19th Century Dresses

Elegant ball gowns and afternoon dresses from the 19th century, featuring rich fabrics and intricate designs that capture the fashion trends of the era.

Two-piece dress in cream silk silk with large flower motifs, long gown with closure in the front and Watteau fold and long pleated skirt, frock body web overcoat skirt frock outerwear women's clothing silk cotton, mid back, mid front, shoulder w 34.0 sleeve, under w 135.0 textile hand sewn dress woman Watteau pleat

Ball gown unknown

Dress 1831-34 probably American. Dress 108052

Dress early 1840s American. Dress 84371

Afternoon dress ca. 1835 American. Afternoon dress 82112

Dress 1770-75 German A robe à la piémontaise is a variant of the basic robe à la française, except that the rear pleats, instead of being attached, float freely from the neckline to the center back. The style is named after a princess of the House of Savoy who wore a gown of this type in Lyons in 1755. Another rare example of this style is in the Rocamora Collection, Barcelona.. Dress. German. 1770-75. silk, metallic threads

Wedding dress with pinked flounces, Espérance Pos, 1891 Wedding gown, consisting of a body and a skirt, made of cream -white ottoman side. Address: Esperance POS/Amsterdam. Amsterdam silk. batiste Wedding gown, consisting of a body and a skirt, made of cream -white ottoman side. Address: Esperance POS/Amsterdam. Amsterdam silk. batiste

Ensemble 1866-68 Emile Pingat French. Ensemble 107765

Morning dress late 1870s probably American. Morning dress 107774

Two-piece dress in cream silk silk with large flower motifs, long gown with closure in the front and Watteau fold and long pleated skirt, frock body web overcoat skirt frock outerwear women's clothing silk cotton, mid back, mid front, shoulder w 34.0 sleeve, under w 135.0 textile hand sewn dress woman Watteau pleat

Dress ca. 1760 British Monochrome, but in a bright canary yellow guaranteed to catch anyone's attention across a room, this exceptionally well-preserved robe à la française with trimmings represents the apogee of the form. The absence of ornament, other than basic ruffles, makes this a museum object easy to read: it is a perfect teaching example, free from distractions and affirming thereby the adorned beauty of eighteenth-century silhouette and style, so often masked under frills and coquetry.. Dress. British. ca. 1760. silk, linen, cotton

Evening dress. Culture: American. Date: late 1880s. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1833-35 British Caricaturists of the 1830s focused on the newly fashionable inflated forms that were such a contrast to the body-revealing styles of the previous three decades. The dilation of sleeves and skirts reached such an extreme that women were often satirically depicted as airborne, caught up by gusts of wind trapped under their skirts. In fact, they were weighed down by the sleeve pillows and multiple petticoats required to support their stylish volume.. Dress 82286

Dress ca. 1750 French. Dress. French. ca. 1750. silk

Dress American ca. 1830

Nineteenth century female dress. Museum: Museu Textil i d'Indumentaria de Barcelona.

Two -piece morning dress; around 1910 (1870-00-00-1890-00-00);

Female dress, 19th century. Museum: Museu Textil i d'Indumentaria, Barcelona.

Woman's Dress. England, circa 1830. Costumes; principal attire (entire body). Silk plain weave (organza) and silk satin with imitation-pearl glass beads

Body with colored flowers and brown-purple ornaments, collar with green sides forest, anonymous Body hiring with a dress of white cotton, printed with colored flowers and brown-purple ornaments. Short wrinkled body on smooth shoulder pass and smooth belt. Lying round collar with a green side trim. Gigot or ham-shaped sleeves with a tight cuff. cotton (textile) Body hiring with a dress of white cotton, printed with colored flowers and brown-purple ornaments. Short wrinkled body on smooth shoulder pass and smooth belt. Lying round collar with a green side trim. Gigot or ham-shaped sleeves with a tight cuff. cotton (textile)

Dress of white cotton with a brown work in an oval with black dots and a colored flower ornament with dots, consisting of a body and skirt, anonymous, c. 1830 - c. 1835 Dress, consisting of a body (A) and a skirt (b) of white cotton, printed with colored flowers and brown-purple ornaments. cotton (textile) printing Dress, consisting of a body (A) and a skirt (b) of white cotton, printed with colored flowers and brown-purple ornaments. cotton (textile) printing

