A new collection of Victorian photographs conjures up the winding streets and smoking factories of the city that inspired Charles Dickens.
A new collection of Victorian photographs conjures up the winding streets and smoking factories of the city that inspired Charles Dickens.
These are some of the earliest portrait photos of Victorian women taken by Lady Clementina Hawarden (1 June 1822 – 19 January 1865), one of Britain's first female photographers, also one of the most influential Victorian fine art photographers, blazing the way for women in the profession when it was dominated by men.
The Reader, by Federico Zandomeneghi (Italian, 1841)
These previously unseen photos show the rural Welsh villages of Llanuwchllyn and nearby Bala, in Gwynedd, north Wales, way back in the 1860s.
A new collection of Victorian photographs conjures up the winding streets and smoking factories of the city that inspired Charles Dickens.
I'm in the process of creating another 1860s Sheer Dress this week! This dress is made of 100% Silk Organza - Ivory with a beautiful small I...
I'm in the process of creating another 1860s Sheer Dress this week! This dress is made of 100% Silk Organza - Ivory with a beautiful small I...
It's high time for me to document some of the 19th century bonnets that I've made. Here's a link to one of my previous bl...
My best beloved Maggie came out from California to visit. Usually we go to Gettysburg Remembrance Day, but since this was the 1...
The original, made last year. So you all think I haven't been sewing...and you would be sortof right. Little bits at a time, little projects (that turn into massive projects), and here's one of them. See the results under the cut .... My pseudo-1840s-whatever dress I made last
This is not a printed pattern. This is the download version of #111. Ladies' Early 1860's Day Dress 3 Sleeve Options, Collar & Undersleeves Misses Sizes 6 - 26 - with Adobe compatible size layers- All sizes included Ladies' Early 1860's Day Dress with Three Sleeve Options -View A is a copy of an extant period dress in the author's collection. Views B and C are copies of extant sleeves.-All Views have a two dart front bodice and a classic curved V, tucked back. The darts are boned. The front of the skirt is directionally knife pleated, the sides are box pleated and the back is cartridge pleated (gauged). The bodice, sleeves, and skirt are flat lined with polished cotton. The skirt has a pocket and is stitched to the bodice. The bodice has piping at the neck, armscyes and waist. View A has coat sleeves, View B has pagoda sleeves, and View C has pleated pagoda sleeves. Included are a 1 1/2 inch collar and plain undersleeves. An extant dress in the author's collection was copied for View A. You will receive two sets of 9 A0 pages (33.1 X 46.8), the front and back cover, and the instructions. The color set of A0 has colored solid lines and contains the entire pattern with all the sizes. The second set of A0 pages are called "A0 Black Layers". This file has black and white dashed lines. It also has the option of printing just the sizes you want by using the "layer" option in Acrobat. The layer option graphic looks like a pile of papers. You will also receive files that have the pattern separated out by parts of the garment; Just the bodice, just the skirt, just View A sleeve, just View B Sleeve, just View C Sleeve, and just the undersleeve. This means you can print just the parts of the pattern you want in just the size(s) you want. The A0 pages are meant to be printed on a wide format printer/plotter at your local print shop. Please note this pattern is not tiles. However you can tile it yourself using the "poster" option in Adobe Acrobat. https://helpx.adobe.com/acrobat/kb/print-posters-banners-acrobat-reader.html
Lady Clementina Hawarden's pictures of her daughters (including Isabella, left) from the 1860s are set to fetch £150,000 at auction. She used the entire first floor of her London home as a studio.
It seems to me that most of the re-enacting events we attend start earlier in the day, and unless only Susi and I go, we usually don't have ...
Some words of wisdom on Mourning Dress according to "The Ladies Book of Etiquette, Fashion and Manual of Politeness" from 1860. "There is su...
