Historical Fancy Dress

Category: Victorian

  • 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.

  • Richard I, Coeur-de-Lion

    (This is listed as a boy's costume, though there's no reason a man couldn't wear it as well.)

    The 1887 description:

    RICHARD I., COEUR DE LION.  In a maroon velvet tunic trimmed with gold lace, three lions couchant embroidered in gold on the breast; white silk tights; velvet trunks; gold and satin shoes; jewelled belt, sword, and dagger.

    The 1880 version differs only in making the lions courant (running) instead of couchant (lying down).  Historically, Richard I appears to have used a device with the three lions passant gardant (striding, facing toward the viewer.)

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

  • Queen of Hearts

    FD-Armstrong-QueenofHearts (This is the playing card version, not the famous Tenniel illustration from Alice in Wonderland.  Click the image to enlarge.)

    Queen of Hearts — This is rather a pretty and quaint costume, in which the wearer is got up to look as like a Court Card as possible.  The over-dress should be of heavy woolen brocade lined with pale blue silk, whilst the under-dress should be of thick white silk appliqué with scarlet hearts.  The cloak is completed by a jewelled collar; and a conventional flower mounted on a wire stalk gives the finishing touch to the picture.

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

  • Sea Maiden (The Little Mermaid)

    (Another mermaid costume, this one inspired by Hans Christian Anderson's classic fairy tale, "The Little Sea-Maid," better known as "The Little Mermaid".  This one features a fish-tail train which would be a challenge on the dance floor!)

    SEA MAIDEN (Anderson's).  Plain loose robe of sea-green watered silk; under-dress of batiste, same shade, cut as a high square, back and front; short puffed sleeves; wreath of seaweed; silver shells in puffings of tulle round; coral round neck and wrists; armlets of shells; round waist belt of coral and shells from which falls seaweed; train of silver cloth, cut like a fish-tail at the edge and trimmed with oyster-shells; pink stockings; sandalled pink shoes; pink gloves; silver band round head, hair floating on shoulders, with red flowers intermingled; miniature of beautiful prince around neck.

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

  • 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.

  • Pillar Post (Mailbox)

    FD-Holt-1887-PillarPost (For women and girls with a strong but inexplicable desire to dress like a Victorian mailbox.)

    1887:
    Long red satin dress; white waistcoat with placard bearing hours of collection printed on it; head-dress, square cap, the same form as the top of letter-box.

    1896:
    Long red satin dress; white satin placard bearing V R and hours of collection printed on it; head-dress, square cap, the same form as top of letter-box.

    The "V R" stands for Victoria Regina, of course.  Pillar post boxes for mail were introduced in England in 1853, with new designs introduced in 1887 for Victoria's Golden Jubilee. A Victorian pillar post is shown in the image below; many more examples may be seen in this article on pillar post history.

    The illustration above (click to enlarge it and see the writing on the bodice) is from the girls' section of the earlier edition but actually better matches the 1896 description.

    Sources: VR_Pillar_box,_Hull
    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.

  • 1888 “Beetle Wing Dress” restored

    EllenTerryMacbeth1888 After a £110,00 restoration, the famous Beetle Wing Dress worn by Victorian actress Ellen Terry for the role of Lady Macbeth in 1888 (image at left; click to enlarge) has been restored and is now on display at Smallhythe Place, in Kent.  While this is a theatrical costume worn on stage rather than a fancy dress costume for a social event, its use of actual insect parts is interesting in the wake of comment-thread speculation on previous posts about the use of such materials in fancy dress costumes imitating insects and birds.

    True to its name, the dress was covered in real beetle wings, which made repairing it an interesting challenge.  An article published by Britain’s National Trust quotes Paul Meredith, House Manager at Smallhythe Place:

    ‘We had collected the beetle wings that had fallen off over the years so that the conservator was able to re-attach many of the originals, plus others that had been donated to us – 1,000 in total.”
    The actual dress is a stunningly bright blue-green, and was an enormous sensation at the time:

    SargentBeetleDressThe dress, transforming the beautiful red-haired actor into a cross between a jewelled serpent and a medieval knight, was the talk of the town after the first night. John Singer Sargent painted Terry wearing it, and the artist’s neighbour, Oscar Wilde, recalled the impact of Lady Macbeth arriving in a taxi: “The street that on a wet and dreary morning has vouchsafed the vision of Lady Macbeth in full regalia magnificently seated in a four-wheeler can never again be as other streets.” 

     

    BeetleDress The Sargent portrait is shown at right and the actual dress, in a photo the colors of which do not do it justice, at left.  Click the images to enlarge.  Better-colored photos, though only partial views, are available in the National Trust article.

    Special thanks to Eowyn for the tip!

  • Nocturne

    (Here's another easy out for ladies who don't want to wear "decided" fancy costumes, and a perfect example of the power of strategic naming: simply wear an evening gown in colors reminiscent of one of Whistler's famous Nocturne paintings, of which a primary characteristic was their lack of narrative content.)

    "In black and white, or red and white, after Whistler.  The term is generally applied to a stylish evening dress of the above mixtures.  The name is a fashion of the hour, and finds favour with those who do not care for decided fancy costumes."

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

    The "fashion of the hour" label seems to be accurate — it does not appear in the sixth (1896) edition of Holt. 

    WhistlerNocturne Interestingly, there is at least one Whistler portrait labeled a Nocturne: the Nocturne in Pink and Grey, Portrait of Lady Meux (1881-1882), shown at left (click image to enlarge).  It's not a ballgown, but it does suggest a wider range of color possibilities than those given above.  Whistler also painted Nocturnes in combinations of blue and gold, black and gold, blue and silver, and grey and gold.