Wedding dress. Culture: American. Date: 1882. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1879-80 British With the mechanization of sewing becoming ubiquitous, as well as the Victorian penchant for machine-made trimmings such as braid, lace and ribbons, women's dress became the foundation to which elaborate surface decoration was applied, not unlike the mass produced ornate trims added to the exterior of Victorian homes. These two examples poised in the brief period between the vogue for the lighter, puffed bustles of the 1870s and the more heavily upholstered bustles of the 1880s were seen in their day as à la sirene, or mermaid-like, in silhouette. Their extended bodices, called the "cuirasse" since they encased a woman's torso like body armor, were the clearest 19th century expression of the hourglass shape.. Dress. British. 1879-80. wool, silk

Dress ca. 1857 American By the 1850s, representation of the flower included not just the bloom but also an in-depth observation of the entire plant. Thus, bands of rose heads alternate with bands of determinedly naturalistic rose leaves. The foliage displays leaf rust in engrossed botanical analysis.. Dress 84549

Coat ca. 1905 Frederick Loeser & Company American. Coat 155911

Dress 1882-83 Mme. Martin Decalf French. Dress. French. 1882-83. silk

Dress ca. 1878 British. Dress 107892

Afternoon dress. Culture: American. Date: 1850-55.The female silhouette of the middle of the 19th century consisted of a fitted corseted bodice and wide full skirts. The conical skirts developed between the 1830s, when the high waist of the Empire silhouette was lowered and the skirts became more bell shaped, to the late 1860s, when the fullness of the skirts were pulled to the back and the bustle developed. The flared skirts of the period gradually increased in size throughout and were supported by a number of methods. Originally support came from multiple layers of petticoats which, due to weight and discomfort, were supplanted by underskirts comprised of graduated hoops made from materials such as baleen, cane and metal. The fashions during this time allowed the textiles to stand out because of the vast surface areas of the skirt and a relatively minimal amount of excess trim. Museum: Metropolitan Museum of Art, New York, USA.

Wedding dress ca. 1880 Moyen. Wedding dress. American. ca. 1880. silk, cotton, leather

Morning dress ca. 1840 American. Morning dress 108066

Petticoat. Culture: French. Date: ca. 1780. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Dress (Jacket and Petticoat). France, Textile: 1750-1775; reconstructed: 1770s. Costumes; principal attire (entire body). Linen warp and cotton weft plain weave (fustian) with wool discontinuous supplementary weft patterning

Negligée ca. 1888 American or European. Negligée 107170

Two -part clothing; 1. PO. 18th century (1701-00-00-1750-00-00);Women's fashion, floral ornaments, clothing, women's clothes

Wedding ensemble 1875 European. Wedding ensemble 112839

Ball gown. Culture: American. Date: ca. 1820.The puffed sleeves of this dress are an indication to the historicism in dress at the time. As a reinterpretation of 16th-century slashing, they make a statement about the Renaissance and the rebirth of artistic notions. The beautiful hem detail is also typical of the period spanning 1820. These details gave weight and shape to an otherwise unbroken line of fabric, which was so prevalent in the decades prior to it. The Empire silhouette is readily identified with its origins in the chiton of ancient Greco-Romans, which was a tubular garment draped from the shoulders and sometimes belted beneath the bust. Several re-interpretations have occurred throughout costume history but none have been as notable as the period bridging the rectangular panierred skirts of the 18th century and the conical hoop skirts of the 19th century. The neoclassic style was adopted in all forms of decoration after the French Revolution and was upheld during the Napo

Dress. Culture: American. Date: 1897. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1902-5 American. Dress 106569

Dress. Culture: American. Date: 1830s. Museum: Metropolitan Museum of Art, New York, USA.

