Historical Fancy Dress

An Irish cab-driver

(In honor of St. Patrick's Day, here's a comfortable costume for a gentleman who wants to be informal at a ball.)

An Irish cab-driver; green coat patched, brass buttons, brocaded waistcoat, drab breeches with patches, high collar and red tie, blue darned stockings, leather shoes, hat trimmed with green and sprigs of shamrock.

Note: in the later (1887) edition, the costume is described as "An Irish car-driver."

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

Fast and easy fancy dress ideas

With the upcoming 1880s Victorian Fancy Dress Ball, I've gotten a lot of questions along the lines of "can I wear _____?"  The answer is usually "Yes!"  To shortcut some of this discussion, here are some general categories of costume that are perfectly fine for a fancy dress ball:

- Any historical costume from any era prior to the 1880s.  It doesn't even have to be very good -- there are comments in manuals about how some people are very authentic in their costuming and some much less so (nothing has changed!)  Call yourself "a lady of the previous century" or "a gentlemen of the Roman times" or something similar and you're all set.  Ladies, try wearing a different era over a Victorian corset or even a bustle for the hilariously inappropriate silhouette sometimes found in 1880s "historical" costumes.  (Examples of historical costumes, good and bad.)

- Any ethnic dress from any country, from a Scottish kilt to a Japanese kimono, is fine.  Ethnic and national dress were very popular for fancy dress balls.  (Examples of national/ethnic costume.)

- Any role from a novel, opera, poem, or play from the 1880s back is eligible; Gilbert and Sullivan costumes are particularly appropriate, and mythology was a popular source.  (Examples of costumes from literature, mythology, and theater/opera.)

- For ladies who already have a gown in a particular color combination that matches a flower or butterfly, use fake ones as accessories (on the head or shoulder, as trim, and as a hat and/or fan as well) and go as that flower or butterfly.  Find or make wings and antennae for the latter.  Multicolored costumes might be a garden of flowers or flock of butterflies, or the queen of either.  (Examples of flower and insect costumes.)

- Add a few accessories to a gown and go abstract to represent a month or season, weather, or astronomical bodies -- with a green dress, be summer, and with a white one, winter.  Pastels?  Represent spring.  Grey?  Dusk.  Yellow?  The sun.  Blue?  The sky.  Rainbow?  Rainbow!  (Examples of costumes for months or seasons and astronomical themes.)

- An easy one for gentlemen is the Victorian idea of futuristic eveningwear: a white tailcoat and trousers with a black shirt.  This ensemble can be rented at formalwear stores or bought used online.  The Windsor uniform, which involves tacking a bit of fabric onto a tailcoat, is also a quick and easy costume for men who already have formalwear.

- Gentlemen disinclined to dress up can get into the spirit of things by at least wearing an unusual boutonniere.  (Read the description of this ball for an example.)

- Fancy dress doesn't have to be fancy -- people dressed up as fanciful versions of Puritans, servants, peasants, beggars, charity girls, and more.  This could be a character from a play or novel or something more generic.  Authentic amounts of dirt and grime are unnecessary, however.

- Still have your graduation cap and gown, or a friend you can borrow them from?  Academical dress is a legitimate costume for men or women.

- Victorianesque science fiction is a possibility -- while H.G Wells' novels are still to come, Jules Verne's major novels are all out by the 1880s.  A "Duchess of the Next Century" appears on a list of costumes and could cover a modern evening gown, and there's a full description of a footwoman of the future which suggests openings for ladies' versions of many masculine outfits.  Enjoy steampunk?  An airship pilot, balloonist, or submariner would be a costume that allows for speculation.  A Harry Potter-inspired costume could be a witch, wizard, or astrologer.

- Use your imagination!  Victorians dressed up as everything from sports equipment and items of food to playing cards, wastebaskets, and the mysterious Bounding Ball of Babylon.  Here's a list of actual costumes from an 1884 ball to start you off.  Avoid overtly modern elements, remember you have to be able to actually dance in it, and let your imagination fly!

Butterfly/Queen of Butterflies

(Here's a whole selection of ideas either for a personified butterfly or for the Queen of Butterflies. Butterflies seem to have been fairly egalitarian in dress -- the costume listed for a plain old butterfly in 1880 appears in later editions as suitable for the Queen. Different colors are given for different styles of butterfly; see the Canadian Butterfly for a color rendering and description of one variety.  Pre-made butterfly wings are easy to purchase nowadays, so it would be easy to transform any gown into a similar costume.  The illustration at left is from the 1896 edition; presumably an 1887 butterfly would have at least a small bustle!)

1880:
Butterfly: Tulle dress bordered with butterflies; black velvet tunic shaped and pointed like the wings; low bodice, with bands of gold across the front; blue gauze wings attached to back, short sleeves, with butterflies; a butterfly on the head; black shoes with blue butterflies.

Queen of Butterflies: For the Queen, the dress would be similar, of bluish silken tissue, the tunic cut in the shape of a butterfly's wings; a jewelled zone round the waist; wand carried in the hand.

1887:
A Butterfly: Short white satin skirt, covered with clouds of brown, pink, and blue tulle.  Flight of butterflies all over it.  Wings of blue gauze, and the antennae in the head-dress.  White silk stockings and white shoes.  Butterfly on each.

Golden Butterfly: Short skirt and low bodice of yellow merveilleuse, draped with tinsel gauze, trimmed with yellow, jet, and gold butterflies; gauze scarf; butterfly and feather head-dress, yellow shoes and stockings.

Queen of Butterflies: Tulle dress covered with butterflies; black velvet tunic shaped and pointed like wings; low bodice, with bands of gold across the front, blue gauze wings attached to back; short sleeves, with butterflies; a butterfly on the head; black shoes with blue butterflies.

The following is a very pretty rendering: White tulle dress, puffed and bouillonéed, with scarf of pale blue satin caught together with loops at back, bordered with tinsel fringe, dotted all over with butterflies; also bodice; a large one on each shoulder; wreath of butterflies and white veil with butterflies upon it; gold wand in hand with butterfly a-top; pale blue fan with butterflies. 

