Historical Fancy Dress

Jockey

(Another good one for a boy.  The colors of the blouse and cap could be altered; jockey silks come in a wide range of colors and patterns, each representing a different owner.)

Blouse of blue satin with white rings, cap of same material with white peak.  White cloth breeches; black boots with white tops.

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

Of processions and prop-stands

(Helpful tips for ball hosts and hostesses on two issues: how to arrange to show off all of the costumes present and what to do with costume props during the dancing.)

Processions often form a prominent feature in fancy balls.  Some of them begin with a Polonaise, while others have a kind of march round the reception-rooms just before supper.  This gives an opportunity for showing off the dresses, which are frequently hidden in a crowded dance.

When a march occurs it is correct for the characters to carry their crooks, wands, milking-stools, or any other property appertaining to their dress.

As most of these things are much in the way whilst dancing, and are apt to get lost when left about in the ball-room, many hostesses provide a stand in the hall for their reception.  It should be lighter than an ordinary umbrella-stand, consisting of a slight frame covered with artificial flowers.

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

Parrot

(Back to the birds again.  This outfit seems to require an enormous number of feathers, if the wings are even somewhat proportionate.  I really wish there was a picture for this one!)

A yellow gown with cuirass bodice and cap of green feathers like a parrot's head, two long feathers forming the tail on the skirt the rest of the dress green satin, with wings at the side formed of feathers.

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

Romeo

(One last costume -- for now -- from Shakespeare, this time for the men.  And yes, it's another costume with tights.  And a purse!  Notice he's carrying a rose, a reference to the famous line from the play.)

Tunic and tights of dove-colored wool; shirt of white mull and cloak of Venetian red cloth lined with pale gray.  Cap of red velvet with gray feather.  Leather belt from which is suspended a pocket.

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

Ariel

(Back to Shakespeare: a fairy costume from The Tempest, conceived as female, though the character is often played as male or, nowadays, androgynous.  This is a very classic fairy style, with wings, a wand, and a star on the forehead.)

Short white diaphonous tulle dress, with silver wand and silver gauze wings; hair floating on shoulders, confined by a silver band around the head, with star in centre; low full bodice and short sleeves.

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

On the necessity of gloves

(Serious consideration given to the problem of gloves.  The mitts and mittens mentioned here refer to fingerless gloves, not the modern sort of mitten.)

It is uncomfortable to dance without gloves, so consistency yields to convenience.  For most Peasant dresses mittens are best; but when gloves are worn they should be as little conspicuous as possible.  For the Poudré costumes, long mittens and long embroidered gloves are admissible.  Gloves were never heard of till the 10th and 11th centuries, and not much worn till the 14th; still, what can pretty Berengaria do if she wishes to dance and does not care to appear ungloved?

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

Rough Rider

(Fancy dress balls for children were very popular, and the patriotic early twentieth-century mother could dress her son in the style of Teddy Roosevelt's unit from the Spanish-American War.)

Costume of khaki cloth, duck or canvas, with leggings to match.   The trimmings may be of red, blue or yellow, with brass buttons.  Tan felt hat with crossed sabres.

Queen of Beetles

(The Victorian fascination with the natural world...Angels & Insects was not as far off as you'd think.  I love the "ever-moving" toy beetles.  Keep in mind that "short skirt" in this case means mid-calf length, not a miniskirt, and the whole thing would probably be built over a bustle.)

Short black skirt with horizontal stripes of red and yellow; the same combination carried round the top of the black bodice; a black pointed cap, the whole covered with ever-moving toy beetles.  A sceptre in the hand, surmounted by a beetle.

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

Rosalind

(Yes, women cross-dressed for fancy dress balls!  And how could the costume of the heroine from As You Like It be anything but respectable?  Note that the pink lining of the cloak is not a "girly" thing; pink was considered a masculine color in the early 20th century,  Click to enlarge the image.)

Doublet and hose of light-gray wool, the former trimmed with gray fur.  Green velvet bodice, chemisette and puffs of Nile-green silk.  Long gray cloak lined with pink.

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