tag:blogger.com,1999:blog-31722815135489834592024-03-12T19:50:16.687-04:00Late Victorian Era Clothing1866 - 1900 Late Victorian Era FashionsSandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.comBlogger76125tag:blogger.com,1999:blog-3172281513548983459.post-57469122228077696712013-12-06T18:36:00.001-05:002013-12-06T18:36:24.324-05:00Late Victorian Era Fashion Plate - April 1870 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Plate - April 1870 Peterson's Magazine<br />
<br />
Fashions for April</span><br />
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<span lang="EN">Fig 1 - Evening-Dress of white swiss muslin, trimmed with twelve narrow flounces, which reach to the waist; each flounce has a band of narrow, black velvet run on it just above the narrow hem. Low, plain waist, and short, puffed sleeves; black velvet bretelles, wit small bows on the shoulders, and a black velvet sash, with large bows and long, wide ends. Narrow black velvet ribbon around the neck, and a bow of black velvet in the hair.<br />
<br />
Fig 2 - Walking-Dress - The skirt is of green and white plaid mohair, trimmed with eleven narrow, bias ruffles, scalloped on the lower edge. The redingote is also of green mohair, but of a smaller plaid than that of the skirt, and of two shades of green instead of green and white. It opens in front, is lined with green silk, which shows when the ends are turned back. The back of the redingote is slit up part of the way to the waist, and the corners are turned back and faced with green silk, like the front; the open waist and close sleeves are also trimmed with green silk. White lace bonnet, ornamented with pink roses.<br />
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Fig 3 - House or Carriage-Dress of rich brown silk, striped with black. The skirt is short and quite plain; the pannier is very much puffed out in the back, and not closed at the lower part; that, as well as the bottom of the small, tight, jacket-shaped body, is trimmed with black lace put on over white lace; the sleeves and bretelles are trimmed in the same way.<br />
<br />
Fig 4 - White Mohair Dress - The skirt of which is quite plain, except just around the bottom, where a scalloped trimming is put on to turn up, and is laid in large box-plaits. Yellow silk over-skirt, very much looped up, longer at the back than at the sides, and trimmed with green fringe; a small, white ornament, like an apron, trimmed with green, falls over the front. High, white muslin body worn under a low, green silk one, and sleeves puffed to the wrist.<br />
<br />
Fig 5 - Carriage or House-Dress of gray silk - The skirt is long and plain, except down the front, which is ornamented with blue bows, connected by a band of blue silk. The casaque, which also forms an upper-skirt, has two very deep and full puffs at the back, and is turned back and faced with blue silk in front; the waist is also open, and faced with blue silk, and shows the waist of the under-skirt, which is trimmed with blue bows. Bonnet of blue crepe, ornamented with a small ostrich feather.</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-75766200599680005232013-04-28T22:23:00.001-04:002013-04-28T22:23:39.956-04:00Late Victorian Era Fashion Chit Chat - December 1883 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Chit Chat - December 1883 Peterson's Magazine<br />
<br />
Our Paris Letter<br />
<br />
Rue Des Petits Champs,<br />
<br />
Stamped velvet, or rather valvet-flowered satin, is highly in favor this season for handsome toilettes, either for visiting or dinner-dress. The figures are very large, and are in various styles, sometimes the pattern being in dark velvet on satin of a lighter hue, and at others the flowers or fruits are in shades of their natural tints on a pale-colored background. The patterns are very varied, the newest being oak-leaves and acorns in dark velvet on light satin, very large dahlias and chrysanthemums, in the same style, and branches of fruit, such as peaches and plums, in their natural colors, as finely shaded as a water-color, on cream-white or pale-blue satin. The new copper-red - known as volcano-color - blends admirably with the last style of material.<br />
<br />
Worth now shows for walking-dresses a front in stamped velvet placed over the underskirt, which is in satin, the draped back of the skirt being in satin. Another of his models blends satin, ottoman-silk, and velvet, the skirt-front having an apron-overskirt of ottoman-silk caught up to the waist at one side s as to show a satin underskirt, plaited from waist to hem, and bordered with a two-inch wide band of velvet. The back of the skirt is formed of velvet draperies, and the corsage is a plain short cuirass of velvet.<br />
<br />
Worth is employing a dark rich shade of brown very extensively, even for full-dress occasions. In satin, combined with a brilliant gold-yellow, the effect of this hue is admirable.<br />
<br />
Cloaks of stamped velvet, in dark colors, lined with satin or plush in vivid violet or scarlet, and trimmed with bead fringes and passementerie, are very much in vogue. Almost any shape can be worn, the styles being decidedly eclectic. In the way of trimmings, heavy handsome fringes in jet beads and chenille are the most effective. Less costly, and very showy, are the wide network fringes in narrow worsted braid, hung with round balls, which are used for covering the underskirts of walking-dresses in cashmere. They are worn in hues contrasting with the underskirt itself: such as red on navy-blue, black on dove-color, or silver-gray and dark-brown on beige-color. There is a positive run on neutral-tints this season, all shades of brown and gray being especially favored - that is, so far as dresses and cloaks are concerned.<br />
<br />
Bonnets and hats - to relieve the more sombre hues of the costumes - are frequently shown in very brilliant colors. The bonnets are still very small, but there is a slight modification in the crowns, which are sometimes seen in set flat shapes. For ornamenting bonnets in dark velvet, the head and neck of a tropical bird, in very delicate hues, are combined with the breast of another bird, also in some pale tint, and the effect is exquisite - the palest pinks, blues, and cream-tints in plumage being employed on dark brown and olive-green velvet. Scarlet-velvet roses shrouded in black lace are seen on the small capote-bonnets of a darker red. Bonnets of pale-blue or of pale-pink English crape, with fronts formed of a puff of velvet matching the crape in hue, are shown for evening-wear. The bonnet is formed of crossed scarfs of the crape at the back, meeting the puffed velvet brim.<br />
<br />
Morning-dresses are more elegant and elaborate than ever. The richest styles are formed of Princess-cut dresses - that is, all in one - of plush or ottoman-silk, trimmed with fur, and opening over elaborate lace underskirts. Sometimes the underskirt is composed of a series of narrow lace flounces; at others, it is formed of full or transverse draperies of lace, or rather of rich silk lace-net. If the wearer has a very slender figure, a blouse-vest of the lace is admissible, confined in place by a sash of narrow satin ribbon. A less dressy morning-toilette is composed of a sacque and skirt in cashmere. The first is rather short, and is bordered by an inch-and-a-half-wide plaiting of cashmere, headed by a band of velvet of the same width. The skirt is formed of a single kilt-plaiting from waist to hem.<br />
<br />
Fans are of medium size, except when formed of ostrich-feathers, and they may then be as large as the fancy of the owner may dictate. The Spanish fan, with gilt carved sticks, and with a narrow leaf in gold-spangled crape, is very much in vogue for opera or dinner-wear. Plainted-satin fans, with sticks of violet wood or ebony, relieved with gold, are much used for dinner-toilettes. A new and very effective style is in black crape, with the design - such as cupids, watteau-personages, etc. - painted in shades of gold, the sticks being in gilt wood or in ebony and gold. Tortoise shell mountings are less in favor this season, except for ostrich-feather fans, mother-of-pearl and ivory being more extensively employed for the more dressy styles. In some of the newer fans the leaf is so large as to take up two-thirds of the expanse, and is very beautiful, showing designs of fruit elaborately painted by hand on white or black satin.<br />
<br />
The Jrsey has been adopted in Paris at last, and has become the rage. Silk Jerseys - such as were fashionable in England - are not seen; but in worsted, the variety is great. They are shown plain, or braided, or trimmed with heavy braid, and closed with frogs. The result of their success is that very thin and very stout women are often seen in them, with most disastrous effect. They are invariably worn with skirts to match them in hue.<br />
<br />
Stockings embroidered with beads, either in jet or colors, are amongst the latest innovations. Sometimes the instep shows a very fantastic pattern, such as a beehive with bees hovering around it, in shades of amber and olive silk and beads, on a pale-blue silk stocking, or a lizard, in ruby, gold, and emerald beads, on a black-silk one. Jet arabesques on black-silk stockings, and similar designs in gold and amber on dark-red ones, are in better taste. A very pretty style has a fine lattice-work in jet or steel beads, on black silk, on the instep.<br />
<br />
House-shoes are cut very low in front, and are elaborately worked with beads, the little bow on the front of the slipper being also embroidered with beads.<br />
<br />
Lucy H. Hooper.</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-55906119465820288492013-04-24T22:43:00.001-04:002013-04-24T22:43:28.346-04:00Late Victorian Era Fashion Chit Chat - December 1883 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Chit Chat - December 1883 Peterson's Magazine<br />
<br />
General Remarks<br />
<br />
All shades of gray are exceedingly popular; but care should be taken to select a warm tone, as the colder ones are so often unbecoming. But our readers have a large range of colors to select from, as browns, greens, and dark-reds are all sought after. In fact, the fancy can always decide the color, and the wearer can be sure to be in the fashion. Two, and even three, materials are much used in making up a dress - silk and velvet, or brocaded satin, or camel's hair, or any of the numerous rich goods which are now so plentiful, can be employed in the making-up of the new winter-dresses. Both materials may be plain, or one plain and the other figured; in this way, two, or even three, old dresses may be made up to look like a new one of the latest style.<br />
