In Curtsies & Conspiracies Sophronia receives a Robe à Transformation at a key moment in the story. In the book the description is basically of this dress (1865), only I simplified and modified for the correct time period over 10 years earlier (1851).
Ballgown
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1865 Robe à Transformation The Metropolitan Museum of Art1 copy |
Visiting Dress
Walking Dress
I love the idea of transformation outfits SO MUCH. It's thrifty and practical and appeals to my sense of efficiency. I suspect Sophronia feels the same way. So, for your edification, here are is a timeline of transformation dresses. The purpose of each version is my best guess based on style and custom of the day.
"You needed a breakfast outfit, something fancier for lunch, followed by the tea gown, and then the heavy artillery fro dinner that night. And if you were just away for the weekend, you tried not to wear the same outfit twice, which meant that for a simple three days in the country you could go through about fifteen different outfits."
~ Daniel Pool
Day Dress
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1856 Robe à Transformation The Metropolitan Museum of Art |
Dinner Gown
Dinner dresses have elaborate necklines and shorter (but not too short) sleeves. They might also have been worn to the opera or the theater.
Ball Gown
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1858 Robe à Transormation The Metropolitan Museum of Art |
Walking Dress
Walking dresses were slightly more covered up than visiting dresses, high necklines and slightly shorter hems (with the exception of 1870s and later promenade gowns).
Dinner Dress (probably mourning)
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1861 Robe à Transformation The Metropolitan Museum of Art |
Visiting Dress (which means it's a receiving dress)
Ladies in mourning did not pay calls, but they did receive close family and intimate friends. Because of its length this can't be a walking dress, indoor only and black velvet? Receiving is my best guess in the second year of mourning. (Receiving and visiting dresses would both be called visiting dresses, they serve the same purpose.)
Ball Gown
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1864 Robe à Transformation The Metropolitan Museum of Art |
Visiting or Walking Dress
Ball Gown
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1865 Cream Robe à Transformation The Metropolitan Museum of Art |
Visiting Dress
Because of the low neckline it could be a dinner dress for a married lady proud of her assets. But I think it was meant to be worn over a high necked long sleeved chemise for visiting instead.
Ball Gown
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1866 Robe à Transformation 1866 Musée Galliera de la Mode de la Ville de Paris |
Promenade Version
Because of the non-removable train on the skirt, paired with long sleeves, the only possible explanation is a promenade gown. Possibly for a seaside resort or even the riviera, given that this is a French gown.
Ball Gown
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1872 Robe à Transformation Charles Fredrick Worth, The Metropolitan Museum of Art |
Dinner Dress
Ball Gown
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1888 Robe à transformation Charles Fredrick Worth, The Metropolitan Museum of Art |
Dinner Dress
Visiting Dress
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1893-1895 Robe à Transformation Charles Fredrick Worth, The Metropolitan Museum of Art |
Dinner Dress
Dinner Dress or Ball Gown
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1895 Robe à Transformation Worth, The Metropolitan Museum of Art |
Presentation Gown
Presentation gowns were extremely elaborate, with trains, but modest coverage for presentation in honor of the gravitas of being seen at court.
Dinner Dress
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1900 Robe à Transformation The Metropolitan Museum of Art |
Ball Gown
Because of the elaborate lace and bead work yet comparative modesty of the cut of this dress, I'd say it is for an older married lady.
Dinner Dress
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1902-1905 Robe à Transformation The Metropolitan Museum of Art |
Visiting Dress
The switch to Ensemble pieces after WW1...
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1930 Ensemble Jessie Franklin Turner The Metropolitan Museum of Art |
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Midsummer Madness Edward Molyneux, 1937 The Metropolitan Museum of Art |
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