#1860s mourning

[digitalfashionmuseum]

Black silk dress, ca. 1861, English.

Worn by Emilia Tedeschi.

Uffizi Gallery.

[shewhoworshipscarlin]

Memorial bracelet, 1860-79.

[chic-a-gigot]

La Mode illustrée, no. 27, 4 juillet 1869, Paris. Toilettes de Melles Raboin, 67 r. Neuve des Pts. Champs. Collection of the Rijksmuseum, Netherlands

Description de toilettes (Bibliothèque Forney):

Robe de dessous en foulard bleu vif, entièrement recouverte de volants à tête. Trois de ces volants (ceux du bord inférieur) ont chacun 7 centimètres de hauteur, les trois suivants chacun six, les cinq suivants chacun cinq centimètres de hauteur. Tunique à corsage ouvert en carré, et manches longues. Cette tunique est faite en gaze de soie, à rayures blanches et maïs; elle est ouverte par devant, drapée par derrière de chaque côté, de façon à former un pouffa et garnie de trois petits volants coupés en biais. Ceinture bleue, pareille à la robe de dessous, nouée par derrière. Chemisette montante en mousseline blanche bouillonnée et manches assorties, également bouillonnées.

Toilette de demi-deuil. Robe en popeline grise, garnie de six biais en crêpe gris, posés deux par deux, et séparés par un liséré de taffetas blanc. Confection en poult de-soie-noir, fendue derrière et sur les côtés, afin de former des revers doublés de satin gris; mêmes revers aux manches et sur la poitrine. Ceinture très-large, bordée de biais de satin gris, lisérés de blanc; tout le contour de la confection est également liséré de blanc. Chapeau rond en tulle noir, avec une grande hirondelle. Voile de tulle blanc. Gants gris.

—

Bright blue foulard underdress, fully covered with head ruffles. Three of these flounces (those on the lower edge) are each 7 centimeters high, the following three each six, the following five each five centimeters high. Tunic with an open square bodice and long sleeves. This tunic is made of silk gauze, with white and corn stripes; it is open in front, draped from behind on each side, so as to form a puff and trimmed with three small ruffles cut on the bias. Blue belt, similar to the dress below, tied behind. Rising chemisette in bubbled white muslin and matching sleeves, also bubbled.

Half-mourning ensemble. Dress in gray poplin, trimmed with six gray crepe bias binding, placed two by two, and separated by a border of white taffeta. Made of black silk poult, slit behind and on the sides, to form lapels lined with gray satin; same lapels on the sleeves and on the chest. Very wide belt, bordered with gray satin bias, white borders; the entire outline of the garment is also edged in white. Round hat in black tulle, with a large swallow. White tulle veil. Gray gloves.

[la-belle-histoire]

In Memoriam, Alfred Stevens. 1861.

[victorianjewellery]

The ROM's collection of mourning objects reveals the way in which women established a culturally determined code that incorporated many delicate, "feminine" motifs. Many of the most prevalent decorative designs were quite standardized and appeared on many different objects — for example, pearls represented teardrops. [...]

[This] brooch features a carved gold rim while its front is composed of gold as well as blue, black, and white enamel; its centre boasts the images of a lily and a forget-me-not, both of which were common symbols of death. This floral design is in turn surrounded by the motto, "Cut Down Like a Flower" and the brooch contains a plait of hair under glass on the opposite side (ace. no. 958.134.1) (Fig. 4).

Melissa Zielke, "Forget-Me-Nots: Victorian Women, Mourning, and the Construction of a Feminine Historical Memory." Material History Review 58 (Fall 2003), p. 57.

[daguerreotyping]

Mourning locket ambrotype of a young man with shining eyes and a shy smile, c. 1860s

[marzipanandminutiae]

there was almost nothing worn for mourning that couldn't be worn in everyday life- even the most staid matte crape fabric probably had some non-mourning enthusiasts, though not many. and a lot of everyday black clothing could stand double duty for at least the late stages of mourning (sparkles, shiny fabric, accents of white, gray, purple, or sometimes red were all allowed in late mourning but not early/deep mourning). unless it's like...full 1860s Widow with a bonnet and veil, all together, with provenance, it's VERY hard to say "that was just for mourning"

think about it this way. is the cocktail dress you wore to your grandma's funeral only for mourning? or is it a non-flashy black dress that was appropriate for the occasion but could also go to the ballet with different accessories?

