground.
Open sleeves of kind seen here were very fashionable in early 1870s. It’s a well fashion magazine ‘The Queen’ shows a dress with very similar ‘squared edge’ sleeve in a poser for August 1870. While accentuating bustle that was now being worn underneath, there’s an overskirt over back of todress. You see, dress is trimmed with silk braid. Day dressDesigner unknownAbout 1870Great BritainSilk, trimmed with silk ribbon and silk satin, lined with glazed linen, machine and hand sewnGiven by Miss WilsonMuseum no. Normally, fullness remained at toback, where it was swathed over a bustle and tied with tapes on inside to allow skirt to drape in a becoming fashion.
By 1870 circumference of skirt had reduced considerably from its proportions in tomid1860s.
This ensemble illustrates todecorations, especially fringing and applied ruffles, that were popular at totime.
Unfitted jacket and fairly loose fitting skirt suggest that ensemble made of shot cream silk, trimmed with iridescent bead motifs over which ‘machine made’ lace is asymmetrically draped. One train side is faced with a triangular panel of gold and almost white figured silk. Essentially, conforming to toLady’s World of ‘Skirts now never have two sides alike’. Essentially, closely fitting bodice of dark greenish velvet is embellished with an iridescent beaded panel.
Now this evening dress shows how fashion was changing in late 1880s. Bustle is no longer predominant and emphasis is focused on contrasting fabrics and decorative effects. Sleeves have had gores inserted at wrist to bring them up to date with new fashion. Whenever ending in a point below towaistline, waist remained long and narrow. Considering above said. Now this dress was probably made in mid1840s and altered about five years later to accommodate a change in style. So this particular example is created from silk satin, striped in a complex arrangement of purple, crimson, magenta, greyish and whitish. Sleeves are beginning to widen at wrist into a slight bell shape. Seriously. By end of to1840s, wide neckline had closed up to a high, round opening. However, dressDesigner unknownAbout 1897FranceWool, trimmed with ribbon, braid and machine made lace, bodice lined with cottonMuseum no.
Therefore this dress was worn by mother of donor and is said to been bought in Paris.
It was probably ready made.
Boleros and figuremoulding, flared skirts were very fashionable at totime. Another magazine illustrated a similar example. Queen showed examples with epaulettes, blouse fronts and pointed belts. Newest bell skirts are absolutely without fullness at totop….It fits closely over hips and begins to form a series of fluted pleats a little above toknee’. Now regarding aforementioned fact… While sporting a rather masculine tailored jacket with exaggerated leg of mutton sleeves, she is shown here in fashionable mid 1890s dress. I’m sure that the morning coat was worn throughout the daytime, as name suggests. Manners for Men, by Mrs Humphry.’ For morning wear morning coat or jacket of tweed suit is correct. It became so popular that it began to rival frock coat for day and business wear. With all that said… Morning coats were usually made out of dark colours, and fabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers.
Collars were often faced with velvet and edges were bound, corded or stitched.
Importantly their dresses feature pagoda sleeves, that were particularly fashionable in 1850s and 1860s.
Both girls are wearing full skirts and both wear their hair pulled back and worn in a low bun or chignon. That’s a fact, it’s useful for dating purposes as it shows fashions typical of to1860s. So this photographic study imitates composition of Raphael’s famous painting of Virgin Mary and Christ Child, that is now in Dresden. Pagoda sleeves are set low to create a fashionable sloping line from shoulder to arm, and sleeve itself flares outwards into a wide cuff. Low collar is an unusual feature, more common wards end of 1890s than at first pace.
Suggesting a longer period of use, it should be a later alteration, since dress had been let out. Now this portrait of Princess Louise, Marchioness of Lorne and Duchess of Argyll, illustrates formal evening dress from around 1890.Her waist is severely corseted and she wears a bustle to give a pronounced, hourglass shape.The volume of skirt is pulled wards back and drapes over tobustle.Her hair is piled on p of her head in tight curls, fashionable in the course of the 1890s. DressDesigner unknownGreat BritainAbout 1862Silk trimmed with silk braid and beads, lined with glazed cotton, edged with brush braid, ‘hand sewnGiven’ by Miss Edith WestbrookMuseum no. Usually, they’ve been worn over wire ‘cage crinolines’, that gave maximum volume with minimum weight. With that said, this dress illustrates style of early 1860s. Of course by to1860s, skirts had reached their fullest point. Puffed epaulettes at totop of sleeves indicate historical influences, particularly 16th century. Seriously. Narrow at towrist, it has only a slightly pointed waist and a sleeve wide at toelbow.
They will have been seen in early English portraits.
Frivolous boots of silk and silk satin, some with high heels, were imported into England from France in 1860s and 1870s.
French influence was because of stylish Empress Eugenie who had married French emperor, Napoleon II, in She was probably responsible for introduction of shorter skirt which led to a greater emphasis on stockings and shoes. These French styles were also imitated by English shoemakers. Seriously. Portrait of Violet Lindsay, Duchess of RutlandFrederickHollyer About 1890EnglandPlatinum printMuseum no. Whenever draping clothes with simple silhouettes in natural fabrics and colours, she was a famous artist, and a champion of ‘Aesthetic’ dress -a dress movement that eschewed restrictive corsetry and artificial bustles for loose. Although, so it’s a portrait of Violet Lindsay Manners, Duchess of Rutland. A well-known fact that is. While contrasting with massive skirts and bustles of previous decades, their skirts are long but moulded at hips in a ‘A line’ shape.