Or, dress of brown velvet, front made with robings of brown and gold brocade; large gold and brown wings; hair dressed high above the face, surmounted by cap like antennae; brown gloves, shoes, and stockings.  For the Queen, the dress would be similar, of bluish silken tissue, the tunic cut in the shape of a butterfly's wings; a jewelled zone round the waist; wand carried in the hand.

1896:
Butterfly: [In the figure above at left] is depicted wearing a diaphonous skirt with panels showing the markings of the wings; a brown velvet bodice with handsome gold and velvet applique ornamentation; two gold cords falling like the antennae.  The folded tulle above is caught up with similar ornaments on shoulders, wings at the back, antennae in the hair.

A tulle evening gown with a flight of butterflies across it, gauze, wing butterflies on hair and shoulders.

(For young child.)  Short skirt of blue foulard, with an over-skirt of gauze; low bodice, having a waistband fastened in front with bows; two wings are attached to the middle of back, made of gauze, edged with fine wire; silk stockings; blue satin shoes.

Queen of Butterflies: Dress draped with tinsel gauze, black velvet tunic shaped and pointed like wings; low bodice, with bands of gold across the front, blue gauze wings attached to back; short sleeves, with butterflies; a crown with a butterfly hovering behind it; black shoes with blue butterflies.

 

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.

Astrologer

(This sounds like the Victorian version of Harry Potter!  The costume is intended for a boy, though I suppose a man could do something similar.  I'm not sure how "toga" and "sleeves" go together.)

Long velvet toga, with wide hanging sleeves, bordered with satin, bearing the signs of the zodiac in gold; high pointed velvet cap, entwined with a gold snake; wizard's wand, large spectacles, book, and telescope; long pointed shoes.

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

England

(This type of costume could be made for any nation by using flags and the national colors as drapery over a simple gown.  It appears in both the 1887 and 1896 editions of a single manual, perhaps initially inspired by the Victoria's 1887 Golden Jubilee celebrating the 50th anniversary of her rule.)

Skirt of cream bunting, the lions of England painted on each of the battlements in which the edge of the skirt is cut; the Union Jack and Standard of Scotland draped with Prince of Wales' plumes, ostrich feathers; dark blue velvet bodice, made quite plain, and trimmed with gold and small Union Jacks; fan covered with Union Jack; headdress a helmet; effigy of St. George and the Dragon round neck.  (Click the image to enlarge.)

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

Research for rent: we take requests!

SInce I'm starting to get requests for particular costumes in light of the upcoming Fancy Dress Ball, and these requests take time, and time is money, I'm putting a new policy into place to help people to get what they need and support Historical Fancy Dress at the same time!

I will happily take requests for specific fancy dress costume descriptions and do my best to find all the information I can in return for a small Paypal donation in support of Historical Fancy Dress.  "Small" means a $5.00 minimum, though more is fine.  And if I can't find anything, I'll refund your donation unless you prefer to let me keep it in support of this blog and my research endeavors.

So if there is a particular costume that interests you and you would like to see any information (description, illustration, photo, etc.) that we can find posted on Historical Fancy Dress, use the link below for your donation and Paypal's "Note to the seller" option to tell me what you want.  Posts come out regularly on Tuesdays and Fridays and I'll move your request to the top of the list!

The Windsor uniform

(In answer to a question in the comments on the post listing costumes from a fancy dress ball in Singapore: what the "Windsor uniform" refers to.)

...the Windsor uniform, which is red cloth lapels and cuffs sewn on to an ordinary evening dress-coat, sometimes, in lieu of red cloth, light blue silk is used.  (1880)

... the Windsor uniform, with red cloth lapels and cuffs sewn on to an ordinary evening dress-coat, -- sometimes, in lieu of red cloth, light blue silk is used.  (1887)

The actual Windsor uniform, undress version, appears to have been a dark blue coat with red cuffs and lapels; presumably for a fancy dress ball people were just going for the general look, though it is possible that the wearers in Singapore were among the officials expected to wear it and thus had the proper coat already.  Their listings are plain "Mr." with no associated titles, however, and the descriptions above suggest to me that it was an easy shortcut for men disinclined to put much effort into costuming.

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

Gleaner

(Here are several options for people who like the red-gold-brown color family and happen to have a sickle handy.  While one description remains constant over sixteen years and three editions of the same manual, in 1887 three other descriptions appear, one of which, Rachel the Gleaner, remains in 1896 as well.)

1880:
Short yellow skirt, red tunic, black velvet low bodice, laced across the front, cut in tabs round; short sleeves and low chemisette; hat with flowers, sometimes a coloured handkerchief wound about the head, or an evening dress of maize and brown tulle, all trimmed and embroidered with wheat, corn-flowers, and poppies; a sickle at the side.

1887:
Short yellow skirt; red tunic; black velvet low bodice, laced across the front, cut in tabs at waist; short sleeves and low chemisette; hat with flowers, sometimes a coloured handkerchief wound about the head.  Or, an evening dress of maie and brown tulle, all trimmed or embroidered with wheat, cornflowers, and poppies; a sickle at the side; wheat-sheaf and wreath.  Or, amber satin skirt, red over-skirt and bodice, with large muslin kerchief; hat enriched by wreath of grain and poppies; sickle at one side.  Rachel the Gleaner: orange-coloured handkerchief loosely thrown over the hair and tied in front; grey bodice with cream fichu, quite plain and unfrilled; over-skirt grey with wheat ears in the lap; orange-couloured petticoat; grey stockings or tanned shoes; sickle in hand, and bunch of corn poppies and juettes.

