The Evolution of Fashion

by Florence Mary Gardiner

PRINCE ALBERT AS EDWARD III.

Prince Albert, as Edward III., wore a costume copied from the effigy of that king in Westminster Abbey. It consisted of a long tunic of gold and blue brocade, reaching to the ankles. The collar, which fitted close round the neck, was bordered with purple velvet, thickly studded with jewels. The tunic, which had an opening up the centre to the height of the knee, was bordered and enriched with jewels to correspond with the collar, as were the wristbands. The hose were scarlet, also the shoes, which were embroidered with gold. Over the tunic, His Royal Highness wore a mantle reaching to the heels, composed of the richest scarlet velvet, bordered by a broad gold figured lace, set on each side with large pearls. It was lined with ermine, and connected across the breast by a band of purple velvet, studded with diamonds, rubies, and emeralds, and in the centre was a turquoise of immense size and perfect colour. The band was fastened to the mantle on either side by a massive gold ornament enriched with precious stones.

QUEEN VICTORIA AS PHILIPPA, WIFE OF EDWARD III.

Her Majesty the Queen as Philippa of Hainault, wife of Edward III., was attired in a demi-trained skirt of crimson velvet, edged with miniver. Over this was worn a surcoat of blue and gold brocade, trimmed with fur to match, and embellished with a stomacher of jewels valued at £60,000. The other portions of the costume were also studded with jewels. The mantle was of gold brocade, with a floral design in silver. The hair was encased in a gold net, enriched with precious stones, and was surmounted by a crown.

Princess Augusta of Cambridge personated Princess Claude, daughter of Anne of Bretagne, Queen of France. Her dress of silver tissue was bordered with ermine, and the tunic was of light blue velvet, worked with the fleur-de-lis in silver. The low bodice was bordered with diamonds. The sleeves of silver tissue reached to the wrist, and were trimmed with rows of pearls. The gloves were jewelled, and a white tulle veil with silver embroideries depended from a turquoise and pearl diadem. By Her Majesty's command, her own dress, that of Prince Consort, and most of the costumes worn at this ball, were manufactured by the silk-weavers of Spitalfields.

For the second royal ball in June, 1845, the period of George II. (1727-1760) was selected, and 1200 guests were invited. The Queen looked extremely well in powder, and her dress is described as of cloth of gold and cloth of silver, with daisies and poppies worked in silk, and shaded in natural colours. The trimmings and ruffles of exquisite point lace—had belonged to Queen Charlotte—and the stomacher was trimmed with lace and jewels. The sacque was ornamented with ribbons, caught with diamonds. On the powdered coiffure was a diamond crown; Her Majesty's white shoes had red rosettes with diamond centres, and she wore the star and ribbon of the Order of the Garter. Prince Albert had a costume of the same period, with the Star of the Garter, and the Order of the Golden Fleece in brilliants. The Marchioness of Douro, the Duke of Wellington's daughter-in-law, was the acknowledged belle of this ball, and wore £60,000 worth of diamonds. Miss—now the Baroness—Burdett Coutts was also present, her dress trimmed with jewels once the property of Marie Antoinette.

In 1871 the Princess of Wales attended the Waverley Ball at Willis' Rooms, with several other members of the Royal Family, and was much admired in the character of the ill-fated Mary Stuart. On July 22nd, 1874, a fancy dress ball was given by their Royal Highnesses the Prince and Princess of Wales at Marlborough House, for which some beautiful costumes were prepared. The Princess wore a handsome Venetian dress, and danced in the first quadrille with the present Duke of Devonshire. The Prince in a Cavalier costume opened the ball with the late Duchess of Sutherland. The chief costume quadrilles on this occasion were the Venetian, the Vandyck, Characters in Fairy Tales, and a Pack of Cards.

