Historical Fancy Dress

Category: 1890s

  • The Soothsayer

    (This one is listed under costumes for "Misses, Girls, and Children," but I see no particular reason an adult woman couldn't wear it as well.  And it's one of the rare costumes that specifies eyeglasses!)

    A dove-gray kilted skirt, with panel of black on the sides.  A closely fitting black bodice reaching only to the waist, opening over a low-cut dove-gray waistcoat, and having angel or wing sleeves lined with dove-gray.  A white tucked and ruffled shirt front; a deep, fluted ruff about the neck and standing out well about the lower edge of the bodice; long black gloves, black stockings, and slippers with bows; eyeglasses, and a high black hat with pointed crown and a closely-rolled brim.

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

  • Academical Dress/Girl Graduate

    (The evolution of these descriptions across sixteen years and three editions of this fancy dress manual offers an interesting look at women's slow entry into academia.)

    In 1880, the entire idea is considered futuristic:

    GRADUATE, LADY, OF THE FUTURE.  Dark blue velvet dress, undergraduate's black gown and cap, lace cravat; hair tied with pale blue ribbons. (No illustration.)

    By 1887, it appears to be routine, and there are two entries, one of which implies a doctorate.

    ACADEMICAL DRESS.  Long silk academical robe; white, lack, red or other colour, plain or brocaded, worn over a plain skirt and bodice.  Academical cap.  (No illustration.)

    FD-Holt-1887-GirlGraduate GIRL GRADUATE.  In academical robe and cap, which may be of plain or brocaded silk in black or colours.  Or, dark blue velvet dress with black University gown, faced with blue; doctor's hat; scarlet stockings; black shoes; lace cravat; hair tied in a cue with ribbon.  (Illustrated at left.)

    And in 1896, the descriptions, combined, include a reference to the academical robes of the Princess of Wales when she was awarded a Doctorate in Music by Trinity College, Dublin, during a state visit in 1885.

    FD-Holt-1896-Academical ACADEMICAL DRESS.  Girl Graduate.  Long silk academical robe; white, black, red, or any other color, plain or brocaded, worn over a silk or satin skirt and bodice, which may be accordion pleated, academical cap.  The robe is sometimes faced with color.  Muslin bands are worn on a lace cravat.  The hair occasionally tied in a cue with a ribbon. (Illustrated at right.)  The Princess of Wales's robes as Doctress of Music were white silk bordered in front with red as were the pendant sleeves.  The hood red; the college cap edged with gold having a gold tassel.

    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.

  • Fancy Quadrilles

    (Often a fancy dress ball will include a prearranged quadrille featuring a set of themed costumes — matching or “naturally associated” with each other.  This might be the opening dance of the ball following the grand march or might be later, or there might be several during the evening.  Here are some ideas from the 1880s and 1890s for such quadrilles.  I particularly like the “naturally associated” pairing of Politicians and Nuns in the 1892 source!)

    A full list of the sources from which these descriptions are taken is at the bottom of this post.

        A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: –Watteau, Poudré, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and the costumes which everybody associates with these characters.  A Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such Quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1880)

        At some fancy balls quadrilles are arranged beforehand, in which all the dancers are to be dressed after the fashion of some particular period.  One of these quadrilles should open the ball, and others may be interspersed in the programme at irregular intervals.  (Armstrong, c1880s)

        A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: –Watteau, Poudré, Noah’s Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bouquet, Bird, Louis Quinze; Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and costumes associated with these characters; a Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1887)

        Among the many quadrilles from which to select a subject for this one dance, which may include other sets of the guests, are the following and it must be understood that the gentlemen of the set in most of the cases must be dressed alike and the ladies also; and that the costumes must belong to the same period or be naturally associated together: Shepherds and Shepherdesses; the Seasons; Watteau and Poudré periods; Louis Quinze Hunting Quadrille, in the hunting costume of that period; Kings and Queens of various nations; Army and Navy; Holbein Quadrille in Tudor dress; Flowers of the Year; Birds; Pack of Cards; Puritan Maidens and Cavaliers; Noah’s Ark, (the animals in pairs); National Games; Politicians and Nuns; Policemen and Nurse Girls; Dudes and Tailor-made Girls; Clowns and Fairies; in fact, anything of the kind that may suggest itself to the hostess or committee of arrangements, who plans when such a dance shall take place and who are to take part in it.  (Butterick, 1892)

