Historical Fancy Dress

A Victorian Fancy Dress Ball, New Haven, Connecticut (Saturday, March 24, 2012)

Enjoying the descriptions and illustrations of fancy dress costumes posted here?  Now's your chance to try it for yourself!

On Saturday, March 24th, in New Haven, Connecticut, there will be a fancy dress ball in the style of the 1880s, featuring live music, Victorian dancing, refreshments made from historical recipes, and a chance to bring fancy dress costumes to life!

The ball will be held from 8:00 to 11:30pm at beautiful Pratt Hall, less than a block from the New Haven Green and only a few blocks from the historic Yale University campus.  The dancing will be precepted by dance historian and teacher Susan de Guardiola (author of the Capering & KIckery dance history blog and owner of Historical Fancy Dress) with live music by the noted dance trio Spare Parts, heard recently on the soundtrack of the film Bright Star.  The dances will be a typical Victorian mix of couple dances (waltz, polka, schottische, galop) and set dances (contras, quadrilles).  All set dances will be taught during the evening, and there will be a workshop from 3:00 to 5:00pm the afternoon of the ball to help people wanting to learn the couple dances.  There will also be a procession of costumes and

Fancy dress based on the styles of the 1880s is strongly encouraged, and this blog is your resource for costume ideas.  Since this is a fancy dress ball rather than a masquerade, masks are not necessary.  To preserve the beautiful floor, please make sure to have clean dance shoes or indoor-only shoes to change into at the hall so as not to track dirt or grit into the ballroom.

The ball is strictly limited to 80 people due to the size of the hall.  Advance registration ($30 per person, or $20 for ages 13-21) is recommended.  At-the-door prices are $10 higher and admission will be available only if space permits.  Younger children may attend with their parents, and are expected to be strictly supervised throughout and withdrawn from the ballroom if they become too tired/fussy to display polite behavior.

A hotel block at the nearby New Haven Hotel has been reserved at a discount rate; reservations must be made by March 7th to be guaranteed this rate.

Full information and registration (by mail or Paypal) are available at the Fancy Dress Ball website.

A Masquerade Dance Card, 1900

Here's an interesting bit of fancy dress ephemera: an actual dance card from a masquerade ball given in Wisconsin on February 10, 1900.  Scans of the cover and inside are at left; click to enlarge.

This is a lady's card, with men's names filled in for the first half of the ball.  The ball -- their Third Annual Masquerade -- was sposnored by the Y.M.P.S. in a town whose name is unreadable due to damage to the card but which I would guess to be Westboro.  The red cord attached at the top was to hold a pencil for filling in names.

The dance mix on the card is a typical late Victorian mix, primarily couple dances (waltz, polka, schottische, two-step) and quadrilles.  Interestingly, the Grand March, typically the first dance (perhaps after a series of tableaux vivants), is placed ninth instead.  I place the Grand March in the middle of the ball at my own Fancy Dress Ball because I do it as a costume-announcing parade, so I want to wait until everyone is there, but don't want to delay the start of the ball.  Perhaps this group did it for similar reasons.

The opening dance is a quadrille, which might have been or followed a special Fancy Quadrille, in which a group of dancers with costumes matching a particular theme would perform.

I discussed this card from a dance perspective a while back at my companion dance history blog, Capering & KIckery.

 

 

School Boy

(Back to school time with an Edwardian schoolboy costume, which was probably an easy fancy dress choice for a young boy who could simply use his own school clothes or uniform.  Yes, despite the long hair, that's a boy.)

Straw hat; blue and white or red and white striped blouse; white or blue flannel trousers with stockings to match; laced shoes.

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Suez Canal

(A marvel of Victorian engineering, the Suez Canal opened in 1869 and affected both trade patterns and politics, with the resultant ease of access for Europeans to parts of Africa enabling a new wave of colonization efforts during the 1880s.  Apparently its impact was such that even a decade after its opening it inspired a fancy dress costume design!)

The description is identical across three editions of the same manual:

Long flowing robe of cloth-of-gold, with waves of blue satin bordered with pearls, underskirt of red satin embroidered in Egyptian designs.  A gold key at the girdle; Egyptian head-dress of pearls, turquoise, and diamonds; girdle of roses and lilies.

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Elizabethan Serving Maid

(Here's one of those costumes fondly considered "historical" -- an Elizabethan maid wearing an 18th-century mobcap, 19th-century corsetry, a hint of a bustle, and a very upper-class ruff.)

SERVING MAID (Elizabethan Period). Short fawn-colored stuff gown, made with pointed bodice; tight sleeves with stuffed epaulettes; ruff at throat; muslin cap; bag hanging at side.

The illustration (click to enlarge) is taken from the 1887 edition of Holt's Fancy Dresses Described and displays a hint of the bustle shape of the era in the pleated fullness at the back of the skirt.  The identical description appears in the 1896 edition.

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

Proserpine

(Here's a costume from Greek mythology that doesn't follow the classic style, instead using a witchy black-and-red color scheme and adding wing sleeves and a ruff!)

Scarlet robe with wing sleeves lined with black,and a full, wide ruff of scarlet lined with black high about the neck.  A large poppy for a head-dress, and poppies on the toes of the black slippers; red stockings.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

Proserpine is the Romanized Persephone, daughter of Demeter (Ceres) and queen of the underworld as the unwilling bride of Hades (Pluto).  The poppies are symbolic of sleep, death, and resurrection and thus particularly appropriate for Proserpine, whose annual descent into the land of death represents the sleep of the earth during winter and whose return brings springtime to the land.

Richelieu

(A historical costume for the gentleman who doesn't care to expose his legs in tights!)

A robe of cardinal-red goods made in domino style and trimmed with ermine, and worn over a lace gown.  A red mitre is worn, and a scepter is carried.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

A description and illustration of a domino-style robe were recently posted; the men's version would be similar to the women's as illustrated.

As may be seen in the painting at left, Armand Jean du Plessis,
Cardinal de Richelieu (1585-1642) doesn't seem to have actually worn either a lace gown or a mitre, though at least some 19th-century cardinals had much lacier apparel.

Freemason (Female)

(This costume description predates the Co-Freemasonry movement that began on the European continent in the 1880s.  It is probably meant as a futuristic fantasy costume, rather like the Footwoman of the Future.)

FREEMASON, FEMALE.  Black velvet dress; white satin Watteau sacque, trimmed with swansdown; swansdown ruff at throat; hair powdered; quaint velvet hood, studded with pearls and Masonic emblems; a Master Mason's apron and collar of office, with pendant gauntlets and Masonic jewels; clock at girdle.

Other than the earliest edition not capitalizing "Mason" or "Masonic", the descriptions are identical throughout across sixteen years and three editions of a single manual.

The costume is a poudré (powdered) one; see With Regard to Powdering for instructions on how to powder the hair for such costumes.

Oddly enough, there was a female Freemason in the eighteenth century, Elizabeth Aldworth, whose portrait may be seen at left.  Her clothing is considerably less elaborate than the swansdown-trimmed outfit described above, and her hair is not powdered, but the apron is present, and she is pointing to a Masonic symbol in the book next to her.

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Opening with tableaux

(How to open a fancy dress ball conducted in a large public space: with tableaux vivants or "living pictures": groups of costumed attendees posed in scenes.)

    Before touching upon costumes, it may be well to add the information concerning the general programme of a masquerade or fancy ball which is given either by private individuals or societies, in a public ballroom or hall.  At a private house, unless there is a large ballroom, the plan can scarcely be followed, though it is the regular custom at the entertainments first mentioned.

