Before the advent of designer activewear, women’s sportswear ranked low on the list of fashion priorities. But a new exhibition demonstrates that sporting attire has long been a valuable tool for self-expression and an important path towards greater liberation.
The 1830s was a bridge between the gigot-sleeved confections of the 1820s and the tight-sleeved, form-fitting bodices of the 1840s.
by Susan Jarrett The Romantic period derives its name from Romanticism- a term used to describe a movement in art, literature, and music that valued freedom of expression. Romanticism began in…
So many historical costumers are sewing 1830s, and I want to be sewing 1830s, but I can’t start any new projects until my already started ones are finished, so I’m consoling myself by finding interesting Romantic-era fashions – like this week’s Rate the Dress Last week: an 1890s dress in plum and leaf print chine What an interesting reaction to last week’s Rate the Dress! Ratings ranging from 10-2, and everything in between (except 7). It was described as being suitable for a “surreal pseudovictorianish comical dystopia” or perfect for “a posh British lady going to Australia for the first time.” (which is interesting, because it rather reminds me of the better costumes in the generally terribly costumed 2018 ‘Picnic at Hanging Rock’ TV series). And “unfortunate”… The Total: 7 out of 10 It finally gets that 7! This week: An 1830s evening gown This 1830s evening gown comes in classical white, with sleeves that Anne would envy (albeit a half century early), a flourish of embroidered greenery around the hem, a perky bow in the …
Dress, c. 1835 - FIDM Though I have less and less time to devote to making historical costumes these days (ironically, but such is running two footwear companies), I still love a good dive down a rabbit hole. This weekend past was spent pouring over any
The 1830s was a bridge between the gigot-sleeved confections of the 1820s and the tight-sleeved, form-fitting bodices of the 1840s.
What was the well-dressed young woman wearing in the first half of 1833? I'm dividing this year in half just because I have a lovely selection of prints to share, and don't want to leave anything out! In January, she might be wearing a Morning Dress or Walking Dress as shown in The Court Magazine. I have the original text for these: "Morning Dress—Dress of chaly [challis], printed à colonnes, high body, with crossed plaits, plain back, laced; large full sleeves, tight to the elbow. Apron of black gros de Naples, embroidered with a wreath of sweet peas; epaulettes on the shoulders embroidered also; cap of Brussels lace, trimmed with maïs gauze riband. Walking Dress—Dress of blue saphire satin, plain body; tippet of black velvet à godets, and long ends; blonde ruff, with a bow of maïs gauze riband; capote of maïs terry velvet, lined with black velvet, and plait of velver to mix in the curls; trimmed with a maïs and black cerbère feather and maïs gauze riband." "Maïs" here indicates a pale yellow, like maize or corn. Also in January’s Court Magazine, this elegant Evening Dress. The text reads, "Dress of white Cachemire [cashmere] à colonnes, alternately high corsage drapé, with borders to corespond with the pattern of the dress; short sleeves of white gros de Naples under long crapelisse sleeves; hat of grenat velvet, trimmed with torsades of velvet and a green bird of Paradise." This print from Court Magazine’s February edition does something that Ackermann’s prints didn’t: show a front and back view, but slightly varied (a different fabric, perhaps.) This is a charming Dinner or Evening Dress, with an elegant turban headdress: March’s Court Magazine has two wonderful Ball Dresses, one of them for a costume ball as it called "Catherine Seton", after one of Mary Queen of Scots ladies-in-waiting. Text reads: Catherine Seton--Dress of white satin, trimmed with blue velvet and pearls. Tunique of the same, and cordelière in pearls. Cherusse of blond; head dress of pearls, and a veil. Ball Dress—Dress of cerise gauze “à damier,” trimmed with gauze ribands and flowers. Plain body with bouffantes short sleeves “à côtes,” with sabots. Wreath of small flowers same as the dress." One thing I especially enjoy about these prints from Court Magazine are the attention lavished on backgrounds as well as on the dresses themselves, making them even more eye-candyish. April's Court Dress definitely qualifies as eye-candy, by the way--the description reads: "White satin dress embroidered à tablier, in gold lama [lamè]; train and body à l’antique, in violet velvet embroidered in gold; sleeves à pointes, in velvet fastened with brilliants, blonde mantilla and sabots. Plume of ostrich feathers, and blond lappets." Also in April's edition is a Carriage Dress—again, we have a front and back view, with slight variations: "Pelisse of green rayé watered silk, trimmed in front, cape of the same with epaulets; frill in plain blond net. Bonnet of mauve satin with one white ostrich feather." Another Court Dress features in May's Court Magazine, this time in cherry-pink and white, with a bow-decorated train and sleeves, an emerald parure, and the requisite ostrich feathers and lappets: And lastly, for June, a restrained yet still wildly romantic Evening Dress, all of the same fabric but with a scalloped overskirt, gathered bouffant sleeves, and a few outrageously large bows to finish things off. And again, the background art is as pretty as the dress: What do you think of 1833's fashions?
