Dating victorian dresses

See how close you can get to the date which in some cases you may be able to verify with documentation. A Crowd scene of old Hebburn with children and women and men of all ages. The costume in the photograph is analysed in detail with snapshots of the main elements of the picture that lead to a date conclusion. Click on the headings below to go to full pages. The costume, jewellery and hairstyle in the photograph is analysed in detail with snapshots of the main elements of the picture that lead to a date conclusion over a 5 year period.

This is study of a father and his two adult daughter a year after the death of his wife. The sitters all wear mourning dress. Changes in technology, leisure, work, cultural and moral values, homelife and politics have all contributed to lifestyle trends which influence the clothes we wear.

Women's Clothing - s - Clothing - Dating - Landscape Change Program

These are the changes that make any era of society special in relation to the study of the costume of a period. Examples were first brought to Britain in the s. Various inventions of machines for sewing seams occurred in the s, but they did not become commercially available until the late s. It was several decades before the sewing machine was widely used in homes and by professional dressmakers.

The waist was lower in the s than the s, with an elongated and tight bodice and a flat fronted skirt. Low, square necklines were fashionable. Hair was dressed high at the back with complicated twists and rolls, falling to the shoulders, adorned with ribbons, bands and decorative combs.

Hats were very small and tilted forward to the forehead. Later in the decade wider brimmed 'picture hats' were also worn, though still tilted forwards. Coats and jackets were semi-fitted and thigh-length. Generally, both jackets and waistcoats were buttoned high on the chest. Shirt collars were stiff and upstanding, with the tips turned down into wings.

Hair was often worn parted in the centre, and most forms of facial hair were acceptable, though being clean shaven was rare. Dress dress, peplum and belt Designer unknown About Great Britain Silk, trimmed with silk braid, lined with glazed cotton and buckram, faced with silk and ribbon Museum no.

The silk has a figured pattern of black and white leaves on a speckled ground. The dress is trimmed with silk braid. There is an overskirt over the back of the dress, accentuating the bustle that was now being worn underneath. Open sleeves of the kind seen here were very fashionable in the early s.

The fashion magazine 'The Queen' shows a dress with the same squared-edge sleeve in an issue for August A hemline just at the ankle indicates a garment intended for walking outdoors. The style of the dress has been inspired by the colours and stripes of sailors' uniforms. It is made of cotton, so it is easily washed and dried. Despite its practical use, the ensemble still incorporates the details of fashionable dress, with an overskirt in front and a bustle worn underneath at the back.

Day dress Designer unknown About Great Britain Silk, trimmed with silk ribbon and silk satin, lined with glazed linen, machine and hand sewn Given by Miss R.

Dating and Marriage in the Victorian Era

By the circumference of the skirt had reduced considerably from its proportions in the mids. Fullness remained at the back, where it was swathed over a bustle and tied with tapes on the inside to allow the skirt to drape in a becoming fashion. This ensemble illustrates the decorations, especially fringing and applied ruffles, that were popular at the time.

The unfitted jacket and fairly loose-fitting skirt suggest that the ensemble might have been worn by an older woman. Morning coat Designer unknown Great Britain Fine wool, with a velvet collar; edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk, and sleeves lined with twilled cotton Museum no. The morning coat was originally a single-breasted tailcoat, worn in the early 19th century, and also known as the riding coat or 'Newmarket'.

By the s it was shaped halfway between a riding coat and a frock coat. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. This example is a variation of the morning coat. It was introduced in and was known as the 'University' or 'Angle-fronted' coat.

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The fronts were cut at an acute angle from the second button, exposing much of the waistcoat. The morning coat was worn during the daytime, as the name suggests.

Dating Old Photographs and Victorian Fashion

It became so popular that it began to rival the frock coat for day and business wear. Manners for Men , by Mrs Humphry, stated: After lunch, when in town, the well-dressed man may continue to wear his morning coat or the regulation frock-coat, with trousers of some neat, striped grey mixture. Morning coats were usually made of dark colours, and the fabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers.

The collars were often faced with velvet and the edges were bound, corded or stitched.

Women's Clothing

This example has large wide sleeves, as was fashionable for the period. It also has wide lapels and is buttoned very low on the chest. After coats tended to be buttoned much higher.

simmar.it/includes/map24.php The Gentleman's Magazine of Fashion justified this fashion for health reasons: Coat Designer unknown Ireland Cotton velveteen, lined with silk, wool twill and cotton, edged with wool braid Museum no. As the frock coat became formal daywear in the s, a more informal style of coat, called the morning coat was introduced. It had skirts that were cut away in front.

It is characterised by sharply angled cut-away fronts, short length and double-breasted style. The wide collar and lapels are typical of the s, as is the loose sleeve. This ensemble characterises fashionable evening wear for women in the late s. The elbow-length sleeves and square neckline show that it was probably a dinner dress rather than ball gown. Tiers of machine-made lace adorn the skirt and bodice; an overskirt of satin swathes the front of the dress. The bodice extends into a point below the waistline in front and back.

The ruched skirt and draperies on this dress reverberate with intense colour, revealing the fashion for bright new synthetic dyes. Their inception owes much to the work of Sir William Henry Perkin , who discovered the first famous artificial colour by accident in when he was a student at the Royal College of Chemistry in London. While experimenting with a synthetic formula to replace the natural anti-malarial drug quinine, he produced a reddish powder instead of the colourless quinine.

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Textile manufacturers soon turned to his aniline process and the resulting fabrics were characterised by an unprecedented brilliance and intensity that delighted the consumer. During the late s the fashionable female silhouette changed. It moved away from the exaggerated padding provided by the bustle a device worn under the skirt to push it out to sheath-like dresses that emphasised the natural shapely curves of the body.

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Princess dresses, like this one, suited this style particularly well. The bodice and skirt were cut in one piece with no seam at the waist. This construction created a long narrow line and a smooth fit over the contours of the bust and hips, accentuated by the figure-hugging corsets worn beneath. The fitted look was also achieved by cutting the bodice with five seams at the back and inserting front darts that curved in at the waist and then out again.

The bodice was often fastened at the centre front or, as in this example, with a concealed hook and eye closure on one side. Hitherto the train was found only on evening dress, but the high neckline and elbow-length sleeves indicate that this dress was for formal afternoon wear. The dress bears the label of the maker: Halling, Pearce and Stone. Following the example set by Charles Worth in Paris, dressmakers had begun to identify the clothes they made.

This can be seen in professionally made clothing from the late s onward. Golding unknown London Figured silk, trimmed with machine embroidery, net and machine-made lace Museum no. The elbow-length sleeves and square neckline show that it was probably not a ball gown, but worn for dinner or the opera.