Evening dress 1845-49 American or European. Evening dress 108116

Dress ca. 1890 probably French. Dress. probably French. ca. 1890. silk

Dressing gown 1845-50 American. Dressing gown 108044

Wedding Dress 1862 American. Wedding Dress 173501

Summer day dress, around 1869-1872. Cotton canvas Cream printed with fine straw stripes and a sowing of multicolored flowers. Galliera, fashion museum of the city of Paris. 76518-4 Cotton cream, fine strawing stripe, multicolored foil, haute couture, female mode, day dress, summer dress, canvas

Negligée. Culture: American or European. Date: ca. 1888. Museum: Metropolitan Museum of Art, New York, USA.

Evening dress early 1880s American. Evening dress 107013

Afternoon dress ca. 1875 House of Worth French The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the bac

Evening ensemble ca. 1884 American. Evening ensemble 107644

Woman's Dress and Petticoat (Robe à l'anglaise). Dress Made: England; Textile: India, circa 1775. Costumes; principal attire (entire body). Cotton twill with silk thread embroidery

Wedding dress with pinked flounces. The tiny waist (59 cm) of the Amsterdam bride Seraphine Asscher came very close to the then prevailing ideal of beauty: the perfect waist fit between two male hands. In keeping with tradition, the seamstress made a modest dress for this Jewishbride, but decorated the bodice and train with fashionable ruffled effilé flounces.’ This technique involves cutting away fabric to create movement and texture.

Dress ca. 1877 American. Dress 86731

Woman's Dress (Robe à l'anglaise)

Female dress, 19th century. Museum: Museu Textil i d'Indumentaria, Barcelona.

Ceintuur with bow and three hanging ribbons of brown moiré side trimmed with a black side; Brown cotton () Lining, Anonymous, c. 1868 - c. 1872 Ceintuur with bow and three hanging ribbons of brown moiré side trimmed with a black side; Brown cotton () lining. Netherlands silk. cotton (textile). Ceintuur with bow and three hanging ribbons of brown moiré side trimmed with a black side; Brown cotton () lining. Netherlands silk. cotton (textile).

Ripszijde dress with rooted effect, anonymous, c. 1868 - c. 1872 Kapon of chestnut moiré side and black lace, consisting of a body with pago rope, a skirt, a tunic, a belt and a body with short sleeve. Netherlands whole: Silk Kapon of chestnut moiré side and black lace, consisting of a body with pago rope, a skirt, a tunic, a belt and a body with short sleeve. Netherlands whole: Silk

Dinner dress 1894-96 Jeanne Hallée French This dress captures the exuberance of the 1890s, especially in the lively polka dots and fanciful sleeve treatment. Jeanne Hallée was an important dressmaker at the time and extant examples of her designs are fairly rare.. Dinner dress. French. 1894-96. cotton, silk, metal

Vestido femenino, siglo XIX. Museu Textil i d'Indumentaria de Barcelona.

Ball gown 1856-59 American or European. Ball gown 126927

Woman's Dress. probably England, circa 1845. Costumes; principal attire (entire body). Silk taffeta and glazed linen plain weave

Evening dress ca. 1888 House of Worth French. Evening dress 175366

Evening dress ca. 1840 American The female silhouette of the middle of the 19th century consisted of a fitted corseted bodice and wide full skirts. The conical skirts developed between the 1830s, when the high waist of the Empire silhouette was lowered and the skirts became more bell shaped, to the late 1860s, when the fullness of the skirts were pulled to the back and the bustle developed. The flared skirts of the period gradually increased in size throughout and were supported by a number of methods. Originally support came from multiple layers of petticoats which, due to weight and discomfort, were supplanted by underskirts comprised of graduated hoops made from materials such as baleen, cane and metal. The fashions during this time allowed the textiles to stand out because of the vast surface areas of the skirt and a relatively minimal amount of excess trim.. Evening dress. American. ca. 1840. silk

Dress 1755-65 French Rococo style embraced foreign styles with an inclusive, even rapacious eclecticism, but also with its own propensity to moderation and the small scale. During the period, Ikat, or warp-printed fabric, was modified to meet European taste. Saturated Eastern colors and bold geometrics became muted pastels in smaller floral and striped patterns characterizing many of the designs.. Dress 84579

Wedding dress 1878-79 American. Wedding dress 109781

Dress ca. 1858 American. Dress. American. ca. 1858. silk

Dress. Culture: Danish. Date: 1725-89. Museum: Metropolitan Museum of Art, New York, USA.

