#1851 fashion

[antiquebee]

The World of Fashion, February 1851

[chic-a-gigot]

Musée des Familles, v. 35, plate 70, September 1851. Digital Collections of the Los Angeles Public Library

[hargita1920]

[qureshimushranabdulrauf]

Budgeting, What's ?

Write about your approach to budgeting. There is no approach , I am very bad with my budgeting skill. Hopefully I am gradually learning some things new and try to apply that for my budget. Take Care! Smile Always! Stay Happy and Healthy! Pray!

[suchananewsblog]

NMACC showcase: From beetle wings to chintz, India’s gift to global fashion

Special commissions from Rahul Mishra | Photo Credit: Mitsun Soni A little over 150 years ago, over 30,000 hand cut and mounted samples of Indian textiles were painstakingly organised into an album series to educate and inspire commercial and design industries in India and Britain. Its creator, John Forbes Watson, called them ‘trade museums’. Watson would have been pleased to walk around the…

[jewellery-box]

Wedding dress, American, silk, c. 1851.

This wedding dress presents a conundrum in that some stylistic aspects of the dress appear to be later than the marriage date of 1851 provided in the original accession records. While the bodice has very fashionable full size pagoda sleeves, which were a new shape in 1851, the skirt with bustle, train and ruffles at bottom is more consistent with the 1870s rather than the dome shape of the 1850s. While it is possible that the skirt was re-made for a later bride, there is no obvious indication of that being the case. Wedding clothes have traditionally been vehicles for fantasy and historicism, however, which may be the case in the styling of this one. It nevertheless is a grand dress made for a wedding in Grace Church, a high society Brooklyn house of worship.

The MET Museum

[daenystheedreamer]

Various pieces by French sculptor Charles-Henri-Joseph Cordier

"Woman from the French Colonies", 1861. Originally titled La Capresse des Colonies (The Goat Tender from the Colonies)

"Jewish Woman of Algiers", 1862.

"Bust after Seïd Enkess", 1848. The sitter is Seïd Enkess, a formerly enslaved Sudanese man from Darfur. Titled as Nègre de Timbouctou (Negro from Timbuktu).

"Bust of a Woman", 1851. Debuted under the title Négresse des colonies (Negress of the Colonies)

While women of colour, fashioned in white marble or coloured materials, were unusual subjects in nineteenth-century sculpture, there are significant examples of works representing them as erotically charged and bound slaves, sexualised Venuses, or a hybrid of both. These reveal conflicting attitudes towards race, sexuality, slavery and abolition. White male sculptors such as John Bell and Charles Cordier intended to bring the pathos of the institution of slavery to public attention, yet they nonetheless traded on the allure of illicit sexuality born of that same system. Many works in this gallery evoke both vixen and victim.

[telekinetictrait]

"All the hopes, fears, capabilities of her nature were yet folded around her like the wings within a chrysalis." (Marian Withers – Geraldine Jewsbury, 1851)

the next decade in the timeline: the 1850s. a decade of large social turmoil and even larger skirts. these skirts were created by layering numerous petticoats, which made it unwieldy, uncomfortable, and at times unsafe. that is, up until cage crinoline of 1856! this allowed for skirts to continue to grow even further than before. another development that shifted fashion were the improvements in the sewing machine. these improvements and mass production of the singer sewing machine allowed for even the lower classes to take part in fashion trends. we also see a more "natural" waistline (natural in where it lays on the body) and soft, drooping shoulders. once again, i deviated in one outfit. i know it's technically a swimsuit. but when i saw it, it reminded me of this illustration of amelia bloomer, who famously made a stir with elizabeth smith miller and elizabeth cady stanton in 1851 when they began to wear loose trousers paired with shorter dresses, now referred to as "bloomer suits". this never caught on, but it's an important moment in the history of women's fashion in america.

1800-1809 / 1810-1819 / 1820-1829 / 1830-1839 / 1840-1849

cc links under the cut!

see my resources page

farrah : simstomaggie's sennui hair / the-melancholy-maiden's 1850s hair flowers / mysteriousoo's long dress with ruffled underskirt and belt (tsr download) / huiernxoxo's love bonito gloves

fern : simstomaggie's rhaenyra hair / imadako's girls school uniform accessory bolero jacket + tie / vintagesimstress' 1858 bathing suit / gilded-ghosts' hartfield boots

fhaye : the-melancholy-maiden's oregon trail bonnets / rrtt's sifix maria dress recolor

filene : simstomaggie's rosa hair / batsfromwesteros' elisabeth winter set

fjóla : simstomaggie's rosa hair / the-melancholy-maiden's 1850s hair flowers / vintagesimstress' 1850's cecile opera dress

fleurette : linzlu's fancy bonnet / teanmoon's beautiful belle dress / huiernxoxo's love bonito gloves

forsythia : buzzardly28's 1850s braids / the-melancholy-maiden's 1850s hair flowers / vintagesimstress's maggie skirt / huiernxoxo's love bonito gloves

fritzi : linzlu's birthday bonnet / buzzardly28's 1850s dreadlocks / teanmoon's radiently ruffled gown / huiernxoxo's love bonito gloves

fuscienne : lace-and-honey's linzlu prairie bonnet conversion / pandorasimbox's emmilene day dress

fyodora : the-melancholy-maiden's oregon trail bonnets / simstomaggie's rosa hair / simstomaggie's vanta dress / huiernxoxo's love bonito gloves

thank you to @simstomaggie @the-melancholy-maiden @huiernxoxo @imadako @vintagesimstress @gilded-ghosts @batsfromwesteros @linzlu @teanmoon @buzzardly28 @lace-and-honey and @pandorasimbox !!

