Vintage Dresses and Petticoats

A collection of historical garments, including elegant dresses and petticoats from the 19th century. These pieces showcase intricate details, fabrics, and styles reflective of their eras.

Baby dress of white batiste with white-embroidered straw motif, embroidered bodice and two garland edges along the hem, christening clothes baby clothing children's clothing clothes cotton batist metal shoulder w 23.0 sleeve, lg 130.0 bottom w 98.0 textile sewn embroided Baby dress or christening dress white batist with all-over pattern in white embroided embroidery embroided bodice and two embroided edges along the zoom. Body: front and back smooth on 3½ cm wide undecorated batiste waistband. Wide oval neck with hook and bart in the back. At the waist two hooks and cords and cords from the side seams. In the center front V-shaped insert of batiste with open seams and English embroidery. Along the V scalloped edge of English embroidery same motif along the sleeves. Along the strip of English embroidery with an open seam in different pattern. Narrow shoulder pieces. Sleeves: short and straight wide rise above the hem and straight strip with embroidery as in the body which is folded bac

Dress 1880-89 probably French. Dress 103556

Petticoat 1890s American. Petticoat. American. 1890s. silk

Walking dress 1820-25 American. Walking dress 108025

Wedding Dress ca. 1875 American. Wedding Dress 173523

Baby dress of white batiste with white-embroidered straw motif, embroidered bodice and two garland edges along the hem, christening clothes baby clothing children's clothing clothes cotton batist metal shoulder w 23.0 sleeve, lg 130.0 bottom w 98.0 textile sewn embroided Baby dress or christening dress white batist with all-over pattern in white embroided embroidery embroided bodice and two embroided edges along the zoom. Body: front and back smooth on 3½ cm wide undecorated batiste waistband. Wide oval neck with hook and bart in the back. At the waist two hooks and cords and cords from the side seams. In the center front V-shaped insert of batiste with open seams and English embroidery. Along the V scalloped edge of English embroidery same motif along the sleeves. Along the strip of English embroidery with an open seam in different pattern. Narrow shoulder pieces. Sleeves: short and straight wide rise above the hem and straight strip with embroidery as in the body which is folded bac

Dress ca. 1820 American A dress that seems to step out of a Jane Austen novel combines the champagne-light coloring of spring with cream netting that buttresses décolletage and sheathes the sleeves. Similarly, abstracted leaf forms at hem and neckline make a subdued version, suitable to the Regency epoch, of a floral transfiguration.. Dress 82128

Dress. Culture: Austrian. Date: ca. 1800. Museum: Metropolitan Museum of Art, New York, USA.

Dressing gown. Culture: American or European. Date: 1880-90. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1810 British. Dress. British. ca. 1810. cotton, linen

Dress 1810 American. Dress. American. 1810. cotton

Silk Woman Dress. 19th.

Woman's Petticoat

Morning dress 1860s probably American. Morning dress 109164

Ensemble 1805-10 probably French. Ensemble 103811

Dress 1804-14 probably American. Dress. probably American. 1804-14. cotton

Dress 1800-1810 American. Dress. American. 1800-1810. cotton

Petticoat 1830s American The necessary underpinnings to create the 1830s silhouette were the corset, the petticoat, and sleeve supports. This cotton petticoat is corded which serves to stiffen it into a rounded shape that would push the skirts of the dress outward into a bell form. Petticoats in this period were also made of horsehair fabric and called crinolines (from the French word crin, meaning horsehair). To create the slightly raised waist, the heavy white cotton corset (1987.238) is reinforced with cording and boning and has a slot for a busk at center front, as well as a large interior pocket for a paperboard to flatten the abdomen. Gussets at the bust and hips of the corset serve to allow flesh to expand above and below. The neckline of the corset is low and open and is joined by off-the-shoulder straps, which serve to open the chest area further. The separate sleeve supports (C.I.66.38.5a, b), made of muslin and given shape with baleen, complete the wide-topped silhouette. Af

Dress 1804-15 Austrian. Dress. Austrian. 1804-15. cotton

Wedding ensemble. Culture: American. Date: 1895. Museum: Metropolitan Museum of Art, New York, USA.

