This elegantly designed pedestal fan from Lasko blends into surrounding decor and cools the largest home spaces. Wanted more Indians in … This dress is characteristic of fashionable styles from the early 1840s. Riding habit jacketMessrs. It greatly enhances a researcher's ability to identify other likely sources of information. They grew to their widest extent in about 1895, along with the sleeve, and had names such as 'the bell', 'the fan' and 'the umbrella skirt'. The off-the-shoulder seam and sleeves with width at the elbow are typical of the 1860s. The skirt is held out by a large cage crinoline petticoat giving the skirt a full bell shape, with extra volume and length at the back. Open sleeves of the kind seen here were very fashionable in the early 1870s. V&A Members enjoy a wealth of benefits, including free entry to exhibitions, previews, exciting events and the V&A Members’ Room. Others came seeking personal freedom or relief from political and religious persecution, and nearly 12 million immigrants arrived in the United States between 1870 and 1900. The sleeves are beginning to widen at the wrist into a slight bell shape. The waist, although emphasised, is not small because the massive proportions of the skirt make the rest of the body appear dainty. A miniature photographic portrait such as this example, is called a 'carte de visite' (the French for 'visiting card'). It was customary for grown women to wear their hair up, but young girls generally wore their hair down. In 1860 the publisher of this magazine, the Englishwoman’s Domestic Magazine, Samuel Beeton (husband of the celebrated cookery writer Mrs [Isabella] Beeton), began including hand-coloured fashion plates like this one. Photographic study of Isabella and Clementia MaudeViscountess Clementia HawardenAbout 1861-2London Museum no. Manners for Men (1897), by Mrs Humphry, stated:' For morning wear the morning-coat or jacket of the tweed suit is correct. The curved construction of the heels on this brown velvet pair was influenced by the heel shapes from the previous century. This item Lasko 1885 18" Cyclone Pedestal Fan with Remote Control, 18 inches White Honeywell Double Blade 16 Pedestal Fan Black With Remote Control, Oscillation, Auto-Off & 3 Power Settings PELONIS 16-Inch 3-Speed Oscillating Pedestal Fan with 7-Hour Timer, Remote Control and Adjustable in Height, FS40-16JR, White ‘Cartes de visite’, the size of formal visiting cards, were patented in 1854 and produced in their millions during the 1860s when it became fashionable to collect them. PH.457:499-1968Given by Lady Clementia Tottenham. Matching coats, trousers and waistcoats, known as 'dittos', in pin-striped flannel were accepted dress for summer sports and holidays. T.702-1913Given by Messrs. Harrods. Day dress (bodice, skirt and overskirt)Designer unknown1868-9Great BritainSilk and wool faced with silk, trimmed with silk fringe; lined with glazed cotton and whaleboneMuseum no. It is trimmed at the back with a made-up bow with long pendant ends. Evening dressMadame VignonParis1869-70Ribbed silk trimmed with satinMuseum no. This ensemble is an example of fashionable women’s daywear for summer in the late 1860s. Queen Victoria helped popularise the fashion for white when she got married in 1840. The ruched skirt and draperies on this dress reverberate with intense colour, revealing the fashion for bright new synthetic dyes. The evidence of the latter would not be upon him for all men to read, as the evidence of his ignorance in social forms is, in his mistaken notions of dress. The Lasko 18" Elegance & Performance Pedestal 3-Speed Fan will help you and your whole family stay comfortable in hot summer conditions. This indicates that the owner wore it while nursing her children. . On this dress, bias cut strips of fabric decorate the bell-shaped ends of the sleeves, and the neckline, shoulder seams, sleeve head and hem of the bodice are carefully finished with self-piping. Throughout most of the 19th century women had few legal rights to property, money, children, or even, after marriage, their own bodies. Since then evening dress has altered very little. Padget. By the late 1870s the profile of the skirt had narrowed considerably. The Lasko 1850 is a white 18” oscillating adjustable pedestal fan and is part of Lasko’s Elegance & Performance line. Skirts were worn in a full-length, simple A-line. Here the rows are shortened, and fanciful whirls at the proper right edge and on the collar do not relate to military models. Music sheetJohn Brandard (1812-63, designer); M. & R. Hanhart (printer); S. Chappell & Co. (publisher)About 1840Colour lithograph, ink on paperMuseum no. To do this she selected a wide aperture, which produced both a short exposure and a shallow depth of field. This example has large wide sleeves, as was fashionable for the period. 1860s women's dress featured tight bodices with high necks and buttoned fronts. It could have been her 'going away' ensemble, or it could have been the dress she wore for the actual ceremony. The sleeves sit close to the line of the body, as opposed to the 1890s when they were exaggerated into a 'leg of mutton' shape. Another magazine illustrated a similar example: 'The newest bell skirts are absolutely without fullness at the top….It fits closely over the hips and begins to form a series of fluted pleats a little above the knee' ('Our Lessons in Dressmaking', Myra's Journal, 80, 1 April 1894). De Beauvais, Paris; published by S.O. T.169-1959Given by Lady Lindsey. This ensemble characterises the new style of fashionable women’s dress. Heavy moustaches were common, and older men still sported beards. 1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Portrait of Richard Ansdell, painterWilliam Henry Lake Price1857LondonAlbumen-silver print on cardMuseum no. They were often quite slim, and jackets were worn open or partially undone to reveal the high buttoning waistcoat and watch-chain. Additionally, by about 1860 chemical aniline dyes were widely available. T.778-1972Given by the National Westminster Bank. PH.258-1982. Help and Example Use. They would not have looked out of place as wedding dresses in the 19th century were designed in line with the current fashions. . 