Historical Fashion Dresses

Elegant historical dresses and gowns from the 18th and early 19th century, showcasing elaborate fabrics and intricate designs, representing vintage fashion.

Woman's Dress. Matching alternative bodice and bag of textile fragments to 1952M29.1

Morin-Blossier, French designer. Transformation dress with its evening bodice. Shaped with stripes and flowers, muslin embroidered with peas, pink silk satin, brown velvet ribbons, around 1885-1889. Galliera, fashion museum of the city of Paris. 77579-5 Beige, brown color, pink color, salmon color, long handle, female mode, knot, transformation dress, day dress, evening dress, long dress, 19th 19th 19th 19th 19th 19th century

Town dress. Gray taffeta printed with white and red lines, white braid woven with red, 8 covered buttons. 1866. Galliera, fashion museum of the city of Paris. Town dress Feminine, braid, scratch, town dress, second empire, gray taffeta, crinoline

Dress ca. 1830 American. Dress 107990

Day dress (5 pieces) - "Small costume". Green fault, Worth & Bobergh claw, 7 rue de la Paix, Paris. 1869. Galliera, fashion museum of the city of Paris. 37925-1 Five, feminine, claw, female model, small suit, day dress, second empire, green, part

Day dress (5 pieces) - "Small costume". Green fault, Worth & Bobergh claw, 7 rue de la Paix, Paris. 1869. Galliera, fashion museum of the city of Paris. 37925-1 Five, feminine, claw, female model, small suit, day dress, second empire, green, part

Town dress. Blue and black striped taffeta silk. 1865. Galliera, fashion museum of the city of Paris. Town dress Blue, black, town dress, second empire, taffeta silk raye

Ball Dress After Maria Amparo, Fr. Chartory unknown

Petticoat. Culture: American. Date: 1850-60.During the nineteenth century, women had an extensive array of underpinnings, which could include a chemise, drawers, corset, corset cover, camisole, skirt supports and petticoats. Although to the modest nineteenth-century woman, it would be scandalous for any of these items to be seen, some underclothes were made of sumptuous silks and beautifully decorated with embroidery, ribbons and lace. The meticulous horizontal and diagonal tucking on this petticoat, although done by machine, would have been time-consuming, and exemplifies the desire and importance during this time of having beautiful underclothes. The petticoat was the ideal palette for embroidered, tucked and pleated decorations accented with delicate lace and silky ribbons. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: American. Date: 1882-83. Museum: Metropolitan Museum of Art, New York, USA.

Dressing gown 1897-1900 Wanamaker's American. Dressing gown 107180

Dress 1888-89 French. Dress 107067

Dinner dress. Culture: American. Date: 1878-80.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 ba

Gown with a belt. During the first quarter of the 19th century, rouleaus, wadded rolls or coils, were often used to embellish dresses. These coils could be made out of various materials and in differing thicknesses, as well as in contrasting colours or patterns. The fabric was cut on the bias to ensure that the rolls could be filled to the maximum and puff out sufficiently.

Evening dress. Culture: American. Date: 1850-55.This subdued plaid of this dress was designed after Scottish tartans which became popular in the 1850s due to Queen Victoria (1837-1901) taking part-time residence at Balmoral Castle in Aberdeenshire, Scotland. The plaid stripes alternating with more subdued plain stripes draw particular attention to the beauty of the textile. 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 gradu

Ball gown ca. 1864 Emile Pingat French. Ball gown 82642

Sack-back Gown with skirt (French dress), Anonymous, c. 1775 - C. 1785 Klapon of Robe à la Française consisting of a dress and matching skirt, silk with vertical yellow and white lanes and spreading motive multicolored bouquets, with oval pouffes and lined with a multicolored Chiné à la branche. Model: The dress has a number of deep bell pleats on the back, half -length tight -fitting sleeves with Engagantes, breastpiece with closure by means of buttons in the middle front. The skirt consists of full lanes at the front, while the invisible parts of the skirt only consist half of the floral side and half of the plain white taf side. In the right sleeve there is one round lead disk, which had to ensure a good fall of the sleeve. Decoration: Along the neck and end of the sleeves trimmed with a wrinkled strip of silk decorated with multi -colored silk passion. The dress is decorated along the front buildings with a double row of filled, oval pouffes of the silk fabric trimmed with the silk

