Historical American Dresses

Collection of elegant vintage dresses from the 19th century, showcasing intricate designs, rich fabrics, and a timeless aesthetic.

Woman's Tea Gown. Liberty & Co. (England, London, founded 1875)Liberty & Co. (England, London, founded 1875). England, London, circa 1895. Costumes; principal attire (entire body). Silk twill with supplementary weft-float patterning

Morning dress 1859-60 American. Morning dress 90869

Dress. Culture: American. Date: ca. 1886. Museum: Metropolitan Museum of Art, New York, USA.

Ensemble ca. 1890 American. Ensemble 106710

Dress 1826-29 British. Dress 98215

Morning dress 1887 American. Morning dress 175608

Morning dress ca. 1827 British. Morning dress. British. ca. 1827. cotton

Dress mid-19th century American. Dress. American. mid-19th century. silk

Morning dress 1872-74 American. Morning dress 107761

Wedding Ensemble 1850-55 American. Wedding Ensemble 173549

Woman's Tea Gown. Liberty & Co. (England, London, founded 1875)Liberty & Co. (England, London, founded 1875). England, London, circa 1895. Costumes; principal attire (entire body). Silk twill with supplementary weft-float patterning

Dress ca. 1880 Mon. Vignon French. Dress. French. ca. 1880. cotton

Dress. Culture: American. Date: 1876-77. Museum: Metropolitan Museum of Art, New York, USA.

Worth, bodice and skirt, more textile fragment (common name), 1890. Corsage and satin skirt border white paperback with yellow bouquets, black velvet knots. Baleined bodice, back on the back, size cord and frozen folds skirt, lining. White satin fragment, yellow and green paperback. Palais Galliera, fashion museum of the city of Paris. Application of black velvet ribbons, patterns of broché yellow bouquets.

Satin gown unknown

Morning dress ca. 1865 American. Morning dress 173600

Dress. Culture: American. Date: ca. 1857.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. Museum: Metropolitan Museum of Art, New York, USA.

Wedding dress 1896 House of Worth French Employing a textile design that mirrors itself from selvage to selvage, this dress is pieced into a perfectly symmetrical image at the center front. Impeccable finishing details such as this distinguish the couture garment from the countless products of the ready-to-wear market that flourished in the mid- to late nineteenth century as a result of the Industrial Revolution. The use of the textile pattern to emphasize the woman's fashionable hourglass silhouette, achieved with the help of a steel-boned corset, further demonstrates the mastery of dressmaking technique at the House of Worth, as do the tiny handstitched cartridge pleats at the shoulder that create voluminous sleeves. The design of this sleeve, broad at the upper arm and fitted at the lower arm with the sleeve extending over the back of the hand, refers to sixteenth-century dress styles.. Wedding dress. French. 1896. silk, pearl

Woman's Dress (Bodice, Skirt, and Belt)

Woman's Dress and Petticoat (Robe à la française)

Pelisse ca. 1820 probably American This is the quintessential women's outerwear garment of the early 19th century. Due to the nature of the fashions of the time, the pelisse had to be very fitted and tailored to better cover the insubstantial textile of the gowns underneath. Therefore they tended to be very fashionable and follow the lines of Empire dress. The historical references in the puffed sleeves and the military influences of the braid trim here are indicative of the time and masterfully executed in this example. 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 decorati

Evening dress 1809-10 American Fine Indian muslin used in the Empire period was manufactured and embroidered in India and exported to Europe and America. The finest and most sheer cottons were coveted because for these qualities. The embroidery on this dress is beautifully configured within the lines of the gown, most notably the way the lattice pattern is completed over the seam at front and the leaf pattern appears at intervals.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 Napole

Evening dress ca. 1872 American This evening dress belonged to Amelia Beard Hollenback (1844-1918) who was born and raised in Brooklyn and married the prominent financier and philanthropist John Welles Hollenback (1835-1927) in 1874. The dress was originally worn in 1862, when Amelia Beard was a bridesmaid at the marriage of James and Nellie Sparkman, long time residents of Williamsburg, Brooklyn. In the early 1870s, prior to her marriage, Amelia altered the dress into its current polonaise style when, "on very short notice for a party 'she had nothing to wear.'" The delicacy of the organdy and mull and the beautiful execution of the alteration exemplify Amelia Beard's resourcefulness and talent with dressmaking.. Evening dress 158211

