Natural fibers breathe in a way synthetics cannot. Skirts are designed to maximize feminine comfort and hygiene. The seams of Victorian clothing patterns follow the lines of human musculature to optimize fit. Our everyday clothes are copied from antique garments and nineteenth-century images in our private collection. Here are a few examples of the clothes which teach us so much and make our lives comfortable. Copied from s suit. Wool shell, silk lining Cutaway coat: Copied from original.
Wool shell, silk lining Top hat: Original antique, s beaver. Plaids were extremely popular in the 's. This was partly due to a general interest in a romantic view of Scotland in general, and partly due to Queen Victoria's interest in the country. She was very fond of her castle at Balmoral, and in her later years there were certain rumors about the nature of her relationship to her Scottish gamekeeper, John Brown. This dress is of an 's style, and the fabric used to make it is a reproduction of an 's fabric purchased from www.
Matching accesories made with the same fabric: Antique French linen fabric circa s , sewn into suit in using s pattern and techniques. Unlined for lightweight summer comfort. Sarah had never seen this painting before, but Maud was wearing her dress! A similar experience to the one with the white summer visiting dress happened with Sarah's plaid stuff dress.
As with the painting of Maud Franklin, this was a work she had never seen before she made the dress! Wool brocade with silk; skirt stiffened with horsehair. Copy right and bottom: Cotton velvet and silk; skirt stiffened with horsehair. Sarah started sewing this dress in the summer of , and finally finished in March of There were a few different types of garments called tea gowns. This variety is an example of a gown "gown" because it is one-piece, as opposed to a "dress" which technically denotes a two-piece garment with separate skirt and bodice which would be worn around the house for daily chores.
The tea gown shown below is an antique from the s. It is made of cotton flannel, and was an item which would have been ordered by mail through a catalogue. These were some of the first ready-made dresses for women. Unlike most dresses, which would have been fit intimately in every dimension, the only fitting on this type of tea gown is accomplished by cinching the built-in belt. Below are Sarah's copies, which she sewed herself and wears for everyday life around our home. Black and white dress, green dress Tea gowns in light cotton.
The fabrics are reproductions of fabrics specifically designed for tea gowns just like this one, and was ordered from the - wrapper collection of Reproduction Fabrics: Wool tea gown for winter Fabric from William Booth Draper: The original of this garment is an antique, circa , modeled here by Sarah:. Notice the band collar, to which a detachable collar is meant to be clipped. This element is key to dating the item, as it was right around that some women's clothing started adopting elements of male clothing such as detachable cuffs and collars.
The original took advantage of the stripes in the fabric as a built-in guide for gathering the pleats. Sarah made a copy out of heavy cotton canvas striped like the original for everyday use. Bolero jackets are short jackets worn by women around the house for extra warmth, or over the top of a ball gown while en route to a dance. In the latter case, they would be removed upon arrival.
Sarah created a pattern for hers based one seen in a piece of art. It is cotton velvet, and trimmed it with a down feather boa. Original seen in painting. Copy made by Sarah. Felted wool, trimmed with antique Belgian lambswool lace. Waxed canvas capes are great when the weather turns blustery. The waxed canvas is water-resistant, and our capes have buttons to keep them closed when the wind blows.
Both our capes were copied from an s original waxed canvas cape in our collection. Gabriel's cape was sewn by Katherine Andrews, a Seattle seamstress. Sarah sewed her own cape. The buttons on Gabriel's cape are hard rubber, like the buttons made for such garments at the end of the nineteenth-century.
The buttons on Sarah's cape are shell. Gabriel's trousers in the above photo: In the main it's typical Edwardian era clothing for children. I think they are very smartly dressed for a crowd scene and would really like to know more about the picture. He has since told me that Hebburn is about 5 miles from the North Sea, and stands on the south bank of the river Tyne 6 miles from Newcastle upon Tyne, making the people there 'Geordies'. The photo was taken in his hometown of Hebburn and is on card the same thickness of a Postcard.
Norman was told it was possibly an outing on Easter Sunday. He doesn't know anymore than that even though he has tried hard to find out more information. I did notice that one of the women in the photo centre has a selection of small badges on her coat lapels, typical symbols worn by members of church based organizations such as Band of Hope Temperance Society, or the Mother's Union sections. A closer look at the photograph also reveals that standing at the far left hand side is a man ina clerical collar, possibly the Church Minister. Clerical Figure shown right. Sir Humphrey Davey who invented the miners Safety Lamp went to Hebburn in and with gas from the 'B' pit he tested his lamp.
