Arthur's Home Magazine 
Godey's
Ladies' Treasury

Toilette and Work Table. Arthur's Home Magazine: Edited by T.S. Arthur and Miss Virginia F. Townsend, Philadelphia, January 1861

Dinner Dress, Of plain silk, with a broad bias fold of striped silk, ground color, same as dress, on the bottom, and a second narrow fold above. Wide sleeves, with narrow trimmings, same as skirt. Full, plain undersleeves, and collar to match. The style is neat and elegant.

Evening, or Party Dress, A robe of thin material, color to suit, flounced. Pointed waist, trimmed with Grecian folds. Our fashion artist shows, in this figure, a compression of waist, not only destructive of beauty in form, but also destructive of health. All attempts to improve that most wonderfully symmetrical of all forms, the human, result in a loss of both health and beauty. Waist compressions are among the worst of these attempts.

Chitchat Upon New York and Philadelphia Fashions,  Godey's Lady's Book and Magazine, January 1861

Our fashion-Plate naturally leads to a few more items on the subject of evening dress.

First, as to the width and shape of the skirt: "Ill-made, crinoline, worn under ridiculous or wretched toilets, had inspired some ladies who have a strong dislike to anything ugly or common, with a desire to diminish the fullness of dresses and return to the Greek or Roman tunics, but the change was soon found to be altogether impracticable;" is the flat of the Moniteur, to which admirable counselor we are also indebted for the following valuable suggestion as to the arrangement of the amplitude of evening dress draperies, on which their peculiar elegance so entirely depends:-

"To secure all possible gracefulness in ball dresses, the plaits at top are made wide and then doubled again, and without cutting the stuff to a point; but three points of gores are added at the bottom of the under skirt, one between the widths at each side, and one behind. These points make the lower part of the skirt spread well, and form a train. The front of the skirt is always made shorter to give freedom to the feet."

Again, as to the sleeve; the bell-shaped puff is quite as much in favor as ever; it is always becoming to freshness and youth. Where the arm needs more concealment, a puff and flounce, or two wide flounces may be worn, falling nearly as low as the elbow.

In material, the widest liberty of choice is given. For young ladies, thulle, white and colored crape, gauze, tarleton, and other diaphanous fabrics, are the most suitable. Still, the rich silks in stripes of contrasting  high colors, in moire, and particularly watered silks, in stripes of large and small waves, or brocaded silks with plain grounds, and Jacquarded figures, seem to be most sought after. They are more costly, but more enduring; they range in price from $4 to $14 and $15 a yard. We have seen one of plain Magenta and pure white, in stripes two inches wide, of oriental richness and lustre; the same may be said of many of the brocaded silks, especially where gold, scarlet, green, and crimson are brought out upon modes, black, mauve, or any plain decided ground.

Among the richest fabrics, however, velvet has regained its place, especially uncut velvet, or velours epingle; the rich shades of crimson and fuchsia colors, and, in fact, all prevailing tints are to be found. Velvet requires very little addition to its elegance. Rich lace is its most suitable ornament. We quote two French styles for making up velvets, which have novelty to recommend them:-

"An ornament on the sleeves of a very pretty nacarat velvet dress made by Mme. Bernard, one of our first rate dressmakers, should be noted. The ornament was formed by a broad gold band, and the body, which was high, was fastened by gold buttons. The skirt, quite plain and long behind, was eleven yards round.

"Another dress by the same maker was made of light peach-bloom velvet, with q plain skirt, a low body, short sleeves formed of large beret of velvet, arranged so as to leave at intervals, hollows, in which was seen a large puff of white satin. The body has draperies arranged contrawise, reproducing the ornaments of the sleeves, that is to say, in the intervals left by the waved plaits of the velvet white satin puffings were visible. This new fashion, which it requires the pencil rather than the pen to represent intelligibly, is most happily effective."

In a splendid ball given in Paris, one of Gagelin's Pompadour costumes, worn by a youthful bride of remarkable beauty, attracted much notice. This costume consisted of a skirt of green silk looped up in two places on each side by white and pink chicories forming ribbon. The front of this skirt, which was in the apron style, was white satin decorated with white and red roses. The body had a white and pink bertha, rounded behind, and beginning in front from the point of the body. The sleeves were white thulle. The headdress consisted of a white and pink chicory on one side, and accompanied by roses on the other, and two large white marabou feathers.

A charming ball cloak made of quilted satin, white outside and pink inside, with a milkmaid's hood, profusely trimmed with white and p ink chicories, served to complete this toilet, so fresh and youthful.

In the wedding outfit of the bride just alluded to, among the splendid articles of all kinds, many of which had been obtained from Gagelin's were two French cashmeres, such as had never been made before. Their colors, quite novel, are as lasting as those of India, and their patterns, absolutely unique, presented a wonderful relief.

It will be noticed that necklaces have now regained their old place in popular favor for evening dress.

