Asymmetrical mosaic of sparkling beads and sequins glamorizes this sweeping A line evening gown. Photography was a novel and exciting development in Victorian days, and many people had studio photographs takenfor ‘cartes de visite’ which will 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They have been superseded in late 1870s by larger and sturdier ‘cabinet cards’ whose popularity waned in turn in the course of the 1890s in favour of postcards and studio portraits.
They’ve been albumen prints made out of glass negatives, attached to stiff card backing printed with tophotographer’s name. On p of portraits, their subjects included scenic views, urist attractions and works of art. Cartes de visite’, size 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. Wide skirts were a focal feature of fashion during this period.
By 1865 fullness of skirt had receded wards back of garment creating a flatter front.
Lightweight dress fabrics like silk and muslin were popular as they draped gracefully over crinoline cage.
Women wore crinoline petticoats made from steel hoops under their dresses to give them this distinctive shape. Generally, bequeathed’ by Mrs. Bracelet with portrait miniaturesPierre Jules ChaiseAbout 1850ParisEnamelled gold, rose and ‘brilliantcut’ diamonds, ivory and mother of pearlMuseum no. Pandeli Ralli and Mrs. Now this miniature portraitis part of a bracelet thatwas made to take portraits of Mr. Ralli. Nevertheless. 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. For example, a 1927Given by Mrs. Summer dressDesigner unknownAbout 1885BristolWhite cotton, trimmed with Bedfordshire Maltese lace, ‘machinestitched’ and ‘handfinishedMuseum’ no. With that said, dresses with asymmetrical drapes and inserted waistcoat effects were in fashion from The West End Gazette for February 1885 illustrated a similar example. So it’s said to been 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 was easy to wash.
This light summer dress would have been ideal for a hot climate.
It has fashionable bustle shape and copious trimmings but is comparatively hard wearing, light and easy to wear. Though a brand new style called sack coat became popular, High fastening and tight fitting frock coats were also very fashionable. Shirts had high upstanding collars and were tied at neck with large bowties. Just think for a moment. With hairstyles characterised by large mutton chop ‘sideburns’ and moustaches, men wore matching coats, waistcoats and trousers, after style set by Prince Albert. While ‘tophats’ were favoured by upper classes, was generally seen as a working class hat, bowler hat was invented around 1850. Afternoon dress Halling, Pearce ‘Stone187981LondonSatin’, trimmed with figured silk, chenille tassels and machinemade lace, lined with silk and cotton, reinforced with whaleboneMuseum no. With a lot of fabrics, so this ensemble demonstrates to‘over upholstered’ look, rows of tassels and lace embellishment, all used on one outfit.
I am sure that the high neckline and elbow length sleeves indicate that this dress was for formal afternoon wear, hitherto train was found only on evening dress.
Dress bears label of tomaker.
Following example set by Charles Worth in Paris, dressmakers had begun to identify clothes they made. Now this can be seen in professionally made clothing from late 1870s onward. While extending into a point below towaistline, bodice is in to‘cuirasse’ style. Halling, Pearce and Stone. On p of this, by 1880 women’s fashions were becoming very elaborate. 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. On p of that, coats and jackets were ‘semi fitted’ and thigh length.
Hair was often worn parted in tocentre, and most forms of facial hair were acceptable, though being clean shaven was rare.
Generally, both jackets and waistcoats were buttoned high on tochest.
With tips turned down into wings, shirt collars were stiff and upstanding. With that said, this pair was purchased in 1923 for 8 shillings and sixpence. Display shoes and boots were stored or sold, when their style went out of fashion and they’ve been no longer useful to shops. With that said, day dressDesigner unknownAbout 1870Great BritainSilk, trimmed with silk ribbon and silk satin, lined with glazed linen, machine and hand sewnGiven by Miss WilsonMuseum no. Unfitted jacket and fairly loosefitting skirt suggest that ensemble so this ensemble illustrates todecorations, especially fringing and applied ruffles, that were popular at totime. Of course, a miniature photographic portrait just like this example, is called a ‘carte de visite’. So, 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, with that said, this was a photographic format. It was fashionable to collect ‘cartes de visite’ and compile them in albums. Did you hear of something like that before? They used natural and artistic materials and often included ‘handembroidered’ decoration inspired by countryside and wild or garden flowers. It sometimes featured on dresses designed and sold by London firm of Liberty Co, who sold gowns in Arts and Crafts style. Besides, clothes were homemade or produced in commercial studios.
Smocking will start reducing again, and fabric will be draped up into a bustle. Actually, introduced in 1856, and generally created out of hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats. Now 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. With that said, this dress has a foundation skirt of dark grey denim that is cut straight in front and gathered and pleated at back to follow lines of separate bustle worn underneath. Whenever accentuating closely fitted lines of bodice and drapery on front of toskirt, floral design complements construction of this dress.
It also flows in sweeping folds over tobustle, that by mid1880s jutted out almost at right angles from behind.
By 1885 bustle was often incorporated into back of foundation skirt itself in kind of a small pad attached to waistband and horizontal rows of steel which could have been 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. They may not was more comfortable than other styles but hard wearing fabric and relative lack of trimmings made them easier to care for and very versatile. Now regarding aforementioned fact… More practical clothing styles were adopted, as women engaged in a wider range of activities in 19th century. Plain woollen costumes were considered ideal for a lot of leisure pursuits and may be adapted for sports just like shooting and golf. Tailor made outfits similar to this one helped meet needs of a diverse lifestyle. Now please pay attention. One of a kind 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.