3DEP DEMs interpolated from As caretakers of Ellis Island and the Statue of Liberty, we work to create bridges to history and to foster an appreciation for the rich tapestry of our national identity. Made of moiré silk, it has a lustrous rippled sheen accentuated by the rich Prussian blue dye, applied chenille flowers and sparkling metal buttons. The tailoring firm Redfern and Co., made this riding jacket for May Primrose Littledale. This early 1870s morning coat was known as the ‘University’ style. Photography was a novel and exciting development in Victorian days, and many people had studio photographs taken for ‘cartes de visite’ which could be presented when visiting friends, as introductions or with messages if the person was out. He was soon patronised by the Empress Eugenie and her influence was instrumental to his success. Circ.606-1962. PH.302-1947Given by Lady Clementia Tottenham. The donor was her great-niece. The soft brown leather with its shiny glacé finish highlights the skilful stitching and high quality of construction. It was usually single-breasted and was known as the 'cutaway', as the fronts sloped away elegantly to the broad skirts behind. This was effected between 1840 and 1850 by the conception and development of Whitworth's famous measuring machine. The patent is for the elastic size regulator which is fitted inside and would alter the inside of the hat to the shape of the head. The crinoline went out of fashion quite dramatically about 1868. For her wedding, a woman invariably wore a coloured dress that would serve as a ‘best dress’ for years to come. When their style went out of fashion and they were no longer useful to shops, display shoes and boots were stored or sold. Promenade dress (skirt, bodice and mantle)Designer unknown1855-7Great BritainSilk plush trimmed with silk fringe and braid, lined with silk and whaleboneMuseum no. Typical of the period are the full ‘pagoda’ sleeves and the bodice gathered from the shoulders into the lower front waist. The popularity of cashmere shawls reached its peak from the 1840s to the 1860s. Lasko 1885 18" Cyclone Pedestal Fan with Remote Control, 18 inches White 4.7 out of 5 stars 721. For men, most collars were still upstanding for formal or business wear, but here Donald Cameron wears his collars turned down, a style increasingly fashionable in the 1860s. Generally, both jackets and waistcoats were buttoned high on the chest. Moustaches and side-burns were popular. This elegant pair of blue and white low-heeled shoes illustrates how the sandal form evolved. The satin upper with square toe and throat, decorative rosette and elastic ties are all features reminiscent of the dainty flat shoes of the early nineteenth century. T.15&A-1979Bequeathed by Mr. E.W. Portrait of Maharaja Duleep SinghHorne & ThornthwaiteAbout 1850LondonAlbumen print from collodion negativeMuseum no. It is beautifully constructed in the latest style as would befit a young fashionable woman, although its pristine condition suggests it might not have been worn. As the frock coat became formal daywear in the 1850s, a more informal style of coat, called the morning coat was introduced. Steel, This trained overdress is styled to suggest a man's coat of the Directoire period in France. The dresses are full length but quite slim. In the 1850s, women's skirts were domed and bell-shaped, supported by crinoline petticoats.They often featured deep flounces or tiers.Long bloomers and pantaloons trimmed with lace were popular.Tiered cape-jackets were fashionable, as were paisley patterned shawls.Deep bonnets were worn and hair was swept into buns or side coils from a centre parting. The leg-of-mutton sleeves are long, full, gathered at the shoulders and gauged at the insides of the elbows. It has an over-skirt and the bodice now extends below the waist. Hats were small or wide with lots of trimming, but generally worn squarely on top of the head. While experimenting with a synthetic formula to replace the natural anti-malarial drug quinine, he produced a reddish powder instead of the colourless quinine. This dress, veil and a pair of boots also in the museum's collection (T.43B, C-1947) were worn by Eliza Penelope Bright, nee Clay (the mother of the donor) for her marriage to Joseph Bright at St James's, Piccadilly on 16th February 1865. The bodice was often fastened at the centre front or, as in this example, with a concealed hook and eye closure on one side. If he goes to a garden party in a frock-coat and a straw hat, he is condemned more universally than if he had committed some crime. This elegant example is based on the regimental patrol jacket characterized by parallel rows of applied braid across the breast, looped at intervals into designs known as 'crow's feet' because of their distinctive shape. The fashion magazine 'The Queen' shows a dress with the same squared-edge sleeve in an issue for August 1870. T.164&A-1937Given by Miss Sophie B. This photographic study imitates the composition of Raphael's famous painting of the Virgin Mary and the Christ Child, which is now in Dresden. By the 1890s it had become popular for city wear. During the 1860s the fashionable skirt became flatter in front with the fullness receding towards the back. Women’s dresses acted as a perfect advertisement for these rich hues, especially as trimmings usually matched the colour of the gown. According to the Lady's World of 1887: 'Skirts now never have two sides alike'. Capes with large collars were fashionable. For men, lounge suits were becoming increasingly popular. The growth of the sleeve was balanced by an increase in the size of the skirt. By 1865 the fullness of the skirt had receded towards the back of the garment creating a flatter front. Soon other synthetic dyes were being produced with evocative names such as ‘acid magenta’, ‘aldehyde green’, ‘Verguin’s fuchine’, ‘Martius yellow’ and Magdela red’ to match their gaudy appearance. difference between FDM and OFDM Difference between SC-FDMA and OFDM Difference between SISO and MIMO Difference between TDD and FDD Difference between 802.11 standards viz.11-a,11-b,11-g and 11-n OFDM vs OFDMA CDMA vs … Family photographArtist unknown1898EnglandPlatinum printMuseum no. It has long tight sleeves, a high round neck, and a long pointed waistline. In reality many of the dye samples from different manufacturers looked exactly the same, and it was only the exotic names, claims on colourfastness and improved visual quality that set them apart. 1850 Census Geography. Painting, portrait of Agathonike IonidesGeorge Frederick Watts OM, RA (1817-1904)1880Great BritainMuseum no. Another boot with military links was the Blucher, a laced boot named after the Prussian General Gebhart von Blucher, who played a decisive role alongside Wellington in the Battle of Waterloo in 1815. corresponding with the large revers (and) . What is the difference between a sinkhole and a pothole? The style of the dress has been inspired by the colours and stripes of sailors' uniforms. The sewing machine itself had only become widely available since the late 1850s. Beeton, London1865Paris and LondonLithograph, coloured by hand, ink and watercolour on paperMuseum no. Portrait of James DrewFrederick Hollyer (1837-1933)About 1890EnglandPlatinum printMuseum no. Dress (dress, peplum and belt)Designer unknownAbout 1872Great BritainSilk, trimmed with silk braid, lined with glazed cotton and buckram, faced with silk and ribbonMuseum no. Basis. The artificial forms of magenta were very popular and a battle for patents began as dyers sought to distinguish their inventions from those of their competitors. This is a feature that disappeared in the 1890s. T.797&A-1913Given by Messrs. Harrods Ltd. The fabric was printed with a decorative border expressly for use as tiers of a dress. By 1880 the skirt was quite slender in profile, often with an overskirt swathed in front, gathered over the bustle at the back and falling into a train. For much of the first half of the 19th century flat shoes were popular amongst  fashionable women. A system of planes was so arranged that of two parallel surfaces the one can be moved nearer to or further from the other by means of a screw, the turns of which measure the distance over which the moving plane has advanced or retired. This particular model is marked on the inside with the patent number 172905. In order to fall gracefully over these new structures, skirts tended to be gored, that is constructed with triangular panels rather than straight widths of fabric. . As you can imagine this caused great curiosity among the poor about how the wealthy people lived. This suit might well have been worn for a tour abroad. This type of illustration is known as a 'fashion plate', and featured in magazines to advertise and promote the latest styles. CoatDesigner unknown1845-1853, United States of AmericaWool faced with silk velvet, lined with woolMuseum no. After 1875 coats tended to be buttoned much higher. x E.1027-1992. 