History's Runway: The Duchess of Devonshire's Schiaparelli Gown, 1953

Ballgown
Elsa Schiaparelli, 1953
The Victoria & Albert Museum

Celebrated designer Elsa Schiaparelli (1890-1973) was born in Rome and, as a young woman, studied philosophy. After she married, she traveled to Boston and New York, moving to Paris in 1920.

The design which first cast the spotlight on Schiaparelli was a black sweater knitted with a trompe l'œil bow in white. The sweater was spotted by a store buyer and the orders she received put her into business. By 1928 she had launched her own boutique called Pour le Sport. An exclusive salon would open a year later where Schiaparelli garnered much acclaim and attention for her witty, smart, sophisticated, theatrical and elegant evening ensembles. Her eccentric designs earned her many loyal fans, among them, a good many popular artists. Many of these artists collaborated with Schiaparelli to create sumptuous, innovative new looks. Among these artists were Salvador Dalí, Christian Bérard and Jean Cocteau who each designed fabrics and accessories for her lines. Cubism and Surrealism influenced Schiaparelli's work considerably. She also loved to experiment with color, dying furs and textiles unusual colors. She favored shocking pink--like the gown we see here.

This dress from the Summer of 1953 was worn by the Duchess of Devonshire and now is part of the Cecil Beaton Collection at the V&A. The under dress of her trademark pink is crafted of Thai silk. It features short sleeves and a pleated off-the-shoulder neckline with a dropped waist and flared skirt with an over-lain white silk organza pattern of apple blossom embroidered in pink, green, yellow and white on velveteen appliqué. 

Unusual Artifacts: Queen Victoria’s Costume for the Stuart Ball, 1851

Queen Victoria's Costume for
the Stuart Ball, 1851
Designed by Lemi
Pearls, Silk, Gold Braid, Silver Fringe,
Irish Lace
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

For the Stuart Ball of 1851, Queen Victoria commissioned the Royal Dressmakers to create a truly breathtaking gown for her—drawing inspiration from her court of King Charles II. Though we often tend to remember Victoria as the Dowager Queen, we must remind ourselves that during her marriage, she was a vibrant and vivacious woman with a taste for fine clothes and gems.


Beaded with seed pearls, the silk gown is also adorned with gold braid, silver fringe and lace. The underskirt was a luxurious brocade created in Benares. The lace is of the finest quality—created in Ireland—in a Venetian raised-point needle style. The lace was most likely purchased at The Great Exhibition of 1850.

While the exact makers of the gown are unknown, it is known to have been designed (with much instruction from the Queen) by Eugéne Lemi—a favorite of the Queen. In this magnificent costume, she’s sure to have made the grand entrance that she’d hoped for.

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

Crown Copyright
The Royal Collection
Images Via The Royal Collection Trust
All Images Courtesy of Her Majesty Queen Elizabeth II

History’s Runway: The Anna Maria Garthwaite Gown, 1740-1780

The Garthwaite Floral Gown
Silk Brocade on Satin, 1740-1780
This and all related images:
The Victoria & Albert Museum

Designed by Anna Maria Garthwaite (born in Grantham, Lincolnshire, 1690, died in London, 1763) this elaborate gown was made in Spitalfields, London in the 1740s and altered in the 1780s.

The gown has been altered into, at least, two different styles since it was originally crafted in silk in 1744. The value of the intricately made silk fabric made reusing it worthwhile--even 40 years later. The pattern of the silk is one that, even though it was the height of fashion in 1744, was still in style in 1780. Actually, the painted design for this silk (also by Anna Maria Garthwaite) is also in the collection of the Victoria & Albert Museum--dated April 22nd 1744.

Originally, based on the predominant styles of the 1740’s, this gown was most likely a “sack back” (a style with loose box pleats at the back to allow for a full display of the silk pattern). When first worked-up, the gown would have been open in the front, with folded-back robings and rectangular cuffs at each elbow.

Upon its alteration in the 1780s, the style of back became more fitted. Sadly, the alteration to the style of that time was sloppily executed. This suggests that the gown may have been handed down to a maid who reworked it for her own purposes.

