Historical Fancy Dress

Tag: fancy dress balls

  • Powder vs. Wigs

    (Thoughts on whether to powder the hair or wear a wig for a Poudré ball or costume, and how to go about each method.)

    Contrary to the advice given by Ardern Holt, Lucie Armstrong felt that a wig was better than powdering one's own hair:

        The way to powder the hair is as follows: — First dress it very firmly and grease it all over.  Another person now takes the hair-powder and throws it lightly from above all over the hair, care being taken to protect the dress by means of a large wrap.  The effect of the powdered hair is extremely becoming, but the after-consequences are far from agreeable.  It takes days to get rid of all the powder and grease, and the hair often gets tangled and broken during the many washings and combings necessary.

        A simpler plan is to wear a powdered wig, which leaves no unpleasant results to the hair, though its weight is apt to induce headache.  A good wig is better than a bad head of hair, and the mass of curly locks are extremely becoming, and give a good deal of character to the face.

        It takes two people to put on a wig.  The one who is going to wear it must catch hold of the foundation, and pull it down in front as tightly as possible, whilst another person pulls it down as far as it will go at the back.  The hair must first be reduced to as small a compass as possible, combed up away from the face, and arranged tightly on top of the hea. The wig must be held in its place with white hair-pins, placed at the edge of the silk foundation, and fastened firmly into the hair beneath.  The curls are then arranged to suit the wearer, being gathered up towards the back with a few white-pins; and a few final touches of the powder-puff will improve the appearance of the wig when everything else is done.

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

  • On decorating the ballroom

    (Tips on decorating the hall for a fancy dress ball.  This is an American description, and the use of the term "maskers" for the guests suggests a greater openness to actual masquerades than was the English custom in the late nineteenth century.)

        As private houses are seldom commodious enough to afford comfortable space for a large fancy ball, it is quite customary for the host or hostess to engage the exclusive use of the ball and supper rooms of some hotel or other public resort, and give the entertainment in them; and the custom is commendable, since it provides more room for the guests and thus insures them a greater amount of enjoyment, besides relieving the hostess of the household confusion which prefaces and follows a ball given at a private dwelling.

        On the occasion of a private ball in a public ballroom, the latter may be decorated as far as possible to appear like the parlors of a private house; and as refreshments are served in rooms reserved for the purpose, the affair is as exclusive as if given under one's own roof. 

        In decorating for a fancy ball, the ballroom is usually festooned with draperies of the national or other colors fastened up under comic masks, or shields upon which are grotesque faces and figures, armorial emblems and mimic instruments of music.  Flowers and foliage are banked and grouped in different parts of the room, but foliage should predominate, as its rich green forms a charming background for the brilliant costumes of the maskers.  Japanese lanterns also add, by their soft radience, to the effectiveness of the scene.

        In many instances the musicians are dressed in fancy costumes; and not infrequently the men servants are habited as were the retainers of olden days, and the women servants are also dressed as were those of ancient times.  In this way greater realism is obtained and there are no inharmonious comminglings of the unpicturesque costumes of the present day.

    Source:
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

  • Fancy Quadrilles

    (Often a fancy dress ball will include a prearranged quadrille featuring a set of themed costumes — matching or “naturally associated” with each other.  This might be the opening dance of the ball following the grand march or might be later, or there might be several during the evening.  Here are some ideas from the 1880s and 1890s for such quadrilles.  I particularly like the “naturally associated” pairing of Politicians and Nuns in the 1892 source!)

    A full list of the sources from which these descriptions are taken is at the bottom of this post.

        A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: –Watteau, Poudré, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and the costumes which everybody associates with these characters.  A Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such Quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1880)

        At some fancy balls quadrilles are arranged beforehand, in which all the dancers are to be dressed after the fashion of some particular period.  One of these quadrilles should open the ball, and others may be interspersed in the programme at irregular intervals.  (Armstrong, c1880s)

        A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: –Watteau, Poudré, Noah’s Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bouquet, Bird, Louis Quinze; Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and costumes associated with these characters; a Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1887)