1855 Black Angus is offered in USDA Prime and Upper 2/3 Choice, ensuring ideal marbling for the most flavorful and juicy beef. W.H. T.856-1919, Dress (skirt and bodice)Designer unknown1848-50Great BritainBlock-printed wool, lined with cotton and the bodice boned with whaleboneMuseum no. Number of days between: When applied in rows, fringes also simulated flounces and made skirts look even wider. It could have been her 'going away' ensemble, or it could have been the dress she wore for the actual ceremony. Their stylish boots made good display pieces for retailers. Coats and jackets were semi-fitted and thigh-length. This evening dress shows how fashion was changing in the late 1880s. This photograph gives a good idea of Lady Hawarden's studio and the way she used it. By the middle of the 19th century slippers or 'sandal shoes' were still widespread although by the 1850s they were worn largely only for formal wear in black or white. In 1860 the publisher of this magazine, Samuel Beeton (husband of the celebrated cookery writer Mrs Beeton), first began including hand-coloured fashion plates by Jules David. DressDesigner unknown1878-80Great BritainJacquard woven silk, ruched silk trimmed with machine laceGiven by Miss K. GreaswellMuseum no. Their skirts are long but moulded at the hips in an A-line shape, contrasting with the massive skirts and bustles of previous decades. It is said to have been worn by Cara Leland Huttleston Rogers of New York, later Lady Fairhaven. Machine embroidery developed for men’s waistcoats and women’s dresses throughout the 1840s and 1850s. Alternatively, a contrasting waistcoat and trousers were often worn to add colour and variety to the outfit. Her hair is parted in the middle and scraped back into loops and buns at the nape of the neck. Prince Albert wears a high starched collar with a neck-tie tied in a knot around it. His hair and moustache was copied by many men at this time.Â, Pair of boots1865-75Great Britain or FranceRibbed silk trimmed with lace and ribbon; leather soleGiven by Dr. F. SpencerMuseum no. The outfit was often completed with a straw boater. Examples were first brought to Britain in the 1820s. It was important at this period to be properly dressed in public and private. T.139-1961Given by Mrs A. Perrot. T.1039-1913Given by Messrs Harrods. Ornaments for evening wear included floral wreaths, ostrich feathers, pomegranate flowers, wheatears and butterflies. Wiggins (retailer)About 1887New YorkSilk satin and velvet, with beaded decoration and cotton liningMuseum no. The red boots, which are of ribbed silk, come up above the ankle and have a 'military' style heel covered in silk to match the uppers. Thus, the other side of the London Square onto which the balcony looked are out of focus. Hair was often worn parted in the centre, and most forms of facial hair were acceptable, though being clean shaven was rare. The bustle is no longer predominant and emphasis is focused on contrasting fabrics and decorative effects. The bride's dress was a focal point just as it is today. ShoesDesigner unknownAbout 1850Great BritainSatin slipper with ribbon, leather soleMuseum no. Some even had silk stocking legs laid over the leather to give even more of a stocking-like effect. 7859-1938Given by Eleanor M. Hollyer, 1938. 1. It was worn by Mrs Granville Alexander, a daughter of the U.S. sewing machine pioneer, Isaac Singer. 19th century military dress is often regarded as amongst the most ceremonial and decorative, though it does not follow fashion and does not change quickly from season to season, making it difficult to date as precisely. Their inception owes much to the work of Sir William Henry Perkin (1838-1907), who discovered the first famous artificial colour by accident in 1856 when he was a student at the Royal College of Chemistry in London. Eight years later he moved to Paris, where he opened his own premises in 1858. The Hawarden family album indicates that the man is Donald Cameron of Lochiel. The sitter is wearing a high upstanding collar with a high single breasted waistcoat cut straight across the waist.  His dark necktie is tied around the collar with a small bow at the front.Â. Boater hatDesigner unknown1890sGreat BritainPlaited straw, with a silk grosgrain hatbandMuseum no. This dress was worn by the mother of the donor and is said to have been bought in Paris. In this image, the Queen's skirt is tiered for fullness, which was fashionable in the 1850s and very early 1860s. Here her daughter Clementina poses beside a mirror. I've changed hosts so you can navigate the site faster. DressDesigner unknownAbout 1873Great Britain or FranceSilk and ruchingGiven by the Marchioness of Bristol, Ickworth, Bury St EdmundsMuseum no. The woman in this photograph is either Lady Hawarden herself or her sister Anne. This ensemble illustrates the decorations, especially fringing and applied ruffles, that were popular at the time. In this example a delicate pattern of vine leaves and speedwell is jacquard-woven in blue and cream giving a variety of textural effects. E.1383-2000Transferred from the British Museum, William Henry Lake Price, himself a painter and printmaker as well as a photographer, has portrayed his fellow artist Richard Ansdell (1815-85) with the traditional tools of his profession and a still life composed of characteristic materials of the genre in Victorian times.Â, His clothing is typical of 'Artistic' dress, fashionable with artists and intellectuals of the time. Artistic dress is characterised by loosely fitting clothes, made of plain, muted fabrics coloured with natural dyes, which they wore in deliberate contrast to the tight and starched rigidity of Victorian formal dress.Â. Although frequently ridiculed in the press for their cage-like structure and size, they were also hailed as a blessing. The fashionable 1890s gentleman in this portrait sports short centre-parted slicked-back hair, with a generous moustache twisted at the ends. He wears a high collar turned over to form wings, and his waistcoat buttons high at the chest. Tartan fabrics were very fashionable in the 1840s, thanks partly to the continuing popularity of Walter Scott’s historical novels, set in Scotland. 'The Englishwoman’s Domestic Magazine' of 1865 reported the change as follows: ‘Dresses incline more and more to the Princess Shape. Eight years later he moved to Paris, where he opened his own premises in 1858. The skirt has a slightly draped front, with the back flared and arranged in deep pleats. The top hat was worn by the upper classes for formal  occasions. This construction created a long narrow line and a smooth fit over the contours of the bust and hips, accentuated by the figure-hugging corsets worn beneath. (In the aftermath of the French Revolution, the years 1795 to 1799 were a time when the country was run by an executive power - the five 'Directors' - that was in turn overthrown by Napoleon Bonaparte.) At the beginning of the decade the emphasis was at the back of the skirt, featuring ruching, flouncing, and embellishments such as bows and thick, rich fabrics and trims. This particular example is made of silk satin, striped in a complex arrangement of purple, crimson, magenta, grey and white. 