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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.
(Excerpts online at The Victorian Web) Payne, Blanche: History of Costume from the Ancient Egyptians to the 20th century, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS; Norris, Herbert, and Oswald Curtis. 19th Century Costume and Fashion, Mineola, New York: Dover Publications, INC., 1998. 227–229.
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 ...
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.
The young siblings of Empress Elisabeth of Austria wears knee-length and ankle length skirts and a tunic suit over pantalettes, the teenagers wear adult fashion, 1855. A girl in a dress and pantalettes, 1855; Girls in crinoline dresses and pantalettes, the boy wears a scottish suite, 1855; A girl in a dress, hat and pantalettes, ca 1855
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