I love the OTT-ness of this #OssieClark look, for 1970's #Radley. #Frockingfabulous #Fashionhistory via Christie's.

Tea gown, 1918. The Museum at FIT.

American Dress,. mid 19th c. Silk taffeta, cotton twill lining, plush velvet buttons, silk ribbon trim, whalebone. Museum of Fine Arts, Boston #Fashionhistory

I do love a pinked edge and a complex sleeve. This is a favourite, the detail of a #1760s lightly sprinkled floral brocade gown, pleated and ruffled in primrose yellow Chertsey Museum #fashionhistory

Tranquil Hours, by Italian painter Vittorio Matteo Corcos (1890). In private collection.

Bonnet by Mrs. B. E. Hastings, 1867. Museum of Fine Arts, Boston.

Immediately distinctive and one of my all time favourite designers, I wonder how this Madame Grès dress would move. The absence of animation is part of the preservation but mid #1940s it must have looked fabulous Chertsey Museum #fashionhistory

Paris Possibly House of Worth Trousseau Dress, 1877 Beautiful deep blue silk velvet, silk satin, silk fringe. Worn by Sarah Choate Sears (Mrs Joshua Montgomery) (1856-1935) Museum of Fine Arts, Boston #FashionHistory

In this week’s blog post, Costume Society member Dolla Merrillees reviews the Iris van Herpen exhibition on its global tour having viewed it in Paris and Brisbane. Read now at: costumesociety.org.uk/blog/post/iris…

One of my favourite dress installations was the pleasure gardens display at the Museum of London. It married the complexity of original garments with the marvellous fantastical millinery of Philip Treacy. Early #1820s Pelisse #museumoflondon #fashionhistory

Shoes by Ignazio Pluchino, 1925. Museum of London.

Garments that leave a lasting impression, I include this at least once in my teaching every year. It is the perfect example of the timeless & unexpected. It could be McQueen but is late 1930s Schiaparelli, her shadowy skeleton dress in collaboration with Salvador Dali V&A

This week's #TwentiesTuesday garment is this c. 1926 Jean Patou couture beaded 'flapper' dress. Made from ivory satin, the dress features an attached, gathered overskirt edged in gold lamé and is embellished with gold curlicues and swirling motifs KerryTaylorAuctions #fashionhistory

Another all time favourite which I saw in person in the stores at the Met Museum 15 years ago. It is classic #1890s in silhouette but so modern at the same time. I love it The Metropolitan Museum of Art #fashionhistory

This 1910 gown by House of Worth belonged to American heiress Elizabeth Sherman Martin and later her daughter Cornelia, Countess of Craven. It was auctioned by Sotheby’s in 1965 and later appeared in the 1979 film The Champ. Courtesy of Whitaker Auction

Ball gown by Jacques Doucet, 1898–1900. The MET.

A closer examination of the strapless bodice of Balmain’s 1953 ballgown creates the impression of a decorative ceramic, moulded in white with a fruit of floral embellishments trailing towards the hem Newfields #fashionhistory

It is unfortunate that this dress was in the back of The Dior Ball in #legaleriadior, because the details are incredible! It's a 1965 Dior gown by Marc Bohan. It features a lace overlay adorned with ruched ribbons, sequinned flowers, and silver beads and rhinestones. The close

NEW ESSAY: Alexander Pope – Textile Observations Linked to the Life of the Famous Poet. ikfoundation.org/itextilis/alex…

The pattern running up and and down the length of this mid #1870s white cotton dress consists of meandering, interlocking blue feathers, drifting silently from head to toe #thekyotocostumeinstitute