19th Century Women's Fashion

A collection of elegant historical dresses from the 1830s to 1886, showcasing intricate designs, varying shades of cream, gold, and floral patterns, ideal for weddings and formal occasions.

Dress of loose woven cotton, long with high waist, round neck, short sleeves, wrinkled skirt with a slid, decorated with spreading motif of flowers tamaged with multicolored silk, anonymous, c. 1800 - c. 1810 Dress of loose woven cotton, long with high waist, round neck, short sleeves, wrinkled skirt with a slid, decorated with flow motif of flowers tamaged with multicolored silk. Model: Short body with low neck cutting with tunnel with cord that is tied in the middle front. The body has a transfer from right to left, which closes on the left shoulder and at the waist with a Konian knot. The right side of the transfer is sewn and must give the illusion of symmetry through a knot on the shoulder and in the waist; However, the corresponding buttonholes are missing. The Konian knots have a hard core wrapped with white cotton yarn. Inside of linen with closure in the middle of the front through five copper () Hooks and eyes, in addition to five founded loops. In the middle behind both the

Wedding ensemble 1886 American. Wedding ensemble 109210

Gown unknown

Ensemble ca. 1836 American. Ensemble 82142

Dress 1860-63 American. Dress 107858

Dress 1830s American or European. Dress 108078

Evening dress ca. 1835 British. Evening dress. British. ca. 1835. silk, wool, cotton

Wedding ensemble 1864 American. Wedding ensemble 107829

Dress 1902-3 American. Dress 106568

Dress 18th century probably Spanish. Dress 87047

Dress of loose woven cotton, long with high waist, round neck, short sleeves, wrinkled skirt with a slid, decorated with spreading motif of flowers tamaged with multicolored silk, anonymous, c. 1800 - c. 1810 Dress of loose woven cotton, long with high waist, round neck, short sleeves, wrinkled skirt with a slid, decorated with flow motif of flowers tamaged with multicolored silk. Model: Short body with low neck cutting with tunnel with cord that is tied in the middle front. The body has a transfer from right to left, which closes on the left shoulder and at the waist with a Konian knot. The right side of the transfer is sewn and must give the illusion of symmetry through a knot on the shoulder and in the waist; However, the corresponding buttonholes are missing. The Konian knots have a hard core wrapped with white cotton yarn. Inside of linen with closure in the middle of the front through five copper () Hooks and eyes, in addition to five founded loops. In the middle behind both the

Afternoon dress 1847-50 British. Afternoon dress 108170

Dress. Culture: American. Date: ca. 1860. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1860-64 British. Dress. British. 1860-64. silk

Dress 1830-35 American. Dress 108055

Dress 1885-89 Catherine Donovan. Dress 106634

Dress 1845-46 European. Dress 108065

Dress ca. 1774 American. Dress 86908

Dress ca. 1780 French. Dress. French. ca. 1780. silk

Overjapon with pli watteau from cream-colored silk, embroidered in yellow with slender, wide-tempered flower and leaf refueling ...

Womans Jacket (Caraco). Europe, circa 1760, altered circa 1780. Costumes; principal attire (upper body). Silk plain weave with supplementary warp patterning

Dress. Culture: American. Date: ca. 1832. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1860 American. Dress 107883

Day dress. Silk shaped gold with rural patterns. Around 1850-1852. Galliera, fashion museum of the city of Paris. George Sand day dress Feminine, foliage, mannequin, champetre pattern, gold, day dress, second empire, faconnee silk, crinoline

Evening dress ca. 1848 American. Evening dress 174717

Walking dress ca. 1830 British. Walking dress. British. ca. 1830. cotton

Woman's Robe à l'anglaise Ensemble. England, 1780-1790. Costumes; ensembles. Wool crewel embroidery on linen

Dress ca. 1838 British. Dress 86730

Dress ca. 1795 British. Dress 86871

Sooning with pli watteau from cream-colored silk, with pleated silk strips, finished with narrow passing element and light blue silk loops .. see main record