    A large fancy ball is usually opened with tableaux.  For this purpose a stage or platform at one end of the room is necessary.  Temporary steps should lead from the floor to the stage at its center.  As soon as a sufficient number of guests have arrived to conduct the tableaux as planned, the entertainment begins.  The subjects for the tableaux should be comic in character, and may consist of "hits on the times," or upon local politics or institutions; or they may be arranged from some familiar humorous picture or series of pictures.  This matter must be left to the host and hostess of a private ball or to the committee of arrangements for a society ball, who will select the subjects and decide upon the number of tableaux to be given.  The last tableaux must include all the maskers who have taken part in the tableaux, and also the host and hostess, or at a society ball the president of the society and his lady; and it must be so arranged that at the end of the scene those on the stage, headed by the host and hostess or the president and his lady, will fall into line of march and move down the steps to the floor, where all the other guests are waiting, and also join in the grand march which generally opens every ball.  If the first dance is to be a waltz, the guests should at the close of the march, be standing so that the line will form a sort of spiral.  But if the first dance is to be a square dance, then the couples should be arranged along the sides of the room, ready to fall into sets at the first bars of the music. 

    -- Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

The University of Chicago has published a short scholarly article discussing the tableau vivant in relation to art, and includes both the Oxford English Dictionary definition:  “a representation of a personage, character, scene, incident, etc., or of a well-known painting or statue, by one person or a group of persons in suitable costumes and attitudes, silent and motionless" and a quote from the popular Godey’s Magazine and Lady’s Book describing tableaux vivant as one of the most popular amusements of the time, “…. engendering a love for and appreciation of art.”

A Danish dramaturge named Marie has written a fascinating little article regarding the use of the tableau vivant in literature by such well-known authors as Louisa May Alcott, Charlotte Brontë, and Edith Wharton. 

The illustration at left of a 1910 tableau (though not from a fancy dress ball) is borrowed from her blog, At the Lighthouse, and depicts the wounded Joan of Arc surrounded by English soldiers, a typical historical theme.

Click the image for a larger view.

Poodle

(For ladies who want to dress up as a dog, complete with puppy ears.  One really wishes they had included an illustration for this one!)

Skirt of black tulle covered with small ruches to represent the curly coat; corselet bodice of black velvet.  Silver bracelet on the right arm; a collar of red satin ribbon.  The hair frizzed; a couple of black velvet ears lined with pink silk at the side.

Source:
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Fairy Godmother

(This costume is intended for a young girl and is a simplified version of women's "fairy godmother" costumes.)

Skirt of amber cashmere or veiling.  Apron of white silk trimmed round with the eyes from peacock plumes.  Pointed body of satin with a basque skirt cut in points.  The body is trimmed with strips of white silk tied across and fastened in bows.  Hanging sleeves, cut round in points.  Cloak of green cashmere or satin.  Deep, white linen collar.  Sugar-loaf hat trimmed with a peacock plume.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

A sugarloaf hat is a tall, pointed hat -- the classic "witch" style.

The Classic Domino

(Here's a set of descriptions of the classic domino, a robe-like costume which dates back to the masquerades of the 18th century and is more associated with masquerades (masked balls) than fancy dress events, but still seem to have turned up occasionally.  The English in particular appear to have continued to use dominos and evolved a lot of rather frou-frou variations barely related to the original concept of the simple black robe.)

1880, English:
DOMINO.  Worn at masque balls and sometimes as a fancy dress.  They are made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with capes and large hoods and wide sleeves.  They should be large and long enough to slip over the dress easily, and hide it completely.  The black are usually trimmed with a colour, such as a thick ruching down the front and round the tunic-shaped sleeves, and are often piped with a colour and lined with the same.

1887, English:
DOMINO, A.  Worn at masque balls and sometimes as fancy dress.  It is made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with cape and slender-pointed hood and wide sleeves.  It should be large and long enough to slip over the dress easily, and hide it completely.  The black are usually trimmed with a colour, such as a thick ruching down the front and round the bell-shaped sleeve, and are often piped with a colour and lined with the same.  The lighter tones sometimes edged with swansdown.

1896, English:
DOMINO, A.  Worn at masque balls and sometimes as a fancy dress.  It is made in satin, silk, and brocade, or of plain cotton in the Princess shape, having often a Watteau plait with cape and slender-pointed hood and wide sleeves.  It should be large and long enough to slip over the dress easily, and hide it completel.  Black is usually trimmed with a color, in the form of a thick ruching down the front and round the bell-shaped sleeves, and are often piped with a color and lined with the same.  The newest kinds are made in chiffon and gaily trimmed with flower.  White satin is covered with white chiffon and lilies of the valley are dispersed all over it, falling in a shower; the cape is formed of boullonnees of chiffon; blue satin dominoes are turned back with pink roses.  Handsome velvet and satin brocades are employed on some with no capes, but full bishop sleeves and lace ruffles are gathered from the neck beneath a double frill of lace.  The Merveilleux Domino is trimmed at the hem with festoons of old lace caught up with pink bows repeated on the shoulders; the large sleeves coming from the plait at the back.  Some are parti-colored half black half cerise.  A white brocade might have an accordion pleated cape, pink, flame color, black and yellow are effective.

1906, American:
Domino
Black silk, sateen or woollen material is selected to develop this popular garment. A silk cord, knotted, encircles the waist and is tied in front. Mask of black satin.  (Illustrated above right; click the image to enlarge.)

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

A Victorian Makeup Kit

(A list of period makeup materials, as a matter of historical interest.  Modern makeup is much easier to use and on the skin!  And yes, "émail" is French for enamel!)

    It may not be amiss just here to give a list of "make-up" materials such as are used for theatricals and for masquerades when masks are not worn:

    Prepared Fuller's Earth. -- To powder the face with before making up.

    Powdered Blue. -- For imitating a shaven chin.

    Pearl Powder. -- To whiten the complexion, hands and arms.

    Rouge. -- Absolutely indispensible before footlights, which apparently bleach the rosiest complexion to a sickly hue.

    Ruddy Rouge. -- For imitating tan and sunburn.

    Dutch Pink. -- For sallow complexions.

    Mongolian. -- For imitating the complexion of Orientals or North American Indians.

    Powdered Antimony. -- To produce the effect of hollows under the eyes and in the cheeks.

    Chrome. -- To imitate a sallow complexion and lighten the natural color of the whiskers or mustache.

    Carmine. -- To produce a red tint in the same.

    Prepared Whitening. -- For clowns' faces, statuary, etc.

    Prepared Burnt Cork. -- For minstrels or other negro characters.

    Émail Noir (black enamel). -- For applying to a front tooth to produce the effect of being missing.

    Joining Paste. -- To apply over the edge of a wig across the forehead.

    Paste Powder. -- For "building up" a nose.

    Crape Hair. -- Artificial hair sold in plaits for forming wigs, eyebrows, moustaches, etc., etc.

    Spirit Gum. -- For attaching such hair to the face.

    Crayons d'Italie. -- Pencils for marking veins.

    Eyebrow pencils, camel's-hair brushes, powder puffs, etc.

    With these assistants the face may be so made up that no mask will be needed and the disguise will still be complete, especially when the complexion is changed from either blonde or brunette to its opposite.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

Golf

(Continuing with the theme of summer sports, women's increased participation in golf is reflected in the evolution of this costume over two succeeding editions, spanning nine years, of the same fancy dress manual.)

In the 1887 description, the costume is meant to portray a golf course or game, with the lady imitating grass with clubs and balls and a sand-trap scarf, though above the waist she wears the traditional red golf coat.