7782-1938. Following the example set by Charles Worth in Paris, dressmakers had begun to identify the clothes they made. They were worn over wire ‘cage crinolines’, which gave maximum volume with minimum weight. She is shown here in a high-waisted, uncorseted dress that was derived from classical costume. T.849-1974Given by Mrs Geoffrey Myers. Inheriting a lace and lingerie establishment in Paris, Doucet expanded the family business by opening a couture department in the 1870s. Boaters were stiff straw hats with a moderately deep flat-topped crown and straight narrow brim and with a hatband of Petersham ribbon (thick double ribbon which was generally watered, plain, figured or striped). Features adjustable height, oscillation, and 3 quiet speeds to create powerful airflow in your fitness studio or large living space. Crinolines, far from being left off, have merely changed their shape; they are plain in front, but puffed out on either side so as to remind one strongly of the hoops or paniers of the last century'. E.5010-1968Given by Dame Marie Rambert, The print is unusual in showing a dancer of the 1840s in a fashionable dress rather than a ballet costume. DressDesigner unknownGreat BritainAbout 1862Silk trimmed with silk braid and beads, lined with glazed cotton, edged with brush braid, hand-sewnGiven by Miss Edith WestbrookMuseum no. It is a personal keepsake and document of a wealthy family of the 1890s. Princess dresses, like this one, suited this style particularly well. Vivid magenta-coloured silk gives this dress a rich and flamboyant appearance. The overall effect is quite severe, with all the decoration based on the application of a darker blue silk. From the end of the 1850s up until about 1868-8, skirts were at their fullest. They were held out with layers of crinoline petticoats or with crinoline cages made of steel, cane or whalebone hoops. Towards the end of the 1860s skirt got narrower, with material draped up to create a bustle. Morning coatDesigner unknown1870-5Great BritainFine wool, with a velvet collar; edges bound with wool braid; buttons covered in sateen; partially lined with twilled silk, and sleeves lined with twilled cottonMuseum no. Other disputes arose over the health risk posed by the wearing and production of garments coloured with synthetic dyes. The floral design complements the construction of this dress, accentuating the closely fitted lines of the bodice and drapery on the front of the skirt. 1850 Census duration: 5 months. She is holding a photograph of bare trees. A key motif was the boteh or pine cone, what we know today as the paisley. the large cuffs . This photograph is taken from a family photograph album. ››Enter dates. This print is a photogram, a technique of making a picture without a camera or lens. Beeton also included paper patterns, a new phenomenon that, combined with the fashion plates, ensured the magazine a particular appeal among the increasing numbers of owners of the domestic sewing machine. PH.457:423-1968Given by Lady Clementia Tottenham. It was known as the 'Louis' after the famous French kings of  the 1700s. The trend ran parallel with the Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. The trend ran parallel with the Arts and Crafts Movement and advocated a radically new approach to dress in an effort to free women from corsetry. This is an excellent example of a double-breasted frock coat. Her hair is parted in the middle, swept down and looped loosely around the ears. However, she wears a distinctly 1860s crinoline skirt. Until about 1868 the fashion was for extremely full skirts, held up by cage crinoline petticoats made of cane, metal or whalebone hoops. There is an overskirt over the back of the dress, accentuating the bustle that was now being worn underneath. After lunch, when in town, the well-dressed man may continue to wear his morning coat or the regulation frock-coat, with trousers of some neat, striped grey mixture.'. Contrary to much speculation, these gores did not radically diminish the size of the skirt as The Englishwoman's Domestic Magazine pointed out in March 1868: 'Skirts are gored, it is true, but they are ample and flowing. . Because weddings in those days took place in the mornings, daywear with long sleeves and high necks was the acceptable style. The Lasko 18″ pedestal fan comes with a remote control that conveniently allows you to adjust the fan speed or the timer. It was important to be dressed appropriately for the occasion. T.17-1985. The State of Education. Hats and caps were correspondingly small and neat, to fit on top of the hairstyle. They used natural and artistic materials and often included hand-embroidered decoration inspired by the countryside and wild or garden flowers. Fashion is moving away from the fussier trimmings of the early 1870s. Frock coatDesigner unknown1871IrelandMuseum no. It is parted in the middle and swept down flat into loops or buns towards the nape of the neck. CAI.1142Bequeathed by Constantine Alexander Ionides. This meant that he sometimes had to change his outfits six or seven times in the space of a day. It was of a kind promoted in artistic social circles as 'Rational Dress'. For those who expect more from a fan than For those who expect more from a fan than simply blowing air, there’s Circ.204&A-1958Given by Rev. Those worn with evening dress were often trimmed with feathers, braid and beaded embroidery. Examples include 2010-04-19 or Feb 22, 1911.You can also type words like today or yesterday, or use the American format, 11/30/2020. Photograph, portrait of Princess Louise, Marchioness of Lorne and Duchess of ArgyllFrederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. It may be remarked, however, that it is easy to stultify the whole effect of these, however perfectly they may be built 'by the tailor' by the addition of a single incongruous article of attire; such as a silk hat or patent boots with a shooting-suit. By 1850 American educational reformers, led by Horace Mann, had succeeded in convincing many leading citizens of the merits of establishing a system of publicly supported common schools. The figure of the young girl is partially balanced and echoed by the camera reflected in the mirror and the embroidery resting on the table beside it. Factory Act 1850, redefined the working day for factory workers. Floral designs such as this were fashionable in the 1840s and 1850s. 1850 . Aesthetic dress was popular in the 1880s and 1890s, particularly within artistic and literary circles. Those who supported it repudiated tight corsetry and cumbersome petticoats in favour of less restrictive clothing. T.113 to B-1934Given by Dr C. W. Cunnington. This magazine's wide distribution ensured an awareness of French fashions among a wider section of society. Welcome! Any stylistic changes were very subtle, affecting details such as the length and width of the lapels or the fullness of the trousers. It also flows in sweeping folds over the bustle, which by the mid-1880s jutted out almost at right angles from behind. It has a fitted bodice, with a pointed waist, and a frilled collar and cuffs trimmed with gauze and a machine-embroidered border. Tailor-made outfits such as this one helped meet the needs of a diverse lifestyle. Here the jacket is semi-fitted with no shaping in the front or fastenings so that it shows off the waistcoat underneath. The dress on the right is mauve, a new colour at the time. all the fullness being gathered into a cluster in the centre of the back below the waist.'