(Back to school time with an Edwardian schoolboy costume, which was probably an easy fancy dress choice for a young boy who could simply use his own school clothes or uniform. Yes, despite the long hair, that's a boy.)
Straw hat; blue and white or red and white striped blouse; white or blue flannel trousers with stockings to match; laced shoes.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(Here's a set of descriptions of the classic domino, a robe-like costume which dates back to the masquerades of the 18th century and is more associated with masquerades (masked balls) than fancy dress events, but still seem to have turned up occasionally. The English in particular appear to have continued to use dominos and evolved a lot of rather frou-frou variations barely related to the original concept of the simple black robe.)
1880, English:
DOMINO. Worn at masque balls and sometimes as a fancy dress. They are made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with capes and large hoods and wide sleeves. They should be large and long enough to slip over the dress easily, and hide it completely. The black are usually trimmed with a colour, such as a thick ruching down the front and round the tunic-shaped sleeves, and are often piped with a colour and lined with the same.
1887, English:
DOMINO, A. Worn at masque balls and sometimes as fancy dress. It is made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with cape and slender-pointed hood and wide sleeves. It should be large and long enough to slip over the dress easily, and hide it completely. The black are usually trimmed with a colour, such as a thick ruching down the front and round the bell-shaped sleeve, and are often piped with a colour and lined with the same. The lighter tones sometimes edged with swansdown.
1896, English:
DOMINO, A. Worn at masque balls and sometimes as a fancy dress. It is made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with cape and slender-pointed hood and wide sleeves. It should be large and long enough to slip over the dress easily, and hide it completel. Black is usually trimmed with a color, in the form of a thick ruching down the front and round the bell-shaped sleeves, and are often piped with a color and lined with the same. The newest kinds are made in chiffon and gaily trimmed with flower. White satin is covered with white chiffon and lilies of the valley are dispersed all over it, falling in a shower; the cape is formed of boullonnees of chiffon; blue satin dominoes are turned back with pink roses. Handsome velvet and satin brocades are employed on some with no capes, but full bishop sleeves and lace ruffles are gathered from the neck beneath a double frill of lace. The Merveilleux Domino is trimmed at the hem with festoons of old lace caught up with pink bows repeated on the shoulders; the large sleeves coming from the plait at the back. Some are parti-colored half black half cerise. A white brocade might have an accordion pleated cape, pink, flame color, black and yellow are effective.
1906, American:
Domino
Black silk, sateen or woollen material is selected to develop this popular garment. A silk cord, knotted, encircles the waist and is tied in front. Mask of black satin. (Illustrated above right; click the image to enlarge.)
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.
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.
(Like the boys' Brownie costume, here's one for men that looks more fierce than amusing! It would be easy to find a similar modern costume through a rental shop or theater.)
Costume of red and yellow satin or sateen, half of each color and alternated as depicted in the illustration; each point tipped with a tiny bell.
(Click to enlarge the illustration.)
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(One of the most recognizable historical figures for a man, and very suitable for a shorter gentleman in particular! Click to enlarge the image.)
White trousers; fawn-colored coat with heavy gold braid; purple sash and white felt hat trimmed with gold braid. Gauntlet gloves and spurs on boots.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(Costumes representing cards, dice, and games of chance were found in many fancy dress manuals. Here's one apparently inspired by the game of poker, complete with a fan made of cards and feathers. Click the image to enlarge.)
Box-plaited skirt of white with appliqué or painted cards and colored discs to imitate poker chips. Waist of white China silk, with high girdle of orange satin. Cards and poker chips arranged in the hair.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(One of many versions of the famous devil from the legend of Faust, and once again an opportunity for men to get into tights! I actually made a rather crude version of this, minus the headdress, many years ago for a friend. Click the image to enlarge.)
Costume of flaring-red cashmere, body and sleeves slashed, with silver-gray satin inserted. Silver-gray tights and silver belt. Pointed shoes and feather on head.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(A costume that let an Edwardian gentlemen be colorful and glittery yet still feel masculine!)
Red velvet jacket ornamented with gold; white shirt, red tie, striped sash over a vest of blue cloth, and breeches trimmed with gold braid. Brown stockings, brown hat with red pompon, brown cape.
Click the illustration at left for a larger view.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
Eleven years later, in 1917, Renoir painted the art dealer and patron Ambroise Vollard dressed as a toreador, as seen at right (click to enlarge), though I don't know whether the costume was for a particular fancy dress occasion or merely for the sake of an interesting portrait.
(Here's a specific fancy dress event theme that is basically a genteel Edwardian toga party, despite the author's efforts to depict it as educational.)
Some of the most successful fancy-dress parties as to costume, and most fascinating as to the amusement afforded, have been arranged by limitations as to books, eras, countries, etc., which have been mentioned by the hostess upon the cards of invitation. For instance, she invites her friends and acquaintances to…a classic party, the latter including both Greeks and Romans, a few of the most presentable of the gods and goddesses and so on, down to the characters portrayed in Hawthorne's "Marble Faun."
Both the Greek and Roman costumes of the free men and women are a most interesting study well worth giving a party for, if only for that; while following such a research, one's memory of classic times is refreshed, if not newly stored with historic facts, regarding tastes and habits that have influenced all the succeeding generations of civilized peoples. Gentlemen and ladies who carry themselves with dignity can wear these vestments with charming and novel effects, that contrast curiously with the appointments of a modern drawing-room.
Source:
Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(Another Shakespearean costume, this time for the gentlemen. What is left out of the description is that this was almost certainly worn with blackface makeup, which would nowadays be completely unacceptable. Click the image to enlarge.)
Shirt of white silk and tights of pale brown; sleeveless tunic of black silk, handsomely trimmed with gold bands; gold belt; full cloak of white cloth.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(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.