All three pits were closed by the early 's. The Kelly's Commander was Lord Louis Mountbatten and every Armistice day he came to Hebburn to take part in the march up to the Kelly grave in our cemetery. Lots of Kelly men are buried in a mass grave after it was torpedoed in the North sea. Many Irish and Scottish folk flooded into the town looking for work. Before that there were Tin Miners from Cornwall going there for work. Some Welsh teachers went there to work in the Schools, so the Geordies really are a mixture. In the photograph the building on the right with all the windows is still there today.
It was called 'The County Hotel' in those days and probably where Mountbatten stayed on his visits. Just behind it is St Aloysius Church. It and the Priests house in front of it were extended after WW1 so are still there, but looking different. No one can remember the properties to the left with fence leading up to it, but an Aluminium manufacturer had that land then The Bauxite Company.
You can visit Norman's site showing hundreds of old photographs of the region and its people here at www. If anyone reading this knows more about the picture analysed here please write to me or Norman. For those interested in more about Hebburn, Norman has suggested they check out the site he uses called www. One thing I do know is that as I examined this photograph I felt a connection to real people behaving in much the same way we might whilst waiting for an event that happened almost years ago.
I felt I would have liked to have known the lady with the most fashionable black hat. I just know we would have had much to chat about. I am sure she shopped until she dropped too. I wonder if anyone of the people in this old photograph could have envisaged that they each would be studied with such interest so far ahead in time.
Wouldn't it be wonderful if one of those small children were alive today and able to tell us about that special day trip they had. Changes in technology, leisure, work, cultural and moral values, homelife and politics have all contributed to lifestyle trends which influence the clothes we wear.
These are the changes that make any era of society special in relation to the study of the costume of a period. Sponsored by MMA News. Please use the extensive sitemap which lists everything. Look for the Most Fashionable Details Clothes, Hair and Hairstyles When dating a costume picture by dress, I always seek out the most fashionable details, which are generally found on the younger women. Hats This photograph has no hairstyles to concentrate on, but it does have wonderful hats by the dozen.
The Circled Sections in the Picture of the Old Hebburn Crowd Scene Several factors amongst the images suggest that we should date the photograph after , up to the later dates of Golding unknown London Figured silk, trimmed with machine embroidery, net and machine-made lace Museum no. The elbow-length sleeves and square neckline show that it was probably not a ball gown, but worn for dinner or the opera. By the late s the profile of the skirt had narrowed considerably. The back draped over a bustle, and on evening dresses extended into a train. Cloaks and mantles were still worn for warmth outdoors, but their shape had slimmed down considerably after the s, so as to follow the contour of the dress underneath.
Those worn with evening dress were often trimmed with feathers, braid and beaded embroidery. Afternoon dress Designer unknown Great Britain Corded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewn Museum no. The overall effect is quite severe, with all the decoration based on the application of a darker blue silk. Fashion is moving away from the fussier trimmings of the early s. Frock coat Designer unknown Ireland Museum no. Formal gentleman's daywear of the later 19th century was usually of black or blue-black wool.
Dress Designer unknown Great Britain Aniline dyed silk, lined with cotton, trimmed with satin and bobbin lace, reinforced with whalebone Given by Mr Leonard Shields Museum no.
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According to the donor, this dress was worn by his mother on her wedding day. It could have been her 'going away' ensemble, or it could have been the dress she wore for the actual ceremony. Because weddings in those days took place in the mornings, daywear with long sleeves and high necks was the acceptable style. At the beginning of the decade the emphasis was at the back of the skirt, featuring ruching, flouncing, and embellishments such as bows and thick, rich fabrics and trims.
The middle of the decade saw a brief revival of the bustle, which was so exaggerated that the derriere protruded horizontally from the small of the back. By the end of the decade the bustle disappeared. Hair was worn in tight, close curls on the top of the head. Hats and caps were correspondingly small and neat, to fit on top of the hairstyle.
For men, lounge suits were becoming increasingly popular. They were often quite slim, and jackets were worn open or partially undone to reveal the high buttoning waistcoat and watch-chain. Collars were stiff and high, with their tips turned over into wings. Neckties were either the knotted 'four in hand', or versions of the bow-tie tied around the collar.