Dress, Medium: silk, metallic threads Technique: embroidered silk, Beige figured silk richly embroidered in silk and metallic threads in a floral and strap work design., France, 18th century, costume & accessories, Dress

Wedding dress of flowered silk. In the 18th century brides wore dresses in light shades of blue, yellow, and pink or with fashionable woven or embroidered patterns. Only royal brides wore (silvery) white on their wedding day. This dress consists of a robe and a skirt, both embellishedwith ruffled flounces of the same material.

Robe à la Française. Culture: French. Date: 1760-70.Women with coquettish airs were imposing in robes à la française and robes à l'anglaise throughout the period between 1720 and 1780. The robe à la française was derived from the loose negligee sacque dress of the earlier part of the century, which was pleated from the shoulders at the front at the back. The silhouette, composed of a funnel-shaped bust feeding into wide rectangular skirts, was inspired by Spanish designs of the previous century and allowed for expansive amounts of textiles with delicate Rococo curvilinear decoration. The wide skirts, which were often open at the front to expose a highly decorated underskirt, were supported by panniers created from padding and hoops of different materials such as cane, baleen or metal. The robes à la française are renowned for the beauty of their textiles, the cut of the back employing box pleats and skirt decorations, known as robings, which showed endless imagination and variety. Mus

Overjapon of gray-blue and yellow striped Lampas, with woven bizarre patterns composed of vases with leaf and floral motifs and geometric figures broched with metal wire, anonymous, c. 1750 Model: Straight neck cut, half -length tight -fitting sleeves decorated with a stricky decoration and provided with double pago -shaped cuffs (cuffs and eventail), close -fitting body with in 1957 added and consisting of two parts with three strikes (l'Echelle), on The back from the neck a loose -falling, symmetrically constructed system of flat folds (pli watteau), front racks smooth and fitted with tapered toppings, around the side seams of the skirt flat folds and in a deep split. Body and sleeves lined with beige/brown striped cover; Skirt lined with light blue taf side added in 1957, trimmed along the hem with a yellow silk bump. Inside Close closes by means of Drinking slint in festonated eyes. Closure body in the middle for by means of Metal crochet and eyes. The front buildings of the body a

Afternoon dress 1885-90 American. Afternoon dress 173327

Woman's Fichu. Europe, 1750-1800. Costumes; Accessories. Cotton plain weave (muslin) with linen embroidery

Ceremony dress (overview). Without claw. Purple velvet, embroidered glitter, silk pancake. 1887. Galliera, fashion museum of the city of Paris. Ceremony dress (overview) Ceremony, silk crepe, female, woman, embroidered glitter, purple velvet, dress

KLAPON OF PUNTSWITENT STREELDED CHANANTEANT TAFIZE with ribbons and band decorations, consisting of a skirt (A), two bodies (B, C), a belt (D) and some fragments (e)., Anonymous, 1868 Klapon of light blue Changeant Tafzijde with ribbon and velvet band decorations and yellow reflection, consisting of a skirt (A), two bodies (B, C), a belt (D) and some fragments (e). silk. taffeta. velvet (fabric weave). cotton (textile) Klapon of light blue Changeant Tafzijde with ribbon and velvet band decorations and yellow reflection, consisting of a skirt (A), two bodies (B, C), a belt (D) and some fragments (e). silk. taffeta. velvet (fabric weave). cotton (textile)

Robe a l'nglaise dress; 1780-85 (1780-00-00-1785-00-00);Malczewski, Karol (1855-1930) - collection, floral bouquets (ornament), creases (clothing decoration), Robe á la anglaise, purchase (provenance)

Dress 1831-35 American. Dress. American. 1831-35. silk, linen, mother-of-pearl, metal

Wedding lingerie ca. 1880 American. Wedding lingerie 108908

Ball gown ca. 1828 British. Ball gown. British. ca. 1828. silk

Dressing gown ca. 1885 American Featured here is a very typical example of beautiful morning wear belonging to the late-Victorian woman. The arrangement of alternating lace and lawn stripes at the front of the dress is very typical of the period. Of particular interest, is the back pleating, commonly known as a Watteau back, a feature of early-18th century gowns in paintings by Watteau. Overall, the silhouette creates a stunning line which remained popular for two centuries.. Dressing gown 158276

Not scratched. 2nd Empire wedding dress. Silk. 1868. Galliera, fashion museum of the city of Paris.