Evening dress 1902-3 American. Evening dress 106608

Dress 1800-1805 American 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 the form of a tubular dress with skirts that were gathered under the bust with some fullness over a pad at the back. As the style progressed the skirts began to flatten at the front and solely gather from the bodice at the center back. The

Skirt with smooth front, pleated back and side splits of inserted white cotton with brown work in oval with black dots and colored diamonds, anonymous, c. 1830 - c. 1835 Skirt horing with a dress of white cotton, printed with colored flowers and brown-purple ornaments. Wide foot -free skirt; Spacious from behind. cotton (textile) printing Skirt horing with a dress of white cotton, printed with colored flowers and brown-purple ornaments. Wide foot -free skirt; Spacious from behind. cotton (textile) printing

Day dress. Taffeta shaped, tulle, rucked with pale blue silk. 1861-1862. Galliera, fashion museum of the city of Paris. Sowing pea. White, day dress, second empire, taffeta, tulle

Dress with a collar and a cape. unknown, author

Robe à l'Anglaise ca. 1747; altered 1770s British Believed to have been worn as a wedding dress in 1747, this gown displays the exquisite patterning of English dress silks of the period, with delicate flowers and asymmetrical cartouches disposed in a graceful meander across an open ground. The ivory silk faille is brocaded with three types of silver thread, which add rich texture to the lively pattern. Sumptuous textiles such as this one signified wealth and were admired for the brilliant effects of light reflecting off their surfaces. The flat silver strip brocaded at the centers of the flower blossoms creates a coruscating effect, while the crinkled silver frisé of the stems produces a more restrained luster. Gowns of white and silver (both colors symbolizing purity) were fashionable in the mid-1700s among aristocratic and wealthy brides. Although altered in the 1770s, the dress remains a superb example of the lasting appeal of the eras fine silks.. Robe à l'Anglaise. British. ca. 1

Dinner ensemble. Culture: French. Department Store: (a, b) Kingsbury. Designer: (c, d) Dupuis-Jacobs. Date: 1874.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 skir

Evening ensemble 1883-84 British. Evening ensemble. British. 1883-84. (a, b, c) silk, cotton; (d, e) silk, leather

Dress French ca. 1840

Ensemble ca. 1832 British. Ensemble 108057

Sack-back Gown (French dress), Anonymous, c. 1760 - C. 1765 Cream -colored silk, consisting of a overjapon (A) and a skirt (B) decorated with wrinkled strips of ditto side finished with narrow passement and light blue silk loops. Netherlands (possibly) whole: Silk. Lining: Linen (Material). Passement:. Cream -colored silk, consisting of a overjapon (A) and a skirt (B) decorated with wrinkled strips of ditto side finished with narrow passement and light blue silk loops. Netherlands (possibly) whole: Silk. Lining: Linen (Material). Passement:.

Doucet, 1900, big canvas with parma reflections, black embroidery with points. White mechanical Valencian bodice, sleeves mounted with small folds. Belt made up of a large black velvet ribbon Palais Galliera, fashion museum in the city of Paris

Evening dress. Culture: American. Date: ca. 1848.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.

Dress 1880 American This is an American-made dress for a 50th wedding anniversary. The style evokes 18th century and would have been appreciated for its beautiful embroidery and lace trim. 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 focu

Body of dress, composed of gray beige launched silk with pink roses, green gaze de lisse and yellow -green velvet, from Kerm, c. 1894 - c. 1985 Body of dress, composed of gray beige launched silk with pink roses, green gaze de lisse and yellow -green velvet. Model: blooming, before and back ending in a point with a low boat neck and poffing half -length sleeves. Body is composed of Gaze de Lisse, launched silk, velvet and band velvet. Lined with pink taf side and foresis of ribs. Thread in the middle behind. Four square shoulder pieces made of double folded and with light green satin lined velvet on the paped sleeves. The pointed lap is entirely of velvet. A large, long-ended collar of Etskant in Neo-Renaissance style has been attached to the body. Because of the complicated process, it was very expensive in the course of the 19th century. Brussels whole: Silk. silk:. whole: velvet (fabric weave). whole: Gauze. whole:. Lining: Taffeta etching / cutting Body of dress, composed of gray b

Dress ca. 1885 American. Dress. American. ca. 1885. cotton

Chemise. Culture: American. Date: 1876. Museum: Metropolitan Museum of Art, New York, USA.