Morhanger designed and made by Paris Figured silk, overlaid with chiffon, velvet ribbon, machine lace, with striped velvet Museum no. This dress features a high, upstanding collar, which is a distinctive and fashionable feature of s daywear. The sleeves sit close to the line of the body, as opposed to the s when they were exaggerated into a 'leg of mutton' shape.
The body itself is curvy, with an emphasised hourglass waist created by a rigid whalebone corset. It is elaborately trimmed. Many high-end dressmakers of the late 19th century emulated the work of the House of Worth, which produced the most luxurious gowns created from bold French silks, combined with ingenious design touches in embroidery, lace and chiffon. Cara Rogers later became Lady Fairhaven - she was a 'Dollar Princess', one of several heiresses who came to Britain in the late 19th century, and married into the British aristocracy bringing much-needed glamour and financial capital.
Victoria and Albert Museum
Lady Fairhaven kept several spectacular outfits bought in Paris and New York for her sister and herself in the s and s. Evening dress skirt and bodice Charles Frederick Worth About Paris Silk satin, trimmed with pearl embroidery and machine-made lace, lined with white silk, the bodice supported with whalebone struts, machine and hand sewn Given by Mrs G. This silk satin evening dress, designed by Charles Frederick Worth, represents the height of couture fashion in the early s. It was worn by Mrs Granville Alexander, a daughter of the U. The donor was her great-niece. The bodice is seamed and gored for a moulded fit.
It extends into drapes at the hips and merges with the train, which falls in inverted pleats from the seams of the bodice. The inside of the skirt is hooped at the back, with tapes for adjustment, to create the bustle effect. The elegant cut, combined with the rich materials and embroidery, makes for a flattering silhouette. Worth was a celebrated Parisian couture dressmaker.
He was born in in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London.
Eight years later he moved to Paris, where he opened his own premises in He was soon patronised by the Empress Eugenie and her influence was instrumental to his success. Made-to-measure clothes from Worth, as from the other great Parisian fashion houses, were an important symbol of social and financial advancement. Wiggins retailer About New York Silk satin and velvet, with beaded decoration and cotton lining Museum no.
This evening dress shows how fashion was changing in the late s. The bustle is no longer predominant and emphasis is focused on contrasting fabrics and decorative effects. The closely fitting bodice of dark green velvet is embellished with an iridescent beaded panel. The separate skirt is made from shot cream silk, trimmed with iridescent bead motifs over which machine-made lace is asymmetrically draped. One side of the train is faced with a triangular panel of gold and white figured silk.
According to the Lady's World of The grosgrain waistband is stamped in gold 'E. Wiggins, 52 West 21st Street, N. This photograph shows the actress Ellen Terry , one of the most celebrated and loved actress of her day. She was a famous devotee and advocate of aesthetic dress. Aesthetic dress was popular in the s and s, particularly amongst artistic and literary circles. Those who supported it repudiated tight corsetry and cumbersome petticoats in favour of looser, less restrictive clothes. Hollyer was the photographer of choice for the artistic set of the late 19th century.
His Portraits of Many Persons of Note fills three volumes with nearly portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities. Ellen Terry was one of the most celebrated actress of her day, her children Edith and Edward followed in her theatrical footsteps. Mary Frances Andrews had married Walter Crane, the painter, illustrator, designer, writer and teacher, in She is shown here in a high-waisted, uncorseted dress that was derived from classical costume. It was of a kind promoted in artistic social circles as 'Rational Dress'.
The photographer, Frederick Hollyer, was a leading specialist in the photographic reproduction of paintings, but he devoted one day a week to sitters from artistic and literary circles. His atmospheric photographs contribute considerably to our understanding of the period. Dress skirt and bodice Charles Frederick Worth , probably About Paris Wool, with figured satin panels, edged with silk braid Museum no.
With its minimal bustle and strong emphasis on the sleeves, this day dress illustrates the smoother silhouette that began to appear in the late s. It is trimmed at the back with a made-up bow with long pendant ends. The dress fastens at the shoulder over a boned, green silk bodice lining. The sleeves are long with a high pleated shoulder. Collar and cuffs are faced with gold beaded tulle. The skirt has a slightly draped front, with the back flared and arranged in deep pleats.
It is mounted over a green silk petticoat, and boned and taped to a bustle shape at the back. The skirt may have been altered and have lost a side panel. A machine-woven label 'Worth Paris' has been stitched to the waist tape. Charles Frederick Worth was a celebrated Parisian couture dressmaker. Summer dress Designer unknown About Bristol White cotton, trimmed with Bedfordshire Maltese lace, machine-stitched and hand-finished Museum no.
