Walking dress | French | The Metropolitan Museum of Art
Afternoon dress | American | The Metropolitan Museum of Art
Ensemble, 1885 The unusual color and intriguing use of solid and striped wool fabric in this day dress has a folkloric aesthetic, which may have been inspired by an Amelia Hollenback's travels through the Southwest. The inventive asymmetrical draping shows a high level of sophistication and design sensibility that was atypical for a day dress.
Ensemble | American | The Metropolitan Museum of Art
1887 American wool travelling dress. Lovely, simple dress, with some very nicely done trim. And beautiful curved welt pockets!
United States, Wedding Dress, 1887 (detail) Gift of Mrs. Frances Lamson Eaton, Mr. and Mrs. Alfred W. Lamson, Mr. and Mrs. Benjamin Whitney Lamson, Jr., 1971.320, Cincinnati Art Museum. Wedding Dressses, Fashion, Corsets, Art Museums, Gowns, Vintage Wedding Dresses, Victorian Wedding, Stunning Wedding Dresses, United States
Wedded Perfection: Two Centuries of Wedding Gowns (Part I)
ca 1880. This dress belonged to Amelia Beard Hollenback (1844-1918), wife of the prominent financier and philanthropist John Welles Hollenback (1835-1927). The elaborate button and tassel decorations, the overall cohesiveness of design and the high quality of this stylish dress are a testament to the craftsmanship and great attention to detail carried out by American dressmakers at this time. Costumes, 1880S, Historical Fashion, Dinner Dresses, American Made, Victorian Fashion, Dinner Dates, Metropolitan Museums, Stylish Dresses
*Dinner dress. Date: ca. 1880 Culture: American Medium: silk
Dinner dress | American | The Metropolitan Museum of Art
Woman's evening dress, c.1883. Velvet, satin, metal. California Historical Society Collections at the Autry National Center
A bloomer suit, an outfit for use with bicycles is created in the 1880s as special clothing for women to wear while riding a bicycle. Originally bloomers were loose, baggy, "Turkish trousers", recommended for women by Mrs. Amelia Jenks Bloomer who oriented the women's emancipation movement, in the early 1850s. "Bloomers" were generally rejected and treated with ridicule. Though pants-style clothing had not yet won approval, when women began participating in sports at the end of the 19th century, bloomers used when riding bicycles were met with much approval and spread far and wide.
Detail of collections 1890s | KCI Digital Archives
Date/place captured: Photographed probably in Lewis Park across from the home of B.C. Lewis, Februrary 1, 1887.
Corset, Langdon, Batcheller & Company (American, founded 1865): ca. 1880, American, cotton/metal/bone. Marking: Stamped in cartouche: "Thomson's Glove-Fitting/ Langdon & Batcheller's Genuine Thomson's Glove Fitting #928" Hooks Stamped: "L B Co" American Cotton, Classic Corsets, 1880 Fashion, Agent Provacateur, Corsets Antiques, Black Cotton, Gloves, Cotton Corsets, Fashion For
Corset, Langdon, Batcheller & Company (American, founded 1865): ca. 1880, American, cotton/metal/bone. Marking: Stamped in cartouche: "Thomson's Glove-Fitting/ Langdon & Batcheller's Genuine Thomson's Glove Fitting #928" Hooks Stamped: "L B Co"
Dress: 1885-88, American
Dress | American | The Metropolitan Museum of Art
Ensemble, Mme. Uoll Gross: ca. 1885, American, silk/synthetic/jet/feather. "This dress was designed to be worn in an open top carriage which, at the time, was a social event and everyone had to dress the part. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. 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. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. 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. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette." Marking: Stamped on petersham: "Mme Uoll Gross/136 East 19th St/N. Y."
1880s Bustle Era Cabinet Card of a Lady with Curl Bangs
File:Woman's Bar Shoes 1880-85.jpg - Wikimedia Commons
Evening dress, circa 1889, Abiti Antichi (detail)
1889 Worth Cape. Worth was interested in supporting the textile industry as evidenced in this cape, which is designed to showcase its textile to the extreme. The textile itself has a repeat which is over three feet long, making it stunning but also making it extremely difficult to weave. The dramatic fabric, "Tulipes Hollandaises," was exhibited at the Exposition Universelle of 1889 in Paris and won a grand prize. Costumes, Fashion, Charles Frederick Worth, Clothing, Vintage, 1889, Gowns, Historical, House
Ravishing 1889 Worth Coat.