1836. German. knee-length single breasted blue wool coat
warn open, tight sleaves, large collar, and wide revers, full skirts. Single
breasted yellow waistcoat, shawl collar. White ruffle shirt, White and blue
spotted cravat. Fitted grey striped trousers. Black ankle boots, Grey top hat
yellow gloves, Walking cane.
1836 tail coat and trousers.
Black tail coat and pail grey trousers with foot straps. Matching grey spats cover his high buttoned shoes. His shirt has a frilled front. Over his collar he wears a grey cravat, tied in a bow. *
1836, Silk wedding gown, featuring a dropped shoulder emphasised by a scallop of embroidered sheer rising from the point of the bodice. The "Victoria sleaves" with puffs on the upper arms are decorated with white silk embroidery matching the embroidery at the skirts hem. *
|Paris gown of mousseline
by Mlle. Pierlett.
1828 - 1840: The Romantic Era
Skirts: straight, un-gored panels pleated or gathered into a waistband. Skirt becomes fuller towards 1840. Mostly unlined except for a wide band at the hem. Skirts are joined to the bodice and not separate.
Bodice: nearly always fastens at the back with hooks and eyes, or laced for evening. Waistline is at normal level with a straight band at the waist. Bodices are interlined and have boning at the CF, front darts and side seams (occasionally). Neckline is to the base of the neck, or with a wide scoop. Armholes are off the shoulder, nearly horizontal by 1835. Piping on all seams and edges. No CB seam, back cut on fold.
Sleeves: grow large until their collapse in 1837, when the fullness is banded down at the upper arm. Sleeves are lined and cut in one piece.
ęDeborah V. McKeown 1997