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DRESS DESIGN
DRESS DESIGN
AN ACCOUNT OF COSTUME FOR ARTISTS & DRESSMAKERS BY TALBOT HUGHES · ILLUSTRATED BY THE AUTHOR FROM OLD EXAMPLES · TOGETHER WITH 35 PAGES OF HALF-TONE ILLUSTRATIONS LONDON SIR ISAAC PITMAN & SONS, LTD. Bath, Melbourne, Toronto, and New York Reprinted 1920...
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GENERAL PREFACE TO THE SERIES
GENERAL PREFACE TO THE SERIES
In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims. In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in d
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PREFACE
PREFACE
The designing and making of Costume is a craft—sometimes artistic—with which we are all more or less concerned. It is also, in its own way, one of the living arts, that is, it is still carried forward experimentally by experts directly attached to the "business." It has not yet been subjected to rules of good taste formulated by Academies and Universities; but when Inigo Jones, the great architect, was asked to make some designs for fancy dress, he based them on the Five Orders of Architecture,
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LIST OF DESCRIPTIVE LINES TO THE PLATES
LIST OF DESCRIPTIVE LINES TO THE PLATES
DRESS DESIGN Plates originally printed in collotype are now produced in half-tone...
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INTRODUCTION
INTRODUCTION
The subject of Historical Costume covers such a multitude of detail that a volume on each century could be written, with hundreds of illustrations. Thus it is, most works on costume are expensive and bewildering; but I hope this small practical handbook will be a useful addition to the many beautifully illustrated works which already exist. I have divided the matter into centuries and reigns, as far as possible, in this small work, besides separating male and female attire, thus simplifying refe
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PREHISTORIC DRESS. FEMALE.
PREHISTORIC DRESS. FEMALE.
The woman's attire would have been chiefly a shortish skirt or wrap of coarse linen, wool, or leather, gathered in front or folded at one hip; grass cloth may also have been in use in most primitive tribes. Probably the upper part of the body was kept bare, except for many ornaments and necklaces, but a bodice or jacket cut in the same simple form as the male shirt, with a heavy belt or girdle, would have been used, and certainly a large shawl, which could be wrapped over the head and round the
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PREHISTORIC DRESS. MALE.
PREHISTORIC DRESS. MALE.
We have little description or illustration to certify the actual dress of the early inhabitants of Britain, but we can draw conclusions with pretty certain assurance, from the knowledge of their mode of living. From their attainments in artistic design and handiwork, it is clear they had arrived at a very high state of savage culture before the Roman invasion; and we have only to study the better types of savage life still in progress, to picture how our own primitive race would be likely to dre
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THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.
THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.
The female head-dress consisted chiefly of flowing hair banded with a circlet of various shapes, but a development of braiding plaits is found very early, and the hair was probably arranged so before the Roman era. These plaits were generally brought over the shoulder to the front, the hair being parted in the centre, thus making an oval forehead. Various caps began to show originality, and jewels were set in the centre of the forehead on the little crown-like hat, which must have been most beco
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THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.
THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.
In taking the long period from the Roman occupation to the 10th century, we can discover a real development of style in costume, as with the system of vassalage a distinction of class arose. No doubt the Romans introduced a finer tuition of weaving, needlecraft, decoration, and dyeing; and later the various peoples coming from the Continent, when settled under Alfred in the 9th century, produced a solid style of barbaric splendour. Fig. 2. Fig. 3. The male hair dressing, from the rugged mass of
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TENTH TO THE FIFTEENTH CENTURY. FEMALE.
TENTH TO THE FIFTEENTH CENTURY. FEMALE.
The head-dress of women now began to show a preference to confine the hair with nets and to close in the face, which continued till the 15th century. The circlet and long plait or plaits and the flowing hair remained till the 14th century. In the 12th century we discover the hair gathered in nets at either side of the head, covering the ears. A low-crowned hat was bound over with a band of lawn or fine material passing underneath the chin, otherwise the plaits were looped up under a circlet whic
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TENTH TO THE FIFTEENTH CENTURY. MALE.
TENTH TO THE FIFTEENTH CENTURY. MALE.
From the 10th to the 15th century, we find costume developing rapidly into elaborate and interesting designs. Close relations with the Continent brought new ideas, and rich velvets and brocades interwoven with gold enhanced the gorgeousness of attire, while the introduction of heraldic design brought in a very picturesque element. Hats and head-dresses began to become important features, enlarging to eccentric shapes and proportions, only equalled in the extravagant part of the 18th century. It
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FIFTEENTH CENTURY. FEMALE.