<br />
Skirts are still close-clinging in front, but are growing more and more bouffant at the back. Of course, all waists and basques must be cut with sufficient "spring" to allow for the extra fullness at the back.<br />
<br />
The mode of making the waists is as varied as possible: long or rather shorter bodices, plain or much-trimmed. Those closed to the throat, or open at the neck, are all equally fashionable, only care must be taken that the open bodice, or the much-trimmed one, is not worn at inappropriate times. For persons whose wardrobe affords but few dresses, the less pronounced and marked ones are in better taste, as the date of a very much trimmed dress is apt to be remembered.<br />
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Sleeves are still put in high, and rather full at the shoulders; and the extremely tight sleeves, making the arms look like sticks, are no longer the fashion, though great pains is taken to have this important part of the dress fit well.<br />
<br />
Black dresses can be varied in appearance by putting on a gathered jabot of colored silk or satin, with a band of the same round the neck, and a black waistband. A kind of Norfolk jacket is a good deal worn as a dress-bodice, with three plaits back and front, or else with gaugings at the neck and waist. These bodices are cut straight round the jacket, and only extend about six or seven inches below the outside waistband. They are very suitable for slim figures.<br />
<br />
Wraps are of all shapes, and in the more dressy kinds are frequently made of two materials; the long square-sleeved Russian cloak is much liked, as it is so comfortable; the tighter-fitting coat or jacket is jaunty-looking, but has the disadvantage of not being easily removed in the house or at church. Lace, chenille - or other kinds of fringe - and fur, are all used. Many of the expensive new cloaks are lined with gay silk or satin; sometimes brocaded silk is employed.<br />
<br />
Bonnets are generally small, though larger ones are seen; the crowns are made ample, and often square, to fit the hair, which is now usually worn high on the head.<br />
<br />
In hats, the Henri Trois is the leading shape, with its high stiff crown and straight brim. The crowns here are also important, being large enough to take in the coil of hair which the Parisians now set on the top of their heads, having repudiated the classic Greek knot in the nape of the neck.<br />
<br />
Felt hats are trimmed with lustreless cloth of light quality, with velvet of short pile, and with terry velvet. The ribbons used are mostly reversible - plain velvet on one side, and repped velvet on the other; then there is the new Astrakan ribbon, woven in loops or tufts.<br />
<br />
Gray is likely to be the leading color in millinery, and the newest bonnet-trimmings are steel net and steel lace, woven of metallic threads, but very fine and filmy-looking. Escurial lace and heavy ficello lace are much used, so are large beads - principally jet or tortoise-shell - in eccentric shapes - pear-shaped, spiked, and oblong.<br />
<br />
Dark-red velvet, trimmed with black lace, or having a network of black chenille over it, is also a style that is much liked to brighten up black or other dark costumes. Bonnets partly made of the material of the dress are also popular. Strings are often made of a reversible material - such as velvet on one side, and satin on the other. Silver and gold braids are frequently employed for the whole hat, and at other times trim velver and satin for more dressy wear. Feathers, wings, and whole birds are much used for hats and bonnets.</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-91434269467875397942013-03-25T19:37:00.004-04:002013-03-25T19:37:59.937-04:00Late Victorian Era Fashion Plate - December 1883 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Plate - December 1883 Peterson's Magazine<br />
<br />
Fashions for December<br />
<br />
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<span lang="EN">Fig 1 - Visiting-Dress, of dark smoke-blue silk. The bottom of the skirt is trimmed with four narrow knife-plaited ruffles; the front is ornamented with an arabesque applique of velvet. The tunic, which opens in front, has a narrower trimming of the same kind. The mantle is of chocolate-colored brocade and plain velvet, the back and front being of the velvet, and the sides and full sleeves of the brocade. The brocade is cut in points, and beneath these falls a trimming of colored lace. Bonnet of chocolate-colored velvet, trimmed with smoke-blue feathers and aigrette.<br />
<br />
Fig 2 - Evening-Dress, of mauve-colored silk, with Oriental striped overdress. The short skirt is made with a very narrow knife-plaiting and three box-plaited ruffles; above the latter is a wide full shell quilling. The Princess overdress is of rich Oriental striped silk, made with paniers, and looped drapery at the back. The bertha and sleeves are of white crepe-lisse; mauve silk box on the shoulder, and long mauve feather in the hair.<br />
<br />
Fig 3 - House-Dress, of myrtle green camel's-hair and velvet. The skirt has a narrow knife-plaiting at the bottom; above this, clusters of fluted plaits alternate with wide bands of velvet. The tunic is very much gathered in front, and looped at the back, so as to form a large tournure. The waist and sleeves are plain, and trimmed with velvet bows, fastened with steel buckles.<br />
<br />
Fig 4 - Walking-Dress, of dark blue-gray cloth. Above the narrow knife-plaiting at the bottom is a band of beaver-fur. The front of the dress is of velvet of a darker shade than the cloth, and is arranged in loose puffs. The Princess overdress is trimmed down the front with a row of beaver on either side, and it has a beaver-fur collar and cuffs. The scarf-drapery is of the velvet, and brandebourgs fasten the dress together. Hat of blue-gray felt, with feathers to match.<br />
<br />
Fig 5 - Evening-Dress, of fine Nun's-Veiling. The skirt is of light-blue, agthered to the foundation, so as to fall in a loose puff above the ruffles. The bottom is trimmed with alternate ruffles of blue and white nun's-veiling, and above the upper one of blue is a full fall of imitation Mechlin lace. The overdress is of white nun's-veiling, made Princess-shape, opening in front, and forming pointed paniers at the side, and draped slightly in the back. The whole is trimmed with the imitation Mechlin lace and blue ribbon.</span><br /></span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-90388121390734689482013-02-18T20:12:00.001-05:002013-02-18T20:12:46.775-05:00Late Victorian Era Fashion Chit Chat - July 1875 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Chit Chat - July 1875 Peterson's Magazine<br />
<br />
General Remarks<br />
<br />
We also give a beautiful summer fichu of white net, trimmed with Malines, or other softly-falling lace, and a violet and white twilled silk fichu, trimmed with a fringe. Either of these are very becoming to slender figures. The two hats are also of the newest styles; but only two varieties out of myriads.<br />
<br />
Summer always brings out charming toilets in thin, vapory materials, which, though they look so inexpensive, sadly belie their appearance. White muslins, organdies, lawns, batistes, besides innumerable grenadines, and other thin, silky materials are only simple at the first glance. The rufflings and the puffings, and the silk under-dresses, all make the summer toilet a somewhat costly affair.<br />
<br />
Many ladies now use the delicate pink, blue, or violet lawns (plain ones of course) in the place of silk, for slips under their dresses.<br />
<br />
Plaitings, and especially marguerite plaitings, which are as fine and as closely laid as the petals of that flower, and look like crimping, are decidedly the favorite trimmings at present. The long tablier reaching to the foot, has abolished wide flounces on the skirt, it being found that two narrow platings on the front and side breadths, and several rows on the back breadths, form a more effective trimming. These plaitings are sometimes sewn by machine, but they are better with flat hems held by blind stitches. Sometimes the raw edge of the silk is merely turned up once and secured by what is called "cut stitching;" but, at any rate, the plaits should be always pressed flatly and left to flare open; if they are deeper than the eighth of a yard, they should be caught by a thread in the centre on the wrong side. Plaitings are also intermixed with fronces - or, as these are called sometimes, drawings, gatherings, or shirrings; but, with all this multiplicity of names, they are nothing more nor less than the material drawn up into a wrinkle by means of threads run through it, each from half to three-quarters of an inch apart. A strip of the material, from four to eight inches wide, is used for these gatherings.<br />
<br />
The bodices that are made with five seams at the back, and without curved side-pieces, are gaining ground with the public. The seams each side of the one in the centre of the back commence, as a matter of course, on the top of the shoulder; they are held in position by slender whalebones, which are carried to the end of the three centre seams. The difference between the Joan of Arc bodice and the cuirass (both of which are popular,) is that the former is slightly hollowed out, or describes somewhat of a curve, whilst the latter is straight all round.<br />
<br />
BLack silk guipure is again in fashion. Those who possess deep guipure flounces can utilize them advantageously by mounting them on stiff net, and without any fullness, in rows one close to the other. This makes a charming Spanish tunic or tablier, which can be worn over a variety of dresses; the sleeveless bodice is also cut out in net and covered with piece-guipure. Guipure is used in the same manner over white silk, and can be worn thus over light silk dresses.<br />
<br />
Straw fringes are in vogue for trimming light dresses, and several stylish ball toilets are ornamented with black ribbon velvet embroidered with straw.<br />
<br />
