Historical Fancy Dress

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.

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.

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.

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.

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.

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.

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.

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.

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.)

Vandyke

(Not a costume of Van Dyke himself, but meant to represent the style of the dresses worn in his paintings, this is one of those hilarious reimaginings of a historical era with the general style worn over completely inappropriate Victorian underpinnings for a very peculiar silhouette.)

Full plain skirt; muslin apron, edged with pointed lace; bodice with revers; sleeves to wrist; hair in curls.

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

Eumenides

(This is a fantastic and bloodthirsty costume, with a snaky theme and a classic Greek chiton rather than the usual gown of the era.  It may well still have been worn over a corset and bustle, though!)

Red or black veils, snakes entwined about bare arms, buskins like a huntress, rough chiton of brown, or black, or blood-coloured, girt with skins of snakes; other serpents bind their waists, and their garments are embroidered with snakes' eyes.

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

Canadian Butterfly

(Something adorable for a little girl!  Notice the elongated bodice meant to represent the insect body; this is found on women's insect costumes as well.  I don't know enough about butterflies to have any idea what makes this particularly Canadian, but there are non-Canadian butterfly costumes as well for both women and girls and the general style could be adapted to any species of butterfly.)

Bodice of green plush elongated into a point which falls on to the short yellow tulle skirt; short, puffed sleeves; gauze wings at back forming tunic; butterfly on head; green gloves and shoes with butterflies; butterfly fan.

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.

Universe

(This is really two separate ideas for the theme: either a "classic" fashion, probably meaning a chiton, or a standard period evening gown.  With so little detail as to the decoration there's lots of room for imagination here!)

Short blue and white dress made of cashmere or soft silk in classic fashion, or in gauze or twill as an evening gown, with stars and spheres for ornaments; star-spangled veil.

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

Of processions and prop-stands

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

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

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

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

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

Parrot

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

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

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

Ariel

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

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

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

On the necessity of gloves

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

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

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

Queen of Beetles

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

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

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

How to apply a patch

(Useful information for a late nineteenth-century Ball Poudré, as described here, or for 18th-century-style costumes.)

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Powder and patches are so often adopted at fancy balls and private theatricals that a few hints as to how to apply them may not be out of place in a work like the present...

...The complexion must be made up in the following way: -- Cover the face with the finest glycerine or cold cream; now rub in the rouge with a piece of cotton-wool, commencing at the cheek-bone and working gradually downwards.  Next, cover the face with the fine pearl-powder, and outline the eye-brows with an eye-brow pencil, which may be purchased in any shade at most chemists.  Finally, powder lightly all over, to soften the effect of the rouge.

The patches should be cut out of black sticking-plaster, the sticking side moistened and applied to the cheek.  They may be round or cruciform, or any fanciful shape.  Georgian belles used to adorn their cheeks with bows and arrows, or ships in full sail.

There is quite a science to putting on a patch: it must never be placed on a line of the face, as it appears to extend it.  If you place a patch on the line which goes from the nostril to the lip, it will appear to draw down the mouth, and give you a sullen appearance.  A patch should be placed so as to call attention to a favourite feature, like a signpost for the stupid or unobservant.  The blackness of the patch accentuates the brilliancy of the complexion, whilst its position calls attention to the rounded cheek or sweetly curling lip.  The coquettes of old times used to hve a patch which went by the name of the "Assassin," so deadly and rapid was its effect.  Perhaps it will be better not to reveal where it was placed, as we do not wish to destroy the peace of mind of the youths of the nineteenth century.

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

Queen of Mirth

(Another lovely costume description with no illustration to accompany it.  This is a great one for people who want to fuss around with accessories and little decorations on a relatively simple gown.)

Rose-coloured skirt, white satin front, and low square bodice, trimmed with bells, crocuses, shamrocks, and butterflies (emblems of mirth); coronet and veil; a sceptre surmounted by a butterfly; rose-coloured shoes.