also not all Victorian black/black and gold/black and gold and pearl jewelry is dedicated mourning. not all Victorian skull jewelry was dedicated mourning or memento mori. sometimes they just thought Skulls Looked Cool and I have read the Sears Roebuck catalogues to prove it

also also, you weren't necessarily Required to mourn for a specific time length with everyone else keeping score- most etiquette manuals I've read, even the ones that delineate a time frame for each type of loss, also acknowledge that it's a very personal matter. would tongues wag if you didn't seem to mourn long enough? maybe, yeah. but it seems like the Mourning Police were less common than people like to think nowadays.

oh and widowers? were often expected to mourn as long as widows generally did (roughly 1-2 years). I only found a few manuals proscribing a lesser term, even though the popular Common Knowledge nowadays is that widows HAD to mourn for ages and widowers could basically press F and move on with their lives. that's not to say there weren't sexist double standards placed on widows vs. widowers who were ready to move on, but. it wasn't quite like we think, as with the time thing in general

I'm sorry you had to find out like this

[chopinski-official]

Chopin’s Wardrobe — What I Wore

Today I would like to share with you all the manner in which I dressed. It is interesting to see how fashions have changed over the course of 200 years. Some might say style has slipped… Anyway! Here are some details on my wardrobe:

My Suit

I liked to wear sober colours: black, mauve, blue… and especially grey. For instance, I once asked Julian Fontana to have made for me a pair of dark grey winter trousers, without a belt, which were smooth and stretchy.

Grey trousers, 1840.

At a concert in Glasgow, a pupil recalled that I had worn a pale grey suit. Which included a frock-coat of identical tint and texture.

(Left) Frock coat, 1840. (Right) Frock coat and trousers, 1852.

Under my suit, I would wear a modest waistcoat in a fabric such as a black velvet with a tiny inconspicuous pattern, something very quiet and elegant.

(Left) Provençal waistcoat with mauve silk seedlings, 1860. (Centre) Waistcoat with floral pattern, 1838. (Right) Striped waistcoat, 1850-70.

My preferred shirts were ones made of cambric or batiste fabric. They had small mother-of-pearl buttons, two breast-pockets, and could be bought for 14 francs.

For my cravat, I would wear muted colours during the day. Usually, I would tie it in a bow. However, when performing in a formal setting, I would wear a broad, white silk cravat.

Winter Clothes

To keep warm in the winter months, I wore a thick redingote or over-frock coat, as can be seen in this daguerreotype of myself from 1849.

(Left) Wool coat, 1840. (Centre) Winter costume. Paul Gavarni, 1846. (Right) Frock coat. Wool, trimmed with silk velvet. 1820-1830.

At one point, my sickness rendered me so sensitive to the cold that I wore three flannels under my trousers.

Underpants, mid-nineteenth century.

Accessories

Because I had small feet, I often found shoes uncomfortable. I mourned the day, Moos, my shoemaker died. No one made my shoes like him.

1840s men’s shoes.

On my head, I would always have my hair curled, and, when outdoors, I would wear a top hat. I bought my hats from Dupont’s because he made them lightweight. They were originally made of beaver felt but, by my later life, they were made of silk plush.

(Left) Top hat made of beaver felt, 1830s. (Right) Top hat made of silk plush, 1850.

My outfit was only complete with white gloves. Without them one would not be in good taste. Kid gloves were common, but I also liked wearing Swedish (suede) gloves. Always in white.

Evening gloves. 1848.

A pocket handkerchief was also a necessity.

Finally, I had a miniature pocket watch. According to one concert-goer, it was “In shape no bigger than an agate stone, on the forefinger of an alderman.”

Where did I shop?

I bought my top hats from Dupont’s at No 8, rue de Montblanc (the previous name for rue de la Chaussée-d’Antin). I lived on this street myself, both at No 5 (1833-36) and No 38 (1836-38).

(Left) 9, rue de la Chaussée-d’Antin, the fabric shop across the street from the milliners, 1840s. (Right) Rue de la Chaussée-d’Antin, 1858-1878.

My shirts came from No 37 in the Palais Royal galleries, on the theatre side.

(Left) View of the Galerie d'Orléans in the Palais-Royal, 1838. (Right) Jardin du Palais Royal, 1840s.