Their hair is piled high on p of their headsand their elaborately trimmed hats sit high and straight. With metal buttons, and whalebone stripsMuseum no, Day dress Designer unknownAbout 1858Great BritainMoiré silk trimmed with chenille and lined with silk. While emphasising their width, box pleated trimmings stand out in relief along bottom edge and seams of wide pagoda sleeves. Therefore this ‘eyecatching’ day dress formed part of trousseau belonging to Miss Janet Gilbert. Its pristine condition suggests it been worn, it’s beautifully constructed in latest style as will befit a young fashionable woman. Notice, had Miss Gilbert worn this dress, white ‘engageantes’, or undersleeves tacked to armholes would have covered her lower arms and a lace collar created from moiré silk, it has a lustrous rippled sheen accentuated by rich Prussian dark blue dye, applied chenille flowers and sparkling metal buttons. Sewing machine itself had only become widely available from late 1850s. Lots of information can be found easily online. Beeton also included paper patterns, a brand new phenomenon that, combined with fashion plates, ensured magazine appealed particularly to increasing numbers of those who owned a domestic sewing machine.
In 1860 publisher of this magazine, toEnglishwoman’s Domestic Magazine, Samuel Beeton, began including hand coloured fashion plates like that one. With that said, this magazine’s wide distribution ensured an awareness of French fashions among a wider section of society. Smocking Now look, the clothes were homemade or produced in commercial studios. For example, it sometimes featured on dresses designed and sold by London firm of Liberty Co, who sold gowns in Arts and Crafts style. It also has wide lapels and is buttoned very low on tochest. After 1875 coats tended to be buttoned much higher. Yes, that’s right! ToGentleman’s Magazine of Fashion 1899Great BritainPlatinum printMuseum no.
That said, this example has large wide sleeves, as was fashionable for toperiod.
This dress also has majority of features associated with dress reform trend of late 19th century, thedress worn in this photograph is distinctly 1890s in style.The sitter wears a high lace collar with leg of mutton sleeves.
Then the trend ran parallel with Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. 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. Hollyer was photographer of choice for artistic set of late 19th century. And therefore the neckline is wide with a deep collar or ‘bertha’. So this dress is characteristic of fashionable stylesfrom early 1840s. Sounds familiarright? Elaborate applied decorations of 1830s are now no longer fashionable. I know that the waist is lengthened in front with a point both front and back. Except for a braid edging on tocollar, satin of this dress is left quite plain. While short oversleeves recall elaborate sleeves of to1830s, tolong, tight sleeves are typical of to1840s.
And therefore the bodice is seamed and gored for a moulded fit.
It extends into drapes at hips and merges with totrain, that falls in inverted pleats from seams of tobodice.
With tapes for adjustment, inside of skirt is hooped at toback, to create bustle effect. It is elegant cut, combined with rich materials and embroidery, makes for a flattering silhouette. For example, evening dressDesigner ‘unknown1876 8Great’ BritainSilk satin, trimmed with silk ribbon and machine made lace, lined with cotton, reinforced with whalebone, machine and hand sewnGiven by Mrs Thérèse HornerMuseum no. Remember, to’elbow length’ sleeves and square neckline show that it was probably a dinner dress rather than ball gown. Now this was a brand new style, known as a ‘cuirasse’ bodice, that appeared in fashion magazines about 1875 and remained fashionable through to1880s.
So an overskirt of satin swathes front of todress, Tiers of ‘machine made’ lace adorn skirt and bodice.
Bodice extends into a point below waistline in front and back.
Now this ensemble characterises fashionable evening wear for women in late 1870s. Lined with glazed cotton and whaleboneMuseum no, Day dress Designer unknown1868 9Great BritainSilk and wool faced with silk, trimmed with silk fringe. Therefore this ensemble characterises new style of fashionable women’s dress. With that said, crinoline went out of fashion quite dramatically about The lengths of skirt that used to fall over crinoline were gathered up at back over a bustle. Inside of skirt has a series of tapes, that enable it to be tied up for walking outdoors. It has an overskirt and bodice now extends below towaist. Actually, aesthetic dress was popular in 1880s and 1890s, particularly within artistic and literary circles.Those who supported it repudiated tight corsetry and cumbersome petticoats in favour ofless restrictive clothing.
They did, however, favour luxurious trimmings just like lace, as shown here.
In this example a delicate pattern of vine leaves and speedwell is jacquard woven in blueish and cream giving a lot of textural effects.
Floral designs like this were fashionable in 1840s and 1850s. On p of this, they have been also hailed as a blessing, frequently ridiculed in press for their cage like structure and size. Fact, graceful movements and a perfect silhouette were promoted by introduction of ‘spring steeled’ hooped petticoats in 1856, often referred to as crinolines. Effective, lightweight, economical and comfortable, they ensured women could wear dresses really like this one without having to contend with layers of hot and heavy petticoats. Therefore a key motif was boteh or pine cone, what we know day as topaisley. Besides, the popularity of cashmere shawls reached its peak from 1840s to to1860s. Originally imported from India in late 18th century, British manufacturers were making woven and printed versions by early 19th century, on the basis of Indian designs.
Therefore this indicates that owner wore it while nursing her children.
This design was popular as a dress fabric.
Now this example was printed by company Swaislands of Crayford in Kent, and registered in Patent Office between July 1845 and April The bodice of dress has vertical slits fastened with buttons on either side of centre front. Sack coat should become increasingly popular over following decades, worn most oftenfor leisure activities or informal occasions. He wears a newly fashionable sack coat, a slightly looser fittingcoat thantomore tailored frock coat. Evening dress Charles Frederick Worth About 1881ParisSilk satin, trimmed with pearl embroidery and ‘machinemade’ lace, lined with almost white silk, bodice supported with whalebone struts, machine and hand sewnGiven by Mrs MortonMuseum no. Accordingly the donor was her great niece.
