- On the Terrace of the Tuileries
- Vase-painting by Brygos
Vase-painting by Brygos - The Doric Himation
The Doric Himation - The dresses for 1837 are two walking-dresses and a ball dress, and also a child's costume
The dresses for 1837 are two walking-dresses and a ball dress, and also a child's costume - Vase-painting by Euphronios
Vase-painting by Euphronios - Snake Goddess and Votary
The snake goddess and her votary from Knossos have, in addition, a kind of apron reaching almost to the knees in front and behind, and rising to the hips at the sides. The costume is completed by the addition of a high hat or turban. Looking at the snake goddess more in detail, we find that the jacket is cut away into a V-shape from the neck to the waist, leaving both the breasts quite bare; the two edges are laced across below the breast, the laces being fastened in a series of bows. The jacket is covered with an elaborate volute pattern, the apron with spots and bordered with a “guilloche.” - A Drive in a Whiskey
- English Fashion - 1830-1831
English Fashion - bonnet, hat, turban, and caps, as worn during the year 1830-1831 - Vase-painting—Ionic Dress
Vase-painting—Ionic Dress - Spring Bonnets
The peculiar trait of the hats of the present season is the great quantity of mixed materials, as crape, silk, lace, flowers, and ribbon, on one very small structure. Great taste is to be exercised in mingling these judiciously—ornamenting, not overloading; in the first place, selecting a good model as to shape and style. No. 1 we have chosen for its simplicity. It is composed of three rows of pink crape or silk, drawn in a puffing, with a blonde edging rather wide on each. The crown is entirely of lace, and there is a fall of the same on the cape. A knot of pink satin bows, to the right, is all the decoration of the exterior. A full cap of blonde, with one or two pink bows, carelessly disposed, inside the brim. No. 2 shows the extreme of the shallow brim, and two-thirds of the wearer's head at the same time. It is, notwithstanding, a neat and modest-looking dress bonnet of pomona green silk, the crown piece, which is in full flutings, extending almost to the edge of the brim. This is crossed by a band of the same with bound edges (old style). The front is a very full double ruche of blonde, between the two green silk cordings. A full cap of the same fills the space between the face and the brim, with a spray of flowers set very high to the right. No. 3.—A more elaborate hat of straw-colored silk and white guipure lace. It has a small plume on the left, and has a full spray of bridal roses inside the brim. No. 4 shows the disposition of lace and bow at the back of a crown, a great point in the millinery of the present season; a stiff crown will ruin a graceful brim. - Vase-painting by Falerii
Vase-painting by Falerii - The Kolobus, 400-146 B. C.
The figure represents a man of this particular epoch (400-146 B.C.) wearing the kolobus ornamented with bands of embroidery. It is girded at the waist, and a himation of small dimensions is draped over the left shoulder, ready for the other end to be thrown over it. He wears the pilos and his hair has been allowed to grow longer than heretofore, in accordance with the new fashion of this age. If this young man had desired to be in the height of fashion, he would have had long close-fitting sleeves added to his kolobus. - The Himation, 600-146 B.C.