This light summer dress would have been ideal for a hot climate. It is said to have been made in in Clifton, a district of Bristol in the West of England, and worn in Burma. It has the fashionable bustle shape and copious trimmings but is comparatively hard-wearing, light and easy to wear. It would also have been easy to wash, unlike the silk satin dresses that were fashionable during this period.
Dresses with asymmetrical drapes and inserted waistcoat effects were in fashion from The West End Gazette for February illustrated a similar example page Dress Designer unknown About Great Britain Satin, trimmed with applied beading, chenille tassels and needle lace, lined with cotton, reinforced with whalebone, edged with brush braid, machine and hand sewn Museum no. According to the donor, this dress was worn by her mother on her wedding day.
Because weddings in those days took place in the morning, daywear with long sleeves and high necks was the acceptable style. By the skirt was quite slender in profile, often with an overskirt swathed in front, gathered over the bustle at the back and falling into a train. The horizontal bands of applied frills and ruching on the skirt are typical decoration for this period.
The bodice is tight-fitting and designed to suggest a jacket. This is an example of a formal evening dress which would have been worn to smart dinners, the theatre and other fashionable evening entertainments. It was important at this period to be properly dressed in public and private.
A fashionable man needed clothes to suit all occasions, both work and leisure. This meant that he sometimes had to change his outfits six or seven times in the space of a day. In the dinner jacket was introduced for more informal evening wear. Unlike the evening dress suit, which was cut with tails, the back of the dinner jacket was cut whole. Since then evening dress has altered very little. Any stylistic changes were very subtle, affecting details such as the length and width of the lapels or the fullness of the trousers. The jacket of this evening suit still has the 'button stand' around the outer edge of the lapels.
This is a feature that disappeared in the s. Dress Designer unknown About Great Britain Satin, with machine-embroidered panels and silk collar, cuffs and front with a velvet warp-figured stripe Museum no. This trained overdress is styled to suggest a man's coat of the Directoire period in France. In the aftermath of the French Revolution, the years to were a time when the country was run by an executive power - the five 'Directors' - that was in turn overthrown by Napoleon Bonaparte.
The Queen magazine of August illustrated a very similar 'Directoire' reception dress, and in November of that year commented: The sides of the coat hang down plain and straight. This dress is made of satin.
The bodice fronts are faced with machine-embroidered panels and trimmed with Japonaiserie Japanese-inspired exoticism buttons of cast-metal. The dress fastens with a half-belt and buckle. The collar, cuffs and front of the separate skirt are made of silk with a velvet warp-figured stripe. The skirt is mounted on glazed cotton and over a boned foundation. This elegant bustle dress displays a dense pattern of violets springing from a bed of vine leaves.
The design would have been woven by a powered jacquard loom and is an example of good commercially produced fabric. The floral design complements the construction of this dress, accentuating the closely fitted lines of the bodice and drapery on the front of the skirt. It also flows in sweeping folds over the bustle, which by the mids jutted out almost at right angles from behind.
Bustles were often a separate structure attached around the waist and included crinolettes made of steel half-hoops, down-filled pads and wire mesh structures. By the bustle was often incorporated into the back of the foundation skirt itself in the form of a small pad attached to the waistband and horizontal rows of steel which could be pulled into a curved shape. This dress has a foundation skirt of grey denim that is cut straight in front and gathered and pleated at the back to follow the lines of the separate bustle worn underneath.
Riding habit jacket Messrs. For much of the nineteenth century fashionable women wore dark woollen tailored jackets inspired by men's coats. By the s their dress was so similar that some observers noted that from a distance it was difficult to distinguish very young ladies from young gentlemen. This was no doubt helped by the fashion for wearing bowlers, top hats, cravats, waistcoats and trousers under skirts.
Many women's jackets were embellished with details borrowed from military uniform. Braiding was a popular form of decoration inspired by ornamentation on regimental dress as well as the flamboyant hussar designs.
How to Date Old Photographs by the Costume
This elegant example is based on the regimental patrol jacket characterized by parallel rows of applied braid across the breast, looped at intervals into designs known as 'crow's feet' because of their distinctive shape. Here the rows are shortened, and fanciful whirls at the proper right edge and on the collar do not relate to military models.