Evening dress 1865 American. Evening dress 173594

Summer set (3 rooms). Red striped beige linen canvas. 1868-1869. Galliera, fashion museum of the city of Paris. ENSEMBLE D'ETE (3 PIECES) Summer set, feminine, mannequin, red stripe, second empire, beige linen canvas, crinoline

Summer set (3 rooms). Red striped beige linen canvas. 1868-1869. Galliera, fashion museum of the city of Paris. ENSEMBLE D'ETE (3 PIECES) Summer set, feminine, mannequin, red stripe, second empire, beige linen canvas, crinoline

Mourning dress 1850-55 American By the late Middle Ages in Europe, black had connotations of mourning, though it could also suggest worldly elegance and luxury, in part due to the costliness of black dye. Broadly worn as the color of grief during the nineteenth century, black could be perceived as both humble and sober or sophisticated and becoming. A shade of true deep black that did not quickly fade toward blue or brown was the mark of a fine-quality textile and the ideal for mourning attire. In their 1856 catalogue, Besson and Sons Mourning Store of Philadelphia assured prospective buyers of the quality of their black goods, promising only "what is of the proper shade of black." This simple afternoon dress, appropriate for the third, or ordinary, period of mourning, is composed of a taffeta woven with narrow horizontal bands and dots in soft black.. Mourning dress. American. 1850-55. silk

Dress ca. 1875 American. Dress 107606

Coat 1814-18 European. Coat 107936

Robe à la Française 1730-50 French. Robe à la Française 86973

Afternoon dress. Culture: American. Date: ca. 1855.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 1887-89 American. Dress 103568

Walking dress. Culture: American. Date: ca. 1865.This is a sophisticated walking dress with ties to pull the skirts up to ankle length, which allowed the wearer to walk comfortably. It was common in the 1860s for the length of the skirt to be adjusted for walking by being pulled up in ribbon loops. This would create puffiness at the back where more length generally had to be adjusted from the train. The puffing at the back eventually led to the back puff of the bustle silhouette which followed in the later 1860s. The typical 1860s pagoda sleeves represented here are particularly elegant with classy ruched inner bands, unlike the typical box pleating normally used for such decorative purposes. 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 fullnes

Dress 1880 American. Dress 107684

Robe à la Française 1760s French This cotton textile's exotic floral pattern alludes to Jean-Baptiste Pillement's chinoiserie designs. In this case, the French fabric interprets an Indian export fabric that itself was a copy of what was considered a Chinese pattern.. Robe à la Française. French. 1760s. cotton

Robe Volante ca. 1730 French This robe volante is an exceedingly rare example of a well-documented form of dress that marked the transition from the mantua of the late seventeenth and early eighteenth centuries to the robe à la française, the dress style that became ubiquitous in the eighteenth century. The unstructured silhouette of the robe volante, with its unbroken expanses of cloth, made it particularly appropriate for the display of large-scale patterning.. Robe Volante. French. ca. 1730. silk

Dress 1796-98 British. Dress 86873

Woman's Mantle. Emile Pingat (France, Paris, circa 1820 - 1901)Pingat (France, Paris, 1860-early 20th century). France, Paris, circa 1891. Costumes; outerwear. Wool plain weave and silk velvet with silk and metallic-thread embroidery, glass beads, and ostrich-feather trim

Day Dress. From around 1860 the round hoop petticoat (crinoline) was replaced by an oval one with a small bustle or tournure on the buttocks that placed more emphasis on the back. Two techniques were used for the decoration of the gown: part of it is printed, while the white parts of theborder were left undyed. The colour, too, is exceptional. The development of synthetic dyes gave rise to a host of new possibilities.

Day dress. Taffeta striped blue bright and gray blue. 1867. Galliera, fashion museum of the city of Paris. Grooves. Lace, day dress, Second Empire, Blue Raye Taffeta, Cotton Web

Ensemble. Culture: American. Date: ca. 1775.This dress is considerably less gaudy than continental and English clothing of the period. Yet, it is not lacking in sumptuousness. Rather, the green Spitalfields damask, attributed to Anna Maria Garthwaite about 1743-45, is richly displayed. The Costume Institute acquired this dress in 1994, knowing that it would be in the Museum's exhibition "John Singleton Copley's America." It has since appeared in our show "The Ceaseless Century." One could argue that the relative simplicity engenders more delight in the dress's inherent voluptuousness. Generations later, it was said that Boston ladies waited a year before breaking out their new Paris finery from Worth; perhaps the American sensibility in luxury goods is slow and deliberate. The outfit includes matching shoes. Museum: Metropolitan Museum of Art, New York, USA.