[hieromonkcharbel]

Crushing your heart with the prayer, "Lord Jesus Christ, Son of God, have mercy on me,” and saying this prayer for a long time from your depths and from the center of your heart, your heart is suddenly pierced by the love of God and his desire and eros ignites within it. For as you say the prayer in this fashion, your heart is immediately cleansed by the prayer and is made ready for its Creator to dwell in it. "My Father and I (says Christ) will come to him and make our home with him.”

The Watchful Mind

anonymous Athonite monk, 1851

[resplendentoutfit]

When Fashion Goes Extinct

Edwardian-era bird hat

Birds are so full of life, with their wings in flight and their lovely song. There are few things in nature more sad than to come upon a dead bird. It's little wonder that the bird hat craze of the 19th century caused a battle of conscience among the more enlightened members of polite society.

The bird hat fashion craze of the 19th century was not content with feathers only. Sometimes, as pictured above, the entire bird was used as decoration. Waste not, want not.

The demand for feathers and birds was so great that many birds were hunted for their beautiful plumage alone. Because of this excess, certain bird populations began to decline. In the northeastern United States, the hunt for feathers resulted in the sharp decline of shorebirds such as terns and herons during the decade of 1880-1890.

Taxidermy hats were a thing at the turn of the century

Pierre-George Jeanniot • At the Milliner • 1901

This cruel and ecologically dangerous practice for the sake of fashion did not sit well with some. In Rhode Island, U.S.A. a group of concerned citizens began a movement against such hunting practices which resulted in the formation of the first Audubon Society in 1897. Its member base grew rapidly and the practice of bird hunting to satisfy the marketplace fell out of fashion, so to speak. Legislation to preserve bird species and habitats continues to this day.

James Audubon (French/American, 1785-1851) • Great Egret

[kristabella]

Womens papier-mache work table made in England

This lady's work table, in black japanned (varnished) papier-mache and profusely inlaid with mother-of-pearl, was made in England in about 1850. Fitted with a writing slope, games board and sewing accessories compartment, this compact table was designed to meet the Victorian lady's 'feminine pursuits'. It is made of papier-mache, a popular material for household goods and furniture in the mid-1800s, and one that was well suited to the extravagant scrolls and decoration of the fashionable Rococo revival style.

By the 1830s, Rococo revival became the latest style in the decorative arts made for the elite of France and Britain. It was sparked by the interest of artists and collectors in French Rococo paintings and furniture from the eighteenth century and stimulated by reprints of Rococo pattern books. Rococo seduced the public with comfortable furnishings and 'old French' splendour, becoming the dominant style throughout Europe by the mid nineteenth century.

Often combined with Naturalism, another popular decorative style of the period which delighted in the depiction of lifelike forms and objects, Rococo revival dominated London's 1851 Great Exhibition and shaped the character of mid-century interiors.

[petaltexturedskies]

I'm so old-fashioned, darling, that all your friends would stare.

Emily Dickinson, from a letter to Austin Dickinson written c. August 1851

[chic-a-gigot]

Journal des Dames et des Modes, Costume Parisien, 15 octobre 1819, (1851): Chapeau de crêpe et liserés de satin. Spencer à Schall, en gros d'été. Robe de perkale, garnie de bouillons de mousseline. Collection of the Rijksmuseum, Netherlands

Standing woman dressed in a spencer 'à Schall' (shawl collar) of 'gros d'été. Dress made of cotton batiste (percale), topped with muslin 'stocks'. On the head a hat of crepe and satin trim. Bag (reticle) in the right hand. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839.

[hargita1920]

[artemlegere]

"Nothing like reading a book, in the apparent quiet and silence, can unpredictably open up the view of new horizons of life." ~ Tullio De Mauro

Esther Boardman

Artist: Ralph Earl (American, Worcester County, Massachusetts, 1751–1801)

Genre: Portrait

Date: 1789

Medium: Oil on Canvas

Collection: Metropolitan Museum Of Art, New York City

The Connecticut portraits Earl painted after returning from a seven-year stay in England are his greatest works as they combined his natural talents with the lessons he had gleaned from English art of the period. He rendered most of this portrait of Esther Boardman (1762–1851) in deep shades of green and brown to highlight his sitter’s striking face. Her alert gaze suggests intelligence, and her coiffure and wraparound dress, or levite, reveal her to be at the height of fashion, as was her brother, Elijah (whose portrait is also in the Museum's collection; 1979.395). The background shows the town of New Milford, which the Boardman family had been instrumental in settling.

[jewellery-box]

Wedding dress

American, 1851

This wedding dress presents a conundrum in that some stylistic aspects of the dress appear to be later than the marriage date of 1851 provided in the original accession records. While the bodice has very fashionable full size pagoda sleeves, which were a new shape in 1851, the skirt with bustle, train and ruffles at bottom is more consistent with the 1870s rather than the dome shape of the 1850s. While it is possible that the skirt was re-made for a later bride, there is no obvious indication of that being the case. Wedding clothes have traditionally been vehicles for fantasy and historicism, however, which may be the case in the styling of this one. It nevertheless is a grand dress made for a wedding in Grace Church, a high society Brooklyn house of worship.

The MET Museum