hats and laces

(via saihlkgeklfgwa-deactivated20120)

oldrags:

Corset, 1890-95 England, the V&A Museum

Improvements in design, equipment and materials meant that corsets could mould the figure to suit the latest fashions. The straight busk on this corset creates a vertical line from bust to abdomen which complemented the less rounded, more angular silhouette of the 1890s. It was also supposed to relieve pressure on the internal organs while supporting the stomach. Shaped pieces (five on each side) have been seamed together and bust and hip gussets inserted to give the corset its distinctive shape. Strips of whalebone follow the contours of the hourglass silhouette, creating a rigid structure to emphasise the smallness of the waist. Each strip is enclosed in a bone channel formed by neat rows of machine stitching. The decorative embroidery stitches (flossing) visible towards the bottom and back of the corset prevent the whalebone from forcing its way out of these channels. A hook is attached at the centre front to prevent the petticoat from riding up and causing extra bulk at the waist.

This is hot.

fripperiesandfobs:

Victoire-Auguste-Antoinette, Princesse de Saxe-Coburg-Gotha, Duchesse de Nemours

1840

Franz Xavier Winterhalter

It’s always hard to find Winterhalters to post, since everyone’s so familiar with his work.

(via my-ear-trumpet)

A Passing Storm, James Tissot, 1876

Is it just a passing storm?

Bad things happen and good things happen. I find no joy in anything, it feels like that the good is given in a gesture of mercy and generosity by some cruel cruel superior being as if it’s supposed to make up for the bad. It can’t though, it just stands there mocking me and my inability to be for once in my life grateful. Nothing is ever enough. It will never end and this perspective seems so tiring.

chocolatepot:

Reception gown (or costume), Mme Ed. E. Thomé, ca. 1880; silk

Metropolitan Museum of Art 1998.271a, b; Gift of Richard Martin

Victorian fashion always contained some kind of historicizing element, and in the 1880s fashion’s focus was on the eighteenth century.  The pleats on the back of this dress are reminiscent of the sack back of a robe à la française, as are the lacy engageants; the pleated trim is a replica of that found on many historical gowns; and the compère front, with the appearance of a buttoned waistcoat, is also an historical touch.

How did I not know about this?! It’s my two most-beloved periods in fashion history combined… I couldn’t possibly ask for more! IT’S ABSOLUTELY STUNNING.

One day when I get better at sewing, I will definitely make myself one.

(via mimic-of-modes)

“Queen Bess” corset, 1876

CI at Met

American ball gown, 1860

Costume Institute at Met

Riding Ensemble ca. 1896

mayotteruhoshi:

This is another wedding dress from the 1860’s.  It’s lovely and simple with just the ruffles on the sleeves and at the hem for decoration. 

I like the smoothness yet fullness of the skirt and the straight waistline.  The train is also an nice touch. =P

(In fact I just decided it is mandatory for my wedding gown to have a train on it…)

(via herwildwildeyes)

Gown from the 1870s, Kyoto Costume Institute

I absolutely love the fabric. Just look at that killer color combo!

defunctfashion:

Walter Plunkett | Costume sketch for Gone with the Wind | c. 1939

Scarlet’s shantytown dress

Blue silk satin corset, 1880s.

Waist: 49 cm, 19.3 inches.

Kyoto Costume Institute