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The silhouette changed once again as the Victorian era drew to a close. The shape was essentially an inverted triangle, with a wide-brimmed hat on top, a full upper body with puffed sleeves, no bustle, and a skirt that narrowed at the ankles [11] (the hobble skirt was a fad shortly after the end of the Victorian era). The enormous wide-brimmed ...
In this period, children's wear followed trends found in adult fashion. Wool and cashmere were popular textiles for baby cloaks while cotton was still widely accepted for toddler dresses, drawers and play wear. A popular silhouette for toddlers was a cotton bodice, pleated skirt and long sleeves.
Standing woman in a white dress with leg o'mutton sleeves. By René Schützenberger, 1895.. Fashionable women's clothing styles shed some of the extravagances of previous decades (so that skirts were neither crinolined as in the 1850s, nor protrudingly bustled in back as in the late 1860s and mid-1880s, nor tight as in the late 1870s), but corseting continued unmitigated, or even slightly ...
Aesthetic dress of the 1880s and 1890s carries on many of the external characteristics of Artistic dress (rejection of tightlacing in favour of simplicity of line and emphasis on beautiful fabrics), even though, at its core, Aestheticism rejected the moral and social goals of the Victorian dress reform that was its precursor.
Costume designer Jane Petrie took a multifaceted approach to creating the costumes for Apple TV+’s Victorian-era drama “The Essex Serpent” — both referencing the period broadly and using ...
Victorian dress reform was an objective of the Victorian dress reform movement (also known as the rational dress movement) of the middle and late Victorian era, led by various reformers who proposed, designed, and wore clothing considered more practical and comfortable than the fashions of the time.
Anne Buck (14 May 1910 – 12 May 2005) was a British cultural historian and curator of dress, who established the Gallery of Costume at Platt Hall in Manchester. She was a leading scholar of dress, who was a founder member and long-time chairman of the Costume Society, and author of many books and papers on the history of dress.
The Gallery of Costume in Manchester holds a more typical Dolly Varden dress in its collections, made of white linen with a pink and mauve flowered print. [3] A Dolly Varden hat, as it relates to the dress, is usually understood to mean a flat straw hat trimmed with flowers and ribbons, very like the 18th-century bergère hat.
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