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#1860s gown
la-belle-histoire · 4 months
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In the Country, Alfred Stevens. 1867.
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neosuchoo · 6 months
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They’re going to go hook up in the bathroom in approximately 20 minutes
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fashionsfromhistory · 11 days
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Ball Gown
Emile Pingat (Paris, France)
c.1864
The MET (Accession Number:C.I.69.33.12a–c)
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Jean-François Portaels (1818-1895) "A Sicilian Bride" (1861) Oil on canvas
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digitalfashionmuseum · 6 months
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Pink silk ball gown, ca. 1867, French.
By Emile Pingat.
Albany Institute of History & Art.
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goldenstarprincesses · 6 months
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How often do we think nations get drunk and wonder around the streets of their modern city's wearing their museum quality historical clothing that they found in their attic
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chic-a-gigot · 1 month
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La Mode illustrée, no. 12, 21 mars 1869, Paris. Toilettes de Mme Bréant-Castel, 28. r. Nve. des Pts Champs. Collection of the Rijksmuseum, Netherlands
Robe de dessous en faye vert lumière. Le bord inférieur est garni d'un volant ayant 25 centimètres de hauteur, surmonté d'une ruche chicorée; sur chaque côté cette ruche se sépare, forme un angle droit et remonte jusqu'à la ceinture, de façon à simuler une seconde robe, tandis que le volant représente la robe dessous. Tunique faite avec un crêpe de chine blanc, brodé de fleurs de couleur; la frange du châle sert de garniture à la tunique. Celle-ci est relevée à l'aide de ruches en faye verte de façon à former un très-large pouff par derrière. Ceinture verte se fermant sous un chou assorti. Corsage décolleté en faye vert, recouvert de gaze blanche, et bordé ainsi que les manches courtes de ruches en dentelle. Coiffure de roses thé et roses.
Robe de dessous en pékin rouge à raies satinées, garnie d'un volant coupé en biais ayant 40 centimètres de hauteur. Robe de dessus en cachemire noir brodé, garnie d'une frange noire. Mantelet pareil à la robe, croisé par devant et à revers, fixé par derrière de façon que les pans forment une sorte de tournure assez volumineuse. Le corsage, ouvert, est en cachemire noir. Les manches sont à revers brodés comme ceux du mantelet.
Underdress in light green faye. The lower edge is trimmed with a ruffle 25 centimeters high, topped with a chicory ruffle; on each side this ruffle separates, forms a right angle and goes up to the belt, so as to simulate a second dress, while the ruffle represents the dress underneath. Tunic made with white crepe de chine, embroidered with colored flowers; the fringe of the shawl serves as trim for the tunic. This is raised using green faye ruching so as to form a very large pouff from behind. Green belt closing under a matching collar. Low-cut bodice in green faye, covered with white gauze, and edged as well as the short sleeves with lace ruffles. Tea rose and rose hairstyle.
Underdress in red pekin with satin stripes, trimmed with a bias-cut ruffle measuring 40 centimeters in height. Top dress in embroidered black cashmere, trimmed with black fringe. Mantle similar to the dress, crossed at the front and at the cuff, fixed at the back so that the sides form a sort of rather voluminous turn. The open bodice is in black cashmere. The sleeves have embroidered cuffs like those of the mantlet.
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fauvester · 1 year
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1830s ferengi are my new artblock unstopper. as IF the ladies would let ferengi males take over the trade of millinery and fashionable accessories!
I like to believe that lady ferengis comprise a class of competent and sometimes ruthless merchants and milliners, as well as very discerning consumers of finished products. fashionable suppliers in all quadrants brag about the quantity and loyalty of their ferengi customers (since they'll ruthlessly drop anyone they think is offering subpar goods.) ferengi fashion isn't particularly popular outside ferengar, but if you need any kind of trim, fabric or tchotchke, it's best to get a ferengi female's advice. They know all the best deals, but they may charge a finder's fee.
as for tailors? oh, the best come from cardassia. if you only know the planet for its monocultural militarism and you're surprised to hear it, you clearly haven't seen a gul in full uniform! their structured bodices (don't call them that to their faces - they're breastplates) are architectural masterpieces. If a ferengi brings out your best qualities, a cardassian will invent ones that don't exist - boning, interfacing, padding, buckram, lacing, until you're the perfect inverted starfleet insignia shaped model of a modern lizard general, complete with a coquettish flash of neck. They generally work via flat-patterning, lots heavy duty construction and mathematics. of course your cardassian tailor will do their best to drape your bias cut slip, but they may call a hit on you after wrestling with your risian silk charmeuse...
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medici-collar · 1 year
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Celestial Blue Ball Gown
Date: 1867
Maker: Marie and Josephine Virfolet, New York City
Materials: Silk satin (tulle was replaced c.1980)
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drawawyvern · 9 months
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Everyone's getting excited about 1960s ineffable wives but what about 1860s instead
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la-belle-histoire · 4 months
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Autumn Flowers, Alfred Stevens. 1867.
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pathesis · 1 year
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"The Ballad Of Sarah Berry" but it's 1860 and it's about a suitress trying to attract a high-class man, and marry him to boost her family's status.
failing to do so she goes on a murder spree at the wedding.
My interpretation of Sarah Berry(Blonde) and Julie Jenkins(Brunette)
I wanted to make an animatic but I just don't have the time SIGH
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fashionsfromhistory · 11 days
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Ball Gown
Emile Pingat (Paris, France)
c.1864
The MET (Accession Number: C.I.69.33.1a, b)
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colorizedhistory · 3 months
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