Author: Susan de Guardiola

  • Plant Party

    (A hilarious society column description of a themed party, though it doesn't seem to have included much dancing.  Read all the way to the end for descriptions of some of the specific costumes.  Thanks to Irene Urban for finding this article for me!)

    From The New York Times, February 18, 1898:

    THE HEWITTS' PLANT PARTY.

    Society Assumes Vegetable Garb for the Season's Last Big Dance — Striking Costume Effects.

        The last of the season's big dances, a revivification of the days of Louis XVI, who is credited with having stood sponsor for similar entertainments at Versailles, took place in the form of a "plant party" at the home of Mr. and Mrs. Abram S. Hewitt, 9 Lexington Avenue, last night.  It was attended by several hundred of the city's wealthiest and most fashionable people.

        As a novelty the plant party was a success.  The edifying spectacle of richly costumed and bejeweled women carrying about on their persons imitations of various representatives of the vegetable kingdom, from squash and lettuce to meteor roses and orchids, and of men in conventional evening dress, with similar additions, was something enough out of the ordinary to interest the people concerned, and also plenty of others who were not favored with invitations.

        The women guests were asked to go in costumes representative of some particular fruit, flower, or vegetable.  The men appeared at the house in ordinary evening dress, which prevented too close a similarity to the Versailles "plant parties," and as each of them entered he received a vegetable adornment, artificial of course, which he was supposed to wear for the rest of the evening.

        The feminine guests showed little tendency to clothes themselves in complete imitation of plants or fruits, but were contented with bizarre headdresses and vegetable garnitures, which were sufficiently startling without quite spoiling the effect of handsome gowns.  One young woman carried in a staff adorned with garlands, and another had snowshoes carried in for her to complete her costume.

        Mrs. Hewitt received her guests in a costume suggestive of violets, and carried real specimens of the flower.  The Misses Hewitt, who assisted her, carried pinks and orchids.  Mrs. P. Cooper Hewitt daughter-in-law of the host, who was with them, wore imitation red carnations in her hair.  P. Cooper Hewitt and Edward Cooper were among the other relatives present.

        The entertainment was of a vaudeville character and started abut 10:30 P.M.  There were charades, tableaux, and songs, all furnished by the guests.  Lander's Orchestra played, and supper was served about midnight.  There was some informal dancing afterward, but no cotillion.

    Mr. Webb's Make-up.

        G. Creighton Webb created considerable amusement by appearing in an admirable make-up of red hair and beard and complexion to match.  He disguised his voice with good effect.

        The plant party is said to have been the first thing of its kind ever given here, though a vegetable party, in which men and women were both costumed, took place at Sherry's two years ago.  It was a leap year dance, and was attended by a number of fashionable people.

        Among the striking costumes were those of Mrs. A. Cass Canfield, who wore a basket of roses as headgear; Mrs. Francis Key Pendleton, who was in yellow satin, trimmed with small sunflowers, and wore the head of a tremendous sunflower in her hair; Mrs. W. Bayard Cutting, in cerise velvet, and wearing as a bonnet the half of a flower pot from which a stalk bearing pink carnations protruded; Mrs. Nicholas Fish, a costume designed to represent wild field flowers; Mrs. Stanford White, in yellow satin, with poppies over her head and used to trim the corsage of her gown; Miss Edith WInthrop and Miss Ruth Morgan, gowned to represent poppies.

        Mrs. Victor Sorchan, in pink satin, trimmed with pink roses, and wearing a pink satin rose, which measured about eighteen inches across, on her head; Miss Kernochan, as a sunflower, with satin gown appropriately trimmed; Miss Mary Kernochan, a white satin gown covered with apple blossoms; Mrs. W. Stover Miller, in brilliant red tulle and wearing a Bacchante wreath of grapes and grape leaves in her hair.

    (The original article may be found in The New York Times' archive, here.)

  • Vandyke

    FD-Holt-1887-Vandyke

    (Not a costume of Van Dyke himself, but meant to represent the style of the dresses worn in his paintings, this is one of those hilarious reimaginings of a historical era with the general style worn over completely inappropriate Victorian underpinnings for a very peculiar silhouette.)

    Full plain skirt; muslin apron, edged with pointed lace; bodice with revers; sleeves to wrist; hair in curls.

    Source: Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

  • Eumenides

    (This is a fantastic and bloodthirsty costume, with a snaky theme and a classic Greek chiton rather than the usual gown of the era.  It may well still have been worn over a corset and bustle, though!)

