Brian Kesinger shared this amazing photo on Facebook of Victorian (ninja pirates) ladies hitting the gym in 1899! The lady on the far right closest to the camera has a beautiful head of hair (and ridiculously small wrists)!
Casual dress and ball grown from 1890s - my own projects.
Some more to go! Next - Tea grown, walking dress and sleepwear
I really wish I could draw better! The first gown would make such a cool steampunk costume.
Emile Pingat (1820–1901), Paris, Skirt and polonaise, 1885. Velvet, beads, silk, glass. Collection of Shelburne Museum. 2010-75
"Emile Pingat has taken a page from the 18th century, adapting a classical men’s court ensemble and feminizing it. Instead of breeches that match the coat, there is a long velvet skirt finished with a ruffle. The apparent waistcoat is not a separate garment but instead is constructed as two decorative panels set into the coat. Pingat has updated the style and beauty of aristocratic men’s clothing by adding the small pointed zigzag motif in the embroidery. This one-of-a-kind colonial revival style dress would have been worn to a ball or masquerade with appropriate accessories that could have included a wig, fan, and shoes.
'A gold ring, circa 1820, the decorative scalloped shank terminating in an oval head set with an array of gemstones. The stones symbolise the qualities of the different planets, reflecting the keen interest in astrology and planetary influences at the time, when certain gems were perceived to have positive astrological effects. The stones utilised are : sapphire - Saturn, rock crystal - Venus, agate - Mars, quartz cat's eye - spiritualism and intuition, spinel - Saturn, brown zircon - Jupiter, amethyst - Saturn, green zircon - Mercury, garnet - North Node, chrysoberyl - spiritualism and intuition, pearl - moon, ruby - sun.The ring is size L [US 5 and 1/2] and can be sized, and the gem-set head measures 3/4 of an inch by 1/2 an inch. A fascinating Georgian planetary ring.'
How about one sneak peek?
“Electric Light” Charles Fredrick Worth, 1883 The Museum of the City of New York
I wanted to share the background information from the website!
‘Fancy dress costume, “Electric Light”
In addition to its elaborate non-theatrical designs, Maison Worth excelled in the production of opera and theater costumes, as well as fancy dress. New York’s late-19th century grand balls were ostentatious events, the most fantastic being the masquerade balls held by the city’s upwardly mobile nouveaux riches. The event hosted by William K. Vanderbilt, on March 26, 1883, marked the completion of his $3 million limestone chateau on Fifth Avenue and was a Gilded Age spectacle. It presented “The Wealth and the Grace of New York in Varied and Brilliant Array,” according to “The New York Herald.” Mrs. Cornelius Vanderbilt II dazzled onlookers in Worth’s masterpiece the “Electric Light.”’
On Monday I decided I had to go to the London MCM Expo | London Comic Con. I pulled out my sewing machine and went to work.
I present: Pride and Prejudice and Zombies
I came, I saw, and zombies were slain. Give me a few hours to wipe the brains off my katana and I will post a making guide on The Mended Soul.
Brooch with cameo of Queen Victoria (front above, back below)
By Félix Dafrique; cameo by Paul Lebas (active 1829-70)
Shell, gold, enamel, emeralds and diamonds
Museum no. M.340-1977
This brooch was shown at the Great Exhibition in London in 1851, perhaps to attract the queen’s attention during one of her many visits to the exhibition. The image was taken from a portrait that showed the queen in Garter robes.
The Parisian jeweller Félix Dafrique revived a Renaissance style of jewel called ‘commesso’ (meaning ‘joined’). The cameo was cut by Paul Lebas, a well-regarded sculptor and gem engraver, who often exhibited at the Paris Salon. His most prominent works included cameo portraits of the French royal family.
The brooch was shown at the Great Exhibition, where over 6 million visitors viewed more than 13,000 exhibits.
In carving the cameo, Lebas probably followed this engraving. The original portrait shows the queen facing the other way, but the engraving is in reverse.
Sully was a society portraitist from Philadelphia. On a visit to London in 1837 he was commissioned to paint a portrait of the new queen. He was delighted with her ‘sweet tone of voice, and gentle manner’. She, in turn, was pleased with the portrait, which highlighted her best features: her shoulders and the curving line of her neck.”