Elegant Historical Fashion

A collection of exquisite historical garments including dressing gowns, capes, and wedding ensembles, showcasing intricate embroidery and rich fabrics from the 18th to 19th centuries.

Redfern (attributed to). Evening cape of Anna Gould, countess Boni de Castellane (1875-1961). Congress of champagne wool, ecru silk tulle or champagne cotton, ecru silk satin, embroidery in the silk or champagne merceized cotton forming plant patterns (ricns and iris flowers). Beige silk muslin lining. 1900-1905. Galliera, fashion museum of the city of Paris. 78883-6 Annies 1900, embroidery, evening cape, champagne, cotton, back, ecru, iris flower, haute couture, wool, female mode, female model, vegetae pattern, relief, ricns, silk satin, silk tulle

Dressing gown ca. 1855 American. Dressing gown 108109

Habit a la française. unknown, author

Habit a la Française; The eighties of the 18th century (1780-00-00-1789-00-00);French -style

Redfern (attributed to). Evening cape of Anna Gould, countess Boni de Castellane (1875-1961). Congress of champagne wool, ecru silk tulle or champagne cotton, ecru silk satin, embroidery in the silk or champagne merceized cotton forming plant patterns (ricns and iris flowers). Beige silk muslin lining. 1900-1905. Galliera, fashion museum of the city of Paris. 78883-6 Annies 1900, embroidery, evening cape, champagne, cotton, back, ecru, iris flower, haute couture, wool, female mode, female model, vegetae pattern, relief, ricns, silk satin, silk tulle

Wedding ensemble 1883 American or European. Wedding ensemble 109089

Habit; 1780-1810 (1780-00-00-1810-00-00);State Art collections (Warsaw - 1922-1939) - collections, Warsaw government theaters (Warsaw - 1810-1915), Warsaw government theaters (Warsaw - 1810-1915) - collection, habit á la française, male fashion, plant ornaments, transmission ( Protency), Teatralia

Evening overdress. Culture: probably French. Design House: Attributed to Callot Soeurs (French, active 1895-1937). Date: ca. 1920.Rita de Acosta Lydig (1880-1929), a noted beauty and style icon of the early twentieth century, owned this garment. A great admirer and collector of lace, de Acosta Lydig's garments and accessories often incorporated insertions or trims of antique lace, sometimes taken from her own collection. De Acosta Lydig favored dramatic and slightly idiosyncratic garments when dressing, some of which she may have designed herself. Long, unfitted garments that emphasized the panels of lace trim rather than the body of the woman who wore them, such as this example, were a staple of her wardrobe. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Dress (Bodice and Skirt)

Afternoon dress 1887-89 American. Afternoon dress 173646

Banyan ca. 1760 French An overall interest in all things Eastern influenced textile designs and clothing styles of the eighteenth century. The banyan, a popular men's leisure garment, was inspired by East Indian styles of clothing. Although worn only at home, many banyans were nevertheless made from luxurious patterned silks.. Banyan 81528

Afternoon dress 1886-88 American. Afternoon dress 107750

Dolman 1870-80 Arnold Constable & Company American This dolman is made from a fine quality Indian shawl and mimics the popular bustle silhouette of the period. The motifs are beautifully matched which indicate the skills of an expert dressmaker. In the 1870s shawls lost popularity due to its immense size and the reducing expanse of skirts to help support them. Although some were retained as heirlooms, others were stitched into the more wieldy shape of the mantle.. Dolman 159204

Jean Patou, 1925. Mousseline, glitter embroidery in Lunéville . Satin. Palais Galliera, fashion museum of the city of Paris.

Dress ca. 1850 American. Dress 104761

Nightgown 1860s French. Nightgown 108884

Babani. Coat. Green velvet printed gold, lining in red silk canvas. Around 1912. Galliera, fashion museum of the city of Paris. Red silk lining, female, woman, gold prints, coat, velvet

Dress. Culture: French. Date: 1790s. Museum: Metropolitan Museum of Art, New York, USA.

Cream-white batmans christening dress with embroidery body, short sleeve, open at the back, baptismal wear baby clothing children's clothing wear clothing cotton batist mid back, skirt, shoulder w 17.0, under w 83.0 textile flock white embroidery needle lace Long flared christening dress of white batist high waist with V- Shaped pass with white embroidery also on short puff sleeves and above the skirt edge embroidery along behind open skirt parts dress baby child boy girl baptism baptism church religion religious ceremony Originating from the Dedel family from Amsterdam.

