I always wondered by what means people got up their getups for fancy dress balls during the Gilded Age. A fancy dress ball didn’t mean, as it sounds, elegant gowns for the ladies and stiff black tails for the gents. They were actually masquerades, opportunities for the well-heeled to escape their own trials and tribulations – there were, in fact, economic downturns and “reversals” throughout the last decades of the 1800s – with a lot of very pricey role-playing. And to prove just how boss they were.
Balls were splendid on their own. Edith Wharton described a typical scene.
Couples were already gliding over the floor beyond: the light of the wax candles fell on revolving tulle skirts, on girlish heads wreathed with modest blossoms, on the dashing aigrettes and ornaments of the young married women’s coiffures, and on the glitter of highly glazed shirt-fronts and fresh glace gloves.
For Savage Girl I looked into debutante balls, when 18-year-olds got their first taste of all the splendour that money could buy.
I first got interested in fancy-dress shenanigans, though, when I wrote about I.N. Phelps Stokes as a young man studying architecture in Paris in 1894.
Most of the people he knew attended the spectacular Bal des Quat’z’Arts, where artists and architects partied hearty in the name of everything aesthetic and bohemian. Revelers could expect gold and silver paint slapped on bare flesh along with displays like the last days of Babylon, complete with “blackamoors,” camels and nearly naked women. Excess reigned every year.
Stokes, I learned from his generally no-nonsense memoir, wrote home to his mother demanding she ship over the black velvet dress he’d worn for a costume ball at his home the previous winter.
What, I wondered, trying to imagine Stokes be-gowned in velvet, was this slightly stiff, shy young gentleman doing cross-dressing at a balls-out ball?
It was the thing to do, though. Fancy dress celebrations were prevalent in Victorian England and Canada as welll as Paris and New York. One Canadian scholar who has studied archival material puts it this way:
The sheer number of archival photographs of people in fancy dress, as it was known, attests to the popularity of this phenomenon, as well as its importance to those who took part. These portraits reveal a great deal about Victorian morals, values, taboos and tastes regarding clothing, bodies and social behaviour. While the basic appeal of fancy dress lay in its semblance of permissiveness and escapism, this sort of amusement was controlled by a complex set of moral restrictions.
Few costumes survive, but these people were photo-obsessed and made sure to document the fancy ball madness.
On the website of Montreal’s McCord Museum you can find startling images of partygoers dressed to the nines, such as Herbert Molson and his sister Naomi as “Vikings,” costumed in 1898 for the Chateau de Ramezay Ball in Montreal.
And Miss Bethune as “An Incroyable,” in Montreal, in 1881.
There was also the “Girl of the Period,” shot in 1870. The Victorians could really break loose on ice skates with a swinging braid and a cigarillo.
The image was spookily familiar, and I realized it was the embodiment of a Currier and Ives print I have hanging on my wall.
You can see some of these photos as a video.
At the end of the century,New York City could always put on the biggest fancy show. One of the most famous costume extravaganzas was the Bradley-Martin Ball, which took place at the Waldorf in February 1897. Cornelia Bradley-Martin vowed that it would be “the greatest party in the history of the city”.
She and her husband spent nearly nine-million dollars in current money hosting eight hundred of the city’s leading lights, Astors, Schermerhorns, Morgans and Posts included. Cornelia doesn’t look like a party animal, but the fact that she is smiling slightly suggests something to me. Most people still did not smile when posing for a portrait.
The ballroom was a replica of Versailles, wigmakers stood at the ready, and guests arrived as Mary, Queen of Scots, a Spanish toreador, Henry the IV. The hostess appeared with a gold, pearl and precious stone embroidered gown.
She might have managed to best the Vanderbilts’ legendary ball of 1883, thrown by Cornelius Vanderbilt II and his wife Alva to christen their new Fifth Avenue chateau. Alva sure looked good in doves.
The Museum of the City of New York has a extensive collection of photos of people posed with all seriousness at the ball. Including Mrs. Henry T. Sloane as, I think, a witch. Probably a good witch.
If you’d like to get up a Gilded Age costume there are resources at your disposal.
But, what are we to wear? asks a manual from 1896, accessible on line in its entirety. 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.
Several hundred costumes are described with every incidental novelty introduced of late, including Autumn, Bee, Gipsies, Carmen, Dominos, Esmerelda, Fire, etc.
Henry James wrote:
The rooms were filling up and the spectacle had become brilliant. The ball borrowed its splendor chiefly from the shining shoulders and profuse jewels of the women, and from the voluminous elegance of their dresses.
You’ll have to invite 1,000 or so people to really get the fancy ball experience. And make sure to call your wigmaker. Everything will be rosy.
Jean Zimmerman 
The movers and shakers knew how to shake it in their fancy frocks, that’s for sure. Parties as wild in the roaring twenties perhaps, and perhaps happenings in the ’60s. But the Gilded Age had something about it.
Fascinating. Fancy Dress Balls. Stokes’s black velvet dress? Especially the Bradley-Martin Ball described by LostPastRemembered. OK; The Gilded Age has more stories than I can begin to imagine, and they are evidently more relevant today than a decade ago. I’ll tackle Edith Wharton’s, and I look forward to Savage Girl.