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Evening Dress Charles Fredrick Worth, 1867-1870 The Philadelphia...

1870s silk bustle dress is a success due to its reliance on Japonisme in the form of a kimono jacket and underskirt. It is of interest that an actual kimono was incorporated to fashion the dress, rather than the more anticipated use of a kimono as fashionable "at-home" wear. Reproduction underskirt finishes the brightly elegant garment. Monet, Renoir & other Impressionist artists frequently painted their models in kimonos... Kyoto Costume Institute

Visiting Dress, 1870/1873 Foto: Christa Losta © Wien Museum Reception and visiting outfits were required in the early afternoon. These follo...

Zouave dress ca. early 1860s. Three pieces (bodice, skirt, bolero jacket). Jacket and skirt of light caramel brown silk faille with shirred white tulle trim on sleeves and velvet ribbon and lace motifs. Bodice of white canvas covered in front with brown taffeta; closes front with 11 buttons. Danish National Museum

whenasinsilks: Skirt and jacket, silk, 1860-65, American.

Dress ca. 1875 From the Museum of Applied Arts

Print dress ca. 1880s. Two-piece dress of cotton sateen with blue floral print, lace trim, cut steel buttons, and matching fan. Augusta Auctions

Dress, Afternoon 1890s

Nordiska museet | NMA.0052202 | Dress from 1860s with checked skirt and Zouave jacket

circa 1870 gown | Circa 1870 lavender brocade reception gown. Pale lilac silk taffeta ...

Woman's dress, about 1856–58, accession number 50.474a-b, silk plain weave ( taffeta), trimmed with silk fringe tassels, machine embroidered net, and bobbin lace, Museum of Fine Arts, Boston.

Actress Sarah Bernhardt, 1880. Photograph by Napoleon Sarony.

Day dress, ca. 1874, of silk taffeta in a steel gray and black stripe. It consists of a basque bodice embellished with ruffles lined in cotton and also a skirt embellished with ruffles. Internal ribbons can adjust the volume of the bustle. Au Temps Jadis

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

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

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).