Skirts are now bordered inside with narrow flounces of Swiss or Madeira work, and with cambric plaitings, edged with Valenciennes lace. These additions to the lining of a skirt are called balais or sweeping-brooms. Formerly they were only to be seen onball-dresses, but now they are added to most skirts with trains and demi-trains. Black silk stockings are more fashionable than any others just at present, and there is great variety in them; some are open-worked, some are studded all over with flowerets of various hues, and some are of two widely-contrasting colors, the leg being violet and the foot white, with fine violet stripes; in others, on the contrary, the foot is scarlet, and the leg alternate stripes of scarlet and white. These silk stockings are worn under shoes with high heels and fancy buckles, and they generally correspond in some measure with the toilet worn at the time.</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-12615294256474181742013-01-07T19:17:00.003-05:002013-01-07T19:17:27.607-05:00Late Victorian Era Fashion Plate - July 1875 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Plate - July 1875 Peterson's Magazine<br />
<br />
Fashions for July<br />
<br />
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<span lang="EN">Fig 1 - Afternoon-Dress of white muslin over pink silk or pink lawn - Plain skirt edged with embroidery. The tunic is of white muslin, with an apron-front made of rows of embroidery put on as ruffles, and fastened back under the pouf with a sash of pink ribbon. The body is trimmed with embroidery, and the sleeves puffed lengthwise with rich insertion between the puffs.<br />
<br />
Fig 2 - House-dress of gray mohair - The skirt is made with three plain ruffles, the upper one headed by a row of black velvet. The skirt clings closely in front, and has a small pouf behind from under which fall the wide ends of the bretelles. These bretelles are made of black velvet, edged with guipure lace, both the velvet and lace on the waist being narrow. A black velvet waistband and cuff on the sleeves completes this elegant toilet.<br />
<br />
Fig 3 - Carriage-dress of foulard silk - The underskirt is of a pinkish mauve, the skirt at the back plain, whilst the front has four rather wide ruffles of pink mauve and blue lilac, alternately. The over-dress is of the bluish lilac tint, and has two rows of piping around the skirt at the back. The waist and sleeves are plain. The Marie Antoinette fichu is made of the bluish lilac, trimmed with Duchess lace, headed by bands of the mauve. It is long in front, with square ends, and is held down to the waist at the back by loops and ends of the two colors of the silk. Duchess lace falls over the hands. The hat is of the Trainon shape, trimmed with ribbons of the two colors of the dress.<br />
<br />
Fig 4 - Morning-dress of white muslin over pink lawn - The lawn has one deep flounce of white around the bottom. The white over-dress reaches to this flounce, and is trimmed with full knots of pink ribbon.<br />
<br />
Fig 5 - Walking or traveling-dress of ecru de bege, headed by a brown mohair braid, and the jacket has brown buttons. Brown straw hat, trimmed with brown velvet and ecru-colored feathers.</span></span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-22733350819207439032012-12-29T10:01:00.001-05:002012-12-29T10:01:36.005-05:00Late Victorian Era Fashion Chit Chat - June 1889 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Chit Chat - June 1889 Peterson's Magazine<br />
<br />
General Remarks<br />
<br />
For summer dresses, the round belted bodice is very popular. Plaits, gathers, collars, and vests are seen in all the new dresses; somehow and somewhere, a trimming of some kind must be placed. To nearly all figures, this is becoming; to the very slender, eminently so; to the fuller figure, a long revers from the shoulder, bringing it nearly to a point at the waist, is very advantageous, as it breaks the plain expanse over the bust and at the waist.<br />
<br />
Skirt-draperies will retain the straight narrow look. For stuff dresses, the coat appearance, opening in front over a plaited, gathered, or fancy front, is popular; while at the back the skirt falls in long lines without looping. But thinner materials need a little more draping. Some ginghams and other thin dresses, however, have the skirts simply gathered at the waist and fall straight to the hem. <br />
<br />
Bustles, cushions, and dress-stiffeners are very much reduced in size, some women dispensing with them altogether.<br />
<br />
The sleeves are more comfortable-looking and much more becoming then the tight tailor-made ones lately worn. These sleeves are only moderately full at the armhole and down the arm, not like the leg-of-mutton sleeve of fifty years ago. For thin dresses, they are often much fuller.<br />
<br />
Shoulder-seams are short, on some French dresses very short, and sleeves stand full and high on the shoulders.<br />
<br />
All dresses have a noticeably simple appearance, and are more easily made at home than formerly.<br />
<br />
The Marie-Antoinette fichu is again popular. In France, it is the fashion, and here it will no doubt be revived by the Washington Inauguration Centennial, as the becomingness of it will be seen by all who examine Martha Washington's picture; hers is usually represented as a plain one, while the new ones have frilled borders. They are rounded at the back and cut with long tapering ends, which sometimes cross on the bust and tie at the back; in other cases, they tie on the bust, with the ends fastened down at the waist.<br />
<br />
Sashes of wide ribbon, surah, etc., are much worn.<br />
<br />
For party-dresses for young girls, nothing is prettier than long sprays of ivy-leaves; these are used to trim the skirt, as the fancy may dictate, the bodice, shoulders, hair, etc.<br />
<br />
Short mantles, but having long ends in front and triple capes, are much worn.<br />
<br />
Bonnets are quite small, low, and trimmed with a profusion of flowers; the Alsatian bow is also popular.<br />
<br />
Hats have large brims in front, with a much narrower one at the back, and very low crowns; these are also trimmed with May-flowers; but the shapes of the hats are very varied and are often picturesque, also often very ugly and exaggerated. They are bent and twisted is such marvelous manners as to defy description; but the effect is of a cunning adjustment of lace or tulle, with a few flowers carelessly thrown among the folds. Lace hats are to be worn, and trimmings of lace on straw hats, and transparent materials generally. Ribbon, too, is employed - not so exclusively as of late, but in combination with soft millinery materials and flowers.<br />
<br />
Our Paris Letter<br />
<br />
Rue des Petits Champs<br />
<br />
We are gradually getting used to the changes in the styles of ladies' dresses, and, whereas a year ago a straight-falling skirt would have looked odd and unfashionable to the last degree, the apparition of some conservative lady, who still clings to the dress-improver, is now quite as extraordinary and out of style. The backs of skirts now present merely a gentle slope, a cushion and a couple of steel hoops of moderate dimensions being all that is accorded to hold out the flat-plaited folds.<br />
<br />
The accordeon-plaits continue to be highly popular and are certainly graceful, but they have one marked defect; they are very expensive. The summer evening-dresses for young girls are mostly in tulle with accordeon-plaited skirts and low-necked corsages in folds of the material, crossed transversely with flat folds, and finished with a sash in surah encircling the waist. No contrast of color is admitted into these very tasteful dresses, the surah sash matching the tulle. Short skirts for evening wear are wholly abandoned, except for very young girls. Long trains, however, are only worn for full ball-dress. The short demi-train is universally adopted for dinner or reception dresses, but short skirts for promenade or traveling wear still hold their own.<br />
<br />
There is quite a revulsion from the rage for colored under-garments, and pink and blue and lilac batiste for handkerchiefs and underwear have given place to pure white, and cambric is again in vogue. There is talk of substituting white thread stockings for the colored hosiery that has so long been popular; but, as white stockings increase the apparent size of the foot and ankle, it will be some time before that innovation is adopted.<br />
<br />
A favorite combination this season is the union of pekin and plain materials of precisely the same shade in one costume. The pekin is in narrow stripes, either in satin and faille or in watered silk and satin. It comes also in light worsted stuffs. The corsage and the straight folds of the skirt are made of the pekin, and the plaited underskirt or the soft full draperies are of the plain material. Worth has composed dresses entirely of pekin, with immense revers at either side of the skirt, formed by turning back an entire breadth in a pointed shawl-shape. The pekin thus employed is in inch-wide stripes of taffetas and satin, in contrasting colors, and the effect is very striking.<br />
<br />
In the way of hats and bonnets, the sudden lowering of high crowns and lofty trimmings has set every lady to remodeling her last season's headgear. Everything in the way of millinery is light and aerial, or else compact and severe-looking. Full-dress bonnets are the daintiest little things imaginable, being in pale-tinted gauze or tulle, or else all in small spring flowers that completely cover the frame. Heather, forget-me-nots, and lilies of the valley are much used for these picturesque little bonnets. Then there are fine straws, trimmed with bttercups or with violets, and others in gold braid or passementerie, or in fine gold gauze. Hats in fine black straw with very wide brims, having a band of insertion in delicate black horse-hair lace let into the brim about its centre, are trimmed with black lace and flowers and black ribbons, or else with a combination of black lace and jet butterflies or dragon-flies. That last mode of trimming is very effective, bit is rather heavy for the hat itself.<br />
<br />
The summer cloaks and wraps are very pretty, and by no means expensive. The most attractive are probably those in black lace, made to cover the toilette entirely, and having very wide falling sleeves and a lining of thin silk. Sometimes the skirt is bordered with rows of watered ribbon. The wide sleeves are left unlined. These lace cloaks really take the place of a dress. Very charming ones for watering-place wear are made in white lace, either lined with colored silk, or having the lining in white silk with pale-blue or pink ribbons put underneath the lace so as to define the bands in the pattern. For everyday wear, these long cloaks are made of black surah or of changeable satin merveilleux, and have belts of ribbon or else bands of ribbon encircling the waist, with loops and long ends falling in front. The short graceful mantelets, in black or colored silks or sicilienne, trimmed with ruffles of wide black lace, are still worn and are very popular.<br />