. Cara Rogers later became Lady Fairhaven - she was a 'Dollar Princess', one of several heiresses who came to Britain in the late 19th century, and married into the British aristocracy bringing much-needed glamour and financial capital. T.322&A-1970Bequeathed by Lionel Ernest Bussey. By 1800 it had become usual for her to wear white or cream. Towards the end of the 1860s skirts would start reducing again, and fabric would be draped up into a bustle. Light-coloured suits such as this became popular from the 1890s. T.63&A-1976. This was a popular colour as it implied purity, cleanliness and social refinement. Wide shoulders were fashionable and horizontal decoration on the bodice further exaggerated the line. The skirt continued to be full and bell-shaped until around 1865 when it began to lose its volume at the front and move its emphasis towards the back. Ensemble (waistcoat with suit and top hat)Designer unknown1845-55, and 1871Great BritainJacquard-woven silk, covered buttons, lined with cotton and backed with scrim, foreparts lined with leather (waistcoat)Museum no. This coat is reputed to have been worn by William Pierson Johnes, a linen merchant of New York City. This eye-catching day dress formed part of the trousseau belonging to Miss Janet Gilbert. T.3-1982. The morning coat was worn during the daytime, as the name suggests. She was probably responsible for the introduction of the shorter skirt which led to a greater emphasis on stockings and shoes. The dress she is wearing here has several features of artistic dress. Most of the photographs in it are printed on platinum paper, which was introduced in 1879. According to the donor, this dress was worn by her mother on her wedding day. Men wore matching coats, waistcoats and trousers, with hairstyles characterised by large mutton-chop side-burns and moustaches, after the style set by Prince Albert.Shirts had high upstanding collars and were tied at the neck with large bow-ties.High fastening and tight fitting frock coats were also very fashionable; though a new style called the sack coat (a thigh-length, loosely fitted jacket) became popular.The bowler hat was invented around 1850, but was generally seen as a working class hat, while top-hats were favoured by the upper classes. The marked, horizontal emphasis at the shoulder line meant that it was often difficult to wear fitted coats and jackets out of doors. T.63-1939Given by Mrs W. A. Horn. T.37 to -1984. Afternoon dressDesigner unknown1872-5Great BritainCorded silk, trimmed with corded silk, lined with cotton, faced with silk, edged with brush braid, machine and hand sewnMuseum no. This is a portrait of Maharaja Duleep Singh, photographed by the London firm of Horne & Thornthwaite around 1850. He is dressed and bearded according to the fashionable formal English style. He wears a dark double-breasted frock coat over a high buttoned light waistcoat. Neckties were either the knotted 'four in hand', or versions of the bow-tie tied around the collar. T.176-1965Given by Capt. Dress (skirt and bodice)Designer unknown1863-5FranceSilk, hand-embroidered in black silk and cut-steel beads, trimmed with black taffeta, with a lace collarMuseum no. Her dress is typical of the decade, with low sloping shoulders, a long and narrow pointed waist, and a voluminous bell-shaped skirt.Â, BonnetDesigner unknownAbout 1845Great BritainCardboard, linen, silk, cotton, wire; hand sewnMuseum no. Between 1886 and 1900, there are more than 2,500 lynchings in the nation, the vast majority in the Deep South. To better understand the reaction he tested the procedure using aniline and created a crude black product that ‘when purified, dried and digested with spirits of wine gave a mauve dye’. Many Victorian and Edwardian family photograph albums such as these were acquired by the V&A in the 1950s and 60s to show examples of the dress of that period. By the end of the decade the bustle disappeared. This coat is an example of men’s formal daywear from about 1850. Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert. Mary Frances Andrews had married Walter Crane, the painter, illustrator, designer, writer and teacher, in 1871. He was famed for his extravagant gowns, tailored suits and luxurious coats. 1905-1920. The French influence was due to the stylish Empress Eugenie who had married the French emperor, Napoleon III, in 1853. The inside of the skirt is hooped at the back, with tapes for adjustment, to create the bustle effect. Importantly their dresses feature pagoda sleeves, which were particularly fashionable in the 1850s and 1860s. This family photograph album contains single and group portraits and depictions of sports and pastimes that would have amused family, friends and visitors. ', Photograph, portrait of Sir George Lewis, Bart.Frederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. Photograph, portrait of Edward Tennyson ReedFrederick Hollyer (1837-1933)1899Great BritainPlatinum PrintMuseum no. Later in the decade wider brimmed 'picture hats' were also worn, though still tilted forwards. Women still wore hooped petticoats (crinolines) to give the desired silhouette, but they were no longer bell-shaped and by 1868 they curved out behind forming a kind of bustle. One side of the train is faced with a triangular panel of gold and white figured silk. The short, circular cape therefore came into its own for both day and evening wear. This style continued until the 20th century and became identified as the city business man's suit of black coat, striped trousers and bowler hat (replacing the top hat). During the 1870s and 1880s, the vast majority of these people were from Germany, Ireland, and England - the principal sources of immigration before the Civil War. One gentlemen's etiquette book, Manners for Men, by Mrs Humphry ('Madge of Truth'), published in 1897, writes that: 'There are special suits for all kinds of outdoor amusements, such as shooting, golfing, tennis, boating, driving, riding, bicycling, fishing, hunting, &c., but into the details of these it is unnecessary to enter. The Englishwoman’s Domestic Magazine of March 1868 recommended that there should be no more than 'two positive colours in a lady's toilet' and that 'very bright tints' should be toned down with white, black or grey to prevent a gaudy appearance. Most 19th-century women expected a new hat each year, even if it meant recovering an old one themselves. Engraving of outdoor dress designed by Maison Worth, ParisA. It had skirts that were cut away in front. The waist remained long and narrow, ending in a point below the waistline. DressLiberty & Co. LtdLondon1895Pongee silk with smocking and machine-made