Historic Ball Gowns

Beautifully detailed images of historical ball gowns from various eras. The dresses exhibit luxurious fabrics and intricate designs.

Ball gown. Black and pink grid silk muslin, pink silk ribbons. Around 1865. Galliera, fashion museum of the city of Paris. Cursing Double pink fault knot on the front and tiles, grid, pattern of the printed fabric. Tile, feminine, mannequin, muslin, day dress, pink ribbon, second empire, beige silk, crinoline

Ball gown ca. 1905 House of Drecoll. Ball gown 106563

Vestido femenino, siglo XIX, MTIB146490. Museu Textil i d'Indumentaria de Barcelona.

Dress ca. 1803 American or European. Dress 107965

Morning dress 1810-20 American. Morning dress 107992

Ball gown. Black and pink grid silk muslin, pink silk ribbons. Around 1865. Galliera, fashion museum of the city of Paris. Cursing Double pink fault knot on the front and tiles, grid, pattern of the printed fabric. Tile, feminine, mannequin, muslin, day dress, pink ribbon, second empire, beige silk, crinoline

Afternoon dress ca. 1860 American. Afternoon dress 173642

Dress ca. 1800 Austrian. Dress 86870

Evening gown unknown

Suit ca. 1892 American. Suit 86706

Dress 1903 French. Dress 106429

Boy's At-home Robe (Banyan). Italy, circa 1765. Costumes. Silk plain weave (faille), moiré finish, with metallic-thread embroidery

Evening dress ca. 1890 House of Drecoll. Evening dress. Austrian. ca. 1890. silk, cotton

Afternoon dress 1888-90 American. Afternoon dress 173507

Wedding dress ca. 1823 American. Wedding dress 108032

Practical fashion. Day dress. Dark blue silk groove printed with white vegetable strips, lace with crazy cotton spindles, ribbon of crush cotton mechanical lace, pink silk velvet ribbon, blue wool mesh braid. Blue silk taffeta lining and chipped with ecru cotton. 1897-1898. Galliera, fashion museum of the city of Paris. 78698-7 1900, white vegeta strip, lace, braid, haute couture, print, female mode, practical mode, female model, pattern, dress dress

Petticoat 1890s American. Petticoat 86351

Petticoat 1850s American. Petticoat 85002

Wedding dress. Culture: European. Date: ca. 1838. Museum: Metropolitan Museum of Art, New York, USA.

Fashion, 19th century. Paris Worth women's three piece dress. From the House of Savoy.

Woman's Dress (Bodice and Skirt)

Sailor suit ca. 1895 American. Sailor suit. American. ca. 1895. linen

Dress ca. 1800 American. Dress. American. ca. 1800. silk

Dress 1869-70 American. Dress 108191

Evening dress. Culture: French. Date: 1809.Fine Indian mull was cherished in this period where the sheer quality was the most important aspect of everyday dress. This particular mull gown, with its tambour embroidery, would have been highly valued by its owner.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 Napoleonic Wars partly due to Napoleon Bonaparte's (1769-1821) alliance with Greco-Roman principles. In fashion, the style began as children's wear made from fine white cotton, but was adopted by women in th

Woman's Jacket. India, Kashmir, for the English market, circa 1865. Costumes; outerwear. Wool cashmere twill with silk embroidery

White cotton muslin tunic dress, embroidery, golden and silver threads, (front view), around 1800-1805. Galliera, fashion museum of the city of Paris. 34793-18 White cotton, woman, fashion, muslin, first empire, tunic dress

Coppe and lace veil. Capote: blonde straw, black whipped cream, green taffeta ribbons. Voilette: Brass climb, double tulle, Chantilly lace edge, spindles. Around 1860. Galliera, fashion museum of the city of Paris. Garland of leaves. Capote, black whipped cream, blonde straw, ribbon, second empire, green taffeta, tulle, lace veil, hat

Jeanne Lanvin (1867-1946). Dress. Beige silk, embroidery of red silk wire, chain point, open in front, tightened wrists, around 1924. Galliera, fashion museum of the city of Paris. Wire embroidery, in front, female, haute couture, model, female model, open, tightened wrist, chain point, beige silk, red silk, dress

Lanvin Jeanne (attributed to) evening coat in black silk taffeta, embroidery of metal glitter and gold threads, around 1927 - 1928 (back view) 1927 1928 Silk Claire Galliera, Paris City Museum Paris. 26122-17 FEMININE, HAUTE-COUTURE

Vestido de novia, Santa Eulalia, 1948. Museu del Disseny de Barcelona.

