#19th c dress

[sarahthecoat]

@doomhamster, no, damask is a way of getting a complex pattern like flowers or stripes with the texture of the weave, instead of a print. it's common in (older?) linen tablecloths and napkins, and still used in some home dec fabrics. it's often used as a way of getting a figured pattern in a single-color fabric (but can also be multi colored).

Ball gown, 1840-41

Maker: Unknown

From the collection of Wien Museum

[jeannepompadour]

Prithvi Bir Bikram, King of Nepal with his wife Queen Divyeshwari, c. 1886-1900s

[chic-a-gigot]

L'Art et la mode, no. 42, vol. 15, 20 octobre 1894, Paris. Créations inédites. Dessin de C. Billié. Bibliothèque nationale de France

Toilette de ville en drap mastic, brodé au plumetis sur un dessous de velours hanneton. Corsage de velours garni de bretelles formant choux à la taille. Manches larges, poignets drap brodé. Chapeau 1830, en feutre mastic, garni de velours hanneton.

City ensemble in mastic cloth, embroidered with plumetis on a chafer velvet underside. Velvet bodice trimmed with straps forming cabbages at the waist. Wide sleeves, embroidered cloth cuffs. 1830 hat, in mastic felt, trimmed with chafer velvet.

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Robe de visites, en velours Parme, brodée de jais, garnie de vison et de velours aubergine. Manches toutes brodées. Chapeau en feutre noir, garni de plumes et de roses de velours aubergine.

Visiting dress, in Parma velvet, embroidered with jet, trimmed with mink and aubergine velvet. Fully embroidered sleeves. Black felt hat, trimmed with feathers and aubergine velvet roses.

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Collet en fourrure, garni de velours gris mauve rebrodé formant longues pointes devant. Choux aux épaules. Capeline Louis XVI, garnie de plumes noires et de violettes.

Fur collar, trimmed with mauve-gray velvet embroidered into long points at the front. Shoulder puffs. Louis XVI wide-brimmed hat, trimmed with black and violet feathers.

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Collet en velours noir et moire blanche brodée de jais. Bord de plumes noires, bretelles en velours noir. Chapeau "petit abbé", garni de plumes.

Collar in black velvet and white moire embroidered with jet. Edge of black feathers, straps in black velvet. "Petit abbé" hat, trimmed with feathers.

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Manteau de voiture, en velours noir et hermine, rattaché aux épaules par des motifs de jais et cabochons; revers en soie vieux rose, avec jais en bas. Toque en plumes noires et velours vieux rose. — Manchon velours.

Car coat, in black velvet and ermine, attached at the shoulders with jet and cabochon motifs; old pink silk lapels, with jet at the bottom. Black feather and old pink velvet toque. — Velvet muff.

[beatriceportinari]

Another year, another outfit to die in! Happy birthday again Izuna!!!!!!

Like last year, I played with someone else's lines for these charming patterns, thank you so much Lena @elhnrt ! I had a ton of fun :D

Check the readmore for pattern references and explanations, there are some easter eggs in there :)

(x,x,x,x)

My goal for this piece, in addition to playing with patterns and textures and adding some Naruto references, was to add as many death flags as possible.

The idea of having Izuna in a fireman's coat is obviously not from me. I've always like the idea of Uchihas in fire resistant clothes, and the opportunity for a thick texture alongside a reversible double pattern is very appealing. I used the image of the second reference as a base, with skulls on one side and stylized lightning patterns on the other (visible inside the sleeves and collar). Both were common immagery of firemen coats.

The actual skull pattern is taken from the third reference. I'd seen this one before and before even learning anything abt it it was too beautiful to pass up. Those white and navy gradients are absolutely delightful and I enjoyed using my gel pens for them very much.... This particular type of imagery with skulls and bones in a field is called Nozarashi, inspired by Buddhist representation of death and transience.

The lightning pattern itself is a reference to water and lightning dragons :) Like Tobirama's iconic jutsu, it's one of the hints of what's abt to happen to our little guy. The scabbard is also decorated with dragon motifs for the same reason.

