Photo reblogged from It Means Apricot with 30 notes
My great-grandmother, on her graduation from high school, ca. 1919.
I just wanted to let you all know that I’ll be posting some antique family photos I’ve scanned on my other blog.
Source: itmeansapricot
Photo with 8 notes
Afternoon dress, ca. 1843; cotton
Metropolitan Museum of Art C.I.45.68.28; Gift of Art Worker’s Club, 1945
The extensive ruching on the bodice of this dress is similar to the more subdued gathering often used at the center front of both day and evening dresses of the period. At the same time, the large tucks on the skirt and the light materials look forward to the lingerie dresses of the early twentieth century.
Source: metmuseum.org
Photo with 3 notes
Mantua, ca. 1720; brocaded silk, metallic threads
Nasjionalemuseet OK-DEP-01160
The silk of this mantua is brocaded with an intricate lace pattern (“kniplingsmønster”); the stomacher and robings are trimmed with gold metallic lace. The train is an unshaped panel of silk.
The narrowness of the sleeves and lack of cuffs may show an alteration from the gown’s original look, as early mantuas tended to have very wide sleeves and large turn-back cuffs.
Source: harriet.nasjonalmuseet.no
Kensington shoes →
Sorry for the off-topic post (and lack of updates)! But the American Duchess has a new shoe style, and the pre-orders are starting! She needs 100 orders to get them made, and that better happen because I want a pair of them someday.
Photoset reblogged from historicalfashion with 69 notes
Silk Brunswick, V&A, c. 1765-75
From the V&A site:
This garment represents an 18th-century style of jacket known as a Brunswick. A shortened version of the formal sack-back dress, the Brunswick became popular in the 1760s for travelling and informal dress. Although this example has a hood, the very fine watered silk suggests it was intended for casual day wear rather than the rigours of 18th-century travel. Some variations have wrist-length sleeves, and buttons at the elbow of this jacket indicate that it might once have had removable extensions of the sleeve to cover the forearms.
I would actually call that a Jesuit. When I was researching the 1770s, I found that the Jesuit was a garment that buttoned up to the neck (implying that the Brunswick is the one that doesn’t).
Source: historicalfashion
Photo with 15 notes
Corset, ca. 1835; cotton, cording, metal grommets
Metropolitan Museum of Art 2009.300.2892a, b; Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Richard Herz, 1967
Unlike most surviving corsets of this era, the thread used was not matched to the fabric. Instead, the maker used navy blue to create a striking contrast, with the precision of the lines of stitching making them appear drawn on with ink and a ruler.
Source: metmuseum.org
Photo with 1 note
“Lavinia Fenton, Duchess of Bolton”, William Hogarth, ca. 1745; painting
Tate Collection N01161; purchase
Lavinia Fenton was an actress, and the Duke of Bolton’s lover for many years; when his wife died, the two married. She is here dressed in a Turkish-inspired costume: tassels and center front closures would not become part of ordinary fashion for several decades.
Source: tate.org.uk
Photo with 15 notes
Shoes and pattens, ca. 1745; linen, silk, and leather
Metropolitan Museum of Art C.I.52.15.2a-d; Gift of Mrs. Max Schott
If the weather was bad, eighteenth century women could put on their heeled shoes and then strap pattens (overshoes) onto them, as protection against the mud. These pattens, however, would have been more suitable for protecting fine shoes against ordinary dirt when the elegant wearer stepped outside. (Thank you, vintagevision! I agree, now that you point it out.)
Source: metmuseum.org
Photo with 2 notes
Waistcoat, ca. 1720; silk embroidery on linen
Metropolitan Museum of Art 45.4; Rogers Fund
In the late seventeenth and early eighteenth centuries, waistcoats had sleeves, which showed under the coat at the cuffs. As with this one, they could be heavily decorated over the front and at the bottom of the sleeves, where the waistcoat would be seen - giving the impression that the waistcoat was actually decorated all over, and that the wearer was accordingly more wealthy.
Source: metmuseum.org
Photo with 4 notes
![“Jeune Dame habillée [en] … grande robe à la Musulmane …”, François Louis Joseph Watteau, Gallerie des Modes, 1784; engraving on paper
Museum of Fine Arts Boston 44.159; The Elizabeth Day McCormick Collection
Not unexpectedly, the robe à la musulmane strongly resembles the robe à la turque. It has short oversleeves, a long skirt, and three back seams - however, the musulmane differs from the turque in that it has a waist seam, where the skirt pleats into the bodice.](http://25.media.tumblr.com/tumblr_lyfq2q5tJW1qg847go1_500.jpg)
“Jeune Dame habillée [en] … grande robe à la Musulmane …”, François Louis Joseph Watteau, Gallerie des Modes, 1784; engraving on paper
Museum of Fine Arts Boston 44.159; The Elizabeth Day McCormick Collection
Not unexpectedly, the robe à la musulmane strongly resembles the robe à la turque. It has short oversleeves, a long skirt, and three back seams - however, the musulmane differs from the turque in that it has a waist seam, where the skirt pleats into the bodice.
Source: mfa.org
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