The white suede gloves could be acquired from À la Corbeille de Fleurs, Houbigant’s shop at No 19, rue du Faubourg Saint-Honoré.

(Left) The corner of rue du Faubourg-Saint-Honoré, 1820-1840. (Right) Faubourg Saint-Honoré, 1814-1885.

There were also many shops along the Grands Boulevards. This is where I got my trousers made by my tailor, Dautremont.

(Left) Boulevard de la Madeleine, 1799. (Right) Boulevard des Capucines, 1830.

Boulevard des Italiens, 1840s (left), 1835 (right).

So…

As you can see, in spite my reputation for being picky and perhaps… prissy, with regard to fashion and furniture, I was far from what was called a dandy. My dress was never over-the-top and nor did I put on the airs that were so pertinent to dandyism. My desire, if anything, was to be refined and respectable. Although, perhaps my efforts to do so were occasionally cause for frenzy or distraction.

[funeral]

A widow in heavy mourning. c. 1860-1870.

[telekinetictrait]

you will always be in my heart, in my mind, and in your grave – lemony snicket

saw @buzzardly28's death bonnets and so of course i leapt into action. so heres some mourning looks! in order, they're inspired by the: regency period, 1830s, 1840s, 1860s, 1880s, 1900s, 1920s, and 1940s. <3 time to disappear into my hole again

cc links under the cut!

see my resources page for genetics!

regency: buzzardly28's sally hair / buzzardly28's mourning bonnets / batsfromwesteros' emma yellow coat / dancemachinetrait's pemberley gloves / gilded-ghosts' pemberley slippers

1830s: buzzardly28's ann walker hair / buzzardly28's mourning bonnets / simverses' mistress mysterious scarf / vintagesimstress' 1830's mourning dress / plumbjam's wool leggings / joliebean's satin tip shoes

1840s: buzzardly28's day hair / buzzardly28's mourning bonnets / vintagesimstress' 1843 day dress / pralinesims' reverb bead necklace (pearls) / javitrulovesims' midnight gloves

1860s: buzzardly28's day hair / buzzardly28's mourning bonnets / huiernxoxo's mulani gem earrings / simstomaggie's lenore dress / nords-sims' asalet necklace / javitrulovesims' midnight gloves

1880s: buzzardly28's 1890s hair (shhhh) / chere-indolente's dans la serre bonnet / emmastillsims' curbs birdcage veil recolor / ice-creamforbreakfast's céala earrings / chere-indolente's dans la serre long dress / glitterberrysims' onyx siren necklace / base game gloves

1900s: buzzardly28's 1890s hair (shhhh) / waxesnostalgic's brimmed rose hat / emmastillsims' curbs birdcage veil recolor / huiernxoxo's mulani gem earrings / chere-indolente's flöge v2 dress / glitterberrysims' ruby victorian necklace / nell-le's lace gloves

1920s: simmister's curbs caitlyn hair maxified / happylifesims' miss fisher cloche hat / emmastillsims' curbs birdcage veil recolor / happylifesims' 1920s day dress 7 / pralinesims' reverb bead necklace (pearls) / helgatisha's lace gloves / blueraptorsden's vintage stockings / waxesnostalgic's cuban mary janes

1940s: gilded-ghosts' wartime waves hair + dizzy dame hat + double indemnity dress / glitterberrysims' onyx siren necklace / kumikya's sheer gloves / historysims4's nylon socks / waxesnostalgic's cuban mary janes

thank you to @buzzardly28 @batsfromwesteros @dancemachinetrait @gilded-ghosts @simverses @vintagesimstress @joliebean @pralinesims @javitrulovesims @huiernxoxo @simstomaggie @nords-sims @chere-indolente @emmastillsims @ice-creamforbreakfast @glitterberrysims @waxesnostalgic @nell-le @simmister @happylifesimsreblogs @helgatisha @blueraptorsden @kumikya and @historysims4 !!

[digitalfashionmuseum]

Black Silk Mourning Dress, 1860.

Augusta Auctions.

[shewhoworshipscarlin]

Second mourning evening dress, early 1860s.