Japon with lap blouse. Jap of cream-white crepe chine with wide skirt with smock work on hips and blousing body with loose, tunic-like buildings with embroidery in white and light green silk; 'And Canadienne'. Model: Ankleng, with skirt wrinkled in the waist. Low round neck (probably losing and entertained in the past) And sized long sleeves with styled cuffs that fall out of hand. Blying body, wrinkled fit on the shoulders and open soapyes in the side seams. Front and rear loose-dependent building that has to give the impression of a tunic. Accessive belt of soft green satin, diagonally on the thread. Skirt lined with cotton batist; Lack with ribs and ditto led off with a narrow slip side. Decoration: Embroidery of star-shaped 'flowers' between fern like ornaments.

Ball gown 1876 French. Ball gown 108244

Walking dress ca. 1885 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 back

Dress ca. 1805 American 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 the form of a tubular dress with skirts that were gathered under the bust with some fullness over a pad at the back. As the style progressed the skirts began to flatten at the front and solely gather from the bodice at the center back. The s

Dress ca. 1878 probably American. Dress 107632

Dress. Culture: American. Date: ca. 1858. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1830s American. Dress 108079

Gown made of patterned muslin unknown

Afternoon dress ca. 1883 Catherine Donovan American, born Ireland. Afternoon dress 173337

Morning dress. Culture: probably American. Date: 1840-45. Museum: Metropolitan Museum of Art, New York, USA.

Body of Jap, composed of greybee launched silk with pink roses, green gaze the Lisse and yellow green velvet. Body of Jap, composed of greybee launched silk with pink roses, green gaze the Lisse and yellow green velvet. Model: Blossoming, front and rear ending in a point with a low boot neck and patting half-long sleeves. Body is composed of Gaze de Lisse, launched silk, velvet and tire veal. Lined with pink taffeta and last veins. Row connection at mid-backs. Four square shoulder pads made of double-folded velvet with light green satin on the puffing sleeves. The pointed lap is entirely velvet. A large, long-term collar of Etkant in Neo-Renaissance style is secured. Because of the complicated process, it was, in the course of the 19th century, it was very expensive in the course of the 19th century.

Dress ca. 1880 M. A. Connelly. Dress 102322

Wedding dress 1879 American. Wedding dress. American. 1879. silk

Afternoon dress ca. 1862 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. ca. 1862. silk, cotton, wool

Afternoon dress. Culture: American; American. Designer: Catherine Donovan (American (born Ireland), 1826 ()-1906); Catherine Donovan (American (born Ireland), 1826 ()-1906). Date: ca. 1883. Museum: Metropolitan Museum of Art, New York, USA.

Robe à la Française. Culture: French. Date: 1770-75.The striped textile here is indicative of the change in aesthetics around 1770 to a more neoclassical taste, less florid than the silks of the decades prior to them.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 paniers created from padding and hoops of different materials such as cane, baleen or metal. The robes à la française are renowned

Dress 1750-75 French. Dress 86928

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

Evening dress ca. 1880 Wechsler & Abraham American This evening dress was made by a Brooklyn dressmaking firm which was well-known at the time. Its captivating textile makes it a unique and elegant example of the period.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

Dress late 1860s French. Dress 100025

Dinner dress 1900-1903 Rouff French. Dinner dress 158742

Woman's Dress and Train

Morning dress 1806-19 American. Morning dress 107934

Gown with a diamond-shaped back panel, anonymous, c. 1790 - c. 1810 Kanariegele silk with high waist, diamond -shaped back deployment, long sleeves and along the skirt zoom trimmed with a white and yellow silk passion with fringes. Model: Round neck cut with tunnel in which braided yellow silk cord. Closure in the middle front at high waist by tunnel with braided yellow silk cord. Four vertical coupling seams on either side of the split. Sleeves sliced diagonally on the wire, wide -ranging over the hand. Fruit -shaped back with two ribs in the middle. Inside of linen with closure in the middle front by means of three ribbons. Sleeves lined with ditto linen. Skirt with split in the middle and two stacked folds on either side. Skirt has a job of the dust width in the middle and behind (71.5 cm). Two narrower tracks and a used key on both sides. In the middle behind a deep bell jar with two stacked folds on both sides. The hem of two back properties shows traces of a half round seam, whe

Evening dress. Culture: American. Department Store: M.E. Curran & M.E. Clancy. Date: ca. 1873. Museum: Metropolitan Museum of Art, New York, USA.