This imaginative combination of vertical and horizontal trimming emphasizes the length of the bodice rather than its width and ensures that the waist appears relatively small. The tailoring firm Redfern and Co. They were famous for their sporting costumes, smart tailor-made dresses and coats suited to everyday fashionable wear.
During the mids Redfern incorporated braiding into many of their designs for walking outfits and outdoor jackets. The Queen magazine of 10 May commented on some particularly striking examples including, 'The "Hungarian" The wife of Constantine Ionides, a wealthy art patron and collector. She is shown in aesthetic dress. Aesthetic dress was popular in the s and s, particularly within artistic and literary circles. They did, however, favour luxurious trimmings such as lace, as shown here.
Dating victorian clothing
Court shoe Designer unknown , England Silk velvet with silk ribbon, lined with satin and leather, with diamante buckle Museum no. However, after a long absence heels began to make a comeback around the mid-century. Low-cut slip-on shoes or 'court' shoes were the most popular form of women's footwear during the 's and 's. The curved construction of the heels on this brown velvet pair was influenced by the heel shapes from the previous century. In the early part of the decade, women wore tight bodices with high collars and narrow sleeves, much as they had done in the previous decade.
From about however, sleeves started expanding into a leg-of-mutton shape, which was tight at the lower arm and puffed out at the upper arm. Wide shoulders were fashionable and horizontal decoration on the bodice further exaggerated the line. Skirts were worn in a full-length, simple A-line. Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking. Hair was worn high on top of the head, in tight curls. Hats were small or wide with lots of trimming, but generally worn squarely on top of the head.
The three-piece lounge suit was very popular and regularly worn from the s onwards, and it became increasingly common to have creases at the front of the trousers. Frock coats were still worn, but generally by older or more conservative men. Collars were starched and high, with the tips pressed down into wings, though by the end of the century collars were more frequently turned down and worn with the modern long, knotted tie style. Hair was cut short and usually parted at the side. Heavy moustaches were common, and older men still sported beards.
Some men now went clean-shaven. His 'Portraits of Many Persons of Note' fills three volumes with nearly portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities. Family photograph Artist unknown England Platinum print Museum no. This photograph is taken from a family photograph album. Most of the photographs in it are printed on platinum paper, which was introduced in Such a photograph was expensive to produce and enjoyed for its delicate tonal gradations and matt surface.
This family photograph album contains single and group portraits and depictions of sports and pastimes that would have amused family, friends and visitors. It is a personal keepsake and document of a wealthy family of the s. Throughout most of the 19th century women had few legal rights to property, money, children, or even, after marriage, their own bodies. However, there were great changes in attitudes during the last decade of the century. The traditional role of women was questioned and some women openly defied convention.
They educated themselves by reading widely and took up what were seen as 'un-ladylike' activities such as smoking and cycling. The free movement of the bicycle was seen as a symbol of equality and personal freedom. The dress worn by the ladies in this photograph is typical of the s.
Genealogy research: Dating vintage photographs by clothing & hairstyles
They wear high collars with puffed, leg of mutton sleeves. The dresses are full length but quite slim. The sitter wears a high lace collar with leg of mutton sleeves, but this dress also has many of the features associated with the dress reform trend of the late 19th century. The trend ran parallel with the Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. This portrait of Princess Louise, Marchioness of Lorne and Duchess of Argyll, illustrates formal evening dress from around Her waist is severely corseted and she wears a bustle to give a pronounced, hourglass shape.
The volume of the skirt is pulled towards the back and drapes over the bustle. Her hair is piled on top of her head in tight curls, fashionable during the s. The fashionable s gentleman in this portrait sports short centre-parted slicked-back hair, with a generous moustache twisted at the ends. He wears a high collar turned over to form wings, and his waistcoat buttons high at the chest. The sitter in this portrait sports a generous and groomed moustache, fashionable throughout the s. It was common to have a pointed beard too. Collars were turned over into wings, and became taller throughout the decade.
The jacket buttons fashionably high up. However, hairstyles can be of some use in dating. The sitter in this photograph sports a full moustache very fashionable in the s. Boating suit jacket, waistcoat, trousers Designer unknown s Great Britain Cream wool with blue pinstripe, hand- and machine-sewn Museum no.
