This mantilla is one of great beauty. It is made of blue glacé silk, but can be in any choice color. Lavender and lustrous pearl and mode colors look especially well, as also the greens, in this garment. Its chief peculiarity consists in its square front and its fitting so as to just cut the edge of the shoulder. It is fastened at the top by a bow; the back falls with an easy fulness; it is embroidered.
Spring Fashions 1854
LACE MANTILLA and TABLET MANTILLA
LACE MANTILLA.—This mantilla has three capes—the first is in depth twenty-three inches, the second eighteen inches, and the third fourteen inches, with lace edging to match. The collar is six inches in depth, with a bow of ribbon behind.
TABLET MANTILLA.—Material. Watered or plain silk. It is made with a yoke, and falls low on the shoulders. For trimming, it is cut in turrets, trimmed with narrow braid and netted fringe sewed underneath.
Preparing For Church
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.
MARQUISE and NAVAILLES SHAWL-MANTELET.
MARQUISE.—Silk Pelisse. The body is close; it is trimmed with three rows of goffered ribbons disposed in arcades, and terminated at each point by loops of ribbons one over the other. A row of ribbons runs round the bottom of the body, which has also a lace trimming that falls over the opening of the sleeve. The skirt falls in flutes; it has three rows of ribbons and a lace flounce.
NAVAILLES.—Shawl-Mantelet, of taffetas trimmed with lace, fringe, and silk ribbons having velvet stripes. It opens like a shawl in front, and comes high behind. A lace of two inches in width turns down on the neck as far as the bow on the breast; a point falls behind like a little shawl, and is bordered with a ribbon sewed on flat, and a lace of about five inches, besides a fringe; in front this lace forms a bertha. The lower part of the garment, sewed on under the point, is rounded, and hangs in flutes behind. It is bordered with the same ribbon, accompanied by the same, and fringe. The ends in front are pointed.
Godeys Fashion - 1854
Evangeline and Annoinette
EVANGELINE.—Silk embroidered, and trimmed with two rows of guipure lace—one row of lace round the yoke, and one about ten inches from the bottom, each row headed with a narrow quilling of ribbon, which also goes down the front and round the neck. On the yoke and between the rows of lace there is handsome embroidery.
ANTOINETTE. An entirely new pattern.—The mantilla is entirely formed of rows of lace or pinked silk on a silk or thin foundation.
Preparing For Church
Three women in a boat picking lilies
An Egyptian Woman
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.
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.
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.
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.
These two diamond-shaped figures are exactly the same size. The crosswise line makes one seem wider, the vertical line makes the other seem narrower.
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.
The middle lines in the two small diagrams are the same length. But on the left, shorter accompanying lines seem to shorten the one between. On the right longer accompanying lines seem to lengthen the one between.
Now see how the woman in the other picture has unknowingly emphasized her stoutness while the one in this picure has properly gained a slender effect by using trimming in accordance with the principles of these optical illusions.
The oblique line in the figure is made to seem longer and more graceful than the dress below by the parallel vertical lines of embroidery which intersect it and so emphasize its appearance of length and grace.
When styles call for plaits, plaits may be used, but not in widening flares as shown here, rather in slenderizing length lines as shown below
Hats and shoes in these two pictures also illustrate incorrect and correct choice. The wide hat and prominent straps below emphasize width and weight; the neat hat and cross-strap slippers here help to slenderize
These two pictures illustrate improper and proper choice of fabrics for a stout figure. Above, the large-figured material adds size, the fur trim shortens, the round beads shorten the neck. All conspire to emphasize weight.
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.
Would you believe that the pattern of these two dresses is exactly the same? This illustrates how you can vary a dress once you find the foundation lines that are becoming to you. One pattern can suffice for both a tailored and an afternoon dress, as you see both effects are pleasing in their slenderness.
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.
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.
Note the diagonal line in the small diagram of the figure below. It is actually straight, but the vertical lines which break it give it a “going-down-steps” appearance. This principle is used in the dress below—the two vertical panels of trimming break the line of the tunic and give the whole figure a more slender appearance than in the figure above.