I know that the silhouette is very simple and unfussy, and dress is loosely corseted or welcome -a distinctely unusual feature throughout the 1890s. I know that the dress she is wearing here has a few features of artistic dress. Beeton also included paper patterns, a new phenomenon that, combined with fashion plates, ensured magazine appealed particularly to increasing numbers of those who owned a domestic sewing machine. Basically the sewing machine itself had only become widely available from late 1850s. That said, this magazine’s wide distribution ensured an awareness of French fashions among a wider section of society. In 1860 publisher of this magazine, toEnglishwoman’s Domestic Magazine, Samuel Beeton, began including hand coloured fashion plates just like this one. Jacques Doucet, Coulson ‘18951915’ Vienna, London Glacé kid leather lined in cotton sateen and yellowish silk satin, buttonsMuseum no.
With that said, this boot is one of a pair made in Vienna for display in a London shop.
It shows European ‘shoemaking’ at its finest.
Then the slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in The soft light brown leather with its shiny glacé finish highlights skilful stitching and shoulders of her dress are sloping, and low set. So this study of Lady Hawarden’s three daughters shows them dressed in typical 1860s crinoline skirts. It’s a well eldest daughter, seated, reveals part of her underskirt, though underneath this will have been a couple of layers more of crinoline petticoats or a steel cage crinoline to give skirt its distinctively 1860s bell shape. So little girl on right is also wearing a bell shaped skirt, though much shorter, as was customary for children. Her hair is typical of decade -parted in middle and scraped back into loops or buns at nape of toneck.
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.
Generally worn squarely on p of tohead, hats were small or wide with quite a few trimming. Skirts were worn in a fulllength, simple Aline. Oftentimes hair was worn high on p of tohead, in tight curls. Essentially, wide shoulders were fashionable and horizontal decoration on bodice further exaggerated toline. From about 1893 however, sleeves started expanding into a ‘legofmutton’ shape, that was tight at lower arm and puffed out at upper arm. It’s an interesting fact that the Queen magazine of 10 May 1884 commented on some particularly striking examples including, ‘The Hungarian.
They’ve been famous for their sporting costumes, smart tailormade dresses and coats suited to everyday fashionable wear.
Tailoring firm Redfern and Co, made this riding jacket for May Primrose Littledale.
Throughout the mid1880s Redfern incorporated braiding into loads of their designs for walking outfits and outdoor jackets. Polish, of royal dark blue faced cloth. May did not have long to enjoy wearing this jacket as she died soon after it was made. Fashions in hats and headwear changed more quickly than other items of clothing. Rather than a tally new shape, latest fashion in bonnets usually featured latest fabrics and trimmings. Personal accounts for this period show women buying new ribbons, laces, fabrics and trimmings to update their headwear. Notice, new styles of hats arrived annually, while a dress must be expected to last at least a decade. For instance, even if it meant recovering an old one themselves, most 19th century women expected a new hat every year. Besides, Hawarden family album indicates that man is Donald Cameron of Lochiel. She is holding a photograph of bare trees. Now regarding aforementioned fact… I know that the woman in this photograph is either Lady Hawarden herself or her sister Anne. With a generous moustache twisted at toends, fashionable 1890s gentleman in this portrait sports short centre parted ‘slicked back’ hair.He wears a high collar turned over to form wings, and his waistcoat buttons high at tochest.
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 number of to1880s.
Her hair is parted in centre and looped down over toears.
Her dress is offtoshoulder, and her bodiceis long andpointed at tofront.The skirt is madewithtiers and frills of lace. Whenever showing her in fashionable dress, so that’s a music sheet cover with a portrait of young Queen Victoria. Shoes with high heels were almost ‘non existent’ 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.
In the course of the 1860s fashionable skirt became flatter in front with fullness receding wards toback.
They have been no longer 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. Undoubtedly it’s true. With an eye to fall gracefully over these new structures, skirts tended to be gored, and here’s constructed with triangular panels rather than straight widths of fabric. 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. Then again, striped greenish skirt in this example is composed of eight gores that significantly reduce percentage of bulky pleating and gathering at waist characterising earlier styles. Now this photograph is a formal military portrait of British army officer Field Marshal Garnet Joseph Wolseley, 1st Viscount Wolseley KP GCB OM GCMG VD rig. 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 lots of features associated with dress reform trend of late 19th century. That said, this suit is said to was worn by todonor’s father, Robert O’Brien Furlong, at his wedding in Dublin on 29 June 1871. Given’ by Honourable Mrs. Redfern and Co. EnglandFlannel’ trimmed with mohair, lined with sateenMuseum no. Riding habit jacketMessrs. With that said, 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 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.
This dress follows vogue for historical revival with its separate draped overskirt loosely based on18th century polonaise gowns.
Then the resulting puffs and draperies were copiously trimmed with silk fringe, brocaded satin braid, beads, marabou feathers, garlands and applied silk flowers. Eventually, some loopedup styles were given nostalgic names like à la Watteau and ‘Marie Antoinette dress’ or were raised with cords and ribbon bows in style of tooriginals. Beneath all these layers and decorative trimmings I know it’s a wonder that a woman could discreetly find her watch pocket which was often concealed in waistband of her skirt. That said, while exposing much of towaistcoat, fronts were cut at an acute angle from second button.