The background pattern is taken from the first reference, another fireman's coat with an illustration of Raijin, the thunder god. He is often representated with drums decorated with tomoes. It works nicely as a standard looking sharingan illustration, with a reference to Tobirama's hiraishingiris with the thunder imagery, like the thunder patterns inside the coat.

If you're interested in this I recommend the book linked in the second reference! It is entirely about skeleton motifs in japanese clothing of the early 20th century.

[empirearchives]

Empire dress with short balloon sleeves

c. 1800-1810, Napoleonic era

Musée des Tissus, Lyon, France

[sarahthecoat]

always rb good costume pix! LOVE the double waistcoat style of this era.

and again, note how every detail in the two designs, emphasizes and exaggerates. crowley is made taller and slimmer, aziraphale is made bulkier, wider, less tall. <3

Crowley and Aziraphale in a graveyard in 1827 Edinburgh - Good Omens Season 2, episode 3

for Tennant Tuesday (or whatever day this post finds you)

[sassmill]

*foaming at the mouth* hey do you know who Mary Anne Walkley was. Please let me tell you about Mary Anne Walkley.

[fashionsfromhistory]

Day Dress

c.1855

England

This type of widely protruding skirt that appeared around the middle of the 19th century came to be known later under the name of the "crinoline style." As can be seen with this dress, large design motifs proved immensely effective on these voluminous skirts. The border pattern here is wood-block printed and repeats every 20.6 cm. Compared to small-scale designs, large patterns require a solid technique to avoid misalignment of the print colors. Considering that this mixed fabric of silk and wool is a material hard to print on, this dress with its bright and cheerful colors is a particularly fine example on how much cloth printing techniques had evolved.

The Kyoto Costume Institute

[fashion-from-the-past]

Annika Caswell a student from the Wimbledon School of Art wardrobe department, dressed as Catherine Parr, next to her portrait attributed to Master John, c. 1545 in the National Portrait Gallery, London. * The students are recreating portraits dating from the Tudor period to the 19th century which have been inspiration for their lavish costumes . (Photo by Rebecca Naden - PA Images/PA Images via Getty Images)

[glynmostyn]

@ll-underestimated-ll

I hope you guys are ready for

[frostedmagnolias]

Dress

c. 1890

“This silk dress has a standing lace collar as well as a lace yoke. There is floral applique on the center front and on the back of the boned bodice as well as on the sleeve cuffs. There is also ruching at the center front of the bodice and on the sleeves. The full sleeves are gathered at the shoulders and have velvet trim and lace trim at the cuffs. There are gathers at the waist and cartridge pleats and ruffles at the skirt hem. Features that indicate this dress is from the late 19th century are the hourglass silhouette, the monobosom, and the boned bodice.”

Grand Rapids Public Museum

[jeannepompadour]

Ruth, Lady Francis Granville Godolphin Osborne and Flora, Mrs William Bourchier Sherard Wrey wearing court dress, 1899 

[bebemoon]

major arcana looks: THE HIGH PRIESTESS | khaite "romee" open-backed draped merino wool gown, marina eerrie "sacred" natural silk dress w/ hood, knobbly studio pearl double threader, knobbly studio silver mismatched fluted perfume funnel & holder earrings, di petsa silver metal belt, yvmin gemstone mesh fingertip rings, silver ewer (c. 19th cent.), kindred black "porphyria's lover" natural perfume, middaia "cathedrale pearl chains" necklace, schiaparelli surreal jewelry-pierced half-mask, alighieri "the ancient incantations" sterling silver bangle bracelet, alighieri "the ancient incantations" sterling silver ring, victorian silver hand mirror, laura benson "god seeds" pomegranate archival matte print

[marzipanandminutiae]

Hi, this is a bit of a shot in the dark on my end, but I have a fashion inquiry (and I apologize if I sound ridiculous at all; I’m a bit at my wit’s end).

Is there a good way to research forms of casual Victorian garb? I feel like I’m going a bad route by inserting the word ‘Victorian’ into any search because it results in rather fancy things (or modern twists on such that are purchasable). Would it be wiser to site dates in search? Is this going to fruitless?

