(An interesting costume combining both symbolic and practical elements of the theme.)
Short white satin dress, scales in black velvet appliquéd upon it; black velvet jacket with policeman’s badge on one arm; a leather belt; a truncheon in hand, and policeman’s helmet.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(Just in time for Halloween, the Victorian version of the classic witch. The illustration shows just how long a "short" skirt would be. And note the mitts rather than full gloves. Click the image to enlarge.)
Short quilted skirt of red satin, with cats and lizards in black velvet; gold satin panier tunic; black velvet bodice laced over an old-gold crêpe bodice; small cat on right shoulder, a broom in the hand, with owl; tall pointed velvet cap; shoes with buckles.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(One might deduce that the “national character” of late nineteenth-century England is a little too straitlaced for the presumed dissipation that occurs when the dancers are masked…)
A masked ball is rarely given in England. One or two were given during the existence of the New Club, and it is possible that they will come into favour again, but it is a question whether the national character adapts itself readily to this description of entertainment.
The ladies at a bal masqué wear little black velvet masks on the upper part of their faces, and a domino covers the ball-dress. This domino may be of a plain black silk lined with colour, or may take the form of a very elaborate tea-gown. Both masks and dominoes are usually doffed at the announcement of supper, and the brilliant toilettes and sparkling jewels of the ladies shine out all the brighter for their temporary effacement.
Source: Armstrong, Lucie. The Ball-Room Guide. London and New York: Frederick Warne & Co., c1880s.
(Here are very similar descriptions for a woman’s version and a girl’s version of the same outfit. The electric stars would have been very modern and fashionable, less than a decade after the invention of the light bulb.)
Women:
Flowing hair falling over black fashionably-made evening dress; tiny lantern carried in hand; star of electric light in the centre of the forehead.
Girls:
Black lantern in hand, hair flowing; black tulle dress with iridescent beads; star over the forehead of electric light.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(I don't know quite how to categorize this one: a romanticized "shepherdess" done as a pink-and-chintz pseudo-18th-century costume worn over a very, very Edwardian corset. Click to enlarge the image.)
Skirt of chintz, with large flowers. Bodice and panier-drapery of pink nun's-veiling. Black velvet on sleeves and square-cut neck. Large hat trimmed with flowers.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(Here’s a costume appropriate to the season, for anyone who looks good in gold!)
The bodice and tunic of golden satin, looped over tulle of the same shade; the tunic caught back and edged with a fringe of ears of corn, clusters of fruit of all kinds, and nuts; the bodice trimmed to correspond, and for the small sleeves a band of fruit and leaves; a wreath of ears of corn an fruit; ornaments of fruit. Attached to side a gold-coloured fan with a border of ears of corn; a cluster of fruit placed on the outside stick; in the hand either a bunch of corn or a sickle.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(Practical advice for the lady or gentleman with a mediocre costume. Note the last costume on the list: in a one throwaway line, Holt has just provided for futuristic costumes…as imagined by someone in the 1880s! And I have never wished so much for an illustration as for the Bounding Ball of Babylon…)
There is much in a name, — A Coquette, a Lady of the Past Century, Petite Sole à la Normandie, the Bounding Ball of Babylon, His Picture in Chalk, a Duchess of the Next Century, &c., have attracted attention to very mediocre costumes ere this.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(This is one of those ideas that leaves me sputtering with laughter, especially the idea for the headpiece. Oh, for an illustration!)
White satin dress strung with all kinds of vegetables; black velvet bodice to simulate a saucepan, handles form the epaulettes to the sleeves; head-dress like the lid of saucepan.
Source: Holt, Ardern. Fancy Dresses Described, 5th Edition. London: Debenham & Freebody, 1887.
(Historical costume was popular for men as well as for women, as this stylish men's costume of a the late 18th century demonstrates.)
Coat of snuff-colored satin with lapels and cuffs of green; vest of white satin and breeches of pale blue; white silk stockings, black, low shoes with large buckles, black hat, white cravat and wrist frills.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(The "peculiar headdress" is presumably some version of the kokoshnik in this Anglo-American interpretation of Russian folk dress.)
A chemisette of fine cambric, neatly gathered and drawn round the throat with a frill; long sleeves of the same frill, and gathered round the wrist; a short-sleeved bodice of black silk, laced across the chest with gold braid; a peculiar headdress — a sort of half-moon of cardboard about six inches deep is covered with blue and red silk, and embroidered with beads; to the top is fastened a white gauze veil.
Source: Armstrong, Lucie. The Ball-Room Guide. London and New York: Frederick Warne & Co., c1880s.