<br />
Parasols are still extremely large.<br />
<br />
Green is the color most in vogue this season, and it is shown in all varieties of shades, from the darkest bottle-green to the new faint tint called varnish-green, which is as near white as a color can possibly be. A very beautiful shade, being at once light and brilliant, is called the Nile-reed. Lake-blue, another new color, is a shade between sky-blue and electric-blue.<br />
<br />
There is talk of reviving the old-fashioned barege, so dear to the hearts of our grandmothers. It would be a material just suited to the present cut of dresses.<br />
<br />
Lucy H. Hooper.</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-37179832440925091282012-12-17T19:21:00.004-05:002012-12-17T19:21:52.258-05:00Late Victorian Era Fashion Plate - June 1889 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Fashion Plate - June 1889 Peterson's Magazine<br />
<br />
Fashions for June<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtYboaWIbZW8JkMTTaVHw1zItA84Fr3-yq77Q9bHcqrkFJPtNzqNGWTZUNVZ34vwSFCgf0k20zBlRLnaK82PCHEJqUZlcHLKgFANUGEPWa3nD4fv4nJ-ZqdAFvhl3WnzMp_bzbNxgYpTw/s1600/1889-06+Petersons+Magazine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtYboaWIbZW8JkMTTaVHw1zItA84Fr3-yq77Q9bHcqrkFJPtNzqNGWTZUNVZ34vwSFCgf0k20zBlRLnaK82PCHEJqUZlcHLKgFANUGEPWa3nD4fv4nJ-ZqdAFvhl3WnzMp_bzbNxgYpTw/s320/1889-06+Petersons+Magazine.jpg" width="320" /></a></div>
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<span lang="EN">Fig 1 - Boating-Dress or Dress for the Country, of Scotch flannel, in blue and rose-colored stripes on a cream ground. The arrangement of the skirt consists in cutting the front and side breadths longer than for walking, and siposing of the extra length in plaits at back of waist. The back falls in straight folds, and is finished at the waist by a long sash with drooping bows of the material. The bodice has short points, back and front, and opens in the front of the neck under a sailor-collar, finished by a handkerchief of blue silk. Pointed collar and cuffs. Sailor-hat of straw, trimmed with upright loops of ribbon to correspond with the dress.<br />
<br />
Fig 2 - House-Dress, of white nun's-veiling. The underskirt is laid in plaits on the left side. The over-dress is plaited to the edge of the bodice, falls in a point at the right side, and is very slightly looped at the left side and back. The bodice is plaited in front and slightly so at the back, and is cut rather low at the throat, where it is finished by a large ruffle of lace. The sleeves are short and full, plaited lengthwise.<br />
<br />
Fig 3 - Walking-Dress, of blue nun's-veiling. The right side is laid in plaits; the left side and front are plain, and the drapery is caught up by a bow of blue ribbon. The bodice is plaited, as well as the sleeves. Straw hat, trimmed with blue ribbon and a white bird.<br />
<br />
Fig 4 - Walking-Dress, of buff sateen studded with red tulips. There is a plain narrow border of the sateen, over which the skirt falls. The skirt is put with some fullness to the waist, and is slightly caught up on the left hip. The bodice is round at the waist and full, and is worn with a sash of red ribbon with long ends. A trimming of red ribbon reaches from the bow on the shoulder to the waist. Collar of red. Sleeves full at top. Straw hat, trimmed with white flowers and red ribbon.<br />
<br />
Fig 5 - Garden-Party Dress, of delicate green India silk. The front of the skirt is plain; at the back is a deep plaiting of the silk, over which the upper dress is looped. Broad sash of the silk, with long loops at the left side. The bodice is of black India silk, figured with delicate pink roses; it is round at the waist, and has fichu trimming, which opens at the neck. The sleeves are plain, but high at the shoulders. Large Leghorn hat, trimmed with black and pink ribbon and roses.</span><br /></span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-1361404787934875692012-12-08T11:40:00.006-05:002012-12-08T11:40:37.729-05:00Late Victorian Era Ladies' Dresses - October 1895 The Delineator<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Ladies' Dresses - October 1895 The Delineator<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM-e7EqwREV3-VYHEsTz6K5Waq4O1OftnluijzYWwnp-OT7_1gF2AVUiH6X3ppace5kqWD7QHsrThrXqKWJYK4D7cKXUxfMVIIAplwOBD9l6VcKjF1nkXOiWXYidHXZ5IrwTulgHV-D4A/s1600/1895-10+Delineator+dress+1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM-e7EqwREV3-VYHEsTz6K5Waq4O1OftnluijzYWwnp-OT7_1gF2AVUiH6X3ppace5kqWD7QHsrThrXqKWJYK4D7cKXUxfMVIIAplwOBD9l6VcKjF1nkXOiWXYidHXZ5IrwTulgHV-D4A/s320/1895-10+Delineator+dress+1.jpg" width="166" /></a><span lang="EN"></span></div>
Figure 268P - Ladies' Street Costume<br />
<br />
This conservative-looking toilette is made of gray crinkled mohair, and has a graceful five-gored skirt, and a basque with removable chemisette which permits of pleasing color changes. The skirt is smooth fitting at the top of the front and sides and breaks into stylish ripples below the hips. At the back it is arranged in backward-turning plaits that expand gradually toward the lower edge.<br />
<br />
The round basque extends to a becoming depth over the hips and is adjusted with the utmost accuracy by double bust darts and the usual seams. The fronts are lapped in double-breasted style and closed at the left side with button-holes and buttons; above the closing they are reversed in lapels that are of the same width as the ends of the rolling collar, which they meet in narrow notches. A linen chemisette having a high collar with Piccadilly ends is revealed between the fronts and is completed with a neat satin band-bow. Large one-seam leg-o'-mutton sleeves that are gathered at the top and stand out with bouffant effect complete the basque.<br />
<br />
Smart visiting, travelling or promenade costumes may be made up in this manner, for the tailor gown when well fitted is an attractive rival of pretentious toilettes. Scotch mixtures, serge, mohair and cloth are popular materials in which to develop the mode.<br />
<br />
The hat is a gray Alpine felt trimmed with a fancy braid band and quill feathers.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIQ6wVjjdG7jQjpcYvoLET5XqIF9j7LuvpLfJX1ZfQfM_TqxUOhyphenhyphenbTqa2HIXIvaqoSZ60kRDfCplOAMFaAANrO-RlBiRTsWQLNusqnB4Pk0Uq6njdTQOESyOJUWbvMZ5qDfM4bVa1Bb8/s1600/1895-10+Delineator+dress+2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIQ6wVjjdG7jQjpcYvoLET5XqIF9j7LuvpLfJX1ZfQfM_TqxUOhyphenhyphenbTqa2HIXIvaqoSZ60kRDfCplOAMFaAANrO-RlBiRTsWQLNusqnB4Pk0Uq6njdTQOESyOJUWbvMZ5qDfM4bVa1Bb8/s320/1895-10+Delineator+dress+2.jpg" width="179" /></a></div>
<span lang="EN">Figure 269P - Ladies' Visiting Toilette<br />
<br />
A dressy combination of wool goods, velvet and plain and brocaded silk is shown in this handsome toilette. The full vest, which is gathered at the top and bottom is of plain silk decorated with length-wise rows of narrow lace edging and droops slightly in French style over a wrinkled belt-section of plain silk. The jacket fronts extend considerably below the vest and are fitted by single bust darts; and the back, which is close-fitting, displays a laid-on box-plait at the center and stylish ripples below the waist-line. A novel feature is the sailor collar, which has jabot ends extending to the waist-line; it is of velvet bordered with lace insertion and passes under the box-plait on the back. Two lace-edged Paquin tabs of plain silk fall over the wrinkled stock, and the large leg-o'-mutton sleeves of brocaded silk are bouffant at the top and close on the forearm. Three large fancy buttons decorate the front edges of the jacket fronts below the waist-line.<br />
<br />
The two-piece skirt is novel and graceful, being in circular style with a seam at each side. It fits the figure smoothly at the top and breaks into rolling flutes below the hips and at the back. A cording of velvet completes the lower edges of the skirt.<br />
<br />
Combinations of two or more fabrics may enter into a toilette of this kind, with stylish effect. Silk, crepon, Bedford cord, mohair, cheviot and cloth will make up stylishly, and silk may be used for the full vest. Lace, buttons, velvet or bands of jetted or silk-cord passementerie may be used as garniture.<br />
<br />
The felt hat is trimmed with fancy braid, quill feathers and ribbon.</span><br />
Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-5177303078709549382012-11-22T19:25:00.001-05:002012-11-22T19:25:29.391-05:00Late Victorian Era Children's Clothing - Autumn 1874 Fashion Book by Cavendish House, London<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Children's Clothing - Autumn 1874 Fashion Book by Cavendish House, London<br />
<br />
<span lang="EN">Children's Clothing<br />
<br />
</span></span><br />
<span lang="EN"><span lang="EN"><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUdeu7QX6cczxyGXNqOG01nlyg7sQQHw94aDjElVqsfSjzFvUagecE6cePGL-sl-zD4uUxbTAw4TyTORx72rIMq6ImgV6DWve-oOWmxU5Oic8RXpcs9sGOrKBPpRnJw3VyHTLXMXRv_o/s1600/1874+fashionbook+children.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrUdeu7QX6cczxyGXNqOG01nlyg7sQQHw94aDjElVqsfSjzFvUagecE6cePGL-sl-zD4uUxbTAw4TyTORx72rIMq6ImgV6DWve-oOWmxU5Oic8RXpcs9sGOrKBPpRnJw3VyHTLXMXRv_o/s320/1874+fashionbook+children.jpg" width="206" /></a></div>
<br />
<span lang="EN">Fig 38 - The Spencer - This is made in coloured Cavendish cloth, having a bordering of undyed ostrich-feathers. It is kilted from the waist at the back, and has a flounce of silk with a French hem in front. It has the semblance of a jacket, and has a silk sash. It is peculiarly stylish.<br />
<br />
Fig 39 - The "Janus" - A costume composed of light Homespun. He skirt is so kilted and opens down the front. The Jacket fitting at the back and the whole is trimmed with natural feather trimming.<br />
<br />
Fig 40 - Don Carlos Blouse for Boys - The skirt and bodice are all in one, and are made up in a series of plaits. A large square sailor's collar falls at the back. It opens at the side, and is trimmed with white guipure and large buttons.<br />
<br />
Fig 41 - Spanish Costume - This useful little dress is of the Princess form, opening in front, with a braid-like trimming at either side. It has a band only at the back, and can be made in a variety of useful materials.<br />
<br />