FIFTEENTH CENTURY. FEMALE.
We have now arrived at the height of eccentric fashion in mediæval head-dress. The hornlike creations, studded with jewels, and peaks of wondrous height, both draped with fine muslins and often completely shutting away the hair from sight, had a supporting cap which mostly came over ears and cheeks, and a clutch is seen on the forehead, at times concealed by a jewel. The hair was generally allowed to fall loose under the back drape, or a long plait is sometimes seen at the back with the first-na
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FIFTEENTH CENTURY. MALE.
FIFTEENTH CENTURY. MALE.
Fig. 27. —Fifteenth century. Fig. 28. —Fifteenth century, 1st half. Fig. 29. —Middle of fifteenth century. The chief shapes to mark in this century in male head-dress is the increased height of the tall hats which rise to vie with the female fashions. We still see a round hat with a rolled edge and long fall over one side, besides shorter folds in the crown, both scalloped or foliated at the edge, and this shape may be noted till about 1460. Some of these hats were made without a crown, as in Fi
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SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.
SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.
Before the 16th century we find the art of decoration in costume had been confined chiefly to applied ornamental bands at the neck, waist, and borders of skirt and cloak. They had up till this time utilised, with great artistry of design (no doubt partly due to the heraldic study), the patterns of the finely decorated damasks and velvets. The counter colour effects and relative proportions, such as a small-patterned, dull-coloured silk setting off a large full-coloured design was ably considered
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SIXTEENTH CENTURY. HENRY VIII. FEMALE.
SIXTEENTH CENTURY. HENRY VIII. FEMALE.
The hair at this period was parted in the centre and gathered into a plait at the back; it was also seen rather full and waved at the sides of the head, and a small circlet was often carried across the brow. A cap of velvet or gold brocade, sometimes with a padded front, curved over the ears to the neck, keeping the shape of the head. Over this again a velvet fall was turned back from the front or shaped as in the illustration, reaching to the shoulder. These falls were also bound into set-out s
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SIXTEENTH CENTURY. HENRY VIII. MALE.
SIXTEENTH CENTURY. HENRY VIII. MALE.
The modes at the end of the last century now developed into a heavier character of design. The long hair soon began to be closely cut, and a short beard came into fashion. A flat type of hat was worn, with serrated brim, or tabs which could be turned down at times, and others were kept in place by a lacing cord through holes. There was also a flat "Tam o' Shanter" shape, generally worn well tilted on one side, and amongst the upper classes mostly adorned with feathers. The V -shaped collar, or o
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SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. FEMALE.
SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. FEMALE.
In the reign of Edward VI, which was so short, as also in that of Mary, there was little time to form a real character. These reigns form developing links to the Elizabethan era, so I have taken them in one chapter. Fig. 47. Fig. 48. Fig. 49. Elizabethan modes. Elizabethan modes. Fig. 50. —Costumes, 1554-1568. Fig. 51. —Costumes, 1568-1610. With Edward VI the same shaped cap is seen as that of Henry VIII, and with Mary's accession, the head-dress is curved to the head in a like manner, but it no
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SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.
SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.
With Edward VI and Mary a more refined and sober type of style set in. The hair was now worn short and combed backwards. The flat hat of the earlier shapes lasted to Elizabeth's reign; becoming smaller in width, with a turned-down, curved brim and a fuller crown encircled with a gold band or set with a feather worn at the right-hand side. A small tight-fitting round hat with a rolled brim and a feather in front is also of this later mode. Through these reigns a small square turned-over collar or
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SIXTEENTH CENTURY. ELIZABETH. FEMALE.
SIXTEENTH CENTURY. ELIZABETH. FEMALE.
The costly splendour of attire is well known in Elizabeth's reign, which began with the same form of hair and head-dress as with Mary, the hat being set rather higher on the hair. The ruffs, which were imported already starched from Holland, assumed larger proportions and complications when the methods of starching became known in England about 1564. Stow describes ruffs growing to a quarter of a yard deep; these were no doubt supported by piccalilloes, though they are not actually mentioned til
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SIXTEENTH CENTURY. ELIZABETH. MALE.
SIXTEENTH CENTURY. ELIZABETH. MALE.
