THE VINTAGE THIMBLE

Dress Gabriella Pescucci. 1993.

This incredible dress is a costume for the film ‘The Age of Innocence’ (1993), directed by Martin Scorsese. Age of innocence is set in the Victorian era, during the 1870’s and this costume was worn by Michelle Pfeiffer. (Unfortunately I couldn’t find a decent screen cap of her wearing it.) The costume it’s self was designed by Gabriella Pescucci. She has also designed costumes for The Scarlet Letter (1995), Les Misérables (1998), A Midsummer Night’s Dream (1999), Van Helsing (2004), Charlie and the Chocolate Factory (2005), The Brothers Grimm (2005), Beowulf (2007), Agora (2009) & The Borgias (TV series 2011)(5 episodes, 2011-2012) along with many other movies. [source for dress Here. Sadly it does not name were it found the images.]

Dress An 1890s fancy dress gown, incorporating 1730s ice blue brocaded satin, comprising bodice with deep curved front waist, cut high at the back with short tails, ruffled and gathered blue satin outside sleeves, the front skirt entirely of 18th century brocade, pleated blue satin band to hem, long blue satin train to rear skirt. | KTA

Robe à l’Anglaise 1785–87. French. Silk.

In eighteenth-century dress, the torso was encased by layers of quilted linen and boning that constitute an exaggerated exoskeleton. An inevitable consequence of this redefinition of the torso is an emphasis on the hip and bustline. By mid-century, especially in France, the style was for the bust, veiled by lace or a sheer mull , to emerge above the top line of the bodice. | THE MET

Dress (robe à l’anglaise) c. 1780. England. Cream silk taffeta; two-layered “compères” front with buttons; matching trim; black lace decoration at front bodice and cuffs; wine-colored ribbon lacing at cuffs; matching petticoat; fichu at neck.

A dress of surprisingly modern taste appeared around the time of French Revolution, during the transition period from the gorgeous Rococo style silk dresses to plain cotton dresses after the Revolution. Simple dresses from that period have. This dress made of light plain silk taffeta has a “compères” style double front bodice. The sole decoration to this dress is black lace trim. When wearing this dress, a thin “fichu” was placed in the large opening at the top of the bodice. | KCI

Court Gown C. 1770's. Fine white Indian muslin with silver metal embroidery, the robe sack-back with train and scalloped cuffs to the sleeves, matching ruched robings, the cuffs and robings edged in delicate silver thread chain; the matching petticoat of silk to the upper back and tiered at the front bottom; the stomacher to a linen ground and trimmed with wide silver tape. | Christies

Evening Dress 1898–99. American. | THE MET

Evening dress Callot Soeurs. Designed by; Madame Marie Gerber. 1914. French. Silk, metal & rhinestones. | THE MET

Evening ensemble 1910. French. Silk & metal. Elegant at-home wear was an essential part of an upper class wardrobe at the end of the 19th and beginning of the 20th century. The tea gown, a structured and boned one-piece dress, was the first manifestation of a trend toward more comfortable attire for wearing in the presence of one's intimates. This ensemble, while elaborate, is significantly less restricting than a tea gown, yet, by the teens, was considered modest enough to be seen in. | THE MET

Dinner dress House of Drécoll. 1914–16. French. Silk & fur. Drécoll was founded in 1896 by Christoff von Drécoll in Vienna, Austria where he designed fashions for the Imperial family of Austria. In 1902, a couture house was opened in Paris and run by Monsieur and Madame Besancon de Wagner. Their daughter Maggie Rouff was a talented designer, working for the house first and then later managing the business with her husband Pierre beginning in 1929. Eventually, the house merged with the House of Beer and then in 1931 they merged with the House of Agness, closing in 1963. This dress shows a dramatic sense of style, exemplified with the use of ciré satin accented by the burgundy silk sash at the waist. The combination of such sumptuous materials was typical of the period, done by other couturiers as it added an extra element of luxury and refinement. | THE MET

Evening Dress Gilbert Adrian. 1941. Black glass beaded gown. | The Frock

Charles James "Tree" Dress This version of the Tree was executed in 1957. It is an example of James’ ability to shape his fabrics over an artificial framework, rather than a human body, and yet still create wearable and even comfortable garments. | Chicago History Museum

Worth & Bobergh Evening Gown Worth & Bobergh. Evening gown, 1861. Silk satin, silk ribbon, handmade "Point de Gaze" lace Charles Frederick Worth and Otto Bobergh founded Worth & Bobergh in Paris in the fall of 1857 or 1858. In 1860, the business appeared in the local trade directory under “couturiers et nouveautés confectionnées” (designers and prepared novelties). By the 1870s, Bobergh was no longer involved with the company, and the House of Worth was well established as the arbiter of fashionable dress. | Chicago History Museum

Two-piece Dress Two-piece dress, Sweden, 1865. Pink silk moiré with white bobbin lace on machine-made tulle and white silk tulle. Hand- and machine-sewn. Skirt has eight panels. | LSH

Dress Date: ca. 1865. Culture: French. Medium: silk, wool. | THE MET

Ball gown Emile Pingat (French, active 1860–96), Date: ca. 1860, Culture: French, Medium: silk. | THE MET

Dress Date: ca. 1867, Culture: American, Medium: silk. | THE MET

Dress 1868, British, Made of silk, velvet, and lace. | Manchester Galleries