Day dress hand-made from block-printed cotton and lined with cotton, Great Britain, about 1830
Velhagen & Klasings Monatshefte, 1916/17 200 Jahre Kleiderkunst. 1700-1900, von Max von Boehn in Berlin. (200 Years of Fashion History) Maskenkostüm. Modebild (Fancy costume. Fashion plate by Paul Gavarni. 1834.) Paul Gavani: en.wikipedia.org/wiki/Paul_Gavarni hu.wikipedia.org/wiki/Paul_Gavarni Max von Boehn: de.wikipedia.org/wiki/Max_von_Boehn_%28Kulturhistoriker%29 Velhagen & Klasings Monthly Journal, appeared from 1886 till 1953. I bought some volumes in an antique bookshop when I was 16. commons.wikimedia.org/wiki/Category:Velhagen_%26_Klasings... The Velhagen & Klasings was a remarkable German publisher: de.wikipedia.org/wiki/Velhagen_%26_Klasing
Even if you are not a fashion historian, you have likely seen images of the clothing people wore in the past. Whether you saw them online, or in your own family photos, the outer garments of indiv…
A couple of years ago, I ordered in seven yards of silk taffeta for a dress for a customer. It was a glorious blue and yellow plaid. I whacked off a yard to send to them for a hat, only to be inf…
In the 1830s, fashionable women’s clothing styles had distinctive large “leg of mutton” or “gigot” sleeves, above large full conical skirts, ideally with a narrow, low…
Collecting antique fashion plates involves preserving historical illustrations of clothing and accessories, offering valuable insights into fashion and style throughout history.
The 1830s was a bridge between the gigot-sleeved confections of the 1820s and the tight-sleeved, form-fitting bodices of the 1840s.
Purple silk damask dress worn by Elizabeth Evans Hoogewerff (1803-1888). Distinguishing features of this dress's construction include its fan-pleated bodice, sleeves, and draw-loom silk damask that dates to the 1740s.
Three 1830s gowns in the collection of The Metropolitan Museum of Art You may be thinking,
The 1830s is such a trash fashion era. The dresses, the hair, the corsets...all terrible. Just plain ugly.
I have an 1830s-themed picnic later this year, so I made another Romantic era gown! Although I already have the plaid silk dress that I wore to the Dickens Fair, the thought of wearing silk to an o…
Long Arm Quilter and Designer Rebecca Grace Shares her Creative Process for Quilt Making, Combining Traditional Hand Stitching and Computer Technology
Explore CharmaineZoe's Marvelous Melange's 25344 photos on Flickr!
The 1830s was a bridge between the gigot-sleeved confections of the 1820s and the tight-sleeved, form-fitting bodices of the 1840s.
The 1830s was a bridge between the gigot-sleeved confections of the 1820s and the tight-sleeved, form-fitting bodices of the 1840s.
This week's Rate the Dress is a morning dress featuring a fascinating 1830s fabric: a cotton print with geometric and floral patterns in fawn and green.
Today I’m excerpting from The Gentleman and Lady’s Book of Politeness and Propriety of Deportment: Dedicated to the Youth of Both Sexes by Elizabeth Celnart and translated from the Pari…