The Himation was not exclusively a feminine garment; it was also worn by men. It was an oblong piece of material, woven with a border, and in dimensions approximately eighteen feet by six feet. During the sixth century of the Classic Period, it was often the sole garment worn. How to wear it. It was draped over the left arm, with one end hanging in front, the rest of the material being drawn across the back, round the body on the right side, and over the left shoulder again. As civilisation progressed, it was deemed necessary by ordinary men to add an under-garment—either the chiton or the kolobus. - Vase-painting by Hieron
Vase-painting by Hieron - The Chlamys and Petasos
The Chlamys and Petasos - Seated Lady
- English dress fashions worn in 1830
English dress fashions worn in 1830 Two walking dresses, one evening, and one ball dress. - Vase-painting in the Polygnotan Style
Vase-painting in the Polygnotan Style - Vase-painting
Vase-painting - Vase-painting from Lucania
Vase-painting from Lucania - Vase-painting by Euxitheos
Vase-painting by Euxitheos - 1798
- French Lady
- Men's Hairstyles - Classic Greece
Men's Hairstyles - Classic Greece - Heart-shaped headdress
There was also the "balloon" or turban. This, like the heart-shaped head-dress, commenced with a flat pad, like a cake, which in its earlier stage was invariably richly ornamented, offering no particular variety in its form; when it became round, it developed a second roll around the forehead, with bands at intervals, which formed its constructive elements. - At the Races on the Champ de Mars
- 1798
- Cossack Encampment on the Champs-Élysées
- Lady with Umbrella
- Lady
- Women’s Head-dress
Women’s Head-dress - Vigier's Baths
- The Peplos
The peplos was the chief garment of the Achaean women of the early Archaic Period (circa 1200-600 B.C.). In shape it was a rectangular piece of material, often heavily embroidered and consequently of a solid texture. It was put on in the manner of the Doric chiton, but being made of more substantial stuff it was wrapped tightly round the figure without folds, girded at the waist and open up one side, the top part falling back over the chest and back. It was fastened on the shoulders, and often down the side,by large pins. - Paris Scene
- A painted face
By the reign of James I. this ridiculous fashion had become common. All sorts of curious devices were made use of—spots, stars, crescents, and in one woodcut a coach and coachman with two horses and postilions appear upon the lady's forehead. The fashion continued for a long period; in fact, during the greater part of the Georgian era, when it had degenerated into mere spots or small patches. At the close of the eighteenth century it had entirely disappeared. - 15th Century headdress
From Viollet le Duc (Fifteenth Century). - Preparing for conquest
- Reversion to the classic (Grecian) type
Reversion to the classic (Grecian) type - Grecian
- A Public Room at Frascatis
A Public Room at Frascatis - The first Switchback
The first Switchback 1799 - The Rimasop Trench Coat
Made by the old-established Bond Street House of Rimell & Allsop, this coat embodies the suggestions of British Officers who have fought in France and Flanders since the beginning of the War. War experience has proved its practical value. Officers are invited to avail themselves of the experienced services of Messrs. Rimell & Allsop in the selection of any kit, either for Ceremonial occasions or for the Front. A 16–page booklet will be sent post free to any address by Rimell & Allsop, Sporting & Military Tailors, 54, New Bond Street, London, W. - bonnets, a turban, a cap, and various modes of dressing the hair. 1833
bonnets, a turban, a cap, and various modes of dressing the hair. 1833 - Steel Corset worn in Catherine's time.
The most extensive and extreme use of the corset occurred in the 16th century, during the reign of Catherine de Medici of France and Queen Elizabeth of England. With Catherine de Medici a thirteen-inch waist measurement was considered the standard of fashion, while a thick waist was an abomination. No lady could consider her figure of proper shape unless she could span her waist with her two hands. To produce this result a strong rigid corset was worn night and day until the waist was laced down to the required size. Then over this corset was placed the steel apparatus shown in the illustration on next page. This corset-cover reached from the hip to the throat, and produced a rigid figure over which the dress would fit with perfect smoothness. - View of the two panoramas and of the passage between them
View of the two panoramas and of the passage between them 1810 - The Boulevard 'Des Petits Spectacles'
The Boulevard 'Des Petits Spectacles' 1808 - A gathering in the Luxembourg Gardens
A gathering in the Luxembourg Gardens 1800 - Crinoline Dress
18th Century - The Wooden Gallery in the Palais-Royal
The Wooden Gallery in the Palais-Royal 1803 - The Delights of the Malmaison
The Delights of the Malmaison A saunter through the park in 1804 - The Perron of the Palais-Royal
The Perron of the Palais-Royal - The Picture Exhibition at the 'Salon'
The Picture Exhibition at the 'Salon' - Young lady - 1920's
Young Lady - 1920s - 1807
1807 - Waiting for the Saint-Cloud Coach
Waiting for the Saint-Cloud Coach Place de la Concorde 1806 - In the Gallery of the Palais-Royal
- The Natural Waist and the Effects of Lacing
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. - 1798
1798 - Walking Dress
Walking Dress - Farthingale
Farthingale, or Fardingale, an article of ladies' attire worn in the days of Queen Elizabeth (I), and closely resembling the more recent crinoline. It was formed of circles of whalebone hoops, and protruded more at the waist than the Victorian crinoline.