Historical Fancy Dress

Tag: Victorian Masquerade

  • Fish

    (Another blandly silly Victorian costume idea: the octopus hat!  I feel there's a real possibility for a whole group of ocean-themed costumes: mermaid, sea maiden, salt water, and, of course, gem of the ocean!  Being more practical than the sea maiden, this fish costume has legs.)

    Costumes of this kind can be carried out in scaly cloth, the fins of gauze distended with wire.  The head-dresses representing the head of the fish.  The skirts short with high leggings covered with scales.  A cod, a sword fish, an octopus can be so represented; for the latter, the various feelers form the head-dress.

    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.

  • 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.

  • Marquise de Vaudreuil

    McCord-Vaudreuil Left: Harriet Wheeler as "Marquise de Vaudreuil" for the Château de Ramezay Historical Fancy Dress Ball, Montréal, QC, 1898, by William Notman.  Image © McCord Museum (click to enlarge.)

    The photograph is part of an online exhibition of photographs of fancy dress costumes from balls and skating parties.

    The Château de Ramezay was built in 1705 as the residence of the governor of Montréal and by 1898 had been converted into a museum.  The Historical Fancy Dress Ball was intended both as an entertainment and as an educational showcase for Canadian history and the history of the Château itself.  Guests were required to portray a character from Canadian history and were divided into themed historical sets to perform specific dances, probably fancy quadrilles.

    Harriet Wheeler chose to portray the Marquise de Vaudreuil, presumably Charlotte Fleury de la Gorgendière, wife of Pierre de Rigaud de Vaudreuil de Cavagnial, Marquis de Vaudreuil, the last Governor-General of New France (Canada) before it was lost to Britain in 1760.  While her character would probably be fairly obscure nowadays to anyone but a Canadian, the outfit is a good example of a typical poudré costume.  The museum's description of it states:

    Mrs. Harriet Wheeler wore a pink satin hoop skirt trimmed with lace flounces and an overdress of pink and white flowered silk. Her patches — small beauty spots on the face — and powdered hair were frequently a part of 18th-century costumes.

    I've previously posted nineteenth-century directions on applying patches and powdering hair.

    Although guests were supposed to research their costumes and present accurate portrayals, there were varying degrees of success.  To my eye, her corset looks rather more nineteenth century than eighteenth century, and the museum notes that:

    The skirt of Mrs. Wheeler's supposedly 18th-century costume was held out with a circular hoop typical of the 1860s, and not the panniers that would have been more in keeping with the period. Nonetheless, the press praised her for wearing a "perfectly correct Pompadour costume."     (Montreal Star, 19 January 1898.)

  • Academical Dress/Girl Graduate

    (The evolution of these descriptions across sixteen years and three editions of this fancy dress manual offers an interesting look at women's slow entry into academia.)

    In 1880, the entire idea is considered futuristic:

    GRADUATE, LADY, OF THE FUTURE.  Dark blue velvet dress, undergraduate's black gown and cap, lace cravat; hair tied with pale blue ribbons. (No illustration.)

    By 1887, it appears to be routine, and there are two entries, one of which implies a doctorate.

    ACADEMICAL DRESS.  Long silk academical robe; white, lack, red or other colour, plain or brocaded, worn over a plain skirt and bodice.  Academical cap.  (No illustration.)

    FD-Holt-1887-GirlGraduate GIRL GRADUATE.  In academical robe and cap, which may be of plain or brocaded silk in black or colours.  Or, dark blue velvet dress with black University gown, faced with blue; doctor's hat; scarlet stockings; black shoes; lace cravat; hair tied in a cue with ribbon.  (Illustrated at left.)

    And in 1896, the descriptions, combined, include a reference to the academical robes of the Princess of Wales when she was awarded a Doctorate in Music by Trinity College, Dublin, during a state visit in 1885.

    FD-Holt-1896-Academical ACADEMICAL DRESS.  Girl Graduate.  Long silk academical robe; white, black, red, or any other color, plain or brocaded, worn over a silk or satin skirt and bodice, which may be accordion pleated, academical cap.  The robe is sometimes faced with color.  Muslin bands are worn on a lace cravat.  The hair occasionally tied in a cue with a ribbon. (Illustrated at right.)  The Princess of Wales's robes as Doctress of Music were white silk bordered in front with red as were the pendant sleeves.  The hood red; the college cap edged with gold having a gold tassel.

    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.

  • 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.

  • The Wild West

    (A simple costume for ladies who look good in brown, though for modern purposes the gun should probably be left at home.)

     A brown blouse and skirt; collar and sleeves of red, and a broad band of red surrounds the skirt at the foot.  The skirt may be short and chamois or brown leggings or over-gaiters worn.  A heavy stick or a light gun is carried, and a large brown or red soft felt hat is worn.

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

  • 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.

  • Richard I, Coeur-de-Lion

    (This is listed as a boy's costume, though there's no reason a man couldn't wear it as well.)

    The 1887 description:

    RICHARD I., COEUR DE LION.  In a maroon velvet tunic trimmed with gold lace, three lions couchant embroidered in gold on the breast; white silk tights; velvet trunks; gold and satin shoes; jewelled belt, sword, and dagger.

    The 1880 version differs only in making the lions courant (running) instead of couchant (lying down).  Historically, Richard I appears to have used a device with the three lions passant gardant (striding, facing toward the viewer.)

    Sources:
    Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
    Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.