See how dress styles have evolved from the 1600s to the 1990s
The intricate lace and structured bodices of the 17th century give way to the more relaxed and flowing lines of the 18th and 19th centuries, culminating in the bold and diverse styles of the 1990s.
Each era’s fashion reflects its unique cultural and historical context, offering insight into the lives and times of its people. Scroll on for a comprehensive look at the most iconic dress styles in fashion history — where the fabrics, colors and designs of each decade paint a vivid picture of the past.
Dress styles of the 1600s
1640
A Dutch lady of New Amsterdam, wife of a patroon, about 1640. Her gown is of crimson silk with a pointed bodice, low neck and full slashed sleeves showing white undersleeves beneath. The ruff and cuffs are of lace starched and wired. A fold of soft lawn edged with lace finishes the bodice in front, held in place by a rosette of ribbon, or a jewelled brooch.
An over-garment, the predecessor of the samare, of a woolen fabric, fitting in at the back and confined by a ribbon at the waist, opens down the front. It has full open sleeves tied with ribbons at the elbow.
The hair is worn in a knot at the back and in short wavy locks in front with a fringe of short curls across the forehead.
1680s
Figure represents a lady of quality in the fashionable dress of William and Mary’s reign. Her gown is of rich silk trimmed with pretintailles, or patterns cut out and laid on in rows across the petticoat.
The flounce is edged with gold lace, also the gown which is looped back to show the underskirt. The stomacher is stiff and high; the sleeves loose, ending below the elbow with full ruffles of lace to match the commode headdress, which has long streamers down the back. The hair is worn low and in soft loose curls on the forehead.
1685
This plate represents a soft brocade gown which was brought from England to the Barbados Colony in 1685 and has been lent to the writer by a direct descendant of the owner. It is looped back over a satin petticoat, originally white, but mellowed by time into a rich ivory tint, and trimmed with two flounces of lace.
The sleeves of the low-cut bodice are short and fin-ished with a fringed gimp of the prevailing soft red colour of the brocade. The stomacher is trimmed with graduated bows of ribbon in the fashion called ” echelles. ” The undersleeves of fine lawn are finished with lace ruffles to correspond with the falling band or collar.
The skirt of the gown is quite long in the back and is looped at the hips with knots of ribbon; it is laid in plaits around the waist and sewed to the bodice which is fitted close to the figure.
In that period, the hair was drawn back softly from the face, and two curls hung down on the shoulders from the knot at the back.
Dress styles of the 1700s
1711
A Colonial costume of George I’s reign. The original gown is now in the National Museum, Independence Hall, Philadelphia. It is of yellow damask silk and looped back with narrow braid and buttons. The bodice is trimmed with ruchings of the material pinked, and the edges of the skirt are finished in the same way.
The hooped petticoat in the picture is of white satin, and the slippers match the gown. The hair is arranged in a low pompadour without powder, which, though occasionally worn with court dress in England, was not in general wear for women until 1750.
1725
An everyday Colonial costume worn in Massachusetts about 1725. It is made of fawn coloured moire camlet, and opens over a stiffened petticoat of durant. The ruffle of an under-garment of fine linen with knife-plaited sleeves turns down over the dress at the neck like a falling band.
The original gown is exceedingly interesting as a specimen of the ordinary attire of the period. The hat worn over a ruffled cap was the popular style of that time, made familiar to us in the pictures of Hogarth and others.
1735
A Colonial gown of kincob, a very rich brocade imported from China. The original dress was owned by a sister of Governor Hancock of Massachusetts, Mrs. Whittington Allen. It was evidently made to wear over a large hoop (about 1735) and clears the ground. The stomacher is of white silk richly embroidered, the sleeves reach to the elbow and are finished with full pinked ruffles graduated so that they hang long in the back and are short in front.
The back of this beautiful old gown is made with two large box plaits which hang out over the hooped skirt. It is of the style popularly termed a Watteau sacque and very fashionable in the Colonies from 1720 to 1776. The front of the skirt is made of two breadths of the kincob tied round the waist over the hooped skirt. The coiffure on this figure, known as French curls, was very fashionable at that time.
Shoes match the gown, they have high heels and straps of the brocade pulled through handsome buckles. A strap of wide silver galloon runs up the front of the shoe and at the back from heel to counter; see first pair of slippers in Figure 262.
1740
A Colonial gown of [blue] taffeta worn by Mrs. Wilimina Weemys Moore in Philadelphia about 1740 and lent for this book by a direct descendant. It is trimmed with ruchings and flounces of the material pinked. The bodice is laced in front over a white stomacher and is made without box plaits in the back (see Figure 174).