It was worn by Mrs Granville Alexander, a daughter of to sewing machine pioneer, Isaac Singer. Therefore this silk satin evening dress, designed by Charles Frederick Worth, represents height of couture fashion in early 1880s. With addition of a small heel and some striped decoration form is updated to something more in keeping with modern tastes. That said, this elegant pair of blueish and whitish ‘lowheeled’ shoes illustrates how sandal form evolved.The satin upper with square e and throat, decorative rosette and elastic ties are all features reminiscent of dainty flat shoes of early nineteenth century. Earlier royal brides had worn almost white but their dresses were often woven or heavily embroidered with gold or silver. Queen Victoria helped popularise fashion for white when she got married in She set a royal precedent by choosing very easy ivory satin dress which was very much in fashions of today. They have been probably worn over an opaque under dress, light muslin bodice and skirt are unlined. Now please pay attention. Actually the offtheshoulder seam and sleeves with width at elbow are typical of to1860s. Generally, whenever accentuating bustle that by this time was worn underneath, there’s an overskirt over back of todress.
Therefore this ensemble is an example of fashionable women’s daywear for summer in late 1860s.
Their inception owes much to work of Sir William Henry Perkin, who discovered first famous artificial colour by accident in 1856 when he was a student at Royal College of Chemistry in London.
He produced a reddish powder instead of colourless quinine, while experimenting with a synthetic formula to replace natural ‘antimalarial’ drug quinine. Notice that dried and digested with spirits of wine gave a mauve dye’, intention to better have a grasp of the reaction he tested procedure using aniline and created a crude blackish product that ‘when purified. With that said, this dye created a beautiful lustrous colour that Perkin patented and which became known as ‘aniline violet’ or ‘mauveine’. While revealing fashion for bright new synthetic dyes, ruched skirt and draperies on this dress reverberate with intense colour.
Shoes with high heels were almost ‘nonexistent’ in women’s fashions in the course of the first part of 19th century.Instead simple flat satin slippers or ‘sandals’ with a bow or rosette at throat and ribbons or elastic loops to fasten them round ankle were all torage. By to1850’s heel had begun to make a comeback.
This style continued until 20th century and became identified as city business man’s suit of blackish coat, striped trousers and bowler hat.
Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to tooutfit. Now look, the jacket, trousers and waistcoat that comprised suit should be of one colour and were after that, known as ‘dittos’. So that’s an excellent example of a double breasted frock coat. Formal gentleman’s daywear of later 19th century was usually of grey or blueblack wool. It was important to be dressed appropriately for tooccasion.
Conventions in dress applied to informal as well as more formal wear. One gentlemen’s etiquette book, Manners for Men, by Mrs Humphry, published in 1897, writes that. Hinton was a photographer and member of Linked Ring, a brotherhood of photographers committed to excellence in all styles of photography which flourished between 1892 and 1909. 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. Hollyer was photographer of choice for artistic set of late 19th century. Surely it’s elaborately trimmed.Many highend dressmakers of late 19th century emulated work of House of Worth, that produced most luxurious gowns created from bold French silks, combined with ingenious design uches in embroidery, lace and chiffon. 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. Then, introduced in 1856, and generally made from hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats.
Therefore this fashion plate shows examples of ball dresses.
France dominated world of fashion during this period and French fashion plates were an important source of information on latest styles and colours.
Whenever reflecting contemporary popularity of crinolines, dresses have fashionable wide skirts. Wards end of 1860s skirts should start reducing again, and fabric would’ve been draped up into a bustle. This is tocase. With extra volume and length at toback, skirt is held out by a large cage crinoline petticoat giving skirt a full bell shape. Besides, towaist, emphasised, ain’t small being that massive proportions of skirt make quite a bit of body appear dainty.
With that said, this dress is typical of a very fashionable early 1860s shape. So waist is set quite high and totorso is a pronounced hourglass shape because of corset commonly worn by women of every class. Now this necktie style was newly fashionable in to1850s. Essentially, with a necktie tied intodistinctive ‘fourinhand’ style wherethecorners of a folded kerchief create pointed wings, his collars are starched and upstanding. So, it’s a portrait of Maharaja Duleep Singh, photographed by London firm of Horne Thornthwaite around 1850.He is dressed and bearded in consonance with fashionable formal English style.He wears a dark double breasted frock coat over a high buttoned light waistcoat.
DressDesigner unknownAbout 1872Great BritainCotton, trimmed with silk braid, fastened with bone buttonsGiven by Miss Julia Reckitt and Messrs and ReckittMuseum no.
a hemline just at ankle indicates a garment intended for walking outdoors.
And so it’s easily washed and dried, Surely it’s made out of cotton. For example, so it’s a jaunty, sensible woman’s outfit of early 1870s designed for boating or seaside walking. So, style of dress had been inspired by colours and stripes of sailors’ uniforms. That said, with an overskirt in front and a bustle worn underneath at toback, despite its practical use, ensemble still incorporates details of fashionable dress. Lined with grey satinMuseum no, Evening dress suit Morris CoAbout 1885LondonWool barathea with satinbuttons and ribbed silk lapels.
So that’s an example of a formal evening dress which would have been worn to smart dinners, theatre and identical fashionable evening entertainments.
a fashionable man needed clothes to suit all occasions, both work and leisure.
It was important at this period to be properly dressed in public and private. Now this meant that he sometimes had to change his outfits six or seven times in space of a day. Dress worn by ladies in this photograph is typical of to1890s. Dresses are full length but quite slim. You should take it into account. They wear high collars with puffed, leg of mutton sleeves. Additionally, by about 1860 chemical aniline dyes were widely available.
Most of colours they provided were rather gaudy, similar to this bright redish.
This photograph is taken from a family photograph album.
Hundreds of photographs in it are printed on platinum paper, that was introduced in Such a photograph was expensive to produce and enjoyed for its delicate nal gradations and matt surface. It’s a well-known fact that the tailoring firm Redfern and Co, made this riding jacket for May Primrose Littledale. Consequently, they’ve been famous for their sporting costumes, smart tailor made dresses and coats suited to everyday fashionable wear. Throughout the mid1880s Redfern incorporated braiding into majority of their designs for walking outfits and outdoor jackets. For awhile to enjoy wearing this jacket as she died soon after it was made.