[chic-a-gigot]

La Mode illustrée, no. 15, 14 avril 1862, Paris. Toilettes de la Maison Gay fils, 2. rue de la Vrilliére. Chapeau et coiffure de Mme Aubert, 46, Faubourg Poissonniére. Jupons et Ganterie de la Vénitienne, 62, Chsee. d Antin. Ville de Paris / Bibliothèque Forney

Description de toilettes:

Toilette de deuil. Robe en gaze de soie noire, posée sur une robe de dessous en taffetas noir. La jupe est ornée avec cinq volants simplement ourlés, qui se terminent en s'arrondissant sur chaque côté du lé de devant. Le premier volant (celui du bas) se termine à 15 centimètres environ du bord de la robe. Des nœuds de ruban noir sont posés sur l'extrémité des volants. Corsage décolleté à pointe. Berthe plissée en gaze de soie garnie de dentelles noires. Manches larges garnies avec trois volants, ornés d'un nœud de ruban. Sous-manches en tulle noir, bordées de dentelle noire. Coiffure de Mme Aubert, rue du Faubourg-Poissonnière, 46. Cette coiffure se compose d'un diadème en ruban de taffetas noir, orné de nœuds de dentelle, et, sur le devant, d'un gros pavot noir entouré d'épis couleur acier.

Robe en taffetas vert chiné à fleurettes vertes plus foncées. Le bas de la jupe est garni avec un taffetas semé, de nuance pareille à celle des fleurettes, surmonté d'une ruche chicorée. Ce volant tuyauté a 12 centimètres de hauteur; il remonte en ondulant et en diminuant sur chaque côté de la jupe. Corsage plat, montant, à pointe. Manches larges, garnies comme la jupe. Pointe de taffetas noir garnie d'un volant de dentelle noire. Chapeau de Mme Aubert; il est en crêpe vert, orné sur la passe de plumes noires et vertes revenant à l'intérieur.

—

Mourning ensemble. Dress in black silk gauze, placed on an under dress in black taffeta. The skirt is adorned with five simply hemmed ruffles, which end in a rounding on each side of the front strip. The first ruffle (the bottom one) ends about 15 centimeters from the edge of the dress. Black ribbon bows are placed on the end of the ruffles. Pointed neckline bodice. Pleated Berthe in silk gauze trimmed with black lace. Wide sleeves trimmed with three ruffles, adorned with a ribbon bow. Undersleeves in black tulle, edged with black lace. Madame Aubert's hairstyle, rue du Faubourg-Poissonnière, 46. This hairstyle consists of a tiara in black taffeta ribbon, adorned with lace bows, and, on the front, a large black poppy surrounded by colored ears of corn. steel.

Dress in mottled green taffeta with darker green flowers. The bottom of the skirt is trimmed with a sown taffeta, of a shade similar to that of the florets, surmounted by a chicory ruche. This fluted flounce is 12 centimeters high; it goes up undulating and decreasing on each side of the skirt. Flat, high, pointed bodice. Wide sleeves, trimmed like the skirt. Tip of black taffeta trimmed with a flounce of black lace. Madame Aubert's hat; it is in green crepe, adorned on the pass with black and green feathers returning to the inside.

[ohmerricat]

i think it’s about time for a doctor who companion from an alternative subculture (DON’T say fitz or ace etc that’s not quite what i mean) like an emo/scene queen from 2007 or a lolderpmoustache hipster kid from 2012 or a batcave goth from the late 80s.

scene girl goes back in time to 1770s pre-revolutionary france and the spoiled aristocratic youths in the palaces assume her pink and black dyed racoon-tail asymmetrical hair is the latest fad sourced from the most expensive pigments brought over from “the orient”. she sets a trend and gets suitors running after her

goth visits the 1860s after queen victoria has popularised extravagant mourning dress and the local gentry believe she’s deep in grief for her tragically deceased husband (she plays along with it). goth brings a pet raven into the tardis one day after chilling with edgar allan poe and the doctor nearly kicks her out because she accidentally triggered the memory of the worst day of their life. etc.

limitless potential. just ask around, NOBODY’s more interested in the lore of obscure historical events or speculation about xenobiology of bizarre alien lifeforms than alt people. joy to have around

[hetagrammy]

I'm really partial to the idea of visual storytelling through clothing, and I really like the concept of the whole Immigrant Trio experiencing it

When Molly first comes to America, through the 1850s she was constantly wearing black. Like to the extent that people on the street frequently mistook her for a widow. By the 1860s she started to get into more of a half mourning stage, not quite out of it, but incorporating colors like dark purple and blue into her clothing again. Then it's the late 1860s, the war is over, and she and Alfred go on their railroad adventure. She's in rough, mismatched clothing that helps her masquerade as a gender she isn't, but behind it she's still herself. She's trying to find and understand herself, but is coming to terms with the only way she is able to do that is in a new place where she can break down and build up again. It's after this point, and as she's joined by new friends and a lover that she starts taking on her old habits- lighter, warmer greens, lilacs, teals and blues.

