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Dress (England), c. 1842.

Block-printed wool, silk ribbon, metal (hooks), baleen, c. 1842. National Gallery of Victoria, Melbourne, Purchased through The Art Foundation of Victoria with the assistance of David Syme & Co. Limited, Fellow, 1977, D67-1977. Image: National Gallery of Victoria, Melbourne

Young Woman, c. 1843

Claude-Marie Dubufe (French, 1790-1864). Portrait of a Young Woman, c. 1843. Oil on canvas; 129.8 x 97.5 cm (51-1/8 x 38-3/8 in). Pasadena: Norton Simon Museum, M.1977.13.2.P. Source: Norton Simon Museum

Clark sisters

Five women, three-quarter length portraits, all facing front. 1840. The photograph documents Grandmother and aunts of photographer Frances Benjamin Johnston. Image: Pinterest

Dress (England), c. 1842.

Block-printed wool, silk ribbon, metal (hooks), baleen, c. 1842. National Gallery of Victoria, Melbourne, Purchased through The Art Foundation of Victoria with the assistance of David Syme & Co. Limited, Fellow, 1977, D67-1977. Image: National Gallery of Victoria, Melbourne

Young Woman, c. 1843

Claude-Marie Dubufe (French, 1790-1864). Portrait of a Young Woman, c. 1843. Oil on canvas; 129.8 x 97.5 cm (51-1/8 x 38-3/8 in). Pasadena: Norton Simon Museum, M.1977.13.2.P. Source: Norton Simon Museum

Clark sisters

Five women, three-quarter length portraits, all facing front. 1840. The photograph documents Grandmother and aunts of photographer Frances Benjamin Johnston. Image: Pinterest

Dress (England), c. 1842.

Block-printed wool, silk ribbon, metal (hooks), baleen, c. 1842. National Gallery of Victoria, Melbourne, Purchased through The Art Foundation of Victoria with the assistance of David Syme & Co. Limited, Fellow, 1977, D67-1977. Image: National Gallery of Victoria, Melbourne

Young Woman, c. 1843

Claude-Marie Dubufe (French, 1790-1864). Portrait of a Young Woman, c. 1843. Oil on canvas; 129.8 x 97.5 cm (51-1/8 x 38-3/8 in). Pasadena: Norton Simon Museum, M.1977.13.2.P. Source: Norton Simon Museum

Clark sisters

Five women, three-quarter length portraits, all facing front. 1840. The photograph documents Grandmother and aunts of photographer Frances Benjamin Johnston. Image: Pinterest

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When Queen Victoria wore this white wedding dress

When Queen Victoria wore this white wedding dress for her wedding to Prince Albert in 1840 she broke from royal custom and created a lasting tradition of Western bridal fashion. The Spitalfields silk and Honiton lace gown had a more than 6-yards-long satin train added to it for the ceremony. The dress patronized the dying silk-weaving and lace-making industries in England and helped make the white wedding dress the icon we now know it to be. Read all about the dress and its importance in creating the wedding look we all know today in our latest garment analysis!

#gown #bridal #fashionhistory #fashionresearch #bridal #19thcentury #wedding #valentinesday

https://fashionhistory.fitnyc.edu/1840-queen-victorias-wedding-dress/

The Dance at Bougival captures a dance in the midd

The Dance at Bougival captures a dance in the middle of a party between a casually dressed man whirling around a woman in a simple but fashionable pink ensemble. The painting had a pop culture moment in a 2003 episode of Gilmore Girls “The Festival of Living Art” along with Da Vinci’s Last Supper and Parmigianino’s Antea. Read all about The Dance at Bougival below!

#paris #fashionhistory #arthistory #gilmoregirls #dance #renoir

https://fashionhistory.fitnyc.edu/1883-renoir-dance-bougival/

Your socks may not be the most fashion forward or

Your socks may not be the most fashion forward or fanciful part of your outfit but from the 16th to 19th century the fashion-forward across Europe and America wore hosiery with clocking (decorative and detailed embroidery). Learn all about them and the functionality of the embroidery in our recent term definition!

#fashionhistory #16thcentury #19thcentury #fashion #embroidery #fashiondictionary
https://fashionhistory.fitnyc.edu/clocks-clocking/

This evening dress embodies the latest trends of t

This evening dress embodies the latest trends of the 1910s with its cylindrical silhouette and soft, unstructured look. It was designed by the Callot Soeurs Parisian couture fashion house, which was renowned for its use of fine fabrics, laces, lamé, and brocades embellished with exquisite detail to create a sense of overt elegance and luxury. Continue reading our newly published garment analysis below!

#callotsisters #orientalism #directoirerevival

https://fashionhistory.fitnyc.edu/1910-14-callot-soeurs-evening/

Titian’s portrait catches the aristocrat, Gerola

Titian’s portrait catches the aristocrat, Gerolamo Barbarigo dressing to impress in his highest quality garments: a fine cloak with fur, a silk doublet, and a fine linen camicia. Gerolamo is no peasant that’s for sure. Continue reading our newly published artwork analysis to learn more about his fashion!

#Titian #arthistory

https://fashionhistory.fitnyc.edu/1510-titian-portrait-of-a-man/

During the decade of 1400-1409, fashion was a batt

During the decade of 1400-1409, fashion was a battleground where rulers lay claim to power with the display of luxury textiles and fanciful personal emblems. For example, Charles VI’s emblem was a knotty branch, and the Duke of Burgundy’s picked a carpenter’s plane (a tool that could smooth a knotty branch) as his emblem to send a political message. Continue reading our newly published 1400 decade overview below!

#15thcentury #houppelandes #emblems

https://fashionhistory.fitnyc.edu/1400-1409/

Everyone embellishes a little when they’re telli

Everyone embellishes a little when they’re telling a story…but what about embellishing clothing? “Passementereie” is defined as “an additional accent or embellishment in silk or metallic threads such as embroidered braid, tassel, or fringe” that can be added to just about anything from bags, waistcoats, collars, etc… Read more below!

#embellishments #passementereie #fashiondictionary

https://fashionhistory.fitnyc.edu/passementerie/

Piero Tosi was praised for recreating garments tha

Piero Tosi was praised for recreating garments that were extremely historically accurate for the 1860s in The Leopard. He researched old patterns, antique fabrics, and understood the fundamental difference between a fashion designer and a costume designer: “A costume designer’s work is from story and culture, while the fashion designer captures trends that are in the air.” Continue reading about Tosi’s amazing designs at the link!

#Theleopard #pierotosi #costumedesign

https://fashionhistory.fitnyc.edu/1963-visconti-the-leopard/

In The Hesitant Fiancée, Auguste Toulmouche steps

In The Hesitant Fiancée, Auguste Toulmouche steps away from his usual depiction of idyllic, doll-like women. Instead, he tackles a more complex subject– an arranged marriage that the bride clearly rebels against, as suggested by her fiery gaze. Despite the out-of-ordinary subject matter, Toulmouche keeps true to his style of painting lavish gowns with the bride’s opulent, silk dress. Read more below!
#arthistory #bridal #gowns
https://fashionhistory.fitnyc.edu/1866-toulmouche-hesitant-fiancee/

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