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At this time, the pelerine was styled as a short cape-like garment, which crossed the chest and fastened to the back of the waist. [ 4 ] Pelerines became particularly popular as a decorative accessory in the early 19th century, when layered muslin pelerines were deemed fashionable in the 1830s , worn draped over the top of the large gigot (or ...
A 1903 fashion plate of an Ulster, showing how the forearms can be brought under the cape. The Ulster is a Victorian working daytime overcoat, with a cape and sleeves. The Ulster is distinguished from the Inverness coat by the length of the cape. In the Ulster, the cape only reaches just past the elbows, allowing free movement of the forearms.
Women often draped overskirts to produce an apronlike effect from the front. Gowns had low necklines and very short, off-the-shoulder sleeves, and were worn with short (later mid-length) gloves . Other characteristic fashions included a velvet ribbon tied high around the neck and trailing behind for evening in a similar style to Georgian era ...
The woman behind all those puffs and ruffles is costume designer Holly Waddington, who has worked on films like Lady Macbeth and the Hulu series The Great (created by Tony McNamara, who wrote Poor ...
In the 18th century, a mantelet was a woman's short cloak, and in the early 19th century, it was an ornamental scarf that crossed over the chest and tied behind, usually made of fur or lace. [1] By the end of the 19th century, a mantelet was a woman's shoulder cape with elongated ends in front, sometimes held in position by a belt at the waist.
Short cloaks or capes, usually hip-length, often with sleeves, were worn by fashionable men, usually slung artistically over the left shoulder, even indoors; a fashion of the 1630s matched the cape fabric to the breeches and its lining to the doublet. Long cloaks were worn for inclement weather.
Italian woman wears a gray striped jacket with turned-back pagoda sleeves trimmed in contrasting fabric and a matching skirt. Her blouse sleeves or engageantes are full over her lower arms, 1861. 1862 portrait of Jenny Lind depicts her in a white gown with a wide lace collar. Her hair is parted in the center, rolled or "turned up" at the sides ...
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