Towards the end of the ninetheenth century, around 1880, women became more independent. They started working outside the home and also began to participate in sports. Like cycling, tennis, riding, walking and golf. Their clothing reflected this change in their lives. Sharper looking more tailored gowns came in fashion, the female fashion became more "masculin" in style. With even gowns inspired by militairy costume.
In the first bustle period (ca. 1870-75) ladies costumes had been made from lighter fabrics as taffeta and cotton, during the second bustle period (ca.1883-1891) heavier fabrics like velvet, heavy satins and brocades where used. The shape of the bustle became "harder" more exaggerated in shape. A bustle, also called a queue de Paris, is a type of framework used to expand the fullness or support the drapery of the back of a woman's dress. This framework could be a pillow filled with horsehair or a spring steel/wire construction. My bustle is a wire construction attached to my petticoat, covered by flounces, like Truly Victorian pattern #101. It's based upon an actual garment from Harper's Bazar magazine. It was popular conceit that these bustle could support an entire tea service.
(l) Sign of the times.
Women in a ratpit, wearing masculine styled outfits
and one of them is even smoking.
The colors of the late victorian era where influenced by the introduction of the synthetic dyes. In 1856 William Henry Perkin
discovered the first synthetic dye, Mauviene, a purple dye. Later it became possible to create other strong, bright synthetic colors. In the 1880's the use of vivid colors as deep red, peacock blue, bright apple green, royal blue, purple,
mandarin, sea green became very popular, often used in a combination with another strong color. I was inspired to use black after seeing
this picture (l) of a red and black bustle gown
on Bustledress.com.
Black details on the bodice of my costume.
The skirts from the second bustle period had less draperies, what drapery there was, formed a small apron at the front of the dress. This style is visible in my red taffeta with black lace overlay and a black satin front panel overskirt. It has the fullness, a bouffant, at the back and is made with the Truly Victorian pattern#362, 1884's wash overskirt. The red velvet 1885's four gore skirt that I made with Truly Victorian pattern #261 also has the slender line typical for the mid 1880's. The fabric at the front is sewn flat to the waistband in the front and gathered in the back to make space for the bustle.
The tailoring of the jacket or bodice became "sharper" more tailored. The cuirass bodice with it's almost corset like appearance is a good example of this kind of bodice/jacket. The pattern I used for my cuirass bodice is from Truly Victorian, #460, 1885's Cuirass Bodice.
Accessoires
(l) Vintage black silk top hat.
Decorated with black colored Merry Widow netting, one red feather flower, one black feather flower
and a red silk scarf.
(r)Victorian ladies wearing top hats.
Vintage black fur, probably moleskin, muff.
Storebought victorian style purse.
Enchanting small victorian style
reproduction pocketwatch.
Vintage (late) Victorian nine carat golden locket,
with original picture.
These earrings belonged to my great-grandmother
and because of that they are very special to me.
Lovely victorian style reproduction haircombs.