A design of large sprays of flowers fill the width of the repeat of this masterpiece of brocaded colored silks on oyster-colored satin. The sprays of flowers are embellished by patterns of upward and downward trails of bright pink berries and rose buds. Other flowers in the brocade are roses, morning glory and auricula in shades of pink, fawn, lilac, white, black, blue, yellow, red, and a variety of greens.

Anna Maria Garthwaite received at least 40 commissions for silk designs from a Spitalfields master weaver called Mr. Gregory. According to the V&A, “There were a number of members of the Weavers' Company with the name Gregory.” In light of that, we do not know his exact identity. Still, the designs Garthwaite produced for this unknown Gregory are some of her most fashionable and attractive.

Unusual Artifacts: Queen Victoria’s Costume for the Stuart Ball, 1851

Queen Victoria's Costume for
the Stuart Ball, 1851
Designed by Lemi
Pearls, Silk, Gold Braid, Silver Fringe,
Irish Lace
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty
Queen Elizabeth II

For the Stuart Ball of 1851, Queen Victoria commissioned the Royal Dressmakers to create a truly breathtaking gown for her—drawing inspiration from her court of King Charles II. Though we often tend to remember Victoria as the Dowager Queen, we must remind ourselves that during her marriage, she was a vibrant and vivacious woman with a taste for fine clothes and gems.


Beaded with seed pearls, the silk gown is also adorned with gold braid, silver fringe and lace. The underskirt was a luxurious brocade created in Benares. The lace is of the finest quality—created in Ireland—in a Venetian raised-point needle style. The lace was most likely purchased at The Great Exhibition of 1850.

While the exact makers of the gown are unknown, it is known to have been designed (with much instruction from the Queen) by Eugéne Lemi—a favorite of the Queen. In this magnificent costume, she’s sure to have made the grand entrance that she’d hoped for.

History's Runway: A Ball Gown from the House of Worth, 1900

Ball Gown
House of Worth
Paris, 1900
This and all related images from
The Cecil Beaton Collection at
The Victoria & Albert Museum

We have looked at several gowns by Charles Frederick Worth (1825-1895), the famed Parisian couturier whose “House of Worth” was the standard of elegant fashion. Worth was born in Bourne, Lincolnshire, and by the age of 12 was apprenticed to a draper's shop in London. At 20, he moved to Paris, working his way up the fashion ladder, finally opening his own house in 1858.

Worth caught the attention of the Empress Eugenie. This association was the key to his monumental success. What the empress wore, the ladies of the court wanted. Very quickly, Worth’s gown became symbols of social and financial greatness. His gowns defined how a wealthy lady of the early Twentieth Century should look.

This particular gown was worn by Princess Nicholas of Greece whose grandson, the Duke of Kent, donated the gown to his friend Sir Cecil Beaton, the society photographer and fashion buff, who was, in 1971, collecting fashionable dresses for his exhibition, “Fashion: An Anthology” at the V&A. 

Sadly, the some of the delicate trimmings of the gown have been lost to time. However, the rest of the gown has been painstakingly restored based on photographs from 1900 when it was made. The draped bodice is constructed of silk velvet and trimmed with diamanté and lace at the centre back. The inner foundation of the bodice has ten bones, and the bodice fastens at the left side with hooks and eyes. The skirt is also trimmed with diamante and flares from the panels that form the train.

History's Runway: The Duchess of Devonshire's Schiaparelli Gown, 1953

Ballgown
Elsa Schiaparelli, 1953
The Victoria & Albert Museum

Celebrated designer Elsa Schiaparelli (1890-1973) was born in Rome and, as a young woman, studied philosophy. After she married, she traveled to Boston and New York, moving to Paris in 1920.

The design which first cast the spotlight on Schiaparelli was a black sweater knitted with a trompe l'œil bow in white. The sweater was spotted by a store buyer and the orders she received put her into business. By 1928 she had launched her own boutique called Pour le Sport. An exclusive salon would open a year later where Schiaparelli garnered much acclaim and attention for her witty, smart, sophisticated, theatrical and elegant evening ensembles. Her eccentric designs earned her many loyal fans, among them, a good many popular artists. Many of these artists collaborated with Schiaparelli to create sumptuous, innovative new looks. Among these artists were Salvador Dalí, Christian Bérard and Jean Cocteau who each designed fabrics and accessories for her lines. Cubism and Surrealism influenced Schiaparelli's work considerably. She also loved to experiment with color, dying furs and textiles unusual colors. She favored shocking pink--like the gown we see here.