1887:
Grass green tulle skirt, fringe of grass and gorse; scarf of sand-colour draped round waist, and ornamented with balls and clubs; and bright red golfing coat.

Compare this with the 1896 description below, which retains the golf-course skirt but adds accessories and a golf club that make it obvious that the woman herself is now a golfer.  This fits neatly with the development during the 1890s of golf as a game played by women as well as men.

1896:
Grass green satin skirt studded with golf balls and clubs, fringe of grass and gorse; scarf of sand-color draped round waist, and ornamented with balls and clubs.  Bright red cap and coat with swallow tails and white satin facings held back with golf buttons.  Suede shoes, white gauntlet gloves, a golf club in hand.

Victorian ladies seem to have traditionally worn the red golf coat, but the December 1, 1899, edition of Golf Illustrated offers under "Some Hints on Dress for Lady Golfers" a bit of debate on the matter of "Coats Red and Green":

    Though her red Golf coat is not as a rule individually becoming to an Englishwoman, its effect collectively on the links is so bright and picturesque that one can only hope the coats of green, which are certainly gaining in favour for wear thereon, will not finally oust the red ones. 

    There is no doubt that though their rivals in green are not only very smart but excellent foils for complexions brightened by exercise (which, by the way, is not always the case with the red ones), and recently I saw a very effective one, built of green cheviot and, like all our apparel of the tailor-made persuasion this season, liberally bestripped: it was fastened with buck-horn buttons and lined with a thick red silk, though many of these cheviots have reversible tartan linings; one I saw at a leading tailor's the other day being bright red on the outer side while the reverse showed the Stuart tartan.

    This coat, in green, makes a capital all-round coat, which a red one of course does not, as it invariably boasts its owners club collar, cuffs, and buttons, thus stamping it with its raison d'être so plainly as to make it out of place anywhere but on the links.  With a green one, however, the addition of one of those big collars or necklets of fur makes it a perfect little coat for ordinary walking or driving use.

    To revert to its lining, there is a fancy just now for having the red Golf coats line with silk which exactly matches the colour of its collar and cuffs and a very good effect this has, especially when these are of one of the many shades of green which is such a favourite club colour.

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Court Jester

(Like the boys' Brownie costume, here's one for men that looks more fierce than amusing!  It would be easy to find a similar modern costume through a rental shop or theater.)

Costume of red and yellow satin or sateen, half of each color and alternated as depicted in the illustration; each point tipped with a tiny bell.

(Click to enlarge the illustration.)

 

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Ruth, the Pirate Maid-of-All-Work

(Inspired, of course, by the popular Gilbert & Sullivan operetta!)

RUTH, THE PIRATE MAID-OF-ALL-WORK (Pirates of Penzance).  This costume is suited to a dark beauty; a head-dress of red drapery and coins; red and black short skirt, with much gold trimming; low black gold-bedizened bodice, and gold armlets, with chain of sequins from the shoulder to wrist.

The description is identical between the sources, except that the 1897 one omits the suggestion of it being suited to a "dark beauty."  Note that "short" is a relative concept in Victorian skirts; it meant you could see the the ankles, or possibly a bit of calf.

Nowadays (and from the 1910s onward) Ruth's costumes have a stereotypical pirate look, but judging by photographs from early productions of The Pirates of Penzance, a Victorian version of her costume should probably have a vaguely Mediterranean feel.  For reference, at left are pictures of Alice Barnett, who played Ruth in New York in 1880; Rosina Brandram, who played the role in 1888 and 1900 at the Savoy, in 1901; and a 1908 costume design, courtesy of the Harry Ransom Center, which was very similar to that worn by Brandram.  Click to enlarge the images.

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Powder vs. Wigs

(Thoughts on whether to powder the hair or wear a wig for a Poudré ball or costume, and how to go about each method.)

Contrary to the advice given by Ardern Holt, Lucie Armstrong felt that a wig was better than powdering one's own hair:

    The way to powder the hair is as follows: -- First dress it very firmly and grease it all over.  Another person now takes the hair-powder and throws it lightly from above all over the hair, care being taken to protect the dress by means of a large wrap.  The effect of the powdered hair is extremely becoming, but the after-consequences are far from agreeable.  It takes days to get rid of all the powder and grease, and the hair often gets tangled and broken during the many washings and combings necessary.

    A simpler plan is to wear a powdered wig, which leaves no unpleasant results to the hair, though its weight is apt to induce headache.  A good wig is better than a bad head of hair, and the mass of curly locks are extremely becoming, and give a good deal of character to the face.

    It takes two people to put on a wig.  The one who is going to wear it must catch hold of the foundation, and pull it down in front as tightly as possible, whilst another person pulls it down as far as it will go at the back.  The hair must first be reduced to as small a compass as possible, combed up away from the face, and arranged tightly on top of the hea. The wig must be held in its place with white hair-pins, placed at the edge of the silk foundation, and fastened firmly into the hair beneath.  The curls are then arranged to suit the wearer, being gathered up towards the back with a few white-pins; and a few final touches of the powder-puff will improve the appearance of the wig when everything else is done.

    --- Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.

In the Gloaming

(Here's a more elaborate version -- in title as well as detail -- of the costume for "Dusk" from the same manual.  Note that if you're "in the gloaming", you get to have a bat and an owl!)

GLOAMING, IN THE.  Dress of grey tulle, or muslin, or gauze over satin, made as an ordinary evening dress, or in classic fashion; a veil of the same material; fire-flies imprisoned in the tulle; bat fastened on one shoulder, an owl on the other; silver and smoked pearl ornaments.

The above is from the 1887 edition of Holt.  "Dusk" is upgraded after this -- in 1896, that entry, which "In the Gloaming" refers the reader to, uses exactly the description as given above.

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Napoleon

(One of the most recognizable historical figures for a man, and very suitable for a shorter gentleman in particular!  Click to enlarge the image.)

White trousers; fawn-colored coat with heavy gold braid; purple sash and white felt hat trimmed with gold braid. Gauntlet gloves and spurs on boots.

 

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Tennis and Badminton

(Here's an increasingly elaborate and ridiculous sport-themed costume for women -- with a modern interpretation as well!)

The 1887 edition of Ardern Holt's fancy dress manual lists costume ideas under both "Tennis, lawn" and "Lawn tennis and badminton":

TENNIS, LAWN.  Short plain skirt of grass-green satin, slightly gathered at the back, and trimmed at the edge with grass fringe, headed by white satin bands; bats and balls introduced as trimming.

LAWN TENNIS AND BADMINTON.  Sometimes for these only an ordinary lawn tennis dress and pouch are worn, with a bat attached to the side. 

That not being nearly exciting enough, Holt continues the latter description with a rather witchy alternate version:

A better representation is a green satin skirt, a bat fastening a silver net, forming paniers, pouches and balls on the shoulders, which drape the skirt; scarf across bodice, with lawn tennis in silver letters; black bodice with white circles to resemble balls; high pointed black hat with a bat as an aigrette; brown stockings and shoes. 

And then tops it off by jazzing up the plain "Tennis, lawn" version even further:

Or, a short plain skirt of grass green satin, gathered at back, trimmed round the edge with two rows of grass fringe, headed by a flat band of white satin an inch and a half in width, to represent the boundary of court; six lines of the same round the skirt at intervals; a tennis net draped from waist, edged with scarlet and white worsted balls; miniature tennis bats hold up the drapery; bodice of green velvet, long sleeves to wrist, all bordered with gold braid and scarlet and white balls; epaulettes of scarlet and white satin ribbon; red and white satin peaked cap, with daisies and leaves beneath the flap; Suède gloves, and black shoes; scarlet stockings; ornaments, gold tennis bats; fan like a bat, in red.

