Ghost
Metropolitan fashions for autumn, 1891 US, Butterick
Bridesmaids’ dresses, May 1891 Canada, The Delineator (Canadian version)

Bridesmaids’ dresses, May 1891 Canada, The Delineator (Canadian version)

Dress, May 1891 Canada, The Delineator (Canadian version)

Dress, May 1891 Canada, The Delineator (Canadian version)

Basque and walking skirt, May 1891 Canada, The Delineator (Canadian version)

Basque and walking skirt, May 1891 Canada, The Delineator (Canadian version)

Evening dresses, May 1891 Canada, The Delineator (Canadian version)

Evening dresses, May 1891 Canada, The Delineator (Canadian version)

auntada:

Portrait of a young African American woman. 
Missouri, c. 1890
Burgess Studio, photographer

That’s one fantastic suit.

auntada:

Portrait of a young African American woman. 

Missouri, c. 1890

Burgess Studio, photographer

That’s one fantastic suit.

charlestonmuseum:

Purple wool, velvet and lace two-piece Worth dress, c. 1890. The period was defined by the well-corseted waist, huge gigot or leg-of-mutton sleeves, high collar and long, full but smooth skirt. Tailoring was featured as was elaborate trimming with lace and braid. This outfit has a matching capelet.

Bearing a signature label from “C. Worth / Paris,” this gown was from the couture house of Charles Frederick Worth. The English-born designer opened his own firm in Paris in 1858 and soon rose to haute stature, creating fashionable garments for Empress Eugénie and other titled and wealthy women. Worth established the custom of sewing branded labels into his creations, was the first designer to show his garments on live models, and sold his designs to his customers rather than letting them dictate the design. All of this earned him the moniker, Father of Haute Couture. He was immensely popular with wealthy Americans as well as European royalty and aristocrats. Many clients travelled to Paris to purchase an entire wardrobe from the House of Worth.

Many beautiful couture garments came to The Charleston Museum from Gertrude Sanford Legendre, whose grandmothers were part of the Sanford (of Sanford, Florida) wealth and notoriety. This dress was worn by Sarah Jane Cochrane Sanford (Mrs. Stephen Sanford).

Want to see more 19th century dresses from our collection? Join us for a curator-led 19th Century Fashion History Tour on Friday, May 27th at 2:00!

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection.  Some items have been on exhibit, some will eventually be shown in our new Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

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.

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.

fripperiesandfobs:

Caroline Harrison’s Evening Gown (by national museum of american history)

ca 1889-1893
Women’s housecoat, ca 1890 Japan, Les Arts Décoratifs
The museum doesn’t say whether this was made in Japan for the Western market, or if it was actually worn there.

Women’s housecoat, ca 1890 Japan, Les Arts Décoratifs

The museum doesn’t say whether this was made in Japan for the Western market, or if it was actually worn there.

Dress, 1888-92 France (Lyon), Les Arts Décoratifs

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