It was introduced in 1870 and was known as to’University’ or ‘Anglefronted’ coat. So this example is a variation of morning coat. 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. Legofmutton sleeves are long, full, gathered at shoulders and gauged at insides of toelbows. Normally, with a pointed waist, it has a fitted bodice, and a frilled collar and cuffs trimmed with gauze and a machineembroidered border. Seriously. Therefore this dress should have been worn for fashionable day wear. That is interesting. Dress worn by ladies in this photograph is typical of to1890s.
They wear high collars with puffed, leg of mutton sleeves. Dresses are full length but quite slim. 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. 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. Some information can be found online. 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. With a velvet collar, edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk. Morning coatDesigner unknown1870 5Great BritainFine wool. Ok, and now one of most important parts. Morning coat was originally a singlebreasted tailcoat, worn in early 19th century, and on p of that known as riding coat.
By 1850s it was shaped halfway between a riding coat and a frock coat. It was usually single breasted and was known as to’cutaway’, as fronts sloped away elegantly to broad skirts behind. With material draped up to create a bustle, from end of 1850s up until about 1868 8. Cane or whalebone hoops.Towards end of 1860s skirt got narrower. I’m sure that the woman shown we have wearing a fashionably voluminous skirt. Queen Victoria helped popularise fashion for white when she got married in She set a royal precedent by choosing pretty simple ivory satin dress which was very much in fashions of today. Earlier royal brides had worn almost white but their dresses were often woven or heavily embroidered with gold or silver.
DressDesigner unknownAbout 1897FranceWool, trimmed with ribbon, braid and machine made lace, bodice lined with cottonMuseum no.
Queen showed examples with epaulettes, blouse fronts and pointed belts.
Boleros and ‘figure moulding’, flared skirts were very fashionable at totime. Accordingly the 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’. So this dress was worn by mother of donor and is said to are bought in Paris. It was probably readymade. Another magazine illustrated a similar example. Did you know that the woman in this photograph sports a hairstyle that was very fashionable in to1850s. Besides, 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 created from cane, metal or whalebone hoops.
And therefore the low collar is an unusual feature, more common wards end of 1890s than at the start. Suggesting a longer period of use, it might be a later alteration, since dress had been let out. Curling tendrils separated by undulating lines and a lattice work of simulated trimming adorn this block printed wool day dress. Then the delicate scrolling shapes of tendrils reflects midVictorian interest in 18th century Rococo design which incorporated scrolling naturalistic motifs and a lively anticipation of movement. Just think for a moment. 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. Graceful movements and a perfect silhouette were promoted by introduction of spring steeled hooped petticoats in 1856, often referred to as crinolines. Then, effective, lightweight, economical and comfortable, they ensured women could wear dresses like that one without having to contend with layers of hot and heavy petticoats.
They’ve been also hailed as a blessing, despite frequently ridiculed in press for their cage like structure and size.
Pearly nes of buttons complement soft colour of cloth and ruffled frill on stand collar adds a delicate touch.
Style was not necessarily sacrificed for function as elegant, close fitting designs graced pages of tailoring journals. Just like this one, some featured jackets and skirts in contrasting checks. Others, were created from identical material throughout. Vests on the basis of toman’s waistcoat were another popular feature. It shows off waistcoat underneath, Here jacket is semifitted without shaping in front or fastenings. You see, a 1979Bequeathed by Mr. 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.
Throughout the 1890s,women’s tailored suits were very popular.
They borrowed details from men’s dress, like wide lapels and exterior pockets.
So this practical style suited more emancipated lifestyles women were hereafter leading. Here her daughter Clementina poses beside a mirror. It was situated on second floor of her house at 5 Princes Gardens in South Kensington area of London. On p of that, a movable screen was placed behind it, across opening into next room. Did you know that a side table at left balances a desk at toright. Figure of young girl is partially balanced and echoed by camera reflected in mirror and embroidery resting on table beside it. Therefore this photograph gives an ideal idea of Lady Hawarden’s studio and way she used it. While contrasting with massive skirts and bustles of previous decades, their skirts are long but moulded at hips in an A line shape.
Their hair is piled high on p of their headsand their elaborately trimmed hats sit high and straight.
They grew to their widest extent in about 1895, with tosleeve, and had names just like ‘tobell’, ‘tofan’ and ‘toumbrella skirt’.
Then the growth of sleeve was balanced by an increase in size of toskirt. Needless to say, in about 1892, flared skirts were introduced. Quite a few of colours they provided were rather gaudy, similar to this bright dark red. Now regarding aforementioned fact… Additionally, by about 1860 chemical aniline dyes were widely available. Anyways, promenade dress Designer unknown1855 7Great BritainSilk plush trimmed with silk fringe and braid, lined with silk and whaleboneMuseum no. Needless to say, in 1857 to’Illustrated London News’ announced. Now let me tell you something. Luxurious velvet dresses embellished with fringe trimmings were highly fashionable throughout the 1850s. With that said, this accentuates flounced effect of fringe and helps to distribute weight of heavy skirt over to’dome shaped’ crinoline cage which would have been worn underneath.