Winsome look on a young lady
Thoughtful look on a young lady
Cheeky little smile on a young lady
Lady in scarf and hat
Haughty look from a young woman
Ladies' Cheeky look while reading the newspaper
Lady with scarf
Young lady seated
Young lady with wide-open eyes
Lady with flowers
Young lady looking in mirror
Young lady bursting into tears at some bad news
Young lady sitting thoughtfully in an arbor in the garden holding a book
NEW MOLESKIN SET, as sketch, worked from full selected British skins.
Special price, STOLE, 69/6
5 Gns. the set. Actual value 8 gns.
NEW MODEL FUR COAT, as sketch, in Natural Musquash, worked from reliable skins, with handsome skunk collar and handsome belt at back.
Price 16-½ Gns.
Actual value 25 Gns.
Lady looking at herself in a mirror
Woman writing letters at cluttered Victorian desk
The Two Paths: What Will the Girl Become?
At 13 Bad Literature, At 20 Flirting Coquettery, At 26 Fast Life and Dissipation, At 40 An Outcast;
At 13 Study & Obedience, At 20 Virtue & Devotion, At 26 A Loving Mother, At 60 An Honored Grandmother
The Natural Waist
The ribs of large curve; the lungs large and roomy; the liver stomach and bowels in their normal position; all with abundant room.
Effects of Lacing
The ribs bent almost to angles; the lungs contracted; the liver, stomach and intestines forced down into the pelvis, crowding the womb seriously.
Depiction of the choice a woman must make in life.
Preparing to entertain her lover
Mother and daughter
Mother and Child
Young lady smelling a rose that she has received
Young lady writing
Lady Reading the Bible
animal magnetism is supposed to radiate from and encircle every human being
Woman opening the door to find a baby in a basket
Two young ladies talking
Mother and daughter
A cat eating from the counter while a lady ignores the cat
Young Lady writing
two walking dresses as well as an indoors and evening dress 1836
The costumes given for 1835 are indoor and walking dresses
The costumes given for 1835 are a nursemaid and children
Hairstyles for 1836
Bridal dress for the marriage ceremony - 1850
Robe of white poult de soie. The skirt very full, and ornamented in front with five rows of lace, finished at each end with bows of white satin. The rows of lace are of graduated lengths, the lower row being about a quarter and a half long, and the upper one not more than five or six inches.
Dress of bright apple-green silk; the skirt with three deep flounces pinked at the edges. The corsage high and plain. Mantelet of very pale lilac silk, trimmed with two rows of lace de laine of the same color, and each row of lace surmounted by passementerie. The lace extends merely round the back part of the mantelet, and the fronts are trimmed with passementerie only. Bonnet of white crinoline, with rows of lilac ribbon set on in bouillonnées. The bonnet is lined with white crape, and the under-trimming consists of bouquets of lilac and white flowers. Straw-colored kid gloves. White silk parasol.
It is designed chiefly for a rich riding-dress, it being too long in the skirt for the promenade, and not convenient for the drawing-room. It is called the Moldavian Style; a petite veste of dark green cloth entirely covered with an embroidery of lace imitating guipure royal, and displaying the shape to the greatest perfection. The skirt is very ample and cut in a novel manner so as to fall in long folds like an antique drapery. The front is ornamented with an apron-trimming of deep lace. The sleeves are demi-long; the hands and wrists covered by long white gloves. When in full dress for the saddle, a gray beaver hat is worn, the brim low in front, and turned up at the sides, and ornamented with a long, twisted ostrich feather; cambric collar and manchettes (ruffles) each closed by a double button of rubies or other precious stones.
Silk, trimmed with three ruffles. Above there, and extending up each gore, is a fancy silk braid to match color of dress.
The lower skirt is trimmed with bands of satin stitched with white. The upper skirt is trimmed with two satin bands and edged with a narrow fringe. The skirt is open at the side with revers, and laced across with cord and tassels.