Sorry for taking up any time if this is out of wheelhouse. But if you do answer, I really appreciate it.

I'll do my best! Focusing on womenswear, because...well, that's what I know best. But if anyone wants to chime in about the gentlemen, please do so!

So, casual Victorian doesn't always read as Casual to us nowadays. Standards of casual clothing- that is, clothing one wears for everyday life when nothing special is going on -were rather higher than we have today.

This is an illustration of matchstick-makers in London's East End c. 1871, done by one Herbert Johnson. The women have their sleeves rolled up and aprons on, but when they leave the factory (rolling their sleeves down, adding hats to go outside- which most of them would have done; it was part of looking Respectable) they might be indistinguishable to us from any other women of the same era wearing not particularly bustle-y skirts. Some of them probably have on the commonplace Matching Skirt And Bodice dress format of the era; others have on blouses made from the same patterns as those worn by middle- and upper-class women.

Also note that they have on ribbons, chokers, earrings...they're just like us. They like wearing things that make them feel Put Together, even though they're doing one of the lowest-valued, most dangerous jobs open to women at the time. Because people have always been people, regardless of time or social class.

And for middle-class women and up, Casual might be even harder to distinguish from "fancy" to us today.

This is a mid-late 1880s day dress with a skirt length suitable for lots of walking, from Augusta Auctions. Could not tell you the social status of the woman who owned it, genuinely. Probably not the absolute poorest of the poor, but beyond that...this is a dress you could potentially wear to run errands. Even to go to work, if your job wasn't especially physical. Because. I don't know. It's a Day Dress. You wear it for day things. It's not especially formal, because then it would be made of a more delicate material and probably have a longer skirt (unless it was a Serious Dancing ball gown). Possibly also a lower neckline and puffed sleeves, if it was exclusively for the most formal events.

The idea that a dress was "fancy" just because it had ornamentation wasn't really in their cultural vocabulary.

Here is a group of women playing croquet in what looks like the early-mid 1870s. They're just hanging out! Having a good time! They're probably middle or upper class, but that's what they wear to chill outside with friends- to play a lowkey sport, even.

So yeah, it can be hard to map Victorian everyday clothing onto our "jeans and t-shirt" understanding of what makes an outfit casual. They had skirts and blouses for most relevant decades, but even those outfits often end up looking formal to us nowadays because of what I call Ballgownification- the idea that, since we only wear clothes that look even vaguely like what they had for extremely dressy occasions, we assume everything we see of their clothing was dressy.

(Someone please ask for my rant about Ballgownification)

Searching for "day dress," "walking dress," "blouse," "blouse waist," and "shirtwaist" (the last for the late 19th-early 20th century when that term became commonplace) might help. Best of luck!

[resplendentoutfit]

The Ubiquitous Regency Shawl

Shawls, often with a paisley border were an integral part of Regency fashion. When one looks at portraits of women during the era, they often have a shawl draped over one shoulder or held in the crook of the elbow.

Throughout much of the 19th century, Kashmir shawls were at the forefront of elegant fashion in scarves and wraps. They were as luxuriously soft as they were warm.

Cashmere shawls go back to the 11th century when they were first made in India, in the Kingdom of Kasmir, and imported to the west by the East India Company. During the early 19th century they were being made in Paisley, Scotland – hence the name we know the pattern by today. Innovations of the hand loom, allowed for weavers to produce patterns in five colors instead of the traditional two and creating especially lovely patterns.

Dress • c. 1800 • Cotton plain weave muslin with silk embroidery (Likely imported from India for the western market) • Los Angeles County Museum of Art

Left: 1811 pelisse (coat) with a paisley shawl in two colors

Right: Dress • American • 1818 (no facts on the shawl, though if it's authentic, an example of a five-color paisley).

Eduard Friedrich Leybold (Austrian, 1798-1879) • Portrait of a Young Lady in a Red Dress with a Paisley Shawl • 1824

[empirearchives]

Empire style ensemble

1805-10, Napoleonic era

probably French

Source: The Met