        A marked feature at most Fancy Balls is a specially arranged Quadrille.  The choice is a large one.  The list includes; — Watteau, Poudré, Noah’s Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bird, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the costumes associated with these characters.  For a Louis Quinze Hunting Quadrille they appear in the hunting dress of that period; for a Holbein Quadrille in the Tudor dress; a Quadrille of all Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carrying the national flag are all good.  In an Italian and Swiss Quadrille, each couple preserve the same coloring.  In Black and White the ladies are entirely robed in white with powdered hair; the gentlemen in black costumes of the time of Edward III., with black masks and pointed shoes, hanging sleeves.  Stuart and Georgian characters make good quadrilles, and Pierre and Pierrettes, Punch and his wife, and Spanish Men and Maidens in various colorings.  In a Toy Quadrille, toys such as tops, Dutch dolls, battledores and shuttlecocks appear.  For an Octave, ladies and gentlemen are dressed in black and white, each carry bells which tinkle as they walk.  For Chivalry, the gentlemen are in armour, and the ladies in the dress of the period.  Scotch, Irish, King and Queen, Army and Navy, Flowers of he Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Butterflies, Joe Willett and Dolly Varden, Puritan and Cavalier also find favour.  The time when such quadrilles are danced, and the partners, are all pre-arranged.  (Holt, 1896)

    Descriptions of Poudré, Shepherdess, Vandyke, and Butterfly costumes are already posted elsewhere on Historical Fancy Dress, with more to come!

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.
    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.

  • The Wild West

    (A simple costume for ladies who look good in brown, though for modern purposes the gun should probably be left at home.)

     A brown blouse and skirt; collar and sleeves of red, and a broad band of red surrounds the skirt at the foot.  The skirt may be short and chamois or brown leggings or over-gaiters worn.  A heavy stick or a light gun is carried, and a large brown or red soft felt hat is worn.

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

  • Lady Gardener

    FD-Holt-1896-Lady Gardener (Another delightfully impractical "work" outfit much like the ridiculous Edwardian shepherdess.  I particularly like the bow on the rake!  Click the image to enlarge.)

    …a white satin skirt covered with a lattice work of light green rbbon, flowers clustering at the hem and brought up the skirt.  The black velvet bodice has a lisse fichu and sleeves tied with green and pink ribbon as is also the rake.  A bunch of roses appear on the right shoulder, and the large hat is trimmed with pink and green ribbons.

    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.

  • Salt Water and Fresh Water

    (Here's a pair of costumes for two sisters or friends that's in the same general category as the mermaid, sea maiden, and water spirit previously described, though considerably simpler in ornamentation.)

    The 1896 description:
    Suitable dresses for two sisters; both would wear green and white tulle dresses and veils.  For salt water, these would be trimmed with coral, seaweeds, and shells; the other with water-lilies and grasses.

    The 1880 and 1887 descriptions specify green and white evening dresses with white tulle veils but are otherwise identical to the later one.

    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.

  • Ribbons

    (Here's a simple 1890s costume that's perfect for anyone who wants to clean out their ribbon stash!  While it suggests a dress made from ribbon, a similar effect could be obtained by using an ordinary dress and ornamenting it with ribbon as described.)

    Dress of wide cream-colored chiné ribbon joined perpendicularly.  Shoulder knots and flowing ends from the waist.  Ribbon aigrette in hair; ribbon necklet and bracelets.

    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.

  • Charles II, Period of

    FD-Holt-1896-CharlesIIPeriod (Another historical costume more representative of the late 19th century than its original era of the 1660s. The illustration is taken from the 1896 edition and is very much in the hourglass style of that year; presumably the 1887 version is envisioned similarly adapted to the bustle silhouette!)

