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telekinetictrait · 8 months

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"Shielded by my own obscurity, and by the lapse of years, and a few fictitious names, I do not fear to venture; and will candidly lay before the public what I would not disclose to the most intimate friend." (Agnes Grey, A Novel – Anne Brontë, 1847)

anne brontë likers we need to unionize.

ah, the 1840s! the brontë sisters, edgar allen poe, charles dickens... and what i can only imagine is an incredibly confusing amount of petticoats. the torso becomes thinner and longer, with the characteristic "point" ending of the bodice. skirts continue to grow, and grow, and grow... you get the point. sleeves fluctuate through this era, but are more often than not kept close to the arms – a major difference from the 1830s. the stereotypical victorian conservatism can be seen in daydresses of this era. speaking of daydresses, it became easier for women of the (gasp) lower class to mimic the styles of upper class women, as fashion moved from trims to the fabric and cuts themselves. its much easier for your average woman to obtain fabric than to obtain jewels, for example. going forward, expect a mix of upper and lower (more accurately, the slowly forming middle) class fashions!

also, i have been flying through these. i have no idea how long this amount of energy and hyperfocus is going to last. also also, to every cc creator that is getting tagged over and over: i'm sorry. it is a cc desert out here and you are oases. also also also: i reused a dress once. i could have sworn i downloaded ten but apparently i only downloaded nine ??

1800-1809 / 1810-1819 / 1820-1829 / 1830-1839

cc links under the cut

see my resources page

ealasaid : buzzardly28's 1840s hairs / bedisfull's pearl and frill headband / kiarazurk's fairytale dress / ikari-sims' princess gloves

echo : buzzardly28's 1840s hairs / jarisimcc's necklace / vintagesimstress' 1841 ball gown / dzifasims' jane gloves

edelmira : buzzardly28's 1840s hairs / simstomaggie's losse bonnet / elfdor's victorian dress #1

eidel : buzzardly28's 1840s cecilia hair / linzlu's colonial cap / acanthus-sims' tied fichu / vintagesimstress' 1843 day dress

elektra : wastelandwhisperer's chamomile hair / linzlu's fancy bonnet / simverses' norse visby fur cape / sunlittides' 1840s day dress

endzela : turquoiseesims' aster hair (download here) / huiernxoxo's mulani gem earrings / simsonico's shining nikki shy lady necklace conversion / buzzardly28's june dress / dzifasims' jane gloves

ernestine : linzlu's sallie hair / lace-and-honey's linzlu prarie bonnet conversion / vintagesimstress' 1843 day dress

estrella : tekri's lucrezia bun / glitterberrysims' victorian era / oydis' esther dress / dzifasims' jane gloves

euphrasie : pandorasimbox's victorian modest daycap / vintagesimstress' 1848 velvet dress

evita : feralpoodles' victoria hair / toksiks' silence choker / acanthus-sims' rose brooch / buzzardly28's summer ball gown

thank you to @buzzardly28 @bedisfull @ikari-sims @jarisimcc @vintagesimstress @dzifasims @simstomaggie @elfdor @linzlu @wastelandwhisperer @simverses @sunlittides @huiernxoxo @simsonico @lace-and-honey @tekri @glitterberrysims @oydis @pandorasimbox and @feralpoodles

#my sims #sims 4 lookbook #the sims 4 lookbook #ts4 lookbook #ts4 historical lookbook #ts4 victorian lookbook #223 years #1840s #victorian #historical

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jewellery-box · 7 months

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Day dress worn by Elizabeth Marsden

Powerhouse Collection

This day gown is one of a number of costumes in the Museum's collection that were worn by members of the Marsden family. It is likely that the dress was worn by Elizabeth Marsden, the wife of Reverend Samuel Marsden who was a prominent figure in colonial New South Wales. On 1 January 1793 Marsden accepted the appointment as assistant to the chaplain of New South Wales, and was ordained deacon on 17 March at Bristol and priest in May of the same year. Marsden married Elizabeth Fristan on 21 April 1793 and the newly married couple, expecting their first child, left London on 1 July 1793 on the ship 'William'. They arrived in Port Jackson in March 1794 with their daughter Ann, who was born during the eight month journey. As the chaplain to New South Wales, Marsden endeavoured, with some success, to improve the standard of morals and manners. Samuel soon became a leading figure in colonial life, combining, sometimes controversially, his job as the colony's clergyman with that of magistrate, missionary, wealthy landowner and farmer.