By popular demand, I'm going to do some blog posts on creating hairstyles for the 1860s. Since I have long, thick hair, I wanted to use someone else for a model - someone who had a shorter, more modern hairstyle. However, my sis also has long thick hair, and Mom's hair is very short. No one in our family has a nice, shoulder-length style for me to play with! Just when I thought there was no one to pester, a good friend with formerly long hair surprised us today by coming for a sleepover with a new haircut! She graciously offered to be a model for my blog post (and a fruit coolatta from Dunkin Donuts as bribery didn't hurt!). So here is our wonderful model Merrianna with her beautiful titian hair as a my demo! Though I did this hairstyle for Merrianna (while she slurped her coolatta! :D), you can easily do it on yourself with some practice. My materials The lovely model (and the bribe!) I started by parting off a front section on each side. Then I put the back section into a nice smooth ponytail. I twisted the ponytail into a bun. This is where having some gel, hairspray or good old-fashioned pomade would have made the job easier. But hey, it turned out pretty well anyway! Since her hair was nice and clean and slippery, I used hair clips to secure it. If you absolutely need to, you can use them too. But since they weren't around in 1860, it's better to use something goopy on your hair to make it stay put (which they did do) and then use those big authentic hair pins instead. However, the clips worked fine for our demo. Next, I took one of the side sections in front and twisted it. You can twist it under, towards your face. Or you can twist it up, away from your face. Both styles were used, so you'll have to decide which fits your face shape the best. Thin hair typically looks best if twisted up and away from the face. Twist the hair all the way to the end. You can braid it, if you prefer. Start the braid near the top of the ear, not at the front scalp-line. Braided or twisted, take the piece of hair and wind it around your bun. It doesn't matter if it's not long enough to go all the way around the bun. If you're using hair pins, pin it against the bun as you go. If using clips, do the same thing. Take the other front section and do the same thing with it. Here's generally how it should look. Isn't this a lovely do? It should be quite secure as well, especially if you used plenty of hair spray and gel. Here is a drawing of Queen Victoria with the same general hairstyle. If your hair is long, you can loop the braid or twist lower, like she did. If you are reenacting a lady at home, you can leave your head bare if you like. However, ladies often wore caps or nets during the day. So here's how to put on a net. First, put it around your hands and make sure it's fully opened. Hook the bottom under your hair-do. Pull it forward and adjust around your face. Ta-da! Ain't she cute? This hairstyle also looks good with a cap. And a bonnet! Next time, I'll show you our demo pictures of how to vary this for a ball hairstyle. For now, I'll leave you with a final cute photo op we just couldn't resist: Thanks, Merrianna!
If you're a first-time reenacting lady, heading for "sutler row" to buy your first outfit, you'll see them everywhere. Beautiful billowing white peasant blouses and lovely full flowered skirts. Perfect! You find a set in your size and POOF! You're a reenactress! Then you get on a reenactor online forum and you see this discussion about "the dreaded skirt and blouse combo." You read it and you're in the dumps - apparently the mismatched skirt and blouse are ALL WRONG and were never worn during the war. You sadly consider the cost of buying an entirely new outfit. But THEN you start looking on Pinterest at original photos of Civil War ladies. WAIT! There are ladies in real 1860s photographs wearing a skirt and blouse! Okayyyyy, what's going on here? US National Archives 111-B-1686 Mis-Matched vs Matched The first item to consider is whether Civil War ladies only wore outfits with matching skirt and top, or if they wore mis-matched outfits too. The answer is, they wore both. Sort of. The mainstay of all female wardrobes in the 1860s was the matched skirt and bodice. Sometimes it was a one-piece dress, sometimes the pieces were separate, allowing for two different styles of matching bodice to be worn (a day bodice and an evening bodice, for example). If you looked in any woman's closet, the majority of what you'd find would be dresses with matching skirt and top. Barrington House photo. 1860s. But in the 1860s, a new fashion was just beginning to take hold. A young lady, or a fashionable woman might have an outfit or two in this new style. The style was - you guessed it - a mis-matched skirt and top. BUT... there were very particular parameters for this style. And that's where fashion historians blow a gasket, because the modern sutler version of a white blouse and calico skirt doesn't even come close to fitting the 1860s parameters for what we now call a "skirt and blouse." So let's take a look at what these outfits really looked like. Musées Nationaux-Grand Palais The Typical Blouse A "blouse" was originally a man's garment. Using the term "blouse" for woman's clothing is still a fairly new thing in this era, and it refers to a certain kind of top, one that imitates a gentleman's shirt. Up till now, we have been calling a ladies' top a "bodice," a "waist," or a "body." These terms could mean slightly different things depending on your region. What we call the "blouse" of the 1860s (and I will use this term the rest of this post because it's familiar) was almost always white and almost always very fine, beautiful fabric. Sheer cottons, silks and wools were often used. Tucks, frills, and furbelows of all sorts were generally included. Many times we see ribbon woven into the collar, or even into the whole blouse. It was a sharp looking, well-fitting, high fashion garment. Here is a blouse from the Met Museum made from sheer window-pane fine cotton. It is partially lined and includes a fitted waistband and some lovely ruffles. This gorgeous sheer blouse (it appears to be silk) is puffed to kingdom come! A fitted waistband and frilly collar complete this little piece of elegance. And just one more example (someone please stop me!). This one is so pretty with its detailed white-work flowers. It's likely that white-work was done by hand. The Garibaldi Blouse As I said, blouses were almost always white. The exception was for an outfit mimicking the famous Guiseppe Garibaldi, a freedom fighter in Italy. Garibaldi blouses worn by ladies were generally red, like his was, and included intricate, military-style black trim. You'll often see mock epaulettes on the shoulders. These gorgeous blouses were usually made of fine wool or silk. Because they were solid colored, they were almost never made of cotton - solid cottons were very rare in the 1860s. Lovely - but not for Civil War era! No Peasant Blouses So even though those lovely flowing white blouses on sutler row look so enticing, they're not accurate. The cotton fabric is usually too coarse and heavy, the blouse is too loose and floppy, there is almost never a proper collar - and I'm just getting started! Basically, a ready-made blouse of any kind will probably not look right for our era. Blouses of the 1860s were made to fit YOU and you only. Conversation Piece, Lilly Martin Spencer The Skirt So now we come to the second part of the ensemble. Remember that a "skirt and blouse" combo is considered a high fashion outfit. The cheap floppy calico skirts on sutler row don't make the cut. Skirts of the 1860s were generally fine tightly woven silk or wool. Both solids and patterns were used - but watch out which patterns you choose! Some of our modern designs simply weren't around back then. Plaids and stripes are generally pretty safe (and if you're concerned about a plaid, you can research it online to see when it was created). 1864 Ladies Friend Magazine If you are wearing the typical 1860s white blouse, you can pair it with a skirt of many colors and designs. However, if you're wearing a Garibaldi blouse, it was almost always paired with a black, or black-and-white skirt to complete the look of Garibaldi's uniform. The Belt Now we come to the optional finishing touch. A belt is not necessary for this ensemble, but it does make a nice statement and was quite popular. Here are some types of belts that were worn with these outfits: - Velvet or silk with rectangular metal buckle (like the fashion plate above) - Velvet or silk with double buckle - Rosette belt (came into fashion in the mid-1860s) - Medici belt - these were generally silk, fitted your waist (no bow in the back, a la sutler row) and sometimes beautifully embroidered - Swiss waist - a silk, corset-like garment So if you're a young lady, or if you're portraying a fashion-forward lady, a skirt and blouse ensemble may be for you. But save yourself some money by avoiding sutler row and instead go for the stunning original design: a high-quality finely designed blouse and silk or wool skirt. This young woman shows off the perfect ensemble: Frilly sheer blouse with ribbon woven in, silk medici belt and silk taffeta skirt. Her hair is smoothly in order and her lacy hankie provides the perfect finishing touch. Here's another photo from my sister's collection. Though mother and daughter's faces look almost alike, mama has a fashionable but predictable lady's outfit, probably a one-piece dress with lovely trim. Daughter, on the other hand, is more fashion-forward and is wearing a beautifully trimmed Garibaldi blouse - she probably sewed all that trim on herself! Her dark solid skirt is likely black silk. Both she and mama complete their ensembles with neck bows and ribbon hairnets. Such a lovely couple! If you want to see more gorgeous blouse outfits from the 1860s, check out my Pinterest board on the subject. This outfit was so fun that sis and I decided to attempt it ourselves. We found some lovely sheer cotton and sis made our gorgeous blouses with plenty of tucks and frills. I made the skirts - mine is swishy silk taffeta and sis's is a rich wool. I also made our cockades. And Mom made our snazzy hairnets! I think the whole effect turned out nicely!
Today Vince and I participated in a small Living History event in Sewickley, Pennslyvania at the Sewickley Cemetery. I wore my plaid sheer d...
cross stitch, needlework, samplers, folk art, embroidery, applique, punch needle, primitive, notforgotten farm, lori brechlin, rug hooking
Продолжаем знакомиться с коллекцией дамского белья Антона Приймака. Часть 1 "Знакомство с коллекцией" была тут , часть 2 "Корсеты" тут . Сегодня речь пойдет о кринолинах. Рассказывает Антон: "Эта нижняя юбка на пухлых ватных жгутах (1840 г) - так называемая "предвестница" кринолина. Мягкая нижняя…
Studio: Georg Munck - Wien (Vienna) Dated on reverse: 1869 img2448
It's been a while, but I'm picking up where I left off in my series of posts on tartan in women's fashion ! If you're new to the party...
