How old is that ladies' antique dress really? Date it easily!

This guide shows the general, simplistic differences between eras of clothing so you can make an accurate "guesstimating" of ladies clothing your grandmother wore. So, when you discover that special piece in the attic and wish to sell it on eBay you can confidently use this guide to help you make an accurate decision on the date, which is very important to collectors. Stating, "I don't know anything about clothing..." drives the price of your clothing auction substantially downward. It pays to know more about the clothing you are selling!

This guide has been a lifetime in the creating. As early as I can recall, I’ve been fascinated with history. Beginning at age thirteen, I’ve collected antique clothing, shoes and accessories, plus Victorian costumes to wear to costumed events...

Most authentic old gowns are made of naturally occurring "breathing" fibers such as 100 percent silk, cotton, linen, wool or a mixture of those. Thread is always naturally based silk or cotton, and usually has less strands interwoven in them than found today. Brass hook and crocheted eyes are more common for earlier or couture pieces, while some mid-Edwardian pieces will use snaps. Many early gowns required the wearing of a corset to round the waist and smooth the bumps while reducing the waist.

Sewing machines weren't well in use until the mid 1860's, so you will find many Civil War gowns feature both hand sewing and machine sewing. You will find whale bones in some 1860's- often becoming "feather boned" by 1915. Most gowns were not boned inside beyond then. Laces and buttons became fancier, larger and heavily in use by the 1880's. By the 1890's, fabrics were usually expensive.

Note: If your item has a zipper, rayon or polyester/ nylon fabric, plastic buttons, nylon lace, netting or Velcro, usually this is a sign of a costume (be aware- some costumes have a very authentic look to them.)or it may be a piece of clothing made later than the 1930's. It could have been heavily reworked to be worn at a later time, such as for the stage, or as a "fancy dress" for a reenactment or a tea. Being dirty, torn and age stained does not guarantee an item is old. Some antique gowns are still found in mint, almost new condition!

1800-1820's- Regency Period

Gowns of this period are usually sheer and made of natural fibers. Commonly found are gowns made of voile, muslin, nainsnook, organdy, silk, taffetas, and novelty fabrics in lighter colors. In this era, gowns were entirely sewn by hand- no machine stitching. Sometimes metallic threads were woven into the fabric or expertly executed embroidery was added. "V" shaped seams with no center seam was seen on backs until the 1870's. Sleeves are often a big clue to the age indicator of this era. Long, straight sleeves were worn in the daytime often with shoulder puffs, short puffed sleeves with gloves for the evening. A high waist and piped shoulder, waist and sleeve edges were predominately seen. Brass hooks and crocheted eyes and hand embroidered eyelet holes were common. Skirts were slightly "A" line and long, with little decoration. Shoulders and sleeves widened by the 1820's. Valenciennes lace and netted laces were becoming common, due to a machine that began to make "machined" laces.

Generally, Regency period gowns of this age survive better than many Victorian gowns. This is due to the lack of a fabric extender we call," Metallic salts." This addition was added to many fabrics chiefly in the 1880's- late teens, to extend fabric yardages for makers cheaply. Fortunately, this practice ended in the 20's as it was considered dangerous to the health, besides badly splitting fabrics in a short amount of time.

1820's-1830's- Romantic Period

In the Romantic period, gowns became increasingly darker in tone, while adding substantial width in sleeves and skirts became wider and shorter as to see the top of a shoe. By the 1830's sleeves became massive, and leg of mutton styles were "the thing." The skirt "natural" high waist dropped to the waist. Boatneck necklines became more common. Piping was still seen on edges. Brass closures and crocheted eyes were still used on the back. Skirts began to have more decoration and corded petticoats helped to make the skirts extend further. Ruching, self fabric flowers and diamond shapes were often used on skirts.

1840's-1850's- Crinoline Period

Gown sleeves tightened at the shoulders, and the shoulder fullness dropped to the wrists. Pleated "fan fronted" bodices became commonplace, with a pointed waist and some had opening fronts. Styles became increasingly simpler as bodices tightened. Cartridge pleating was used on the skirt fullness at waistbands. By the 1850's, many gowns were still made of pale voiles and organdy. Some had printed polka dots. Self covered buttons were often seen on the front. Silk taffetas were often seen in whites, gray, gold, iridescent green, pale tans, browns. Evening gowns sometimes had silk bodies and sheer sleeves. Silk fringes and trim were sometimes used. Silk satin and velvets were often woven together in stripes. Printed taffetas in flowers or stripes were a passing fad.