1896:
Short yellow skirt; red tunic; black velvet low bodice, laced across the front, cut in tabs at waist; short sleeves and low chemisette; hat with flowers, sometimes a coloured handkerchief wound about the head.  Rachel the Gleaner: orange-coloured handkerchief loosely thrown over the hair and tied in front; grey bodice with cream fichu, quite plain and unfrilled; over-skirt grey with wheat ears in the lap; orange-couloured petticoat; grey stockings or tanned shoes; sickle in hand, and bunch of corn poppies and juettes.

Rachel the Gleaner is depicted in the illustration above left (click to enlarge), and appears to have been a popular costume choice.  From lists given in various newspapers, it was worn by a Miss Gray at a fancy dress ball given in British Columbia in 1885 by Mr. & Mrs. Robert Dunsmuir, by a Miss F. Keasbery at a ball in Singapore in 1884, and by a Miss A. Welch at a New Zealand ball in 1885. The way "the Gleaner" is used as a title makes me suspect that Rachel was a character in a novel, opera, or play popular in the early 1880s.  Her skirt appears to be slightly bustled in back.

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.

Moonlight and more

(My favorite line in this lengthy list of moon-inspired costume ideas is "to make it more peculiar, a bat could be fixed on the left shoulder.")

MOONLIGHT, MOONSHINE, MOON, LUNA, CLAIRE DE LUNE.  A silver-spangled tulle evening dress, over white satin; a mantle of the same, bordered with silver lace, attached to the shoulders of the low bodice; a white and silver scarf twisted round the head, fastened either with diamonds or with silver crescents, which must be introduced on the shoulders, front of the bodice, and skirt; white satin shoes with crescents; silver ornaments.  Dark grey and silver is another pretty combination for the character.  Moonshine, all of black tulle, with a basque bodice of silver brocade; the tunic edged with a most delicate fringe of crimped silver, looped at one side with one large star; the head-dress, a close-fitting turban cap of silver brocade, with a narrow fringe of crimped silver; black long gloves, with bands of silver tissue or brocade, about an inch wide, at equal distances; black fan with silver sticks.  This costume could be called Night, if preferred, and to make it more peculiar, a bat could be fixed on the left shoulder.  Another costume for Moon is a dress of soft white silk, trimmed and bordered with brown velvet cut in vandykes, three-quarter moons in gold cloth or yellow silk appliquéd on the velvet; plastron placed on low bodice, the same on short sleeves; blue scarf round waist, edged with gold; gold and silver-spangled tulle round neck; small silver-spangled cap with a bunch of arrows, surmounted by crescent, on one side.  Or, a dressed trimmed with moonlight tints on grey and silver; an electric star in hair is a novel feature.  A blue gauze dress, or sometimes green, may be worn.

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

A Fancy Dress Ball, Singapore, 1884

Newspapers of the era often published lists of the costumes worn by guests at fancy dress balls.  The lists were typically provided in advance, so it's possible not all of the costumes worked out, as anyone who's ever tried to finish a costume at the last minute before a ball will understand.

The lists below are from a fancy dress ball held by British expatriates in Singapore and are taken from an article on the ball published in the Singapore newspaper Strait Times Weekly on February 23, 1884.

From the description of the ball itself:

On Thursday evening, the Fancy Dress Ball, which for some time past had been looked forward to, took place at the Town Hall.  The upper room is well known to all visitors as being one of the handsomest in the Far East.  On the present occasion it was simply and tastefully decorated, in a manner which was well adapted to enhance the architectural features of the building.  The result was such as might have been expected from the interest evinced by the fairer portion of the community, and the skill and attention they bestowed upon their costumes, which contributed so materially to the success of the entertainment.  One could not fail to notice, among the many handsome dresses, that there were several in the disposal and arrangement of which the fair owners displayed an intimate and correct knowledge of true artistic and aesthetic principles.  The style of the costumes was exceedingly diversified, some being of a purely classic type and thus pertaining to the tragic, while there were some which were the representatives of comedy, and others again which successively adopted comic character.

The general effeect [sic] of the intermingling of thse many and varied styles and colors, whether seen in the Hall itself or viewed from the gallery above, furnished a spectacle not only charming to the eye, but one which those who witnessed it, will not readily forget...

...Dancing commenced shortly after nine with an opening quadrille which extended the entire length of hte Hall.  The floor was in excellent condition, and the music was performed by the Regimental Band of the Royal Inniskilling Fusiliers.  It is no wonder that these and other attractions rendered the visitors loth [sic] to part, and prolonged the dancing after supper far into the small hours.  At what precise time the company would have separated it is difficult to determine, as dancing only stopped upon the Band playing the National Anthem.

The entire article may be found online at the website of the National Library of Singapore.

In looking through the lists of costumes, some trends are obvious: historical costumes of the previous few centuries, characters from plays, and national/ethnic costumes of various kinds.  Classic fancy dress costumes such as Harlequin and Folly are also represented.  More unusual examples are the gentlemen attending as "Bat" and "Paint Box" and the lady depicting "Economy."  There are also a few cop-outs: "Civil Service Uniform" and "Evening dress, 19th century" suggest that not all the attendees made any special effort at costuming.

While some couples may have coordinated costumes -- the Cavalier and the Lady of the 17th century appear to be husband and wife -- it is actually more common for the costumes not to match: Ralph Rackstraw wth Follie, Peasant of the Black Forest with Persian Lady, and so forth.  The substantial disparity in numbers between ladies and gentleman probably reflects the nature of society in a distant colonial posting of that era.

Here are the lists of costumes, reformatted to separate the ladies' and gentlemen's costumes and with the names of the wearers omitted to save space:

Portuguese Officer of the 16th Century

  (Yes, men really did wear tights to fancy dress balls!  Here's a Canadian gentleman in Tudor-era costume, complete with tights and tall boots.  Click the image for a larger version.)

Left: Edward Waldo, as "Portuguese Officer of the 16th Century", Montréal, QC, 1881 by Notman & Sandham.  Image © McCord Museum.