Life in the new colony proved extremely isolating. In 1796 Elizabeth Marsden wrote: 'We seem in our present situation to be almost totally cut off from all connexion with the world especially the virtuous part of it. Old England is no more than like a pleasing dream' (Marsden 1796). However, right from the beginning, the colonists of the remote penal settlement that became Sydney wanted to maintain a fashionable appearance. For Sydney's elite, fashionable dress confirmed their status in the colony, clearly defining not just wealth but also their moral superiority. It was to Britain and France that they looked for news of the latest fashions and hand coloured fashion plates inserted in monthly periodicals provided them with details of the latest silhouettes, hairstyles and accessories. More immediate news was obtained by examining the dress of women of the latest shipboard arrivals from England. The colonial elite, including the family of Samuel Marsden, eagerly awaited the irregular shipments of goods from Europe, India and China. At first the lack of local stores, dressmakers, tailors and supplies meant they frequently relied on friends and family 'at home' to purchase and ship the latest styles. In 1799 Elizabeth Marsden wrote to Mary Stokes, a friend in England: 'We are surprised to see the alteration in the fashion. The Bonnet with white satin ribbons is much admired. Dear Madam your goodness induces me to take the liberty to say a little white ribbon would be acceptable' (Marsden 1799). By the 1820s commerce was thriving and a wide range of dressmaking and tailoring skills were locally available, however many still preferred the prestige of a European import.

It is likely that this dress was worn by Elizabeth Marsden in about 1835 when she was nearly 60. Elizabeth died the same year and the dress may have been kept by her children or husband as a momento. The dress shows some of the stylistic irregularities often encountered in colonial dress. The front-opening bodice of the dress is unusual for this time, which may suggest that it was remade from an earlier gown. Another possibility is that the front opening made it easier for Elizabeth to dress, as she had suffered a stroke in 1811 whilst giving birth to her daughter Martha on 6th May 1811, leaving one arm paralysed. The other alternative is that the dress belonged to Ann and was a nursing dress which opened at the front to allow for breastfeeding.

Distinctive of the fashion during the 1830s are the bishop sleeves with flat mancherons off the shoulders, together with the pleated skirt. The dress is well made and finished which, along with the quality of the fabric, indicates the use of a professional dressmaker. However Ann Marsden was known to have been a skilled seamstress and may have made the dress. As with other costumes worn by the Marsden family, this dress appears restrained in style but of good quality fabric and finish, reflecting the Marsden family's social position and comfortable economic circumstances.

The Marsden costume collection was transferred from the Royal Australian Historical Society to the Museum in 1981. This well-provenanced collection includes some of the earliest surviving examples of colonial dress worn and made in Australia, and gives insight into the life of the Marsden family.

Michelle Brown, 2007

#victorian #victorian era #victorian fashion #19th century #fashion history #historical fashion

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historical-closet-raider · 8 months

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Happy Floral Friday🌹

This ca.1830 nursing day dress is from the V&A collection.

I'm super into anything that looks like Grandma's curtains at the moment.

Anyway...

Here's the Physical description from the V&A website:

"Day dress hand-made from block-printed cotton and lined with cotton. Cut and constructed for nursing.