For all light tissues, flowers or foliage in bouquets, wreaths, agrafes, etc., are the most suitable ornaments. A parne of flowers is often almost as costly as one of gems, and includes a whole set--wreath for the hair, bouquet de corsage, and sprays for the skirt of the dress. A parne of these fragile but exquisite ornaments often costs from $15 to $100, if ordered from the best French houses; but their delicacy is so exquisite as to outrival nature. They may be set in any form most becoming to the wearer. It is absurd to wear a coronal, when a drooping wreath is more becoming, merely because people tell you "round wreaths are the most fashionable;" our steel-plate illustrates this; and the best artistes mount a wreath for the face that is to wear it. We may notice among the infinite varieties of styles and blossoms a round headdress of convolvulus, with drooping branches all round, as well as the agrafes of the dress, which came from the celebrated flower manufactory of Tilman, 194 rue de Richelieu. Another headdress composed of China rose-color auriculas, divided into small tufts, accompanied a dress of China rose-silk. One, very light, was made of clematis and orange-bloom; it presented on the forehead a narrow but rounded cordon, which increased in volume behind. Another was composed of periwinkles, white lilac, and waxed orange-bloom. Both were master-pieces of taste. Bouquets to match, of an elongated form, were placed at the side of the waist. Mme. de Laere had also supplied a delightful coronet, formed of pale blue corn-flowers on the right, wheatears pointing upwards on the left, and behind, a large tuft of wheat-ears and blue flowers. Last of all one of cherry-color wild roses and white lilac, extremely fresh and graceful.

When the dress is of a heavier fabric, the ornaments for the hair, which are now so popular, in gilt, etc., are very suitable; also, headdresses combining velvet and flowers of the same material, velvet and gilt, etc.

For a dress of cerise and white, for instance, large cherry-color roses with fancy foliage, daisies, lilac velvet pansies and gold anemones. A large gold torsade encloses it on one side, and a bunch of white lilac hangs down on the other.

For a cherry-color dress covered with a white thulle tunic, a coiffure presenting a cherry velvet torsade fastened by three gold buckles, and terminated on one side by a tuft of white frizzed feathers, on the other by a large bow of two loops blended with another of gold cord, the two long tassels of which hung down on the shoulder.

Lastly, for two toilets of court mourning, the following headdresses:-

A baudeau of black and violet velvet powdered with gold stars and accompanied by two tufts, one very compact, of silk violets, and the other of black and violet bows mixed with gold threads. A torsade of wide mallow ribbon blended with black lace, and fastened at the side by an agrafe of wheat-ears in silver.

Plain dresses continue to be made of thick tissues such as druggets, terry velvets, and poplins.

Ottoman velour's is perhaps the favorite material for street dresses, and offers a sensible, suitable resistance, for once, to the mud and mire which last year fringed the rich floating flounces of costly robe silks. The corsage is almost invariably round, with a belt; the sleeves are often plain, slit up to a certain height, and buttoned behind the arm with large buttons like those on the front of the body. These buttons are continued down the front of the skirt in the cassock or Empress dresses, which are quite plain in front, and laid in wide plaits behind and at the sides.

The dresses of our best establishments spread out and fall in a peculiarly graceful manner, owing to a new arrangement most happily imagined. Another kind of sleeves is narrow at top without gathers or plaits, and wide at bottom with a turned-up cuff showing tide satin lining edged by a ruche. At the top of the arm there is a fancy shoulder-knot with tags. These shoulder-knots as well as the fourragires, the frogs like those worn b hussars, ornaments in the guipure style, badges and medallions made with the crochet, the fichus and berthas of the same kind mixed with jet, are all worn more or less on rich plain goods.

In our notice of Mrs. Scofield's bonnets the past month, an error occurred in the mention of the bridal hat. The ornaments were a barbe of rich blonde, a branch of orange flowers and buds, with a light plume of marabou to the right. A novelty in the  cap, was a Papillion (butterfly) in velvet and gold, on the right temple.

Short, full feathers - these butterfly ornaments, long grooved leaves in velvet the color of the bonnet - golden ornaments, macaroons in steel, pearl, and gilt, are among the chief ornaments of the velvet bonnets. The drawn brim in velvet, is one of the chief novelties, as, for instance, a royal purple brim, thulle cap crown, encircled by a wreath of purple chrysanthemums with golden centers. Velvet cape covered by a frill of blond. As to colors, fuchsia, rose des Alps, mauve, royal purple, pale and very deep green, all the clarets and maroons with deep blue, will be among the most popular. Of course the bonnets can be made as plain as desirable; one has infinite choice, and a person with good taste, may combine the best points of two or three in her order. The blonde cap is optional; brides of black lace, and plaitings of ribbon, or plaited bands extending fro the forehead to the cheek are substituted in many, and an attempt will be made to do away with the cap altogether. The satin linings, put on with a colored cord or piping, betokens this , and foreshadows the style of next spring's straws.