 The 1896 description is similar to the first and last parts of the longer 1887 description (now the tennis net is gold!) and adds a sop to badminton:

LAWN TENNIS AND BADMINTON.  Sometimes for these only an ordinary lawn tennis dress and pouch are worn, with a bat attached to the side.  A better representation is a short plain skirt of grass green satin, gathered at back, trimmed round the edge with two rows of grass fringe, headed by a flat band of white satin an inch and a half in width, to represent the boundary of the court; six lines of the same round the skirt at intervals; a gold tennis net draped from waist, edged with scarlet and white worsted balls; miniature tennis bats hold up the drapery; bodice of green velvet, long sleeves to wrist, all bordered with gold braid and scarlet and white balls; epaulettes of scarlet and white satin ribbon; red and white satin peaked cap, with daisies and leaves beneath the flap; Suéde gloves, and black shoes; scarlet stockings; ornaments, gold tennis bats; fan like a bat, in red.  For Badminton Shuttle Cocks replace the balls.

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

---

Frighteningly enough, the idea of dressing up as tennis (lawn) occurred to one of this year's Wimbledon competitors -- fashion-conscious tennis professional Bethanie Mattek-Sands made an appearance at the WTA's pre-Wimbledon party in fancy dress, having sacrificed quite a few tennis balls for her look:

Photos courtesy of Style Bistro (more photos there!)  Click the image to enlarge.

Though it shows a little more skin than a Victorian fancy dress outfit would, and the shoes are hardly danceable, the general idea is very much in keeping with nineteenth-century fancy dress.  And they would have loved the hat!

Brownie

(A brownie costume for a boy or a group of boys that's more creepy than charming.)

This costume is of brown cloth with yellow bands, buttons and cap trimming.  Yellow stockings and brown pointed slippers.  Where a number of "Brownies" are to appear, the costume may be made of khaki, duck or like material, and may be of any combination of colors, bright hues being preferred.

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

The Seasons Quadrille

(Here are descriptions of costumes for a Fancy Quadrille carried out by a matched set of eight ladies and gentlemen.  A subset of the costume descriptions could also be used for a group of men or women or for a couple.)

THE SEASONS QUADRILLE

SPRING. -- A very Young Lady. -- Short dress of primrose tulle, with satin bodice of the same colour.  Skirt, trimmed with bunches of primroses, and bouquets of same on shoulders; primrose wreath on the head; shoes and stockings and gloves all of the same colour.

Attendant Gentleman -- Angler -- Izaak Walton. -- A brown, velvet doublet, with brass buttons up the front and along the square side-pockets.  Full knee-breeches of brown velvet, with brown or yellow silk stockings.  A high pointed beaver hat, with yellow feather.; fishing-rod in hand.  Hair tied in a bag-wig with brown or yellow bow.

SUMMER. -- Pale pink tulle, over satin of the same shade.  Low bodice, edged with garland of roses.  Wreath of ross on head, and a long garland of the same flowers on the skirt.

Attendant Gentleman -- Haymaker. -- Smock frock of cream-coloured soft silk, brown corduroy knee-breeches, and pale blue stockings, with Oxford shoes.  Rustic hat, and square-cut hair.  Sleeves tied in three places with pale blue ribbon.

AUTUMN. -- Amber tulle dress, trimmed with long garlands of poppies and corn.  Bunches of same on shoulders  Wreath of poppies and corn.  This is a most becoming dess for a brunette.

Attendant Gentleman -- Reaper. -- Same as haymaker, but with green corduroy breeches, instead of brown.  Brown stockings and Oxford shoes.  Belt and sickle.

WINTER. -- White satin short dress, edged with swan's-down.  A robin perched on left shoulder.  Leonardo da Vinci cap of white plush, trimmed with swan's-down, and a robin stuck at one side.  High white satin boots edged with swan's down at the top.

Attendant Gentleman -- Polish Skater. -- Dress of purple velvet, edged with fur.  Small skates slung to his belt.

Source:
Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.

The Ghost of a Belle

(Here's an interesting twist on Poudré costume that can incorporate a white dress of any era, provided the wearer is willing to powder her hair!)

Any style of costume in white.  Powdered hair, white slippers and stockings.  The face should also be powdered to look very white, or a white mask may be worn.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

For Fair-Haired Women

(Paralleling the list of costumes for brunettes, here are some fancy dress suggestions for fair-haired women from various editions of Ardern Holt's manual.)

From the second edition in 1880:

For FAIR WOMEN, among others, the following are suitable: -- Arctic Maiden, Air, Bride of Lammermoor, Aurora, White Lady of Avenel, Canada, Canadian Snow Wreath, Danish, Day, Dew, Elaine, Fair Maid of Perth, Fairy, Flora, Marguerite in Faust, Moonlight, Norwegian, Ophelia, Peace, Polish, Rainbow, Rowena, Sabrina, Swiss, Schneewitchen, Titania, Twilight, and Water-Nymphs.

The list expanded slightly in the 1887 & 1896 editions:

For FAIR WOMEN, among others, the following are suitable: -- Arctic Maide, Air, Bride of Lammermoor, Aurora, White Lady of Avenel, Canada, Canadian Snow Wreath, Danish Peasant, Day, Dew, Edith Bellender, Elaine, Fair Maid of Perth, Fairy, Flora, Gabrielle d'Estrées, La Belle Dame sans Merci, Margeurite in Faust, Moonlight, Norwegian costumes, Ophelia, Peace, Polish Peasant, Rainbow, Rowena, Sabrina, Swiss, Schneewittchen, Titania, Twilight, and Water-Nymphs.

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Cards

(Costumes representing cards, dice, and games of chance were found in many fancy dress manuals.  Here's one apparently inspired by the game of poker, complete with a fan made of cards and feathers.  Click the image to enlarge.)

Box-plaited skirt of white with appliqué or painted cards and colored discs to imitate poker chips. Waist of white China silk, with high girdle of orange satin. Cards and poker chips arranged in the hair.

 

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Falconer & Falconry

(Falconer and Falcon(e)ry are actually individual costumes from completely different sources, though close together in time, but they'd also make a workable pair of themed costumes for a couple, despite their disparate historical styles.  It seems a bit unfair that the lady gets a hawk, presumably stuffed, and the gentleman does not!)

For the gentlemen, a Falconer:

FALCONER
Short tunic of brown velvet trimmed with a plastron of gold cloth and bound with gold braid, fastened round the waist with a leather belt.  Loose knickerbockers, gartered at the knee, and tied with a ribbon bow.  White stockings with calf-pieces of velvet trimmed with gold braid.  Leather shoes.  Lace neck-frill.  Soft, round hat of velvet, trimmed with eagle feathers.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

 

For the ladies, Falconery:

FALCONERY
Short skirt of dark cloth, red, blue, or brown; green velvet skirt caught up on one side; long basqued jacket of the same; gauntlet gloves with hawk on the hand.  Cavalier hat with dropping feathers; high boots.

Source:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

 

Nine years later the description is virtually the same, though the velvet overskirt is lost and the spelling is more conventional:

FALCONRY
Short skirt of dark cloth, red or brown; long basqued jacket of green velvet; gauntlet gloves; a hawk on the hand.  Cavalier hat with dropping feathers; high boots.

Source:
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Fish

(Another blandly silly Victorian costume idea: the octopus hat!  I feel there's a real possibility for a whole group of ocean-themed costumes: mermaid, sea maiden, salt water, and, of course, gem of the ocean!  Being more practical than the sea maiden, this fish costume has legs.)