    1887:
    CHARLES II., PERIOD OF.  The women's dress of this period is familiar from the bevy of beauties associated with it at Hampton Court in négligé attire.  The bodices alone are stiff, but they expose rather than cover the bust and neck; the curled locks fall on the shoulders, and are simply confined by a row of pearls round the head; the arms are bare from the elbow; a train and distinct front breadth form the skirt, and there is a plethora of lace.  More homely women wore plain skirts, an upper one of a contrasting tone; pointed bodices, high to the throat, with a plain turn-down collar from the throat; the full sleeves to elbow are caught up with jewels at the bend of the arm; the shoes high on the instep, and very high in the heel, with roses or buckles.  The following is a good dress: — Blue and gold brocade, ith flounces of gold embroidery and point d'Alençon lace, and train of old gold satin; puffed petticoat looped at the side with bows, pearls, and lace; bodice low with sleeves fastened in to elbow with diamond ornaments; diamond tiara, and ornaments.  The skirt made plain and long, the bodices low, with lace turning downwards from shoulders.  Hair in ringlets, with bandeau of pearls.

    1896:
    CHARLES II., PERIOD OF.  The dress illustrated [above left; click to enlarge] may be carried out in plain satin.  The skirt full, the bodice low and stiff, with handsome jewelled trimming on front at neck, and fur bands which can be replaced if desired by a fall of lace, a full sleeve to elbow with an undersleeve of muslin and satin caught up in the fore-arm with a jewel.  Ruffle, gloves, pearls round the throat, and a small bouquet of flowers at the side of the head.  The women's dress of this era is familiar from the bevy of beauties associated with it at Hampton Court in négligé attire.  The bodices expose rather than cover the bust and neck; the curled locks fall on the shoulders, and are simply confined by a row of pearls; the arms are bare from the elbow; a train and distinct front breadth form the skirt, and there is a plethora of lace.  More homely women wore plain skirts, an upper one of a contrasting tone; pointed bodices, high to the throat, with a plain turn-down collar; the full sleeves to elbow are caught up with jewels at the bend of the arm; the shoes high on the instep, and very high in the heel, with roses or buckles.  The following is a good example: — Long skirt of blue and gold brocade, with flounces of gold embroidery and point d'Alençon lace, train of old gold satin puffed and looped at the side with bows and pearls; bodice low with lace turning downwards from shoulders, sleeves fastened into elbow with diamond ornaments; diamond tiara.

    FrancesStewartc1665 At right (click to enlarge), an actual portrait of a courtier of Charles II in the fashion of the era: "Frances Teresa Stuart", c1662-1665 by Sir Peter Lely.  Frances Teresa Stewart was the Duchess of Richmond & Lennox and a prominent member of the Restoration Court.  Notice the dramatically lengthened bodice and the much softer skirt shape compared to the 1896 illustration 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.

  • Aquarium/Gem of the Ocean

    (A delicious example of a initially charming and relatively simple idea that grew increasingly complicated and silly over the years.  I'm particularly taken with the spreading anemone tentacles — placed "here and there" on the gown and intertwined with seaweed in the hair — and the ludicrous head-dress given in the final description.)

    1880:
    AQUARIUM.  Fashionable evening dress of blue and green tulle, trimmed with marine plants and ornamented with fish and shells, the octopus on one side of the skirt; veil of green tulle; hair floating on shoulders.

    1887:
    AQUARIUM.  Fashionable evening dress of blue and green tulle, trimmed with marine plants and ornamented with fish and shells, the octopus on one side of the skirt; veil of green tulle; hair floating on shoulders.  Bodice trimmed with seaweed and coral; ornaments, silver fish and coral.

    GEM OF THE OCEAN, THE.  The idea of this dress is taken from the anemone tanks of an aquarium.  The dress, pale coraline satin; the trimmings, fringes, and groups ofnatural seaweeds, all of the most delicately-tinted kinds, small pearly shlls, and large pink anemones, imitations of the real aciniae, with their spreading tentacles placed here and there all over the dress — on the shoulders, front of bodice, and in the hair (interspersed with seaweed), and looping up the poufs of satin on the skirt.  Very palest shade of green would have a charming effect.  Shell ornaments round the neck.