laceMuseum no. The separate skirt is made from shot cream silk, trimmed with iridescent bead motifs over which machine-made lace is asymmetrically draped. It was fashionable to collect 'cartes de visite' and compile them in albums. DressDesigner unknown1845-50Great BritainPrinted wool, lined with linen, hand-sewnMuseum no. They have lacing at the back and are trimmed at the top with bobbin lace and ribbons. Originally imported from India in the late 18th century, British manufacturers were making woven and printed versions by the early 19th century, based on the Indian designs. T.433&A-1976. The Gentleman's Magazine of Fashion (1875) justified this fashion for health reasons: 'Medical men ascribe many deaths during the past winter to the fashion of low collars and to gentlemen not being sufficiently protected by their clothing at the throat and neck. The free movement of the bicycle was seen as a symbol of equality and personal freedom. While a dress would be expected to last at least a decade, new styles of hats arrived annually. Photographic study of Isabella Grace, Clementia and Elphinstone Agnes Maude on terraceViscountess Clementia HawardenLondonAbout 1863-4Albumen print from wet collodion negativeMuseum no. Women wore crinoline petticoats made of steel hoops under their dresses to give them this distinctive shape. It was probably dyed with one of the new synthetic colours produced from the late 1850s onwards, although intense hues could also be created using natural dyes. Nonetheless it is useful for dating purposes as it shows fashions typical of the 1860s. The sitter in this portrait sports a generous and groomed moustache, fashionable throughout the 1890s. This example is elegantly restrained, but others were richly decorated and made in bright colours. It was introduced in 1870 and was known as the 'University' or 'Angle-fronted' coat. Photograph, portrait of General SmutsFrederick Hollyer (1837-1933)About 1890Great BritainPlatinum printMuseum no. Lady Fairhaven kept several spectacular outfits bought in Paris and New York for her sister and herself in the 1880s and 1890s. The light muslin bodice and skirt are unlined, but they were probably worn over an opaque under-dress. However, with the addition of a small heel and some striped decoration the form is updated to something more in keeping with modern tastes. A fashionable man needed clothes to suit all occasions, both work and leisure. This dress is a typical example of women’s fashionable day wear from the mid-1860s. ShoesLatham1855-65LondonSilk satin with rosettes, ribbons and elasticMuseum no. This is a jaunty, sensible woman’s outfit of the early 1870s designed for boating or seaside walking. 1896: Plessy v. Ferguson, rules that state laws requiring separation of the races are This is an excellent example of a double-breasted frock coat. T.238&A-1916Given by Miss Bertha H. Davey. The boater was worn by all social ranks and had no 'class distinction'. The influence of masculine tailoring can be seen in the cuffs and bodice revers of this woman’s afternoon dress. T.5-1982. The grosgrain waistband is stamped in gold 'E. Hair was dressed high at the back with complicated twists and rolls, falling to the shoulders, adorned with ribbons, bands and decorative combs. Hinton was a photographer and member of the Linked Ring, a brotherhood of photographers committed to excellence in all styles of photography which flourished between 1892 and 1909. This elegantly designed pedestal fan from Lasko blends into surrounding decor and cools the largest home spaces. In the early part of the decade, women wore tight bodices with high collars and narrow sleeves, much as they had done in the previous decade. Aim. Hair was worn high on top of the head, in tight curls. This dress was probably made in the mid-1840s and then altered about five years later to accommodate a change in style. The bodice is in the ‘cuirasse’ style, extending into a point below the waistline. This design was popular as a dress fabric. Summer dressDesigner unknownAbout 1885BristolWhite cotton, trimmed with Bedfordshire Maltese lace, machine-stitched and hand-finishedMuseum no. Time and Date Duration – Calculate duration, with both date and time included; Date Calculator – Add or subtract days, months, years; Weekday Calculator – What Day is this Date? The 5-paddled 18" fan blade is powerful enough to cool even the largest home spaces. 3504-1953. The popularity of the young Queen Victoria coincided with a period when large numbers of illustrated music sheets were being published. Both women wear the fashionable ideal of mid 1890s dress. They are both dressed in tightly corseted, fitted bodices with high collars and exaggerated leg of mutton sleeves. Collars were starched and high, with the tips pressed down into wings, though by the end of the century collars were more frequently turned down and worn with the modern long, knotted tie style. This photograph is a formal military portrait of British army officer Field Marshal Garnet Joseph Wolseley, 1st Viscount Wolseley KP GCB OM GCMG VD PC (1833–1913).Â, Boating suit (jacket, waistcoat, trousers)Designer unknown1890sGreat BritainCream wool with blue pinstripe, hand- and machine-sewnMuseum no. It is characterised by sharply angled cut-away fronts, short length and double-breasted style. These could then be worn for Sunday best long after the marriage. A hemline just at the ankle indicates a garment intended for walking outdoors. DressDesigner unknownAbout 1888Great BritainSatin, with machine-embroidered panels and silk collar, cuffs and front with a velvet warp-figured stripeMuseum no. She was a well known artist, and a champion of 'Aesthetic' dress - a dress movement that eschewed restrictive corsetry and artificial bustles for loose, draping clothes with simple silhouettes in natural fabrics and colours.Â, Photograph, portrait of Louise Jopling Rowe (1843-1933)Frederick Hollyer (1838-1933)About 1890EnglandMuseum no. Evening dressE. The puffed epaulettes at the top of the sleeves indicate historical influences, particularly the 16th century. This accentuates the flounced effect of the fringe and helps to distribute the weight of the heavy skirt over the dome-shaped crinoline cage which would have been worn underneath. Many of the colours they provided were rather gaudy, such as this bright red. This dress would have been worn for fashionable day wear. The first machine for embroidery was invented in France. Box pleated trimmings stand out in relief along the bottom edge and seams of the wide pagoda sleeves, emphasising their width.  