- Walking Dress 1810
The Empire gown is figured in the illustration of a walking dress, 1810. It lasted practically until the advent of the crinoline in the forties, when it finally disappeared. - A Sitting-room
The sitting-room has little furniture. An indispensable article in it is the brazier, usually oblong, with a set of three small drawers one under another at the side and two others side by side under the copper tray filled with ashes, on which charcoal is burnt inside an iron or clay trivet. On this trivet is set a kettle of iron or copper. The iron kettle is made of thick cast-iron and kept on the trivet so as always to have hot water ready for tea-making: and the copper kettle is used when we wish to boil water quickly. Beside the brazier is a small shelf or cabinet for tea-things. Behind the brazier is a cushion where the wife sits; this is her usual post. There is also a cushion on the other side or the brazier, where the husband or other members of the house may sit. - A young lady dressed for a visit
When she goes out on an informal visit, the Japanese woman usually puts on a crested haori; but if it is only for a walk, the haori may be plain. The kimono may on such occasions be of any pattern, only that when she makes a call, the band must be of the same cloth as the kimono. - 1800 2
- Paris Evening Dress 1833
- The reformed dress
The kimono appears indeed to be capable of little improvement. The only concession that has been made to the requirements of the latter-day school-girl is the contraction of the sleeves. The “reformed dress,” as it is called, has large open sleeves which can be tightened by means of a string. It is found very handy and is worn by many school-girls. Reformed or unreformed, there is this to be said for the Japanese woman’s dress that it does not suffer in the matter of pockets or what serve as such from comparison with man’s. - Tie-back skirt
Tie-back skirt Late '7o's and Early '8o's The bustle remained an important feature after the panier effect had been discarded. The skirts were made severely plain and were pulled back by strings, so as to fit with extreme snugness in the front. At the back, however, they were drawn out over a bustle of such extent that the fashion plates of the late '70's now have the appearance of caricatures. - Practical Dress Instructor
Headdress of the Lady on the Right.—Hair in bandeaux à la Niobe; torsade of pearls. Moire dress, low body, with progressive revers opening over a modestie of embroidered muslin edged with lace; short open sleeves à la Watteau; undersleeves of embroidered muslin; half-long gloves; bracelets of pearls, or more often worn different, according to choice. The other Figure (Lady seated).—Cap of tulle trimmed with lace and ribbon. Low body, with revers open to waist; loose bell-shaped sleeves, edged with a bouillonne; two skirts trimmed with the same; modestie of embroidered muslin, edged with point de Venise; black velvet bracelets, half-long gloves, and Venetian fan. - Spring Fashions 1854
Spring Fashions 1854 - The Albuera
This mantilla is one of great beauty. It is made of blue glacé silk, but can be in any choice color. Lavender and lustrous pearl and mode colors look especially well, as also the greens, in this garment. Its chief peculiarity consists in its square front and its fitting so as to just cut the edge of the shoulder. It is fastened at the top by a bow; the back falls with an easy fulness; it is embroidered. - 1807
- 1804
1804 - Spring Fashions
LACE MANTILLA and TABLET MANTILLA LACE MANTILLA.—This mantilla has three capes—the first is in depth twenty-three inches, the second eighteen inches, and the third fourteen inches, with lace edging to match. The collar is six inches in depth, with a bow of ribbon behind. TABLET MANTILLA.—Material. Watered or plain silk. It is made with a yoke, and falls low on the shoulders. For trimming, it is cut in turrets, trimmed with narrow braid and netted fringe sewed underneath. - The Grecian Bend
The Grecian Bend , a feature of the late 70's - two walking dresses as well as an indoors and evening dress 1836
two walking dresses as well as an indoors and evening dress 1836 - The more practical gown of the Empire Period
The more practical gown of the Empire Period - 1803
- 1805
1805 - 1805
1805 - 1808
- 1806
- 1806
- An official ball in the Strassbourg Theatre
- The 1840 style
The 1840 style - On the Water
On the water - French Restoration period - 1823
French Restoration period - 1823 - The 1830 Effect
The 1830 Effect - The Extreme of the Crinoline - 1862
NO radical change in womens' costumes occurrred until the early fifties when what are known as the "Second Empire" styles were introduced. A remarkable feature of the fashions set by Eugenie, the consort of Napoleon III, was the enormous crinoline, of which we have more than once in recent years been threatened with a revival. The monstrous dimensions of women's skirts during the period from 1853 to the early seventies afforded an excellent theme for the pencil of the comic artist, and those who care to search the volumes of "Punch" and other illustrated publications of English and French origin, as well as those produced at the time in this country, will find both exact reproductions and caricatures of this style of costume. - Ball Costume 1825
Ball Costume 1825 - Early days of the crinoline - 1855
Early days of the crinoline - 1855 - 1802
- hair dressing which were in vogue in 1832
hair styles which were in vogue in 1832 - Hairstyles for 1837
Hairstyles for 1837 - Hair fashions 1834 England
Hair fashions 1834 England - Profile of lady
Profile of lady - different modes of dressing the hair.in 1835
different modes of dressing the hair.in 1835 - different styles of hair-dressing fashionable in 1830-31
different styles of hair-dressing fashionable in 1830-31 - 1810
- 1809
1809 - 1805
- Lady
Lady - 1809
1809 - On the Caroussel
The carousel is a form of entertainment which has grown popular with a certain class of people within recent years. The term may be a little obscure to the uninitiated, but they will readily understand its meaning when it is explained that the carrousel is nothing more or less than the old-fashioned “merry-go-round” which we all easily remember as a feature of fairs, circuses and other out-door entertainments. - Washer-women
At every available point of the crowded river-front washerwomen, with their petticoats wet to the waist, stood knee-deep in the stream, and accompanied their lively chatter with the vigorous tattoo of their active mallets. In the shadow of the houses near the landing great piles of watermelons were the centres of groups of all ages, every individual busy with the luscious, juicy fruit. - Water-carriers, Duna Földvár
Women water carriers - Buy a broom girl
One of the features of the streets at that time was the "buy a broom girl," so called from her cry. Her costume was picturesque, and she was rather an ornament to the extremely prosaic street. "From Deutschland I come, with my light wares all laden, To dear, happy England, in summer's gay bloom; Then listen, fair ladies, and young pretty maidens, And buy of a wand'ring Bavarian, a broom. Buy a broom? Buy a broom?" - Returning from Market
Woman returning from market pushing a barrow with empty baskets - bonnets worn in 1830
bonnets worn in England in 1830 - 1802
1802 - 1803
- 1803
- 1804
- 1803
- 1803
1803 - 1810
- 1800
- 1802
1802 - 1802
1802 - A Petit Souper
Man and woman eating in restaurant - Fellah Women
Fellah Women The dress of a large proportion of those women of the lower orders who are not of the poorest class consists of a pair of trousers or drawers (similar in form to the shintiyán of the ladies, but generally of plain white cotton or linen), a blue linen or cotton shirt (not quite so full as that of the men), a burko’ of a kind of coarse black crape, and a dark blue tarhah of muslin or linen. Some wear over the shirt, or instead of the latter, a linen tób, of the same form as that of the ladies. The sleeves of this are often turned up over the head; either to prevent their being incommodious, or to supply the place of a tarhah.