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  Younger children may attend with their parents, and are expected to be strictly supervised throughout and withdrawn from the ballroom if they become too tired/fussy to display polite behavior.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.

 

 

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

 

 

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.

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.

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.