Costumes of this kind can be carried out in scaly cloth, the fins of gauze distended with wire.  The head-dresses representing the head of the fish.  The skirts short with high leggings covered with scales.  A cod, a sword fish, an octopus can be so represented; for the latter, the various feelers form the head-dress.

Source:
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

On decorating the ballroom

(Tips on decorating the hall for a fancy dress ball.  This is an American description, and the use of the term "maskers" for the guests suggests a greater openness to actual masquerades than was the English custom in the late nineteenth century.)

    As private houses are seldom commodious enough to afford comfortable space for a large fancy ball, it is quite customary for the host or hostess to engage the exclusive use of the ball and supper rooms of some hotel or other public resort, and give the entertainment in them; and the custom is commendable, since it provides more room for the guests and thus insures them a greater amount of enjoyment, besides relieving the hostess of the household confusion which prefaces and follows a ball given at a private dwelling.

    On the occasion of a private ball in a public ballroom, the latter may be decorated as far as possible to appear like the parlors of a private house; and as refreshments are served in rooms reserved for the purpose, the affair is as exclusive as if given under one's own roof. 

    In decorating for a fancy ball, the ballroom is usually festooned with draperies of the national or other colors fastened up under comic masks, or shields upon which are grotesque faces and figures, armorial emblems and mimic instruments of music.  Flowers and foliage are banked and grouped in different parts of the room, but foliage should predominate, as its rich green forms a charming background for the brilliant costumes of the maskers.  Japanese lanterns also add, by their soft radience, to the effectiveness of the scene.

    In many instances the musicians are dressed in fancy costumes; and not infrequently the men servants are habited as were the retainers of olden days, and the women servants are also dressed as were those of ancient times.  In this way greater realism is obtained and there are no inharmonious comminglings of the unpicturesque costumes of the present day.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

Marquise de Vaudreuil

Left: Harriet Wheeler as "Marquise de Vaudreuil" for the Château de Ramezay Historical Fancy Dress Ball, Montréal, QC, 1898, by William Notman.  Image © McCord Museum (click to enlarge.)

The photograph is part of an online exhibition of photographs of fancy dress costumes from balls and skating parties.

The Château de Ramezay was built in 1705 as the residence of the governor of Montréal and by 1898 had been converted into a museum.  The Historical Fancy Dress Ball was intended both as an entertainment and as an educational showcase for Canadian history and the history of the Château itself.  Guests were required to portray a character from Canadian history and were divided into themed historical sets to perform specific dances, probably fancy quadrilles.

Harriet Wheeler chose to portray the Marquise de Vaudreuil, presumably Charlotte Fleury de la Gorgendière, wife of Pierre de Rigaud de Vaudreuil de Cavagnial, Marquis de Vaudreuil, the last Governor-General of New France (Canada) before it was lost to Britain in 1760.  While her character would probably be fairly obscure nowadays to anyone but a Canadian, the outfit is a good example of a typical poudré costume.  The museum's description of it states:

Mrs. Harriet Wheeler wore a pink satin hoop skirt trimmed with lace flounces and an overdress of pink and white flowered silk. Her patches -- small beauty spots on the face -- and powdered hair were frequently a part of 18th-century costumes.

I've previously posted nineteenth-century directions on applying patches and powdering hair.

Although guests were supposed to research their costumes and present accurate portrayals, there were varying degrees of success.  To my eye, her corset looks rather more nineteenth century than eighteenth century, and the museum notes that:

The skirt of Mrs. Wheeler's supposedly 18th-century costume was held out with a circular hoop typical of the 1860s, and not the panniers that would have been more in keeping with the period. Nonetheless, the press praised her for wearing a "perfectly correct Pompadour costume."     (Montreal Star, 19 January 1898.)

The Soothsayer

(This one is listed under costumes for "Misses, Girls, and Children," but I see no particular reason an adult woman couldn't wear it as well.  And it's one of the rare costumes that specifies eyeglasses!)

A dove-gray kilted skirt, with panel of black on the sides.  A closely fitting black bodice reaching only to the waist, opening over a low-cut dove-gray waistcoat, and having angel or wing sleeves lined with dove-gray.  A white tucked and ruffled shirt front; a deep, fluted ruff about the neck and standing out well about the lower edge of the bodice; long black gloves, black stockings, and slippers with bows; eyeglasses, and a high black hat with pointed crown and a closely-rolled brim.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

Academical Dress/Girl Graduate

(The evolution of these descriptions across sixteen years and three editions of this fancy dress manual offers an interesting look at women's slow entry into academia.)

In 1880, the entire idea is considered futuristic:

GRADUATE, LADY, OF THE FUTURE.  Dark blue velvet dress, undergraduate's black gown and cap, lace cravat; hair tied with pale blue ribbons. (No illustration.)

By 1887, it appears to be routine, and there are two entries, one of which implies a doctorate.

ACADEMICAL DRESS.  Long silk academical robe; white, lack, red or other colour, plain or brocaded, worn over a plain skirt and bodice.  Academical cap.  (No illustration.)

GIRL GRADUATE.  In academical robe and cap, which may be of plain or brocaded silk in black or colours.  Or, dark blue velvet dress with black University gown, faced with blue; doctor's hat; scarlet stockings; black shoes; lace cravat; hair tied in a cue with ribbon.  (Illustrated at left.)

And in 1896, the descriptions, combined, include a reference to the academical robes of the Princess of Wales when she was awarded a Doctorate in Music by Trinity College, Dublin, during a state visit in 1885.

ACADEMICAL DRESS.  Girl Graduate.  Long silk academical robe; white, black, red, or any other color, plain or brocaded, worn over a silk or satin skirt and bodice, which may be accordion pleated, academical cap.  The robe is sometimes faced with color.  Muslin bands are worn on a lace cravat.  The hair occasionally tied in a cue with a ribbon. (Illustrated at right.)  The Princess of Wales's robes as Doctress of Music were white silk bordered in front with red as were the pendant sleeves.  The hood red; the college cap edged with gold having a gold tassel.

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Fancy Quadrilles

(Often a fancy dress ball will include a prearranged quadrille featuring a set of themed costumes -- matching or "naturally associated" with each other.  This might be the opening dance of the ball following the grand march or might be later, or there might be several during the evening.  Here are some ideas from the 1880s and 1890s for such quadrilles.  I particularly like the "naturally associated" pairing of Politicians and Nuns in the 1892 source!)

A full list of the sources from which these descriptions are taken is at the bottom of this post.

