Historical Fashion Masterpieces

Antique dresses from various eras displayed on mannequins, showcasing historical fashion, intricate designs, and couture craftsmanship.

Maison Peillet, 1912. Satin and silk tulle. Cotton lace from Quimper, CTON PASEMENTERIE. Silk velvet. Palais Galliera, fashion museum of the city of Paris.

Morning dress. Culture: American. Date: 1859-60. Museum: Metropolitan Museum of Art, New York, USA.

Visiting dress ca. 1822 British. Visiting dress 82085

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

Dress 1896-99 Fox This incorporates a nice combination of shiny satin alongside matte wool to create a memorable and striking day dress. The bravado of the big lapels and waistband are indicative of refined design and high style of couture workmanship. The Fox sisters were extremely exclusive designers.. Dress 159408

Dress 1750-75 British. Dress 84520

Maison Peillet, 1912. Satin and silk tulle. Cotton lace from Quimper, CTON PASEMENTERIE. Silk velvet. Palais Galliera, fashion museum of the city of Paris.

Vestido de seda diseñado por Charles Frederick Worth, 1865-1868, MTIB 88096-0. Museu del Disseny de Barcelona.

Peignoir 1860-65 American. Peignoir 91023

Dress ca. 1856 British. Dress 90866

Dress. Culture: British. Date: ca. 1856. Museum: Metropolitan Museum of Art, New York, USA.

Dressing gown ca. 1860 American. Dressing gown 107874

Wedding ensemble 1870 (f, g) Courvoisier French. Wedding ensemble 159449

Woman's Dress and Petticoat (Robe à l'anglaise)

Morning dress. Culture: American. Date: 1806-19. Museum: Metropolitan Museum of Art, New York, USA.

Ensemble 1850 British. Ensemble 105358

Morning dress 1870s American. Morning dress 107809

Dress. Culture: American. Date: ca. 1820.This historical dress served as an inspiration for a 1950's muslins designed for Mrs. William Randolph Hearst, Jr., by Charles James (2009.300.2775). The donor, who was a life-long muse and friend of James, often brought him historical fashions to reinterpret. The results were imaginative and unique although it is unclear of the final results were ever worn.Austine Hearst was the third wife of William Randolph Hearst, Jr. (1908-1993), son of William Randolph Hearst (1863-1951), turn of the century newspaper mogul. She spent the war years hosting a radio show and writing a newspaper column about young society, which was picked up for national syndication after the war. She married Hearst in 1948, after a seven year marriage to Igor Cassini (1915-2002), brother of the fashion designer Oleg Cassini (1913-2006). She continued as a columnist until after her children were born in the early 1950s. The Hearsts were invited to parties at the White Hous

Dragon Louis XV dress for young girl. Black moire city dress, modified in transvestite by addition of facings, sets of collar and strip on the salmon velvet skirt decorated with golden braid, black and gold strap on the left shoulder. Around 1865. Galliera, fashion museum of the city of Paris. Feminine, woman, black moire, facing, town dress, Dragon Louis XV dress

Woman's Dress (Robe à la française). France, 1760s-1770s. Costumes; principal attire (entire body). Silk plain weave (taffeta) with silk supplementary-weft patterning and silk passementerie trim

Wedding dress 1860 American. Wedding dress 107645

Young Woman's Dress. France, circa 1822. Costumes; principal attire (entire body). Silk plain weave with supplementary warp and weft patterning, silk lace and silk satin ribbon

Dress 1830-50 American. Dress 159399

Dress ca. 1836 British. Dress. British. ca. 1836. silk

Skirt from cream-colored silk with pleated silk strips, finished with narrow passing element and light blue silk loops; The skirt is strongly pleated at the side valve. See main record

Dress 1819-23 European As the nineteenth century progressed, the waistline slowly began to drop from immediately under the bust towards the natural waist. Although this gown reflects the reigning essentially columnular silhouette of the Empire, it retains vestiges of pre-revolutionary styles in its applied ornament that suggests the decorated stomacher and overskirt of the open robe of the ancien regime.. Dress 82336

Dress 1868-70 American This American dress, probably originally made in about 1858, but augmented and altered a decade or so later, shows the emerging influence of the eighteenth century. Superfluous overdrapes on the skirt were added in about 1870 to resemble the effect of the open robe pulled back. If anything, it is a perfect example of nineteenth-century excess trying to look like eighteenth-century excess.. Dress. American. 1868-70. silk

