Fancy Dresses Described

“But what are we to wear? This is the first exclamation on receipt of an invitation to a Fancy Ball, and it is to assist in answering such questions that this volume has been compiled”. The fourth edition of Ardern Holt’s “Fancy Dresses Described” is a book published in 1887 that contains an extensive selection of dress descriptions as well as color and black and white illustrations.

Background

About the Author

Ardern Holt was a British writer of the late 19th and early 20th century who wrote columns on society and fashion, primarily for Queen magazine.

Historical Context

When Victorian ladies of society were invited to Fancy Dress Balls (Costume Parties), they would review the contents of this book and select a costume for the evening.

Tradition of Costume Parties

During the 19th century, costume gatherings extended beyond Halloween parties. Particularly in the late 19th and early 20th centuries, "fancy dress" soirées were immensely popular and held year-round. Hosts organized elaborate parties or balls where attendees were expected to dress in costume, occasionally adhering to historical or modern motifs, or simply requiring any costume. These gatherings often became the highlight of the social calendar and were extensively covered in newspapers and periodicals.

Naturally, when a monarch initiates extravagant costume balls, it's logical that other elite individuals would emulate this trend. Consequently, costume balls became a prestigious avenue for a society hostess to assert her status and leave an impression, with numerous events documented in local newspapers. The season extended over a considerable period, prompting attendees to frequent as many costume balls as feasible, aspiring to gain access to the upper echelons of society. It was common for attendees to alter their costumes for each ball, aligning them with the specific theme of the event.

During that era, there were no Halloween stores springing up nor pre-packaged costumes readily available in standard sizes for last-minute purchases. Costumes had to be crafted from scratch, and given the desire to make a striking impression at the season's premier event, considerable effort was invested in each fancy dress ensemble. To aid individuals in their pursuit of the ideal costume, various publications provided comprehensive descriptions of concepts along with instructions for achieving the desired appearance. "Fancy Dresses Described" by Ardern Holt was particularly renowned, being reprinted multiple times during the 1880s and 1890s due to its popularity.

Debenham & Freebody

Debenham & Freebody is noted as being the publisher of Fancy Dresses Described. Debenham & Freebody, a traditional British department store, can trace its origins back to a draper's business founded in 1778 in London. Initially established as 'Clark and Debenham' in 1813 through a partnership between William Debenham and Thomas Clark, the store evolved over the years. After Mr. Clark's retirement, William Debenham was joined by his son William and his brother-in-law Clement Freebody, leading to the business being renamed 'Debenham, Son and Freebody' in 1851. Following William Sr. 's retirement, the enterprise adopted the name 'Debenham and Freebody' in 1863.

The original London draper's shop underwent a significant transformation in 1905, becoming the first of over 60 nationwide department stores. By 1935, Debenham and Freebody had established a reputation for offering fashionable model gowns, emphasizing their commitment to “Distinction in Dress at Moderate Cost” in their advertisements.

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  A postcard showing Debenham & Freebody department store in London, circa 1905

Usage

This book contains no marginalia, which allows for the assumption that this book was not one that would be read as a novel, but rather browsed as one might use a catalog. Absence of markings in this book suggests that, within other editions, individuals may have resorted to dog-earing pages. Despite being characterized as a catalog, it distinguishes itself from disposable magazines. Positioned as a frequently utilized resource for a broad audience, defacement appears inappropriate. Moreover, its systematic organization in alphabetical order facilitates effortless section location, further discouraging the inclination toward marking or dog-earing pages.

Since this book was published by a Department Store called Debenham and Freebody, it can be assumed that it was kept at the store in a dress making shop for easy access browsing for customers that wanted a dress made for a ball.

Material Analysis

The cover of this book is made of thick cardboard and covered with a piece of blue paper that would be used decoratively to give the book an elegant feel. Over the endpaper, one can see this blue paper folded under it seemingly wrapping the cover, as one would wrap a gift. On the cover, the lettering is embossed with a gold foil. In looking at the pages, there are gatherings, such as F1, F2, F3… until 8. This book is a codex and is an octavo, there are gatherings of 8. The object is bound and is a more recent book because it is bound in gatherings and the covers are made of cardboard while the pages are made of paper. Additionally, on the endpage, there is a little sticker that says “Bound by Wynman & Sons 74&75 Gt Queen ST W.C.”

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  Cover of Fancy Dresses Described by Ardern Holt

Images/Chromolithography

Within the book there is a distinction between colored and uncolored illustrations. The uncolored illustrations are printed in a sepia tone and they are printed on regular paper as the written text (printed in black) is. However, the colored illustrations are very unique in that they are printed in very bright colors and have extremely intricate details. The color illustrations differ because they are printed on much thicker paper and the side they are on is textured. These illustrations are produced by "chromolithography".

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  Costumes in categories that begin with the letter "N"

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  Italian Peasant Costume

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  Hornet Costume

Textual Analysis

Paratext

At the start of the book, there's a section called "Preface." This book is the fifth edition. Within the introduction, a statement reveals the rationale behind this new edition: "The fourth edition of Ardern Holt's 'Fancy Dresses Described' being exhausted, we have made arrangements for the publication of the Fifth Edition with such corrections as experience dictates, and a very large addition to the number of characters detailed." The term "exhausted" carries nuanced implications, suggesting that the array of options presented in the fourth edition may have been insufficient. Moreover, the cyclical nature of fashion and its intertwining relationship with costume, further support this notion of "exhaustion". Fashion trends evolve, rendering previous styles obsolete or less desirable. Hence, the exhaustion of the fourth edition could imply that the dresses delineated therein may have fallen out of vogue or relevance. Conversely, the emergence of a fifth edition suggests a refreshment of options, potentially featuring attire that aligns more closely with current tastes and trends at the time. Thus, the concept of "exhaustion" not only underscores the need for new content but also hints at the dynamic nature of fashion, wherein popularity and relevance constantly fluctuate.

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  Preface of Fancy Dresses Described by Ardern Holt

Body Text/Navigation

In "Fancy Dresses Described," alphabetical order serves as the backbone of organization, providing readers with an efficient means of navigating the catalog of imaginative attire. This methodical arrangement begins with the "List of Illustrations," meticulously divided into two categories: "Coloured" and "Uncoloured." Within these sections, the names are neatly arranged alphabetically, offering readers a clear path to their desired references.

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  List of Illustrations

The importance of alphabetical order becomes even more evident in the absence of a comprehensive table of contents beyond the "List of Illustrations." Instead, the introduction sets the stage, emphasizing the book's purpose: to address the perennial question of "But what are we to wear?" at Fancy Balls and similar events. This introductory passage underscores the practical utility of the volume, positioning it as a trusted resource for those seeking inspiration for their attire.

As readers delve into the content, they encounter a structured layout where each turn of the page unveils a new visual and textual representation of fanciful attire. The alphabetical organization facilitates seamless navigation, enabling readers to swiftly locate specific characters, themes, or places relevant to their costume aspirations. Whether one seeks inspiration from historical figures, literary characters, or thematic concepts, the systematic arrangement ensures accessibility and ease of use. This catalog-like functionality aligns with the needs of its target audience, primarily ladies preparing for extravagant events where attire serves as a form of self-expression and social currency.

In essence, alphabetical order serves as the cornerstone of organization in "Fancy Dresses Described," empowering readers to navigate its contents with precision and efficiency. By adhering to this methodical arrangement, the book transcends its role as a mere publication, emerging as an indispensable tool for those embarking on the exhilarating journey of costume selection for grand occasions.

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  List of Illustrations