1838 American dress from the Kyoto Costume Institute. This sort of dress design strongly reflects the beauty and femininity idealized by the romanticism that was at its peak in the 1830s. Romantic artists perceived beauty and femininity in delicate female figures with pale skin and an air of melancholy. Their art tended to be idealistic, drawn to the mysterious, including figures with no physical reality, such as fairies and angels. 

Evening Dress c.1845 (unknown Country). In the 1840s, there was a preference for woven silk dresses with fine patterning and soft color tones, as if revisiting the Rococo style of the 18th century. The demand for modest, non-functional styles for women was influenced by the gender perspective of nouveau riche men (bourgeois). Such men saw work by women as a vice, and considered the paragon of womanhood to be living in a family under the protection of her husband. This perspective was embodied in women’s apparel of the period.


I briefly mentioned the book Pharaonic Egyptian Clothing (one of the few available surveys on, predictably, pharaonic Egyptian clothing) in my historical fashion master post some months ago, but I also mentioned that it’s out of print and a royal pain in the butt to get your hands on.

Seeing how I’m never one to selfishly hoard good reference (and I’m tired of checking it out of the library over and over again like I’m Belle or something), I finally scanned the whole damn thing and uploaded it HERE for you to download and peruse!

(point of note: this book was published in 1993 so there’s always a slim chance that some of this information might be considered out of date over the past twenty-odd years, but there are so few resources dedicated to the topic that I’m more than willing to take that chance.)

Enjoy, let me know if the link stops working, and go draw some historically accurate Egyptian people!  NOW.  GO GOGOGOGO.


Tea Gown, House of Worth

France, 1910

Met Museum

Every one knows that a tea-gown is a hybrid between a wrapper and a ball dress. It has always a train and usually long flowing sleeves; is made of rather gorgeous materials and goes on easily, and its chief use is not for wear at the tea-table so much as for dinner alone with one’s family. It can, however, very properly be put on for tea, and if one is dining at home, kept on for dinner. Otherwise a lady is apt to take tea in whatever dress she had on for luncheon, and dress after tea for dinner. One does not go out to dine in a tea-gown except in the house of a member of one’s family or a most intimate friend. One would wear a tea-gown in one’s own house in receiving a guest to whose house one would wear a dinner dress. 

Emily Post, Etiquette in Society, in Business, in Politics, and at Home, 1922.


A few photos of how my [horribly inaccurate] Chemise a la Reine looks when worn! There are a few problems with the fit but I still like it. I’m happy I managed to make a white dress without staining it horribly, that instantly equals success.

The dress is made from polyester shantung and blue silk taffeta. The material costs for it were around $20 and it was made over the course of a week.

I have two blog posts about the process of making it, which can be found here!


These photos are kind of old now, but it’s better to share them late than never, right? 

This is the finished Tudor ensemble that I spent six months working on. It was made entirely by me and I drafted most of the patterns myself. There are thirteen pieces to this costume and well over a hundred hours of work put into them.

I used silk dupioni, polyester jacquard, cotton gauze, velvet, organza, lace, and even a vintage napkin for materials. The jewelry and beading used hundreds of fake pearls and glass montees which were stitched on by hand.

It was quite the project! Hopefully I’ll get a better backdrop set up before the year is over and I can get some photos that do it justice. I also have a few alterations in mind (like the hem of the kirtle) which should improve the look.

I have write ups about every single piece posted here. And a video showing me getting into the ensemble, which can be watched here.

Silver, gold and iron sword from the Viking age discovered in Southern Norway.

The iron blade has rusted, but the handle of silver and gold is well preserved. It has some pictoral inscriptions not yet interpreted, it seems like a mix of Norse and Christian symbols, with circles, a cross and some Latin letters. It’s been dated to ca. 1030. Along with an axe and some coins, much points towards the sword’s owner being a wealthy warrior under king Canute. ( X ) ( X )