        Among the many quadrilles from which to select a subject for this one dance, which may include other sets of the guests, are the following and it must be understood that the gentlemen of the set in most of the cases must be dressed alike and the ladies also; and that the costumes must belong to the same period or be naturally associated together: Shepherds and Shepherdesses; the Seasons; Watteau and Poudré periods; Louis Quinze Hunting Quadrille, in the hunting costume of that period; Kings and Queens of various nations; Army and Navy; Holbein Quadrille in Tudor dress; Flowers of the Year; Birds; Pack of Cards; Puritan Maidens and Cavaliers; Noah’s Ark, (the animals in pairs); National Games; Politicians and Nuns; Policemen and Nurse Girls; Dudes and Tailor-made Girls; Clowns and Fairies; in fact, anything of the kind that may suggest itself to the hostess or committee of arrangements, who plans when such a dance shall take place and who are to take part in it.  (Butterick, 1892)

        A marked feature at most Fancy Balls is a specially arranged Quadrille.  The choice is a large one.  The list includes; — Watteau, Poudré, Noah’s Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bird, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the costumes associated with these characters.  For a Louis Quinze Hunting Quadrille they appear in the hunting dress of that period; for a Holbein Quadrille in the Tudor dress; a Quadrille of all Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carrying the national flag are all good.  In an Italian and Swiss Quadrille, each couple preserve the same coloring.  In Black and White the ladies are entirely robed in white with powdered hair; the gentlemen in black costumes of the time of Edward III., with black masks and pointed shoes, hanging sleeves.  Stuart and Georgian characters make good quadrilles, and Pierre and Pierrettes, Punch and his wife, and Spanish Men and Maidens in various colorings.  In a Toy Quadrille, toys such as tops, Dutch dolls, battledores and shuttlecocks appear.  For an Octave, ladies and gentlemen are dressed in black and white, each carry bells which tinkle as they walk.  For Chivalry, the gentlemen are in armour, and the ladies in the dress of the period.  Scotch, Irish, King and Queen, Army and Navy, Flowers of he Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Butterflies, Joe Willett and Dolly Varden, Puritan and Cavalier also find favour.  The time when such quadrilles are danced, and the partners, are all pre-arranged.  (Holt, 1896)

    Descriptions of Poudré, Shepherdess, Vandyke, and Butterfly costumes are already posted elsewhere on Historical Fancy Dress, with more to come!

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
    Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.
    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.

  • Selecting a Fancy Dress Costume, 1920

    (Some practical advice on fancy dress costumes found in an English dance manual from 1920.)

        On the subject of Fancy Costumes much may be said, but let me urge both sexes to take into consideration their personal characteristics, such as build, complexion, colour of hair, etc., before selecting their costumes.
        Incongruities such as a short stout man with glasses disguised as Mephistopheles, or a tall Spanish-looking lady as Little Red Riding Hood are absurd — and yet one sees them.
        There are many striking costumes which may be made at home: among them, for men, Arab Cowboy, Gipsy, Poet; or for ladies, Boyblue, Quaker Girl, Flower-girl, Spanish Dancer, etc.
        Those desiring Historical or more elaborate costumes should invariably obtain expert advice from a costumir.  Take particular care that the headdress and shoes are in keeping with the costume; what more incongruous than Dutch clogs on a cowboy or a powdered wig with a Red Riding Hood costume?
        Many fancy-dress balls are confined to the characters of some author or playwright, such as Dickens, Shakespeare, etc.  Others are of some particular period of history, such as Elizabethan.
        The advice of an expert is absolutely necessary in selecting a suitable costume for such as these.
        Above all things, a dancer should always consider whether his or her own ideas as to the effectiveness of a costume coincide with other people's ideas of what woud suit his or her figure or complexion, etc., prior to making a definitive choice.
        Whatever costume you may select it is as well to make sure beforehand that it is going to be comfortable to dance in — otherwise you will probably spend a a thoroughly miserable evening.

    Source:
    D'Egville, Geoffrey. How and What to Dance, 2nd Ed.  London: C. Arthur Pearson, 1920.

     

  • A Classic Party

    (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.

  • Of processions and prop-stands

    (Helpful tips for ball hosts and hostesses on two issues: how to arrange to show off all of the costumes present and what to do with costume props during the dancing.)

    Processions often form a prominent feature in fancy balls.  Some of them begin with a Polonaise, while others have a kind of march round the reception-rooms just before supper.  This gives an opportunity for showing off the dresses, which are frequently hidden in a crowded dance.

    When a march occurs it is correct for the characters to carry their crooks, wands, milking-stools, or any other property appertaining to their dress.

    As most of these things are much in the way whilst dancing, and are apt to get lost when left about in the ball-room, many hostesses provide a stand in the hall for their reception.  It should be lighter than an ordinary umbrella-stand, consisting of a slight frame covered with artificial flowers.

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

  • Romeo

    FD-Butterick-Romeo

    (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.