In this reign a very neat small-pointed beard was the fashion, the hair being brushed up as high as possible and often fulled out at the sides, and a "chic" appearance was sought after. A stiff belled top-hat with an egret at the right side made its first appearance with a curved brim, also one of a tapered shape with a smallish round brim, and another very small round hat with a curved brim, a clasp and feather being mostly worn on the front of each. The brims of all the hats began to enlarge a
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THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.
THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.
The braiding and small slashing continued of a similar character to the end of the Elizabethan age. The slashing now began to be treated with a larger effect and less elaboration, but pricking and punching were still much used for enriching surfaces. An improved style of design was evident. The female bodice was arranged with a long stomacher, often shaped into curved forms at the point, and this was set with jewels or embroidery, otherwise the bodice was decorated with braiding and jewels as in
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SEVENTEENTH CENTURY. JAMES I. FEMALE.
SEVENTEENTH CENTURY. JAMES I. FEMALE.
We find much the same high forms of set-up head-dress continuing in fashion as in the later years of Elizabeth's reign; but the hair began to take a fuller shape, rather round, done up in tight frizzled curls, with the usual decorations of jewels, pearls, or set bows of this period. Hats with high crowns and small straight brims, with an upright set of small plumes, gradually assumed a larger brimmed character—often turned up on one side. The same absurd pleated hoop, with its hanging skirt, con
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SEVENTEENTH CENTURY. JAMES I. MALE.
SEVENTEENTH CENTURY. JAMES I. MALE.
The hat was of the high-crowned type, perhaps higher than in the last reign. The brim had broadened, and feathers were placed upwards fantastically at the back and sides of crown. Brims were often fastened up on the right side with a jewel; otherwise a band was buckled in front. The hair was now allowed to fall longer again, and a pointed or square-shaped beard with a brushed-up moustache was the mode. Ruffs both large and small surrounded the neck, and a flat fan-shaped collar was seen in the e
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SEVENTEENTH CENTURY. CHARLES I. FEMALE.
SEVENTEENTH CENTURY. CHARLES I. FEMALE.
The hair was now allowed to fall in ringlets round the back and sides, with a few flat curls on the brow, and a bow and pearls were caught in at the sides. Short feathers may also be noted in use. A plait was often coiled at the back after 1630. larger image Plate XV. Fig. 62. Fig. 63. Collar and Bodice types. Period Charles I. Fig. 64. Collar and Bodice types. Period Charles I to 1660. In the early part of this reign the ladies were wearing the long corset-bodice, with a richly decorated stomac
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SEVENTEENTH CENTURY. CHARLES I. MALE.
SEVENTEENTH CENTURY. CHARLES I. MALE.
The hair was worn loose to the shoulders, and a small plait was sometimes arranged on the left side, brought to the front of shoulder. The beard was trimmed to a pointed shape, and smarter curled moustaches were fashionable. Hats were still high in the crown, but rather lower than with James I; the large brims were turned about in various curves, and feathers were worn falling over the brims to the side or back. The jerkin was high in the collar, supporting a large, square, turn-down collar edge
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SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.
SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.
The same shapes apply to costume during the Commonwealth, though a sterner effect was given by the choice of plain decoration and less colour. A small or a large plain collar, and the disappearance of slashings on the coat, and a longer skirt became noticeable. A very high tapered hat, with stiff circular brim, was worn by the Puritans, and little, close, black hoods were much favoured. A general reaction from gay extravagance set in....
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SEVENTEENTH CENTURY. CHARLES II. FEMALE.
SEVENTEENTH CENTURY. CHARLES II. FEMALE.
The hair was set out from the head on combs with falling ringlets, and several small flat ringlets were placed on the forehead. The back of the hair was plaited into a knot, and pearl strings were interlaced, or ribbon loops caught in at either side. Toward 1680 the hair was worn tightly curled and fulled out into a round shape with a curl or two falling on the front of the shoulders; small feathers or long feathers were also worn. Hats were of a similar shape to those of the last reign, with a
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SEVENTEENTH CENTURY. CHARLES II. MALE.
SEVENTEENTH CENTURY. CHARLES II. MALE.
Long hair or wigs of long curls falling on the shoulders, a very narrow moustache and point of beard on the chin came with this reign. Lace collars of a smaller square or rounded shape were in use, but a fall of lace pleated in the centre soon took its place. High-crowned hats with a band and bow in front and a flat, waved, or curved brim, with feathers on either side or all round, were the fashion, the crowns becoming shorter during the reign; the fronts and sometimes the sides of the brim are
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SEVENTEENTH CENTURY. JAMES II. FEMALE.