Had Miss Gilbert worn this dress, white 'engageantes', or undersleeves tacked to the armholes would have covered her lower arms and a lace collar might have decorated the neckline. Lasko Metal Products was founded in 1906 by Henry Lasko in Philadelphia. Photograph Kate Dore with frame of plantsJulia Margaret Cameron (1815-79) and Oscar Gustav Rejlander (1813-87)About 1864EnglandAlbumen print; the ferns added by the photogram techniqueMuseum no. The closely fitting bodice of dark green velvet is embellished with an iridescent beaded panel. DressDesigner unknown1845-50Great BritainSilk satin, lined with cotton, edged with brush braid, hand-sewnMuseum no. A pothole is usually a fairly small feature caused by failure of paving materials, usually associated with roads, parking lots, and airports. The Lasko model 1850 Performance pedestal fan is equipped with a multi-function remote for easy and convenient use. Gaoubaud (publisher) and Legastelois (printer)Fashion plate1864ParisMuseum no. In the 19th century waistcoats tended to be one of the more elaborate and colourful pieces of the male wardrobe, which is partly why they survive in relatively large numbers. MortonMuseum no. Lasko 18″ Pedestal Fan with Remote Control 1843 Check Price ! Read our, Learn about the history of fashion from 1900 - 1970, © Victoria and Albert Museum, London 2016. . . It is made of cotton, so it is easily washed and dried. The eldest of the girls formally greets the puppy, while the youngest child looks gravely at the camera clutching an owl, the emblem of wisdom. The elbow-length sleeves and square neckline show that it was probably a dinner dress rather than ball gown. This is an example of a fashionable summer day dress of the late 1850s. It is held out in a pronounced bell shape by layers of petticoats or a steel cage crinoline. Why a dollar today is worth only 3% of a dollar in 1850 Updated: November 12, 2020. It was probably ready-made. This imaginative combination of vertical and horizontal trimming emphasizes the length of the bodice rather than its width and ensures that the waist appears relatively small. 1 Introduction 2 1850s - Middle Class 3 1850s - Working Class 4 Late 19th century - Middle Class 5 Late 19th century - Working Class 6 Conclusion This ensemble demonstrates the ‘over-upholstered’ look, with a variety of fabrics, rows of tassels and lace embellishment, all used on one outfit. T.6&A-C-1937Given by Miss E. Beard. For best results, avoid entering years before 1753. The three-piece lounge suit was very popular and regularly worn from the 1890s onwards, and it became increasingly common to have creases at the front of the trousers. In the first year of the new century, more than 100 African Americans are lynched, and by World War I, more than 1100. 7856-1938Bequeathed by Eleanor Hollyer, 1938, The sitter in this portrait sports a four-in-hand Ascot tie, very fashionable during the 1880s and 1890s. The Ascot tie is made of a narrow neck band with a wide cravat style front, neatly folded and pinned with a tie-pin. Conventions in dress applied to informal as well as more formal wear. Frock coats were still worn, but generally by older or more conservative men. PP.7.C-E, This engraving, illustrating stylish outdoor dresses, designed at Maison Worth, Paris was published by The Queen, The Lady's Newspaper, on 17 August 1895. Queen Victoria (ruled 1837-1901) had just acquired a royal residence at Balmoral, Scotland, and set the fashion for all things Scottish. The dress worn in this photograph is distinctly 1890s in style. The sitter wears a high lace collar with leg of mutton sleeves, but this dress also has many of the features associated with the dress reform trend of the late 19th century. There were therefore many with images of the Queen and, after her marriage in 1840, of Prince Albert, either as portraits or at particular events. API for Business Date Calculators; Date Calculators. Coat and skirtJacques Doucet (1853-1929)About 1894ParisLinen, with collar and cuffs embroidered with silk cord, elastic stays attached to the inside of the skirt to control the fullness, hand and machine sewnMuseum no. A movable screen has been placed behind it, across the opening into the next room. Masculine styles and tailoring were increasingly popular, and women sometimes sported a shirt collar and tie, particularly when playing golf or out walking. Wedding dresses are one of the rare types of garment for which the name of the wearer and the date of her marriage are often recorded. This Cyclone pedestal fan’s quiet operation and three powerful speeds make the Lasko pedestal fan with remote control perfect for a variety […] The dress fastens at the shoulder over a boned, green silk bodice lining. T.494&A-1913Given by Messrs Harrods Ltd. Opera boots were also known as 'Dress Wellingtons' and were often worn when going out to dinner, the theatre, opera and other social evening occasions. 20.5"L DressDesigner unknownGreat Britain1868Silk, trimmed braid, beads, hand-made Maltese-style bobbin lace and silk fringeMuseum no. By the 1880s their dress was so similar that some observers noted that from a distance it was difficult to distinguish very young ladies from young gentlemen. In 1857 the 'Illustrated London News' announced: 'Fringe was never so greatly in demand as at the present time…Fringe may be said to be the most becoming of all trimmings on a lady's dress; it seems to possess the power of imparting lightness and suppleness to the movements of the wearer.'. This magazine’s wide distribution ensured an awareness of French fashions among a wider section of society. They may not have been more comfortable than other styles but the hard-wearing fabric and relative lack of trimmings made them easier to care for and very versatile. T.90&A-1964Given by Miss Janet Manley. The contours of the crinoline have altered from a bell shape to a profile that is fairly flat in front, with the bulk of volume at the back. Photograph of Clementia MaudeViscountess Clementia HawardenAbout 1862-3LondonMuseum no. White lace was popular for collars and cuffs, as were low sloping shoulders that flared out into wide sleeves. We use cookies to enhance your experience on V&A websites. This means that a dollar today only buys 3.00% of what it could buy in 1850. Day dress (bodice and skirt)Designer unknownAbout 1858Great BritainMoiré silk trimmed with chenille and lined with silk; with metal buttons, and whalebone stripsMuseum no. Evening dresses were often off the shoulder. An anonymous cavalry officer described how this style of boot could be used as a substitute for shoes in his book The Whole Art of Dress (1830): 'This boot is invented, doubtless, for the mere purpose of saving trouble in dress; for without attending to silk stockings or the trouble of tying bows, you have merely to slip on the boots, and you are neatly equipped in a moment.'. Vests based on the man’s waistcoat were another popular feature. In August 1859 the satirical journal ‘Punch’ described the craze for purple as ‘Mauve Measles’, a disease which erupted in a ‘measly rash of ribbons’ and ended with the entire body covered in mauve. Ellen Terry (1847-1928) was one of the most celebrated actress of her day, her children Edith and Edward followed in her theatrical footsteps. Because weddings in those days took place in the morning, daywear with long sleeves and high necks was the acceptable style. It would also have been easy to wash, unlike the silk satin dresses that were fashionable during this period. Although at this date the frock-coat was gaining in popularity as formal daywear, the cut-away coat was still worn. This ensemble characterises fashionable evening wear for women in the late 1870s. The bodice extends into a point below the waistline in front and back. The wide collar and lapels are typical of the 1870s, as is the loose sleeve. Some featured jackets and skirts in contrasting checks, stripes and diagonals, others, like this one, were made of the same material throughout. By the end of the 1840s, the wide neckline