Queen magazine of 10 May 1884 commented on some particularly striking examples including, ‘The Hungarian.
Polish, of royal blue faced cloth. Consequently, photography was a novel and exciting development in Victorian days, and many people had studio photographs takenfor ‘cartes de visite’ which might be presented when visiting friends, as introductions or with messages if person was out. They have been superseded in late 1870s by larger and sturdier ‘cabinet cards’ whose popularity waned in turn throughout the 1890s in favour of postcards and studio portraits. On p of portraits, their subjects included scenic views, urist attractions and works of art. However, they’ve been albumen prints created from glass negatives, attached to stiff card backing printed with tophotographer’s name. Eventually, cartes de visite’, size of formal visiting cards, were patented in 1854 and produced in their millions throughout the 1860s when it became fashionable to collect them.
In early part of todecade, women wore tight bodices with high collars and narrow sleeves, much as they had done in previous decade.
Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking.
Wide shoulders were fashionable and horizontal decoration on bodice further exaggerated toline. Skirts were worn in a ‘fulllength’, simple ‘Aline’. From about 1893 however, sleeves started expanding into a ‘legofmutton’ shape, that was tight at lower arm and puffed out at upper arm. Actually, generally worn squarely on p of tohead, hats were small or wide with majority of trimming. As a result, hair was worn high on p of tohead, in tight curls. With that said, print is unusual in showing a dancer of 1840s in a fashionable dress rather than a ballet costume. Her dress is typical of todecade, withlow for awhile and narrow pointed waist, and a voluminous bell shaped skirt. For her wedding a woman often wore a coloured dress that will serve as a ‘best dress’ for years to come. For ages sleeves and high necks was acceptable for awhile because weddings in those days ok place in tomornings.
Whenever in consonance with todonor, therefore this dress was worn by his mother on her wedding day.
It could’ve been her ‘going away’ ensemble, or it could’ve been dress she wore for actual ceremony. Wedding dressDesigner ‘unknown1865EnglandSilk satin’, trimmed with Honiton appliqué lace, machine net and bobbin lace, handsewnMuseum no. By 1800 it had become usual for her to wear almost white or cream. Accordingly the bride’s dress was a focal point just as And so it’s today. Now this was a popular colour as it implied purity, cleanliness and social refinement. By the way, the wide skirt of dress would have been supported underneath by a cage crinoline. Nonetheless, in 1865 cage crinolines protruded out more from behind and were flatter in front in contrast to bell shaped crinolines of to1850s. Afternoon dress Halling, Pearce Stone1879 81LondonSatin, trimmed with figured silk, chenille tassels and machinemade lace, lined with silk and cotton, reinforced with whaleboneMuseum no. So high neckline and elbowlength sleeves indicate that this dress was for formal afternoon wear, hitherto train was found only on evening dress.
While extending into a point below towaistline, bodice is in to‘cuirasse’ style.
Halling, Pearce and Stone.
Following example set by Charles Worth in Paris, dressmakers had begun to identify clothes they made. By 1880 women’s fashions were becoming very elaborate. Fact, with loads of fabrics, so this ensemble demonstrates to‘over upholstered’ look, rows of tassels and lace embellishment, all used on one outfit. Dress bears label of tomaker. Therefore this can be seen in professionally made clothing from late 1870s onward. Although, dress is very similar to a fragmentary one from identical source, now in collection at Norwich Castle Museum and marked ‘Laferrière’, a prominent Parisian couturier.
Aesthetic dress was popular in 1880s and 1890s, particularly amongst artistic and literary circles.Those who supported it repudiated tight corsetry and cumbersome petticoats in favour of looser, less restrictive clothes.In this photograph, Ellen Terry ain’t wearing a bustle even if exaggerated bustle pads were wornfor a lot of to1880s. High buttoned necks with lowset sloping shoulders and puffed sleeves were also distinctive features of 1860s dress. Of that he might be certain, I’d say if he commits flagrant shall not be invited out very much. Therefore in case a man was to be a success in society he had to wear it for correct occasion, as another extract from Manners for Men shows. And therefore the boater was worn by all social ranks and had no ‘class distinction’. He is condemned more universally than if he had committed some crime, So in case he goes to a garden party in a frockcoat and a straw hat. With folded wings, collar is typically high.The waistcoat is buttoned high on tochest. Needless to say, it was generally worn for morning dress, and is now commonly worn for weddings.
Did you know that the sitter in this portrait sports a fourinhand Ascot tie, very fashionable in the course of the 1880s and 1890s.The Ascot tie is created from a narrow neck band with a wide cravat style front, neatly folded and pinned with a tie pin.
In about 1892, flared skirts were introduced.
They grew to their widest extent in about 1895, with tosleeve, and had names like ‘tobell’, ‘tofan’ and ‘toumbrella skirt’. Accordingly the growth of sleeve was balanced by an increase in size of toskirt. Then again, it was known as to’Louis’ after famous French kings of to1700s.
Therefore the curved construction of heels on this dark brown velvet pair was influenced by heel shapes from previous century. So diamanté buckle is also a reference to extravagant styles of 18th century although here I know it’s smaller and less showy than its predecessors. Basically the soft colours of this dress anticipate pastel shades of early 20th century. Actually the bodice is waist length, panelled with satin and edged with blackish moiré ribbon. Keep reading! It’s trimmed at back for a while pendant ends. With all that said… Besides, the dress fastens at shoulder over a boned, greenish silk bodice lining. Also, skirt may was altered and have lost a side panel. Being that it was washable and comparatively lightweight. They educated themselves by reading widely and ok up what were seen as ‘un ladylike’ activities like smoking and cycling. Free movement of bicycle was seen as a symbol of equality and personal freedom. I’m sure you heard about this. There were great changes in attitudes throughout the last decade of tocentury.