Not scratched. Wedding dress, first empire. Silk. 1810. Galliera, fashion museum of the city of Paris. 51155-1 Back, haute couture, model, female mode, female model, non -claw, first empire, married dress, silk

Dress mid-18th century American. Dress 102318

Afternoon dress 1850-55 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.. Afternoon dress. American. 1850-55. silk

Wedding dress. Culture: American. Date: 1892. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1778 French This separate bodice and ankle-length skirt stand out from within the first waves of radical change in fashion in the late 1770s, for the horizontal separation of parts and the exposure of the feet. Such practical thinking--with primary reference to peasant traditions, not to elite clothing--was still combined with panniers and a conical silhouette of past practice. But, most significantly, a dialogue has begun: clothing can be changed by real needs, even the desire of women to be active, to walk more in nature (as advocated by Rousseau) and stand less on ceremony. In the 1981-82 Costume Institute exhibition "The Eighteenth-Century Woman," this costume was worn with an enormous wig with a frigate atop it, in the manner of court celebrations of French naval victories. But this dress had already taken its own plebeian and pedestrian path and should not be mistaken with the last flourishes of court hegemony.. Dress. French. ca. 1778. silk

Evening dress 1870 American or European. Evening dress. American or European. 1870. silk

Wedding Dress ca. 1760 British or French. Wedding Dress 19725

Dress 1870s American. Dress 99989

Dress. Culture: American or European. Date: 1840. Museum: Metropolitan Museum of Art, New York, USA.

Robe à la Française 1730-40 European This is an extraordinary example of weaving incorporating silver metallic threads in a very distinctive design. This textile was identified as an identical match to the textile of a gown worn to a Russian Imperial wedding in the in the 1730s. 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

Afternoon dress ca. 1866 French A trompe l'oeil bolero jacket cropped and defined the bust, while the waist rose into the ribcage, genuinely above the zone of the waist. The devices of bolero and apron differentiated sectors within the dress and emphasized the high placement of the waist, while the crinoline hoop shifted to the back to make the great shape of the skirt mountainously prominent. Such monumental dress captured what French poet Charles Baudelaire called the "pomp and circumstance" of modern urban life.. Afternoon dress 85417

Caraco and skirt. unknown, author

Robe à l'Anglaise 1780-85 British Large eighteenth-century rooms with their high ceilings could be very cold in the winter, even when a fire was blazing on the hearth. English ladies wore quilted petticoats to fight the chill and continued the fashion out of doors during the cool days of spring. These petticoats, sewn in brightly colored silks and stains, were elaborately quilted all over in fanciful patterns, not just in front, where the overdress was drawn away. This glazed chintz day dress is a rare surviving example of the elaborate floral chintzes loved by the English in the second and third quarters of the century.. Robe à l'Anglaise. British. 1780-85. cotton

Wedding dress ca. 1872 Mme. Fréderique While a "proper" coat-like bodice with buttoning at center front has supplanted the accustomed deep décolletage of the previous century, every other aspect of this 1872 wedding dress emulates the eighteenth century. Self-trims, lace, ribbon, and even orange blossoms re-create the repertoire of dress techniques from a century earlier. As the technology and techniques emerged in the 1860s and 1870s that could make any dressmaker a virtuoso of eighteenth-century style, fashions such as these could be created. Would this have been a poor person's version of the eighteenth century In a sense, the bourgeois access to the old forms of aristocracy in dress had to wait until the Second Empire and then, abetted by technology, arrived with a vengeance. Of course, the truism is that wedding dresses tend to be conservative and even retardataire; but the gap is not often the full century or more that it is here.. Wedding dress 82622

Body of cream silk, under black side with flowers and circles, black velvet tires and sequins and silver -colored sequins and beads; Purple pleated Ceintuur., Lucien Andrain, c. 1903 - c. 1906 Body horror with a black side dress on a creme satin undercarried. With high collar and long sleeves, garnished with a black velvet ribbon and silver -colored metal passement and sequins. The belt is from pleated purple side. An address on the Trekband: Lucien Andrain, 73 Rue de Rivoli, Paris. Paris silk. metal. satin. paillette. velvet (fabric weave). Body horror with a black side dress on a creme satin undercarried. With high collar and long sleeves, garnished with a black velvet ribbon and silver -colored metal passement and sequins. The belt is from pleated purple side. An address on the Trekband: Lucien Andrain, 73 Rue de Rivoli, Paris. Paris silk. metal. satin. paillette. velvet (fabric weave).