    A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: --Watteau, Poudré, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and the costumes which everybody associates with these characters.  A Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such Quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1880)

---

    At some fancy balls quadrilles are arranged beforehand, in which all the dancers are to be dressed after the fashion of some particular period.  One of these quadrilles should open the ball, and others may be interspersed in the programme at irregular intervals.  (Armstrong, c1880s)

---

    A marked feature at most Fancy Balls is a specially-arranged Quadrille.  The choice is a large one.  The following have from time to time been given: --Watteau, Poudré, Noah's Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bouquet, Bird, Louis Quinze; Shepherds and Shepherdesses, when both ladies and gentlemen wear the hair powdered and costumes associated with these characters; a Louis Quinze Hunting Quadille in the hunting dress of that period.  A Quadrille of All Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carryng the national flag; Scotch, Irish, King and Queen, Army and Navy, Flowers of the Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Joe Willett and Dolly Varden, Puritan and Cavalier.  The time when such quadrilles are danced, and the partners are all pre-arranged.   (Holt, 1887)

---

    Among the many quadrilles from which to select a subject for this one dance, which may include other sets of the guests, are the following and it must be understood that the gentlemen of the set in most of the cases must be dressed alike and the ladies also; and that the costumes must belong to the same period or be naturally associated together: Shepherds and Shepherdesses; the Seasons; Watteau and Poudré periods; Louis Quinze Hunting Quadrille, in the hunting costume of that period; Kings and Queens of various nations; Army and Navy; Holbein Quadrille in Tudor dress; Flowers of the Year; Birds; Pack of Cards; Puritan Maidens and Cavaliers; Noah's Ark, (the animals in pairs); National Games; Politicians and Nuns; Policemen and Nurse Girls; Dudes and Tailor-made Girls; Clowns and Fairies; in fact, anything of the kind that may suggest itself to the hostess or committee of arrangements, who plans when such a dance shall take place and who are to take part in it.  (Butterick, 1892)

---

    A marked feature at most Fancy Balls is a specially arranged Quadrille.  The choice is a large one.  The list includes; -- Watteau, Poudré, Noah's Ark, Cracker, Constellation, Domino, Hobby-Horse, Seasons, Bird, Louis Quinze, Shepherds and Shepherdesses, when both ladies and gentlemen wear the costumes associated with these characters.  For a Louis Quinze Hunting Quadrille they appear in the hunting dress of that period; for a Holbein Quadrille in the Tudor dress; a Quadrille of all Nations, embracing all nationalities, the ladies and gentlemen of the same countries dancing together, the gentlemen occasionally carrying the national flag are all good.  In an Italian and Swiss Quadrille, each couple preserve the same coloring.  In Black and White the ladies are entirely robed in white with powdered hair; the gentlemen in black costumes of the time of Edward III., with black masks and pointed shoes, hanging sleeves.  Stuart and Georgian characters make good quadrilles, and Pierre and Pierrettes, Punch and his wife, and Spanish Men and Maidens in various colorings.  In a Toy Quadrille, toys such as tops, Dutch dolls, battledores and shuttlecocks appear.  For an Octave, ladies and gentlemen are dressed in black and white, each carry bells which tinkle as they walk.  For Chivalry, the gentlemen are in armour, and the ladies in the dress of the period.  Scotch, Irish, King and Queen, Army and Navy, Flowers of he Year, Venetian, Vandyke, Pack of Cards, Fairy Tale, Butterflies, Joe Willett and Dolly Varden, Puritan and Cavalier also find favour.  The time when such quadrilles are danced, and the partners, are all pre-arranged.  (Holt, 1896)

---

Descriptions of Poudré, Shepherdess, Vandyke, and Butterfly costumes are already posted elsewhere on Historical Fancy Dress, with more to come!

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Mephistopheles

(One of many versions of the famous devil from the legend of Faust, and once again an opportunity for men to get into tights!  I actually made a rather crude version of this, minus the headdress, many years ago for a friend.  Click the image to enlarge.)

Costume of flaring-red cashmere, body and sleeves slashed, with silver-gray satin inserted.  Silver-gray tights and silver belt.  Pointed shoes and feather on head.

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

The Wild West

(A simple costume for ladies who look good in brown, though for modern purposes the gun should probably be left at home.)

 A brown blouse and skirt; collar and sleeves of red, and a broad band of red surrounds the skirt at the foot.  The skirt may be short and chamois or brown leggings or over-gaiters worn.  A heavy stick or a light gun is carried, and a large brown or red soft felt hat is worn.

Source:
Masquerade and Carnival.  New York: The Butterick Publishing Company, 1892.

Lady Gardener

(Another delightfully impractical "work" outfit much like the ridiculous Edwardian shepherdess.  I particularly like the bow on the rake!  Click the image to enlarge.)

...a white satin skirt covered with a lattice work of light green rbbon, flowers clustering at the hem and brought up the skirt.  The black velvet bodice has a lisse fichu and sleeves tied with green and pink ribbon as is also the rake.  A bunch of roses appear on the right shoulder, and the large hat is trimmed with pink and green ribbons.

Source:
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

With regard to powdering

(Practical advice on how to powder the hair for a Poudré ball or costume.)

    With regard to Powdering, it is best, if possible, not to have recourse to a wig, they are heavy and unbecoming.  It is far better to powder the hair itself, using violet powder, and plenty of pomatum before applying it; but it entails a great deal of trouble in subsequently removing the powder.  The head may be covered with a thick soap lather.  The powder is applied thus: A puff well-filled is held above the head, jerking the elbow with the other hand.  The process should be repeated over and over again, and it is incredible the amount of powder that ought to be used to produce a satisfactory result.  An easy mode of dressing the hair for powder is to part it across the head from ar to ear, turning the front over a high cushion, making the back into a long loose chignon, with a few marteaux or rolled curls behind the cushion.  Sometimes the roll in front is replaced by a series of marteaux placed diagonally.  Sometimes the centre-piece only is rolled over the cushion, with marteaux at the sides.  Sometimes the back has four marteaux on either side, put diagonally, with others behind the ear, or a bunch of loose curls fall at the back.  All this may be made easier by having false marteaux and curls which have a far better effect than a wig.  It is, however, very much the fashion to powder the hair as it is worn now, viz., with curls in front and a coil at the back, a style which accords well with the dress worn when powder was a fashion.

Sources (identical language in both):
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

Salt Water and Fresh Water

(Here's a pair of costumes for two sisters or friends that's in the same general category as the mermaid, sea maiden, and water spirit previously described, though considerably simpler in ornamentation.)

The 1896 description:
Suitable dresses for two sisters; both would wear green and white tulle dresses and veils.  For salt water, these would be trimmed with coral, seaweeds, and shells; the other with water-lilies and grasses.

The 1880 and 1887 descriptions specify green and white evening dresses with white tulle veils but are otherwise identical to the later one.

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Richard I, Coeur-de-Lion

(This is listed as a boy's costume, though there's no reason a man couldn't wear it as well.)

The 1887 description:

RICHARD I., COEUR DE LION.  In a maroon velvet tunic trimmed with gold lace, three lions couchant embroidered in gold on the breast; white silk tights; velvet trunks; gold and satin shoes; jewelled belt, sword, and dagger.

The 1880 version differs only in making the lions courant (running) instead of couchant (lying down).  Historically, Richard I appears to have used a device with the three lions passant gardant (striding, facing toward the viewer.)

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

Queen of Hearts

(This is the playing card version, not the famous Tenniel illustration from Alice in Wonderland.  Click the image to enlarge.)

Queen of Hearts -- This is rather a pretty and quaint costume, in which the wearer is got up to look as like a Court Card as possible.  The over-dress should be of heavy woolen brocade lined with pale blue silk, whilst the under-dress should be of thick white silk appliqué with scarlet hearts.  The cloak is completed by a jewelled collar; and a conventional flower mounted on a wire stalk gives the finishing touch to the picture.

Source:
Armstrong, Lucie.  The Ball-Room Guide.  London and New York: Frederick Warne & Co., c1880s.

Selecting a Fancy Dress Costume, 1920

(Some practical advice on fancy dress costumes found in an English dance manual from 1920.)