While flaring out over tohips, in this example bodice is made with a basque, that was a separate extension below towaist.
With totop tier extending from waistband as far as fifth row of fringe, skirt is composed of two layers.
Fringes also simulated flounces and made skirts look even wider, when applied in rows. I know that the bottom tier is attached to a taffeta underskirt. It signified a move away from what were considered to be extravagant excesses of late eighteenth century wards a simpler, purer style of dress and footwear influenced by classical antiquity. You should take this seriously. Delicate flat satin slipper with ribbon ties first became popular throughout the last decade of 18th century. With that said, this ensemble is typical of fashionable women’s daywear of early 1870s. I’m sure that the fashion magazine ‘The Queen’ shows a dress with identical squared edge sleeve in a poser for August 1870. Whenever accentuating bustle that was now being worn underneath, lots of us are aware that there is an overskirt over back of todress. By the way, the silk has a figured pattern of blackish and white leaves on a speckled ground.
Open sleeves of kind seen here were very fashionable in early 1870s. Besides, the dress is trimmed with silk braid. He is condemned more universally than if he had committed some crime, if he goes to a garden party in a frock coat and a straw hat. Therefore if 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. It is boater was worn by all social ranks and had no ‘class distinction’. Notice that of that he might be certain, if he commits flagrant won’t be invited out very much. Considering above said. With folded wings, collar is typically high.The waistcoat is buttoned high on tochest. It was generally worn for morning dress, and is now commonly worn for weddings. It’s a well-known fact that the sitter in this portrait sports a four in hand Ascot tie, very fashionable in the course of 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 tie pin. That said, this magazine’s wide distribution ensured an awareness of French fashions among a wider section of society.
I am sure that the sewing machine itself had only become widely available since late 1850s.
Beeton also included paper patterns, a completely new phenomenon that, combined with fashion plates, ensured magazine a particular appeal among increasing numbers of owners of domestic sewing machine.
In 1860 publisher of this magazine, Samuel Beeton, first began including hand coloured fashion plates by Jules David. That said, it could’ve been her ‘going away’ ensemble, or it could’ve been dress she wore for actual ceremony. While in accordance with todonor, so this dress was worn by his mother on her wedding day. For her wedding a woman often wore a coloured dress that will serve as a ‘best dress’ for years to come. Considering above said. Daywear with long sleeves and high necks was acceptable style, since weddings in those days ok place in tomornings. So this ensemble characterises fashionable evening wear for women in late 1870s. Ok, and now one of most important parts. Worn for dinner or toopera, to’elbow length’ sleeves and square neckline show that it was probably not a ball gown.
Those worn with evening dress were often trimmed with feathers, braid and beaded embroidery.
By late 1870s profile of skirt had narrowed considerably.
As to follow contour of dress underneath, their shape had slimmed down considerably after to1860s, cloaks and mantles were still worn for warmth outdoors. Actually the back draped over a bustle, and on evening dresses extended into a train. They’ve been probably worn over an opaque ‘underdress’, light muslin bodice and skirt are unlined. Yes, that’s right! This ensemble is an example of fashionable women’s daywear for summer in late 1860s. With all that said… Whenever accentuating bustle that by this time was worn underneath, look, there’s an overskirt over back of todress.
‘offtheshoulder’ seam and sleeves with width at elbow are typical of to1860s. Photograph, portrait of Constance LyttonFrederick Hollyer 1899Great BritainPlatinum printMuseum no. That said, this dress also has quite a few 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. Generally, trend ran parallel with Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety tooutfit. Jacket, trousers and waistcoat that comprised suit going to be of one colour and were thence known as ‘dittos’. So that’s an excellent example of a doublebreasted frock coat. Formal gentleman’s daywear of later 19th century was usually of grey or blue blackish wool. Now this style continued until 20th century and became identified as city business man’s suit of blackish coat, striped trousers and bowler hat. Boating suit Designer unknown1890sGreat BritainCream wool with light blue pinstripe, handand ‘machinesewnMuseum’ no.
Light coloured suits 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.
Outfit was often completed with a straw boater. Therefore this dress is typical of a very fashionable early 1860s shape. With extra volume and length at toback, skirt is held out by a large cage crinoline petticoat giving skirt a full bell shape. Although, towaist, emphasised, isn’t small being that massive proportions of skirt make most of body appear dainty. Waist is set quite high and totorso is a pronounced hourglass shape because of corset commonly worn by women of almost any class.
Now this dress is characteristic of fashionable stylesfrom early 1840s.
Waist is lengthened in front with a point both front and back.
Elaborate applied decorations of 1830s are now no longer fashionable. While short ‘oversleeves’ recall elaborate sleeves of to1830s, tolong, tight sleeves are typical of to1840s. Neckline is wide with a deep collar or ‘bertha’. Except for a braid edging on tocollar, satin of this dress is left quite plain. Waistcoats were often collarless and singlebreasted, and trousers were occasionally cut from a narrow check cloth. Whenever extending to mid thigh, in 1860s it was fashionable for men’s coats and jackets to be ‘singlebreasted’ and semifitted. So a particular hairstyle, known as ‘Dundreary whiskers’ or ‘Piccadilly weepers’, were long pendant ‘side whiskers’ worn with a full beard and drooping moustache. High, starched collars were worn with cravats and ‘neck ties’. Needless to say, hair was parted from centre and moderately waved.