Dress 1880-85 American. Dress 102348

Ball gown. Culture: French. Designer: Jacques Doucet (French, Paris 1853-1929 Paris). Date: 1898-1900. Museum: Metropolitan Museum of Art, New York, USA.

Dress ca. 1818 British. Dress. British. ca. 1818. cotton

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

Petticoat late 19th century American. Petticoat. American. late 19th century. cotton

Dress 1864-67 American. Dress 107688

Pelisse ca. 1820 American. Pelisse 84983

Evening dress 1891 French. Evening dress 106405

Dress 1891-92 American. Dress 106714

Evening dress ca. 1896 American. Evening dress 107138

Wedding Dress 1887 American. Wedding Dress 173978

Dress. unknown, author

Dolman American ca. 1885 This is an excellent example of reconfiguring textiles to fit fashion. This dolman was created from a Chinese shawl, which was likely exported to the Philippines and then made into a fashionable garment in the United States when cumbersome shawls were no longer fashionable. The texture of the embroidery enlivens the muted tones of the textile and helps create an overall pleasing appearance.

Traveling Coat. Dated: 1935/1942. Dimensions: overall: 45.8 x 36.5 cm (18 1/16 x 14 3/8 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Nancy Crimi.

Jeanne Lanvin (1867-1946). Black silk dress, white organi inlays bordered by white silk embroidery. Griffe: Jeanne Lanvin 22, Faubourg Saint Honoré, around 1918-1920. Galliera, fashion museum of the city of Paris. 25978-5 White silk embroidery, female, woman, haute couture, inlays, white organi, black silk, dress

Dolman 1880s American. Dolman 107836

Ensemble. Culture: American. Date: 1882. Museum: Metropolitan Museum of Art, New York, USA.

Chemise (Greece); silk embroidery on cotton foundation

Tea gown ca. 1900 American or European. Tea gown 132281

Florence Earl, Infant's Cape, c 1938 Infant's Cape

Christening dress ca. 1825 Austrian. Christening dress 98155

Dress. Culture: American or European. Date: early 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Coat ca. 1874 American or European. Coat 107762

Children's dress with loose pelerine, faux-colored linen with soutache, wide skirt, long sleeves, bodice with horizontal folds, frock outerwear children's clothing linen wool metal mid back, shoulder w 25,0 under w 68.0 skirt, sleeve, pelerine, w 34,0 plain weave linen textile dress girl boy child

Ensemble 1866-67 American. Ensemble. American. 1866-67. silk

Dress ca. 1840 American or European. Dress 108095

Ensemble. Culture: American. Date: 1894. Museum: Metropolitan Museum of Art, New York, USA.

Ball gown 1900 House of Worth French Jean-Philippe Worth began as an assistant to his father, Charles Frederick Worth, in 1875. Gradually he was allowed to create his own designs and when his father died in 1895, he became the lead designer for the house. He was praised for making elaborate artistic gowns with intricate trimmings on unique textiles, much like his father had before him. Although the House of Worth was still favored by royalty and celebrities through the turn of the century, their styles were no longer the forefront of French fashion after 1900. Around 1910 Jean-Philippe limited his design work to important orders and hired his nephew, Jean-Charles Worth, as the new lead designer before leaving the company entirely after World War I.. Ball gown. French. 1900. silk, rhinestones

Mariano Fortuny (1871-1949). Delphos dress. Bronze green silk, black silk shop, Amber -colored glass pearls, white and black glass beads. Around 1912-1919. Galliera, fashion museum of the city of Paris. 101979-13 Haute couture, female mode, female model