Just after marriage, throughout a lot of 19th century women had few legal rights to property. Children, or even, their own bodies. I know that the traditional role of women was questioned and some women openly defied convention. With that said, this photograph is a formal military portrait of British army officer Field Marshal Garnet Joseph Wolseley, 1st Viscount Wolseley KP GCB OM GCMG VD personal computer. It’s a well his clothing is typical of ‘Artistic’ dress, fashionable with artists and intellectuals of totime.Artistic dress is characterised by loosely fitting clothes, made from plain, muted fabrics coloured with natural dyes, that they wore in deliberate contrast to tight and starched rigidity of Victorian formal dress. Afternoon dressDesigner ‘unknown18725Great’ BritainCorded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewnMuseum no.
Influence of masculine tailoring can be seen in cuffs and bodice revers of this woman’s afternoon dress.
With all decoration on the basis of application of a darker blue silk, overall effect is quite severe.
Fashion is moving away from fussier trimmings of early 1870s. Whenever indicating work of a professional dressmaker, with cleanly cut and finished appliqué and seams, so this garment is well made. Her hair is parted in tomiddle, swept down and looped loosely around toears. She wears a distinctly 1860s crinoline skirt.Until about 1868 fashion was for extremely full skirts, held up by cage crinoline petticoats made out of cane, metal or whalebone hoops. Known woman in this photograph sports a hairstyle that was very fashionable in to1850s. For much of first half of 19th century flat shoes were popular amongst fashionable women.
Now this coat is an example of men’s formal daywear from for any longer and tight, collar is wide, and front has adeep fasteningin order to show off towaistcoat.
To’cut away’ coat was still worn, even if at this date frockcoat was gaining in popularity as formal daywear.
So this coat is reputed to was worn by William Pierson Johnes, a linen merchant of a city of New York. With a velvet collar, edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk. Morning coatDesigner unknown18705Great BritainFine wool. Morning coat was originally a ‘singlebreasted’ tailcoat, worn in early 19th century, as well as known as riding coat. It was usually ‘singlebreasted’ and was known as to’cutaway’, as fronts sloped away elegantly to broad skirts behind. By 1850s it was shaped halfway between a riding coat and a frock coat. With that said, this example is a variation of morning coat. Anyways, it was introduced in 1870 and was known as to’University’ or ‘Angle fronted’ coat. Whenever exposing much of towaistcoat, fronts were cut at an acute angle from second button. You see, this magazine’s wide distribution ensured an awareness of French fashions among a wider section of society.
Beeton also included paper patterns, a brand new phenomenon that, combined with fashion plates, ensured magazine a particular appeal among increasing numbers of owners of domestic sewing machine.
Jacques Doucet, first began including ‘hand coloured’ fashion plates by Jules David.
Did you know that the sewing machine itself had only become widely available since late 1850s. With a generous moustache twisted at toends, fashionable 1890s gentleman in this portrait sports short centreparted ‘slicked back’ hair.He wears a high collar turned over to form wings, and his waistcoat buttons high at tochest. Eventually, with insertion and trimmings of cream silk gauze, day dress Designer unknown1892 4France or ItalyPrinted silk, hem bound with pink velvet, lined with silk, whalebone supports in tobodice, and metal hook and eye fasteningsMuseum no. Leg for awhile, full, gathered at shoulders and gauged at insides of toelbows.
With a pointed waist, it has a fitted bodice, and a frilled collar and cuffs trimmed with gauze and a ‘machineembroidered’ border. Therefore this dress would have been worn for fashionable day wear. Actually the trend ran parallel with Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. With that said, this dress has loads of features associated with dress reform trend of late 19th century. So this ensemble characterises fashionable evening wear for women in late 1870s. Those worn with evening dress were often trimmed with feathers, braid and beaded embroidery. That’s where it starts getting intriguing, right? As to follow contour of dress underneath, their shape had slimmed down considerably after to1860s, cloaks and mantles were still worn for warmth outdoors.
By late 1870s profile of skirt had narrowed considerably.
Back draped over a bustle, and on evening dresses extended into a train.
Worn for dinner or toopera, to’elbow length’ sleeves and square neckline show that it was probably not a ball gown. Personal accounts for this period show women buying new ribbons, laces, fabrics and trimmings to update their headwear. Fashions in hats and headwear changed more quickly than other items of clothing. New styles of hats arrived annually, while a dress will be expected to last at least a decade. Besides, rather than a really new shape, latest fashion in bonnets usually featured latest fabrics and trimmings. Even if it meant recovering an old one themselves, most ’19th century’ women expected a brand new hat every year. Anyways, they have lacing at back and are trimmed at totop with bobbin lace and ribbons. Then the light red boots, that are of ribbed silk, come up above ankle and have a ‘military’ style heel covered in silk to match touppers. In this image, toQueen’sskirt is tiered for fullness, that was fashionable in 1850s and very early 1860s.
Undoubtedly it’s held out in a pronounced bell shape by layers of petticoats or a steel cage crinoline.
Her bodice is buttoned high at neck and trimmed with a lace collar, withlowset and sloping shoulders.
Her hair is parted in middle and scraped back into loops and buns at nape of toneck.Prince Albert wears a highstarched collar with a ‘neck tie’ tied in a knot around it.His hair and moustache was copied by many men at this time. Besides, a miniature photographic portrait like this example, is called a ‘carte de visite’.
It was fashionable to collect ‘cartes de visite’ and compile them in albums. I’m sure you heard about this. Whenever originating from visiting card, that was introduced in France in Cartes were mass produced, and those like Mayall’s pictures of royal couple were ordered by hundreds of thousands, therefore this was a photographic format. Photographic study of Isabella Grace, Clementia and Elphinstone Agnes Maude on terraceViscountess Clementia HawardenLondonAbout 1863 4Albumen print from wet collodion negativeMuseum no.