SEVENTEENTH CENTURY. JAMES II. FEMALE.
The hair was still worn full at the sides over a comb, as in the former reign, with curls dropping to the shoulders, but they now began to discard the set-out comb and the little flat curls on the forehead, the hair being of a round shape or parted from the centre and mounted higher and narrower on the head, in the latter part of this reign. The same large hoods and drapes continued in use, and a high goffered head-dress with set-out front began to appear; the same shaped bodice with round low n
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SEVENTEENTH CENTURY. JAMES II. MALE.
SEVENTEENTH CENTURY. JAMES II. MALE.
The same long wig was worn as in the last reign, but the curls were more of a set ringlet type, and embroidered caps were worn when these were taken off. The face was now clean shaven until the 19th century. Hats also of the older character were retained, but the turned-up three-cornered shape, filled with short feathers, became more settled in fashion, and they were heavily banded with gold braid or lace on the edge. Fig. 78. —Period 1690-1700. A smart bow was worn crosswise over the folded lac
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SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.
SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.
The hair was now mounted high on top and the front parted with two curls, the rest of the hair being bound on top, or a curl was arranged on either shoulder. A goffered frill head-dress, set on a cap, rose very high, and a long fall of lace, or lappets, came down on either side from the cap, or was gathered in like a small hood at the back. Bare shoulders now began to disappear, the bodice shape coming over the shoulder to a V shape enclosing a stomacher, which was sometimes tabbed or shaped at
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SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.
SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.
Wigs of the same long character continued, and were parted in the centre with a raised effect, and variously shaped caps, with turned-up fold or brim, were worn when the wig was taken off. The beaver or felt hat, turned up three-cornerwise, was now in general use. It is often seen with the brims loose, or sometimes down, especially amongst the lower classes. Both small shapes and large were worn. larger image Plate XIX. Fig. 81. —Period 1680-1690. Black ties across formal lace cravats, and long
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THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.
THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.
In the early part to the middle of this century the trimmings were chiefly of gold or silver lace, real lace, and purfled silk, mostly of the same material as the dress: a bow was often worn on the breast, and also in the front of the sleeve cuff. Purfled or ruched trimming generally ran down the front of the dress from the neck to the hem of the skirt in the Second Georgian dress, and gathered borders or decorations of curved forms were in use. The skirts usually had only one flounce till the r
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EIGHTEENTH CENTURY. ANNE. FEMALE.
EIGHTEENTH CENTURY. ANNE. FEMALE.
The hair was dressed in a simple manner, with two curls parted from the centre of the forehead, and curved inwards on the brow. A loose ringlet or two were brought on to the left shoulder, the rest being gathered into a back-knot. Feathers or flowers were arranged on top, generally with a pair of lace lappets falling to the back; these also adorned the cap, which still bore the front goffered frills set out as in the last reign, but these were diminished in size and were mostly of one row. We no
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EIGHTEENTH CENTURY. ANNE. MALE.
EIGHTEENTH CENTURY. ANNE. MALE.
The wigs of the full ringlet style were still the fashion, but a simpler character is noticeable, the hair being combed back off the forehead and allowed to fall in looser waves. But many began to set a mode of smaller "coiffure," with their own hair caught in curls by a bow at the back, and curls over each ear. Powder came into use with the smart set, and a big bow and bag to finish the back of wig appeared, giving a smarter appearance to the white hair. larger image Plate XX. Fig. 85. —Bodice
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EIGHTEENTH CENTURY. GEORGE I. FEMALE.
EIGHTEENTH CENTURY. GEORGE I. FEMALE.
Fig. 86. —1725-1750. larger image Plate XXI.—23 Boots and Shoes. From 1800-75. Fig. 87. —Period 1725-1750. Fig. 88. —Modes, 1750-1770. Fig. 89. —Various Styles in Cut Back of Bodice. The hair was very simply gathered from the forehead and taken up to a knot of curls at the back. Occasionally a group of curls was allowed to fall behind, or a curl was arranged to fall on one shoulder, and waved curls of the Queen Anne type were still seen on many people. Caps, with long dropping points in front, s
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EIGHTEENTH CENTURY. GEORGE I. MALE.
EIGHTEENTH CENTURY. GEORGE I. MALE.
