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The dress was referred to as “the slim look for five o’clock on”. For a casual look, the sheath dress was matched with a short sleeve print bolero. As a business attire, a box jacket when over the bolero as well as the dress. [11] As the cut of the dress became easier to construct, textures were added to the dress such as beads. [12]
Alongside the very large tob dresses of Upper Egypt are those that have narrower rectangle sleeves, often with an under arm gusset. Like the previous dress style, the sleeve style has tightened over time. The skirt flares out, making full use of the width of the material. More dramatic flaring became popular as time went on.
This fashion was short-lived (though the bustle would return again in the mid-1880s), and was succeeded by a tight-fitting silhouette with fullness as low as the knees: the cuirass bodice, a form-fitting, long-waisted, boned bodice that reached below the hips, and the princess sheath dress. Sleeves were very tight fitting.
The cowled-neck "monk dress" was another religion-inspired alternative; the cowl could be pulled up to be worn over the head. For evening wear, skimpy chiffon baby-doll dresses with spaghetti-straps were popular, as well as the "cocktail dress", which was a close-fitting sheath, usually covered in lace with matching long sleeves. [57]
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The styles ranged from having huge sleeves in the 1830s, to off-the-shoulder and with wide flounces in the 1840s, to very low-necked in the 1850s, to having low necklines and short sleeves in the 1860s, to long and lean with a bustle and very short sleeves in the 1870s, to sleeveless, low-necked, and worn with opera gloves in the 1880s, to ...
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Day dresses had fitted bodices and full skirts, with jewel or low-cut necklines or Peter Pan collars. Shirtdresses, with a shirt-like bodice, were popular, as were halter-top sundresses. Skirts were narrow or very full, held out with petticoats; poodle skirts were a brief fad. Evening dresses were ankle-length (called "ballerina length").
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