Loungewear 1885 British. Loungewear 104367

Evening dress ca. 1814 French. Evening dress. French. ca. 1814. silk

Wedding Dress 1857 American. Wedding Dress 174703

Fragments of embroidery on a tulle from a woman's dress unknown

Mans At-home Robe (Banyan)

Woman's Dress

Afternoon dress 1892 House of Worth French Worth was known for including historical references from his research and this dress is an exceptional example of his skill. This dress combines 17th-century and neoclassical references into a beautiful cohesive finished product. The sleeves, slashing and Vandyke edging refers to dress of the 17th century. The sleeves in particular were known as Marie sleeves, inspired by Marie de'Medici (1575-1642). Alongside these sleeves are the empire waist and beadwork decorations referencing earlier 19th-century designs. 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.

Petticoat. Culture: American. Date: 1830-50. Museum: Metropolitan Museum of Art, New York, USA.

Jas van I.J.A. Gogel, anonymous, c. 1798 - c. 1814 Jacket with upright collar, slanted front buildings and narrow sleeves of mocha -colored silk, with knots of the same fabric. Biesed out and lined with white silk. Amsterdam (possibly) silk Jacket with upright collar, slanted front buildings and narrow sleeves of mocha -colored silk, with knots of the same fabric. Biesed out and lined with white silk. Amsterdam (possibly) silk

Dress ca. 1818 American. Dress 84418

Party dress designed by Anita Monros, 1925. Museum: Museu Textil i d'Indumentaria de Barcelona.

Robe à l'Anglaise. Culture: British. Date: ca. 1780. Museum: Metropolitan Museum of Art, New York, USA.

Jacket 1840-80 Russian The dushegreya in Russian costume is also commonly known as a "body warmer". The style is seen both with and without sleeves. The cut is similar to the sarafan or the short epanechka bodice with the addition of padding and tubular pleats at the back. Sleeveless styles are cut straight across the body and hang from narrow straps. Dushegreya were worn over the sarafan for additional warmth when outdoors.Together with 2009.300.1668, this object was collected by Stewart Culin (1858-1929) during a collection expedition in 1923. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Possessing an insatiable curiosity and appetite for collecting objects of all kinds, Culin conducted over twenty worldwide collecting expeditions between 1901 and 1928. The trips covered American Indian territories, New England, Asia, India, Great Britain, and all of Eastern and Western Europe. The seven expeditions between 1917 and 1928 were specifically foc

Petticoat. Culture: American. Date: 1860-70. Museum: Metropolitan Museum of Art, New York, USA.

Veil. Culture: British. Date: ca. 1830.Hat veils like this were worn both to partially conceal the face modestly and also off the face, around the hat, to decorate it, as well as to facilitate flirtatious glances. Museum: Metropolitan Museum of Art, New York, USA.

Ceremonial Coat 1884-90. Ceremonial Coat. 1884-90. Cotton, silk, and metal wrapped thread; embroidered. Made in India. Main dress-Menswear

Not scratched. Wedding dress. Silk. 1898. Galliera, fashion museum of the city of Paris. 51776-1 Cream, back, woman, haute couture, female mode, female model, married dress, silk, elegance

Talma of mechanical lace around 1864: black lace cape and black taffeta skirt. Galliera, fashion museum of the city of Paris. Black lace cape, feminine, woman, skirt, second empire, black taffeta, mechanical lace talma, veil

Edouard Lachenal and Henry Caro-Delvaille (1876-1928). "Young woman with a jade green dress and the blue belt". Earthenware. Museum of Fine Arts of the City of Paris, Petit Palais. 25794-12 Accessory, faience, woman, mode, decorative object, statuette, hat

