Historical Fancy Dress

Category: 1890s

  • Golf

    (Continuing with the theme of summer sports, women's increased participation in golf is reflected in the evolution of this costume over two succeeding editions, spanning nine years, of the same fancy dress manual.)

    In the 1887 description, the costume is meant to portray a golf course or game, with the lady imitating grass with clubs and balls and a sand-trap scarf, though above the waist she wears the traditional red golf coat.

    1887:
    Grass green tulle skirt, fringe of grass and gorse; scarf of sand-colour draped round waist, and ornamented with balls and clubs; and bright red golfing coat.

    Compare this with the 1896 description below, which retains the golf-course skirt but adds accessories and a golf club that make it obvious that the woman herself is now a golfer.  This fits neatly with the development during the 1890s of golf as a game played by women as well as men.

    1896:
    Grass green satin skirt studded with golf balls and clubs, fringe of grass and gorse; scarf of sand-color draped round waist, and ornamented with balls and clubs.  Bright red cap and coat with swallow tails and white satin facings held back with golf buttons.  Suede shoes, white gauntlet gloves, a golf club in hand.

    Victorian ladies seem to have traditionally worn the red golf coat, but the December 1, 1899, edition of Golf Illustrated offers under "Some Hints on Dress for Lady Golfers" a bit of debate on the matter of "Coats Red and Green":

        Though her red Golf coat is not as a rule individually becoming to an Englishwoman, its effect collectively on the links is so bright and picturesque that one can only hope the coats of green, which are certainly gaining in favour for wear thereon, will not finally oust the red ones. 

        There is no doubt that though their rivals in green are not only very smart but excellent foils for complexions brightened by exercise (which, by the way, is not always the case with the red ones), and recently I saw a very effective one, built of green cheviot and, like all our apparel of the tailor-made persuasion this season, liberally bestripped: it was fastened with buck-horn buttons and lined with a thick red silk, though many of these cheviots have reversible tartan linings; one I saw at a leading tailor's the other day being bright red on the outer side while the reverse showed the Stuart tartan.

        This coat, in green, makes a capital all-round coat, which a red one of course does not, as it invariably boasts its owners club collar, cuffs, and buttons, thus stamping it with its raison d'être so plainly as to make it out of place anywhere but on the links.  With a green one, however, the addition of one of those big collars or necklets of fur makes it a perfect little coat for ordinary walking or driving use.

        To revert to its lining, there is a fancy just now for having the red Golf coats line with silk which exactly matches the colour of its collar and cuffs and a very good effect this has, especially when these are of one of the many shades of green which is such a favourite club colour.

     

    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.

  • Ruth, the Pirate Maid-of-All-Work

    (Inspired, of course, by the popular Gilbert & Sullivan operetta!)

    Ruthbarnett Ruthbrandram RUTH, THE PIRATE MAID-OF-ALL-WORK (Pirates of Penzance).  This costume is suited to a dark beauty; a head-dress of red drapery and coins; red and black short skirt, with much gold trimming; low black gold-bedizened bodice, and gold armlets, with chain of sequins from the shoulder to wrist.

    Ruthdesign The description is identical between the sources, except that the 1897 one omits the suggestion of it being suited to a "dark beauty."  Note that "short" is a relative concept in Victorian skirts; it meant you could see the the ankles, or possibly a bit of calf.

    Nowadays (and from the 1910s onward) Ruth's costumes have a stereotypical pirate look, but judging by photographs from early productions of The Pirates of Penzance, a Victorian version of her costume should probably have a vaguely Mediterranean feel.  For reference, at left are pictures of Alice Barnett, who played Ruth in New York in 1880; Rosina Brandram, who played the role in 1888 and 1900 at the Savoy, in 1901; and a 1908 costume design, courtesy of the Harry Ransom Center, which was very similar to that worn by Brandram.  Click to enlarge the images.

     

    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.

  • In the Gloaming

    (Here's a more elaborate version — in title as well as detail — of the costume for "Dusk" from the same manual.  Note that if you're "in the gloaming", you get to have a bat and an owl!)

    GLOAMING, IN THE.  Dress of grey tulle, or muslin, or gauze over satin, made as an ordinary evening dress, or in classic fashion; a veil of the same material; fire-flies imprisoned in the tulle; bat fastened on one shoulder, an owl on the other; silver and smoked pearl ornaments.

    The above is from the 1887 edition of Holt.  "Dusk" is upgraded after this — in 1896, that entry, which "In the Gloaming" refers the reader to, uses exactly the description as given above.

    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.

  • Tennis and Badminton

    (Here’s an increasingly elaborate and ridiculous sport-themed costume for women — with a modern interpretation as well!)

    The 1887 edition of Ardern Holt’s fancy dress manual lists costume ideas under both “Tennis, lawn” and “Lawn tennis and badminton”:

    TENNIS, LAWN.  Short plain skirt of grass-green satin, slightly gathered at the back, and trimmed at the edge with grass fringe, headed by white satin bands; bats and balls introduced as trimming.