This dress from the Summer of 1953 was worn by the Duchess of Devonshire and now is part of the Cecil Beaton Collection at the V&A. The under dress of her trademark pink is crafted of Thai silk. It features short sleeves and a pleated off-the-shoulder neckline with a dropped waist and flared skirt with an over-lain white silk organza pattern of apple blossom embroidered in pink, green, yellow and white on velveteen appliqué. 

History’s Runway: A Stiebel Gown, c. 1955

Ball Gown
Victor Steibel,, 1955
This and all related images from:
The VIctoria & Albert Museum

The London Social calendar dictated fashions for each year, and, new collections from the best designers were released in fashion magazines in conjunction with important events. A gown like this one would have been debuted in the Springtime. It’s the work of Victor Steibel (1907-1976) who was known for his designs which looked to reinvent styles of historical dress.

This strapless evening gown of striped turquoise and white silk taffeta is overlaid with a drape of lovely matching wild silk organza over the bones bodice and skirt. The organza is gathered at the back of the gown in an imitation of a bustle.

Lady Diana Herbert wore this gown for a ball at Wilton House in 1955.

History’s Runway: The May Littledale Ball Gown, c. 1885

Ball Gown
England, 1885
The Victoria & Albert Museum

When May Primrose married Henry Littledale in 1885, the world proved bright and promising for the attractive and fashionable young couple. However, their happiness was not to be long-lived. May was killed in a terrible riding accident in early 1886.

Still, in the few months that the couple was married, they wowed London Society with their handsome wardrobes. May Littledale was especially praised for her fine taste in clothing and this gorgeous gown is testament to her fashion choices.

This gown features a heavily boned(whale bone) bodice which is laced on the reverse like a corset. The silhouette en vogue at the time emphasizes a tiny waist and bustled rear. Bodices of the era tended to be cut high on the hips to accommodate heavily-pleated skirts like this one of moiré silk. The silk is draped across the front and gathered at the sides, complemented by a huge bow.

History's Runway: A Ball Gown from 1820

Ball Gown
England, 1820
This and all related images from:
The Victoria & Albert Museum

Can you picture a lovely woman wearing this gown as she made her entrance to a lavish ball in 1820? During the Regency Era, women’s fashions were meant to create an illusion of the ethereal. Lavish gowns such as this one were adorned with gold thread, shimmering beads and spangles atop gauzy materials. The overall effect, in the candlelight of a ballroom must have been effectively dreamy.


This gown is an excellent representation of the fashions of London in 1820. The short-sleeved ball gown features an under-dress of silk satin and an over-dress of silk net which has been embroidered with metallic thread and trimmed with blonde bobbin lace.

Typical of the period, the gown boasts a low oval neckline and slightly puffed sleeve-caps. The waist is higher than earlier examples and wedge-shaped panels gather at the waist. 

History's Runway: 'Bosphore' (Bosphorus); La Ligne Aimant

Blue Velvet Embroidered Gown with Pearls
Christian Dior, 1956
The Cecil Beaton Collection
This and all related images from the
Victoria & Albert Museum

This short and strapless, midnight-blue velvet dress was designed in Paris in 1956 by Christian Dior (1905-57) and features delicate embroidery by Rébé, which includes velvet birds’ nests with clusters of pearl “eggs.:

The cut of the dress is simple and elegant, designed to showcase the gown’s opulent surface detail—divine embellishment  which would have required meticulous patience for, as Dior explained, “a ball dress may be entirely covered with millions of paillettes, or pearls, each one of which has to be put on separately.”

The dress cleverly has two attached petticoats, one of black net and one of navy blue silk to add delicate volume without being too puffy.  Originally, the dress was designed to be worn with a plain velvet bolero.  The jacket did exist, but was not part of the bequest to the V&A when the gown was given by Mrs. Stavros Niarchos III (1926-70) to Cecil Beaton who was orchestrating a couture collection for the museum.