The dress has a shallow wide neckline and long sleeves which are full at the sleevehead and tapers towards the wrist. The sleeve ends are finished with self-cuffs which are cut to wrap over and form a diagonal line, which is trimmed along the outside edge with six tiny gilt-metal, non-functional buttons. The cuffs fasten with hooks and eyes. The front panels of the bodice are decorated over the breasts with a pair of horizontal self-pleats which meet in a V-shape at the centre front. The dress has a slightly raised waist and a full bell-shaped skirt which is gathered into the waist. The hem of the skirt is trimmed with a deep self-flounce. The bodice has a loose panel which could be unfastened at the waist and lifted for nursing. The design of the print sets boldly drawn flower stems, which include marigolds, heather and valerian rendered in pink, yellow, green and indigo, on a vivid madder ground. The fabric was probably printed with indigo and madder by the 'Turkey red' resist process and overprinted with yellow to form orange and green."

#fashion history #1830s #romantic era fashion #floral dress #19th century fashion

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resplendentoutfit · 22 days

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Fashions of the Early 1830s: Large Hats and Leg-o-Mutton Sleeves

I was obsessed with Victorian era fashion for way too long! Let's jump back a few years and take a look at what royals and high-society women were wearing from 1830 to about 1836.

Vincente López Portaña (Spanish, 1772–1850) • Maria Cristina de Bourbon, Queen of Spain (fourth wife of Fernando VII) • 1830 • Museo Nacional del Prado, Madrid

The style of the blue gown above is in keeping with Romantic era fashion, with its elbow-length puff sleeves with lace trim and pleated bodice. For formal attire, long gloves were worn.

The Maria Cristina de Bourbon portrait is of a royal subject, therefore the jewel-studded headpiece is especially grand, as is the bodice ornament and earrings. The feather was characteristic of the times – very large hats with feathers were in vogue, as well as large bonnets. The Spanish queen is wearing a lace mantila with her headpiece, which I assume is a symbol of her Spanish heritage.

The fabric of the queen's dress is extraordinarily elaborate, with all-over silver thread embroidery. The bodice on this and many early to mid 1830s dresses was called a bodice à la Sevigne, which was made up of a central boned band divided into horizontal folds of fabric.

Belts and wide ribbons around the waist were often featured on dresses of the early to mid 1830s.

The fashion from circa 1830 to 1835 was one of over-porportioned extravagance. Sleeves larger than were ever seen or since been, width at the shoulders, and dramatic hats and headpieces.

Hair too was over-the-top. Notice the perponderance of elaborate braids, coils, and curls in these images.

1830-34 • British • Printed Cotton Day Dress • Victoria and Albert Museum

One such dramatic feature of 1830s fashion was the pelerine, a lace covering that was worn over the shoulders. The cut of the neckline was already exagerated to emphasize width at the shoulders; adding a pelerine only added to that width as well further acting as more ornamentation to the outfit.

François-Joseph Navez (Belgian, 1787-1869) • Théodore Joseph Jonet and his two daughters • 1832 • Private collection

Sleeve style quickly evolved from simply puffy to Gigot or leg-o-mutton sleeves – a huge, billowy sheer sleeve over a smaller one, continuing with a tight-fitting long sleeve.

This flamboyance in sleeves was to suddenly come to an end around 1836. More about that in a future post, as I continue to flit willy-nilly along the fashion timeline!

References:

• Fashion History Timeline: 1830-1839

• Wikipedia: 1830s in Western Fashion

• Wikipedia: Pelerene

• Mimi Mathews: The 1830s in Fashionable Gowns: A Visual Guide to the Decade

#art #portrait #painting #fashion history #royal portraits #fine art #art history #romanticism and fashion #1830s fashion #historical fashion #art & fashion #family group #the resplendent outfit blog #art & fashion blog

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prettyiwa · 1 month

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Prince!Miyuki Kazuya x Knight!F!Reader Summary: An invitation to a royal wedding in the south demands your presence alongside your prince. Before the trek, Prince Kazuya thought of you as a friend and a knight and little else—you were his dedicated Foxglove Knight. A conversation earlier in the week centered around the concept of love, a concept which Kazuya has not been able to stop thinking of, it seems. Words: 1830 a/n: @owoasis has been talking to me about BLL again and I miss it dearly. Here's a scene I wrote like, a year back.