Woman's Dress (Caraco Jacket and Petticoat). France, Dress: 1740-1770s; Textile: 1720s. Costumes; principal attire (entire body). Bodice: Silk damask, with cotton and silk passementerie. Skirt: Silk damask

Picture of light blue silk with stripes of pairs of fanning flowers; Decoration with quilted edges, along the hem in links and on the body in five stripes. Bridal gown of light turquoise silk with striped ranked pairs of fan-shaped flowers. Pulled Rouleaux of solid satin; Along the zoom shut-shaped and past the décolleté in five stripes.

Woman's Dress (Round Gown). Europe, textile 1785-1790; dress circa 1795. Costumes; principal attire (entire body). Silk plain weave with weft-float patterning, silk and metallic-thread embroidery, sequins, silk and linen net, silk satin, and silk plain-weave (faille) trim

Dinner dress. Culture: American. Date: 1870.The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back

Body with colored flowers and brown-purple ornaments, collar with green piping. Body heard at a white cotton dress, printed with colored flowers and brown-purple ornaments. Shortly wrinkled body at smooth shoulder pass and smooth belt. Recycled round collar with a green piping. Gigot or ham-shaped sleeves with a sleek cuff.

Dress. Culture: French. Date: 1881-83. Museum: Metropolitan Museum of Art, New York, USA.

Walking dress ca. 1885 French. Walking dress 106981

Overjapon with pli watteau from cream colored silk, with embroidered pink stripes and colored flowers and with cream-colored embroidered bows. .

Round-down tunic of brown moire silk, trimmed with stitched wide seams and black lace. .

Dress. Culture: European. Date: ca. 1820. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: American or European. Date: 1888-89. Museum: Metropolitan Museum of Art, New York, USA.

Cream -colored silk with woven stripes, flower vines and chain motif and multi -colored embroidered with bouquets and garlands; overjapon, skirt, panier, anonymous, 1750 - 1800 Dress of floral cream-colored silk with woven bouquets and garlands in different colors; Consisting of a manteau (A) and a skirt (B). Corresponding a panier (C). Netherlands silk. linen (material) embroidering Dress of floral cream-colored silk with woven bouquets and garlands in different colors; Consisting of a manteau (A) and a skirt (B). Corresponding a panier (C). Netherlands silk. linen (material) embroidering

Wedding ensemble 1895 American. Wedding ensemble 109853

Wedding dress 1858-59 American. Wedding dress 91017

Fashion, 19th century. Women's two piece dress, Muelle Costumier, Paris, 1893.

Tea gown. Culture: American. Date: 1875.This teagown belonged to Amelia Beard Hollenback (1844-1918), wife of the prominent financier and philanthropist John Welles Hollenback (1835-1927). In 1874, the Hollenback family settled in the modestly affluent neighborhood of Clinton Hill in Brooklyn. The first teagowns, which were worn as at-home attire when entertaining guests, made their first appearance in the late 1870s. Worn in the months immediately after the Hollenback's first daughter was born, this early example illustrates Amelia Hollenback's keen awareness of fashion. Museum: Metropolitan Museum of Art, New York, USA.

Wedding Dress 1835 American. Wedding Dress 173308

Dress. Dated: 1935/1942. Dimensions: overall: 53 x 36.9 cm (20 7/8 x 14 1/2 in.). Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Julie C. Brush.

Dress. Culture: American. Date: 1890.This dress is in keeping with the interest in historical revivals popular in the 19th century. The long puffed sleeves refer to both Elizabethan and early 19th-century styles. The one-piece construction indicates it was probably intended for formal reception at home. Museum: Metropolitan Museum of Art, New York, USA.

Dress French late 18th century

Evening dress ca. 1815 probably French. Evening dress 173759

Afternoon dress 1852 American. Afternoon dress 90848

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