Wedding dress, American, silk, c. 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.

The MET Museum

whoever said modern clothing is better was LYING. i put on my victorian menswear and i immediately feel amazing. nothing can touch me! i have four layers on and you have no idea what my body looks like! i'm the hottest motherfucker ever! sure t-shirts are cool but have you ever tried a vest that gives you a slutty little waist?

obsessed with the era of historical fashion between the 1860s and 1870s where aniline dyes kept being invented. you can find some absolute eyesores (affectionate) of dresses that were only made that way because “acid magenta” was invented last month and it was trendy.

like this iconic gown:

or this one from the 1870s in aniline purple and aniline black:

or a trendy yellow and black gown from c. 1865, perhaps?

feel free to reblog with additional eyesores (affectionate) that i might have missed

Cape

Late 1890s

The John Bright Collection

Ball gown, 1840-41

Maker: Unknown

From the collection of Wien Museum

Picnic at Hanging Rock

Come see my new art blog @halofthebramblewoods Werewolf girlfriend comic in a SCAD digital art class. I started digital art a few months ago. Lily and Kitty the Victorian girlfriends one of which is a werewolf.

They’re going to go hook up in the bathroom in approximately 20 minutes

Pelisse

1835-1840

United States or England

DeWitt Wallace Decorative Arts Museum (Object Number: 1996-273

1895

Blue Silk Faille Reception Dress, 1867

3-piece robin's-egg blue faille decorated with cream satin-stitch, tambour and french-knot embroidery, bodice having long sleeve, prong-set oval opalescent buttons; trained skirt with large embroidered repeats above the hem, deep, stiffened hem binding; small separate peplum with embroidered waistband.

Thursday, January 11.

Beauty, sensuality, art for art's sake.

It was the best of times, it was the worst of times. But it was the most Victorian of times, that much is certain. There was also a lot going on during this period, not least the emergence of a dark, elaborate, and literary fashion—one that would leave its mark well beyond the close of the 19th century.

We have curated just a few of these opulent delights for you this Thursday, January 11, in the hope that you live romantically, sensually, and broodingly. Like the bon vivants you so deserve.

A Cavatina, 1888, Briton Riviere. @eirene 

Dress of cotton muslin, gilded metal thread and Indian jewel beetles (sternocera aeqisignata), Britain, 1868-9

The wings of jewel beetles (buprestidae) were traditionally used to embellish textiles in South America and South and Southeast Asia. Emerald-green beetle-wing decoration became a symbol of high status in India during the Mughal period (1526-1756). Western traders in India then introduced these textiles to Europe in the late eighteenth and early nineteenth centuries. British newspapers report on several women wearing dresses decorated with beetle wings at court during the late 1820s and early 1830s. By the 1860s beetle wings were being imported to Britain in volumes of 25,000 per consignment, to be applied to textiles in imitation of the Indian technique. The wings were cut, shaped and arranged in stylised floral patterns, often accented with metal thread. The wings would have glittered in candlelight, achieving a sought-after iridescent and jewel-like effect.

Dress

c. 1889-1892

maker: Sara Mayer & A. Morhanger

V&A Museum

The Carrick Coat

James Tissot (French, 1836-1902) • On the Ferry Waiting • c.1878 • Private collection

A Carrick or Garrick (in Great Britain) is an overcoat with three to five cape collars, worn by both men and women primarily for travel and riding, in the 19th century.

Artist unknown. Costume Parisien. Chapeau de Velours. Carrick et Guêtres de Drap., 1816. Hand-coloured engraving. London: Victoria and Albert Museum

Sources:

Fashion History Timeline

Metropolitan Museum of Art