Dress

Around 1868, the volume of women's skirts tends to be gathered at the back, and the old circular crinoline is replaced by the bustle, concentrating the fabric behind the body to create volume from the waist down, with a profusion of ruffles, pleats and rushes, lace and passementerie trimmings. This mass of material and ornament was supported by the bustle, a ribbed structure attached to the waist and projecting behind. To increase the volume, skirts emulated the gown à la polonaise of the eighteenth century and also imitated the drapery of heavy curtains — the so-called tapisserie or drapery dress.

In this model, two balloon drapes hang down over the skirt, one in front and the other behind. In order to enhance the effect, the front drape is tied with a large burgundy bow. Around 1885 the bustle was a small iron frame with cushions, or a cushion of cotton padding to give volume, and was combined with a tight corset to round the silhouette. The train of an elegant evening dress extended the figure with ruffles and bows. Over the dress a mantle or dolman or coat with sleeves was worn, tailored to the body, in place of the previously fashionable capes and shawls. Elaborate hairstyles had the hair fall at the back like the trains of the dresses.

In the dress the flattened torso is tightly compressed to the minimum and covered by a long bodice with whalebone stiffeners, padded over the breast, with a row of tiny buttons in front. The straight skirt is decorated with bands of black machine lace, in contrast to the grey check of the dress. The lower edge of the bodice is also trimmed with black lace. The skirt ends with a ruche of the same fabric around the hem. The collar and cuffs are in maroon silk velvet.