Afternoon dress 1855-1903 American. Afternoon dress 106430

Cape last third 18th century American or European Cloaks in one form or another were popular items of dress in the American colonies from the time of the early settlers. This particular type of cloak, called a "cardinal" because of its color, is made of a closely woven wool cut on the bias and left with a raw edge along the hem. The hooded cape is a variant of the capuchin, or monks habit. It is gathered in a circular shape at the back to stand high without crushing the mobcap or coiffure underneath. The vestee is a practical solution for keeping the upper torso warm while leaving the hands free. By the late eighteenth century cardinals could be bought ready-made in England; thus, it is possible that this cape was imported rather than made in the colonies.. Cape. American or European. last third 18th century. wool

Attraction of bridal dresses in the exhibition 'There comes the bride ... in white or in black'. .

Flying dress ". Green silk damas. 1730-1740. Galliera, fashion museum of the city of Paris. 101982-6 Haute couture, female mode, female model

Cruel charmeuse silk wedding gown with long trail, sluice model with small v-neck and back closure with long row of dust buttons. Cruel charmeuse silk wedding gown with long trail, sluice model with small v-neck and back closure with long row of dust buttons. Model: Princess with two narrow paths center front, two narrow middle-backs and two wider side rinks, which extend as bells wide into hem and drag. Small V-neck with two standing lobes. Shoulders wrinkled on the front. Rear closure with contiguous row of dust buttons; from the neck to the waist. Long slightly-fitting sleeves with dust buttons at the wrist. The trail starts from the side buildings and runs around. Decoration: The only decoration consists of satin piping, which has been taped in all six seams.

Woman's Dress

Pink Crêpe's slip dress trimmed with a wide strip of appliqué side, Madame Watrigant, 1920 - 1930 Pink crepe de Chine slip dress with a wide strip apliqué side. Straighting model, without coupe and taillenaden. Thin straps. Medium length model. Left front the monogram: GHB. Upstairs and below decorated with a 25 cm wide strip of machine side, which runs down in a point left and right. Hereby a underpants or 'directoire' (inv.no. BK-1986-64B). Brussels . Pink crepe de Chine slip dress with a wide strip apliqué side. Straighting model, without coupe and taillenaden. Thin straps. Medium length model. Left front the monogram: GHB. Upstairs and below decorated with a 25 cm wide strip of machine side, which runs down in a point left and right. Hereby a underpants or 'directoire' (inv.no. BK-1986-64B). Brussels .

Evening Japon of Green -Brown Rayon Crêpe, Anonymous, 1948 Evening Japon of green-brown Rayon Crêpe with a flowering body with v-neck with shawl collar and half-length sleeves; Clocking skirt and a straight tailla council with waistband of navy blue grosgrain. The closure in the left side seam is by means of metal press studs; The shoulder fillings are covered with green -brown district. The inner body is made of bottle -green district. The skirt is not fed. The wide shawl collar is pleated and ends crosswise under the waist. The collar is held together on both sides by a narrow horizontal strap of the green -brown Rayon Crêpe. From the waist, three stretched folds run to the left where they end in deep folds on the left hip. Netherlands rayon. crepe (textile) Netherlands

TRAJE REGIONAL VIUDA RICA DE TORO (ZAMORA). Location: MUSEO DE ARTE POPULAR. MADRID. SPAIN.

Wedding dress 1884 American. Wedding dress 84419

Fashion exhibition of Jean Paul Gaultier, Montreal, Province of Quebec, Canada, North America

Wedding dress. White embroidery white cotton state at Beauvais point. 1855. Galliera, fashion museum of the city of Paris. WEDDING DRESS Embroidery, cotton state, feminine, model, beauvais point, married dress, second empire, crinoline

Cape 1890s American. Cape. American. 1890s. wool, silk

Shirt from Cracovian Garment of One of Stanisław Wyspiańskis Children unknown

Summer set in gray linen canvas, around 1870. Galliera, fashion museum of the city of Paris. Summer set, feminine, woman, coat, second empire, linen canvas, hat, dress

Pink crepe chine slim down with a wide strip appliqué side. Pink crepe chine under dress with wide strip applliqué side. Right-hanging model, without coupe and tailles. Thin straps. Half-length model. Left for the monogram: GHB. Above and under decorated with a 25 cm wide strip machine side, which left and right down in a point. Having heard a underpants or 'Directoire' (Inv.no. BK-1986-64b).