The photograph is part of an online exhibition of photographs of fancy dress costumes from balls and skating parties; the museum's description of it states, in part:

"Mr. Waldo wore this costume to several different balls and carnivals in the 1880s, in both Ottawa and Montreal. Like women, men in fancy dress, enjoyed flouting everyday conventions. Under no other circumstances would Victorian men ever expose this much of their legs. Journalists chronicled a great deal of anxiety among men over the adequacy of their legs and the decision to expose their calves or thighs."

"This photograph was probably taken in the Notman studio in Montreal, where Mr. Waldo attended Mrs. D. Lorn Macdougall's ball and a skating carnival two weeks later"

"Mr. Waldo wore this costume at least three times in 1881, when this photograph was taken, and again in 1889. He had it remade for another ball in 1896."

Mermaid

(Perhaps in the interests of having something one can actually dance -- and walk -- in, this description of a mermaid costume blithely ignores the fish-tail aspect!)

Dress with low bodice of eau de Nile silk, covered with drapery of sea green tulle, with a profusion of white corals, shells, marine grass, flowers, and crystallised foam; the left shoulder of the dress ornamented with a cluster of diamonds; the right shoulder and ceinture with silvery iridescent gems; flowing hair crowned with corals, pearls, and diamonds; interspersed with pendants of seagrass.

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

Wastepaper Basket

(One of those deliciously silly ideas: dressing up as a wastepaper basket, hilariously applied over the 1890s hourglass silhouette, complete with the enormous sleeves of the mid-1890s, festooned with paper!)

The gown in the Illustration must be carried out in any fabric which most closely resembles the wicker basket work, the trimmings being entirely confined to waste paper, which should be sewn with some skill round the hem forming the sleeves and cap.

(Click the image to enlarge.)

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 Victorian Fancy Dress Ball, New Haven, Connecticut (Saturday, April 2, 2011)

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

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.

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.  A website will be up shortly.

Columbine

(Another cute flower costume, this time for a young girl, though there's no special reason an adult woman could not do something similar.)

Pink silk stockings, white satin shoes, tulle skirt, short and full; cuirass bodice bordered with flowers; wreath of flowers in hand.

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

Snow, Snowstorm, Snow Queen

(A costume suited to the season or for anyone with an excess of swansdown at hand.  White maribou would make a workable substitute.)

Snow, Snowstorm.
A princesse dress of soft white foulard, made high to the throat, or with a square-cut bodice, back and front, and very short sleeves; a drapery of Indian muslin put on just below the hips, covered with detached pieces of frosted swansdown, caught back at both sides with a long broad piece of swansdown, long glass icicles; the bodice and short sleeves trimmed to match, and a wreath of frosted swansdown, with icicles; a veil, fastened either to the wreath or to the shoulders, of frosted gauze, dotted all over with swansdown; very long gloves, trimmed to match, and shoes covered with swansdown; necklace of frosted swansdown and icicles, and from underneath a few drooping snowdrops peeping out; hair down; the fan entirely of swansdown, with an edging of drooping icicles; if the swansdown is just touched with gum, and some "frosting" powder sprinkled on, the effect is very sparkling.

Snow Queen.
Same, with crown of icicles.

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

Pansy

(Here's a specific example of a flower costume, with three different variations, the first of which is illustrated at left.)

Short white dress trimmed with deep rich-coloured violet pansies, one large one forming the head-dress the petals standing well round the head, like a brim; the bodice made of dark petunia velvet, arranged to simulate the flower, the soft peach crêpe de chine draped with pansies; a fan in the shape of a pansy.

Or, dress of amber-coloured soft silk, trimmed with purple bands, outlined with gold; loops of purple and amber-coloured ribbons on the top of the sleeves; head-dress in the shape of the flower; white bibbed apron, embroidered in purple; a gold basket of hearts-ease carried.

Or, dress of violet tulle and satin with profuse trimmings of the flower; wreath and shoes to correspond.

 

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

On personating flowers

(Some advice on the popular -- and very easy to assemble -- flower costumes.  Descriptions of flower costumes actually worn at an event may be found in the coverage of an 1890s "plant party."  The descriptions given from both editions of this source are quite similar.)

A fashionable evening dress trimmed with any flower, and called after it, is the easiest kind of fancy costume; a tulle veil with a  wreath is often worn with this, and China floral ornaments, a basket of the flowers carried in the hand.  Sometimes the flower is imitated; as for example: Blue Belle, blue shoes, stockings, and short skirt cut in vandykes, yellow bodice, cap like an inverted bell with green stalk.  Sometimes the dress is the colour of the flower, a violet evening dress made up with silver gauze and green leaves for a Violet, or the dress is embroidered with wild flowers, wall flowers, apple-blossom, ivy, fern, snowdrop, La Marguerite, heartsease, forget-me-nots, buttercups, or any flower personated.  Fleur d'été and oracles des champs can be rendered after these fashions, or if more of a fancy costume is desired, the lower part of skirt is gathered in diamonds, and outlined with silver or gold braid, or leaves and flowers; the bodice made à la Louis XV., and trimmed with gold or silver; an apron with bib, and a coquettish hat at one side of the head entwined with the particular flower.

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

A fashionable evening dress trimmed with any flower, and called after it, is the easiest kind of fancy costume; a tulle veil with a  wreath is often worn with this, and china floral ornaments; a basket of the flowers carried in the hand.  Sometimes the flower is imitated; as for example: Blue Belle, blue shoes, stockings, and short skirt cut in vandykes, yellow bodice, cap like an inverted bell with green stalk.  Sometimes the dress is the colour of the flower, viz., a violet evening gown made up with silver gauze and green leaves for a Violet.  Forget-me-not, blue satin dress, border of flowers, muslin fichu and cap, apron trimmed to match, blue hose, shoes, and mittens; or the dress is embroidered with wild flowers, wallflowers, apple-blossom, ivy, fern, snowdrop, la marguerite, heartsease, forget-me-nots, buttercups, or any flower personated.  Fleur d'été, Fleur des Champs, and Oracle des Champs, can be rendered after these fashions; or if more of a fancy costume is desired, the lower part of skirt is gathered in diamonds, and outlined with silver or gold braid, or leaves and flowers; the bodice made à la Louis XV., and trimmed with gold or silver; an apron with bib, and a coquettish hat at one side of the head entwined with the particular flower.