Long, full wigs are still seen amongst older men, but several new shapes appear as illustrated (Fig. 90 ), and the black bow and bag became very large; a black ribbon attached to it, with a bow in front, came round the neck. We also see the ends of the wig made into a long, tight pigtail. Hats were of the same three-cornered shape, rather fuller in size, and the feathered edging was still favoured. A hat of the type of Fig. 105 was also worn; and the loose cap with a tassel was put on when the w
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EIGHTEENTH CENTURY. GEORGE II. FEMALE.
EIGHTEENTH CENTURY. GEORGE II. FEMALE.
The hair was treated in much the same manner as with George I up to the end of this reign—gathered back from the forehead to a bunch of curls at the back. The small hats and caps, often worn together, continued of the same character; the dresses also remained similar in cut. The sack-back dress was supreme in the fifties, when it was set with panniers, together with the hoops, but the latter were not so much worn towards the end of this reign, except for the "grand dress." Quilted petticoats wer
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EIGHTEENTH CENTURY. GEORGE II. MALE.
EIGHTEENTH CENTURY. GEORGE II. MALE.
Wigs with double points at the back, short curled or of long pigtailed shapes, some with side curls, others curled all round the front, were worn. Large bows and bags, or no bows, finished the back hair, and the bow to the front of the neck was in use from the early part of this reign. Long coats, as in the last reign, and short coats with stiffened skirts were used; many with braided seams and fronts, also a braided opening at the back. Large round cuffs and big square ones, caped coats, and co
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EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.
EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.
This long reign, like that of Queen Victoria, embraces several changes of style. Up till about 1785 white powder was still used for the hair, reaching its fullest extravagance in the middle of the seventies, set with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776 the top was widened considerably. The front hair, gathered from the forehead, was pressed in a forward curve over a high pad, with one to three curls at the sides and one at the shoulders, the back hair being arrange
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EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.
EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.
The wigs, which were rather high in the front of the crown in the earlier part, began to cast off the most eccentric forms, and became just curled, rather full at the sides, and tied with a bow at the back: dull pink powder became a favoured hue from about 1780; most people began to return to their own hair, and one might see many without long hair in the nineties. The last type of dressing the hair in imitation of the wig form was a long, tightly braided pigtail at the back, with one or even tw
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CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.
CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.
During the later part of the 18th century, a great deal of tinsel drawn work was done on fine muslin, and became beautifully treated in delicate design on the hem and down the front of many of the high-waisted dresses as in Fig. A, Plate XXIII (see p. 218 ). Later on towards the twenties we see a great deal of effective coarse work in heavy gold tinsel, and at the same time to the forties a number of dresses were ably enriched with fine gold thread. The white embroidery in the earlier trimmings
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NINETEENTH CENTURY. GEORGE III. FEMALE.
NINETEENTH CENTURY. GEORGE III. FEMALE.
The hair up to 1808 was gathered into a knot of curls at the back of the head, rather high up, with a small curl at the sides in front of the ear. Later the knot was set more on the top, and the side curls were made more of a feature, several being arranged at the sides. Numerous varieties of large and small brimmed hats, bonnets, and turbans are seen, and several masculine top-hats and cockade hats may be noted late in this reign. The usual feather decorations and large ribbons or flowers were
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NINETEENTH CENTURY. GEORGE III. MALE.
NINETEENTH CENTURY. GEORGE III. MALE.
Wigs had practically gone out, except for a few of the latter type of the 18th century amongst elderly people. The hair was now worn short, and left rather full on the front, with short side-whiskers. Plain black or white stocks tied with a front bow, and a starched or unstarched collar with a frilled or gathered shirt-front were in use. A tie-pin or stud was also seen in the centre of the stock or frilling. The same hats as in the latter part of the 18th century continued for a time, but the to
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NINETEENTH CENTURY. GEORGE IV. FEMALE.
NINETEENTH CENTURY. GEORGE IV. FEMALE.
The hair at this period was worn in plaits or curls gathered on top, and during the latter years was arranged into stiff loops set with a high comb; a group of curls was drawn to the sides of the face, the hair being mostly parted from the centre. Plumes were much used for head-dresses, and caps with gathered puffs and pointed frills. A high-crowned straw poke bonnet, tilted upwards, was still in form; but the prevailing mode was a silk bonnet, with the brim curved in at the front, the sides bei
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NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.
NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.
