Historical Clothing 1800's
LAVENDER BROCADE RECEPTION GOWN, c. 1870 April 2009 Vintage Fashion and Textile Auction New York City Pale lilac silk taffeta w/ pleated & pinked self fabric trim, lilac & ivory silk brocade flounces & bow trim, square neck front-closing bodice w/ attached festoon skirt, trained skirt w/ back gathers, brocade belt w/ back bow, B 36", overskirt L 37"-43",Skirt W 24.5", L 43"-54"
Tea Gown, Charles Fredrick Worth, 1890-1895 - The Royal Ontario Museum
1870s. © The Kyoto Costume Institute.
Bodice in lavender silk moiré, M. O’Brien, New York, ca. 1870s. Trimmed with embroidered eyelet & lavender chenille. Front opening covered with ruched cream chiffon. Lined with lavender taffeta, it has 15 encased stays along with a white ribbon inner waistband. Probably had a matching skirt. Charleston Museum Tumblr
1877 - The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. his period was marked by darker colors, asymmetrical drapery.
Dress, 1877 The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train.
Dress, Canadian, 1878. Red shot silk bodice w/burgundy shell buttons at center; real opening at right w/16 hooks & eyelets. Small revers collar. Neckband edged w/2 white net ruffles. Burgundy velvet bows on bodice & cuffs. Fitted sleeve w/gathering at elbow & cuff w/curved ends. Small peplum at center back. Lined w/cotton twill; boned. Foundation & asymmetrical overskirt of red shot silk. Knife pleat frill of silk at skirt bottom. Univ. of Alberta
Afternoon dress. House of Worth (French, 1858–1956). Designer: Charles Frederick Worth. Date: ca. 1875. Culture: French. Medium: silk. Dimensions: Length at CB (a): 28 in. (71.1 cm) Length at CB (b): 61 in. (154.9 cm). Credit Line: Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of the Princess Viggo in accordance with the wishes of the Misses Hewitt, 1931.
House of worth 1875
Dress, Afternoon. House of Worth (French, 1858–1956). Designer: Charles Frederick Worth (French (born England), Bourne 1825–1895 Paris). Date: ca. 1875. Culture: French. Medium: silk. Dimensions: Length at CB (a): 28 in. (71.1 cm). Length at CB (b): 61 in. (154.9 cm).
Visiting gown, ca. 1875. Taffeta, with stand collar, low-waisted, cuirasse-shaped bodice with domed needlepoint covered buttons, and Brussels lace at the cuffs. Skirt has elaborate vertical and diagonal pleated bands and ruched panels, which culminate in a bouffant bustle with large bow, adorned with lavender-blue crimped fringes. Kerry Taylor/Invaluable Auctions