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

Wedding veil first quarter 19th century Russian This object is from the collection of Natalia de Shabelsky (1841-1905), a Russian noblewoman compelled to preserve what she perceived as the vanishing folk art traditions of her native country. Traveling extensively throughout Great Russia, she collected many fine examples of textile art of the wealthy peasant class. From the 1870s until moving to France in 1902, Shabelsky amassed a large collection of intricately embroidered hand-woven household textiles and opulent festival garments with rich decoration and elaborate motifs. The Brooklyn Museum holdings include many fine examples including the majority of the garments. Portions of Shabelsky's collection are also housed at the Museum of Fine Arts, Boston, the Cleveland Art Museum, and the Russian Museum of Ethnography in St. Petersburg.Headdresses, or kokoshniks had the greatest abundance of ornamentation of any type of garment in Russia. Married women were required to cover their hair e

Dress 1870-75 American. Dress 174018

Woman's Hat. Europe, circa 1880. Costumes; Accessories. Straw, plaited, with silk velvet, ostrich feathers, metal, and silk satin ribbon

Morning dress 1840-45 probably American. Morning dress. probably American. 1840-45. cotton

Dress. Dated: 1935/1942. Dimensions: overall: 48.8 x 37.5 cm (19 3/16 x 14 3/4 in.) Original IAD Object: bust: 34"; neck: 15"; waist: 26 1/2"; shoulder seams: 5" arm hole: 17 1/2"; sleeve inside seam: 14 1/2"; outside seam: 20"; front: neck to bottom of skirt: 57"; back from neck to bottom of skirt: 68" long; circumfrence of skirt: 110". Medium: watercolor, graphite, and pen and ink on paperboard. Museum: National Gallery of Art, Washington DC. Author: Irene Lawson.

Riding habit. Culture: American. Date: 1893-95. Museum: Metropolitan Museum of Art, New York, USA.

Evening dress. Culture: French. Design House: Callot Soeurs (French, active 1895-1937). Date: ca. 1927. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: French. Date: 1804-14. Museum: Metropolitan Museum of Art, New York, USA.

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

Walking dress ca. 1893 American. Walking dress 107101

Riding habit ca. 1875 American. Riding habit 107613

Dress ca. 1895 American. Dress 92343

Nightgown 1895-1900 American. Nightgown 157210

Robe à l'Anglaise ca. 1780 British. Robe à l'Anglaise 90385

Robe a l'Anglaise ca. 1775 British Textile historians attribute large-patterned Chiné taffetas to France. However, small Chiné designs were produced at other European silk centers, especially in England, where they were called "clouded lustrings." It is tempting to postulate an English origin for this dresss fabric, as well as its tailoring. Chiné fabrics were popular for summer dresses because they were lightweight.. Robe a l'Anglaise 86888

Ball gown. Culture: French. Designer: Jacques Doucet (French, Paris 1853-1929 Paris). Date: 1898-1900.Jacques Doucet was first, and foremost, a connoisseur of art. Additionally, his passion for the refined and exquisite overflowed into his dealings with fashion, making him one of the finest French couturiers during the Belle Époque. The House of Doucet began as a family business, specializing in women's lingerie and laces, as well as articles of clothing for men. Founded in 1817, the company rose to fame under the hand of Jacques. The house was known for its luxurious offerings, which were worn and coveted by royalty, members of the elite society in both Europe and America, and actresses of the stage.This ball gown is simplistic in design, yet extravagant by the choice of materials used. The sheer overlayer is enhanced by the solid lamé underlayers and a sense of luxury is added by the hidden lace flounce at the hem. Undoubtedly, a woman would make an entrance in this dress, as it is

A dress made of taffeta and lace, consisting of a bra and skirt. unknown

Woman's Dress

Vestido túnica diseñado por Pedro Rodríguez, siglo XX. Museu Textil i d'Indumentaria de Barcelona.