Night dress, 1933-1935. Museum: Museu Textil i d'Indumentaria, Barcelona.

Dressing gown. Culture: American. Date: ca. 1850. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1805-10 French. Dress 84026

Dress ca. 1900 American or European. Dress 85064

Dress Made of Printed Fabric, anonymous, 1775 - 1785 Skirt horizing with a ladies' costume of printed cotton (Chintz) with a pattern of stripes and bouquets. Sainted from the front, sewn from behind in folds to waistband. At the bottom of a wide volant and a rough. Netherlands cotton (textile). chintz chintz Skirt horizing with a ladies' costume of printed cotton (Chintz) with a pattern of stripes and bouquets. Sainted from the front, sewn from behind in folds to waistband. At the bottom of a wide volant and a rough. Netherlands cotton (textile). chintz chintz

Robe à la Française 1740s British A perfect example of the robe à la française at mid-century, this hand-painted silk dress displays the opulence, Orientalism, and insatiable baroque excess of the time. Layers build on layers; flowers terrace out from the two-dimensional on the textile, to silk flowers, to nets laden with trapped flowers and floss. The silhouette is perfectly of the era: panniers dilate the hips; a narrow waist is achieved by the corset, which further pushes up and supports the bust. A deep décolletage is rendered more or less modest with insertions of bits of cloth, and the sleeves are finished with layers of engageants that are generally just basted in for easy detachment and washing and are thereby useful in keeping the valued dress clean.. Robe à la Française. British. 1740s. silk, pigment, linen

Day dress. Brothel brown silk with floral garlands. 1861-1863. Galliera, fashion museum of the city of Paris. Day dress Flower, floral garland, day dress, second empire, brown silk

Mantle. Green gray taffeta, embroidered even tone, long fringes, 1850. Galliera, fashion museum of the city of Paris. Motifs of embroidered eglantins (flowers). A FARGE, feminine, female models, palette, second empire, vert

Dress 1890 American 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.. Dress. American. 1890. silk, linen

Dress. Culture: British. Date: 1880s. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Dress. Europe, circa 1825. Costumes; principal attire (entire body). Silk net with silk embroidery and silk satin trim

Dress. Culture: European. Date: 1819-22. Museum: Metropolitan Museum of Art, New York, USA.

Evening 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.. Evening dress 159443

Tea gown early 1890s American. Tea gown 106893

Robe à la Polonaise 1780-85 American The polonaise gown first came into fashion in the 1770s. It was a style of gown with a close-fitting bodice and the back of the skirt gathered up into three separate puffed sections to reveal the petticoat below. The method of suspending the fabric varied. Most often the dress had rows of little rings sewn inside the skirt through which a cord ran from hem to waist. Alternatively, ribbon ties would be used, with the ribbons forming decorative bows. However, in some instances the skirt was held in place by simple cords sewn to the inner waist of the dress and looped over buttons attached to the outside waistline. The stays underpinning the bodice of the polonaise were not markedly different from those which supported the robe à la française.Russian, German, and French Rococo styles absorbed chinoiserie into a seamless whole of frivoles, fêtes galantes, and colorful narratives. One particular syncretism is evident in painted wallpapers and dress, wher

Morning dress. Culture: American. Date: ca. 1875. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1814 American The Empire fashion waist was just under the bust, truncating the torso. Quilted corsets with side boning and a long center-front busk reinforced the columnar silhouette. As the shoulders are held back, the bust seemed even higher.. Dress 85324

Woman's Dress Ensemble. Europe, circa 1868. Costumes; principal attire (entire body). Silk taffeta with silk satin and linen lace trim

Dress. Culture: British. Date: 1829. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1853-57 American. Dress 103609

Fashion, 19th century. Women's dress.