Fig 42 - Russian Paletot - This is made in dark cloth, and is edged with a bordering of undyed ostrich-feather trimming. Down the front are frogs and braidings of the same shade as the feathers. It has hanging sleeves, and is suitable for a girl from 6 to 12 years old.</span></span></span><br />Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-44658589836735304272012-11-11T16:34:00.001-05:002012-11-11T16:34:32.020-05:00Late Victorian Era Ladies' Dresses - Autumn 1874 Fashion Book by Cavendish House, London<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Ladies' Dresses - Autumn 1874 Fashion Book by Cavendish House, London<br />
<br />
Ball Dresses<br />
<br />
</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1raXzCAc1emxyY7zIBlbA1ZafCPqj8P1IgV8Q3NYX-U0tIGC8vVMoHxe_pqdZGJ2eaq54N2h12KQC2q1mNjYRZpp45Oq5i_tBtu7GkTaleA4QeGqsrbfZPazexsH8uiss5f9qPC3XwFY/s1600/1874+fashionbook+8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1raXzCAc1emxyY7zIBlbA1ZafCPqj8P1IgV8Q3NYX-U0tIGC8vVMoHxe_pqdZGJ2eaq54N2h12KQC2q1mNjYRZpp45Oq5i_tBtu7GkTaleA4QeGqsrbfZPazexsH8uiss5f9qPC3XwFY/s320/1874+fashionbook+8.jpg" width="201" /></a></div>
<span lang="EN">Fig 8 - This Tarlatan dress has pretty side trimmings and reversed plaitings. Alternate box plaitings and Imperatrice plisses reach to the pouf at the waist, and there is a handsome satin sash.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtd6cFmpNtIoIkKobdDBgt48YBWIR6FLgFyry50gARrNn8adEiotsj7urSQ9vs9qL3Rs0HwnTMMbhPtePGltubsHhSn-neSRUJIBKqagdZ6uY_TjxBc4oid5Fcl76uCg9yzg51Cf5OzzU/s1600/1874+fashionbook+9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtd6cFmpNtIoIkKobdDBgt48YBWIR6FLgFyry50gARrNn8adEiotsj7urSQ9vs9qL3Rs0HwnTMMbhPtePGltubsHhSn-neSRUJIBKqagdZ6uY_TjxBc4oid5Fcl76uCg9yzg51Cf5OzzU/s320/1874+fashionbook+9.jpg" width="203" /></a></div>
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<span lang="EN">Fig 9 - This is a very serviceable style for black net. It has a tablier composed of diagonal folds, edged with white blonde, and defined by crosscut bands of black satin; below are plaited flounces, and the skirt at the back is puffed to the waist.</span></span><br />Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-27722732257233950892012-11-01T19:06:00.005-04:002012-11-01T19:06:49.595-04:00Late Victorian Era Ladies' Dresses - Autumn 1874 Fashion Book by Cavendish House, London<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Ladies' Dresses - Autumn 1874 Fashion Book by Cavendish House, London<br />
<br />
Description of Costumes<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTRw8fhF06dwa_OH3UFfTEMffoBzvppSdX9Fi_LgGmp8mAyYlkGqf3cEmXknUGuV5x7eB4fgeO172rx0yy1Hheih2Xt5UUMHbFyn0trf9FR107zFopt2QiB-HcRK9MQuXh4kebdT6OVI/s1600/1874+fashionbook+3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYTRw8fhF06dwa_OH3UFfTEMffoBzvppSdX9Fi_LgGmp8mAyYlkGqf3cEmXknUGuV5x7eB4fgeO172rx0yy1Hheih2Xt5UUMHbFyn0trf9FR107zFopt2QiB-HcRK9MQuXh4kebdT6OVI/s320/1874+fashionbook+3.jpg" width="199" /></a></div>
<span lang="EN">Fig 3 - Tweed Costume - The skirt has a broad band of velveteen between the stitchings round the hem. The tunic is bound with velvet, and gracefully draped at the back. The bodice is made as a Jacket and Waistcoat, velveteen being introduced in the revers, cuffs, and basque.<br />
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<span lang="EN">Fig 4 - This is suitable for serges, and soft materials. The skirt has a plaited flounce at the edge, a runner being introduced at the back, about half a yard from the waist, which keeps the front plain and the skirt in its place. The tunic describes a series of plaits, like a kilt, and has plaited pockets at the side. The bodice has a waistcoat, the Jacket being made to simulate a plaited scarf, crossing in front. The basque at the back consists of a series of plaited frills.</span><br /></span><br /></span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-19542293268207182452012-10-03T19:44:00.001-04:002012-10-03T19:44:14.530-04:00Late Victorian Era Ladies' Dresses - June 1889 Peterson's Magazine<script type="text/javascript">
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</script><span lang="EN">Late Victorian Era Ladies' Dresses - June 1889 Peterson's Magazine<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1SK8zvWYLx3NEbj6wP6uN1_zEUgoYDiu61sBbfyMX3iqxO8Hs3hewkXVURq63ranvXD5H_y6DO8KJA0pgH7WHetzCBH5uM_V3Sl1WDJkly8940ICpaZA_u6hWv53Fp6rGTaRzgUlh90/s1600/1889-06+Petersons+dress1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1SK8zvWYLx3NEbj6wP6uN1_zEUgoYDiu61sBbfyMX3iqxO8Hs3hewkXVURq63ranvXD5H_y6DO8KJA0pgH7WHetzCBH5uM_V3Sl1WDJkly8940ICpaZA_u6hWv53Fp6rGTaRzgUlh90/s320/1889-06+Petersons+dress1.jpg" width="205" /></a></div>
<span lang="EN">Dress for Country, in Turkey-Red Twill and Red-Striped Woolen on a Cream Ground. The plain skirt is of the striped woolen, made on the cross way; waistcoat and large collar and cuffs to correspond. Bodice and overdress of the red twill. The collar may be cut either square or pointed at the back.<br />
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Fishing, Mountain, or Walking Dress, in Scotch Check Tweed. The Norfolk jacket has plaits from each shoulder, and the waistband fastens with a leather or oxydized buckle. The skirt is kilted without a foundation.</span><div class="separator" style="clear: both; text-align: center;">
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<span lang="EN">Traveling-Dress, of Blue Serge. The skirt falls in straight folds at the back; the front is slihly draped. The pointed bodice opens over a plastron of striped blue and cream-colored jersey-cloth, and has a broad collar and revers. Hat of straw, faced with blue silk and trimmed with loops of cream-colored mull.<br />
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Walking-Dress, of Black or Self-Colored Cashmere or Surah. The underskirt and vest are laid in plaits. The redingote opens from the throat downward and the bodice is crossed by bands and bows of moire or satin ribbon. The same ribbon ties at the waist and ornaments the short elbow-sleeves. Hat of straw, trimmed with loops of ribbon matching the costume. A long scarf veil is worn with the hat, either in lace or gauze.</span><br />
</span>Sandyhttp://www.blogger.com/profile/08270266276774231778noreply@blogger.com0tag:blogger.com,1999:blog-3172281513548983459.post-7705164183004201062012-09-22T21:53:00.003-04:002012-09-22T21:53:14.261-04:00Late Victorian Era Fashion Chit Chat - March 1867 The World of FashionLate Victorian Era Fashion Chit Chat - March 1867 <br />
<br />
The World of Fashion
Observations on London and Parisian Fashions
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On our Plates of Costumes for the present month, we have given a variety of the most elegant costumes suited for the commencement of the Spring, and have included those styles that indicate the principal characteristics of the prevailing Fashion.
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Among the most fashionable garments for out-door wear, we will first mention the tight-fitting Peplum Paletot or Casaque, usually made of black silk, and worn with a ceinture or waistbelt. The favorite trimmings are passementerie, jet, silk cord, and black lace.
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The looser styles of Paletot are however almost more in favor than the close-fitting, and are from their form most appropriate to the present plain style of dress skirt. The Bretonne style of Paletot (shown on Plate 4) with its rich parti-colored trimming, and its elaborately worked escutcheon ornaments, is in very great favor in Paris at the present time. For Suits, again the loose Paletot is admirably adapted, and it may be trimmed in any way to match the dress. The greatest novelty is however the white Paletot, shown on Plate 1, with its elaborate jet trimming which has a most distingue appearance.
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For dresses, the Princesse form, without seam at waist, is being generally adopted. Skirts are always gored so as to sit almost plain all round, and double skirts are becoming very fashionable; the under skirt or petticoat is of course cut rather short, and the upper is looped up in various ways, some of the newest being shown on our Colored Plates.
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These Princesse dresses generally have the seams ornamented by some kind of trimming; the rows of jet shown on fig. 3, Plate 4, being very elegant and appropriate, and the purple ruching covering all the seams of the skirt in fig. 1, Plate 1, has a most charming effect, especially as it is combined with the openings left round the bottom of skirt, through which the richly embroidered petticoat is seen.
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The open or Watteau style of body, shown on fig. 1, Plate 2, will be this season more in favor than ever. Waists are always round, and are becoming shorter.
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One of the greatest novelties in Paris, is the forming skirts into very narrow pleats or quillings. It is however only the very short skirts that can be made up in this way.
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The Ball toilettes, shown on our third Plate, are admirable specimens of the richness and elegance that distinguish the newest Fashions. Flowers are used but sparingly, and are generally placed singly and with but few leaves. The single flowers, separating the folds of the bouillons in tulle skirts, have a very novel effect, and the regularity of these forms is quite in harmony with the present style of dress.
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In Evening Headdresses, the same ideas prevail. Simple elegance, rather than profusion, prevails in the ornaments, while the art of the coiffeur is taxed to the utmost, in the variety and novelty of form given to the hair itself.
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In Bonnets there is an immense variety of form; the Fanchon and the Benoiton being the favorite shapes. The trimmings are now most varied. Flowers, feathers, lace, and plaits of velvet, being all used. Grelots or pendants, either of jet or pearl, are also very fashionable, and indeed almost every bonnet has now either the jet or the pearls, as forming an important part of the ornamentation.
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The series of Spring Costumes will be continued in our April and May numbers, and will include all the best and choicest productions of the most renowned Artistes des Modes. Our exclusive sources of information will render this selection of elegant novelties of especial value to our subscribers.