You’ve been taking too long—much longer than Kazuya would have anticipated. On occasion, you’ve taken longer to prepare yourself, but you’ve never made him wait more than a few minutes. It’s erring on rude. If you don’t hurry, you’ll both be late to the feast.

Is it like this for Omae? Outside of Nao’s soon-to-be wife, you and Princess Omae are some of the only women in formal attendance. He’s seen your taste in garments for formal events, and he can’t imagine what would make tonight different. Watching as not one but two different attendants leave your quarters worries him.

Perhaps you’ve fallen ill? Everyone’s feeling the exhaustion from the games, so perhaps the end of the hunt meant the end of your strength. Perhaps you’re more human than you care to admit, and perhaps you need a rest, too.

The door slides open and he’s prepared a remark for you and—

Oh.

The air rushes out of his lungs and there’s an unfamiliar itch in his palms, a tingle he doesn’t know how to control. His face is noticeably warmer and he definitely feels hot where the collar of his coat sits on his neck.

He wants—

That he wants anything astounds him, but here he is, wanting.

It makes sense why you needed the additional time and why you needed the assistance of attendants, why you didn’t come to him for help.

He cannot imagine a scenario wherein you would have asked the royal seamstresses to craft you such an elegant gown, one that doesn’t allow for protective layers whatsoever. If anything, this seems an elaborate set up by Isashiki and a private commission to manufacture a romantic scenario to rival those he reads. The bodice clings to you, velvet highlighting your natural figure to the sash tied around your waist. And you, in his royal blue.

You look otherworldly, a lady fit for court rather than plate armor. It’s difficult to believe only hours ago, you were by his side, covered in mud with that look in your eye as the boar charged you both. And yet…

Shuffling uncomfortably, you rub your hands together before intertwining your fingers in a rare display of—well, he doesn’t know what to call it. He’s never seen you so… out of your element. But, for being out of your element, you look incredible.

“My prince. Surely there isn’t time for you to gawk at me. I believe we’re close to impropriety with our tardiness.”

“Gawk— I’m not—gawk?!”

“Come now.” Your smile is sheepish as you say it, eyes briefly meeting his before looking away.

It’s unusual to hear such a command from you in such a state, voice wrapping around the words with an eagerness for the night to be done. He’s suddenly wishing the night would continue. Will you wear something similar for the wedding tomorrow?

“I believe I should be escorting you tonight, not the other way around,” he says, half in jest, half with the desire to reach out and touch. His smile grows as he extends his arm, watching as you look at it before resigning yourself to his offer.

If only for tonight, you look uncomfortable with his attention.

You fit into his side easily, if not entirely too stiff. Tonight is unfamiliar for you, enough that it has him biting his tongue, stopping most jokes as they come to mind, wishing instead to distract you and set you at ease.

“Have you seen how garish Mei’s regalia is? It seems he’s forgotten that he’s a guest tonight,” Kazuya starts, leading you towards the Lodge, remembering the white fabric with red and gold accents. Startling attire in most formal settings, much less a regal wedding in the middle of wetlands. You smile and breathe out a laugh, but it’s not quite there yet. “If that’s what he wears to the wedding of a friend, I’m curious as to what he would wear at his own wedding.”

“It’s quite the shame that you would never find out.”

“That it is. Not unless relations between our nations evolved that I would be safe attending, but I doubt that we’ll see such an outcome in my lifetime.”

“I made mention of this to Archduke Hongou—”

“When did you speak to the archduke?” Mention of the leader in the northern islands sets him on edge, though he cannot place why.

“My prince, you watched—”

“Watched?” Beside him, you laugh at his incredulous tone. “What, pray tell, did I watch? I cannot recall such a time you spoke to him. You don’t mean during the duels?”

Relaxed, you feel loose by his side. Pliable, he would venture, though he cannot know for certain. This exchange, this needling, remains much more comfortable for you than the rest of what this night holds.