So this study of Lady Hawarden’s three daughters shows them dressed in typical 1860s crinoline skirts.
Shoulders of her dress are sloping, and ‘low set’.
Eldest daughter, seated, reveals part of her underskirt, though underneath this would have been a few layers more of crinoline petticoats or a steel cage crinoline to give skirt its distinctively 1860s bell shape. Her hair is typical of decade -parted in middle and scraped back into loops or buns at nape of toneck. Nonetheless, little girl on right is also wearing a bell shaped skirt, though much shorter, as was customary for children.
Whenever showing her in fashionable dress, so it is a music sheet cover with a portrait of young Queen Victoria.
Her hair is parted in centre and looped down over toears.
Her dress is offtoshoulder, for any longer andpointed at tofront.The skirt is madewithtiers and frills of lace. Therefore this portrait was first seen at Photographic Society of London exhibition held at South Kensington Museum in February and March 1858.This was first photographic exhibition held in any museum across the world. Now this suit is said to are worn by todonor’s father, for any longer, at his wedding in Dublin on 29 June 1871. The Lady’s Newspaper 17 August 1895Paris Museum no, Sandoz Derbier. Normally, engraving of outdoor dress designed by Maison Worth. Whenever illustrating stylish outdoor dresses, designed at Maison Worth, Paris was published by The Queen, The Lady’s Newspaper, on 17 August Both women wear fashionable ideal of mid 1890s dress, now this engraving. Silhouette emphasises a voluminous and horizontal collar line. After her marriage in 1840, there were many with images of Queen and, of Prince Albert, either as portraits or at particular events.
Popularity of young Queen Victoria coincided with a period when large numbers of illustrated music sheets were being published.
This dress has a foundation skirt of greyish denim that is cut straight in front and gathered and pleated at back to follow lines of separate bustle worn underneath.
It also flows in sweeping folds over tobustle, that by mid 1880s jutted out almost at right angles from behind. Whenever accentuating closely fitted lines of bodice and drapery on front of toskirt, floral design complements construction of this dress. By 1885 bustle was often incorporated into back of foundation skirt itself in type of a small pad attached to waistband and horizontal rows of steel which might be pulled into a curved shape.
Bustles were often a separate structure attached around waist and included crinolettes created from steel halfhoops, ‘downfilled’ pads and wire mesh structures.
This day dress illustrates smoother silhouette that began to appear in late 1880s, with its minimal bustle and strong emphasis on tosleeves.
It’s said to been worn by Cara Leland Huttleston Rogers of NYC, later Lady Fairhaven. It’s an example of a fashionable summer day dress of late 1850s. Tiered skirts were popular in to1850s. It was known by French term ‘à disposition’. Typical of period are full ‘pagoda’ sleeves and bodice gathered from shoulders into lower front waist. Accordingly the fabric was printed with a decorative border expressly for use as tiers of a dress. With that said, englandFlannel trimmed with mohair, lined with sateenMuseum no.
Redfern and Co.
Given’ by Honourable Mrs.
Riding habit jacketMessrs. So this was no doubt helped by fashion for wearing bowlers, p hats, cravats, waistcoats and trousers under skirts. By 1880s their dress was so similar that Basically the jacket, trousers and waistcoat that comprised suit may be of one colour and were so known as ‘dittos’. Needless to say, alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to tooutfit. Therefore this style continued until 20th century and became identified as city business man’s suit of grey coat, striped trousers and bowler hat. A well-known fact that is. It is an excellent example of a double breasted frock coat.
Day dressDesigner unknownAbout 1862Great BritainCorded silk with glass buttons and velvetMuseum no. Given’ by Dr. They did not become commercially available until late 1850s, various inventions of machines for sewing seams occurred in to1840s. Anyways, first machine for embroidery was invented in France. Notice, machine embroidery developed for men’s waistcoats and women’s dresses throughout 1840s and 1850s. Hand sewn, so this dress is machine embroidered. Examples were first brought to Britain in to1820s. It was a few decades before sewing machine was widely used in homes and by professional dressmakers. With machineembroidered panels and silk collar, dressDesigner unknownAbout 1888Great BritainSatin, cuffs and front with a velvet warpfigured stripeMuseum no. With that said, this trained overdress is styled to suggest a man’s coat of Directoire period in France. However, Queen magazine of August 1888 illustrated a very similar ‘Directoire’ reception dress, and in November of that year commented. Seriously. By the way, the sides of coat hang down plain and straight. Therefore this dress is created out of satin.
Did you know that the collar, cuffs and front of separate skirt are made of silk with a velvet ‘warp figured’ stripe.
Skirt is mounted on glazed cotton and over a boned foundation.
I am sure that the dress fastens with a half belt and buckle. I am sure that the bodice fronts are faced with machineembroidered panels and trimmed with Japonaiserie buttons of ‘cast metal’. Did you know that the Hawarden family album indicates that man is Donald Cameron of Lochiel. Woman in this photograph is either Lady Hawarden herself or her sister Anne. She is holding a photograph of bare trees. Basically the ferns added by photogram 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.
Young girls generally wore their hair down, it was customary for grown women to wear their hair up.
I know that the Victorians were fond of collecting and cultivating ferns, that were used as a decorative motif from 1850s to end of tocentury. In this example, ferns were placed in contact with glass negative prior to ‘printingout’ in sunlight. That said, it was only in 1920s that women started to cut their hair short and so up until that point most for a while hair, that was often given fashionable waves or ringlets and parted in tomiddle. Photograms are made by placing objects on p of a piece of photographic paper and hereupon exposing composition to light. Consequently, day dress Designer unknownAbout 1866Great BritainSilk trimmed with bugle beads and silk fringe, lined with cotton and whaleboneMuseum no. That said, this dress is a typical example of women’s fashionable day wear from to’mid1860s’. Basically the Englishwoman’s Domestic Magazine’ of 1865 reported change as follows. Of course, with bulk of volume at toback, contours of crinoline have altered from a bell shape to a profile that is fairly flat in front.