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

Dress 1860-65 American. Dress 107807

Dress ca. 1836 probably American. Dress 107984

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

Dressing gown ca. 1850 American. Dressing gown 108106

Dress 1898-1900 American. Dress 107189

Robe à la Française ca. 1770 French The robe à la française, with open robe and petticoat, was the quintessential dress of the eighteenth century. Characteristic of 1770s costume are the piece's low neckline, fitted bodice, narrow sleeves with double layered cuffs, as well as the sack back and fullness at the hips supported by panniers. This exquisite example is constructed from a rare Chinese export silk dating from the first quarter of the eighteenth century. The textile is an ivory "bizarre" patterned damask (created by reversing the weave structure so that both the warp-float and weft-float faces of the satin are on the same surface).As early as the late sixteenth century, Chinese craftsmen created silks for the European market, which were exported by the East India companies of England, France, and Holland. Due to the exchange of design motifs by both Eastern and Western artisans, Chinese export silks often bore little relation to traditional Chinese aesthetics. While this pattern

Evening dress ca. 1880 House of Worth French This graceful Worth dress is composed of an effective textile with the subtle acorn and oak leaf motif which signifies stability, longevity and good fortune. 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 allowe

Girl's Dress. United States, circa 1837. Costumes; principal attire (entire body). Cotton plain weave, printed

Ball gown ca. 1820 American The puffed sleeves of this dress are an indication to the historicism in dress at the time. As a reinterpretation of 16th-century slashing, they make a statement about the Renaissance and the rebirth of artistic notions. The beautiful hem detail is also typical of the period spanning 1820. These details gave weight and shape to an otherwise unbroken line of fabric, which was so prevalent in the decades prior to it. 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

Morning dress ca. 1837 British. Morning dress. British. ca. 1837. cotton

Underskirt. Culture: British. Date: 1774-93. Museum: Metropolitan Museum of Art, New York, USA.

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

Dress ca. 1862 French. Dress. French. ca. 1862. silk

Redingote or Jacket Dress (a) of silk originally changing from blue to lilac, but strongly discolored and spencer with missing sleeves (B) from ditto side, anonymous, c. 1820 Redingote or jacket dress (a) of silk originally changing from blue to lilac, but strongly discolored and spencer with missing sleeves (B) from ditto side. A: Redingote or Jacket Dress of silk originally Changing from blue to lilac but discolored, ankle long with transfer, high waist, round collar, long sleeves with puffed sleeve and decorated with buttons and stuffed rolling seams (rouleaux). Netherlands (possibly) silk Redingote or jacket dress (a) of silk originally changing from blue to lilac, but strongly discolored and spencer with missing sleeves (B) from ditto side. A: Redingote or Jacket Dress of silk originally Changing from blue to lilac but discolored, ankle long with transfer, high waist, round collar, long sleeves with puffed sleeve and decorated with buttons and stuffed rolling seams (rouleaux). Net

Smock. Culture: probably American. Date: ca. 1830. Museum: Metropolitan Museum of Art, New York, USA.

Robe de Style. Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: fall/winter 1924-25. Museum: Metropolitan Museum of Art, New York, USA.

Tea gown. Culture: British. Designer: Liberty & Co. (British, founded London, 1875). Date: ca. 1885.Artistic dress had its roots in mid-Victorian England, where Pre-Raphaelite artists, with their love of things medieval, and disdain of industrialized society, revived a version of the loose fitting, relatively plain gowns of that time. Its successor, Aesthetic dress, drew from the same design, but not philosophical, resources. In 1884, Liberty & Co. hired Edward William Godwin, an architect and proponent of Aesthetic dress and dress reform, to head their new costume department. This tea gown, with its light corseting and bustle is a more fashionable adaptation of the Aesthetic style. An unusually early, and quite beautiful, example of Liberty clothing, it is executed in the company's distinctive light and supple silks. With its simple adornment and pale colors, it stands in marked contrast to the heavily embellished, confining, vividly colored costumes of the day. This style of dress b