The mode in beaver hats was most varied; high straight crowns with small brims, others tapering at the top with larger curled brims, or crowns enlarging at the top with almost straight small brims; a top-hat of straw is shown on page 309 . A short-crowned hat was also worn. The hair was combed towards the front at either side, and the face shaven, with the exception of short side-whiskers. A very high stock of black satin or linen surrounded the throat, with or without the points of collar showi
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NINETEENTH CENTURY. WILLIAM IV. FEMALE.
NINETEENTH CENTURY. WILLIAM IV. FEMALE.
The hair still retained the high loops on top and the bunch of curls at the sides, poised by a back comb and set with flowers or feathers; there was also a great variety of fancy capes with pointed frills, some with long tie ends, and these are seen with most dresses, and were worn in conjunction with the hats. The favourite hat was a big, flat, circular form, generally tilted at one side, and decorated with bows, flowers, and feathers; a flat tam-o'-shanter shape was often worn with the riding-
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NINETEENTH CENTURY. WILLIAM IV. MALE.
NINETEENTH CENTURY. WILLIAM IV. MALE.
The hair was worn rather full in curls at the sides or on top, parted at the left side, besides being occasionally parted at the centre. Side whiskers, curved forward, still continued, and a short trimmed beard was now worn round under the chin by many, moustaches also made their first appearance at the end of this reign. Top-hats were high and straight, but many still adhered to the tapered crown and larger brim. The same plain stocks of black satin continued, with or without a front bow, and a
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NINETEENTH CENTURY. VICTORIA. FEMALE.
NINETEENTH CENTURY. VICTORIA. FEMALE.
The hair was parted in the centre and tightened in a top setting of plaits, with side curls over the ears. This mode was retained by many till the fifties, but the top plaits began to be set lower at the back, and the same flat parted hair was brought in a curved shape to the front of the ears, often in a small plait, allowing the ear to show, or in a plaited knot at either side; about 1850 it was waved, parted, and simply curved from the forehead over the ears in a fuller manner, sometimes bein
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NINETEENTH CENTURY. VICTORIA. MALE.
NINETEENTH CENTURY. VICTORIA. MALE.
The same modes of doing the hair remained till the sixties, parted at one side and worn rather long and waved, with the side whiskers or beard all round the chin. The side whiskers were allowed to grow long between fifty-five and seventy, and full beards also became fashionable, while the hair was parted in the centre from front to back and flattened on the forehead. The favourite top-hat still reigned supreme, many of which retained the tapered top and large curled brim till about 1855, and a b
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PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME
PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME
With Notes and Measurements I have striven to gather as many representative patterns of dress types and accessories as possible, and also give many measurements from the various examples, when I have been unable to obtain a complete pattern. The character of cut and proportion is the essential point in the study of dress design, and the intimate knowledge of periods. When seeing a collection of patterns, one is astonished at the great variety in cut used to arrive at the different bodice types.
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PATTERNS TO SCALE
PATTERNS TO SCALE
For Detailed List, see page 353 . Pattern 1. Pattern 2. Pattern 3. Pattern 4. Pattern 5. Pattern 6. Pattern 7. Pattern 8. Fig. 1 Plate 10 Pattern 9. Cut of bodice, Fig. B, Plate 5 See page opposite for Breeches of same, 1620-1640. Victoria and Albert Museum, Kensington. Pattern 10. Similar type to Fig. C, Plate 7 Pattern 11. Pattern 12. Pattern 13. Back of bodice, Fig. B, Plate 7 . Pattern 14. Pattern 15. Jacket. Fig. C, Plate 4 Pattern 16. Hanging sleeve of Fig. C, Plate 2 Pattern 17. Herald's
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DETAILED LIST OF SCALED PATTERNS
DETAILED LIST OF SCALED PATTERNS
Pattern 1 , page 285:— Pattern 2 , page 286:— Pattern 3 , page 287:— Pattern 4 , page 288:— Pattern 5 , page 289:— Pattern 6 , page 290:— Pattern 7 , page 291:— Pattern 8 , page 292:— Pattern 9 , page 293:— Pattern 10 , page 294:— Pattern 11 , page 295:— Pattern 12 , page 296:— Pattern 13 , page 297:— Pattern 14 , page 298:— Pattern 15 , page 299:— Pattern 16 , page 300:— Pattern 17 , page 301:— Pattern 18 , page 302:— Pattern 19 , page 303:— Pattern 20 , page 304:— Pattern 21 , page 305:— Patte
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