Dress 1840 American or European. Dress 82321

Dress. Dated: c. 1940. Dimensions: overall: 67.6 x 50.7 cm (26 5/8 x 19 15/16 in.) Original IAD Object: bodice: 14" long; skirt: 36 1/2" long; waist: 27". Medium: watercolor, graphite, pen and ink, and gouache on paperboard. Museum: National Gallery of Art, Washington DC. Author: Paul Ward.

Fashion, France, 20th century. Women's dress in aquamarine chiffon. Label: M.on Bellon Robes et Manteaux, 14 rue Segurane Nice, around 1910.

Dress 1835-36 American or European. Dress. American or European. 1835-36. cotton

Petticoat 1890s American. Petticoat 86367

Ensemble 1856-59 American. Ensemble 108156

Dress ca. 1850 American or European. Dress 108090

Belt with long slips with frills and decorated with small buttons, covered with gold-colored fabric. Belt with long slips with frills and decorated with small buttons, covered with gold-colored fabric. The belt belongs to Japon (A).

Evening dress 1885 American 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 was reduced to a

Evening dress. Culture: French. Design House: Rouff (French, 1844-1914). Date: ca. 1895.This is a clear example of the love for reinterpreting the 18th-century aesthetic which prevailed in the Belle Époque, evoking the grandeur and romanticism of the period. This evening dress bodice precisely references the fine embroidered men's waistcoats of the period, but with very delicate and feminine motifs evoking the style of Rococo weaver Philippe de Lasalle (1723-1804). Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1830 American. Dress 159517

Dinner dress. Culture: French. Date: 1888-89. Museum: Metropolitan Museum of Art, New York, USA.

KLONON WITH SCHOTBLOUSE, G. BOLSMAN-HUIZINGA, c. 1916 - c. 1917 Dress of cream -white crepe de chine with wide skirt with smockwork on the hips and blouse body with loose, tunic -like buildings with embroidery in white and light green silk; "And Canadienne." Model: Ankleang, with wrinkled skirt wrinkled at the waist. Low round neck (probably loosened and entertained in the past) And loose -fitting long sleeves with recommended cuffs that fall over. Blousing body, wrinkled steps on the shoulders and open seams in the side seams. Front and rear hanging loose, which must create the impression of a tunic. Ceintuur of soft green satin, diagonally on the wire. Skirt lined with cotton batist; Limit with ribs and ditto lining fell with a narrow strip of lace. Decoration: Embroidery of star -shaped 'flowers' between fern ornaments. Amsterdam dress:. Ceintuur: Satin. embroidery:. lining: cotton (textile). lining:. embroidering / bobbin lace / cutting Dress of cream -white crepe de chine with wid

Evening dress American 1893 This is high style dress of the period when sleeves were getting larger with each season. The unique embroidery is distinctive and representative of the overt extravagance applied in this period. View more. Evening dress. American. 1893. silk, wool, rhinestones, metal

Morning dress ca. 1806 American. Morning dress 107969

Dress ca. 1825 American. Dress 108033

Dress ca. 1820 American or European. Dress 82156

Christening dress. Culture: American. Date: 1890. Museum: Metropolitan Museum of Art, New York, USA.

Afternoon dress. Culture: American. Date: 1845-55. Museum: Metropolitan Museum of Art, New York, USA.

Two-piece Evening Dress, 1868. Taffeta two-piece dress with velvet ribbon and lace trim. The skirt has a train.

