THE VINTAGE THIMBLE

Ensemble Fourth quarter 19th century. Romanian. Cotton, wool, silk & metal.

Romanian folk costume has remained relatively unchanged and continues to be worn for festival occasions. The basic model for women consists of an embroidered blouse and skirt, belt, head scarf, and often a vest or jacket. As in many cultures, embroidery is placed at “vulnerable” areas of the body: the neck, cuffs, and hem, but also at the shoulders and sleeves as a symbol of strength. This example of a full festival costume is striking in the variation of blue tones and abundant embroidery. The coordination of the various components is symbolic of the pride and care given to folk traditions in Romanian culture. | THE MET

Woman’s domestic semi-formal coat. Chinese (Han), Qing dynasty, late 19th century. China. Silk damask embroidered with couched gold and silver wrapped thread and silk floss, applied silk ribbon.

Han woman’s domestic semi-formal coat (ao) in lavender silk damask with woven designs of narcissus and peaches; neck, front, hem and sleeves edged with blue silk satin ribbon with peaches embroidered in gold couching and black silk satin ribbon with peonies, butterflies and phoenix; right side front closing with blue silk loops and knotted buttons. | MFA

Jacket Fourth quarter 19th century. Albanian. Silk, metal, beads & cotton . | THE MET

Headdress Before 1880. Burma. Lacquer, wood and sheet metal, gilded and inlaid with pieces of glass. The high quality of this magnificent gilded, lacquer tiered headdress studded with brilliants was most likely a product of the court of Mandalay. Its shape is highly conventional and is similar to the crowns worn by Jambhupati Buddhas, royalty and minor deities. It was probably intended to be worn by an actor impersonating the king of Celestial Beings in a court pwe (theatrical production), and would have formed part of a costume based on 19th century ceremonial dress worn by Burmese kings on state occasions. The first Burmese court play was written in the early 18th century, and both puppet plays and theatrical performances with actors became very popular throughout Burma in the 18th and 19th centuries. These plays were usually linked to an incident from Burmese history or were based on one of the Buddhist Jatakas (stories about the Buddha's previous incarnations). | V&A

Victorian Hairstyles A collection of Victorian photographs ranging from 1855 - 1880’s.

Edwardian Hairstyles Here [x] | 1920’s Hairstyles Here [x] | 1930’s Hairstyles Here [x] | WW2 Hairstyles Here [x]

Wedding Corset Silk satin wedding corset, c. 1880 | Chicago History Museum

Evening dress 1883. Charles Frédérick Worth, France. Printed silk moiré, faille, lace. | Chicago History Museum

Afternoon Dress 1878–82. American, silk & abalone. | THE MET

Wedding dress Moyen. ca. 1880. American. silk, cotton & leather. | THE MET

Court presentation ensemble House of Worth. Designer: Charles Frederick Worth. ca. 1888. French. Silk, metal, feathers, glass & Feathers. | THE MET

"Tulipes Hollandaises" (textile)" House of Worth (French, 1858–1956). Designer: Charles Frederick Worth. Designer: Textile by A. M. Gourd & Cie. Date: 1889. Culture: French. Medium: silk & metal. Worth was constantly interested in supporting the textile industry as evidenced in this cape, which is designed to showcase its textile to the extreme. The textile itself has a repeat which is over three feet long making it stunning but also making it extremely difficult to weave. The dramatic fabric, "Tulipes Hollandaises," was exhibited at the Exposition Universelle of 1889 in Paris and won a grand prize. The tulips have an aggressive dynamic quality about them with the brilliant, vibrant colors against the deep black background consistent with the seductive femme fatale sensibility of the 1880s and 1890s. | THE MET

Corset Circa 1880-1885, Belgian export. Silk satin, whale bones, steel busk, trimmed with machine lace. | ROM

Dress ca. 1880, American, silk, cotton & glass. | THE MET

Evening dress House of Worth (French, 1858–1956), Charles Frederick Worth (French (born England), Bourne 1825–1895 Paris), 1888, French. Silk, metal. The love knot motif is elegant and lyrical representing the quintessential daintily fluttering bow which was an iconic motif of the 18th century. The treatment of the bust drapery by exposing the selvedge under the bust is a classic Worth design characteristic which was usually done on the skirt edges, but here is very prominently done on the bodice. | THE MET

Dinner dress House of Worth (French, 1858–1956), Charles Frederick Worth (French (born England), Bourne 1825–1895 Paris), 1880–90, French. silk, jet. | THE MET

Afternoon dress House of Worth (French, 1858–1956), Charles Frederick Worth (French (born England), Bourne 1825–1895 Paris), 1889, French, silk, metal. | ↳ THE MET

Fan French, about 1885, Lace, bobbin, Chantilly. | ↳ MFA