You aren’t given a chance to answer, not when reaching the Great Lodge, not when everyone turns to see the last to arrive, eyes lingering. Lingering on you or him, he doesn’t know, nor does he know whether they linger because of the attire or the timing. Their attention undoes what he’s spent the last couple minutes doing in a matter of seconds, but he won’t give you time to dwell on that.

Conversations start again, though a few pairs of eyes follow you, it seems. He guides you to the seats, the table next to the first, a sign of the effort he put forth in procuring tonight’s second dish. It’s charming, in an inelegant sort of way, the way you pause as he pulls out your chair, the way you look at him with novel apprehension. But you take your seat beside him, shifting closer once he sits beside you.

This is the comfort of familiarity, nothing more.

You’ve had no more to drink than the first, inescapable for it is a custom of this land’s weddings, but it’s given you enough liquid courage that you’re comfortable moving without him as you are in full gear. The feasting is done and the gifts have been brought out—at least, those consisting of alcohol.

Mei, Shunshin, and Amahisa are speaking around him, but for the life of him, he cannot repeat a word they’ve said in the last five minutes. He can, however, name those who still watch you, now with hungry eyes where there was once only polite interest.

Perhaps not. Perhaps the only hunger is his.

Why does he hunger? It cannot be more than a side effect of visiting these lands. It used to be like this in the past, too, but—

“I told you, he’s not listening.”

“You clearly know him better than I, Narumiya,” Amahisa says, voice pleading. “Do you believe he would mind?”

“Mind?”

“If I asked his companion—”

“His knight?” Mei laughs, uninhibited and not because of the alcohol. “What was her title? ‘Foxglove?’”

It’s the mention of your knightly title that earns Kazuya’s attention, forcing his attention away from you for but a moment. “What about my Foxglove Knight?”

Mei smiles with a single brow raised, smug and triumphant, his expression unchanging as he returns his gaze to Amahisa. “Kazuya doesn’t have a say in this. If you wish to dance with her, you must ask her. He cannot determine autonomy for her.”

“I’m aware of that, but I don’t wish to step on any toes—”

“You won’t be,” Kazuya says, standing with surprising fluidity given how the room spins as he does. Even as he speaks, he cannot look away from you, cannot miss the smile you give Harada or the way you turn to look at the archduke. All he knows is that he cannot bear another moment with this ugly twisting, clawing heat, eager to burst from behind his rib cage.

Amahisa’s words fade away, as does Mei’s sharp laugh, and the archduke is the first to take notice of Kazuya’s approach, excusing himself and returning to Renji’s side. Harada looks between you and Kazuya, eyes catching on something over Kazuya’s shoulders before sighing, deep and exasperated, as he does when following Mei.

“If you’ll excuse me.”

You’re the last one to notice, eyes following the hulking form of what should be your rival. When you take notice of Kazuya, you do so without a single drop of admonishment. No hint of self-rebuke for not noticing sooner. No change in expression, either. Except—

Ah.

You smile.

You smile and the musicians change the tempo and the song is much more… subtle. Encouraging, whereas the last was overtly jovial.

“My prince?”

“You seem to be enjoying yourself.”

“Well, yes. Sir Harada promised to share with me the secret to his flaming sword.”

“Did he now?”

“He did. The archduke was quite curious, too, and Sir Harada seemed to have no qualms about sharing the information.”

“You don’t say.”

Your smile falters, dropping almost imperceptibly.

“Is there something you wish from me?” you ask, stepping closer, brows stitching together only slightly, concern starting to interrupt your pleasance.

“Dance with me.”

His request startles you as much as it does him. “My… my prince?”

He doesn’t even like dancing. Why did he say that? More pressing, why does he feel this way?

“I asked you to dance with me.”

Why does he want to dance at all?

“You most certainly did not ask.”

No, that’s not right. He doesn’t want to dance.

“I did.”

Not by himself, anyway. And not, it would seem, with anyone else.