    Red or black veils, snakes entwined about bare arms, buskins like a huntress, rough chiton of brown, or black, or blood-coloured, girt with skins of snakes; other serpents bind their waists, and their garments are embroidered with snakes' eyes.

    Source: Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

  • Canadian Butterfly

    FD-Holt-1887-Girl-Butterfly (Something adorable for a little girl!  Notice the elongated bodice meant to represent the insect body; this is found on women's insect costumes as well.  I don't know enough about butterflies to have any idea what makes this particularly Canadian, but there are non-Canadian butterfly costumes as well for both women and girls and the general style could be adapted to any species of butterfly.)

    Bodice of green plush elongated into a point which falls on to the short yellow tulle skirt; short, puffed sleeves; gauze wings at back forming tunic; butterfly on head; green gloves and shoes with butterflies; butterfly fan.

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
    Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

    The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

  • Fine distinctions in the Regency era

    (Yes, there were fancy dress balls in the Regency era, though it's difficult to find much information on them.  Note the distinction made here between the masquerade or characteristic ball, at which masks were worn and behavior was less restrained, and the more respectable fancy dress ball, at which masks were eschewed.  This excerpt is from a lengthy satirical poem by London dancing master Thomas Wilson, who was active from approximately 1800 to 1825.  The "some people" said to confuse the two types of balls are rival dancing masters.)

    Fancy dress balls must as the next appear,
    And what they really are you now shall hear.
    Fancy Dress Balls, some people likewise name
    Characteristic, and think they are the same;
    (But Characteristic as I just have said,
    Is meant to signify a Masquerade,)
    A Fancy Dress Balls that, where every guest
    Is in appropriate costume strictly dres't;
    The face to shew the character, and age
    They paint, as is the custom of the stage;
    The mask's forbid the countenance to aid,
    For "Fancy Ball" means not a "Masquerade."

    — Thomas Wilson, The Danciad. London, 1824.

  • Scotch Lassie

    FD-Butterick-Scotch Lassie 20 (National costume or folk dress of different countries were popular themes for fancy dress costumes.  This outfit is remarkably similar to modern formal Scottish dress for men.  It features loose hair and even reveals a few inches of bare leg.  The "vest" referred to is a blouse or dickey, not a waistcoat; it can be seen under the jacket and plaid.)

    Kilted skirt of Scotch plaid.  White silk bouffant vest.  Jacket of the principal clan color trimmed with black velvet, and scarf of the plaid goods.  Cap of plaid.

    Source: Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

  • Universe

    (This is really two separate ideas for the theme: either a "classic" fashion, probably meaning a chiton, or a standard period evening gown.  With so little detail as to the decoration there's lots of room for imagination here!)

    Short blue and white dress made of cashmere or soft silk in classic fashion, or in gauze or twill as an evening gown, with stars and spheres for ornaments; star-spangled veil.

    Source: Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

  • Jockey

    FD-Butterick-Jockey 59 (Another good one for a boy.  The colors of the blouse and cap could be altered; jockey silks come in a wide range of colors and patterns, each representing a different owner.)

    Blouse of blue satin with white rings, cap of same material with white peak.  White cloth breeches; black boots with white tops.

    Source: Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

  • Of processions and prop-stands

    (Helpful tips for ball hosts and hostesses on two issues: how to arrange to show off all of the costumes present and what to do with costume props during the dancing.)

    Processions often form a prominent feature in fancy balls.  Some of them begin with a Polonaise, while others have a kind of march round the reception-rooms just before supper.  This gives an opportunity for showing off the dresses, which are frequently hidden in a crowded dance.

    When a march occurs it is correct for the characters to carry their crooks, wands, milking-stools, or any other property appertaining to their dress.

    As most of these things are much in the way whilst dancing, and are apt to get lost when left about in the ball-room, many hostesses provide a stand in the hall for their reception.  It should be lighter than an ordinary umbrella-stand, consisting of a slight frame covered with artificial flowers.

            Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.

  • Parrot

    (Back to the birds again.  This outfit seems to require an enormous number of feathers, if the wings are even somewhat proportionate.  I really wish there was a picture for this one!)

    A yellow gown with cuirass bodice and cap of green feathers like a parrot's head, two long feathers forming the tail on the skirt the rest of the dress green satin, with wings at the side formed of feathers.

    Source: Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.