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Walking Dress 1810
The Empire gown is figured in the illustration of a walking dress, 1810. It lasted practically until the advent of the crinoline in the forties, when it finally disappeared.
Lady
Lady in Hat
lady with hat
Woman with hat
Curls
Young lady with curls
i 189
Lady 4
lady 2
Promenade Costume 1833
Promenade Costume 1833
Paris Evening Dress 1833
Helen Johnson
Crinoline
Girl with Umbrella
Lady sitting in a carriage with an umbrella smoking a cigarette
She decides to die in spite of Dr. Bottles
1916 Woman
Yes or No
Young Lady
Young woman
She finds that exercise does not improve her spirits
Young lady
She contemplates the cloister
Young lady
Dreamy Look
Young lady
Young lady
Young lady standing
A widow and her friends
Young woman
The widow
Sad young lady
Young lady
Young lady
Cupid whispering in young lady's ear
Young Lady
Lady putting hat on
Aren’t there a couple of young men in there with Clara
“Aren’t there a couple of young men in there with Clara?” “No, only one. There isn’t a sound.”
Lady in black dress
Young lady
Grandma
Young lady
Lady skating
Young woman
Lady in profile
Young lady
Unhappy lady
Lady with umbrella
Young lady with hands up
The widow - standing
Lady standing in black dress
Woman sleeping
Choice of fabric
Here a small all-over pattern minimizes size, the plaits and tassels lengthen, the necklace adds a slenderizing touch. The appearance as a whole is graceful and youthful.
Hats 1
These two examples show how even a hat with drooping brim, if not too wide, can be worn by the stout person if trimming is adeptly used to direct the vision upward and lend an illusion of height.
Hats 2
Here trimming is used on two entirely different types of hats to give in each case added height to the figure and help in attaining a slenderizing appearance. Left—Hats with medium brims and high trimming are often becoming, especially if wide enough to avoid the pyramid effect. Right—High built trimming and delicate veils are advantageous where a double chin is the handicap.
Practical Dress Instructor
Headdress of the Lady on the Right.—Hair in bandeaux à la Niobe; torsade of pearls. Moire dress, low body, with progressive revers opening over a modestie of embroidered muslin edged with lace; short open sleeves à la Watteau; undersleeves of embroidered muslin; half-long gloves; bracelets of pearls, or more often worn different, according to choice. The other Figure (Lady seated).—Cap of tulle trimmed with lace and ribbon. Low body, with revers open to waist; loose bell-shaped sleeves, edged with a bouillonne; two skirts trimmed with the same; modestie of embroidered muslin, edged with point de Venise; black velvet bracelets, half-long gloves, and Venetian fan.
Optical Illusion in dress
These unbroken parallel vertical lines give the definite impression of height. This principle, used in the design of the dress above, lends it a pleasing slender appearance because no other lines interfere with the straight line effect.
Optical Illusion in dress
The two vertical lines are exactly the same length—measure them and see. Short lines turned back at either end make one seem short; extended lines make the other seem longer.
Spring Fashions 1854
Spring Fashions 1854
Optical Illusion in dress
These two illusions are almost duplicated in the dresses above. As a result one woman looks shorter and heavier, the other taller and slenderer than she really is.
Lady with fan
The costumes given for 1835 are a nursemaid and children
The costumes given for 1835 are a nursemaid and children
Optical Illusion in dress
Here, also, are two vertical parallel lines. They are straight—test them—but the other lines radiating from the center, make them appear “bowed.” In the dress above a similar design makes the wearer appear stouter and heavier than she really is.
Optical Illusion in dress
Now note how these same principles used in the dresses above effect the apparent size and weight of those wearing them, making one seem much stouter than the other.