Evening ensemble. Culture: European. Designer: Jeanne Hallée (French, 1880-1914). Date: 1897-98. Museum: Metropolitan Museum of Art, New York, USA.

Original Kleidung, Schlafrock, von Sisi, ehemalige Ausstellung im Schloss GödöllÅ, Ungarn *** Original Clothing, Robe, from Sisi, former Exhibition at Castle GödöllÅ, Hungary 1033903024

Tamara Karsavina in the Ballet The Firebird (L'Oiseau de feu) by I. Stravinsky, Ivanov, Dmitry Iosifovich (1880-1938)

Corset ca. 1893 American. Corset 86395

Man's Suit (Coat and Breeches)

Fashion, England, 19th century. Charles Frederick Worth (1825-1895), Ball dress in satin and cream color tulle, around 1865.

France, Pas de Calais, Calais, Musee de la Dentelle et de la Mode, museum of lace and fashion, lace women's garments from the early 20th century.

Metaphor for loneliness, faceless female dancer posing in studio

Coat (burnous ). French soldiers in the North African colonies adopted this traditional local cape for its functional use. In the mid-19th century this burnous gave rise to a new fashion in womens coats named after the original. They were decorated with fringes and tassels and generally had a hood. Besides being called burnous, these capes were also known as a bedouïne or Talma.

. Pop, presenting a Miss, dressed in a dress consisting of three parts, a brisket of plain cream silk, a skirt of pink drying liseré with floral and lace motifs in white and black, about which a short-sleeved lace-up of solid light green side.

A Creole, c. 1810 - in or before 1839 A loose figure from a diorama by Gerrit Schouten, representing a Creole woman, standing. Her left hand rests on her head, her right hand points to the ground. She is wearing a pleated red skirt with a white cloth with a holes motif and a blue striped shawl or pangi over it. She wears a solid headscarf, bracelets (below and top) and ankle tires and a necklace. Her upper body is uncovered. She is barefoot. A figure with a similar position occurs on a diorama with a du, a dance festival of people in slavery on a plantation, in the collection of the Barbados Museum. Suriname paper. glue. paint (coating) painting slavery; serfs and the enslaved Suriname

Evening dress 1898-1900 House of Worth French Worth's black roses suggest the melancholy and wistful world of poets Charles Baudelaire and Algernon Charles Swinburne. While less innovative than his famous father--who is known for establishing the standards and practices of the haute couture--Jean Philippe Worth nonetheless was technically proficient and, in this example, demonstrates that he knew the dramatic reading of a textile in black and white.. Evening dress. French. 1898-1900. silk, cotton, glass

Tennisjapon with long sleeves and wide waistband, of transparent woven white cotton, decorated with stitched and open seams, white -embroidered flower and leaf branches and lace., Anonymous, 1900 - 1910 Netherlands cotton (textile). embroidering Netherlands cotton (textile). embroidering

Walking dress 1885-90 probably American. Walking dress. probably American. 1885-90. silk, metallic thread

Figure in the Shape of a Woman with a Woman with, Royal Porcelain Manufaktur, 1911 Image of porcelain without foot in the form of a woman. Painted in underly glaze blue, yellow, brown and black. The woman wears a yellow dress and is wrapped in a cloak. She is wearing a mask and a large hat, which is slanted on her head. In the hair a pearl necklace. Marked on the inside with the scepter, the Rijksappel with K.P.M. In Blauw, annual letter L (July 1911, model from December 1910), M15 and a Y symbol. On the back, at the bottom of the mantle, signed with 'Wackle'. Art Nouveau. Berlin porcelain. glaze painting / vitrification Image of porcelain without foot in the form of a woman. Painted in underly glaze blue, yellow, brown and black. The woman wears a yellow dress and is wrapped in a cloak. She is wearing a mask and a large hat, which is slanted on her head. In the hair a pearl necklace. Marked on the inside with the scepter, the Rijksappel with K.P.M. In Blauw, annual letter L (July 1911