    1896:
    AQUARIUM.  The idea of this dress is taken from the anemone tanks of an aquarium.  The dress, pale shot coralline and green satin; the trimmings, fringes and groups of natural seaweeds, all of the most delicately-tinted kinds, small pearly shells, coral, and large pink anemones, imitations of the real actiniae, with their spreading tentacles placed here and there all over the dress — on the shoulders, front of bodice, and in the hair (interspersed with seaweed), and looping up the satin skirt.  Shells, coral, and silver fish ornaments.  Character also called Gem of Ocean.  On the shoulders are small silver fish with fins erect.  The hem bordered with vandykes of brown plush to simulate rock.  For a realistic rendering.  Head-dress, a miniature aquarium with water and fish.  A gown of green, silk covered with cork and seaweed.

     

     

    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.

  • Butterfly/Queen of Butterflies

    FD-Holt-1896-Butterfly (Here's a whole selection of ideas either for a personified butterfly or for the Queen of Butterflies. Butterflies seem to have been fairly egalitarian in dress — the costume listed for a plain old butterfly in 1880 appears in later editions as suitable for the Queen. Different colors are given for different styles of butterfly; see the Canadian Butterfly for a color rendering and description of one variety.  Pre-made butterfly wings are easy to purchase nowadays, so it would be easy to transform any gown into a similar costume.  The illustration at left is from the 1896 edition; presumably an 1887 butterfly would have at least a small bustle!)

    1880:
    Butterfly: Tulle dress bordered with butterflies; black velvet tunic shaped and pointed like the wings; low bodice, with bands of gold across the front; blue gauze wings attached to back, short sleeves, with butterflies; a butterfly on the head; black shoes with blue butterflies.

    Queen of Butterflies: For the Queen, the dress would be similar, of bluish silken tissue, the tunic cut in the shape of a butterfly's wings; a jewelled zone round the waist; wand carried in the hand.

    1887:
    A Butterfly: Short white satin skirt, covered with clouds of brown, pink, and blue tulle.  Flight of butterflies all over it.  Wings of blue gauze, and the antennae in the head-dress.  White silk stockings and white shoes.  Butterfly on each.

    Golden Butterfly: Short skirt and low bodice of yellow merveilleuse, draped with tinsel gauze, trimmed with yellow, jet, and gold butterflies; gauze scarf; butterfly and feather head-dress, yellow shoes and stockings.

    Queen of Butterflies: Tulle dress covered with butterflies; black velvet tunic shaped and pointed like wings; low bodice, with bands of gold across the front, blue gauze wings attached to back; short sleeves, with butterflies; a butterfly on the head; black shoes with blue butterflies.

    The following is a very pretty rendering: White tulle dress, puffed and bouillonéed, with scarf of pale blue satin caught together with loops at back, bordered with tinsel fringe, dotted all over with butterflies; also bodice; a large one on each shoulder; wreath of butterflies and white veil with butterflies upon it; gold wand in hand with butterfly a-top; pale blue fan with butterflies. 

    Or, dress of brown velvet, front made with robings of brown and gold brocade; large gold and brown wings; hair dressed high above the face, surmounted by cap like antennae; brown gloves, shoes, and stockings.  For the Queen, the dress would be similar, of bluish silken tissue, the tunic cut in the shape of a butterfly's wings; a jewelled zone round the waist; wand carried in the hand.

    1896:
    Butterfly: [In the figure above at left] is depicted wearing a diaphonous skirt with panels showing the markings of the wings; a brown velvet bodice with handsome gold and velvet applique ornamentation; two gold cords falling like the antennae.  The folded tulle above is caught up with similar ornaments on shoulders, wings at the back, antennae in the hair.

    A tulle evening gown with a flight of butterflies across it, gauze, wing butterflies on hair and shoulders.

    (For young child.)  Short skirt of blue foulard, with an over-skirt of gauze; low bodice, having a waistband fastened in front with bows; two wings are attached to the middle of back, made of gauze, edged with fine wire; silk stockings; blue satin shoes.

    Queen of Butterflies: Dress draped with tinsel gauze, black velvet tunic shaped and pointed like wings; low bodice, with bands of gold across the front, blue gauze wings attached to back; short sleeves, with butterflies; a crown with a butterfly hovering behind it; black shoes with blue butterflies.

     

    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.