The hair in the picture is copied from a contemporary portrait and is not powdered. As in Figure 196, the front of the skirt is separate and fastens round the waist over a hooped petticoat, evidently with a view to wearing a variety of combinations, for in the case of the kincob gown there was a white satin front to alternate with the kincob front.
1750s
Shows the back of Figure 204 (pg. 216, uncolored), a charming specimen of the fashionable Watteau of George II’s reign. Between the nosegays of lilac, yellow, and red flowers, a small brocaded bunch of daisies is seen in the original material, of the same colours as the silk (soft fawn), too small to be reproduced in the picture, but adding to the rich effect of the costume.
1760
A house costume of light blue lutestring. The bodice is cut low in front and finished with tabs below the waist. The sleeves fit close to the arm and curve around the elbow; they are finished with a graduated ruffle of lace. This gown was worn by Mrs. St. Clair about 1760. The muslin cap and fichu are taken from a contemporary portrait.
1760
The white satin wedding gown of Mrs. St. Clair, who was married in 1760. It is made like the blue lutestring and trimmed with lace in festooned flounces, or falbalas, edged with silver gimp according to the prevalent fashion. ‘The powdered hair is copied from a contemporary portrait by Copley. A back view of this gown is given in Figure 218 (pg. 224, uncolored). The blue dress is just like it. These gowns are still owned by a direct descendant of Mrs. St. Clair.
1777
Costume of the prevailing French fashion so popular in the early days of our Republic, 1777-1779. The gown is of flowered silk or lawn looped over paniers; the underskirt of a plain colour, trimmed with a box plaiting of the same. The bodice is pointed sharply in front and laced with a silk cord through eyelct holes. In the back it is cut round about the waist without a point. The hair—still powdered in full dress—in this picture is arranged over a high cushion and finished with an embroidered muslin head-dress arranged like a turban and caught with a bunch of artificial flowers.
1780s
The polonaise gown emerged as a popular fashion choice in the 1770s, characterized by its form-fitting bodice and a distinctively designed skirt. The back of the skirt was artfully gathered into three puffed sections, showcasing the petticoat beneath.
This gathering effect was achieved through various means: most commonly, a system of small rings sewn within the skirt allowed a cord to thread from the bottom hem to the waist. In other versions, decorative ribbon ties were employed, often resulting in ornamental bows.
Some designs utilized a simpler approach, with cords fastened to the dress’s inner waist and looped over external waistline buttons. The bodice’s structure was supported by stays, similar in design to those used with the robe à la française, ensuring the gown maintained its shape and elegance.
1780s
Between 1720 and 1780, women exuding a flirtatious charm were striking figures in robes à la française and robes à l’anglaise. The robe à l’anglaise was particularly noted for its fitted back, a style inspired by English fashion.
Its design — a funnel-shaped bust leading to wide, rectangular skirts — drew inspiration from Spanish fashions of the 1600s, featuring ample fabric adorned with the intricate, flowing designs of the Rococo period.
These gowns often featured open-front skirts to display elaborately decorated underskirts, supported by panniers made of padding and hoops crafted from materials like cane, baleen, or metal. Robes à l’anglaise stood out for the exquisite fabrics, precise fit at the back, and the creative and varied skirt decorations or robings, showcasing a wide range of artistic expression and design creativity.
1790
A muslin gown made with flowing skirt and a long-sleeved bodice. Kerchief is very bouffant and tucked into the dress in front. The large hat is of blue silk faced with green and has a soft puffed crown. The hair is powdered lightly after the fashion called ‘‘mouse colour,” and hangs in the loose curls which were extremely fashionable at the time (1790) both in Europe and America.
1790s
A mauve crépe gown trimmed with groups of tucks and a fold of silk of same colour inserted between, The head-dress is from a contemporary picture. The history of Mrs. Sartori, the owner of this dress, is given on page 274.
1790s
Muslin dress trimmed with tambour embroidery, worn by Deborah Logan of Philadelphia, 1797. The original dress may be seen at Stenton, Philadelphia.
The pictures on this plate are all from original garments lent for this book.
Dress styles of the 1800s
1803
This dress, dating from around 1803 to 1807, showcases purple silk satin, beautifully embroidered with a floral design in shades of green silk.