Underdress 18th century-19th century Greek. Underdress 102392

Chemise ca. 1860 American. Chemise 82080

Chéruit, 1922, Lamé Silver and pink silk lace, Applications of Lamé Or Palais Galliera, Museum of Fashion of the City of Paris Floral patterns.

Hood. Culture: British. Date: 1865-70. Museum: Metropolitan Museum of Art, New York, USA.

Chasuble 1740-60 probably Italian. Chasuble 174911

Underwear 1860-65 American or European. Underwear 109134

Nightgown 1825-30 probably American. Nightgown 86748

Jacket 19th century Greek. Jacket. Greek. 19th century. wool, silk

Cape ca. 1871 Made of a cream-colored wool, this hooded cape, or maşlah, was acquired by Mrs. James Nevins Hyde (née Alice Louise Griswold) when she visited Baghdad on her honeymoon in 1871. The maşlah is extensively embroidered in a satin stitch which closely matches the color of the garments fabric. The silk tassels that decorate the hood and the front closing at both neck and hem are repeated in the tassels and ribbon motif that appears in the embroidery on either side of the front opening and at the center back. An inscription, perhaps repeating a proper name, edges the cape, with the size of the letters around the hem much larger. An inscription is also used to delineate the boundaries of the embroidered design, comprised of flower garlands forming diamond shapes surrounding a stylized and mostly illegible version of the calligraphic insignia and royal symbol of the Ottoman sultans, the tughra, and another calligraphic motif, the words maşallah, an Arabic phrase most commonly use

Dinner dress. Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: 1934. Museum: Metropolitan Museum of Art, New York, USA.

Jacket 1880-85 American. Jacket 174333

Shawl. Culture: French. Date: 1840-49.This is a nice example of a sophisticated design on a shawl other than the boteh pattern of the more popular Indian, Persian and Paisley shawls that flooded the market throughout the 19th century. The Asian-inspired lotus petal shapes and their flower-fillings hearken back to designs on the cashmere shawl but retain their own sensibility within the confines of an open basketweave pattern. The shawl held a place as a high fashion accessory for a relatively large period between the end of the 18th century to the 1870s. These accessories were originally adopted by men with exposure to India and Persia through the Trading Companies. The changing fashions near the end of the 18th century brought a renewed interest in Indian and Persian shawls as a form of warmth over the thin muslins of fashionable Empire silhouette dresses. The shawls came in many designs which generally incorporated the boteh form. This form, which is mostly known as the paisley now

Gown unknown

Afternoon apron ca. 1880 American. Afternoon apron. American. ca. 1880. Silk

2012.0010 Costume - Social History. Woman's Patchwork House-Coat, 1934. Maker unknown. Make Do And Mend - Patchwork house-coat handmade from scraps of fabric.

Underskirt ca. 1893 French. Underskirt 86374

Petticoat late 1890s probably French. Petticoat 86369

Nightgown 1880s American. Nightgown 109272

Nightgown 1830s American or European. Nightgown 108975

Woman's Dress

Dolman 1883-89 American or European. Dolman 106944

Womans tippet unknown

Petticoat fourth quarter 18th century American. Petticoat. American. fourth quarter 18th century. Silk, cotton

Cape. Culture: British. Date: ca. 1867. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Dress (Bodice and Skirt)

Baptismal dress of Batist with flowers and ajour embroidery and lace., Anonymous Baptismal dress of batist with flowers and ajour embroidery and lace. With matching slip dress from crème satin (B). batiste embroidering Baptismal dress of batist with flowers and ajour embroidery and lace. With matching slip dress from crème satin (B). batiste embroidering