Child habit. Simple fluted, silk, green, liners, taffeta, silk, beige, canvas, linen, beige, wood buttons covered with fabric. 1790-1795. Galliera, fashion museum of the city of Paris. 60569-1 Beige, button, simple cane, linen, child fashion, silk, taffeta, canvas, green, clothes

Dress. Culture: French. Date: ca. 1861. Museum: Metropolitan Museum of Art, New York, USA.

Evening coat. Culture: French. Design House: Callot Soeurs (French, active 1895-1937). Date: 1916-17. Museum: Metropolitan Museum of Art, New York, USA.

Dolman 1885-90 probably American. Dolman 107601

Tea Gown. Dated: c. 1937. Dimensions: overall: 34.5 x 19.2 cm (13 9/16 x 7 9/16 in.). Medium: watercolor and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Joseph L. Boyd.

Female Saint ( St Agatha). She stands slightly forward with the right foot on a ground and keeps a fragment of a opened book in the left hand. Under the keids with scalloped neck cutting and sleeves, with splits, a thinly pleated shirt. The sheath hangs from the shoulders that is included in the arms. Under the skirt of the keurs the blunt right-hand shoe and part of undergarments. For the waist a dependent sash. The head is missing.

Jeanne Lanvin (1867-1946). Evening dress "Concerto". Moroccan silk pancake, removable collar in silk tulle embroidered with Celluloid Cabochons, 1934-1935. Don de Mademoiselle Gisèle Marie. Galliera, fashion museum of the city of Paris. 77448-18 Years 30 thirty 1930, beige, embroidery, cabochon, belt, celluloid, removable collar, fall-winter collection, haute couture, long handle, artificial matter, natural material, feminine mode, female model, black, long dress, long dress, Silk, evening outfit

. Pop, presenting a baby in a baptisme veil, rooted in a cream-colored silk dress with short, styled sleeves. The child lies on a baptismal veil of cream-white silk, pleated, trimmed with lace.

Man's Topcoat. Dated: 1935/1942. Dimensions: overall: 48.7 x 29.5 cm (19 3/16 x 11 5/8 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Henry De Wolfe.

Coat ca. 1860 Latvian The ultimate luxury of the North was wintry warmth achieved in the white-on-white harmony of a textural eiderdown coat. A luxurious camouflage in the monochromatic landscape of the season, this coat anticipates a later version worn by Czarina Alexandra.. Coat 84280

Jessie M Benge, Dress, c 1936 Dress

. POP, representing the midwife or Baker, dressed in a black high-enclosed jacket, a black-length skirt of black-brightened woolen fabric, and a white apron of linen batist.

Frances Cohen, Man's Smock and Trousers, c 1936 Man's Smock and Trousers

Vest. Canada, Ontario, Hamilton, 1846. Costumes; principal attire (upper body). Silk satin with silk supplementary weft patterning

Costume setup around 1813. First costume setup in the Special Collections, 13-04 up to and including 03-11 2013

Hanging rack with garments; Fashion DNA exhibition in the new church ..

Headdress made with the hair of the deceased, worn during the mourning period in Papua New Guinea.

mw. Andres-Van Embden, Dollhouse doll, papier-mché head with inlaid brown glass eyes, wooden forearms, fabric body and legs, dressed in an ankle-length brown gray dress, doll model papier_maché wood glass leather silk cotton linen, sewn textile Doll house doll representing workman. Woman with papier maché Head and painted face with inlaid brown glass eyes. Long narrow hands of very light pink painted wood. The hair is painted on and is dull black in color. On the head hat of white tulle with star motifs underneath black silk hat. Along the edge of the face an edge of lace ruffles with iron wire. At the bottom of the rucherand there is ring with red bead on each side. On the hat and along the neck wide champagne-colored silk ribbon (fragile) 1868 Sibilla van Embden playing kitchen

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