History's Runway: A Pair of Ladies Boots, c. 1865

Boots
French, 1865
The Victoria & Albert Museum

These red boots, laced at the back, are made of ribbed silk. They were designed to come up just above the ankle and are set with the then-fashionable “military” style heel. The heel has been covered in silk to match the uppers. They have are trimmed at the top with bobbin lace and ribbons.

London Society ladies of the 1860s and 1870s had a passion for these high-heeled French boots which were important from Parisian show-makers or often copied by English cobblers. According to the V&A, “The French influence was due to the stylish Empress Eugenie who had married the French emperor, Napoleon III, in 1853. She was probably responsible for the introduction of the shorter skirt which led to a greater emphasis on stockings and shoes.” Such boots tended to be rather gaudy by Nineteenth Century standards and were made in a variety of bold, bright colors thanks to the chemical aniline dyes which were introduced in the 1860s. 

History's Runway: The Cooke Silk Gown, 1770-1779

Sack-Back Gown
England, 1770-1779
This and all related images from:
The Victoria & Albert Museum

This green and white satin sack-back gown demonstrates the fashion of 1770-1779 which relied on grounds of subtle colors as a means of showcasing expensive trimmings. Let’s look at the stripes of this gown. While rendered in muted colors, they’re actually quite complex in their creation with darker stripes of olive and brown giving depth to the wider, lighter pattern.

The bodice and sleeves are adorned with some exceptional floral passementerie. Rosettes have been added to the fly fringe (braid). These buds are made of coils of floss silk in shades of white, pink, scarlet, and maroon. The flowers are wired so that they can stand out from the gown. Meanwhile, the fringe is composed of knots of white and light green silk over a cover of deep emerald—creating an overall effect of a vine and stems from which the flowers have sprouted.

Further adornment comes in the form of embroidery of individual sprays of pansies, morning glories, auriculas, carnations, bluebells and roses. The embroidery has been created in chenille thread in order to echo the texture of the floral fly fringe. The stomacher (in this case the fabric front panel between the waist and bosom) is trimmed with a bow and a braid as well as hand-worked eyelets. While the gown was made in Britain between 1770 and 1779, the garment is marked with a tag which reads “Cooke 1786.” 

History's Runway: The Cooke Silk Gown, 1770-1779

Sack-Back Gown
England, 1770-1779
This and all related images from:
The Victoria & Albert Museum

This green and white satin sack-back gown demonstrates the fashion of 1770-1779 which relied on grounds of subtle colors as a means of showcasing expensive trimmings. Let’s look at the stripes of this gown. While rendered in muted colors, they’re actually quite complex in their creation with darker stripes of olive and brown giving depth to the wider, lighter pattern.

The bodice and sleeves are adorned with some exceptional floral passementerie. Rosettes have been added to the fly fringe (braid). These buds are made of coils of floss silk in shades of white, pink, scarlet, and maroon. The flowers are wired so that they can stand out from the gown. Meanwhile, the fringe is composed of knots of white and light green silk over a cover of deep emerald—creating an overall effect of a vine and stems from which the flowers have sprouted.

Further adornment comes in the form of embroidery of individual sprays of pansies, morning glories, auriculas, carnations, bluebells and roses. The embroidery has been created in chenille thread in order to echo the texture of the floral fly fringe. The stomacher (in this case the fabric front panel between the waist and bosom) is trimmed with a bow and a braid as well as hand-worked eyelets. While the gown was made in Britain between 1770 and 1779, the garment is marked with a tag which reads “Cooke 1786.” 

Object of the Day, Caption Contest: A Trade Card for Partridge & Richardson's Beehive Stores

Usually, when I have a caption contest for one of my Victorian trade cards, I present you with one that is not printed with any information specific to a business. However, this one is a little different. In fact, it’s different from anything I’ve ever seen on another trade card.

The card advertises for:

PARTRIDGE & RICHARDSON’S 

BEE HIVE STORES 

DRESS TRIMMINGS,

17, 19 & 21 North 8th St., Phila. 

Well, that’s innocent enough. Right?

But, then…look at it.

Look! 

Click on image to enlarge.

Why on Earth would anyone pick this as the image for their company? It’s a boy and a dog—both with severe conjunctivitis, peering out of a window. What’s happening here? What does this have to do with dress trimmings? What was the owner of the company thinking?

You tell me by, as usual, posting in the comments.

History's Runway: The Cooke Silk Gown, 1770-1779

Sack-Back Gown
England, 1770-1779
This and all related images from:
The Victoria & Albert Museum

This green and white satin sack-back gown demonstrates the fashion of 1770-1779 which relied on grounds of subtle colors as a means of showcasing expensive trimmings. Let’s look at the stripes of this gown. While rendered in muted colors, they’re actually quite complex in their creation with darker stripes of olive and brown giving depth to the wider, lighter pattern.

The bodice and sleeves are adorned with some exceptional floral passementerie. Rosettes have been added to the fly fringe (braid). These buds are made of coils of floss silk in shades of white, pink, scarlet, and maroon. The flowers are wired so that they can stand out from the gown. Meanwhile, the fringe is composed of knots of white and light green silk over a cover of deep emerald—creating an overall effect of a vine and stems from which the flowers have sprouted.

Further adornment comes in the form of embroidery of individual sprays of pansies, morning glories, auriculas, carnations, bluebells and roses. The embroidery has been created in chenille thread in order to echo the texture of the floral fly fringe. The stomacher (in this case the fabric front panel between the waist and bosom) is trimmed with a bow and a braid as well as hand-worked eyelets. While the gown was made in Britain between 1770 and 1779, the garment is marked with a tag which reads “Cooke 1786.” 

History's Runway: A Pair of Ladies Boots, c. 1865

Boots
French, 1865
The Victoria & Albert Museum

These red boots, laced at the back, are made of ribbed silk. They were designed to come up just above the ankle and are set with the then-fashionable “military” style heel. The heel has been covered in silk to match the uppers. They have are trimmed at the top with bobbin lace and ribbons.

London Society ladies of the 1860s and 1870s had a passion for these high-heeled French boots which were important from Parisian show-makers or often copied by English cobblers. According to the V&A, “The French influence was due to the stylish Empress Eugenie who had married the French emperor, Napoleon III, in 1853. She was probably responsible for the introduction of the shorter skirt which led to a greater emphasis on stockings and shoes.” Such boots tended to be rather gaudy by Nineteenth Century standards and were made in a variety of bold, bright colors thanks to the chemical aniline dyes which were introduced in the 1860s.