Housecoat, c. 1750 - c. 1799 Chamber jackets were introduced in large numbers in the late 17th and 18th century from India in the Netherlands, sometimes ready -made, sometimes as a 'sewing package'. Countless advertisements in the 'Amsterdamsche Courant', in which the arrival of the VOC ships with their cargo is announced, are witnessed. A large piece of sits painted in pattern of a dressing gown, with the sleeves loose, is kept in a private collection in the Netherlands. Perhaps the dressing gown from the Rijksmuseum was made from such a 'sewing package'. However, it is also possible that a Palempore (bedspread) has been entertained. Entertainment was not unusual. Coromandelkustpainter: CoromandelkustIndia whole: Cotton (textile). whole: stain (coating). lining: cotton (textile). Lining: Paint (Coating) printing Amsterdam Chamber jackets were introduced in large numbers in the late 17th and 18th century from India in the Netherlands, sometimes ready -made, sometimes as a 'sewing pack

Coat 1900-1909 Albanian The lavish use of materials and embellishment on this Albanian coat is both masterful and informative. The skillful embroidery depicts motifs and patterning that illustrate the cross-cultural influences in the region.. Coat 159552

Costume 19th century Japan. Costume 65723

RVD / Royal House photo collection. Queen Wilhelmina dress, gift from King Willem III. 1889

Dress. Culture: American. Date: ca. 1818. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1825-30 American. Dress 173441

Vest. Canvas, cotton printed with wooden board, five colors, wooden buttons covered with printed fabric, 1785-1795. Galliera, fashion museum of the city of Paris. 53916-4 Cotton, flower, vest, man, print, male mode, canvas, 18th century

Evening Japon, Nina Ricci, 1938 Evening Japon consisting of a body (A) and a skirt (b) of black crepe Georgette, printed with colorful flowers that are suitable in lanes. Two -piece, decolleted, long fairly narrow cone and lap buildings. Haute couture. This dress hangs above a black silk lowerjapon, as long as: BK-TN-2079 numbered; number () Paris . printing Evening Japon consisting of a body (A) and a skirt (b) of black crepe Georgette, printed with colorful flowers that are suitable in lanes. Two -piece, decolleted, long fairly narrow cone and lap buildings. Haute couture. This dress hangs above a black silk lowerjapon, as long as: BK-TN-2079 numbered; number () Paris . printing

Petticoat late 19th-early 20th century American or European. Petticoat. American or European. late 19th-early 20th century. wool

Woman's Coat

"Roseraie". Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: spring/summer 1923.Jeanne Lanvin was apprenticed to a milliner and a dressmaker before opening her own millinery shop in 1889. She expanded into dressmaking when her clients began asking for the ensembles in which she adorned her daughter, Marguerite di Pietro (1897-1958). Her style embodied the femininity of youth in a most modern way with meticulous and relatively sparse surface embellishments and robe de style silhouettes, which could be worn by women of all ages. Lanvin's aptitude can be seen through her house's 1920s expansion into fur, lingerie, men's wear, household goods and perfume. She even had the forethought to open her own dye factory which produced the inimitable 'Lanvin blue.' The longevity of the House of Lanvin can be credited to her attentive management and design standards from its inception.The ribbon flower head designs of "Roserai

Coat 1775-85 probably French. Coat 91692

Dress 1830-39 American. Dress 103510

Man's Sleeved Waistcoat. France, 1710-1720. Costumes; principal attire (upper body). Silk satin with supplementary-weft patterning bound in twill (lampas), metal buttons

BOB (Couture), 1914. Wool sheet, bakelite buttons, tapteta of SOUE MOUPSELINE, printed SOUE MOUPSELINE, Passementerie application, Gros-Gin. Palais Galliera, fashion museum of the city of Paris.

Dolman coat with bead embroidery.In 1821, Bernard Bahlmann started what was to become the chain of shops called Bahlmann & Co. In the 1830s Bahlmann, originally from Germany, was the first to sell clothes off-the-peg in the Netherlands. These were mostly garments without a detailed cut, such as coats. This dolman - being halfway between a coat and a cape - was bought at the Amsterdam branch.

Empire dress of white batiste embroidered with multicolored flower motifs in tambouring, raised waist, short sleeves and wide round neckline, lacing mid back, short trail, robe frock outerwear women's clothing clothes cotton silk metal mid back, shoulder w 25.0 skirt, under w 150.0 sleeve, textile embroidery tambourer work woman Empire

Sybilla, 1988. Olive green waterproof cotton canvas, lank -level spans, partially lined with old pink cotton canvas. Palais Galliera, fashion museum of the city of Paris.