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

Evening Dress of the Future

(This costume is from a listing of simple costume suggestions for gentlemen and provides a very easy out for a modern gentleman -- white tailcoats and trousers and black shirts can be easily rented or bought from a formalwear store.  The waistcoat color is not specified, perhaps because both black and white were worn in period, though black was more common.  Like the Footwoman of the Future, this costume tries to anticipate change, though it fails to predict the tuxedo!)

...viz, white where it is usually black, and vice versa, white coat and trousers, black shirt, tie, and collar.

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

Guinevere

(Two nearly-identical descriptions of a pseudo-historical Arthurian costume from two different editions of the same manual, dated seven years apart.  The only change is the addition of an optional cloak in the later edition.  Judging from other literary-medieval descriptions and illustrations of the era, this would probably have been worn over a corset and either no bustle or a very minimal one, though you never know -- they've put bustles under less likely styles!)

(Idylls of the King).  Costly dress of gold tissue, velvet, and brocade; the skirt long and flowing, fastened from neck to hem with jewelled clasps, if possible an emerald in each, square-cut bodice, with jewelled bands round; sleeves tight at lower part, of a distinct colour to the bodice, the upper portion slashed and jewels introduced; coronet of pearls; hair in plaits.

Source: Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.

(Idylls of the King).  Costly dress of gold tissue, velvet, and brocade; the skirt long and flowing, fastened from neck to hem with jewelled clasps, if possible an emerald in each; square-cut bodice, with jewelled bands round; sleeves tight at lower part, of a distinct colour to the bodice, the upper portion slashed and jewels introduced; coronet of pearls; hair in plaits.  A long brocaded cloak enveloping the figure may be added.

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

Footwoman of the Future

(This costume verges on science fiction -- a preview of an egalitarian future in which women take on a traditionally male job -- while simultaneously looking back to the late 18th and early 19th centuries for style elements in the same way as a footman's livery of the era!)

Black satin quilted skirt; maroon double-breasted tail-coat, brass buttons; black waistcoat showing beneath the jacket in front, and lace ruffles; hair powdered; tricorn black and gold hat; gold-headed cane in hand.

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

Costumes for brunettes

(Costumes ideally suited the wearer by age and coloration.  Here three nearly-identical lists of suggestions for brunettes, taken from different editions of the same manual.)

Among the Costumes best adapted to BRUNES are Africa, Arab Lady, Arrah-na-Pogue, Asia, Autumn, Bee, Gipsies of various kinds, the Bride of Abydos, Brigand's Wife, Britannia, Buy-a-Broom, Carmen, Cleopatra, Colleen Bawn, Connaught Peasant, Diana, Druideess, Earth, Egyptian, Erin, Esmeralda, Fenella, Fire, Greek, Harvest, Maid of Saragossa, Maritana, Oranges and Lemons, Rose of Castille, and Zingari, together with Italian, Spanish, and Oriental.

Source: Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.

Among the Costumes adapted to BRUNES are Africa, Arab Lady, Arrah-na-Pogue, Asia, Autumn, Bee, Gipsies of various kinds, the Bride of Abydos, Brigand's Wife, Britannia, Buy-a-Broom, Carmen, Cleopatra, Colleen Bawn, Connaught Peasant Diana, Druidess, Earth, Egyptian, Erin, Esmeralda, Fenella, Fire, Greek, Luti, the Indian Girl, Harvest, Maid of Saragossa, Maritana, Rose of Castille, and Zingari, together with Italian, Spanish, and Oriental dresses.

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

Among the Characters adapted to BRUNES are Africa, Arab Lady, Arrah-na-Pogue, Asia, Autumn, Bee, Gipsies of various kinds, the Bride of Abydos, Brigand's Wife, Britannia, Buy-a-Broom, Carmen, Cleopatra, Colleen Bawn, Connaught Peasant, Diana, Druidess, Earth, Egyptian, Erin, Esmeralda, Fenella, Fire, Greek, Harvest, Maid of Saragossa, Maritana, Rose of Castille, together with Italian, Spanish, and Oriental dresses.

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.

Fly Costume for Boy of Four

(Here's another insect costume, this one apparently for a boy so young that he's not yet breeched (put into trousers of some kind rather than dresses), as the outfit is basically a dress.  I suspect this is why the age is specified in the title of the costume.  Nowadays this would probably not be a popular choice for a boy's costume, but might work for a little girl, so I'm cross-listing it.  No illustration, alas!)

Golden-yellow satin skirt, ornamented with black braid and studded with small gauze flies.  The sort upper skirt forms a sort of long basque and is sewn to the waistband; rows of gold braid across the high bodice, and round the short sleeves, loose jacket ornamented with gauze; fly in the centre of back, an smaller ones in front; black velvet toque, with gold band round, a gold fly fastening down aigrette.

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

Christmas Card

(An amazingly detailed description of how to embody a Christmas card. Merry Christmas to all who are celebrating!)

Short striped skirt of black and gold, on the black a row of Christmas Cards printed horizontally, edged with gold braid, three on each, graduated, the largest at the bottom. At the edge of skirt are satin flounces, over which fall gold tinsel and fringe. Red satin paniers and drapery, covered with swansdown pompoms; scarlet satin cuirass bodice laced at the back, bordered at the neck with swansdown, festoons of holly-berries on the arm, below the shoulder. Cordon of Christmas roses across the bodice, white ribbon epaulettes, holly wreath, red aigrette, stockings and shoes. A Christmas card in centre of white swansdown fan.

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

Classic

(This is my absolute favorite of all the pseudo-historical Victorian fancy dress costumes: a "classical" Grecian style...draped over a bustle and corset!  "Not rigidly correct" is quite the understatement!)