Light-coloured suits such as this became popular from the s. Matching coats, trousers and waistcoats, known as 'dittos', in pin-striped flannel were accepted dress for summer sports and holidays. The outfit was often completed with a straw boater. Striped jackets were originally worn for cricket, tennis and rowing and became fashionable for seaside wear during the s. The infiltration of sporting dress into informal styles of clothing shows how social conventions were relaxing in the late 19th century. Conventions in dress applied to informal as well as more formal wear.
It was important to be dressed appropriately for the occasion. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be built 'by the tailor' by the addition of a single incongruous article of attire; such as a silk hat or patent boots with a shooting-suit.
Photograph, portrait of A. Hinton was a photographer and member of the Linked Ring, a brotherhood of photographers committed to excellence in all styles of photography which flourished between and The sitter sports a high collar folded over into wings and a high buttoned waistcoat.
His moustache is long and twisted at the ends. Ltd London Pongee silk with smocking and machine-made lace Museum no. This dress has many of the features associated with the dress reform trend of the late 19th century. The clothes were homemade or produced in commercial studios. They used natural and artistic materials and often included hand-embroidered decoration inspired by the countryside and wild or garden flowers. Smocking too, seen here at the waist, on the sleeves and at the neckline, evoked an imaginary rural simplicity. Boater hat Designer unknown s Great Britain Plaited straw, with a silk grosgrain hatband Museum no.
Boaters were stiff straw hats with a moderately deep flat-topped crown and straight narrow brim and with a hatband of Petersham ribbon thick double ribbon which was generally watered, plain, figured or striped. This particular model is marked on the inside with the patent number The patent is for the elastic size regulator which is fitted inside and would alter the inside of the hat to the shape of the head.
The straw hat was at first only accepted for holidays and summer sports. By the s it had become popular for city wear. In the New York Herald of Fashion observed: Before then it would have been a social crime for any man pretending to fashionable dress, to appear in London streets in any hat other than the high silk hat. But is must be remembered that a straw hat or low hat cannot be worn with a black coat of any kind. The boater was worn by all social ranks and had no 'class distinction'. However, as another extract from Manners for Men shows, if a man was to be a success in society he had to wear it for the correct occasion: If he goes to a garden party in a frock-coat and a straw hat, he is condemned more universally than if he had committed some crime.
The evidence of the latter would not be upon him for all men to read, as the evidence of his ignorance in social forms is, in his mistaken notions of dress.
Women's Clothing - s - Clothing - Dating - Landscape Change Program
Photograph, portrait of Sir George Lewis, Bart. The sitter in this portrait sports a four-in-hand Ascot tie, very fashionable during the s and s. The Ascot tie is made of a narrow neck band with a wide cravat style front, neatly folded and pinned with a tie-pin. It was generally worn for morning dress, and is now commonly worn for weddings. The collar is typically high, with folded wings. The waistcoat is buttoned high on the chest.
Pair of boots Anton Capek designed and made , C. This boot is one of a pair made in Vienna for display in a London shop. It shows European shoe-making at its finest. The slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in Viennese and Belgian bootmakers produced some of the most striking footwear of the early 20th century. Their stylish boots made good display pieces for retailers. This example is elegantly restrained, but others were richly decorated and made in bright colours.
These boots advertised that top-quality fashionable footwear could be had from the shops that displayed them. When their style went out of fashion and they were no longer useful to shops, display shoes and boots were stored or sold. This pair was purchased in for 8 shillings and sixpence. Dress Designer unknown About France Wool, trimmed with ribbon, braid and machine-made lace, the bodice lined with cotton Museum no.
This dress was worn by the mother of the donor and is said to have been bought in Paris. It was probably ready-made. Boleros and figure-moulding, flared skirts were very fashionable at the time. The Queen showed examples with epaulettes, blouse fronts and pointed belts 2 April Another magazine illustrated a similar example: It fits closely over the hips and begins to form a series of fluted pleats a little above the knee' 'Our Lessons in Dressmaking', Myra's Journal, 80, 1 April She was a well known artist, and a champion of 'Aesthetic' dress - a dress movement that eschewed restrictive corsetry and artificial bustles for loose, draping clothes with simple silhouettes in natural fabrics and colours.
This portrait is of the Louise Jopling Rowe , one of the best known female painters of the Victorian era. She is shown here at 47 years old, when she was already interested in 'rational' dress - a dress movement that eschewed heavy bustles, massive crinoline skirts and tight corsetry. At the turn of the century she served as vice-president of the Healthy and Artistic Dress Union, which championed this less restrictive mode of dress.