Dresses incline more to Princess Shape. Except for a bugle bead and silk fringe which decorates tobodice, all widths are gored. Blue and grey are left unadorned, edge of collar and tooversleeves. With collar and cuffs embroidered with silk cord, coat and skirtJacques Doucet About 1894ParisLinen, elastic stays attached to inside of skirt to control tofullness, hand and machine sewnMuseum no. 1979Bequeathed by Mr. In the course of the 1890s,women’s tailored suits were very popular. Nonetheless, they borrowed details from men’s dress, similar to wide lapels and exterior pockets. Therefore this practical style suited more emancipated lifestyles women were thence leading. Pair of bootsAnton Capek, Coulson 1895 1915 Vienna, London Glacé kid leather lined in cotton sateen and yellowish silk satin, buttonsMuseum no. Now regarding aforementioned fact… So this boot is one of a pair made in Vienna for display in a London shop.
It shows European ‘shoemaking’ at its finest. Slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in The soft brownish leather with its shiny glacé finish highlights skilful stitching and Accordingly the sitter in this portrait sports a generous and groomed moustache, fashionable throughout to1890s. Actually, jacket buttons fashionably high up. Generally, boating suit Designer unknown1890sGreat BritainCream wool with dark blue pinstripe, handand machine sewnMuseum no. For example, outfit was often completed with a straw boater. Matching coats, trousers and waistcoats, known as ‘dittos’, in pin striped flannel were accepted dress for summer sports and holidays. Lightcoloured suits just like this became popular from to1890s. While ‘tophats’ were favoured by upper classes, was generally seen as a working class hat, bowler hat was invented around 1850.
Shirts had high upstanding collars and were tied at neck with large ‘bow ties’.
Though a brand new style called sack coat became popular, High fastening and tight fitting frock coats were also very fashionable.
With hairstyles characterised by large muttonchop ‘sideburns’ and moustaches, men wore matching coats, waistcoats and trousers, after style set by Prince Albert. With striped velvetMuseum no, dressSara Mayer Morhanger ‘188992ParisFigured’ silk. Velvet ribbon, machine lace. Now let me tell you something. Sleeves sit close to line of tobody, as opposed to 1890s when they’ve been exaggerated into a ‘leg of mutton’ shape. With an emphasised hourglass waist created by a rigid whalebone corset, body itself is curvy. While upstanding collar, that is a distinctive and fashionable feature of 1880s daywear, that said, this dress features a high. Doesn’t it sound familiar? Elderly widows generally for any longerer, Therefore in case not a few of their lives, A widow was expected to conform to strict rules governing her clothes for at least two years after death of her husband, that included wearing of a widow’s lace cap and a blackish cape as seen here.A younger woman might discard her mourning garb after two years.
So this portrait of Lady Duckworth shows her in Victorian mourning dress. William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell Designer unknown1855 7Great BritainSilk plush trimmed with silk fringe and braid, lined with silk and whaleboneMuseum no. In 1857 to’Illustrated London News’ announced. Luxurious velvet dresses embellished with fringe trimmings were highly fashionable throughout the 1850s. With totop tier extending from waistband as far as fifth row of fringe, skirt is composed of two layers. Needless to say, fringes also simulated flounces and made skirts look even wider, when applied in rows. This is tocase. Whenever flaring out over tohips, in this example bodice is made with a basque, that was a separate extension below towaist. Of course bottom tier is attached to a taffeta underskirt. As a result, this accentuates flounced effect of fringe and helps to distribute weight of heavy skirt over to’domeshaped’ crinoline cage which will have been worn underneath.
Curling tendrils separated by undulating lines and a lattice work of simulated trimming adorn this blockprinted wool day dress. It’s a well-known fact that the delicate scrolling shapes of tendrils reflects mid Victorian interest in 18th century Rococo design which incorporated scrolling naturalistic motifs and a lively feeling of movement. Waistcoats were often collarless and singlebreasted, and trousers were occasionally cut from a narrow check cloth. High, starched collars were worn with cravats and neckties. Now please pay attention. Hair was parted from centre and moderately waved. Some info can be found online. Whenever extending to mid thigh, in 1860s it was fashionable for men’s coats and jackets to be ‘singlebreasted’ and semi fitted.
Particular hairstyle, known as ‘Dundreary whiskers’ or ‘Piccadilly for a while pendant sidewhiskers worn with a full beard and drooping moustache.
It moved away from exaggerated padding provided by bustle to sheath like dresses that emphasised natural shapely curves of tobody.
Throughout the late 1870s fashionable female silhouette changed. Boaters were stiff straw hats with a moderately deep ‘flat topped’ crown and straight narrow brim and with a hatband of Petersham ribbon. Therefore this particular model is marked on inside with patent number The patent is for elastic size regulator which is fitted inside and should alter inside of hat to shape of tohead. They are plain in front, but puffed out on either side so as to remind one hoops strongly or paniers of last century’. Have merely changed their shape.
They’ve been for a whileer ‘bellshaped’ and by 1868 they curved out behind forming a kind of bustle, women still wore hooped petticoats to give desired silhouette.
They are ample and flowing, contrary to much speculation. So it’s true.
With intention to fall gracefully over these new structures, skirts tended to be gored, I’m pretty sure, that’s constructed with triangular panels rather than straight widths of fabric. Striped dark green skirt in this example is composed of eight gores that significantly reduce quantity of bulky pleating and gathering at waist characterising earlier styles. Generally, in the course of the 1860s fashionable skirt became flatter in front with fullness receding wards toback. You should take this seriously. Really like that one, some featured jackets and skirts in contrasting checks. Others, were made of really similar material throughout. For instance, vests depending on toman’s waistcoat were another popular feature. Style was not necessarily sacrificed for function as elegant, ‘close fitting’ designs graced pages of tailoring journals. Remember, pearly nes of buttons complement soft colour of cloth and ruffled frill on stand collar adds a delicate touch. Just keep reading! It shows off waistcoat underneath, Here jacket is semi fitted without shaping in front or fastenings.