“My prince,” you breathe with a grin. Comfortable, familiar. “That was a command. You’re attempting to command me to dance with you.”

But he wishes to dance with you.

“I did not mean it as such.”

At least once tonight.

“You may not mean it as such, but you tried nonetheless.”

Please.

“Then how’s this,” he starts, taking your hand in his before he bows, a proper request. “Will you dance with me, my lady?”

“Lady? That’s a bit strong.” You look away from him, unable to keep his gaze, though he looks not away. Despite this, you do not remove your hand from his.

“Is it?”

“Since when have I been a ‘lady?’” When you face him again, your smile drops. He remembers the comments the others made throughout the week, questioning your lack of nobility and wondering aloud how you obtained your appointment as his personal guard.

“Since tonight. Tonight, you are not my knight. You are my companion. My lady.” His words don’t change much for you—they never have—but you’re so dangerously close to giving him what he desires. “Please dance with me.”

“My prince…” You pull at his hand, bidding him to stand and face you properly.

“I wish to dance with you, Foxglove.”

He doesn’t need to hear it, but his heart nearly stops when you adjust your hand in his, stepping closer so he may hold you for a waltz. Your smile reflects none of the uncertainties you felt a moment before, achingly soft and just for him.

“As you wish.”

Daiya no Ace Masterlist

#✒.ix writes #daiya.✒#daiya no ace x reader #miyuki kazuya x reader #miyuki x reader #ace of diamond x reader #✒.bll #daiya no ace fluff #miyuki kazuya fluff #rereading all my notes to see if i can't find the groove for this story again

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fauvester · 1 year

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1830s ferengi are my new artblock unstopper. as IF the ladies would let ferengi males take over the trade of millinery and fashionable accessories!

I like to believe that lady ferengis comprise a class of competent and sometimes ruthless merchants and milliners, as well as very discerning consumers of finished products. fashionable suppliers in all quadrants brag about the quantity and loyalty of their ferengi customers (since they'll ruthlessly drop anyone they think is offering subpar goods.) ferengi fashion isn't particularly popular outside ferengar, but if you need any kind of trim, fabric or tchotchke, it's best to get a ferengi female's advice. They know all the best deals, but they may charge a finder's fee.

as for tailors? oh, the best come from cardassia. if you only know the planet for its monocultural militarism and you're surprised to hear it, you clearly haven't seen a gul in full uniform! their structured bodices (don't call them that to their faces - they're breastplates) are architectural masterpieces. If a ferengi brings out your best qualities, a cardassian will invent ones that don't exist - boning, interfacing, padding, buckram, lacing, until you're the perfect inverted starfleet insignia shaped model of a modern lizard general, complete with a coquettish flash of neck. They generally work via flat-patterning, lots heavy duty construction and mathematics. of course your cardassian tailor will do their best to drape your bias cut slip, but they may call a hit on you after wrestling with your risian silk charmeuse...

#ds9 #ferengi #JUST speculative....#the CW jumpin out #i had so much fun w the first plate i wanted to do another...#but also. a garak #i love the idea of 18th century tailor cardassians vs milliner ferengi #cardassian bodices look so similar to like. 1840-1860 bodices #it took me a couple eps to realize why its so familiar #and the pants are so FUCKING TIGHT #theyre wearing evening gown bodices with pleather leggings its fierce it fucks you go girls

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digitalfashionmuseum · 1 year

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Beige Taffeta Dress, ca. 1830, American.

MFA Boston.

#womenswear #mfa boston #extant garments #silk #dress #taffeta #beige #usa #american #19th century #1830 #1830s #1830s usa #1830s dress #spitalfields silk

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gogmstuff · 1 year

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Glam dresses worn by Zinaida Ivanovna Yusupova (from top to bottom) -

1826-1827 Ball gown of Princess Zinaida Ivanovna Yusupova (Hermitage) From fripperiesandfobs.tumblr.com/page/5 838X1080.