Another historic bal costumé was given in February, 1895, at Warwick Castle, by the Earl and Countess of Warwick. No more fitting background for such a function can be imagined than this stately mansion, which has been a centre of hospitality for countless generations, but has never been presided over by no more gracious and popular châtelaine than the present Countess. Lady Warwick looked very beautiful as Marie Antoinette (the consort of Louis XVI. of France) in a petticoat and corsage of exquisite English brocade, with a design of shaded roses, enriched with gold thread on a pearl-coloured ground. The train of royal blue velvet, embroidered in gold thread with the fleur-de-lis, was attached to the shoulders by a band of diamonds; and the Warwick jewels, diamond stars, were arranged on the corsage veiled with gold flecked gauze, which was also employed for the puffed sleeves. Her elaborate white coiffure was surmounted by a white muslin cap edged with blue velvet and adorned with diamond aigrettes and plumes of pink, white, and blue feathers. Lady Marjorie Greville (the only daughter of Lord and Lady Warwick) with Miss Hamilton acted as train-bearers. They wore the daintiest white costumes of the period, composed of broché silk, with fichus of white chiffon, and silk hats trimmed with feathers. Each carried a long crook tied with white ribbons and bunches of flowers, and the effect was charming. The Earl of Warwick wore a French Court costume, the coat of ruby velvet profusely trimmed with gold lace, white cloth cuffs, and revers. The long white kerseymere waistcoat was braided in gold, and the white knee-breeches and low shoes were ornamented with diamond buckles. The Earl's wig, a la mousquetaire, was tied with a bow of black ribbon, and he carried a tricorne hat with white ostrich plumes, and white gauntlet gloves. Lady Warwick's two sisters, the Duchess of Sutherland and Lady Angela Forbes, represented Marie Letzinka, consort of Louis XV., and Lady Mary Campbell. The former wore a magnificent gown of white satin de Lyon. The skirt embroidered with a flight of swallows in silver and crystals, a deep bertha of Point de Flandre, with ruffles of the same on the short sleeves. The train of crimson velvet was embroidered with the French emblem, and Her Grace had a stomacher of splendid diamonds. Lady Angela Forbes' dress was of white muslin, with a blue sash, and picturesque hat of turquoise silk, trimmed with feathers and roses. Princess Henry of Pless, as la Duchesse de Polignac, had a dress of rich white satin, the skirt embroidered 18in. deep, with turquoises and brilliants, a powdered wig, and the same jewels in her hair. Lady Eva Dugdale, sister to the Earl of Warwick, and lady-in-waiting to Her Royal Highness the Duchess of York, wore a Louis Quinze white satin dress, covered with pink roses, corsage en suite fastened with large diamond ornaments. A silver trellis pattern was worked round the hem of the skirt, and white silk mittens and shoes completed the costume. Lady Rosslyn chose a white embroidered muslin petticoat, the overdress of pink and red striped silk, fichu and ruches of black lisse, and a picturesque hat. Lady Flo Sturt, as Madame la Marquise de Pompadour, was in rich cream satin, with bodice and sleeves of antique lace, and stomacher of diamonds. A black satin toque, with aigrette of diamonds, contrasted well with the white wig. Count Deym, the Austrian Ambassador, was in English Court dress. Prince Henry of Pless, in mousquetaire costume, represented the Vicomte de Bragelonne. The Duke of Manchester was in white satin breeches, waistcoat to match, bordered with gold, and coat of white and silver brocade with moss roses and foliage.

The scene inside the Castle was one of unparalleled brilliancy, while those who glanced from the mullioned windows saw by bright moonlight the Avon frozen, the ancient cedars glistening with frost, and the surrounding country wrapped in a snowy mantle. The entire ground floor of the Castle was thrown open, and no pains were spared to give as complete a representation as possible of the gorgeous fêtes which made the Court of Marie Antoinette famous throughout Europe. The finest spectacle presented itself when the guests assembled at supper in the oak-lined hall, where the light of a thousand candles was reflected in the bright steel armour which surrounded the walls. Several high screens, hung with Beauvais tapestry and shaded by huge palms, filled the angles of the hall, and the stone walls were partially concealed by yellow and silver embroideries. In the huge fireplace logs crackled, and on small round tables were placed silver candelabra with crimson shades and floral decorations, consisting of scarlet geraniums and maiden-hair fern. The centre table was reserved for Marie Antoinette and her Court, and here was the choicest display of family plate, including, amongst other valuable specimens of the goldsmith's art, a golden cup modelled by Benvenuto Cellini. From the hall you entered the Red Drawing room, which contains a marble table, inlaid with flowers and fruit, and formerly the property of Marie Antoinette. Next is the Cedar Drawing-room, used as the ball-room, on whose walls are many family portraits and other paintings by Vandyck; the remainder of the suite of State apartments were used as withdrawing-rooms between the dances; and at the opposite end of the Castle is the Library, the Billiard-room, and the Countess's lovely Louis Seize Boudoir, in ivory tints, with festoons of delicately-shaded flowers.