1860's-1870's- Burgeoning Bustle Period Skirt widths and oblongs became the rage in the 1860's, so flounced petticoats, crinolines and cages were mandatory. Ruffles, flounces and cascading laces were very popular. Bodices were form fitting, with dropped, piped shoulders, some with tiny caps. Dropped decollete's with pleated sashes were often seen. Black silk velvet trim was often utilized with Cluny or Torchon tatted laces. Aniline derivative tints were newly discovered, so new, vibrant, sometimes garish colors were seen on gowns. Brocades, velvets, silks, voiles, organdy, iridescent silk taffetas, bright plaids were the norm for the well to do. Printed cottons were often seen on less expensive or homemade gowns. Tiny buttons of self fabric, glass or even bone or carved wood were used. Whale boning was usually in the front darts of a gown if used at all. By the late 1860's, oblong gown trains were gathered in the rear to help prevent damaging them in Paris's wet streets.

The early 1870's signified many changes to women's clothing. Skirt fullness interest shifted into the back, for a bouffant, meringue type fullness over the next few years. Overdrapes with flounces became popular. Ruching was seen on fitted and boned bodices. More fabric was used then ever before. Voile and organdy gowns with flounces, ruched velvet flourishes and fabric roses accents were very popular.

By the mid 1870's, There is a seam separating the "V" in the back. Gowns became straighter and more natural during the decade. Often they were made of darker, serious jewel toned taffetas and silk velvets with large buttons and in princess lines and mermaid styles. Fullness concentrated on the back of the knees and mermaid gowns and polanaises (long bodices with hip fullness) and cuirass bodices (curvy, fitted bodices) with neckties and bows became the rage. These styles often required stiff underskirts with flounces over a long boned bustle to support the elaborately draped skirts.

1880-1890- Bustle Decline Period

The beginning of the '80's began the era of the changing skirt. Taffetas were seen often with printed brocades (or printed cottons for poorer folks) as contrasting panels. Skirts were straighter, more bustled in the high back, but without the lengthy trains. Much gathered ruching in large areas such as hips or on the front was used. Bodices were very fitted, boned and high on a mandarin neck, except for evening with plunging "V" necks, often only 3/4 length in the sleeves. The pleats craze began their love affair with the public. Much fancy lace dripped from edges and layers. By the mid 80's, somber taffeta and silk satin or velvet colors and simpler styles with large, aggressive bustles were popular. Beaded appliques' and glass pearls are used extensively. Lace is much less used, and the skirt becomes simpler, less tacked bustling on the rear. By 1888, trains are seen again, but became straight and long. Styles become very simple again by the end of the decade, seeing the beginnings of puffed shoulders.

By 1890, shoulders begin to expand, sleeves start to fill out. Bodices are still very fitted and tight, but often have inserts of contrasting fabric, silk and lace often with appliques. Wools and velvets are popular in jewel tones with light colored becoming popular silks for weddings. Black and somber, dark tones predominated the era. Blouse and skirt sets become enormously popular with wide, leg of mutton sleeves by 1895, and skirts flatten with only a small bustle but widen to an "A" line and become increasingly simple again. By 1899, shoulders slim down and drop to the wrists again, tightly fitted bodices become full at the waist. Colors become brighter again, and looped trims and frothy ecru lace become in vogue.

1900-1910.- Gibson Girl Period

Another big era of change. In 1900, gowns became feminine, less tailored. Soft and silky to the touch, with light, brighter colors such as white, ivory, dove gray, lavender, pale blue, yellow or all shades of pinks. Jewel reds, greens, blues, purples and blacks were also spotted, although less common. Gowns had plenty of lace, trims, beads, pearls, net, ruching, do-dads- you name it, they piled it on. Pigeon fronted bodices were fitted on the interiors with boning and under layers until 1905. Printed silks became popular with gauzes. Tailored styles became more fitted as the era progressed. Jewel tones became popular in wools, mercerized cotton, silks, wool with plenty of tucks, darts and buttons. Lots of white, lingerie lace gowns without lining were worn. Gowns were still long, but few had more to the interior than a waistband or a gossamer silk lining. As the decade progressed, some had foundations and others had none. Gathered belts and shoulder strapped lapels and bretells became a theme for many years.

The teens progressed into an experimental period, fabrics, fluid draping and style becoming more important than heavy fabric. Important makers used many silks, gossamers, laces and broadcloth with smaller snippets of other fabrics. Asymmetric styles with "V" necks became a sensation. Hobble styles left after only a few years due to impracticability issues. "Kimono" or raglan sleeves and a looser waist prevailed- dropping to the hip by decade's end. Skirt lengths became higher around the calves. Beading became commonplace with simpler, primitive embroider on large areas. Large pockets, sometimes flounced were seen on an "A" line skirt. Metallic details became a much sought after detail.

1920's- The Flapper Period

The early 20's often had sheer, gossamer silk georgette gowns (changing lengths from short to long and again in the decade.) with much in the way of large beaded areas or embroidered panels and smart use of drapeable charmeuse silks. There also was silk panne' or voided velvet gowns, self fabric flowers, fringes, metallic and bright embroidery, especially with Oriental themes. By the end of the decade, gowns were becoming more fitted at the waist with bias cling to the hip and often seen with fine belts and handkerchief hems. The next decade showed the rise of the glamor girl.

I hope my little guide has helped you to better understand the dating of ladies' fashion.