With ‘machineembroidered’ panels and silk collar, dressDesigner unknownAbout 1888Great BritainSatin, cuffs and front with a velvet ‘warpfigured’ stripeMuseum no.
This trained overdress is styled to suggest a man’s coat of Directoire period in France.
Queen magazine of August 1888 illustrated a very similar ‘Directoire’ reception dress, and in November of that year commented. Essentially, sides of coat hang down plain and straight. Bodice fronts are faced with ‘machine embroidered’ panels and trimmed with Japonaiserie buttons of ‘cast metal’. Therefore this dress is made out of satin. Skirt is mounted on glazed cotton and over a boned foundation. Of course tocollar, cuffs and front of separate skirt are made of silk with a velvet ‘warp figured’ stripe.
Dress fastens with a ‘halfbelt’ and buckle.
Dress on right is mauve, a brand new colour at totime.
Therefore this illustration type isknown as a ‘fashion plate’, and featured in magazines to advertise and promote latest styles. You see, introduced in 1856, and generally created 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 contemporary popularity of crinolines, dresses have fashionable wide skirts. So this plate shows day dresses. His moustache is long and twisted at toends. Fact, totop hat was worn by upper classes for formal occasions. Generally, sitter sports a high collar folded over into wings and a high buttoned waistcoat. With metal buttons, and whalebone stripsMuseum no, Day dress Designer unknownAbout 1858Great BritainMoiré silk trimmed with chenille and lined with silk. Had Miss Gilbert worn this dress, whitish ‘engageantes’, or undersleeves tacked to armholes should have covered her lower arms and a lace collar created from moiré silk, it has a lustrous rippled sheen accentuated by rich Prussian light blue dye, applied chenille flowers and sparkling metal buttons.
Even though its pristine condition suggests it been worn, And so it’s beautifully constructed in latest style as will befit a young fashionable woman.
While emphasising their width, box pleated trimmings stand out in relief along bottom edge and seams of wide pagoda sleeves.
Now this ‘eye catching’ day dress formed part of trousseau belonging to Miss Janet Gilbert. Opera boots were also known as ‘Dress Wellingtons’ and were often worn when going out to dinner, totheatre, opera and similar social evening occasions. They would have resembled a dress shoe when worn under trousers, they were shaped like a boot.
Basically the popularity of young Queen Victoria coincided with a period when large numbers of illustrated music sheets were being published. After her marriage in 1840, there were many with images of Queen and, of Prince Albert, either as portraits or at particular events. Worth was a celebrated Parisian couture dressmaker. As from other great Parisian fashion houses, madetomeasure’ clothes from Worth were an important symbol of social and financial advancement. Eight years later he moved to Paris, where he opened his own premises in He was soon patronised by Empress Eugenie and her influence was instrumental to his success. Nevertheless, he was born in 1825 in Bourne, Lincolnshire, and started working at age of 12 in a draper’s shop in London. Essentially, given’ by Mrs. Although, 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.
Whenever in accordance with todonor, now this dress was worn by her mother on her wedding day.
Bodice is tightfitting and designed to suggest a jacket.
It could’ve been her ‘going away’ ensemble, or it could’ve been dress she wore for actual ceremony. Horizontal bands of applied frills and ruching on skirt are typical decoration for this period. Now look. By 1880 skirt was quite slender in profile, often with an overskirt swathed in front, gathered over bustle at back and falling into a train. Daywear with long sleeves and high necks was acceptable style, because weddings in those days ok place in tomorning. For her wedding, a woman invariably wore a coloured dress that should serve as a ‘best dress’ for years to come. With striped velvetMuseum no, dressSara Mayer Morhanger 1889 92ParisFigured silk. Velvet ribbon, machine lace. While upstanding collar, that is a distinctive and fashionable feature of 1880s daywear, with that said, this dress features a high.
And therefore the sleeves sit close to line of tobody, as opposed to 1890s when they have been exaggerated into a ‘leg of mutton’ shape. With an emphasised hourglass waist created by a rigid whalebone corset, body itself is curvy. I know that the soft colours of this dress anticipate pastel shades of early 20th century. Furthermore, design would have been woven by a powered jacquard loom and is an example of good commercially produced fabric. Therefore this elegant bustle dress displays a dense pattern of violets springing from a bed of vine leaves. Fact, their stylish boots made good display pieces for retailers. There is some more info about this stuff on this site. Viennese and Belgian bootmakers produced quite a few most striking footwear of early 20th century.
Others were richly decorated and made in bright colours, now this example is elegantly restrained. These boots advertised that pquality fashionable footwear gonna be had from shops that displayed them. As in this example, bodice was often fastened at centre front or with a concealed hook and eye closure on one side. Therefore, fitted look was also achieved by cutting bodice with five seams at back and inserting front darts that curved in at waist and out again. Have you heard of something like this before? This day dress illustrates smoother silhouette that began to appear in late 1880s, with its minimal bustle and strong emphasis on tosleeves. Usually, I know it’s said to are worn by Cara Leland Huttleston Rogers of New York City, later Lady Fairhaven. This is tocase. For much of first half of 19th century flat shoes were popular amongst fashionable women. You should take this seriously. Therefore this portrait of Lady Duckworth shows her in Victorian mourning dress. Elderly widows generally wore it for much longer, So in case not quite 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.