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

Summer (or July)

(Fancy dress books included costumes for every season and month of the year, but Holt cheated by using the same costume for Summer and for July.  Lisse appears to be a filmy gauze, possibly crinkled.)

A white or pink gauze, lisse, or tulle evening dress, liberally trimmed with summer flowers, especially roses; it is sufficient to wear a wreath of the same, but a veil with butterflies is a more decided fancy dress, or a straw hat, with flowers and butterflies.  Scattered rose leaves on the skirt add to the effect, interspersed with butterflies and green beetles; a basket of flowers in hand; necklet and earrings of China roses.  Or, a dress of blue and crimson brocade, with fringes of flowers.  July is dressed in the same fashion.

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

A Ball Poudré (Powdered Ball)

(Here are a quartet of descriptions of an odd but apparently popular ball theme in which the only costuming done is that the ladies powder the hair.)

Occasionally the hostess elects that her guests shall apear in costumes of a particular period, and Poudré Balls find many patrons.  Under these circumstances the lady guests only wear powder with ordinary evening dress, the gentlemen making no change from their usual attire, save perhaps that white waistcoats and button-holes are enjoined.

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

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Yet another kind of fancy ball is a bal poudré.  Here the guests are free to appear in ordinary evening dress but with powdered hair.  The ladies arrange their hair in imitation of some old picture, and there is plenty of variety to be obtained in this way.  One wears the long locks pertaining to one of Reynolds' beauties, another wears the piled up coiffure indulged in by the Court ladies in the reign of Louis XVI.  A piquante beauty does her hair à la Watteau, and a more serious one adopts the style of Marie Antoinette.  Powder and patches are allowable with this style of coiffure, and the powdered hair is so universally becoming that all the ladies look their best.

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

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A Ball Poudré

A ball of this description is conducted upon the same basis as an ordinary ball, so far as the programme and general details are concerned.  The guests attire themselves as for a full-dress ball, except that th ladies are required to powder their hair white and wear fancy black patches upon their face; and the gentlemen to wear white vests and small button-hole bouquets.  The effect is very pretty, especially with the present artistic style of dressing which closely copies antique fashions.

        Masquerade and Carnival: Their Customs and Costumes.  London and New York: The Butterick Publishing Co., 1892.

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A Bal Poudré

A ball of this description is conducted upon the same basis as an ordinary ball, so far as the program and the general details are concerned.  The guests attire themselves in evening dress as is the custom for a ball, the only difference being that the ladies are required to powder their hair white and wear fancy black patches upon their faces; and the gentlemen to wear white vests and small buttonhole bouquets.  The effect is very pretty, especially with the present artistic style of dressing.  The minuet should be danced, also those dances which have a slow, graceful movement.

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

Water Spirit

(Unfortunately, a couple of my books contain hundreds of descriptions that have no accompanying illustrations.  Lots of room for imagination thinking about this description combined with the bustle silhouette!)

Dress of sea-green tulle, trimmed with seaweeds, pearl shells, and coral.  Hair loose and flowing, crowned with a wreath of sea-weed and coral.  Ornaments of pearl shells.

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

Magpie

(Here's a dramatic woman's bird costume with two separate descriptions of different approaches to take to the theme, the second of which is illustrated at left.  Note that it's built over a small bustle!  Click the illustration to enlarge.)

Half black, half white dress; hair powdered on one side and not on the other; one glove and one shoe black, one white; short satin skirt, with gauze tunic bordered with fringe; basque bodice; gauze fichu; satin ribbon tied in a bow at the throat; gauze cap.  All half black and half white, so that the wearer seems on one side all black, on the other all white.  A magpie on the right shoulder.

[second version]  The front of the skirt is striped black and white satin plaited; the bodice cut in one with long side revers of black, lined and turned back with white ruching to the hem of the skirt, opening down back to show full plaited skirt.  The black bodice bordered with white; low striped vest; magpie on the shoulder and in hair, which may be powdered or not, or half-powdered.

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