Dress 1725-89 Danish. Dress 87041

Paul Ward, Dress, c 1940 Dress

Dress 1830s American or European With its high waist, leg o'mutton sleeves, and swelling bell-shaped tiered skirt with embroidered trim at tiers as well as cuff and neck, this 1830s dress demonstrates the gentle dilations of the silhouette that occured during the nineteenth century and that pumped and shaped the body in variable directions and forms, filling our the repertoire of trims and adornments.. Dress. American or European. 1830s. cotton

Robe à l'Anglaise 1776 British Women with coquettish airs were imposing in robes à la française and robes à l'anglaise throughout the period between 1720 and 1780. The robe à l'anglaise developed with a fitted back after the style of dress worn in England. The silhouette, composed of a funnel-shaped bust feeding into wide rectangular skirts, was inspired by Spanish designs of the previous century and allowed for expansive amounts of textiles with delicate Rococo curvilinear decoration. The wide skirts, which were often open at the front to expose a highly decorated underskirt, were supported by panniers created from padding and hoops of different materials such as cane, baleen or metal. The robes à l'anglaise are renowned for the beauty of their textiles and the meticulous fit of their bodice back.. Robe à l'Anglaise 159540

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

Woman's Dress

. Shapes from Sits were generally worn indoors by the higher positions, by means of Négigé. The bourgeoisie could also show itself in a shap of Sits. Although modest quality, this Robe SAC is relatively rare. Namely, many more sizzle yaks and skirts have been preserved than ginning. The body is closed at the front. The sleeves or manches and sabot end under the elbow and are trimmed with a green silk. Robes Sac were worn from 1750 to the late years of the 18th century.

Morning dress 1860-65 probably American. Morning dress 108199

Dress 1842 probably French As the torso seemed to drop low in the 1840s, its attentuation was often exacerbated by pleats radiating from the pointed waist.. Dress 85396

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

Wedding ensemble. Culture: American. Date: 1864. Museum: Metropolitan Museum of Art, New York, USA.

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

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

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

Dress 1876-78 American The most salient feature of eighteenth-century appropriation demonstrated in this dress is its long line of embroidery at center front and descending to the hem. The floral decoration and its placement on the garment arise not from copying eighteenth-century women's fashion but from a comprehension of eighteenth-century menswear. It is as if the waistcoat's ebullient decorative impulse has been transferred to the brown wool of this almost too-dour nineteenth-century dress.. Dress. American. 1876-78. wool, silk

Ensemble 1840s American. Ensemble 108043

Dress. Culture: probably British. Date: 1775-80. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Hat (Bonnet). England, circa 1840. Costumes; Accessories. Straw, braided, with silk damask ribbon

Ball gown 1887-89 French. Ball gown 107065

Wedding ensemble 1878 American While white is now de rigueur for bridal attire, the fashion for white wedding gowns originated only in the late 19th century and was not commonplace until the 20th century. This dress is a good example of the more practical 19th century practice of brides wearing colored gowns for weddings. The wedding dresses could then be worn again for other receptions and social events. A well-made and finely-detailed example of the period, this dress would have been described as a "cuirass" or "cuirass style" at the time it was made, a term that refers to the form-fitted bodice. A steel-boned corset helped to achieve the ideal figure for the cuirass style in the 1870s and 1880s.. Wedding ensemble 156665

Dress. Culture: British. Date: ca. 1850.Made of Chinese patterned silk, this dress uses an export textile in a Western garment. Arguably, Asian textiles were associated in the Western mind as much with private leisure as with ceremony. Many Eastern textiles entered Western dress first as intimate boudoir and other at-home garments such as robes and banyans, suggesting the qualities of exoticism and erotic mystery associated with far-off lands. The selvage at the back waist reveals Chinese characters, indicating the textile's manufacture, and the flaring sleeves are what the West calls the pagoda style. Museum: Metropolitan Museum of Art, New York, USA.

