(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.
(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.
(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.
(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.
(National costume or folk dress of different countries were popular themes for fancy dress costumes. This outfit is remarkably similar to modern formal Scottish dress for men. It features loose hair and even reveals a few inches of bare leg. The "vest" referred to is a blouse or dickey, not a waistcoat; it can be seen under the jacket and plaid.)
Kilted skirt of Scotch plaid. White silk bouffant vest. Jacket of the principal clan color trimmed with black velvet, and scarf of the plaid goods. Cap of plaid.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(Another good one for a boy. The colors of the blouse and cap could be altered; jockey silks come in a wide range of colors and patterns, each representing a different owner.)
Blouse of blue satin with white rings, cap of same material with white peak. White cloth breeches; black boots with white tops.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.
(One last costume — for now — from Shakespeare, this time for the men. And yes, it’s another costume with tights. And a purse! Notice he’s carrying a rose, a reference to the famous line from the play.)
Tunic and tights of dove-colored wool; shirt of white mull and cloak of Venetian red cloth lined with pale gray. Cap of red velvet with gray feather. Leather belt from which is suspended a pocket.
Source: Masquerades, Tableaux and Drills. New York: The Butterick Publishing Company, 1906.