The performative quality of clothes is so strong that it also create the space to become someone else, even just for a little while. Masquerades have been, for centuries, events designed especially to play this game, and costumes were its absolute protagonists.

'Queen of Clubs’, watercolour drawing by Jules Helleu of a masquerade ball dress, probably for Charles Frederick Worth. Paris, 1860s, Courtesy Victoria & Albert Museum, CC-BY-SA

The existence of masquerades – as designed social gatherings where the participants had to wear a costume – can be dated back to the 15th century; they started off as occasions organised in Europe to celebrate royal entries, marriages or dynastic events, then, from 16th century, they were popularised as public festivities. Far from being events reserved to the higher strata of society, these kind of festivals were to take place on the streets of the city and all the population could dress up, participate and perform a self other from their own.

For their allowed extravagance, masquerades were one of the favourite themes for plates and satirical prints, which usually took the fancy attires of the participants to the extremes, depicting grotesques scenes, funny accidents and nearly absurd misunderstandings happening during these times of joy and folly.

Philip Dawe, 'The Macaroni. A real Character at the Late Masquerade’, caricature, London, photo Dietmar Katz, Courtesy Kunstbibliothek, Staatliche Museen zu Berlin CC-BY-NC-SA

Infact, women and mens used these occasions to put on the most marvellous and bizzarre ensembles, disguising their aspect as well as their identity – in some occasions, even crossdressing was tolerated. Playing with clothes functioned as a sort of social pleasure, allowing a degree of freedom that was unusual in society governed by wide differences between classes. Left aside for a day their ‘daily uniform’, everyone could disguise as someone else, helped by the possibility to accessorise the extravagant outfit with a mask, usually as elaborated as the dress itself.

The very nature of masquerades as more or less exclusive social events changed over time. With the birth of couture in the second half of 19th century, the name of some well-known designers became associated with some of the most exquisite example of dress chosen by society ladies to take part in these events and ‘steal the scene’. The images illustrating this article show some designs by Charles Frederick Worth, who collaborated with famous desinnateurs to produce these drawings; these sketches had to be incredibly detailed and well-done, to tackle the curiosity of his demanding clients.

'Eve and the Serpent’, watercolour drawing, by Leon Sault of a masquerade ball dress, probably for Charles Frederick Worth. Paris, 1860s, Courtesy Victoria & Albert Museum, CC-BY-SA

Worth’s designs for masquerade were especially appreciated by Empress Eugenie, who used to commission her ‘fancy’ outfits to the couturier – usually with very short notice and great expectations. Empress Eugenie held numerous masquerades during the 1860s, and all the society ladies of Paris followed her ‘fashion leadership’, also turning to Worth for their own attires.

We can live the memory of these marvellous events through the drawings of these dreamy dresses: discover some of these designs on the Europeana Fashion portal.