This simple rendering of a classic gown is suited to a young girl of slender figure, and is not rigidly correct as the costume of ancient days. It can be made in soft cashmere, muslin, nun's veiling, crêpe, crêpe de Chine, or Liberty silk, worked in the Greek-key pattern with narrow Russian gold braid.

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

For elderly ladies

(This author pulled no punches with regard to dressing your age; no sexy costumes for older women, though at least there are a few suggestions that are not just some sort of old woman.)

For ELDERLY LADIES the following costumes are suitable: --Mrs. Balchriste; Griselda Oldbuck, Dowager of Brionne, My Grandmother, a Lady of the Olden Times, Night, Puritan, some Vanduke dresses, Quakeress, Mrs. Primrose, wife of the Vicar of Wakefield, Peacock, the Duchess of Orleans, a Maltese Faldette, Mother Hubbard, Mother Shipton, a Sorceress, a Gallician Matron, and some Gainsborough and Sir Joshua Reynolds's dresses.

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

Rosina (Barber of Seville)

(Another costume from the opera, this time from Rossini.)

(Barbiere de Seville). Spanish dress of cerise satin and black lace; black velvet senorita jacket; black lace mantilla.

Reconstruction note: the senorita jacket pictured at left is from the fashion section of the April, 1867, issue of Arthur's Home Magazine. Though this is twenty years earlier than the description above, but the style is probably similar. The description given with the illustration is:

Breakfast jacket of scarlet cashmere, ornamented upon the breast, and epaulets with butterflies with spread wings cut out in velvet and embroidered with gold and red and blue silk. There is a slight spring at the back of the waist, which deepens into a point, ornamented with butterfly to match.

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

Jumping Joan

(Here's a cute little girl's costume from a Mother Goose nursery rhyme.)

Suitable for a Child. Tall and pointed cap, pink and white stripes carried round; soft pink silk dress with honeycomb yoke, a skipping-rope round waist; sleeves with puff at shoulder, slashed puffs at elbow, cuffs falling over the hand.

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

The rhyme:

Here am I, little jumping Joan,
When nobody's with me
I'm always alone.

Harliquina

(I have other descriptions of this costume, but none with such a good illustration.  I love the combination of the bustle and the bicorn hat.  It might be faster to do the diamonds as appliqué rather than patchwork.)

Pierrette or Harliquina (for she is called by either name) has become a very favourite character at fancy balls of late, and the costume is decidedly piquante, and has a great air of individuality.  The lady in the picture is dressed in pink and green, but the dress can also be made in red and black, white and silver, pink and blue, and in many other combinations of colour.  The bodice and petticoat are made in diamond-shaped pieces of shot silk, alternately pink and Chatreuse green, and the gay little cloak which hangs from one shoulder, has a border of diamonds to correspond.  The top-skirt is formed of a drapery of pale green mousseline chiffon, and the two-cornered Directoire hat has a large rosette made of the two colours.  Long black gloves appear in the picture, but these would be in better taste if they matched the dress.

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

On authenticity

(This author is modest about the level of accuracy in the descriptions given.)

It [the book] does not purport to be an authority in the matter of costume, for, as a rule, the historical dresses worn on such occasions are lamentably incorrect. Mary Stuart appears in powder; Louis XIV. wears a beard; and Berengaria distended drapery. No one would probably view the national costumes with more curiosity than the peasantry they are intended to portray, although certain broad characteristics of the several countries are maintained by Fancy Ball-goers.

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

Canary Bird

(Another easy costume featuring a stuffed bird on the shoulder!)

Dress of yellow plush or satin, with canaries on the shoulder, the bird's head forming the cap. Sometimes the yellow satin is embroidered in pearls, and canaries are scattered all over the dress.

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

Grenadier

(An eighteenth-century military costume for a boy, though there's no particular reason an adult couldn't wear something similar.  Click the image to enlarge)

(1760) High white gaiters buttoned to the knee; blue coat turned back with red; red cuffs; white waistcoat and breeches; red and white pointed cap; sword; hair in pigtail.

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

Brunhilda and Kriemhilda

(My fabulous costume-and-dance friend Eowyn requested the description of a Walküre (Valkyrie) costume. This was the closest I could find for her -- Wagnerian characters in medieval gowns. I don't know the operas well enough to know whether the outfits would be particular to some specific scene.

(Niebelslungen Lied). Suitable for two sisters. They wear rich gold stuffs made in Burgundian fashion of the thirteenth century. Brunhilda would have under-dress of brocade, over-dress of gold tissue caught up at the side; low square bodice bordered with jewels, jewelled stomacher, silver girdle; sleeves puffed at elbow and shoulder; gold crown, hair in coil entwined with pearls. Kriemhilda: under-skirt of rich stuff, bordered with bands of gold; upper-dress of embroidered cloth-of-gold, bordered with ermine; low bodice much jewelled in front, long sleeves lined ith ermine, and bound with gold, tight sleeves to wrist; hair on shoulders, surmounted by a crown.

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

On shoes, and the powdering of hair

(A brief mention of the problem of matching shoes to costumes, with a digression on powdered hair.  See the previous On the necessity of gloves for further advice.  "Short" dresses are in fact mid-calf to ankle-length, not miniskirts.)

To be properly chaussé and ganté are difficulties at fancy balls. With short dresses the prettiest and most fashionable shoes are worn, either blak with coloured heel and bows, or coloured shoes to match the dress, and embroidered, the stockings being of plain colour or stripes. With the Vivandière dress Wellington boots are best.

To avoid glaring inconsistencies, it is well to remember that powder was introduced into England in James I.'s reign, though not very generally worn. It attained the height of its glory in the Georgian period, and in 1795 fell a victim to the tax raised by Pitt on hair-powder; those that wore it subsequently were called guinea-pigs, on account of the guinea tax. Periwigs were first mentioned in 1529. High-heeled shoes were not heard of till Elizabeth's reign.