In the course of the late 1870s fashionable female silhouette changed. It moved away from exaggerated padding provided by bustle to ‘sheathlike’ dresses that emphasised natural shapely curves of tobody. These details reveal skill of eminent couturiers similar to Madame Vignon, maker of this gown, who was also patronised by fashionable Empress Eugenie, wife of Napoleon II. While delicate puffs of tulle inserted into sleeves soften impact of dramatic colour, toGentleman’s Magazine of Fashion Satin bows and pleated ‘biascut’ trimmings complement ribbed silk of this dress perfectly. With that said, this example has large wide sleeves, as was fashionable for toperiod. It also has wide lapels and is buttoned very low on tochest. After 1875 coats tended to be buttoned much higher. Now pay attention please. While its lighter horizontal stripe complements fullness of toskirt, vertical emphasis of pattern suits fashionable shaping of bodice which is pleated over bust into a V shaped point at towaist. On this dress, bias cut strips of fabric decorate to’bell shaped’ ends of tosleeves, and toneckline, shoulder seams, sleeve head and hem of bodice are carefully finished with self piping.
Whenever focusing eye on fabric pattern or richness of material as well as fashionable silhouette, lots of dresses of this date were decorated with trimmings of self fabric.
This dress was probably made in mid1840s and after that altered about five years later to accommodate a change in style.
Now this particular example is made from silk satin, striped in a complex arrangement of purplish, crimson, magenta, light grey and almost white. Actually the sleeves have had gores inserted at wrist to bring them up to date with new fashion. On p of this, by end of to1840s, wide neckline had closed up to a high, round opening. Some info can be found by going online. Sleeves are beginning to widen at wrist into a slight bell shape.
Whenever ending in a point below towaistline, waist remained long and narrow. Therefore 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. High buttoned necks with low set sloping shoulders and puffed sleeves were also distinctive features of 1860s dress. Actually the dress is very similar to a fragmentary one from similar source, now in collection at Norwich Castle Museum and marked ‘Laferrière’, a popular Parisian couturier. It’s a well 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. It was worn by Mrs Granville Alexander, a daughter of to sewing machine pioneer, Isaac Singer.
Accordingly the donor was her ‘great niece’. So this silk satin evening dress, designed by Charles Frederick Worth, represents height of couture fashion in early 1880s. 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. Essentially, elegant cut, combined with rich materials and embroidery, makes for a flattering silhouette. Wedding dressDesigner unknown1865EnglandSilksatin, trimmed with Honiton appliqué lace, machine net and bobbin lace, ‘handsewnMuseum’ no. Therefore this was a popular colour as it implied purity, cleanliness and social refinement.
I’m sure that the wide skirt of dress should have been supported underneath by a cage crinoline.
In 1865 cage crinolines protruded out more from behind and were flatter in front in contrast to’bellshaped’ crinolines of to1850s.
Bride’s dress was a focal point just as So it’s today. By 1800 it had become usual for her to wear white or cream. Fact, 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. Although, they did, however, favour luxurious trimmings just like lace, as shown here. I’m sure you heard about this. By middle of 19th century slippers or ‘sandal shoes’ were still widespread although by 1850s they have been worn largely only for formal wear in blackish or white. They could so 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.
So this pair of shoes is a typical example of that style. It’s an interesting fact that the thin leather sole and delicate silk and satin uppers were relativelyrelatively simple and cheap to produce. The Lady’s Newspaper 17 August 1895Paris Museum no, William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell. 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, therefore this engraving. Silhouette emphasises a voluminous and horizontal collar line. 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 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. Ok, and now one of most important parts. That said, this necktie style was newly fashionable in to1850s. Also, manners for Men, by Mrs Humphry.’ For morning wear morningcoat or jacket of tweed suit is correct.
It became so popular that it began to rival frock coat for day and business wear. And therefore the morning coat was worn throughout the daytime, as name suggests. Collars were often faced with velvet and edges were bound, corded or stitched. Also, morning coats were usually made from dark colours, and fabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers. So skirt may been altered and have lost a side panel. Remember, collar and cuffs are faced with gold beaded tulle. Besides, the for any longer with a high pleated shoulder. With back flared and arranged in deep pleats, skirt has a slightly draped front. Now regarding aforementioned fact… It’s mounted over a greenish silk petticoat, and boned and taped to a bustle shape at toback. I know it’s trimmed at back for awhile pendant ends. Basically the dress fastens at shoulder over a boned, dark green silk bodice lining. Actually, bodice is waist length, panelled with satin and edged with blackish moiré ribbon. 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
Thus, other side of London Square onto which balcony looked are out of focus.
While youngest child looks gravely at camera clutching an owl, eldest of girls formally greets topuppy, emblem of wisdom. Consequently, 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. Normally, this meant that he sometimes had to change his outfits six or seven times in space of a day. Therefore a fashionable man needed clothes to suit all occasions, both work and leisure. With all that said… It was important at this period to be properly dressed in public and private. A well-known fact that is. Whenever sporting a rather masculine tailored jacket with exaggerated leg of mutton sleeves, she is shown here in fashionable mid 1890s dress.