Dress 1864-65 American. Dress 103567

Town dress. Gray silk -printing water on chain of bouquets of flowers, silk fringes. 1850-1852. Galliera, fashion museum of the city of Paris. Town dress Flower, feminine bouquet, woman, silk of silk, pattern, town dress, second empire, gray silk, green water

Bridesmaid dress 1880 Herbert Luey American. Bridesmaid dress 173779

Afternoon dress. Culture: French. Designer: Jeanne Hallée (French, 1880-1914). Date: ca. 1900.Jeanne Hallée was a fine French couturier during the Belle Époque and garments from this house are fairly rare. This dress, with its fine pintucking and exaggerated high collar, is a beautiful example of the style of the era. Museum: Metropolitan Museum of Art, New York, USA.

Robe à l'Anglaise. Culture: British. Date: 1740-60.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 l'anglaise developed with a fitted back after the style of dress worn in England. 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 l'anglaise are renowned for the beauty of their textiles and the meticulous fit of their bodice back. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1826-29 British While its descending waistline, swelling sleeves, and raised hemline, this splendid day dress anticipates the exaggerated outline of the 1830s. Pleating on the front--beginning at the waist, opening acrosss the bodice, and extending toward the full sleeves--creates the illusion of increased width at the shoulders. The ankle begins its brief decade of exposure, even as the silhouette otherwise assumes a body-concealing mass and modesty.. Dress. British. 1826-29. silk

Sack-back Gown (French dress), Anonymous, c. 1775 - C. 1785 Women's suit, "demi-parure" of glossed printed cotton with thin graceful pattern of vertical stripes and stripped bouquets, partially lined and sewn by hand. The costume, which is intended to wear over a wide flattened hoop skirt ("Panier"), consists of two parts: 1) A straight four -lane skirt with two hip splits for bags, sewn in the back of the deep continuous folds of waistband, for probably in in Far apart pleats on either side of a smooth middle part sewn (has now been crushed with wrinkles 1946) and with at the bottom, only in front, a wide pleated folant ("Falbala") and a rough. 2) a four -lane overjapon ("manteau") open from the front and widely ended, with a small tow and with a lined rip with a wide angular neck, for closely and two vesting buildings that close with hooks and eyes and of which long dumped slips, and from behind two double pleats that walk through the neck wide over the waist to the skirt ("pli watte

Body of cream silk, under black lace with flowers and circles, black velvet tires and sequins and silver sequins and beads; Purple pleated belt .. Body heard at a black lace dress on a crême satin. With high-board and long sleeves, topped with Eem black velvet ribbon and silver-colored metal passing and sequins. The belt is made of pleated purple silk. An address: Lucien Andrain, 73 Rue de Rivoli, Paris.

Evening dress 1893 American This is high style dress of the period when sleeves were getting larger with each season. The unique embroidery is distinctive and representative of the overt extravagance applied in this period.. Evening dress 159413

Afternoon dress. Culture: American. Date: ca. 1865.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 th

Afternoon dress 1840s American Like the 1830s corset, the 1840s style expanded with gussets at the hipline supporting a full-skirted silhouette. The torso, however, was visually attenuated by center-front vee extending below the waist into the abdomen. This deep dip of the torso re-created the effect of the pointed waist of the eighteenth century, but the corsetting is specifically nineteenth century, rounding to the chest cavity to create a cylinder.. Afternoon dress 85358

Evening dress 1883-96 Rouff French. Evening dress 173496

Dressing gown 1860s American. Dressing gown 107848

Dress 1841-48 American. Dress 108097

Anonymous, 1755. Lampas, launched, paperback. Silk, crush chain, green frames, taffeta lining of ecru silk, crush linen canvas, silk disorder. Palais Galliera, fashion museum of the city of Paris. Ondeed patterns, punctuated in the center of double fins, flowery branches on both sides, ascending patterns.

Evening Gown. Along with Paris, Brussels developed into an important fashion centre in the course of the 19th century. Fashion there followed the French lead. This gown is an example of the eclectic revival of various historical styles. The vertical slashes on the pointed bodice and the puffed sleeves derive from 16th-century fashion.

Fashion, Italy, 18th century. Court dress in French silk pekin, salmon-pink ground ornamented with three ribbon types, and consisting of a blouse with wide back drapery and a full skirt. Italian Manufacture, Rome or Marche Region, around 1770.