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

Photography

(It's always wonderful to find a well-documented photograph of someone in a fancy dress outfit.  Here's one from the era of the hoop skirt; how appropriate it is to find a photograph of Photography!  Click the image for a larger version.)

Left: Miss Stevenson, as "Photography", Montréal, QC, 1865 by William Notman.  Image © McCord Museum.

The photograph is part of an online exhibition of photographs of fancy dress costumes from balls and skating parties; the museum's description of it states:

"Miss Stevenson attended a fancy dress ball in Montreal in 1865 at the Theatre Royal, given by the officers of the garrison. She dressed as "Photography", complete with a camera on her head and photographs adorning her dress, shoes, bracelets and fan. Miss Stevenson copied this dress from a printed fashion plate, which frequently offered images of fancy dress costumes. The almost identical costume in the Parisian plate is bright green."

While I do not, alas, have the fashion plate referred to, I do have two nearly-identical descriptions of a photography costume, with details very similar to those shown in the photograph, from the second and fifth editions of a fancy dress manual from the 1880s.  They confirm the suggestion above that the dress would be green.  Presumably were the costume to be made in the style of the 1880s the short-for-its-era skirt would take the shape of a bustle rather than a hoop.  The "lunette" referred to in the descriptions is a half-moon shape rather than the camera used by Miss Stevenson.

(1) A green silk dress trimmed with tulle of the same shade, round the skirt, nestling in the bouillonnés, a row of photographs, a scarf of the silk draped across the skirt, with medallion photographs at intervals, all bordered with green gimp, the bertha of the low bodice fastened at the front, back, and on the shoulders with them.  A cap in the form of a lunette, with cartes de visites, and a long green veil depending.

(2) A green silk dress trimmed with tulle of the same shade; round the skirt, nestling in the bouillonnés a row of photographs; a scarf of the silk draped across the skirt, with medallion photographs at intervals, all bordered with green galon; the bertha of the low bodice fastened at the front, back, and on the shoulders with them; a cap in the form of a lunette, with cartes-de-visite, and a long green veil depending.

Sources:

(1) Holt, Ardern.  Fancy Dresses Described, 2nd Edition, Illustrated.  London: Debenham & Freebody, 1880.

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

Dusk

(One of those very vague descriptions that lends itself to a great deal of creativity in the drapery and trimming of the dress.)

Dress of dull grey, muslin or gauze, over satin; silver ornaments and smoked pearls; a bat on shoulders.

(See also: In The Gloaming)

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

Othello

(Another Shakespearean costume, this time for the gentlemen. What is left out of the description is that this was almost certainly worn with blackface makeup, which would nowadays be completely unacceptable.  Click the image to enlarge.)

Shirt of white silk and tights of pale brown; sleeveless tunic of black silk, handsomely trimmed with gold bands; gold belt; full cloak of white cloth.

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

Costume suggestions for sisters

(A list of suggestions for costumes for sisters that also work for any pair or group of women. I can just imagine my sister's reaction had I ever suggested dressing her as a slave to my Circassian Princess...)

SISTERS who desire to appear in costumes which assimilate might choose any of the following: Apple and Pear Blossoms, Sovereign and Shilling, Cinderella's two sisters, Cordelia's sisters, Brenda and Minna Troil, Brunhilda and Kriemhilda, Salt and Fresh Water, the Roses of York and Lancaster, a Circassian Princess and Slave, Music and Painting, the Two Nornas, Lovebirds, Aurora and the Hours, Oranges and Lemons, and Four Sisters as the Seasons.

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

Dragon-Fly

(Back to insects again, in the continuing Victorian fascination with the natural world...)

Evening dress of green tulle, spangled with green tinsel, trimmed with bulrushes and dragon-fly; a dragon-fly on the head and on each shoulder.

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

Justice

(An interesting costume combining both symbolic and practical elements of the theme.)

Short white satin dress, scales in black velvet appliquéd upon it; black velvet jacket with policeman's badge on one arm; a leather belt; a truncheon in hand, and policeman's helmet.

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

Witch

(Just in time for Halloween, the Victorian version of the classic witch. The illustration shows just how long a "short" skirt would be.  And note the mitts rather than full gloves.  Click the image to enlarge.)

Short quilted skirt of red satin, with cats and lizards in black velvet; gold satin panier tunic; black velvet bodice laced over an old-gold crêpe bodice; small cat on right shoulder, a broom in the hand, with owl; tall pointed velvet cap; shoes with buckles.

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

On masked balls

(One might deduce that the "national character" of late nineteenth-century England is a little too straitlaced for the presumed dissipation that occurs when the dancers are masked...)

A masked ball is rarely given in England. One or two were given during the existence of the New Club, and it is possible that they will come into favour again, but it is a question whether the national character adapts itself readily to this description of entertainment.

The ladies at a bal masqué wear little black velvet masks on the upper part of their faces, and a domino covers the ball-dress. This domino may be of a plain black silk lined with colour, or may take the form of a very elaborate tea-gown. Both masks and dominoes are usually doffed at the announcement of supper, and the brilliant toilettes and sparkling jewels of the ladies shine out all the brighter for their temporary effacement.

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

Will-o'-the-Wisp

(Here are very similar descriptions for a woman's version and a girl's version of the same outfit. The electric stars would have been very modern and fashionable, less than a decade after the invention of the light bulb.)

Women:
Flowing hair falling over black fashionably-made evening dress; tiny lantern carried in hand; star of electric light in the centre of the forehead.

Girls:
Black lantern in hand, hair flowing; black tulle dress with iridescent beads; star over the forehead of electric light.

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

Shepherdess

(I don't know quite how to categorize this one: a romanticized "shepherdess" done as a pink-and-chintz pseudo-18th-century costume worn over a very, very Edwardian corset.  Click to enlarge the image.)

Skirt of chintz, with large flowers. Bodice and panier-drapery of pink nun's-veiling. Black velvet on sleeves and square-cut neck. Large hat trimmed with flowers.

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

Golden Autumn

(Here's a costume appropriate to the season, for anyone who looks good in gold!)