1826-1827 Another ball gown of Princess Zinaida Ivanovna Yusupova (Hermitage) From fripperiesandfobs.tumblr.com/page/5 714X1080.

1826-1827 One more ball gown of Princess Zinaida Ivanovna Yusupova (Hermitage) From fripperiesandfobs.tumblr.com/page/5 656X1080.

1831-1833 Evening Dress of Princess Zinaida I. Yusupova (Hermitage). From their Web site 1351X1920.

#1820s fashion #1830s fashion #French restoration fashion #Romantic era fashio #Biedermeier fashion #Zinaida Ivanovna Yusupova #off shoulder straight neckline #bateau neckline #pleated bodice #quarter-length full sleeves #gigot sleeves #waist band #natural waistline #full skirt #rouleaux

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fancyratlady · 1 year

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Here is the first of the pair of plates that started my collection. I found them at an estate sale, already framed with these matching mats. Whoever owned them before me clearly loved them. They are from the 1830s and in very good condition. I will post its other half shortly.

The text reads:

La Mode

Capote de velours double de gros de naples- Robe de satin de la Reine-Manteau de rèps indien du magasin des deux nuits.

In English: (I couldn’t figure out what ‘rèps’ means)

The Fashion

Double velvet hood wholesale of (from) Naples- Satin dress of the Queen-Raincoat from the Indian store of the two nights.

A note on translation: yes, ‘capote’ is used to mean ‘condom’ these days, but literally it means ‘hood’.

[Image ID: a framed fashion plate with two models and two frame mats, one blue and one green. The woman on the left faces the viewer. She wears a pink bonnet with four large pink feathers in the center trimmed with a stripped pink ribbon. Her temple curls peak out of the brim. She has a wide, square-shaped collar of white lace. Her dress cornflower blue with large sleeves puffed until the elbow and v-shaped pleats on the bodice. It has a small matching shoulder cape or shawl with an edge of trapezoidal cutouts.

The second woman is turned away from the viewer, her fave hidden by a bonnet of the same type as before, but dark blue with white trimming. She wears a grey two-tiered cape with a green collar and striped with two thin red bands with a green ivy pattern between.]

#fashion history #historical fashion #fashion #image #fashion plates #image id #1830s fashion #1830s #fashion plate #victorian fashion #early Victorian #womenswear #armature translation #french translation

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threadtalk · 11 months

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Right in the middle of the 18th century, we have this absolutely frothy pink gown that screams springtime. Yellow bows? Sign me up!

If there is a timeless shape, I'm willing to bet it's this one. Though this doesn't have quite the volume of some of the dresses in this period, it still endures again in the 1830s and 1840s, the 1870s and 1880s, and then again in the 1950s. A fitted bodice, a 3/4 sleeve, and a flared skirt. Plus that gorgeous scoop neck.

This robe à la française was owned by Mrs. Maria Altenburg of Denmark. It then had some adventures of its own, showing up later in Victorian Era costume parties! So it's likely it's had alterations. Most dresses of this era have.

I love the floral spill and the ribbon details! Really marvelous on every level. I am obsessed.

Source: https://digitaltmuseum.no/021069530963/overkjole-med-skjort

#fashion history #textiles #costume #historical costuming #silk dress #costume history #threadtalk #history of fashion #baroque #rococo #extant garments #georgian fashion #georgian era

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archaeology-findings · 1 year

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Anne of Green Gables Conspiracy Theory

So I recently read the Anne of Green Gables series (turns out there's 9!) which runs from Anne's childhood all the way to the lesser-known books about her children.

**Spoiler alert**

But while I was reading the last book, which takes place during WWI (1914-1918), I noticed a Continuity Error. In the first book Anne has a burning desire for a dress with puffed sleeves since they were so fashionable at the time. This places the first book squarely in the middle of the 1890s, the first time since the 1830s that enormous sleeves had been popular.