Smock ca. 1830 probably American. Smock 107982

Damuu Canezou and day dress, carried by the wife of Doctor Gachet. Dress: white cotton muslin, red and black flower prints. Damn: cotton muslin embroidered with pen. Around 1866. Galliera, fashion museum of the city of Paris. Damn Canezou and day dress, carried by the wife of Doctor Gachet Canezou, chale, doctor, wife, damn, foil print, white cotton mousseline, plumetis, day dress, red and black, second empire

Dress. Culture: American. Date: 1838-40. Museum: Metropolitan Museum of Art, New York, USA.

Fitted Gown (robe ajustée). In the 18th century gowns fitted at the back of the body were called robe ajustée. The striking pattern of the fabric - playfully arranged exotic plants and tiny buildings - was fashionable in the 1730s and 40s. The sharply pleated form of the cuffs is typical of the first half of this century.

Woman's Hat (Bonnet). Europe, circa 1895. Costumes; Accessories. Hat: bast fiber, plaited, with silk-grosgrain ribbon, and wire; Hatpin: metal and jet

Promenade Dress. A promenade costume was less formal than an evening gown, and was worn in daytime during outdoor activities. In general promenade costumes were made of plain fabric, trimmed with strips in a contrasting colour and embroidery, ribbons or fringe. A surprisingly thin printedcotton fabric was used for this costume.

Overjapon with elbow sleeve with double dependent cuffs, mid-front with pleated strips, pointed collar of white silk with multi-colored bordered flower garlands .. Sooner managing at a wedding gown of white multi-colored bordered silk with flowers and leaves. Far-fitting bodice. Wide round neck, smooth half sleeve with hanging double from behind longer cuff. In the middle of dependent slip. Seven-lane straight skirt, mid-front outstanding.

Woman's Ensemble (Dress, Hat, and Fan). Portugal, circa 1825. Costumes; ensembles. Dress: silk satin with silk, silk-chenille, and metallic-thread embroidery. Hat: silk satin with metallic-thread embroidery; fan: silk satin and silk net with foil and sequins

Dress. Culture: French. Date: ca. 1823. Museum: Metropolitan Museum of Art, New York, USA.

Skirt with queue and trail of purple velvet, decorated with multicolored floral applications .. Skirt managing at a role of purple velvet. Skirt with velvet names; Trail and rear panels of purple silk with excited velvet flower branches. The lining is of a purple side and equipped with three strips.

Body decorated with 'Point de Bruxelles' (Brussels gauzy) intermediaries and strips. Body decorated with 'Point de Bruxelles' (Brussels gauzy) intermediaries and strips. Model: close-fitting body, with upboard board, long sleeves. Part of a wedding juke of satin duchesse.

Evening overdress 1797-99 British This lovely overdress indicates the fine craftsmanship and textiles used at the end of the 18th century to coordinate with the exaggerated fashions of the high waist, large headdresses and skimpy silhouettes. 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 the form of a tubular

Body decorated with 'Point de Bruxelles' (Brussels mesh side) Tussels and strips, Madame Heymans Besselink, 1902 Body decorated with 'Point de Bruxelles' (Brussels mesh side) intermediate sinks and strips. Model: close body, with upright collar, long sleeves. Part of a wedding gown by Satin Duchesse. Utrecht . Brussels Gaze Point Utrecht Body decorated with 'Point de Bruxelles' (Brussels mesh side) intermediate sinks and strips. Model: close body, with upright collar, long sleeves. Part of a wedding gown by Satin Duchesse. Utrecht . Brussels Gaze Point Utrecht

Sack-Back Gown (robe à la française). Towards the end of the 18th century gowns were regularly made of cotton rather than silk. The imaginatively handworked cotton chintzes from India served as inspiration. This dress was worn in Friesland, where chintz was very popular. Even though gowns in this period were often embellished with decorative folding, the folded hexagons on the front of this dress are fairly unique.

Woman's Dress. circa 1850. Costumes. Silk satin with silk and metallic-thread supplementary patterning and silk net with metallic-thread embroidery

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