Gym suit 1895-99 Columbia Gymnasium Suit Co. American. Gym suit 106702

Dolman 1885-90 House of Worth French. Dolman 106549

Day Dress Made 1805-1815 . Cotton, plain weave; embroidered .

Peignoir. Culture: American. Date: 1820s. Museum: Metropolitan Museum of Art, New York, USA.

Evening coat with ruffled collar.This evening coat is made of a brown fabric woven with metal thread, the so-called brocade. The sea-green velvet lining and collar create a colour combination which was popular at the time. The straight cut was fashionable in the 1920s, yet short flared sleeves were rather unusual then.

Coat 1810-20 British. Coat 91902

Cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: 1890s. Museum: Metropolitan Museum of Art, New York, USA.

Jacket. Culture: American. Date: ca. 1892. Museum: Metropolitan Museum of Art, New York, USA.

Tailcoat. unknown, author

Dolman, made out of a shawl, anonymous, c. 1880 - c. 1885 Mantille, Sortie or Dolman, made from a European imitation of a cashier scarf. Lining of brightly colored checkered side. Completely trimmed with a rust -brown chenille spherical fringe. PaisleyNetherlands (possibly) wool. silk Mantille, Sortie or Dolman, made from a European imitation of a cashier scarf. Lining of brightly colored checkered side. Completely trimmed with a rust -brown chenille spherical fringe. PaisleyNetherlands (possibly) wool. silk

Evening coat with ruffled collar, anonymous, c. 1920 - c. 1930 Evening mantle, reversible, of gold brocade and turquoise green velvet. Art Déco. Medium length, straight model with rounded shoulders. No closure. Spacious tucked in double -falling collar of velvet. As sleeves, valves used under the shoulder pass. Brussels (possibly) brocade (textile). velvet (fabric weave) Evening mantle, reversible, of gold brocade and turquoise green velvet. Art Déco. Medium length, straight model with rounded shoulders. No closure. Spacious tucked in double -falling collar of velvet. As sleeves, valves used under the shoulder pass. Brussels (possibly) brocade (textile). velvet (fabric weave)

Babani. Coat. Royer blue silk velvet failure, gold metallic thread embroidery; lining in rosé beige silk crepe; Gold wire braid. Around 1925. Galliera, fashion museum of the city of Paris. 101860-5 Haute couture, female mode, female model

A baby dress, so -called long dress, of white cotton with ajour embroidery, with a body of batist, anonymous, 1850 A baby dress, so -called long dress, from white cotton with ajour embroidery, with a body of Batist. Netherlands cotton (textile). batiste A baby dress, so -called long dress, from white cotton with ajour embroidery, with a body of Batist. Netherlands cotton (textile). batiste

Lounging Pyjamas with Wide Legs. Mrs Brusse wore these pyjamas as an outfit to receive guests. The wide legs create the illusion of being a skirt. As a result, the ensemble exudes the aura of an evening gown. It was made in Brussels after a design by the French couturière Madeleine Vionnet, who was famous for her ingenious patterns.

Woman in fashion dress concept on white

Jean Patou, 1925. Mousseline, glitter embroidery in Lunéville satin. Palais Galliera, fashion museum of the city of Paris.

Coat. unknown, author

Evening coat 1914 C. G. Gunther's Sons American. Evening coat 173541

QUN skirt with embroidered motifs of a pair of mandarins among lotus, peonies and pomegranate fruit unknown

Jacket 1850-60 American or European. Jacket 107592

Evening coat. Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: spring/summer 1926.The minute shirring on this exquisite Lanvin coat is exemplary of the high quality of couture sewing.Jeanne Lanvin was apprenticed to a milliner and a dressmaker before opening her own millinery shop in 1889. She expanded into dressmaking when her clients began asking for the ensembles in which she adorned her daughter, Marguerite di Pietro (1897-1958). Her style embodied the femininity of youth in a most modern way with meticulous and relatively sparse surface embellishments and robe de style silhouettes, which could be worn by women of all ages. Lanvin's aptitude can be seen through her house's 1920s expansion into fur, lingerie, men's wear, household goods and perfume. She even had the forethought to open her own dye factory which produced the inimitable 'Lanvin blue.' The longevity of the House of Lanvin can be credited to her