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

Dress 1888-90 American. Dress 175605

Ball dress and lace shawl. Dress: Blue Pékinée white silk muslin, blue taffeta ribbons. Shawl: mechanical lace in black yak. Second Empire. Galliera, fashion museum of the city of Paris. Chale, black whipped cream, lace, feminine, woman, white silk muslin, blue scratch, ball gown, second empire

Ensemble 1830s American or European. Ensemble 108411

Skirt with side splits of white silk with multicolored brochure vertical flower garlands, along the lower edge a pleated strip with silk ribbon and open -up edge., Anonymous, c. 1760 Skirt horing with a wedding gown of white multicolored brochure silk with flowers and leaves. Six lanes in dipe folds sewn on the waist band, with splitting on the hips. Netherlands (possibly) silk. Skirt horing with a wedding gown of white multicolored brochure silk with flowers and leaves. Six lanes in dipe folds sewn on the waist band, with splitting on the hips. Netherlands (possibly) silk.

Overjapon with elbow sleeve with double hanging cuffs, in the middle of the strips, pointed collar of white silk with multi -colored flower garlands., Anonymous, c. 1760 Overjapon horizing with a wedding gown of white multicolored brochure silk with flowers and leaves. Close body. Wide round neck, smooth half sleeve with hanging double from behind longer cuff. In front of hanging slips. Zevenbaans straight skirt, in the middle. Netherlands (possibly) silk. Overjapon horizing with a wedding gown of white multicolored brochure silk with flowers and leaves. Close body. Wide round neck, smooth half sleeve with hanging double from behind longer cuff. In front of hanging slips. Zevenbaans straight skirt, in the middle. Netherlands (possibly) silk.

Ensemble ca. 1855 American or European Equipped with two interchangeable bodices, this outfit might seem to anticipate career dressing or even women becoming sensible about fashion. Not in the realm of practicality, however, is the swelling bell shaped skirt, with multiple layers of stiff petticoats hidden underneath and tiers of organza decorating the surface. Research in the Woodman Thompson collection of Dated Fashion Plates has confirmed the date; the country of origin is much more difficult because with the proliferation of fashion plates, ideas and textiles were carried far and fast.. Ensemble. American or European. ca. 1855. silk

Wedding dress. Culture: American. Date: 1851.This wedding dress presents a conundrum in that some stylistic aspects of the dress appear to be later than the marriage date of 1851 provided in the original accession records. While the bodice has very fashionable full size pagoda sleeves, which were a new shape in 1851, the skirt with bustle, train and ruffles at bottom is more consistent with the 1870s rather than the dome shape of the 1850s. While it is possible that the skirt was re-made for a later bride, there is no obvious indication of that being the case. Wedding clothes have traditionally been vehicles for fantasy and historicism, however, which may be the case in the styling of this one. It nevertheless is a grand dress made for a wedding in Grace Church, a high society Brooklyn house of worship. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1860 European. Dress 90850

Dress 1853-56 European By mid-century, the emphasis of the fashionable silhouette settled on the ever increasing circumference of the skirt. A swelling bell shape was achieved through multiple layers of stiff petticoats. In addition, sophisticated border-patterned textiles were produced for tiered flounces designed with the express purpose of creating the effect of even greater volume.. Dress 82333

Dress late 1820s British. Dress. British. late 1820s. cotton

Afternoon dress 1854 American. Afternoon dress 90851

Dress 1880s American. Dress 103541

Ensemble ca. 1798 probably European It is the combination of elements within this costume that makes it so interesting. Embroidered, open-fronted robes with matching underskirts are more usually associated with the 1760s to 1780s, but the train and the tiny bodice, only two and one-half inches from neckline to waist, preclude any date earlier than about 1798. The matching fichu is extremely rare. Each piece is embroidered with variations on the floral designs rather than mere duplications, suggesting artisanal primacy, not pattern book repetitions. This dress is believed to have belonged to Catherine Beekman (1762-1839), wife of Elisha Boudinot of Princeton, New Jersey.. Ensemble 81182

Fashion, England, 19th century. Queen Victoria's silk dress (1819-1901).

Robe 1845-55 American. Robe 108103

Tea gown 1880s American. Tea gown 106974

Dress for a girl unknown

Dressing gown 1897-99 probably French. Dressing gown 107179

Ensemble 1825-30 American or European. Ensemble 108372

Dress American 1880s

Dress. Culture: American. Date: 1859. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: American. Date: ca. 1840.The extravagant silhouette of this day dress with bishop sleeves and pointed boned waist demonstrates the evolution from the nearly amorphous first cotton dresses of the century to the grandest crinoline-supported crystal palaces of the 1860s. It is a dress fit for a heroine in a novel by one of the Brontë sisters--shaped, expressive, tempestuous, and beguiling. And tightly, tightly corsetted on a summer's day. Museum: Metropolitan Museum of Art, New York, USA.