Mrs. Niarchos was the ideal couture client - beautiful, stylish and exceedingly rich. Beaton had once written that “Mme Stavros Niarchos was about the only person who could afford to order one of the incredibly beaded dresses that Dior has designed.” 

According to the V&A,  “Beaton did indeed manage to persuade her to donate her Dior dress, which thankfully she had 'never had the heart to throw away', although she added, 'but I'm afraid they ain't too fresh-looking'.”

History's Runway: Christmas and New Year's Party Fashion Plate, 1875

Fashion Plate
The Young Ladies' Journal, 1875
Drawn in France
The Victoria & Albert Museum

Fashion plates such as this one often formed the centerpiece of publications for women—rather, they still do.  This landscape format plate from 1875 is set in a ballroom draped with garlands, and depicts twelve women and 8 small children.  Nine of the women are in party dresses with one small boy in a brown suit.

Two women in the background wear the long-sleeved day dresses which were fashionable at the time, and a third woman wears a formal reception gown with elbow-length sleeves. The others, in their party dresses, show the elaborately bustled and embellished evening gowns with low necklines and short sleeves that dominated the fashions of the 1870s.

One female child in the centre foreground holds a fashionably dressed doll, and another to the far left holds a doll dressed as a Polichinelle (the French version of Mr. Punch).

While the artwork was created in Paris, the piece was published in London, in December 1875, in “The Young Ladies' Journal.”  A descriptive line states:  “Christmas and New Year's Party Fashion Plate December 1875. The Young Ladies' Journal.”

History's Runway: Eliza's Gown from "My Fair Lady," 1958

Eliza's Ball Gown
Cecil Beaton, 1958
Worn by Julie Andrews
The Victoria & Albert Museum

Cecil Beaton—the famed photographer was also a celebrated costume designer, as we know, and devoted much of his time to collecting the fashion of the world for posteriry.  His famous designs for My Fair Lady added immeasurably to the success of Lerner and Lowe's musical both in New York and London.

Based on Pygmalion, the musical—directed by Moss Hart—was set in 1914.  Beaton recalled the fashion of his childhood and found a way to incorporate fashions remembered from relatives, family friends and the picture postcard beauties that he avidly collected.

With this said, however, the dress he designed for “Eliza Doolittle” to wear to the Embassy ball is timeless—owing as much to the coming 1960s as it did to 1914.  

This gown was first worn by Julie Andrews at Drury Lane in 1958. The ball dress is in created of  ivory satin overlaid with fine chiffon with a low straight-cut, boned, fitted bodice with narrow diamante shoulder straps (now missing) and a fitted midriff simulating a deep belt.  Beaton cleverly designed the narrow fitted skirt to cut away at the front to reveal an under-panel. At the top edge of the bodice is a line of shimmering crystal beads as the whole of the bodice is embroidered in silver thread with a pattern of stylized flower sprays in diamante, rhinestones, pearls and crystal beads with a central paste “ruby.”  

The gown still features the original label reading: “Miss Julie Andrews.”

History's Runway: A Ball Gown, 1820

Ball Gown
Silk Satin and Silk Net with Spangles and Bobbin Lace
c. 1820, Britain
This and all related images from:
The Victoria & Albert Museum

This attractive and alarmingly small ball gown dates to 1820 and was made by an now unknown British sewer.  Most women of a certain class had at least one special ball gown.  They saved their most elaborate dresses for special occasions such as balls.  In the 1820s, these lavish gowns were embellished with gold thread or sparkling beads which glittered in the dim candlelight of the ballroom.  At this time, thin, gauzy materials were in fashion since they created a soft dreamy look, which was very feminine and ethereal.  On a more practical note, these light materials also kept the wearer from getting too hot while dancing in these, no doubt, stuffy, overcrowded spaces.  After all, no one likes a sweaty lady at a ball.

This short-sleeved ball gown is comprised of an under-dress of silk satin and an overdress of machine-made silk net which has been embroidered with metal and trimmed with blonde bobbin lace.  As was the style of the time (something I seem to be typing a lot today), the dress has a low oval neckline, puffed short sleeves, a wedge shaped front bodice panel and a medium high waist. The lining of the gown is padded at the hem with a frill of blond stitching. It fastens with a tape at the neck and hooks at the reverse.