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Late Victorian Era Fashion Plate - March 1867 The World of Fashion
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<br />
Description of the Plates of Costumes
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Fig 1 - Promenade Costume
Dress and Petticoat of green silk, the petticoat rather long, and trimmed near the bottom by three bands of black silk. The skirt is edged all round by a black lace, with a heading of jet beads, and is caught up at the sides by rosettes of black lace, attached to the waist by rows of jet. Tight-fitting Casaque or Paletot; the skirt cut a Peplum, but with the points rather short, and opening at the sides, front, and back: it is edged all round by black lace with jet heading. Ceinture of black silk with a bow and floating ends at the back. Tight-fitting sleeves, with the shoulders and cuffs trimmed with black lace and jet. Benoiton bonnet of white lace, trimmed with roses, buds, and pink ribbon. This costume is by Mme. Elise, 64, Rue de Richelieu.
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Fig 2 - Promenade Costume
Dres a deux jupes: both skirts of Havanna silk, and formed in narrow plaits, with the bottoms slightly vandyked. Bretonne Paletot of sky-blue cloth, edged all round by a band of white ribbon, richly embroidered with floss silk of various colors: two openings at the back trimmed to correspond: neck and cuffs trimmed by three rows of the same. Two pockets on each side, formed of white silk richly embroidered, the upper ones square, the lower ones escutcheon-shaped. Hat of grey felt, trimmed with grey feathers and black ribbon. This costume is by the Maison Edme-Paris, boulevard de la Madeleine.
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Fig 3 - Costume for Home
Robe Princesse of mauve silk: having the body and skirt cut together, without seam across at the waist. We give the pattern full-sized. The seams are all ornamented by rows of jet beads, which form squares at the top of each shoulder and the cuffs. At the back of skirt are four rows of these jet beads, forming squares a la Grecque at the top and bottom. This dress is from the Maison Paris, Boulevard des Capucines.
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Late Victorian Era Fashion Plate - March 1867 The World of Fashion
Description of the Plates of Costumes
No. 1 is a Bonnet of pink Areophane, covered by fullings of white tulle and edged round by narrow white lace. At the top a plume of white feathers, fastened by a pearl brooch. Brides of white tulle, fastened at the ears and under the chin by pearl clasps. Loose strings of pink silk. It is by Mme. Delanoue, Rue Richelieu.
No. 2 is a Cap of white guipure lace, trimmed with violet velvet. It is designed by Aubrey Soeurs, Rue Lafitte.
No. 3 is a Bonnet of white crepe, edged all round by a pearl crystal fringe. At the top is a circlet of pink ribbon, egded on one side by a row of pearls. Strings of pink satin, attached to the bonnet by a group of leaves, and three pearl clasps on each side. It is from the Maison Paillard & Prieux, Passage des Princes.
No. 4 is a Bonnet of white tulle, dotted with small pearls, and bordered by a deep fringe of crystal and pearls. Plume of violet feathers. Two sets of strings, one of violet ribbon, the other of blonde enriched with pearls. This bonnet, and No. 9, are by Mme. Maria Boireau, Boulevard Montmatre.
No. 5 is a Mousquetaire Hat of grey silk, trimmed with roses and black velvet; designed by Mmes. Brie Et Geoffrin, Rue Richelieu.
No. 6 is a Fanchon Bonnet of white spotted tulle, edged at the back by two rows of blonde, and a band of pink silk piped on one edge: at front the edging consists of the pink band only. A group of white roses and a white feather at the top. Strings of white blonde, fastening under the chin by a rose and narrow streamers of pink ribbon. This elegant bonnet, as well as No. 12, are from the Maison Leblanc-Ney, Rue des Martyrs.
No. 7 is a Fichu of white muslin, trimmed with blue ribbon and narrow lace, and having in front large lappets, fastening at the neck and edged with broad and narrow lace. It is by Mme. Hadancourt, Boulevard des Capucines.
No. 8 is a Sleeve from the Maison Gallois-Gignoux, boulevard de la Madeleine. It is of white muslin, and has a cuff formed of insertion and narrow lace, and trimmed with small bows of rose-colored ribbon.
No. 9 is a Bonnet of pink silk, trimmed with roses, buds, and leaves, and grey feathers: strings of pink silk.
No. 10 is a Bonnet of blue Areophane, with strings of blue satin to match; it is trimmed with white Marguerites. Round the crown is twisted a scarf of blue tulle, forming streamers at the back. It is from the Maison Prevost Daubigny, Rue Lafitte.
No. 11 is Bonnet by Mme. Esther, Rue Richelieu. It is of pink crepe, and has strings of white tulle attached to the bonnet by roses, and fastening under the chin by a rose. It is trimmed all round by a plait of pink silk, and has on the left side a bow of pink ribbon, with floating ends. A single rose in front.
No. 12 is a Bonnet of white crepe, dotted with jet beads. It is edged all round by a black lace, and a plait of purple ribbon: large purple velvet flowers are placed at the back, front, and sides. Strings of purple ribbon.
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Late Victorian Era Fashion Plate - March 1867 The World of Fashion
Description of the Plates of Costumes
Fig 1 - Ball Costume
Dress a deux jupes, the first skirt is of light blue silk or satin; the second is of Honiton lace, or rich guipure. Low body of blue silk, cut square, the angles rounded; over this is a loose body of lace to match the second skirt; it is rounded in the front and fastened by a bouquet of roses: the sleeves are formed by a drapery of very fine muslin, caught up in front of arm by a single rose. Ceinture en echarpe of blue silk, folded double round the waist, tied loosely on the left side in a large bow with long ends, which are trimmed with lace, and forming, in fact, the only ornament on the lace skirt.
Fig 2 - Ball Costume
Dres a deux jupes; the first skirt, en traine, is of cerise silk; the second is of white muslin bouillonnee, the bouillons fastened by Marguerites having gold centres and relieved by a few leaves. Peplum of cerise silk, the points at the side being very long; it is trimmed entirely round by two rows of gold galloon, the points finished by gold tassels. Body of white muslin with short full sleeves; revers a pointe of cerise silk, trimmed with gold galloon, the points finished by gold tassels: a pointed epaulette of cerise silk, trimmed to correspond, falls over the full short sleeve. This very elegant costume is by Mme. Charpentier, 38, Rue Richelieu.
Fig 3 - Opera or Ball Costume
Dress of light green satin, and Sortie de bal of white Cashmere: the form is something resembling the Talma, except that the bottom edge is hollowed at the back so as to form deep points at the sides: it is bordered by a gold fringe headed by three rows of gold galloon. Instead of capuchon or hood, a square piece of Cashmere falls from the shoulders, trimmed to correspond with the bottom of mantle: the front edges are finished by the three rows of gold galloon, the fastening at the neck being a gold cord and tassels. This stylish Sortie de bal is from the Maison Paris, Boulevard des Capucines.
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Late Victorian Era Fashion Plate - March 1867 The World of Fashion
Description of the Plates of Costumes
Fig 1 - Home Costume
Dress of Irish poplin, the color pearl-grey: at the bottom of skirt are two openings on each side the front breadth, the corners slanted off, to allow the enbroidered petticoat to be seen; these openings are trimmed round by a lilac silk ruching, which ruching is carried up all the seams to the waist: the top of each opening is finished by a noeud of lilac silk: up the centre of front a row of large silk buttons. Low square body a l Empire and tight sleeves, all trimmed with lilac ruching. Ceinture of lilac ribbon, with pearl or silver clasp. This dress is cut with train, and is the production of Mme. Prost, 51, Rue Lafitte.
Fig 2 - Promenade Costume
Dress of light claret silk of the Princesse form, with black silk buttons up each seam in their entire length. Casaque of black silk, the skirt very short: ceinture fastening at the back with a bow and long flowing ends, the ceinture edged by a claret piping; buttons of the same color up the front. Tight sleeves with fulling of claret silk at the top, divided by bands of black silk. Hat of white felt or velvet, with black velvet band: rose and bud in the front. This costume is by Mme. Bataillon, Rue Chabarmais.
Fig 3 - Promenade Costume
Jupon of white flannel striped with grey: at equal distances round the bottom are revers of blue Cashmere, placed two and two, the top points joined by a small black velvet ornament, the same ornament repeated at the corner of each revers; the revers are bordered by a narrow black velvet: the spaces between the revers are filled by white Cashmere, with ornament of black velvet. Dress of Havanna silk, laid in small plaits at the back forming evantail or fan: larger plaits at the sides. The bottom is finished by a bias band of blue silk. Loose Paletot of the same silk, having openings at the back and sides: at each opening three large blue buttons, and buttonholes worked with blue silk. The Paletot has a band of blue silk entirely round it. Tight, shaped sleeve, with opening at the outer seam, ornamented by three buttons; a band of blue silk round the armhole. Fanchon bonnet of black lace ornamented by jet fringe: a bow with long ends under the fanchon. This costume is from the Maison Paris, Boulevard des Capucines.
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Late Victorian Era Fashion Plate - March 1867 The World of Fashion
Description of the Plates of Costumes
Fig 1 - Promenade Costume
High dress and jupon of lilac silk: the jupon is quite without ornament. The skirt of the dress is cut with slight train, and is looped at each side by a large tab of the same silk; these tabs are round at the bottom, pointed at the top, and covered by narrow rows of jet trimming. Loose Paletot, falling square; it is of white Cashmere, scalloped at the bottom, and trimmed by a fringe, and passementerie enriched with jet: from each scallop, rows of this same passementerie are carried up the Paletot, enclosing, at the top and bottom, Arabesques of passementerie enriched by jet: between these rows of trimming the Cashmere is sprinkled with small jet beads. The same trimmings on the sleeves, which are rather loose-fitting: the bottom of sleeve is scalloped and finished by a fringe. Lamballe bonnet of pink crape, the edge finished by a trimming of pearls: roses at the left side: the strings, which cross the bonnet are of pink glace ribbon. This novel Paletot is from M. Adolphe, boulevard des Iatliens.