Ball gown. Black and pink grid silk muslin, pink silk ribbons. Around 1865. Galliera, fashion museum of the city of Paris. BALL GOWN Tile, feminine, mannequin, muslin, day dress, pink ribbon, second empire, beige silk, crinoline

Ball gown. Black and pink grid silk muslin, pink silk ribbons. Around 1865. Galliera, fashion museum of the city of Paris. BALL GOWN Tile, feminine, mannequin, muslin, day dress, pink ribbon, second empire, beige silk, crinoline

Full Evening Dress. The boat neck was reserved for eveningwear. Day dresses were higher-necked and usually had long sleeves. The pointed bodice of this dress is fitted with whalebones, and a medium-size crinoline (hooped petticoat) was worn under the skirt. The striped fabric, which became fashionable around 1855, is incorporated into the design both horizontally and vertically.

Pair of Womans Undersleeves. Europe or United States, circa 1855. Costumes; Accessories. Cotton plain weave with cotton cutwork embroidery (broderie anglaise)

Gown.Although fairly plain, this chequered cotton gown is nevertheless lavishly decorated. Around the neck and cuffs are gathered strips of fabric and twisted cotton cords. The skirt consists of four broad panels, each with a drawstring inside a narrow casing. This dress was supposedly worn by the wife of a mayor in Zeeland during Napoleons lighteningvisit to this province in 1811.

Dress 1895-99 American or European. Dress 106419

Baby's Long Dress, 1800s. France, 19th century. Embroidery; cotton on cotton; overall: 95.3 x 20.2 cm (37 1/2 x 7 15/16 in.).

Afternoon dress ca. 1874 French. Afternoon dress. French. ca. 1874. silk

Walking dress ca. 1885 American. Walking dress 174170

Robe a la française gown apron. unknown, author

Evening mantle ca. 1887 House of Worth French Worth's facility for working with fur is evidenced in this unique mantle. The graceful folds at the back and the collar flowing into the elongated front panels make this a phenomenal piece. The appealing pattern created by the lace enhances the overall silhouette and emphasizes the beauty of the fur. 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

Pelisse. Culture: American. Date: ca. 1820. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: American. Designer: Mme. Uoll Gross. Date: 1888.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

CARECO. Silk taffeta Liséré Paid. 1770-1790. Galliera, fashion museum of the city of Paris. Caraco, haute couture, border brooch, female mode, female model, silk, taffeta

Dress 1881-85 American. Dress 106983

Dress ca. 1884 American. Dress 107022

Dress. Dated: 1935/1942. Dimensions: overall: 54.9 x 42 cm (21 5/8 x 16 9/16 in.). Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Julie C. Brush.

Dress 1841-44 American. Dress. American. 1841-44. cotton

Court presentation ensemble ca. 1888 House of Worth French Charles Frederick Worth is considered the inventor of the modern fashion system, with its seasonal menu of evolving styles. The couture house he established in the mid-nineteenth century was considered the preeminent Parisian fashion establishment of its day. Its reputation was enhanced in no small way by its association with many of the aristocratic ladies of the French court. The influence of the house extended to all the royal courts of Europe, as far as Russia, and it was particularly favored by privileged American socialites.This particular gown was worn by Esther Chapin, whose great-great-granduncle was George Washington. Ordered with three bodices, it can be transformed into a dinner dress, a ballgown, and, as here, with the extraordinary train, into a court presentation gown. The spectacular voided velvet, woven in Lyons, is distinctive for its Aesthetic Movement palette. The pale, faintly mauve, pink satin ground contr

Dress ca. 1840 American. Dress 173295

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

Bodice. Culture: probably German. Date: 1830-35.This is an unusual garment, combining fashionable silhouette with regional detail. The lining and braid suggests that it is part of a German folk costume, but it is in the highly fashionable shape of the 1830s. Much skilled handwork went into the fabric manipulation as well as an interesting use of the ombré striped border as a decorative detail and pleated around the neckline forming a ruffle. Museum: Metropolitan Museum of Art, New York, USA.

Evening jacket. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1893.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.This fine example of Pingat's outerwear is ornately embroidered in a style which shows his interest in other cultures. This high style interpretation is superbly executed with a level of detail which is consistent among the best work of the famous French couturiers. Museum: Metropolitan Museum of Art, New York, USA.