    On the subject of Fancy Costumes much may be said, but let me urge both sexes to take into consideration their personal characteristics, such as build, complexion, colour of hair, etc., before selecting their costumes.
    Incongruities such as a short stout man with glasses disguised as Mephistopheles, or a tall Spanish-looking lady as Little Red Riding Hood are absurd -- and yet one sees them.
    There are many striking costumes which may be made at home: among them, for men, Arab Cowboy, Gipsy, Poet; or for ladies, Boyblue, Quaker Girl, Flower-girl, Spanish Dancer, etc.
    Those desiring Historical or more elaborate costumes should invariably obtain expert advice from a costumir.  Take particular care that the headdress and shoes are in keeping with the costume; what more incongruous than Dutch clogs on a cowboy or a powdered wig with a Red Riding Hood costume?
    Many fancy-dress balls are confined to the characters of some author or playwright, such as Dickens, Shakespeare, etc.  Others are of some particular period of history, such as Elizabethan.
    The advice of an expert is absolutely necessary in selecting a suitable costume for such as these.
    Above all things, a dancer should always consider whether his or her own ideas as to the effectiveness of a costume coincide with other people's ideas of what woud suit his or her figure or complexion, etc., prior to making a definitive choice.
    Whatever costume you may select it is as well to make sure beforehand that it is going to be comfortable to dance in -- otherwise you will probably spend a a thoroughly miserable evening.

Source:
D'Egville, Geoffrey. How and What to Dance, 2nd Ed.  London: C. Arthur Pearson, 1920.

 

Sea Maiden (The Little Mermaid)

(Another mermaid costume, this one inspired by Hans Christian Anderson's classic fairy tale, "The Little Sea-Maid," better known as "The Little Mermaid".  This one features a fish-tail train which would be a challenge on the dance floor!)

SEA MAIDEN (Anderson's).  Plain loose robe of sea-green watered silk; under-dress of batiste, same shade, cut as a high square, back and front; short puffed sleeves; wreath of seaweed; silver shells in puffings of tulle round; coral round neck and wrists; armlets of shells; round waist belt of coral and shells from which falls seaweed; train of silver cloth, cut like a fish-tail at the edge and trimmed with oyster-shells; pink stockings; sandalled pink shoes; pink gloves; silver band round head, hair floating on shoulders, with red flowers intermingled; miniature of beautiful prince around neck.

Source:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

Spanish Toreador

(A costume that let an Edwardian gentlemen be colorful and glittery yet still feel masculine!)

Red velvet jacket ornamented with gold; white shirt, red tie, striped sash over a vest of blue cloth, and breeches trimmed with gold braid. Brown stockings, brown hat with red pompon, brown cape.

Click the illustration at left for a larger view.

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Eleven years later, in 1917, Renoir painted the art dealer and patron Ambroise Vollard dressed as a toreador, as seen at right (click to enlarge), though I don't know whether the costume was for a particular fancy dress occasion or merely for the sake of an interesting portrait.

 

Ribbons

(Here's a simple 1890s costume that's perfect for anyone who wants to clean out their ribbon stash!  While it suggests a dress made from ribbon, a similar effect could be obtained by using an ordinary dress and ornamenting it with ribbon as described.)

Dress of wide cream-colored chiné ribbon joined perpendicularly.  Shoulder knots and flowing ends from the waist.  Ribbon aigrette in hair; ribbon necklet and bracelets.

Source:
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

A Classic Party

(Here's a specific fancy dress event theme that is basically a genteel Edwardian toga party, despite the author's efforts to depict it as educational.)

Some of the most successful fancy-dress parties as to costume, and most fascinating as to the amusement afforded, have been arranged by limitations as to books, eras, countries, etc., which have been mentioned by the hostess upon the cards of invitation. For instance, she invites her friends and acquaintances to...a classic party, the latter including both Greeks and Romans, a few of the most presentable of the gods and goddesses and so on, down to the characters portrayed in Hawthorne's "Marble Faun."

Both the Greek and Roman costumes of the free men and women are a most interesting study well worth giving a party for, if only for that; while following such a research, one's memory of classic times is refreshed, if not newly stored with historic facts, regarding tastes and habits that have influenced all the succeeding generations of civilized peoples. Gentlemen and ladies who carry themselves with dignity can wear these vestments with charming and novel effects, that contrast curiously with the appointments of a modern drawing-room.

Source:
Masquerades, Tableaux and Drills.  New York: The Butterick Publishing Company, 1906.

Charles II, Period of

(Another historical costume more representative of the late 19th century than its original era of the 1660s. The illustration is taken from the 1896 edition and is very much in the hourglass style of that year; presumably the 1887 version is envisioned similarly adapted to the bustle silhouette!)

1887:
CHARLES II., PERIOD OF.  The women's dress of this period is familiar from the bevy of beauties associated with it at Hampton Court in négligé attire.  The bodices alone are stiff, but they expose rather than cover the bust and neck; the curled locks fall on the shoulders, and are simply confined by a row of pearls round the head; the arms are bare from the elbow; a train and distinct front breadth form the skirt, and there is a plethora of lace.  More homely women wore plain skirts, an upper one of a contrasting tone; pointed bodices, high to the throat, with a plain turn-down collar from the throat; the full sleeves to elbow are caught up with jewels at the bend of the arm; the shoes high on the instep, and very high in the heel, with roses or buckles.  The following is a good dress: -- Blue and gold brocade, ith flounces of gold embroidery and point d'Alençon lace, and train of old gold satin; puffed petticoat looped at the side with bows, pearls, and lace; bodice low with sleeves fastened in to elbow with diamond ornaments; diamond tiara, and ornaments.  The skirt made plain and long, the bodices low, with lace turning downwards from shoulders.  Hair in ringlets, with bandeau of pearls.

1896:
CHARLES II., PERIOD OF.  The dress illustrated [above left; click to enlarge] may be carried out in plain satin.  The skirt full, the bodice low and stiff, with handsome jewelled trimming on front at neck, and fur bands which can be replaced if desired by a fall of lace, a full sleeve to elbow with an undersleeve of muslin and satin caught up in the fore-arm with a jewel.  Ruffle, gloves, pearls round the throat, and a small bouquet of flowers at the side of the head.  The women's dress of this era is familiar from the bevy of beauties associated with it at Hampton Court in négligé attire.  The bodices expose rather than cover the bust and neck; the curled locks fall on the shoulders, and are simply confined by a row of pearls; the arms are bare from the elbow; a train and distinct front breadth form the skirt, and there is a plethora of lace.  More homely women wore plain skirts, an upper one of a contrasting tone; pointed bodices, high to the throat, with a plain turn-down collar; the full sleeves to elbow are caught up with jewels at the bend of the arm; the shoes high on the instep, and very high in the heel, with roses or buckles.  The following is a good example: -- Long skirt of blue and gold brocade, with flounces of gold embroidery and point d'Alençon lace, train of old gold satin puffed and looped at the side with bows and pearls; bodice low with lace turning downwards from shoulders, sleeves fastened into elbow with diamond ornaments; diamond tiara.

At right (click to enlarge), an actual portrait of a courtier of Charles II in the fashion of the era: "Frances Teresa Stuart", c1662-1665 by Sir Peter Lely.  Frances Teresa Stewart was the Duchess of Richmond & Lennox and a prominent member of the Restoration Court.  Notice the dramatically lengthened bodice and the much softer skirt shape compared to the 1896 illustration above!

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Aquarium/Gem of the Ocean

(A delicious example of a initially charming and relatively simple idea that grew increasingly complicated and silly over the years.  I'm particularly taken with the spreading anemone tentacles -- placed "here and there" on the gown and intertwined with seaweed in the hair -- and the ludicrous head-dress given in the final description.)

1880:
AQUARIUM.  Fashionable evening dress of blue and green tulle, trimmed with marine plants and ornamented with fish and shells, the octopus on one side of the skirt; veil of green tulle; hair floating on shoulders.

