Historical Fancy Dress

Category: Women’s

  • 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.

  • With regard to powdering

    (Practical advice on how to powder the hair for a Poudré ball or costume.)

        With regard to Powdering, it is best, if possible, not to have recourse to a wig, they are heavy and unbecoming.  It is far better to powder the hair itself, using violet powder, and plenty of pomatum before applying it; but it entails a great deal of trouble in subsequently removing the powder.  The head may be covered with a thick soap lather.  The powder is applied thus: A puff well-filled is held above the head, jerking the elbow with the other hand.  The process should be repeated over and over again, and it is incredible the amount of powder that ought to be used to produce a satisfactory result.  An easy mode of dressing the hair for powder is to part it across the head from ar to ear, turning the front over a high cushion, making the back into a long loose chignon, with a few marteaux or rolled curls behind the cushion.  Sometimes the roll in front is replaced by a series of marteaux placed diagonally.  Sometimes the centre-piece only is rolled over the cushion, with marteaux at the sides.  Sometimes the back has four marteaux on either side, put diagonally, with others behind the ear, or a bunch of loose curls fall at the back.  All this may be made easier by having false marteaux and curls which have a far better effect than a wig.  It is, however, very much the fashion to powder the hair as it is worn now, viz., with curls in front and a coil at the back, a style which accords well with the dress worn when powder was a fashion.

    Sources (identical language in both):
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

  • 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.

  • 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!