Comments about blouses and skirts, aka separates, also appear throughout the series. However, separates weren't really popularised until the 1890s. Sure, a great many dresses in the Victorian era comprised a skirt and matching separate bodice, but it wasn't until the 1890s that separate blouses, or shirtwaists, of a different colour became the norm.

However, the last book in the series, Rilla of Ingleside, is set during WWI. In 1916, Anne mentions her 24th wedding anniversary to Gilbert. This means that they married in 1892. This is already looking highly suspicious. We also know from Anne of Windy Poplars that she married Gilbert age 25. This means that Anne is 49 in 1916 and therefore was born in 1867. Ergo, Anne of Green Gables must have taken place in 1878.

As you can see from this fashion plate, there is not even a hint of puffed sleeves about these women.

Here comes my theory: Anne of Green Gables was originally meant to be set in the mid 1890s, hence the puffed sleeves and references to separate blouses and skirts. However, when L. M. Montgomery realised how big of a success her work was, she decided to keep extending her story, eventually writing books about Anne's children and their playmates. This meant that her original timeline was a little messy, but of course nobody would notice because there are no set dates. And since the last books were written in the late teens and early twenties, most readers would have forgotten the fashions that their parents and grandparents would have worn, meaning that she nearly got away with it.

I'm not sure how useful this is as a concept, but there ya go.

#anne of green gables #lm montgomery

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telekinetictrait · 8 months

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"And by the way, Monsieur Marius, I believe that I was a little bit in love with you." (Les Misérables – Victor Hugo, 1862)

next up, the 1860s!! there was a lot going on during this decade, so i once again tried to keep a mix of upper and lower class fashions, as well as throwing in a few more "pioneer" esque dresses. after all, there's only so many petticoats you can wear when your oxen die and you have to walk!

hoop skirts would reach their peak in the middle of this decade, and from there the shape would become elliptical, with most of the "hoop" moving to the back. this would eventually become the "bustle". corsets were still worn, but with the layering and vastness of skirts, the size of the waist would already look smaller in comparison. hairstyles were lower, buns being held at the nape of the neck more often than not. heeled boots were back in style, as you might catch a glimpse of them as fabric moved due to the cage crinoline. near the end of the decade, it became more common to see skirts paired with shirtwaists or blouses instead of matching bodices.

1800-1809 / 1810-1819 / 1820-1829 / 1830-1839 / 1840-1849 / 1850-1859

cc links under the cut!

see resources post for genetics

galateia : buzzardly28's margot hair / nissasims' victorian crinoline

gelsomina : buzzardly28's nell hair / linzlu's fancy bonnet / linzlu's mary louise walking dress

gheta : buzzardly28's 1860s hair #1 / theroyalthornoliachronicles' elisabeth swiss dress recolor

gigi : buzzardly28's penelope hair + hair pearls / simstomaggie's marigold dress

glendora : okruee's georgia hair / historicalfictionsims' ruth dress / kedluu's ankle boots

godeliva : simstomaggie's violet hair + leonore dress

greta : buzzardly28's penny hair / lace-and-honey's linzlu prairie bonnet conversion / johnny149's old west hoop dress recolors

guiying : the-melancholy-maiden's oregon trail bonnet / elfdor's old west teacher's dress

gwendoline : buzzardly28's 1860s hair #2 / linzlu's birthday bonnet / simstomaggie's syndicate dress recolor

gyovanna : buzzardly28's pippa hair / linzlu's fancy bonnet / dzifasims' garibaldi dress

thank you to @buzzardly28 (a LOT of thanks) @linzlu @theroyalthornoliachronicles @batsfromwesteros @simstomaggie @okruee @historicalfictionsims @kedluu @lace-and-honey @the-melancholy-maiden @elfdor and @dzifasims

again, to everyone thats getting tagged over and over: i'm sorry

#my sims #sims 4 lookbook #ts4lookbook #sims 4 historical lookbook #ts4historicallookbook #ts4 lookbook #ts4 victorian lookbook #ts4 victorian #sims 4 victorican #223 years #historical #victorian #1860s

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