The embroidery is further enhanced with gold-colored metal spangles and features the couched technique — a style of embroidery where threads are laid on the fabric’s surface and then secured with small stitches, adding depth and texture to the design. This technique allows for the creation of intricate patterns, contributing to the dress’s exquisite detailing and historic elegance.
1810
A cotton and wool dress with a space stylized pattern in orange on cream
1818
A brown cotton dress with a stylized floral pattern in cream
1820s
A striped silken brown and rust visiting dress
1830s
Red silk moire evening dress or party dress with a modest neckline and long puffed gigot sleeves
1841
A brown striped silken gown from the early 1840s
1852
An 1850s afternoon dress with a dark green silk floral fabric
1859
Multi-tiered silk dress in tan with fringe and floral embroidery
1860
Purple multi-tiered party dress from the early Civil War era, as drawn for Godey’s Lady’s Book.
1867
A post-Civil war blue silk dress with pearl buttons and puffed sleeves.
1868
This green silk dress from 1868 features fringe detailing and represents a period of transition in fashion. It is designed with a corseted waistline positioned high on the rib cage, creating a distinctive silhouette.
The arms influence the dress’s proportions, with lowered shoulders that slope down, shaping the torso into an almost diamond form at the back. The “coat” sleeves, characteristic of the 1860s and notable for their widened elbows that extend to or below the waist, offer a striking visual contrast to the elevated waistline.
1870s
A red silk dinner dress from the late 1870s with beaded trim
1879
A rust and peach American dress made with two different fabrics
1880s
A red silk dinner dress crafted by Mme. Grapanche epitomizes the height of the bustle’s fashion in 1885, where it reached its largest extension, almost perpendicular to the wearer’s back and lavishly padded. The bustles of the 1880s, reminiscent of the era’s drawing-room hassocks, were heavily padded and adorned.
There was a whimsical notion that these bustles’ cantilevered structures could bear the weight of a full tea service. To accommodate the heavier gowns of the 1880s, designers developed lightweight, yet sturdy infrastructures using flexible materials such as wire, cane, and whalebone, secured with canvas tapes or encased in quilted channels.
1885
This pale blue and cream silk and feather evening dress from 1885 showcases the peak of the bustle era, a fashion evolution that saw its origins in the modest back protrusions of the late 17th and early 18th centuries, gradually becoming more pronounced into the Victorian era.
Initially appearing as added fullness at the rear of skirts in the late 1860s, the trend evolved with skirts tightening around the thighs and bustles expanding with supports like horsehair, metal hoops, and down.
The late 1870s and early 1880s marked a shift towards more elaborate bustles, resembling a shelf at the back, adorned with trims, beadwork, and bows, culminating in a distinctively feminine silhouette that set the stage for the S-curve silhouette transition post-1889.
1890
This dress, made from silk and linen in 1890, reflects the 19th-century fascination with historical revivals. Its long puffed sleeves draw inspiration from Elizabethan times and early 19th-century fashion. The garment’s one-piece design suggests it was tailored for formal home receptions, embodying the era’s blend of past elegance with contemporary style.
1895
An elegant beige silk moire dress with a leaf and floral pattern
1901
A modish two-piece costume showing in a development of blue cloth of summer weight, with fancy taffeta for caring the fronts, and Aiglon collar and folds of the material and pipings of white for trimming. The five-gored skirt flares prettily at the foot, the flare being emphasized by a circular flounce.
Dress styles of the 1900s
1901
Left: A ladies’ shirtwaist and skirt om green Swiss taffeta, along with ribbon and all-over lace over silk. A yoke was extended to form a vest.
Right: A ladies’ waist skirt using tucked and pain crepe de chine in one of the pastel hues of heliotrope combined in this gown with cream-colored applique and white lisse tissue, a narrow black ribbon giving a touch of distinction.
1913
Left: Rose-colored silk and chiffon dress with a gathered shirt with a slightly raised waistline. Right: Lace and rose-trimmed dress of green silk and chiffon. Designs by Mayr Anderson Warner & drawings by M E Musselman in Ladies Home Journal
1913
A summer dress with three-quarter sleeves and a soft collar.
1915
Women’s fashions from December 1915, as seen in the Delineator magazine
1919
Asian-inspired floral dress as seen in the Delineator magazine.
1922
Orange and white flapper-style dress from June 1922
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1931
Actress Joan Bennett in a long dress with a matching sequined cape
1936
Actresss Danielle Darrieux in a silky pleated dress
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1947
Kerrybrooks dresses from the 40s. Left: Bivb-front suit of woven stripe seersucker with a cross-striped bib effect and jacket with fitted back.