had closed up to a high, round opening. They could then be personalised with rosettes or other decorative embellishments if desired. These were simply tacked on to a piece of gauze which was then stitched on at the throat over the top of the existing standard bow which was already in place. It was known by the French term 'à disposition'. They might also have been kept for their decorative quality or for sentimental reasons when they went out of fashion. It is said to have been made in 1885 in Clifton, a district of Bristol in the West of England, and worn in Burma. African Americans. USDA Certified Black Angus Beef We carefully choose family ranchers who have a passion for raising high-quality Angus cattle and fully understand the steps required to achieve a memorable eating experience. This can be seen in professionally made clothing from the late 1870s onward. Hollyer was the photographer of choice for the artistic set of the late 19th century. The collar, cuffs and front of the separate skirt are made of silk with a velvet warp-figured stripe. Formal gentleman's daywear of the later 19th century was usually of black or blue-black wool. It also has wide lapels and is buttoned very low on the chest. The body itself is curvy, with an emphasised hourglass waist created by a rigid whalebone corset. Bracelet with portrait miniaturesPierre-Jules ChaiseAbout 1850ParisEnamelled gold, rose and brilliant-cut diamonds, ivory and mother-of-pearlMuseum no. Wedding dressDesigner unknown1865EnglandSilk-satin, trimmed with Honiton appliqué lace, machine net and bobbin lace, hand-sewnMuseum no. Portrait of Lady DuckworthFrederick Hollyer (1837-1933)About 1890EnglandPlatinum printMuseum no. 7835-1938. Hitherto the train was found only on evening dress, but the high neckline and elbow-length sleeves indicate that this dress was for formal afternoon wear. They were superseded in the late 1870s by the larger and sturdier ‘cabinet cards’ whose popularity waned in turn during the 1890s in favour of postcards and studio portraits. 1 offer from $74.62. The dress is trimmed with silk braid. Tiers of machine-made lace adorn the skirt and bodice; an overskirt of satin swathes the front of the dress. It was worn by one of the two Rogers sisters, Cara or Anna, daughters of a wealthy American industrialist. In 1888 the dinner jacket was introduced for more informal evening wear. The dresses have fashionable wide skirts, reflecting the contemporary popularity of crinolines. These boots advertised that top-quality fashionable footwear could be had from the shops that displayed them. Their hair is piled high on top of their heads and their elaborately trimmed hats sit high and straight. This portrait of Lady Duckworth shows her in Victorian mourning dress. Braiding was a popular form of decoration inspired by ornamentation on regimental dress as well as the flamboyant hussar designs. With 170 years in the making, 1850 Coffee is bolder and smoother than you thought coffee could be. Unlike the evening dress suit, which was cut with tails, the back of the dinner jacket was cut whole. This dress illustrates the style of the early 1860s. Frivolous boots of silk and silk satin, some with high heels, were imported into England from France in the 1860s and 1870s. 1850 Census first to record the names of every person in a household and an individual’s place of birth. The skirt may have been altered and have lost a side panel. M.12:1-3-1955Bequeathed by Mrs. H. Digby Neave, granddaughter of Mr and Mrs Ralli. It was common to have a pointed beard too. His 'Portraits of Many Persons of Note' fills three volumes with nearly 200 portraits and comprises a pictorial Who's Who of late Victorian and Edwardian celebrities. Both girls are wearing full skirts and both wear their hair pulled back and worn in a low bun or chignon. But your run-of-the-mill streetwalker with an upstairs room somewhere made between 2 and 4 times as much as she would at a factory. Some censuses reveal even the parents' birthplace (state). Weddings were one of the most festive social occasions. The slender ankle, curved Louis heel, and high, buttoned leg were very fashionable in 1900. The jacket buttons fashionably high up. Covering one’s head was an essential aspect of etiquette in the 19th century. Various inventions of machines for sewing seams occurred in the 1840s, but they did not become commercially available until the late 1850s. She is shown here in fashionable mid 1890s dress, sporting a rather masculine tailored jacket with exaggerated leg of mutton sleeves. Her hair is piled up on top of her head, and her hat sits high and straight on her crown, trimmed with feathers and berries. From what we can see of her skirt it appears that she is wearing the popular and simple A-line skirt of the time. During the 1890s, women's tailored suits were very popular. Evening dress suit (jacket, waistcoat, trousers)Morris & CoAbout 1885LondonWool barathea with satin buttons and ribbed silk lapels; lined with black satinMuseum no. The jacket of this evening suit still has the 'button stand' around the outer edge of the lapels. T.270&A-1972Given by Lord and Lady Fairhaven. The bottom tier is attached to a taffeta underskirt. They gave families the chance to show off their wealth and even less well-off couples would make an effort to dress appropriately. T.81-1980Bequeathed by Eric Mynott. A timeline put together by a group of Baylor University students for Modern European Art spanning from roughly 1850 to 1940. The photographer, Frederick Hollyer, was a leading specialist in the photographic reproduction of paintings, but he devoted one day a week to sitters from artistic and literary circles. Beneath all these layers and decorative trimmings it is a wonder that a woman could discreetly find her watch pocket which was often concealed in the waistband of her skirt. It signified a move away from what were considered to be the extravagant excesses of the late eighteenth century towards a simpler, purer style of dress and footwear influenced by classical antiquity.Â. He was born in 1825 in Bourne, Lincolnshire, and started working at the age of 12 in a draper's shop in London. The dress worn by the ladies in this photograph is typical of the 1890s. Coulson (retailer)1895-1915 (manufactured)Vienna (made), London (sold)Glacé kid leather lined in cotton sateen and yellow silk satin, buttonsMuseum no. Inspired by newly developed European models of public education, the common-schools crusade had been initiated in the 1830s and won its first enthusiastic supporters in the larger, established towns of New England. T.182&A-1914. Hair was worn with a centre parting tied into low chignons at the nape of the neck, with loops or ringlets covering the ears. T.128 to B-1923. Dress and shawlDesigner unknown1845-50Great BritainPrinted wool, lined with linenMuseum no. This garment is well made, with cleanly cut and finished appliqué and seams, indicating the work of a professional dressmaker. His collars are starched and upstanding, with a necktie tied in the distinctive 'four-in-hand' style where the corners of a folded kerchief create pointed wings. Morning coats were usually made of dark colours, and the fabrics included worsteds, diagonals, hopsack, ribbed meltons and beavers.
2020 difference between lasko 1850 and 1885