Our notice of Genin's furs must necessarily lie over another month, owing to the crowd of information accumulating at this season of the year

Fashion

Ladies' Treasury: An Illustrated Magazine of Entertaining Literature, education, Fine Art, Domestic Economy, Needlework, and Fashion, London, January 1861

So many parties are given at this festive season, that full dress continues to be the chief concern of the modiste. As "variety is charming," we shall add to the number of full dresses described in our last chapter a few more toilettes that are quite a la mode;-

A pale pink Chambery gauze dress, with an under skirt of pink satin. The dress has a pink bouillonnee at the bottom of the skirt, then two more bouillonnes waved at the edge, and at each festoon a bouquet of pink daisies. The low body has a drapery of pale pink taffetas crossed at the waist, and terminating in wide ends embroidered with fold or silver. A bouquet of pink daisies placed on each shoulder. The head-dress, a coronet of pink daisies.

A dress of amber tulle illusion. Towards the bottom of the skirt, bouillonnees in horizontal lozenges. The body has a berthe figured with gold; the head-dress is a kind of turban in tulle worked with gold, black velvet ribbon and gold wheat. This toilette would be particularly becoming to a tall brunette.

A three-skirted dress of white tulle spotted with gold. The upper skirt bordered with white marabouts caught up a equal distances all round with bouquets of the double-cherry blossom. The body has a bertha of tulle with gold spots; the head dress, a wreath of double-cherry blossom. This dress would become either a dark or a fair lady.

For a belle aux cheveaux dores, we recommend the following;- A dress of blue crape, with three white lace flounces. The body has a drapery of blue tulle bordered with white lace. The sleeves are trimmed to match the body.

A primrose tulle dress, with primrose bouillonnees put on in the fan shape, and separated by roulaux of primrose taffetas, The body is trimmed with primrose ribbon; it has bouquets of primroses on the shoulders. Roman pearls en diademe from the appropriate coiffure with this dress.

A dress of Magenta tulle. The skirt bouillonne towards the bottom; above the first skirt are two more, one above the other, drawn up at the sides by a wide ribbon fastened at the waist, and crossing under the top skirt, and in a large bow. A coiffure of white marabout feathers tipped with magenta.

Gold is much used to trim opera cloaks, which are of very ample dimensions this season. In our illustrations, figure 2 is in an opera cloak of crimson Cashmere embroidered with black velvet and gold. The dress is azure blue gauze over a blue satin slip. The head-dress is a wreath of convolvulus.

Figure from page 25

The shades of dresses, and also of bonnets, are somewhat somber this year, and black is in high favour; nevertheless, bleu de Chine has its partisans. This colour, though not light, has a pleasing degree of brightness about it.

Figure 1, in our plate, is in a cloak of velvet blue de Chine. It is trimmed with ermine. The bonnet is of Havanne satin, adorned with feathers of the same colour as the bonnet.

Figure 3 is in a cloak of chestnut-brown cloth trimmed with sable. The bonnet is of Magenta Turin velvet.

The pagoda sleeve is still worn, though the wide, open sleeves are not discarded.

Pointed bodies are still de bon gout.

The mixture of black and white is one of the remarkable fancies of the day. Thus, a stylish visiting-dress is made as follows;- The robe of black taffetas; the skirt trimmed en tablier, with five flounces piped with white, placed about in inch apart. Observe that the tablier is surrounded by a flounce trimmed to match the others. This flounce is very wide at the bottom, but it narrows towards the waist. Each seam of the skirt is piped with white, but, excepting the tablier, it plain. The high body is closed by buttons of black and white alternately. The sleeves are open up to the elbow, and are rounded with a white piping. We do not think this rage for the magpie mixture of white and black is likely to last; but among the novelties to be noticed is the black velvet bonnet quilted with white, and even black velvet mantles trimmed with white satin.

The paletot may now be made to fit slightly to the figure at the waist. Paletots of cloth or velvet may be trimmed with braid or narrow fur, and velvet cloaks look remarkably stylish trimmed with black guipure lace.

Bonnets are still worn high in front and very fully trimmed inside. We will describe a few:=

A quilted black silk, with a soft crown of Magenta velvet; blonde cap, with bows of Magenta velvet and black lace across the forehead; black ribbon-strings, with narrower ones of Magenta velvet.

A bonnet of eugenie blue terry velvet rimmed with a barbe of black lace. A plait of blue velvet across the forehead, with a large blush rose at the side; the strings of broad blue ribbon.

A bonnet of Solferino velvet, with a long, black feather falling across the crown. Inside, a blonde cap, with a diadem of velvet flowers corresponding in colour with the bonnet, and mixed with a ruche of black blonde.

The last bonnet we shall describe is made of violet velvet plaited with a soft crown of white royal velvet. The curtain is of violet velvet; inside, a bandeau of violet velvet is covered with blonde. The outside has to the left a plume of violet ostrich feathers. The strings are of broad white ribbon.

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