What it says on the tin. Also see me on BlueSky as @mimicofmodes.com, and at my off-Tumblr blog, also mimicofmodes.com, which has a lot more original content. All of the captions in my posts are my own work, unless otherwise noted. So please reblog, don't repost.
Fashion plate 667 from Le Follet and the Court and Lady's Magazine Magazine united, unsigned.
Modes de Long-champs.
Chapeau en Pou de soie garni de dentelle des Mins. d'Alexandrine.
Capote en Gros de Naples — Chale en Organdi brodé de laine. Echarpe en tulle application de Mins. de Mme. Poller, r. Richelieu, 95 — Fleurs et Aigrettes de Chagot frères
~~~~~
English description from The Court Magazine and Monthly Critic, pages 368 & 369:
No. 8. Toilettes de Promenade. — Fashions for Long-Champs. Hat of pink poux de soie; the front large, coming low at the sides, where it is rounded off, low crown, trimmed with rich satin ribbon and blonde; a bouquet of white lilac is placed at each side, under the front of the bonnet. Dress of gros de Naples, plain, low corsage, tight sleeves, the bottom of the dress ornamented with three flounces. Arab Mantelet. — This we give, not for its beauty exactly, but to convince our fair readers that we give them the newest fashions, whilst still only adopted by the French court, consequently, months before such articles are to be seen commonly worn in Paris, or displayed in the shop windows. This mantelet or shawl, may be made of cashmere, satin, velvet, or even clear muslin for summer. At back, it has the appearance of a shawl, the point descends low, it is sloped out at the neck, so as to fit without a wrinkle: a small collar, rounded at back, adds much to its appearance; the shape of the mantelet in front can be easily cut from our plate. The guirlande, all round, is embroidered in floss silks or worsteds.
Second Figure. — Drawn capotte of gros de Naples, the front large, crown small and round; a bouquet of roses is placed a little at the left side, and retains an esprit. High dress of cashmere, with a single deep flounce, mantelet of filet, trimmed with blonde.
La Mode, 16 mai 1840, Paris. Redingotte de Foulard de Gagelin Opigez façon de Mlle. Moismont. Robe de mousseline. Gants Mayer, Passage Choiseul. Fleurs de Fauconnier. Capote et mantelet d'organdie borde de dentelle. Sous jupes d'Oudinot Lutel. Bonnet d'Angleterre et tablier de Me. Lassalle. Robe de mousseline, capote, et mantelet d'organdie bordé de dentelle expédiés par la Maison de Commission Lassalle, 28 rue Taitbout. Digital Collections of the Los Angeles Public Library
Left- White lappet with pink flowers. She is wearing a white dress with a ruffle neckline and a blue apron. Right- Pink bonnet with floral designs. She is wearing a dress with white ruffled neckline. The dress is a red and green pinstripe design with a ceinture at the waistline.
Hyderabad is not just my origin; it is a language, a rhythm, a way of being. Through this look, I aspired to translate that sensibility into a form that could exist effortlessly on a global stage while remaining deeply rooted in the South Indian imagination.
The Tree of Life, envisioned by Manish Malhotra in collaboration with Mariel Haenn, becomes the central metaphor an unfolding of time, memory and continuity. Drawing from the storytelling traditions of Kalamkari, it is reinterpreted here as something sculptural and alive, where every thread holds a fragment of history.
This ensemble is not about nostalgia, it is about evolution. A 3,000-year-old textile tradition is recontextualized through form, texture, and movement: sculpted velvet, antique gold zari, and intricate zardozi come together to create something both archival and immediate.
The motifs Palapitta, Jammi Chettu, Kalpavriksha, Tangedu, Surya, Chandra, Kalpa are not merely decorative; they are markers of identity, fragments of home that travel with me.
What moves me most is the human touch behind it all. Thousands of hours, countless hands, generations of knowledge woven, embroidered and shaped into a single moment.
For me, this is what costume art can be: not just adornment, but a living archive. A way of carrying heritage forward not as something fixed, but as something that continues to grow, transform, and speak.
Tonight, I arrive not just wearing a story, but continuing one.
The art lives in the tradition.
Handcrafted through zardozi, marodi, resham, and intricate metalwork.
Rooted in South Indian heritage, the Tree of Life tells the story, with the peacock India’s national bird as its guardian.
1916-17 c. Evening dress by Lucile of frothy peach-pink chiffon with a sash of chartreuse and emerald satin. It's an original design based loosely on the 1830s and survives today in a private Los Angeles, California private collection. The Lucile sketch is from UCLA. From Lucile-Her Life by Design, FB.
Journal des Dames et des Modes, Costume Parisien, 20 avril 1824, (2230): Chapeau de gros de Naples orné de giroflée de mahon. Robe garnie de remplis de satin. Collection of the Rijksmuseum, Netherlands
Standing woman with flowers in hand, wearing a dress trimmed with satin remplis. On the head a hat of 'gros de Naples' decorated with flowers: 'giroflée de mahon'. Further accessories: scarf trimmed with fringes, handkerchief, shoe with square toe. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839.