Fig 2 - Costume for Home
Jupon of green silk, the bottom of which has openings cut en baldequin, and trimmed round with a narro jet passementerie; this skirt is gored to sit perfectly plain in the front. Dress of sea-green silk, with narrow stripes the color of the jupon; the skirt of this dress is open in front en tunique and has no train; it is trimmed round by a rich black lace, headed by the same jet trimming as that on the first skirt: the fronts are caught back by a noeud of broad green ribbon, with rosette of black lace in the centre. Plain high body with rosettes of black lace with small button in the centre. The sleeve, nearly close-fitting, has an epaulette and cuff of black lace headed by jet trimming. Ceinture of green silk edged with a narrow row of jet; at the back long floating ends of the same silk as the first skirt. This dress is from Mme. Bataillon, 14, Rue Charbarmais.
Fig 3 - Young Lady's Costume
Frock of grey silk, the skirt trimmed by a band of cerise Cashmere, on which is a narrow Cluny lace: at the bottom of this band, placed at equal distances are loops of Cashmere edged by Cluny lace. Ceinture of the Cashmere, also edged with lace and fastening on the left side by a rosette with large pearl ornament in the centre. Bretelles of the Cashmere edged with Cluny lace; loops to correspond with those of the skirt, forming epaulettes. Chemisette of muslin, the collar and cuffs trimmed with lace. To Madame Prost, 51, Rue Lafitte, is due the invention of this very pretty costume.
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General Remarks
Since the days when Titian and Tintoretto painted, we think nothing more gorgeous has been seen than the materials now in use for elaborate toilettes and. The brocaded velvets and satins, the cold embroidered camel's hair, and silks, surpass all powers of description. In velvets large clusters of hazel nuts, cherries, carnations, tulips, roses, etc., may be seen, standing out like carved work. The satins are brocaded in clusters of lilacs, poppies, morning glories, or dozens of other flowers; but usually in the same color, though of different shade from the ground work. We say usually, but the single color is not universal, as some of the most elegant are of different colors, as of small sunflowers in dull yellow, with brown velvet centers, on black, or brown velvet. This cost $20.00 per yard; or trails of exquisite pink and blue morning glories, on a peach colored satin at $7.50 per yard. Or soft Marshal Neil roses, the yellow lying softly on a black, brown, or amethyst ground. A black cashmere, covered with roses, woven in gold threads, at $30.00 per yard. But such stuffs are hazardous in the hands of the uninitiated. They must be most carefully employed, or they become vulgar. They are used principally as trimmings, trains, draperies, etc. When nearly the whole costume is made of them, it must be of the very simplest make. But we are happy to say that, for ordinary wear, and ordinary purses, much cheaper and plainer materials are to be found in the greatest abundance. Quiet silks, cashmeres, and camel's hairs, in all the new colors, are in profusion, either plain, or, in the case of silks, brocaded in some quiet style that anyone can wear. There are also innumerable broched woolen goods, for jackets, bodices, or that trimming of dresses. Plaits are revived for trimmings, the handkerchief costumes, in woolen goods, being quite fashionable. Only tall, slender persons should purchase these. Dark green, as well as brick red, and the many shades of purple, are all popular. Soft, light woolen material, such as albatross cloth, nun's veiling, and fine camel's hair, is much used in combination with silk, and even satin for evening dresses, especially for young ladies. But the general style of making dresses is unchanged, the modifications are numerous, however, to suit all tastes. We cannot too often reiterate, that never was there a time when a woman could dress so much as she pleased, and never before could an old wardrobe be made over into a most fashionable new one. For the street, short dresses, and for the house, long dresses are the rule. As we said, last month, small tournures are beginning to reappear, to give the dress a little fullness below the waist, and this may mean a stiff crinoline, or even a hoop, in time.
The fashion of wearing waists different from the skirts of dresses is still liked, as in this way an old skirt can be utilized. The fichus, jabots of lace, etc., add so much to plain, or limited number of dresses, that the varieties are very great.
Wraps are worn much longer than they were some years ago, also looser, if made as a wrap only; but jackets are generally tight fitting, though even here personal taste may dictate the style. For the wraps, plush, satin, Sicilienne silk and cashmere, as well as that is used. Some of the most expensive are lined throughout with bright colored plush, figured and striped silks, or satins in gay colors. It will be seen that the somber hues, so long the only correct thing, are no longer quite so fashionable; but they are much safer, with a small wardrobe. Many carriage wraps and opera cloaks are made of the expensive materials, such as camel's hair wrought with gold, brocaded velvets, etc., which we have described.
Bonnets and hats are still worn according to the fancy, though some of the newest bonnets are a little larger than those of the summer. The trimmings fall front as a rule, rather than back, and all sorts of materials are used as garniture. The most stylish are simply trimmed, but many are very elaborate. Plush and beaver bonnets and hats are very popular.
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Late Victorian Era Fashion Plate - December 1880 Peterson's Magazine
Fashions for December
Figure 1 -Carriage or Visiting Dress of Dark Red Silk. The front has a deep kilted ruffle, with a short train at the back. A plaited drapery, trimmed with embroidery, and edged with fringe, extends from the sides, and falls low in front. The deep basque jacket is made of the silk and a cashmere, richly brocaded in bluish gray and brownish red colors. A shirring of the silk, trimmed with fringe, is on the sides of the jacket. The upper part, about the shoulders and bust, is made to look as if it was a short jacket worn over the other, and is trimmed with fringe. bonnet of bluish gray plush, lined with dark red plush, and trimmed with a bird and long plume.
Figure 2-Skating Costume of Dark Blue Ribbed Plush. The bottom of the skirt is kilt plaited, the upper part arranged in scarf drapery. The jacket is long, double breasted, and close fitting, with collar, cuffs and muff of black fox fur. Dark blue plush hat.
Figure 3-Skating Dress of Emerald Green Velveteen. The flounce is kilt plaited. The long polonaise overdress is trimmed with a band of beaver fur. is of green velveteen, with a band of fur.
Figure 4-Boy's Suit of Black Velveteen. The over jacket and cap are trimmed with gray Astrakan.
Figure 5-Walking Dress of Brown Habit Cloth. The back is slightly draped. The front has a simulated overdress, which, as well as the bottom, is trimmed with a broad band of dark brown velvet. Close fitting jacket, with pockets, collar and cuffs of brown velvet. Brown velvet toque, with a bright colored wing.
Figure 6-Carriage or Visiting Dress of Brown Silk. The bottom of the train is edged with two narrow knife-plaited ruffles. The upper drapery has a wider knife-plaiting, and the front is covered with knife-plaited ruffles. The dolman shaped cloak is of brown cloth, trimmed down the back with a rich gimp, and around the collar, bottom, and wide, square sleeves, with brown fur. Long loops of ribbon also ornament the cloak. Dark brown velvet bonnet, with short, curling plumes.
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House-Dress, of Bege-Cloth. The skirt is kilted nearly to the waist, and the full round tunic, which is also of bege-cloth, is machine-stitched. The bodice is of dark-blue cloth, and the basque is cut out as battlements, and is ornamented with braid, which is continued down the front, at each side of the buttons.
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Walking-Dress, of Dark-Green Cashmere. The skirt is laid in box-plaits in front, and in kilt-plaits at the side and back. The round tunic is full and short, and simply draped at the back. The coat=basque is close-fitting, and is buttoned down the front with old silver buttons. Bonnet of mastic-colored felt, with crown, with dark-green plush front. A bunch of dark-green feathers and a silver buckle ornament it.
Visiting-Dress, of Terra-Cotta Colored Ottoman Silk, and dark-claret velvet, with terra cotta polka-dots. The bottom of the skirt has a flounce of the Ottoman silk, laid in side-plaits, with bands of the claret-colored velvet alternating with the silk plaits. The bottom of the velvet skirt is cut in deep vandykes. The Ottoman-silk scarf is draped quite low in front, is caught up at the sides by a band of velvet, and falls at the back, where it is turned up and draped. This Ottoman-silk scarf is placed so as to show the upper part of the velvet skirt, and does not reach to the waist. The bodice is pointed at the back, and has a vest of the velvet. The cuffs and narrow collar are also of velvet. Folds of the silk are laid fichu-fashion about the shoulders. Bonnet of claret-colored plush, with terra-cotta colored feathers.
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House-Dress, of Dark-Crimson Silk and Black Satin. The underskirt is of the satin, edged with a narrow knife-plaiting. The scant ruffles of black satin are covered with black Spanish lace flowers. The crimson overdress is long in the front, falls square at the back, and id draped high on the side, with a gold buckle. The bodice has a long point, with gathered plastron in front, and the collar and cuffs are of black lace.
House-Dress, of Almond-Colored Camel's Hair and Seal-Brown Velvet. The skirt consists of alternate box-plaits and kiltings of the two materials. The double tablier is trimmed with velvet. The bodice is in the redingote style, with long coat-ends at the back, where it falls in wide plaits, and has square tabs in front. This is also trimmed with seal-brown velvet, and the buttons are of velvet.