    LAWN TENNIS AND BADMINTON.  Sometimes for these only an ordinary lawn tennis dress and pouch are worn, with a bat attached to the side. 

    That not being nearly exciting enough, Holt continues the latter description with a rather witchy alternate version:

    A better representation is a green satin skirt, a bat fastening a silver net, forming paniers, pouches and balls on the shoulders, which drape the skirt; scarf across bodice, with lawn tennis in silver letters; black bodice with white circles to resemble balls; high pointed black hat with a bat as an aigrette; brown stockings and shoes. 

    And then tops it off by jazzing up the plain “Tennis, lawn” version even further:

    Or, a short plain skirt of grass green satin, gathered at back, trimmed round the edge with two rows of grass fringe, headed by a flat band of white satin an inch and a half in width, to represent the boundary of court; six lines of the same round the skirt at intervals; a tennis net draped from waist, edged with scarlet and white worsted balls; miniature tennis bats hold up the drapery; bodice of green velvet, long sleeves to wrist, all bordered with gold braid and scarlet and white balls; epaulettes of scarlet and white satin ribbon; red and white satin peaked cap, with daisies and leaves beneath the flap; Suède gloves, and black shoes; scarlet stockings; ornaments, gold tennis bats; fan like a bat, in red.

     The 1896 description is similar to the first and last parts of the longer 1887 description (now the tennis net is gold!) and adds a sop to badminton:

    LAWN TENNIS AND BADMINTON.  Sometimes for these only an ordinary lawn tennis dress and pouch are worn, with a bat attached to the side.  A better representation is a short plain skirt of grass green satin, gathered at back, trimmed round the edge with two rows of grass fringe, headed by a flat band of white satin an inch and a half in width, to represent the boundary of the court; six lines of the same round the skirt at intervals; a gold tennis net draped from waist, edged with scarlet and white worsted balls; miniature tennis bats hold up the drapery; bodice of green velvet, long sleeves to wrist, all bordered with gold braid and scarlet and white balls; epaulettes of scarlet and white satin ribbon; red and white satin peaked cap, with daisies and leaves beneath the flap; Suéde gloves, and black shoes; scarlet stockings; ornaments, gold tennis bats; fan like a bat, in red.  For Badminton Shuttle Cocks replace the balls.

    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.

    Frighteningly enough, the idea of dressing up as tennis (lawn) occurred to one of this year’s Wimbledon competitors — fashion-conscious tennis professional Bethanie Mattek-Sands made an appearance at the WTA’s pre-Wimbledon party in fancy dress, having sacrificed quite a few tennis balls for her look:

    MattekTennisBallDress
    Photos courtesy of Style Bistro (more photos there!)  Click the image to enlarge.

    Though it shows a little more skin than a Victorian fancy dress outfit would, and the shoes are hardly danceable, the general idea is very much in keeping with nineteenth-century fancy dress.  And they would have loved the hat!

  • The Ghost of a Belle

    (Here's an interesting twist on Poudré costume that can incorporate a white dress of any era, provided the wearer is willing to powder her hair!)

    Any style of costume in white.  Powdered hair, white slippers and stockings.  The face should also be powdered to look very white, or a white mask may be worn.

    Source:
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

  • For Fair-Haired Women

    (Paralleling the list of costumes for brunettes, here are some fancy dress suggestions for fair-haired women from various editions of Ardern Holt's manual.)

    From the second edition in 1880:

    For FAIR WOMEN, among others, the following are suitable: — Arctic Maiden, Air, Bride of Lammermoor, Aurora, White Lady of Avenel, Canada, Canadian Snow Wreath, Danish, Day, Dew, Elaine, Fair Maid of Perth, Fairy, Flora, Marguerite in Faust, Moonlight, Norwegian, Ophelia, Peace, Polish, Rainbow, Rowena, Sabrina, Swiss, Schneewitchen, Titania, Twilight, and Water-Nymphs.

    The list expanded slightly in the 1887 & 1896 editions:

    For FAIR WOMEN, among others, the following are suitable: — Arctic Maide, Air, Bride of Lammermoor, Aurora, White Lady of Avenel, Canada, Canadian Snow Wreath, Danish Peasant, Day, Dew, Edith Bellender, Elaine, Fair Maid of Perth, Fairy, Flora, Gabrielle d'Estrées, La Belle Dame sans Merci, Margeurite in Faust, Moonlight, Norwegian costumes, Ophelia, Peace, Polish Peasant, Rainbow, Rowena, Sabrina, Swiss, Schneewittchen, Titania, Twilight, and Water-Nymphs.

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    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.

  • Falconer & Falconry

    (Falconer and Falcon(e)ry are actually individual costumes from completely different sources, though close together in time, but they'd also make a workable pair of themed costumes for a couple, despite their disparate historical styles.  It seems a bit unfair that the lady gets a hawk, presumably stuffed, and the gentleman does not!)