The bodice and tunic of golden satin, looped over tulle of the same shade; the tunic caught back and edged with a fringe of ears of corn, clusters of fruit of all kinds, and nuts; the bodice trimmed to correspond, and for the small sleeves a band of fruit and leaves; a wreath of ears of corn an fruit; ornaments of fruit. Attached to side a gold-coloured fan with a border of ears of corn; a cluster of fruit placed on the outside stick; in the hand either a bunch of corn or a sickle.

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

Strategic naming salvages weak costumes

(Practical advice for the lady or gentleman with a mediocre costume. Note the last costume on the list: in a one throwaway line, Holt has just provided for futuristic costumes...as imagined by someone in the 1880s! And I have never wished so much for an illustration as for the Bounding Ball of Babylon...)

There is much in a name, -- A Coquette, a Lady of the Past Century, Petite Sole à la Normandie, the Bounding Ball of Babylon, His Picture in Chalk, a Duchess of the Next Century, &c., have attracted attention to very mediocre costumes ere this.

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

Pot-au-Feu

(This is one of those ideas that leaves me sputtering with laughter, especially the idea for the headpiece. Oh, for an illustration!)

White satin dress strung with all kinds of vegetables; black velvet bodice to simulate a saucepan, handles form the epaulettes to the sleeves; head-dress like the lid of saucepan.

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

Continental Beau

(Historical costume was popular for men as well as for women, as this stylish men's costume of a the late 18th century demonstrates.)

Coat of snuff-colored satin with lapels and cuffs of green; vest of white satin and breeches of pale blue; white silk stockings, black, low shoes with large buckles, black hat, white cravat and wrist frills.

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

Russian Peasant

(The "peculiar headdress" is presumably some version of the kokoshnik in this Anglo-American interpretation of Russian folk dress.)

A chemisette of fine cambric, neatly gathered and drawn round the throat with a frill; long sleeves of the same frill, and gathered round the wrist; a short-sleeved bodice of black silk, laced across the chest with gold braid; a peculiar headdress -- a sort of half-moon of cardboard about six inches deep is covered with blue and red silk, and embroidered with beads; to the top is fastened a white gauze veil.

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

Plant Party

(A hilarious society column description of a themed party, though it doesn't seem to have included much dancing.  Read all the way to the end for descriptions of some of the specific costumes.  Thanks to Irene Urban for finding this article for me!)

From The New York Times, February 18, 1898:

THE HEWITTS' PLANT PARTY.

Society Assumes Vegetable Garb for the Season's Last Big Dance -- Striking Costume Effects.

    The last of the season's big dances, a revivification of the days of Louis XVI, who is credited with having stood sponsor for similar entertainments at Versailles, took place in the form of a "plant party" at the home of Mr. and Mrs. Abram S. Hewitt, 9 Lexington Avenue, last night.  It was attended by several hundred of the city's wealthiest and most fashionable people.

    As a novelty the plant party was a success.  The edifying spectacle of richly costumed and bejeweled women carrying about on their persons imitations of various representatives of the vegetable kingdom, from squash and lettuce to meteor roses and orchids, and of men in conventional evening dress, with similar additions, was something enough out of the ordinary to interest the people concerned, and also plenty of others who were not favored with invitations.

    The women guests were asked to go in costumes representative of some particular fruit, flower, or vegetable.  The men appeared at the house in ordinary evening dress, which prevented too close a similarity to the Versailles "plant parties," and as each of them entered he received a vegetable adornment, artificial of course, which he was supposed to wear for the rest of the evening.

    The feminine guests showed little tendency to clothes themselves in complete imitation of plants or fruits, but were contented with bizarre headdresses and vegetable garnitures, which were sufficiently startling without quite spoiling the effect of handsome gowns.  One young woman carried in a staff adorned with garlands, and another had snowshoes carried in for her to complete her costume.

    Mrs. Hewitt received her guests in a costume suggestive of violets, and carried real specimens of the flower.  The Misses Hewitt, who assisted her, carried pinks and orchids.  Mrs. P. Cooper Hewitt daughter-in-law of the host, who was with them, wore imitation red carnations in her hair.  P. Cooper Hewitt and Edward Cooper were among the other relatives present.

    The entertainment was of a vaudeville character and started abut 10:30 P.M.  There were charades, tableaux, and songs, all furnished by the guests.  Lander's Orchestra played, and supper was served about midnight.  There was some informal dancing afterward, but no cotillion.

Mr. Webb's Make-up.

    G. Creighton Webb created considerable amusement by appearing in an admirable make-up of red hair and beard and complexion to match.  He disguised his voice with good effect.

    The plant party is said to have been the first thing of its kind ever given here, though a vegetable party, in which men and women were both costumed, took place at Sherry's two years ago.  It was a leap year dance, and was attended by a number of fashionable people.

    Among the striking costumes were those of Mrs. A. Cass Canfield, who wore a basket of roses as headgear; Mrs. Francis Key Pendleton, who was in yellow satin, trimmed with small sunflowers, and wore the head of a tremendous sunflower in her hair; Mrs. W. Bayard Cutting, in cerise velvet, and wearing as a bonnet the half of a flower pot from which a stalk bearing pink carnations protruded; Mrs. Nicholas Fish, a costume designed to represent wild field flowers; Mrs. Stanford White, in yellow satin, with poppies over her head and used to trim the corsage of her gown; Miss Edith WInthrop and Miss Ruth Morgan, gowned to represent poppies.

    Mrs. Victor Sorchan, in pink satin, trimmed with pink roses, and wearing a pink satin rose, which measured about eighteen inches across, on her head; Miss Kernochan, as a sunflower, with satin gown appropriately trimmed; Miss Mary Kernochan, a white satin gown covered with apple blossoms; Mrs. W. Stover Miller, in brilliant red tulle and wearing a Bacchante wreath of grapes and grape leaves in her hair.

(The original article may be found in The New York Times' archive, here.)