"Robe garni de remplis de satin" (gown trimmed with satin pleats) implies that the gown itself isn't actually satin - it's probably a taffeta (or, you know, some other plain-woven silk) with satin bias strips that match the color, a kind of trim we see a lot in the 1820s.
I'm going to a costume event relating to the 1901 Pan-American Exposition this fall, which requires me to make an appropriate ensemble. This is awesome, because I've always wanted to sew/wear this period, but I'm stuck on the question of what corset to make.
My first choice for historical sewing is always a pattern I've taken, but I've actually never taken a pattern of a corset from the early 20th century. So that's off the table.
Second choice is one from a pattern book, but literally the only two book patterns I know of or at least have are the ones from Corsets & Crinolines and Period Costume for Stage and Screen, and neither of them really speaks to me. However, I did apparently make a copy of the latter pattern and started doing the math to scale it up, it looks like, so I might go back to that.
But I'm also thinking about commercial patterns for once. I don't use them a lot for corsets/stays because my body is so nonstandard that it's almost easier to start from scratch (and I'm a nerd), but sometimes it's a good idea. Straight-front corsets have very weird-shaped pieces that are harder to scale up.
Black Snail's straight front corset: The sample one is made in a larger size, which I like to see. Affordable! And simple. But maybe too simple? I'm concerned that the lack of a separate hip piece will mean I don't get the necessary hip spring for the style.
LadyInterstellar's "Emma" corset: Overall this looks good and the reviews are positive, but the top edge just ... doesn't look period? I could be wrong, maybe this is based on an original, but the profile just might not be right.
Atelier Sylph's W corset: Now that is hip spring! (Probably meant to have pads underneath.) And definitely fully historically accurate. Great reviews as well. But the price tag! That's a lot of money for a print-at-home.
Truly Victorian's 1903 corset: TV is known for making good patterns, and having good instructions and sizing. The price is right, too. But this is "based on the styles seen in 1903", not on an original piece.
I'm most torn between the one from Hunisett's book and Atelier Sylph's, the one that's essentially free and the one that's pretty expensive. Hm.
Does anyone have experience with any of these patterns?
La Mode nationale, no. 16, 19 avril 1902, Paris. Groupe de toilettes pour dames et jeunes filles. Bibliothèque nationale de France
(3) Robe de dîner pour jeune femme. Jupe en dentelle sur transparent blanc, bordée d'un volant bouillonné en liberty vert d'eau ou en crêpe de Chine. Au-dessus du volant, croisillons de velours noir.
Veste bouillonnée à la taille et formant basque mi-longue, ouverte sur un dessous de dentelle et rattachée devant par des velours croisés, avec de gros boutons fantaisie. Col fichu en mousseline de soie, souligné d'un volant froncé. Manche courte en dentelle, avec grand volant bouillonné.
(3) Dinner dress for a young woman. Lace skirt on white sheer, edged with a bubbled ruffle in water green liberty or crepe de chine. Above the ruffle, black velvet braces.
Jacket gathered at the waist and forming a mid-length peplum, open to a lace underside and attached in front with crossed velvets, with large fancy buttons. Silk chiffon kerchief collar, highlighted with a gathered ruffle. Short lace sleeve, with large bubbled ruffle.
Matériaux: dentelle en laize; 8 mètres de liberty.
—
(4) Robe de ville pour jeune femme ou dame d'âge moyen, en lainage rayé abricot, de ton effacé. Jupe plissée derrière terminée par trois volants en forme, découpés en créneaux et bordés de biais. Au volant supérieur, un biais souligne la tête. Jaquette ouverte et découpée sur un plastron de liberty noir. Manche à coude, revers assez large.
(4) City dress for young women or middle-aged ladies, in apricot striped wool, in a faded tone. Pleated skirt at the back finished with three shaped ruffles, cut into crenellations and edged at an angle. On the upper ruffle, a bias highlights the head. Dust jacket open and cut on a black liberty bib. Elbow sleeve, fairly wide lapel.
Matériaux: 8 mètres de lainage, 0m,75 de liberty noir.
—
(5) Toilette de visites pour jeune femme, en foulard rouge glacé. Jupe en forme; au bas, quatre volants légèrement badinés, soulignés de comètes de satin noir et surmontés de quatre rangs de comètes. Jaquette dentelée devant, bordée de biais à dépassant noir. Un biais semblable s'arrondit par des pinces en arrière. Ceinture de satin noir passant sous les devants. Col arrondi incrusté de guipure. Guimpe de soie noire. Manche pagode à pèlerines dentelées; celle du milieu est semblable au col.
(5) Visiting ensemble for young woman, in iced red scarf. Skirt shaped; at the bottom, four slightly embellished ruffles, highlighted with black satin comets and topped with four rows of comets. Serrated dust jacket in front, bias-edged with black protruding. A similar bias is rounded by darts at the back. Black satin belt passing under the front. Rounded collar inlaid with guipure. Black silk wimple. Pagoda handle with serrated capes; the middle one is similar to the collar.
Matériaux: 14 mètres de foulard.