1887:
AQUARIUM.  Fashionable evening dress of blue and green tulle, trimmed with marine plants and ornamented with fish and shells, the octopus on one side of the skirt; veil of green tulle; hair floating on shoulders.  Bodice trimmed with seaweed and coral; ornaments, silver fish and coral.

GEM OF THE OCEAN, THE.  The idea of this dress is taken from the anemone tanks of an aquarium.  The dress, pale coraline satin; the trimmings, fringes, and groups ofnatural seaweeds, all of the most delicately-tinted kinds, small pearly shlls, and large pink anemones, imitations of the real aciniae, with their spreading tentacles placed here and there all over the dress -- on the shoulders, front of bodice, and in the hair (interspersed with seaweed), and looping up the poufs of satin on the skirt.  Very palest shade of green would have a charming effect.  Shell ornaments round the neck.

1896:
AQUARIUM.  The idea of this dress is taken from the anemone tanks of an aquarium.  The dress, pale shot coralline and green satin; the trimmings, fringes and groups of natural seaweeds, all of the most delicately-tinted kinds, small pearly shells, coral, and large pink anemones, imitations of the real actiniae, with their spreading tentacles placed here and there all over the dress -- on the shoulders, front of bodice, and in the hair (interspersed with seaweed), and looping up the satin skirt.  Shells, coral, and silver fish ornaments.  Character also called Gem of Ocean.  On the shoulders are small silver fish with fins erect.  The hem bordered with vandykes of brown plush to simulate rock.  For a realistic rendering.  Head-dress, a miniature aquarium with water and fish.  A gown of green, silk covered with cork and seaweed.

 

 

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Pillar Post (Mailbox)

(For women and girls with a strong but inexplicable desire to dress like a Victorian mailbox.)

1887:
Long red satin dress; white waistcoat with placard bearing hours of collection printed on it; head-dress, square cap, the same form as the top of letter-box.

1896:
Long red satin dress; white satin placard bearing V R and hours of collection printed on it; head-dress, square cap, the same form as top of letter-box.

The "V R" stands for Victoria Regina, of course.  Pillar post boxes for mail were introduced in England in 1853, with new designs introduced in 1887 for Victoria's Golden Jubilee. A Victorian pillar post is shown in the image below; many more examples may be seen in this article on pillar post history.

The illustration above (click to enlarge it and see the writing on the bodice) is from the girls' section of the earlier edition but actually better matches the 1896 description.

Sources:
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.
Holt, Ardern.  Fancy Dresses Described, Sixth Edition.  London: Debenham & Freebody, 1896.

The 1896 edition of Holt may be found online at the University of Wisconsin Digital Collections.

Victorian Fancy Dress Ball Advance Registration Reminder!

A quick reminder that the advance registration deadline for the April 2nd Victorian Fancy Dress Ball in New Haven is today!  Hit Paypal or get your check into the mail ASAP!  (Get the flyer with registration information here.)  This is your chance to try the cotumes and descriptions found in Historical Fancy Dress for yourself!  Here are the details:

On Saturday, April 2nd, in New Haven, Connecticut, there will be a fancy dress ball in the style of the 1880s, featuring live music, Victorian dancing, refreshments made from historical recipes, and a chance to bring fancy dress costumes to life!

The ball will be held from 8:00 to 11:30pm at beautiful Pratt Hall, less than a block from the New Haven Green and only a few blocks from the historic Yale University campus.  The dancing will be precepted by dance historian and teacher Susan de Guardiola (author of the Capering & KIckery dance history blog and owner of Historical Fancy Dress) with live music by the noted dance trio Spare Parts, heard recently on the soundtrack of the film Bright Star.  The dances will be a typical Victorian mix of couple dances (waltz, polka, schottische, galop) and set dances (contras, quadrilles).  All set dances will be taught during the evening, and there will be a workshop from 3:00 to 5:00pm the afternoon of the ball to help people wanting to learn the couple dances.

For those in New York City, there will also be a pair of pre-ball workshops on Victorian couple dances and set dances this Sunday, March 27th.  Full details are here; a workshop flyer may be downloaded from this workshop flyers page.

Obviously, fancy dress based on the styles of the 1880s is strongly encouraged, and this blog is intended as a resource for costume ideas.  The evening will include a procession of costumes.  Since this is a fancy dress ball rather than a masquerade, masks are not necessary.  To preserve the beautiful floor, please make sure to have clean dance shoes or indoor-only shoes to change into at the hall so as not to track dirt or grit into the ballroom.

The ball is strictly limited to 80 people due to the size of the hall.  Advance registration ($25 per person, or $18 for ages 13-21) is recommended.  At-the-door prices are $10 higher and admission will be available only if space permits.  Younger children may attend with their parents, and are expected to be strictly supervised throughout and withdrawn from the ballroom if they become too tired/fussy to display polite behavior.

A flyer with registration information may be downloaded here.

1888 "Beetle Wing Dress" restored

After a £110,00 restoration, the famous Beetle Wing Dress worn by Victorian actress Ellen Terry for the role of Lady Macbeth in 1888 (image at left; click to enlarge) has been restored and is now on display at Smallhythe Place, in Kent.  While this is a theatrical costume worn on stage rather than a fancy dress costume for a social event, its use of actual insect parts is interesting in the wake of comment-thread speculation on previous posts about the use of such materials in fancy dress costumes imitating insects and birds.

True to its name, the dress was covered in real beetle wings, which made repairing it an interesting challenge.  An article published by Britain's National Trust quotes Paul Meredith, House Manager at Smallhythe Place:

'We had collected the beetle wings that had fallen off over the years so that the conservator was able to re-attach many of the originals, plus others that had been donated to us – 1,000 in total."

The actual dress is a stunningly bright blue-green, and was an enormous sensation at the time:

The dress, transforming the beautiful red-haired actor into a cross between a jewelled serpent and a medieval knight, was the talk of the town after the first night. John Singer Sargent painted Terry wearing it, and the artist's neighbour, Oscar Wilde, recalled the impact of Lady Macbeth arriving in a taxi: "The street that on a wet and dreary morning has vouchsafed the vision of Lady Macbeth in full regalia magnificently seated in a four-wheeler can never again be as other streets." 

   -- "Ellen Terry's beetlewing gown back in limelight after £110,000 restoration", The Guardian, March 11, 2011

 

The Sargent portrait is shown at right and the actual dress, in a photo the colors of which do not do it justice, at left.  Click the images to enlarge.  Better-colored photos, though only partial views, are available in the National Trust article.

Special thanks to Eowyn for the tip!

Nocturne

(Here's another easy out for ladies who don't want to wear "decided" fancy costumes, and a perfect example of the power of strategic naming: simply wear an evening gown in colors reminiscent of one of Whistler's famous Nocturne paintings, of which a primary characteristic was their lack of narrative content.)

"In black and white, or red and white, after Whistler.  The term is generally applied to a stylish evening dress of the above mixtures.  The name is a fashion of the hour, and finds favour with those who do not care for decided fancy costumes."

Sources:
Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.
Holt, Ardern.  Fancy Dresses Described, 5th Edition.  London: Debenham & Freebody, 1887.

The "fashion of the hour" label seems to be accurate -- it does not appear in the sixth (1896) edition of Holt. 

Interestingly, there is at least one Whistler portrait labeled a Nocturne: the Nocturne in Pink and Grey, Portrait of Lady Meux (1881-1882), shown at left (click image to enlarge).  It's not a ballgown, but it does suggest a wider range of color possibilities than those given above.  Whistler also painted Nocturnes in combinations of blue and gold, black and gold, blue and silver, and grey and gold.