With rounded chests and flared ‘frock coats’ that gave them a rather hourglass figure inspired by Prince Albert, very fashionable men sported low, tightly cinched waists.
With high upstanding collars and neckties tied around them, they also wore tight trousers and waistcoats.
Moustaches and side burns were popular. Swept to tosides, for any longer. They will have resembled a dress shoe when worn under trousers, albeit they were shaped like a boot. Opera boots were also known as ‘Dress Wellingtons’ and were often worn when going out to dinner, totheatre, opera and similar social evening occasions.
Viennese and Belgian bootmakers produced most of to most striking footwear of early 20th century.
Their stylish boots made good display pieces for retailers.
Others were richly decorated and made in bright colours, therefore this example is elegantly restrained. These boots advertised that ‘top quality’ fashionable footwear should be had from shops that displayed them. Bracelet with portrait miniaturesPierre Jules ChaiseAbout 1850ParisEnamelled gold, rose and brilliantcut diamonds, ivory and ‘motherofpearlMuseum’ no. Then, bequeathed by Mrs. Usually, pandeli Ralli and Mrs. Ralli. Yes, that’s right! Mr. With that said, this miniature portraitis part of a bracelet thatwas made to take portraits of Mr. Certainly, ralli appears as a client in ledgers of Royal Goldsmith’s RS Garrard in He bought a diamond head ornament for 200 and a matching bracelet for 45. Undoubtedly it’s created out of silk satin in a tartan pattern. These details reveal skill of eminent couturiers just like Madame Vignon, maker of this gown, who was also patronised by fashionable Empress Eugenie, wife of Napoleon II. Just think for a moment. While delicate puffs of tulle inserted into sleeves soften impact of dramatic colour, queen Victoria Satin bows and pleated ‘bias cut’ trimmings complement ribbed silk of this dress perfectly. For ages tight sleeves, for ages pointed waistline.
This dress is typical of women’s fashionsfrom to’mid 1840s’.
Tartan fabrics were very fashionable in to1840s, thanks partly to continuing popularity of Walter Scott’s historical novels, set in Scotland. Normally, they could hereafter be personalised with rosettes and akin decorative embellishments if desired.These were simply tacked on to a piece of gauze which was consequently stitched on at throat over totop of existing standard bow which was already in place. By middle of 19th century slippers or ‘sandal shoes’ were still widespread although by 1850s they’ve been worn largely only for formal wear in grey or whitish. Did you know that the thin leather sole and delicate silk and satin uppers were relativelyvery simple and cheap to produce. Yes, that’s right! This pair of shoes is a typical example of that style. Plain woollen costumes were considered ideal for plenty of leisure pursuits and might be adapted for sports just like shooting and golf.
Tailormade outfits similar to this one helped meet needs of a diverse lifestyle.
They may not been more comfortable than other styles but hardwearing fabric and relative lack of trimmings made them easier to care for and very versatile.
More practical clothing styles were adopted, as women engaged in a wider range of activities in 19th century. While youngest child looks gravely at camera clutching an owl, eldest of girls formally greets topuppy, emblem of wisdom. Normally, thus, other side of London Square onto which balcony looked are out of focus. Furthermore, while managing to photograph her daughters and a puppy without any discernible movement, lady Hawarden achieved a very short exposure with her large camera. To summer dressDesigner unknownAbout 1885BristolWhite cotton, trimmed with Bedfordshire Maltese lace, machinestitched and ‘handfinishedMuseum’ no.
Now, a 1927Given by Mrs.
This light summer dress will have been ideal for a hot climate.
Undoubtedly it’s said to are made in 1885 in Clifton, a district of Bristol in West of England, and worn in Burma. Unlike silk satin dresses that were fashionable during this period, it will also been easy to wash. Oftentimes dresses with asymmetrical drapes and inserted waistcoat effects were in fashion from The West End Gazette for February 1885 illustrated a similar example. Considering above said. It has fashionable bustle shape and copious trimmings but is comparatively ‘hard wearing’, light and easy to wear.
Best known female painters of Victorian era, now this portrait is of Louise Jopling Rowe massive crinoline skirts and tight corsetry.At turn of century she served as ‘vice president’ of Healthy and Artistic Dress Union, that championed this less restrictive mode of dress.
Dress she is wearing here has a couple of features of artistic dress.
Silhouette is very simple and unfussy, and dress is loosely corseted or don’t mention it -a distinctely unusual feature in the course of the 1890s. That said, this family photograph album contains single and group portraits and depictions of sports and pastimes that will have amused family, friends and visitors.a lot of Victorian and Edwardian family photograph albums just like these were acquired by VA in 1950s and 60s to show examples of dress of that period. Surely it’s a personal keepsake and document of a wealthy family of to1890s. Is must be remembered that a straw hat or low hat can not be worn with a grey coat Besides, the straw hat was at first only accepted for holidays and summer sports.
It was only last summer that Londoners began to wear straw hats with any freedom.
In 1894 New York City Herald of Fashion observed.
For a morning walk in Park in summer straw hat, or low hat and tweed suit, are as correct as grey coat and silk hat. Known by 1890s it had become popular for city wear. To appear in London streets in any hat apart from high silk hat, before thence it will have been a social crime for any man pretending to fashionable dress. Of course, fitted look was also achieved by cutting bodice with five seams at back and inserting front darts that curved in at waist and after that out again. As in this example, bodice was often fastened at centre front or with a concealed hook and eye closure on one side.