    For the gentlemen, a Falconer:

    FALCONER
    Short tunic of brown velvet trimmed with a plastron of gold cloth and bound with gold braid, fastened round the waist with a leather belt.  Loose knickerbockers, gartered at the knee, and tied with a ribbon bow.  White stockings with calf-pieces of velvet trimmed with gold braid.  Leather shoes.  Lace neck-frill.  Soft, round hat of velvet, trimmed with eagle feathers.

    Source:
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

     

    For the ladies, Falconery:

    FALCONERY
    Short skirt of dark cloth, red, blue, or brown; green velvet skirt caught up on one side; long basqued jacket of the same; gauntlet gloves with hawk on the hand.  Cavalier hat with dropping feathers; high boots.

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

     

    Nine years later the description is virtually the same, though the velvet overskirt is lost and the spelling is more conventional:

    FALCONRY
    Short skirt of dark cloth, red or brown; long basqued jacket of green velvet; gauntlet gloves; a hawk on the hand.  Cavalier hat with dropping feathers; high boots.

    Source:
    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.

  • Fish

    (Another blandly silly Victorian costume idea: the octopus hat!  I feel there's a real possibility for a whole group of ocean-themed costumes: mermaid, sea maiden, salt water, and, of course, gem of the ocean!  Being more practical than the sea maiden, this fish costume has legs.)

    Costumes of this kind can be carried out in scaly cloth, the fins of gauze distended with wire.  The head-dresses representing the head of the fish.  The skirts short with high leggings covered with scales.  A cod, a sword fish, an octopus can be so represented; for the latter, the various feelers form the head-dress.

    Source:
    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.

  • On decorating the ballroom

    (Tips on decorating the hall for a fancy dress ball.  This is an American description, and the use of the term "maskers" for the guests suggests a greater openness to actual masquerades than was the English custom in the late nineteenth century.)

        As private houses are seldom commodious enough to afford comfortable space for a large fancy ball, it is quite customary for the host or hostess to engage the exclusive use of the ball and supper rooms of some hotel or other public resort, and give the entertainment in them; and the custom is commendable, since it provides more room for the guests and thus insures them a greater amount of enjoyment, besides relieving the hostess of the household confusion which prefaces and follows a ball given at a private dwelling.

        On the occasion of a private ball in a public ballroom, the latter may be decorated as far as possible to appear like the parlors of a private house; and as refreshments are served in rooms reserved for the purpose, the affair is as exclusive as if given under one's own roof. 

        In decorating for a fancy ball, the ballroom is usually festooned with draperies of the national or other colors fastened up under comic masks, or shields upon which are grotesque faces and figures, armorial emblems and mimic instruments of music.  Flowers and foliage are banked and grouped in different parts of the room, but foliage should predominate, as its rich green forms a charming background for the brilliant costumes of the maskers.  Japanese lanterns also add, by their soft radience, to the effectiveness of the scene.

        In many instances the musicians are dressed in fancy costumes; and not infrequently the men servants are habited as were the retainers of olden days, and the women servants are also dressed as were those of ancient times.  In this way greater realism is obtained and there are no inharmonious comminglings of the unpicturesque costumes of the present day.

    Source:
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

  • Marquise de Vaudreuil

    McCord-Vaudreuil Left: Harriet Wheeler as "Marquise de Vaudreuil" for the Château de Ramezay Historical Fancy Dress Ball, Montréal, QC, 1898, by William Notman.  Image © McCord Museum (click to enlarge.)

    The photograph is part of an online exhibition of photographs of fancy dress costumes from balls and skating parties.

    The Château de Ramezay was built in 1705 as the residence of the governor of Montréal and by 1898 had been converted into a museum.  The Historical Fancy Dress Ball was intended both as an entertainment and as an educational showcase for Canadian history and the history of the Château itself.  Guests were required to portray a character from Canadian history and were divided into themed historical sets to perform specific dances, probably fancy quadrilles.

    Harriet Wheeler chose to portray the Marquise de Vaudreuil, presumably Charlotte Fleury de la Gorgendière, wife of Pierre de Rigaud de Vaudreuil de Cavagnial, Marquis de Vaudreuil, the last Governor-General of New France (Canada) before it was lost to Britain in 1760.  While her character would probably be fairly obscure nowadays to anyone but a Canadian, the outfit is a good example of a typical poudré costume.  The museum's description of it states:

    Mrs. Harriet Wheeler wore a pink satin hoop skirt trimmed with lace flounces and an overdress of pink and white flowered silk. Her patches — small beauty spots on the face — and powdered hair were frequently a part of 18th-century costumes.

    I've previously posted nineteenth-century directions on applying patches and powdering hair.

    Although guests were supposed to research their costumes and present accurate portrayals, there were varying degrees of success.  To my eye, her corset looks rather more nineteenth century than eighteenth century, and the museum notes that:

    The skirt of Mrs. Wheeler's supposedly 18th-century costume was held out with a circular hoop typical of the 1860s, and not the panniers that would have been more in keeping with the period. Nonetheless, the press praised her for wearing a "perfectly correct Pompadour costume."     (Montreal Star, 19 January 1898.)