Day set (jacket, dress and background) ". Pink and black pink and black printed muslin jacket, black lace with networks. Pink and black pink and black printed muslin dress, pongus background of pink silk and ivory muslin. Towards 1937. Galliera, fashion museum of the city of Paris. 73751-5 Years thirty 1930 30, lace, day set, short round, female fashion, print pattern, muslin, silk ponge, short dress, jacket, modeling

Habit a la Française; 1780-1810 (1780-00-00-1810-00-00);Warsaw government theaters (Warsaw - 1810-1915), Warsaw government theaters (Warsaw - 1810-1915) - collection, tailcoats, message (provenance), Teatralia

Evening cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1891.Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailored outwear was particularly sought after.Pingat's interpretation of Plains Indian motifs on this cape is indicative of his fascination with incorporating other cultures' designs into the contemporary couture vocabulary. This style of embroidery pattern, although distinctive amongst other late 19th-century European designs, is iconic of Pingat's work. Museum: Metropolitan Museum of Art, New Yor

Visit. Fabric paperback with silver and pink blue background and caterpillar patterns, pink bundled blue satin lining, Passementery acorns. Around 1889. Galliera, fashion museum of the city of Paris. Caterpillar, feminine, woman, gland passagemen, brooch fabric, jacket, visit

Long christening dress of fine white cotton, square neckline, bodice with smocking, hem edge with white embroidery and tulle application, christening clothes baby clothing children's clothing wear cotton mother of pearl lace tulle, textile roving smocks appliqué embroidery sewn dress of fine white cotton. Square neck. Short straight sleeve. Front piece bodice and sleeves with simple horizontal smocking stitch. Mock edge along neck and sleeves possibly turned on later Back fully split cord by neck and waist. Two hooks and little ring in the bodice. Nine mother-of-pearl buttons and buttonholes in the skirt. broad zoom decoration of three lanes, each with 20 fine twists in between two trajectories real tulle with appliqué leaf motif. Bottom of the hem edge real lace dress child baby boy girl baptism baptism church religion religious ceremony

Cape 1890s Emile Pingat French. Cape 107148

A baptismal dress made of white nettle cloth with short sleeves. Body with embroidered front piece. On the front job of the Plumetis skirt embroidered with fillings from the needle side., Anonymous, c. 1800 - c. 1825 A baptismal dress made of white nettle cloth with short sleeves. Body with embroidered front piece. On the front job of the Plumetis skirt embroidered with fillings from the needle side. Netherlands (possibly) .

Furisode 1850-1950 Japan. Furisode 83231

Petticoat ca. 1900 American. Petticoat 86386

Afternoon dress. Culture: American. Date: 1894-96. Museum: Metropolitan Museum of Art, New York, USA.

Suit ca. 1860 American. Suit 174654

Woman in Floral Robe II

Woman's Dress (Bodice and Skirt)

Evening Dress. In the 1920s the silhouette became straighter and the natural waistline was ignored. The Russian-French designer Romain de Tirtoff (Erté) designed this evening gown for a fashion house in San Francisco. The fabric is woven of silver-plated copper thread and embroidered with coloured glass beads and pearls. The stylized Persian and Egyptian motifs were all the rage thanks to the discovery of Tutankhamuns gravein 1922.

Bustle 1880s American The crinolettes that supported the bustled skirts of the 1870s and 1880s took on a more cylindrical form than their predecessors of the 1860s, with a flattened front and increased emphasis over the buttocks. Although they were conceived purely as mechanisms to achieve an aesthetic effect, crinolettes also responded to practical considerations. Some, like the Lobster-Pot crinolette, were designed, like winter petticoats of the period, to keep the wearer warm. This example was constructed of medium-weight wool and sports a button-on hem ruffle.. Bustle. American. 1880s. wool, metal

Ensemble. Culture: American or European. Design House: Attributed to Callot Soeurs (French, active 1895-1937). Date: 1875-1925. Museum: Metropolitan Museum of Art, New York, USA.

Dress, dress - stage of Helena Modrzejewska's stage; End of the 19th century (1891-00-00-1900-00-00), 2. PO. 19th century (1851-00-00-1900-00-00);Olsztyńska, Maria (Fl. Ca 1971) - collection, PartaGe Plus, Dar (provenance), Meander (Ornament), Secession (style), TRAD

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