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<br />
Our Paris Letter<br />
<br />
Rue Des Petits Champs<br />
The bonnets this fall are unusually pretty as well as stylish. Velvet is the favorite, the frames covered with that or some other rich material. The shape is small and a slight modification of the capote, the crown being formed of folds of the material. Plain velvet is the favorite; but brocaded velvets, and those embroidered in jet or pearl beads in small set figures, are also seen. The trimmings are clusters of ostrich-tips matching the bonnet in hue. Strong contrasts are avoided, though red velvet bonnets, trimmed with black lace and jet, are ornamented with black feathers. If a brocaded velvet is used, the strings and plumes match the colors of the design, which is always in set small figures. Bonnets of white dotted net, trimmed with dark-garnet velvet and with clsuters of gold-yellow flowers, are fashionable for evening-wear. In the way of hats, the mode inclines to the large and the exaggerated, though the sizes are less and the styles not so obtrusive as they were a few seasons ago. The newest shape is the capeline, which is a modification of the Gainsborough, the crown being less high and the brim not so wide. It is turned up at the right side, and is profusely trimmed with ostrich-feathers, one very long one sweeping around the brim and falling on the wearer's shoulder, while a cluster of ostrich-tips is set at the other side of the crown. These hats are made of dark velvet: black, dark-blue, and dark-green being the favorite hues. Colored felt hats are also a good deal worn; they are made with high-set crowns and brims of a moderate width. These are trimmed in all sorts of wild, exaggerated ways, with wings, and stiff quill feathers, and birds' heads, all combined. Sometimes even the head of a white kitten is seen on a terra-cotta or gray felt. Bands of velvet and satin, on the same gamut of hues as the felt itself, encircle the crown.<br />
<br />
The favorite shade for walking-suits and bonnets this autumn is a lovely blue-gray - very soft and delicate and refined-looking; it has, however, the great demerit of being very perishable. Corded silks, and corded materials of all kinds, such as ottoman silks, uncut velvet, and soft-finished siciliennes, are largely in vogue this season. Stamped velvet will be extensively used for trimming in combination with ottoman silks and with plain velvet. The newest pattern shows large pansies massed together in rich dark shades of purple, or ruby, or garnet, the colors being set off by the yellow floss-silk centres of the flowers. This is an extremely rich and effective material, and combines well with plain stuffs. Black ottoman silks are made up by Worth for street-dresses, and are trimmed with bands of dark-red, relieved with narrow yellow stripes, these bands being also of ottoman silk. The effect is very good.<br />
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Another one of Worth's newer combinations is a delicate beige-shade in ottoman silk, trimmed with a very dark-red plain velvet. Neutral tints will be largely in favor for the coming season, both in woolen dress-goods and in silks. They will combine well with the dull-colored plaids that have recently been introduced. Worth is also using thick figured silks in small arabesque designs combined with plain velvet. These brocades are usually shown in olive or brown hues of various shades. For evening-dress, the train and corsage of plain velvet is combined with a skirt-front in velvet-figured silk, blended with satin embroidered with pearls. Worth has just finished a superb toilette, with the corsage and train in shrimp-colored velvet, the latter finished with a gold cord. The front of the skirt is in white silk, figured with large roses in shaded velvet. This has a washerwoman's overskirt, plaited to the waist in large flat folds. Below this overskirt a transverse band of pale-blue satin, worked with pearls, crosses the skirt-front. Narrow bias bands of satin are used for trimming cashmere suits, and must match the material precisely in hue. A black cashmere trimmed profusely with these bands forms a very stylish and dressy walking-costume. Scarf-draperies have to a great extent replaced the overskirt. Either they cross in front (which is a trying style to a stout figure) over the kilt-plaited underskirt, or one scarf, starting at the edge of the short basque at one side, crosses about half-way down the other side of the skirt, and is held in place by a large buckle. A pretty combination for such a dress is to have the skirt of striped silk, with cuffs to match, and the corsage, scarf, and wide flounce showing under the kilt-plaited skirt, all of a plain silk or of cashmere.<br />
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Stockings are now shown embroidered on the instep with large dots in colored silks: red upon brown or black, pale-blue on dark-brown, violet on pale-grey, etc. White thread open-worked stockings are embroidered with dark-red or blue floss-silk, the work following the interstices of the open-work. Very small patterns in open-worked silk stockings are popular for evening-wear. Stockings in fine black silk have bands of black-lace insertion crossing the instep and encircling the ankle. Boots of black morocco, foxed with patent-leather and laced in front, are worn in the street. For house-shoes, no novelties thus far have been shown.<br />
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Lucy H. Hooper<br />
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General Remarks<br />
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It is quite as impossible to describe the numerous materials for dresses as it is to speak of all the variety of styles of making them up. Woolen goods of all the dark colors will be very much worn: sometimes combined with silk, satin, velvet, or velveteen of the same color, but of a different shade, and often made and entirely trimmed with itself. Velvet ribbons are again very popular as a trimming, three of four rows of the ribbon being put on plain around a draped overskirt, and trimming cuffs, etc. Embroidering with braid, and more simple braiding, is also very popular. The latter style is extremely pretty for a well-fitting bodice or jacket. Tailor-made dresses are very much liked for out-of-door wear; they are serviceable and comfortable, but are rather heavy for the house, and do not look as suitable as a lighter style of costume.<br />
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Kilt-plaits in front and at the sides, with a slight drapery at the back, are very much worn in these tailor-made dresses; others have a plain skirt tucked, with a pointed overskirt; others again have both skirts trimmed with broad military braid.<br />
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Silks, and other materials lighter than cloth, are less severe in style, and are more draped and trimmed. One of the newest styles for flounces is to gather them slightly, and to cut the edges in points or scallops. Then there are the rows of ribbon, or of the velvet ribbon of which we have before spoken; or, for evening-dresses, rows of gold or silver braid.<br />
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Sleeves are always put in quite high on the shoulder, and generally with some fullness - in some cases, with a good deal of fullness.<br />
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Vests and plastrons, made of velvet, silk, satin, etc., are much worn; and, for evening-dresses, the plastrons are often of tulle or crepe-lisse.<br />
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Tournures of crinoline, or steels at the back, are universally worn - as yet of moderate dimensions in this country, but abroad they have already attained rather formidable proportions. But we are glad to say that the old-fashioned hoop has not yet put in an appearance. Still, to be fashionably dresses, the bouffant effect at the back is indispensable. The tailor-made jackets are cut with a spring sufficiently great to fit easily over this fullness. But in the manner of making dresses, or of the materials of which they are made, the greatest latitude is given. Anyone can follow her own especial fancy, remembering only the few important items we have stated, viz: the high shoulder and rather full sleeve, greater fullness at the back, and the close clinging front.<br />
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Wrappings are worn of every style: the jaunty jacket rather shorter, as a rule, than those of a year or two ago; the long close-fitting paletot, or sacque, reaching nearly to the feet, with its cuff and shoulder-cape of velvet, Astrakan-cloth, or fur; the mantle, or visite, warmly lined, cut so as to fall over the arms like a sleeve (though no sleeve is inserted), shorter at the back than in front, and loose enough to sit easily over the tournure; and the long loose cloak, made of silk, velvet, or cloth, and also with dolman-shaped sleeves. All these wraps are trimmed - as suits the fancy or purse of the wearer - with fur, lace, velvet, brocade, or rich passementerie. Small fur capes are very fashionable over tight-fitting wraps.<br />
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Bonnets are more generally of the smaller shapes, and are usually considered more becoming, though larger ones are worn, if fancied. Hats are usually of a medium size, except the toques or turbans, which are so becoming to youthful faces.<br />
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The hair, it is prophesied, will be worn higher on the head than has been the fashion hitherto. This is stylish, but not usually so becoming as when worn lower on the neck; this last style, however, is not so well adapted to people with short necks.<br />
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Late Victorian Era Fashion Plate - November 1883 Peterson's Magazine<br />
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Fashions for November<br />
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Fig 1 - Evening-Dress, of thin white striped Oriental stuff, made dancing length. The skirt has one narrow ruffle around the bottom, with a wider flounce above; the upper part falls in three loose puffs, and the drapery at the back is quite bouffant, but is arranged in simple folds. A wreath of roses passes from the bottom of the corsage down to the left side. The corsage is made of poppy-colored satin, is low on the bust, has short sleeves, and is made pointed back and front.<br />
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Fig 2 - Wedding-Dress, of white satin and white brocade. The underskirt is of white satin, and has a full quilled trimming of the same around the bottom; the front is of brocaded satin and velvet; the train is long, slightly looped at the back under the paniers, and plain. The Princess corsage and paniers are of the satin, the latter trimmed with lace and garlands of orange-blossoms, and looped with broad white satin ribbon. The plastron on the front of the corsage is of white crepe-lisse edged with lace; orange-blossoms at the throat and on the head; long tulle veil.<br />
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Fig 3 - House-Dress, of emerald-green velvet, and light-green nun's-veiling. The velvet skirt is cut in tabs, which ipen over a knife-plaiting of the nun's-veiling. The overdress of the nun's-veiling is made perfectly plain; falls very low both back and front, and is very bouffant below the waist. The corsage is pointed, and quite plain, with a vest, collar, and cuffs of the velvet.<br />
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Fig 4 - Visiting-Dress, of emerald-green velvet. The bottom of the skirt has a gathered ruffle of the velvet; the front falls in two loose puffs, separated by a passementerie trimming of green cord. The waist and overdress are in one, Princess style, bouffant at the back, and trimmed with cords and passementerie. Bonnet of green velvet, trimmed with ostrich-tips and aigrette; and muff of the velvet, trimmed with passementerie.<br />
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Fig 5 - Walking-Dress, of electric-blue cloth. The bottom is finished with a narrow plaiting of the cloth. The upper part of the dress is laid in lengthwise plaits at the sides, is slightly draped at the back, and has a trimming on the left side of blue braiding, the color of the dress. The long tight jacket has a border around the bottom, a plastron which forms a collar at the back, and cuffs of sealskin-fur. Hat of electric-blue felt, trimmed with feathers of the same color.<br />
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