Dress 1861-64 American. Dress 107794

Robe à la Française. Culture: probably French. Date: 1770-90. Museum: Metropolitan Museum of Art, New York, USA.

Robe à la Française 1750-75 French Growing out of the fantastical atmosphere of the eighteenth-century French aristocratic milieu, and conceived as often by ennui as by personal vanity, the fashions embodied by the ever-formal robe à la française were the product of an age that sought at any cost to convey extreme grace and aesthetic perfection. This piece is imbued with the luxury and ostentation inherent in the era's metallic embroidered silks and serpentine floral textile patterns. The playfulness of the delicate hand-painted silk taffeta sufficiently showcases the Watteau (after the eponymous artist), or sacque back of the robe, reinterpreted from the seventeenth-century gown to incorporate two expansive pleats from the neckline at back. Though this piece does not demonstrate the extremity of the eighteenth-century silhouette as required by French Court dress, it clearly champions panniers to support the gown and a tightly corseted bodice.. Robe à la Française 83605

Pelisse ca. 1825 British. Pelisse 84248

Day dress. Silk taffeta with blue and cream striped patterns, blue silk taffeta bias, small bedside of white floche floccies alternating with pearls (tubes) of colorless glass, white cotton tulle. 1869. Galliera, fashion museum of the city of Paris. 70571-2 Bias, white, blue, buckle, white cotton, cream, flocch, scratch pattern, pilottery, pearl, day dress, silk, taffeta, tulle, colorless glass

Evening dress 1903-4 Austrian. Evening dress 106578

Evening dress ca. 1897 House of Worth French Charles Frederick Worth was born in England and spent his young adulthood working for textile merchants in London while researching art history at museums. In 1845 he moved to Paris and worked as a salesman and a dressmaker before partnering with Otto Bobergh to open the dressmaking shop, Worth and Bobergh, in 1858. They were soon recognized by royalty and major success followed. In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth's creative o

Morning dress early 1860s American. Morning dress 107871

Woman's Dress. Europe, circa 1865. Costumes; principal attire (entire body). Cotton plain weave

Cream-colored silk jawon with woven stripes, floral drinks and chain motif and multi-colored embroidered with bouquets and garlands; Overjapon, skirt, panier. Jap of floral crème-colored silk with woven bouquets and garlands in different colors; consisting of a manteau (a) and a skirt (b). According to a panier (C).

Morning dress 1837-39 American This charismatic dress shows important features of late 1830s dress in its intriguing highly detailed small-scale textile and its low wide shoulders which enhance the bust. Contemporaneous resources referred to the gathered treatment of the bodice as "corsage à la Sevigné" or ""à la Maintenon" referencing fashionable women of the 18th-century court of Louis XIV whose much less modest décolletage the gathering imitates. 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

Robe. Culture: French. Date: mid-18th century. Museum: Metropolitan Museum of Art, New York, USA.

Robe à l'Anglaise 1785-90 British. Robe à l'Anglaise 86877

Dress. Culture: French. Date: ca. 1840. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Shoes. France, 1830s. Costumes; Accessories. Silk satin and leather

Dress ca. 1800 British. Dress 90484

Day dress. Brown taffeta, brown caterpillar braid, ten flowerfield buttons. Around 1858. Galliera, fashion museum of the city of Paris. Day dress Passemen's button, whale, feminine, woman, pagodic sleeve, second empire, brown taffeta, dress

Wedding ensemble. Culture: American. Date: 1878.While white is now de rigueur for bridal attire, the fashion for white wedding gowns originated only in the late 19th century and was not commonplace until the 20th century. This dress is a good example of the more practical 19th century practice of brides wearing colored gowns for weddings. The wedding dresses could then be worn again for other receptions and social events. A well-made and finely-detailed example of the period, this dress would have been described as a "cuirass" or "cuirass style" at the time it was made, a term that refers to the form-fitted bodice. A steel-boned corset helped to achieve the ideal figure for the cuirass style in the 1870s and 1880s. Museum: Metropolitan Museum of Art, New York, USA.

Evening dress ca. 1848 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. 1848. silk

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