Bracelet with portrait miniatures Pierre-Jules Chaise About Paris Enamelled gold, rose and brilliant-cut diamonds, ivory and mother-of-pearl Museum no. Digby Neave, granddaughter of Mr and Mrs Ralli. This portrait shows a typical hairstyle of the s. Hair was worn parted in the middle and loosely swept over the ears into a low bun at the back. Pandeli Ralli and Mrs.
The sitter is wearing a high upstanding collar with a high single breasted waistcoat cut straight across the waist. His dark necktie is tied around the collar with a small bow at the front. Shoes Latham London Silk satin with rosettes, ribbons and elastic Museum no. Shoes with high heels were almost non-existent in women's fashions during the first part of the 19th century. Instead simple flat satin slippers or 'sandals' with a bow or rosette at the throat and ribbons or elastic loops to fasten them round the ankle were all the rage.
However, by the 's the heel had begun to make a comeback. This elegant pair of blue and white low-heeled shoes illustrates how the sandal form evolved. The satin upper with square toe and throat, decorative rosette and elastic ties are all features reminiscent of the dainty flat shoes of the early nineteenth century.
However, with the addition of a small heel and some striped decoration the form is updated to something more in keeping with modern tastes. Raymond Jones. Although at this date the frock-coat was gaining in popularity as formal daywear, the cut-away coat was still worn. Promenade dress skirt, bodice and mantle Designer unknown Great Britain Silk plush trimmed with silk fringe and braid, lined with silk and whalebone Museum no. Luxurious velvet dresses embellished with fringe trimmings were highly fashionable during the s. In the 'Illustrated London News' announced: 'Fringe was never so greatly in demand as at the present time…Fringe may be said to be the most becoming of all trimmings on a lady's dress; it seems to possess the power of imparting lightness and suppleness to the movements of the wearer.
When applied in rows, fringes also simulated flounces and made skirts look even wider. In this example the bodice is made with a basque, which was a separate extension below the waist, flaring out over the hips. The skirt is composed of two layers, with the top tier extending from the waistband as far as the fifth row of fringe. The bottom tier is attached to a taffeta underskirt.
This accentuates the flounced effect of the fringe and helps to distribute the weight of the heavy skirt over the dome-shaped crinoline cage which would have been worn underneath. He is dressed and bearded according to the fashionable formal English style. He wears a dark double-breasted frock coat over a high buttoned light waistcoat.
This necktie style was newly fashionable in the s. William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell with the traditional tools of his profession and a still life composed of characteristic materials of the genre in Victorian times. His clothing is typical of 'Artistic' dress, fashionable with artists and intellectuals of the time.
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Artistic dress is characterised by loosely fitting clothes, made of plain, muted fabrics coloured with natural dyes, which they wore in deliberate contrast to the tight and starched rigidity of Victorian formal dress. This was the first photographic exhibition held in any museum in the world. This is an example of a fashionable summer day dress of the late s. Tiered skirts were popular in the s. The fabric was printed with a decorative border expressly for use as tiers of a dress. The delicate flat satin slipper with ribbon ties first became popular during the last decade of the 18th century.
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It signified a move away from what were considered to be the extravagant excesses of the late eighteenth century towards a simpler, purer style of dress and footwear influenced by classical antiquity. By the middle of the 19th century slippers or 'sandal shoes' were still widespread although by the s they were worn largely only for formal wear in black or white. This pair of shoes is a typical example of that style.
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The thin leather sole and delicate silk and satin uppers were relatively simple and cheap to produce. They could then be personalised with rosettes or other decorative embellishments if desired.
These were simply tacked on to a piece of gauze which was then stitched on at the throat over the top of the existing standard bow which was already in place. White lace was popular for collars and cuffs, as were low sloping shoulders that flared out into wide sleeves. The skirt continued to be full and bell-shaped until around when it began to lose its volume at the front and move its emphasis towards the back.
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Hair was worn with a centre parting tied into low chignons at the nape of the neck, with loops or ringlets covering the ears. Ornaments for evening wear included floral wreaths, ostrich feathers, pomegranate flowers, wheatears and butterflies. In the s it was fashionable for men's coats and jackets to be single-breasted and semi-fitted, extending to the mid thigh. Waistcoats were often collarless and single-breasted, and trousers were occasionally cut from a narrow check cloth.
High, starched collars were worn with cravats and neck-ties. Hair was parted from the centre and moderately waved. A particular hairstyle, known as 'Dundreary whiskers' or 'Piccadilly weepers', were long pendant side-whiskers worn with a full beard and drooping moustache. Gaoubaud publisher and Legastelois printer Fashion plate Paris Museum no. This plate shows day dresses. The dresses have fashionable wide skirts, reflecting the contemporary popularity of crinolines.
Introduced in , and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to proportions beyond those possible using only layers of petticoats. The dress on the right is mauve, a new colour at the time.
Beeton also included paper patterns, a new phenomenon that, combined with the fashion plates, ensured the magazine appealed particularly to the increasing numbers of those who owned a domestic sewing machine. The sewing machine itself had only become widely available from the late s. Day dress bodice and skirt Designer unknown About Great Britain Silk trimmed with bugle beads and silk fringe, lined with cotton and whalebone Museum no.
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The contours of the crinoline have altered from a bell shape to a profile that is fairly flat in front, with the bulk of volume at the back. All the widths are gored, the skirt is scant and short at the front and forms a long sweeping train at the back. De Beauvais, Paris; published by S. Beeton, London Paris and London Lithograph, coloured by hand, ink and watercolour on paper Museum no.
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This fashion plate shows examples of ball dresses. France dominated the world of fashion during this period and French fashion plates were an important source of information on the latest styles and colours. Introduced in , and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats.
Towards the end of the s skirts would start reducing again, and fabric would be draped up into a bustle. In the publisher of this magazine, Samuel Beeton husband of the celebrated cookery writer Mrs Beeton , first began including hand-coloured fashion plates by Jules David. Beeton also included paper patterns, a new phenomenon that, combined with the fashion plates, ensured the magazine a particular appeal among the increasing numbers of owners of the domestic sewing machine.
The sewing machine itself had only become widely available since the late s. This magazine's wide distribution ensured an awareness of French fashions among a wider section of society. This photographic study imitates the composition of Raphael's famous painting of the Virgin Mary and the Christ Child, which is now in Dresden. Nonetheless it is useful for dating purposes as it shows fashions typical of the s. Both girls are wearing full skirts and both wear their hair pulled back and worn in a low bun or chignon.
Importantly their dresses feature pagoda sleeves, which were particularly fashionable in the s and s. Pagoda sleeves are set low to create a fashionable sloping line from shoulder to arm, and the sleeve itself flares outwards into a wide cuff. Dress Designer unknown Great Britain About Silk trimmed with silk braid and beads, lined with glazed cotton, edged with brush braid, hand-sewn Given by Miss Edith Westbrook Museum no. By the s, skirts had reached their fullest point.
This dress illustrates the style of the early s.