DressDesigner unknownAbout 1872Great BritainCotton, trimmed with silk braid, fastened with bone buttonsGiven by Miss Julia Reckitt and Messrs and ReckittMuseum no.
It’s a jaunty, sensible woman’s outfit of early 1870s designed for boating or seaside walking.
With an overskirt in front and a bustle worn underneath at toback, despite its practical use, ensemble still incorporates details of fashionable dress. I know it’s easily washed and dried, it’s created from cotton. Make sure you leave a comment about it in comment box.a hemline just at ankle indicates a garment intended for walking outdoors. Nonetheless, style of dress is inspired by colours and stripes of sailors’ uniforms.
That said, this elegant pair of light blue and white 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. With addition of a small heel and some striped decoration form is updated to something more in keeping with modern tastes. Given by Dr. Basically, day dressDesigner unknownAbout 1862Great BritainCorded silk with glass buttons and velvetMuseum no. Certainly, first machine for embroidery was invented in France. Nonetheless, machine embroidery developed for men’s waistcoats and women’s dresses throughout 1840s and 1850s. Examples were first brought to Britain in to1820s. That is interesting. It was a few decades before sewing machine was widely used in homes and by professional dressmakers. Hand sewn, therefore this dress is machineembroidered. They did not become commercially available until late 1850s, various inventions of machines for sewing seams occurred in to1840s. Notice that 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.
Narrow at towrist, it has only a slightly pointed waist and a sleeve wide at toelbow.
Now this dress illustrates style of early 1860s. They would have been seen in early English portraits. They’ve been worn over wire ‘cage crinolines’, that gave maximum volume with minimum weight. Accordingly the puffed epaulettes at totop of sleeves indicate historical influences, particularly 16th century. Ferns added by photogram techniqueMuseum no, Photograph Kate Dore with frame of plantsJulia Margaret Cameron About 1864EnglandAlbumen print. Young girls generally wore their hair down, it was customary for grown women to wear their hair up. In this example, ferns were placed in contact with glass negative prior to printingout in sunlight. It was only in 1920s that women started to cut their hair short and so up until that point most for awhile 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 after that exposing composition to light. Besides, the Victorians were fond of collecting and cultivating ferns, that were used as a decorative motif from 1850s to end of tocentury.
With that said, this print is a photogram, a technique of making a picture without a camera or lens.
Many opera boots had bows attached, and uppers were often created from different textures of leather to give appearance of a dress shoe worn over a stocking.
Some even had silk stocking legs laid over leather to give even more of a stockinglike effect. Oftentimes reddish dark brown dust was found on tosurface, when it was conserved. You can find some more information about this stuff on this website. This suit might well been worn for an ur abroad. Notice, linen was particularly popular for hot weather for awhile being that it was washable and comparatively lightweight. It’s held out in a pronounced bell shape by layers of petticoats or a steel cage crinoline. In this image, toQueen’sskirt is tiered for fullness, that was fashionable in 1850s and very early 1860s.
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 ‘necktie’ tied in a knot around it.His hair and moustache was copied by many men at this time. Her bodice is buttoned high at neck and trimmed with a lace collar, ‘withlowset’ and sloping shoulders. Tiered skirts were popular in to1850s. Now look, the fabric was printed with a decorative border expressly for use as tiers of a dress. Considering above said. So it is an example of a fashionable summer day dress of late 1850s. As a result, it was known by French term ‘à disposition’. Typical of period are full ‘pagoda’ sleeves and bodice gathered from shoulders into lower front waist. For instance, 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 on planet earth.
Floral designs like this were fashionable in 1840s and 1850s. In this example a delicate pattern of vine leaves and speedwell is jacquardwoven in blueish and cream giving a lot of textural effects. After marriage, throughout hundreds of 19th century women had few legal rights to property. Children, or even, their own bodies. Traditional role of women was questioned and some women openly defied convention. Then, there were great changes in attitudes throughout the last decade of tocentury. They educated themselves by reading widely and ok up what were seen as ‘unladylike’ activities similar to smoking and cycling. By the way, the free movement of bicycle was seen as a symbol of equality and personal freedom. Remember, collars were turned over into wings, and became taller throughout todecade. It’s an interesting fact that the sitter in this portrait sports a generous and groomed moustache, fashionable throughout to1890s. Jacket buttons fashionably high up. It was common to have a pointed beard that said, this photograph is taken from a family photograph album. Dozens 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. He produced a reddish powder instead of colourless quinine, while experimenting with a synthetic formula to replace natural ‘antimalarial’ drug quinine. Of course whenever revealing fashion for bright new synthetic dyes, ruched skirt and draperies on this dress reverberate with intense colour. Dried and digested with spirits of wine gave a mauve dye’, intention to better learn the reaction he tested procedure using aniline and created a crude grey product that ‘when purified. That said, this dye created a beautiful lustrous colour that Perkin patented and which became known as ‘aniline violet’ or ‘mauveine’. I’m sure you heard about this. 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. Deep bonnets were worn and hair was swept into buns or side coils from a centre parting.
Tiered capejackets were fashionable, as were paisley patterned for ages bloomers and pantaloons trimmed with lace were popular.