Afternoon dress. Culture: American. Date: ca. 1845.The rustle of silk was a sound which epitomized elegance in the middle of the 19th century. This beautiful gown would have combined the visual appeal with the auditory appeal simply through its choice of taffeta.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

Day dress. Brothel brown silk with floral garlands. 1861-1863. Galliera, fashion museum of the city of Paris. Floral patterns of hydrangeas, roses, chrysanthemums, marguerites and volubilis. Flower, floral garland, day dress, second empire, brown silk

Evening dress. Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: ca. 1935.This Lanvin dress' meticulous lamé appliqué work in its overall web of circles evokes an elegant splendor indicative of her work.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

Ball gown 1895-1900 House of Worth French Charles Frederick Worth was born in England and spent his young adulthood working for textile merchants in London while researching art history at museums. In 1845 he moved to Paris and worked as a salesman and a dressmaker before partnering with Otto Bobergh to open the dressmaking shop, Worth and Bobergh, in 1858. They were soon recognized by royalty and major success followed. In 1870 Worth became the sole proprietor of the business. At his shop, Worth fashioned completed creations which he then showed to clients on live models. Clients could then order their favorites according to their own specifications. This method is the origin of haute couture. Worth designed gowns which were works of art that implemented a perfect play of colors and textures created by meticulously chosen textiles and trims. The sheer volume of the textiles he employed on each dress is testimony to his respect and support of the textile industry. Worth's creative outp

Dress ca. 1885 American This is an elaborate evening dress made for a child. It is unusual to see a fully boned and fitted bodice made in this small of a size, possibly for a six to eight year old. It is very possible that the fabric of this dress may have come from a women's dress for a special party.. Dress 157943

Wedding dress 1851 American This wedding dress presents a conundrum in that some stylistic aspects of the dress appear to be later than the marriage date of 1851 provided in the original accession records. While the bodice has very fashionable full size pagoda sleeves, which were a new shape in 1851, the skirt with bustle, train and ruffles at bottom is more consistent with the 1870s rather than the dome shape of the 1850s. While it is possible that the skirt was re-made for a later bride, there is no obvious indication of that being the case. Wedding clothes have traditionally been vehicles for fantasy and historicism, however, which may be the case in the styling of this one. It nevertheless is a grand dress made for a wedding in Grace Church, a high society Brooklyn house of worship.. Wedding dress. American. 1851. silk

Dress 1804-14 American. Dress 100033

Dress 1881 American The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural

Visiting dress 1865-75 American. Visiting dress 84277

Wedding dress 1824 American White was not a commonplace color for wedding attire in the early 19th century, which makes this piece a rare example. Until the late 19th century, brides usually wore a colored gown which could then be worn again for other social functions after the wedding. The silhouette and trim identify this dress as an excellent example of high style during the 1820s. A particular feature of this era was the elaborate hem decoration known as 'hem sculpture." Here the trim is a three-dimensional leaf pattern incorporating chiffon which is repeated on the bodice and sleeves. The silhouette, with the raised waist and short sleeve puffs combined with long sleeves, is also characteristic of the period.. Wedding dress. American. 1824. silk

Robe a la française gown. unknown, author

Skirt of gray blue and yellow striped Lampas, with woven bizarre patterns composed of vases with leaf and floral motifs and geometric figures broched with metal wire, lined with linen., Anonymous, c. 1750 Model: Ankle -long skirt with smooth center piece and flat folds on either side, splitting into the side seams, closure by means of Hooks and eyes at the top of the splits, a blue side waistband. Lined with different types of striped cover. Decoration: At the front to the side seams at 25.5 cm above the hem a wrinkled strip (Falbala) that is sculpted at the bottom, lined with blue silk. Netherlands (possibly) Completely: Lampas (Textile Material). Lining: Linen (Material) Model: Ankle -long skirt with smooth center piece and flat folds on either side, splitting into the side seams, closure by means of Hooks and eyes at the top of the splits, a blue side waistband. Lined with different types of striped cover. Decoration: At the front to the side seams at 25.5 cm above the hem a wrinkle

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