Dressing gown. Culture: American. Date: mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Corsage of Marie-Antoinette. Silk taffeta. Around 1780. Galliera, fashion museum of the city of Paris. Corsage, Queen France, Silk Taffeta

Evening dress. Culture: American. Date: 1855-58. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1828 British. Dress 103509

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.

At-home Cap. England, circa 1715. Costumes; Accessories. Silk damask with silk- and metallic-thread supplementary-weft patterning with metallic-thread passementerie

Overgown and Petticoat (Robe à l'anglaise). England. Date: 1765-1785. Dimensions: 141.6 cm (55 3/4 in.). Silk, plain weave and strips of satin weave with supplementary patterning warps and supplementary brocading wefts; overgown lined with linen, plain weave. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

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

Afternoon dress 1912 Jeanne Hallée French. Afternoon dress. French. 1912. silk

Ball gown ca. 1860 probably American. Ball gown. probably American. ca. 1860. silk, cotton

Dress 1840-60 French Dresses for Christening ceremonies or other times of public display were elaborate affairs. This infants dress is a particularly beautiful example with fine embroidery and detail work, such as the pintucking at the bodice. It is unusual to have a non-washable fabric, such as silk, as the lining for a child's dress, which shows the wearer was a member of a prominent family.. Dress 159216

Corset cover ca. 1902 American. Corset cover. American. ca. 1902. cotton

Dress 1880s French. Dress 103539

Town dress. Taffeta Moiré Violet with black rays, black satin ribbon, black Puy lace. Around 1866. Galliera, fashion museum of the city of Paris. Town dress Puy lace, black line, town dress, second empire, purple taffeta

Dress ca. 1840 American. Dress. American. ca. 1840. silk

Evening dress. Culture: American or European. Date: 1810-12.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 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 f

Wedding Dress. Dated: c. 1941. Dimensions: overall: 48.8 x 32.1 cm (19 3/16 x 12 5/8 in.). Medium: watercolor and graphite on paper. Museum: National Gallery of Art, Washington DC. Author: MAX UNGER.

Coronation mantle of King Augustus III. unknown, embroidery workshop

Evening dress ca. 1825 probably American. Evening dress 173456

Man's Coat Made 1780-1789 France. Menís formal clothing in the late 18th and early 19th centuries was often made of textured silk fabric with rich floral embroidery. A coat such as this would have had matching knee breeches and a coordinating vest called a waistcoat.. Silk, compound weave foundation; embroidered with silk threads in satin, stem and straight stitches; French knots, needle lace fillings, and slanted satin border block shading .

Girl's Ensemble (Dress and Hat). England, circa 1885. Costumes; ensembles. Dress: Linen and cotton sateen and cotton plain weave with cotton cut-work embroidery (broderie anglaise) Hat: Cotton sateen and silk satin with silk plain weave (faille) and cotton lace

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

Wedding ensemble. Culture: American. Date: 1808. Museum: Metropolitan Museum of Art, New York, USA.

Man's Coat. France, circa 1785, altered circa 1795. Costumes; outerwear. Silk plain weave and silk satin stripes

Fashion, 18th century. Women's dress Robe a l'anglais, around 1778.

Mourning dress 1894-95 British This gown was once worn by Queen Victoria (1819-1901) of the United Kingdom. Purchased from an annual sale of the Queen's garments, it shows the traditional touches of mourning attire, which she wore from the death of her husband, Prince Albert (1819-1861), until her own death. The gown follows the style of the period and is finely detailed inside and out, details which would be expected by a Queen.Black mourning dress reached its peak during Queen Victoria's reign. She set the standard by wearing mourning for half of her life. With these standards in place, it was considered a social requisite to don black from anywhere between three months to two and a half years while grieving for a loved one or monarch. The stringent social custom existed for all classes and was available at all price points. Those who could not afford the change of dress often altered and dyed their regular garments black. The amount of black to be worn was dictated by several differ

Jacques Doucet (1853-1929). Stage dress carried by the singer Marthe Davelli, around 1905. Cream silk satin, embroidered silver lace, embroidery in the past of green silk threads, gold threads, gold cannetilles and agent, and rhinestones forming floral motifs, Crowns, laurels and Greek friezes. Palais Galliera, fashion museum of the city of Paris. 77804-1 Silver, embroidered, embroidered, cannetille, crown, lace, spinning gold, son, floral, Greek frieze, bay leaf, floral motif, sebery dress, satin, silk cream, green silk, rhinestones, green

Habit d'Homme (around 1804-1814) transformed into a dress jacket (overview of three-quarters face). Bekiné silk satin, embroidery in silk son with floral patterns. Around 1877-1882. Galliera, fashion museum of the city of Paris. 56387-8 Embroidery, woman, man habit, jacket, female mode, floral motif, pekine silk satin, dress

Fashion, Italy, 18th century. Women's dress robe a la francaise in pekin with lace and trimming ornaments, around 1770-1775.