They often featured deep flounces or tiers. Also, in to1850s, women’s skirts were domed and bellshaped, supported by crinoline petticoats. Nonetheless, tojacket, trousers and waistcoat that comprised suit gonna be of one colour and were consequently known as ‘dittos’. Notice, alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety tooutfit. Keep reading! This style continued until 20th century and became identified as city business man’s suit of blackish coat, striped trousers and bowler hat. This is tocase. So that’s an excellent example of a doublebreasted frock coat. Anyway, this design was popular as a dress fabric.
So popularity of cashmere shawls reached its peak from 1840s to1860s.
Originally imported from India in late 18th century, British manufacturers were making woven and printed versions by early 19th century, depending on Indian designs.
So 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. Actually, this indicates that owner wore it while nursing her children. On p of this, a key motif was boteh or pine cone, what we know day as topaisley. It was known as to’Louis’ after famous French kings of to1700s. Now look, the diamanté buckle is also a reference to extravagant styles of 18th century although here That’s a fact, it’s smaller and less showy than its predecessors.
Accordingly the curved construction of heels on this brownish velvet pair was influenced by heel shapes from previous century.
In 19th century waistcoats tended to be to more elaborate and colourful pieces of male wardrobe, that is partly why they survive in relativelyfairly large numbers.
They might also been kept for their decorative quality or for sentimental reasons when they went out of fashion. Notice that just visible over collar of frock coat is a bright waistcoat. Anyway, evening dressDesigner unknown1876 8Great BritainSilk satin, trimmed with silk ribbon and ‘machinemade’ lace, lined with cotton, reinforced with whalebone, machine and hand sewnGiven by Mrs Thérèse HornerMuseum no. Anyways, an overskirt of satin swathes front of todress, Tiers of ‘machinemade’ lace adorn skirt and bodice.
Therefore the bodice extends into a point below waistline in front and back.
Elbowlength sleeves and square neckline show that it was probably a dinner dress rather than ball gown.
That said, this ensemble characterises fashionable evening wear for women in late 1870s. With that said, this was a brand new style, known as a ‘cuirasse’ bodice, that appeared in fashion magazines about 1875 and remained fashionable through to1880s. Needless to say, portrait of Violet Lindsay, Duchess of RutlandFrederickHollyer About 1890EnglandPlatinum printMuseum no. There is a lot more information about this stuff on this site. It’s a portrait of Violet Lindsay Manners, Duchess of Rutland. While draping clothes with simple silhouettes in natural fabrics and colours, she was a popular artist, and a champion of ‘Aesthetic’ dress -a dress movement that eschewed restrictive corsetry and artificial bustles for loose. Oftentimes infiltration of sporting dress into informal styles of clothing shows how social conventions were relaxing in late 19th century.
Striped jackets were originally worn for cricket, tennis and rowing and became fashionable for seaside wear in the course of the 1880s.
While affecting details like length and width of lapels or fullness of totrousers, any stylistic changes were very subtle.
In 1888 dinner jacket was introduced for more informal evening wear. So that’s a feature that disappeared in to1890s. Keep reading. Jacket of this evening suit still has to’button stand’ around outer edge of tolapels. Which was cut with tails, back of dinner jacket was cut whole, unlike evening dress suit. Since therefore evening dress has altered very little. Afternoon dressDesigner unknown1872 5Great BritainCorded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewnMuseum no. With all that said… While indicating work of a professional dressmaker, with cleanly cut and finished appliqué and seams, with that said, this garment is well made.
Influence of masculine tailoring can be seen in cuffs and bodice revers of this woman’s afternoon dress.
With all decoration depending on application of a darker blue silk, overall effect is quite severe.
Fashion is moving away from fussier trimmings of early 1870s. By 1890s it had become popular for city wear. To appear in London streets in any hat except high silk hat, before thence it should have been a social crime for any man pretending to fashionable dress. Is must be remembered that a straw hat or low hat can not be worn with a blackish coat NYC Herald of Fashion observed.
It was only last summer that Londoners began to wear straw hats with any freedom. And therefore the straw hat was at first only accepted for holidays and summer sports. Anyway, lined with glazed cotton and whaleboneMuseum no, Day dress Designer unknown1868 9Great BritainSilk and wool faced with silk, trimmed with silk fringe. Now look. Therefore this ensemble characterises new style of fashionable women’s dress. Seriously. It has an over skirt and bodice now extends below towaist. Therefore the inside of skirt has a series of tapes, that enable it to be tied up for walking outdoors. You should take it into account. Then the 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. Undoubtedly it’s elaborately trimmed.Many high end 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.
Dark red boots, that are of ribbed silk, come up above ankle and have a ‘military’ style heel covered in silk to match touppers. They have lacing at back and are trimmed at totop with bobbin lace and ribbons. Day dress Designer unknownAbout 1866Great BritainSilk trimmed with bugle beads and silk fringe, lined with cotton and whaleboneMuseum no. Dresses incline way more to Princess Shape. However, with bulk of volume at toback, contours of crinoline have altered from a bell shape to a profile that is fairly flat in front. Anyway, this dress is a typical example of women’s fashionable day wear from to’mid 1860s’. It’s a well-known fact that the Englishwoman’s Domestic Magazine’ of 1865 reported change as follows. Except for a bugle bead and silk fringe which decorates tobodice, all widths are gored. Dark blue and grey are left unadorned, edge of collar and to’over sleeves’.