—
(6) Robe élégante pour jeune fille ou jeune femme, en bengaline bleu-pastel. Jupe plissée devant, ornée d'un volant en forme que surmonte un large entre-deux. Corsage plissé; col empiècement en guipure; sous ce col commence un pli genre Watteau qui s'évase sur la jupe. Manche plissée sur l'épaule et séparée en deux bouffants par un bracelet de guipure. Poignet haut et collant en guipure. Ceinture ronde en taffetas blanc, rayé de velours noir.
(6) Elegant dress for a young girl or young woman, in pastel blue bengaline. Pleated skirt at the front, decorated with a shaped flounce topped with a wide in-between. Pleated bodice; guipure yoke collar; under this collar begins a Watteau-style pleat which flares out on the skirt. Pleated sleeve on the shoulder and separated into two bouffants by a guipure bracelet. High, sticky guipure cuff. Round belt in white taffeta, striped with black velvet.
Matériaux: 12 mètres de bengaline.
—
(7) Robe de visites pour jeune femme ou dame d'âge moyen en drap satin chamois. Jupe en forme cerclée de biais en taffetas pékiné. Boléro très ajusté, ouvert sur un gilet de drap blanc à revers. Grand col de moire, rayé et bordé d'entre-deux. Cravate de mousseline de soie noire. Manche courte à petits revers.
Bas de manche collant en soie blanche moucheté de noir.
(7) Visiting dress for young or middle-aged ladies in chamois satin cloth. Bias-rimmed skirt in pekiné taffeta. Very fitted bolero, open over a white cloth vest with cuffs. Large moire collar, striped and bordered with insertions. Black chiffon tie. Short sleeve with small cuffs.
Fitted cuffs in white silk speckled with black.
Matériaux: 5 mètres de drap; 1 mètre de soie mouchetée; 0m,30 de drap blanc; 0m,50 de moire.
—
(8) Robe de visites pour jeune femme, en lainage fantaisie vieux rose. Jupe en forme, cerclée de biais posés en dents de soie et tombant sur un volant en forme liséré de biais. Même garniture au corsage et à la manche demi-pagode. Devant, coquillé de dentelle; au col montant, liséré de liberty noir; ceinture ronde en l'étoffe de la robe.
(8) Visiting dress for young women, in fancy old pink wool. Shaped skirt, surrounded by bias placed in silk teeth and falling on a shaped ruffle edged at an angle. Same trim on the bodice and half-pagoda sleeve. Front, shell of lace; with a high collar, lined with black liberty; round belt made from the fabric of the dress.
Matériaux: 7m,50 de lainage.
—
(9) Toilette de réception pour jeune femme ou dame d'âge moyen, en surah vieux rouge très pâle. Plis cerclant la jupe. Veste Louis XV en grosse dentelle. Plastron et manche de dentelle. La manche se termine sous un revers arrondi orné de plis. Col arrondi en forme. Echarpe de mousseline de soie, même ton, nouée sous le col et tombant jusqu'au bas de la robe.
(9) Reception ensemble for young or middle-aged lady, in very pale old red surah. Pleats encircling the skirt. Louis XV jacket in large lace. Lace bib and sleeve. The sleeve ends under a rounded lapel decorated with pleats. Rounded shaped collar. Silk chiffon scarf, same tone, tied under the collar and falling to the bottom of the dress.
Matériaux: 10 mètres de surah; dentelle en laize; 4 mètres de mousseline de soie.
This intrigued me as I'm unfamiliar with "cotepali", so I went and looked it up in Fairchild's. Côte pali can be a linen warp/high-twist silk weft, silk warp/wool weft, or cotton warp/raw silk weft — I would guess that because the embroidery on the flounces is wool (laine), this is meant to be the silk/wool version of the textile.
ok maybe you can explain this to me who does not live in the fashion world. why do these celebs spend so much money to go to the big costume party and then not match the theme? Why are some of them in fits the lay person would find boring even on a normal red carpet? I thought part of the point was seeing the cool fits?
the celebs don't spend any money i believe! outside of, stylists i guess but the designers might also pay for that i'm not actually 100%. but each celeb is there because they're invited by the designers, wearing something the designer picked for them. sure sometimes that's a collaborative process but sometimes it's not, and sometimes designers just don't give enough of a fuck (i remember valentino a few years ago just had a bunch of girls with dresses off their last runway show, zero effort lmao) so there's that! also it's not a costume party, it's a charity event, designers spend money to invite celebrities to showcase their outfits and bring attention to their brands and whatnot but ultimately the whole thing is to rise money for fashion history and restoration, for the conservation of fashion in the met specifically, etc. they have a new wing now which is nice, they used to be literally in the basement which hilarious but of course they were because nobody thinks fashion is art so why would they give it the appreciation it deserves, etc etc. but hey, we're getting there. baby steps, i guess. but yeah, no, the point isn't really cool fits, the point is giving money to maintain fashion history at one of the most known museums in the world.
One of my obsessions is What Were They Doing With Back Hair - this is a rare painting that shows the back of the head! And as you can see, there's no bun. Most likely, the subject's hair is twisted up simply on the top of her head and held with a comb.