. Jap with medium-length sleeves and drag, from white cotton fancy side with stuffed socket fillings. The sleeves are trimmed with a strip of machining valenciennes and with medallions of also machining. Design: large flowers and leaves and c-voluten; Roses in the medallions. White lining (art) Silk (modern).

Woman's dress, Medium: silk, metal Technique: satin, embroidered, Gown of purple silk satin embroidered with a floral motif in tonal green silks and gold colored metal spangles and couched elements., 1803-1807, costume & accessories, Woman's dress

Ruggiero Pierotti, Dress, 1935 1942 Dress

Child's dress, Medium: cotton Technique: mordant painted and dyed and resist dyed (chintz) on plain weave, Infant's dress with a pattern of delicate floral sprays in blue, red, lavender, and brown on white. The skirt is gathered into a yoke, which has a draw-string neckline, with short sleeves; open down the back., Madras or Pondicherry, India, England, late 18th century, printed, dyed & painted textiles, Child's dress

Blue and white strips of crinoline, afternoon dress, frock outerwear women's clothing clothes cotton linen metal mid back, shoulder w 46.0 waist w 31.0 side, under w 170.0 sleeve, textile Crinoline dress of white muslin three quarter sleeve out of two layers wide striped skirt with interwoven light blue checkered stripes three-sided fake fichu with blue-white fringe edge dress woman crinoline

Body with long sleeves and high border of Bordeaux -colored satin decorated with yellow velvet stripes, bordeaux -colored satin ties and burgundy lace ruffles, anonymous, c. 1875 - c. 1900 Body with long sleeves and high board of Bordeaux -colored satin decorated with yellow velvet stripes, bordeaux -colored satin bows and burgundy ruffles ruffles. Netherlands velvet (fabric weave). satin. Body with long sleeves and high board of Bordeaux -colored satin decorated with yellow velvet stripes, bordeaux -colored satin bows and burgundy ruffles ruffles. Netherlands velvet (fabric weave). satin.

Bordeaux -colored satin skirt, decorated with yellow velvet narrow stripes; Lower skirt of slightly lighter rips side., Anonymous, 1875 - 1900 Netherlands satin. velvet (fabric weave). silk Netherlands satin. velvet (fabric weave). silk

Dress ca. 1830 British. Dress 133376

Julie C Brush, Dress, 1935 1942 Dress

Suit 1785-90 Italian. Suit 84361

Dress of light blue silkamast with butah motifs and crepe de chine, embroidered in two colors of blue silk, silver thread and with silver string, Amélie, c. 1907 - c. 1909 Dress with a tow of soft blue silk daam mast with Kashmir Palm motifs. Body with V-neck. Half, smooth sleeves of damask and embroidered crepe de chine. Shawl collar that runs in a Pellerine. Cardigan with lace. A draped 'Ceintuur-Corselet' behind. Smooth skirt from the front and with a cloak crossing. Right under a drapery on which an S-Volute of the embroidered side and beaded frain. From the back wrinkled and open about the lower japon, on which a triangle embroidered crepe de Chine is set up in front and behind. Silk decoration, sequins, silver beads. Tafzijde lowerjapon. Address: Amélie/ 27, Rue de Richelieu/ Paris. Paris silk. paillette. damask Dress with a tow of soft blue silk daam mast with Kashmir Palm motifs. Body with V-neck. Half, smooth sleeves of damask and embroidered crepe de chine. Shawl collar that

Dress. Culture: American. Date: 1883-85. Museum: Metropolitan Museum of Art, New York, USA.

Tea Gown with a Pleated Skirt, Madame Watrigant, c. 1925 - c. 1930 Binding course, belonging to a Night Japon by Beige Crepe de Chine. Brussels . Binding course, belonging to a Night Japon by Beige Crepe de Chine. Brussels .

Dress ca. 1815 American. Dress 174646

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