Dress ca. 1803 American. Dress 107929

Dress ca. 1880 Mon. Vignon French. Dress 106977

Dress ca. 1871 American. Dress 107604

Coat third quarter 19th century American A handsome piece in good condition, the lavish use of glossy silk embroidery lends an attractive contrast to the matte surface of the wool.. Coat 157610

Dress ca. 1855 American. Dress 108160

Coat 19th century probably Greek. Coat 128087

Dress ca. 1830 American. Dress. American. ca. 1830. cotton

Evening dress 1906-7 Jeanne Hallée French. Evening dress 94869

Dressing Gown ca. 1870 American. Dressing Gown 174752

Dress with a Tie Belt, Kruysveldt-de Mare, c. 1951 - c. 1952 Black Taf side strikial clay, with oval ends decorated with Volants. With hook and eye and three ribs for reinforcement. licensee: AmsterdamParis Ceintuur: Taffeta. Closure: Metal Black Taf side strikial clay, with oval ends decorated with Volants. With hook and eye and three ribs for reinforcement. licensee: AmsterdamParis Ceintuur: Taffeta. Closure: Metal

Ensemble. Culture: American. Date: ca. 1887. Museum: Metropolitan Museum of Art, New York, USA.

Galajapon met sleep, anonymous, c. 1808 - c. 1812 Hofjapon with a tow of white sides tulle with gilt and silver -plated copper lamé and fed with white side. Fashion model: France (possibly) whole: Silk. Decoration: Copper (Metal). Amsterdam Hofjapon with a tow of white sides tulle with gilt and silver -plated copper lamé and fed with white side. Fashion model: France (possibly) whole: Silk. Decoration: Copper (Metal). Amsterdam

Riding habit ca. 1894 A. F. Müller. Riding habit 107077

Wedding dress. Culture: American. Department Store: Frederick Loeser & Company (American, founded 1860). Designer: A. B. Coady. Date: 1893. Museum: Metropolitan Museum of Art, New York, USA.

Corset 1840s American or European. Corset. American or European. 1840s. cotton

Afternoon ensemble 1878-82 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 reduc

Evening dress with black silk muslin broke with gold threads and flowerhouses, black silk satin background, black silk muslin beamed with gold threads and gold, around 1920-1925. Galliera, Paris City Museum Paris. 26002-5 Feminine, thread, haute couture, blade, muslin, black, gold, passmenterie, satin, silk, evening, dress

Evening dress with black silk muslin broke with gold threads and flowerhouses, black silk satin background, black silk muslin beamed with gold threads and gold, around 1920-1925. Galliera, Paris City Museum Paris. 26002-5 Feminine, thread, haute couture, blade, muslin, black, gold, passmenterie, satin, silk, evening, dress

Bridal bouquet, Ancient Wedding Dress with ornate, fluffy decoration and long train, 1879.

Jeanne Lanvin (1867-1946). Blue silk purple silk silk coat with silk trimmings, around 1913 (view of 3/4 face). Galliera, fashion museum of the city of Paris. 25958-1 Pin, female, coat, passengers, silk, violet

Dress ca. 1815 European. Dress. European. ca. 1815. silk

VESTIDO DE NOCHE-1958 CAT 97. Author: CRISTOBAL BALENCIAGA (1895-1972). Location: EXPOSICION BALENCIAGA. Lyon. France.

Corset 1891 French. Corset. French. 1891. silk, cotton, whale bone

P. Barroin. Dress. "Down DITE TEA-GOWN". Water green silk muslin. In-between in ivory mechanical lace. Beijing silk ribbon with black (satin) and ivory (flaw) stripes. Modern background (synthetic fiber taffeta). 1890-1891. Galliera, fashion museum of the city of Paris. 101982-4 Haute couture, female mode, female model

Dress ca. 1880 French. Dress 81587

Woman's Dress. France, circa 1885. Costumes; principal attire (entire body). Silk plain weave (taffeta) and silk plain weave with warp-float patterning and supplementary weft, and silk knotted tassel

Man's Coat. France, 1745-1750. Costumes; outerwear. Silk plain weave with supplementary weft patterning bound in plain weave (lampas)

Morning dress 1827-30 European. Morning dress 107995

Petticoat 1860-70 American. Petticoat. American. 1860-70. Cotton

Dress 1750-60 British. Dress. British. 1750-60. silk

France, Pas de Calais, Calais, Musee de la Dentelle et de la Mode, museum of lace and fashion, child's lace baptismal dress.

Wedding ensemble late 19th century Albanian. Wedding ensemble 85842

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