Ball gown Fabiani (Italian, 1940?–1974), Date: ca. 1958, Culture: Italian. Medium: silk. | THE MET
Ball gown Emile Pingat (French, active 1860–96), Date: ca. 1860, Culture: French, Medium: silk. | THE MET
Ball Gown Ca. 1842, British, silk & cotton. This is a striking example of how 18th-century fabric was treasured. The textile was probably originally a 1740s dress which was taken apart and then reconfigured into this fashionable dress in the early 1840s. The elongated waist and V-shaped bodice front emphasize the bust and wide shoulders and were key features of the dresses of the period. | THE MET
Ball Gown ca. 1875, British, silk & cotton. | THE MET
Ball gown Late 1870s, British, silk. | THE MET
Ball gown ca. 1820. American. silk. The puffed sleeves of this dress are an indication to the historicism in dress at the time. As a reinterpretation of 16th-century slashing, they make a statement about the Renaissance and the rebirth of artistic notions. The beautiful hem detail is also typical of the period spanning 1820. These details gave weight and shape to an otherwise unbroken line of fabric, which was so prevalent in the decades prior to it. The Empire silhouette is readily identified with its origins in the chiton of ancient Greco-Romans, which was a tubular garment draped from the shoulders and sometimes belted beneath the bust. Several re-interpretations have occurred throughout costume history but none have been as notable as the period bridging the rectangular panierred skirts of the 18th century and the conical hoop skirts of the 19th century. The neoclassic style was adopted in all forms of decoration after the French Revolution and was upheld during the Napoleonic Wars partly due to Napoleon Bonaparte's (1769-1821) alliance with Greco-Roman principles. In fashion, the style began as children's wear made from fine white cotton, but was adopted by women in the form of a tubular dress with skirts that were gathered under the bust with some fullness over a pad at the back. As the style progressed the skirts began to flatten at the front and solely gather from the bodice at the center back. The style persisted until the 1820s when the waist slowly lowered and the skirts became more bell shaped. | THE MET
Ball gown, Jacques Doucet (French, Paris 1853–1929 Paris)1898–1900 Jacques Doucet was first, and foremost, a connoisseur of art. Additionally, his passion for the refined and exquisite overflowed into his dealings with fashion, making him one of the finest French couturiers during the Belle Époque. The House of Doucet began as a family business, specializing in women's lingerie and laces, as well as articles of clothing for men. Founded in 1817, the company rose to fame under the hand of Jacques. The house was known for its luxurious offerings, which were worn and coveted by royalty, members of the elite society in both Europe and America, and actresses of the stage. This ball gown is simplistic in design, yet extravagant by the choice of materials used. The sheer overlayer is enhanced by the solid lamé underlayers and a sense of luxury is added by the hidden lace flounce at the hem. Undoubtedly, a woman would make an entrance in this dress, as it is extremely seductive with its form fitting silhouette and low décolleté. | THE MET
Ball gown, House of Worth (French, 1858–1956), Date: 1900–1905, Culture: French, Medium: silk, cotton, metallic thread, glass, & metal. | THE MET
Evening Dress, Norman Hartnell. 1953 Beaded, silk "crinoline" evening gowns became Norman Hartnell's hallmark. He was at the peak of his career in the mid1950s, when he designed this dress. Featuring a flamboyant, beaded pink flower over each breast, it would have been considered rather daring at the time. Norman Hartnell wrote in his autobiography, "I despise simplicity. It is the negation of all that is beautiful." Made by Norman Hartnell, for Lili Palmer (bottom photo) for a function in connection with the coronation, was made in 1953. Lilli Palmer was an actress, and a tiny size UK 6. | V&A
Ball gown, House of Worth (French, 1858–1956) Designer: Jean-Philippe Worth (French, 1856–1926) Date: 1900 Culture: French Medium: silk, rhinestones. | ↳ THE MET
Ball gown, House of Worth (French, 1858–1956) Designer: Jean-Philippe Worth (French, 1856–1926) Date: 1898 Culture: French Medium: silk, rhinestones, metal. This gown is made from a very special fabric which was woven à la disposition to fit the shape and dimensions of the skirt so that the butterflies flutter upward from the hem and, being graduated in size, seem to disappear in the distance. | ↳ THE MET
Ball gown, Attributed to House of Worth (French, 1858–1956) Date: ca. 1872 Culture: French (probably) Medium: silk | THE MET
Ball gown House of Dior (French, founded 1947), Christian Dior (French, Granville 1905–1957 Montecatini), fall/winter 1953–54, silk, sequins, stones, simulated pearls. | ↳ THE MET