Evening Dresses and Gowns

Circa 1860 Spain Spanish festive costume composed of a brocaded silk moire crinoline dress, a black velvet mantilla embroidered with jet pearls and a cream ...

Circa 1865 France Afternoon or walking summer day dress with a large crinoline shape and its matching mantelet in printed cotton, a set so well represented and depicted in the garden scenes of the Impressionist painting. Dress open in front and matching buttons, bodice with a crew neck and large pagoda sleeves. Wide skirt finely pleated and sewn to the waist belt. Small cape or mantelet covering the shoulders. A striped woven and twill white cotton fabric called in french Jaconas (?). Cotton roller-printing of an aubergine and black geometric small motifs pattern. Large trimmings sewn on the edges of a matched printed cotton with small flowers and stripes. Matching button trim on the front (two altered buttons). Exhibited and catalogued at Villa Rosemaine...

Circa 1830 France Louis-Philippe Period Printed roller walking or afternoon cotton day dress with a pattern of small light brown ribbed leaves. Very fitted bodice with a crew neck and oversized mutton sleeves, finely pleated and piped at the shoulders and wrists tightened with four buttons. Wide waist belt hugging the bottom of the chest and large round skirt finely pleated at the waist. No default. Dress exhibited in Villa Rosemaine...

Circa 1825 France Charles X Period Fashioned ball gown from the early Romantic silhouette period with its dropped shoulders and small mutton long sleeves. Light damask pale pink sil...

Circa 1875-1880 France Troisième République Period A bustle cage dress and peplum over dress in Eau du Nil challis and lustrous pink taffeta silk. Historicist inspiration of the Louis XIII style by the small puffed sleeves and the berthe collar of the dress. As well as of the Louis XV style by the peplum overdress with a polonaise retroussé effect and its large basques judiciously superimposed. Generous work of ruched appliqué ruffles with hems made by sewing machine. Piping braids, knots, and flat pleats work in a contrast effect between the shiny taffeta and the matt challis. A few moth holes, a small hole and a halo located on the front skirt and the waist belt (not visible because covered by the overskirt). Very good condition of color and conservation Dimensions : Presented on mannequin size 32/34. Small size. Height 122 cm Shoulders 37 cm Collar 3 cm Sleeves 46 cm Chest 80 cm Waist 62 cm When around 1868, the Princess of Metternick was first seen in a Worth dress known as the Peplum withouh crinoline, the muse of the imperial salons of the Second Empire, she set the tone for a simplification of the silhouette towards a fashion less marked of etiquette. In the same way, the princess line launched at the same period, a draped dress without seams at the waist between the bodice and the skirt, designed a fashion suitable for ceremonies as well as for city or walking ensembles: dresses with a system that allows the skirt to be raised by a system of inner cords also facilitate walking and the progressive development of women's sports. Between 1870 and 1890, the old crinoline cages underwent several morphological evolutions: from the half whale cage in the shape of a pouff or a false butt, to the bustle cage, the most extravagant model of which was the folding chair with articulated cushion, the female silhouette only became lighter very gradually. The upholstery style is still very much in vogue, with its drapes, braids and pleats, but is superimposed in several pieces of clothing: paletots, corselets with straps, boleros, visits and removable overskirts with aprons or à la polonaise...

Circa 1895/1905 France Two-part ceremony nuptial dress (?), skirt and bodice, Japanese style dating from the Belle Epoque. High-waisted corset with a label woven on the waistband indicating Mademoiselle Tessier St Etienne. Cream satin background finely pleated with straw yellow silk crepe on the bust. Eloquent drapery work, knotted and bouillonné, in straw-yellow crepe on the long sleeves ending with a cream-colored cotton lace ruffle. Rich plastron emphasizing the silhouette, consisting of three lugs in satin embroidered with white, gold and silver sequins. Festoons of faceted steel beads and lace on the edges. Small bustle skirt in straw yellow silk damask decorated with waving stems of cherry blossoms in button. A wide straw-yellow satin ribbon tightens the waist and accentuates the S-line of this refined girl ensemble. Very good condition of color and conservation. Size: Equivalent French Size 34. Extract from the catalog of the exhibition "Falbalas, Portraits et Mode au Féminin 1850- 1930" - Museum of Art of the City of Toulon - 2017: The wedding dresses were often colored in France in the eighteenth and nineteenth century. In Provence in particular, the tones chosen in the popular classes are dark: generally dark green or green-yellow. The bride uses a Sunday dress with a beautiful scarf, headdress, apron, and family jewelry necessarily out of the ordinary. The materials used are taffeta and silk, or woolen or Siamese, false silk, poppy or poplin including Arles. Provencal wedding dresses can be puce color, yucky color, dark brown, plum, garnet-colored or green Empire. The light, white or cream wedding dresses...

Edwardian Ecru Linen Tea Dress With Hand Made Irish Crochet Lace Panels

This is a truly phenomenal example of late Qing Dynasty embroidery work. This piece is over 120 years old and is in wearable condition with car...

Reworked from an original 1890s ensemble this dress has the romance of the past with a sexy modern cut.