Middle: Gingham and eyelet 2-piece outfit with a green checked gingham shirt.
Right: Smart cotton suit featuring a jacket with a vertical striped panel front, and horizontal stripes at the side and back. Ruffles down the side, and bold embroidery at shoulders.
1949
Two-tone full-length orange and cream gown by Joseph White
1959
A charming warp-printed taffeta dress topped with a mauve wool and mohair coat. Note the turquoise taffeta lining edged with a blue velvet ribbon. From a Vogue design pattern, as seen in Ladies Home Journal. Shoes by Ben Sommers.
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1959
Lanvin coat of palest coral tweed lined with pale honey-colored silk shantung. The wide shoulders, back with a pleat and a bow make a prophetic silhouette.
The slim two-piece dress to match the lining has a wide needlepoint belt in beige and white wool with a Wedgwood design. Cartier gold earrings and bracelets.
1960
A striking combination of a voluminous golden yellow cape paired with a fitted, strapless white gown, worn with long white gloves. The cape drapes elegantly from the shoulders, flowing into a regal train.
The gown underneath is sleek, with a ruched bodice that highlights the waist and gives way to a gently flaring skirt, suggesting a blend of opulence with timeless style.
1960s
Purple Givenchy designer dress
1963
Sheer nylon aqua blue tricot dress with front shirring. V-shaped in back with two floating panels. Worn with white elbow-length gloves. From Sears.
1964
Printed and pleated dress with a rope-tie belt and a back zipper, and a striped shirtwaist, coat-dress style with a triple-cluster pleated skirt.
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1965
Rikki of Sport cotton velour dress with a pattern inspired by the Arabian Nights and was said to be “enchanting as the sound of Oriental music.”
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1967
Two Vogue pattern designs and Malcolm Marshall’s fabric designs. Left is a long-sleeved dress of black silk surah swirled with white, worn with a Halston hat.
On the right, a long dress in a flowing yellow and white geometric print on silk surah swirled with white. Bracelets by Charles Elkaim.
1970
For a summer’s elegant occasions and a beautiful feminine look, a long floral print with jewel trim at the neckline and waistline. Simplicity pattern. As seen in Ebony magazine (April 1970).
1973
Beautiful bare-back dresses from Sears. Left: Long dress with halter-style bodice that ties at back neck. Adjustable drawstring ties at front waist; back waist is elasti-cized. Antrona nylon jersey in a bright multicolor floral print on orange.
Middle: Long dress with camisole-bod-ice has softly shaped inner bra. Shoulder straps adjust via buttons; lacing in front adjusts for better fit; back waist is elasticized. Acrylic crepe in a border print of hot pink, orange and teal blue on purple.
Right: Short dress with halter-style bodice that ties at back neck. Ruffle-edging in front; elasticized at back waist. Acrylic crepe in an abstract flower-and-stripe print of orange, purple and green.
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1973
Left: Empire waist dress in rayon and cotton – multicolor floral print on navy with white collar and cuffs.
Middle: Tent dress in a medium polyester/cotton fabric with a denim look. Red and whtie gingham check collar and cuffs.
Right: White-collared skimmer in rayon/cotton broadcloth, printed in a geometric design of red and white on navy blue. Step-in style has button-front closing.
1982
Bright pink cotton/lycra scoop neck dress by Wild Lily, styled with a moire belt, fishnet stockings and patent-look pumps.
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1983
Striped tops and shirt skirts by Hang Ten, in yellow, green and blue
1986
A standout 3-piece suit by Rebecca Moses of ribbed wool knit. Worn with a wide black patent belt, black jewelry and pumps.
1992
Left: A yellow linen-look polyester/rayon coatress with a detachable black and white pleated scarf. Further detailed with a notch collar, button front, mock pockets and shoulder pads.
Right: A double-breasted green and white linen-look polyester coatdress offsets its tailored look with a big collar and buttons. Detailed with shirred sleeves, front pockets, and princess seams.
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1992
This is a double-breasted sand-washed blue cotton denim dress. The bodice is slightly cut-in, sleeveless, and has a metal button front closure. The skirt has a bit of flare, side seam pockets, and was worn with a vinyl belt.
1995
Colorful body-conscious D Brooks long dresses, pink Doc Martins and purple shoes from Future Shock.
Editor’s note: Sources include the book Historic Dress in America, 1607-1800 by Elisabeth McClellan (published in 1904), the Costume Institute at The Metropolitan Museum of Art, and Cooper Hewitt Smithsonian Design Museum.