Tolys first comes to America layered up and his clothing is tight. His waistcoat is always buttoned, his tie looks like it's choking him, his sleeves are always rolled down. He's almost too formal at points. Over time his clothing gradually starts to loosen around the house- his waistcoat is unbuttoned, his bow is looser, he lets his hair down when he's not working. He's living in a place where he's afforded the time to do this, and more importantly he can trust in the people around him to allow him that.

Lovino is almost the opposite. He comes to America with few possessions on him, including articles of clothing. He's plain, partially to do with his financial state and partially because he's trying to avoid home baggage. The exception of course is his cap, which is emblematic of his identity and acts as a bit of a connection with Molly (for whom the style is also culturally significant). As he's there and builds relationships he didn't anticipate, he accumulates more (items Molly knit or embroidered for him, clothing he's borrowed from Tolys, knick knacks he found for himself, etc.) Rather than layering per se, he gains more detail because he allows himself to form those bonds and he treasures them and his experience in spite of its rough beginnings. In a similar manner to Molly, he also starts to take on hints of color in his clothing again, especially reds and yellows.

Alfred is a special case because he's relatively consistent except for his breakdowns. He tries to be fashionable and trendy, but he's always got one thing out of place like a mismatched tie. He always looks really put together and professional, because it's what he's supposed to be masquerading around is. Then when he goes on his western breakdown adventures his clothing becomes even more mismatched, simple, and at times oddly fitted on him like a child trying to put on a shirt too big for them. Even though it peeks out under normal circumstances, it shows fully he is a bit of a child under the fresh and put together veneer.

[thelibraryghost]

A Young Person's Introduction to Late 19th-Century Western Fashion

hello fellow youths

General information Banner, Bernadette. "Exposing Victorian Influencers Who 'Facetuned' Their Photos. (Photo Manipulation was EVERYWHERE)." YouTube. July 17, 2021. English Heritage. "Fashion Through History: Episode 1 – Victorians." YouTube. February 9, 2023. Lady Rebecca Fashions. "100 Years of Fashion // The Fashionable Plus Size Silhouette from 1820-1910." YouTube. June 5, 2021. Victoria and Albert Museum. "100 Years of Fashionable Womenswear: 1830s – 1930s | V&A." YouTube. July 18, 2023. Zebrowska, Karolina. "Victorian Fashion Is Not What You Think It Is." YouTube. March 19, 2019.

Accessories Banner, Bernadette. ""Afro-Victorian": Bringing Historical Black Women's Dress into the 21st Century w Cheyney McKnight." YouTube. October 20, 2021. Cox, Abby. "A Fashion Historian Explains the History of the Handbag." YouTube. January 26, 2023. Rudolph, Nicole. "Dangerous Things in Victorian Pockets : Mens Pocket History." YouTube. March 2, 2024. Rudolph, Nicole. "The Controversial History of Color Season Analysis." YouTube. November 4, 2023. Zebrowska, Karolina. "Disgusting and Creepy Victorian Fashion Trends." YouTube. October 17, 2018.

Bustles and hoopskirts Donner, Morgan. "Weirdest Victorian Invention: The Bustle-Chair (and we made one)." YouTube. November 20, 2020. Lady Rebecca Fashions. "100 Years of Underwear // The Changing Plus Size Shape from Regency to Victorian to Edwardian." YouTube. May 1, 2021. Lady Rebecca Fashions. "All About Bustles! A Deep Dive into 1870s Fashions." YouTube. December 26, 2023. Rudolph, Nicole. "Why were Victorian Hips Controversial?" YouTube. September 12, 2021.

Cosmetics Birchwood, Vasi. "1800s Makeup Is Not What You Think." YouTube. July 21, 2023. English Heritage. "Queen Victoria Makeup Tutorial | History Inspired | Feat. Amber Butchart and Rebecca Butterworth." YouTube. May 20, 2019. Zebrowska, Karolina. "I Used Only Victorian Cosmetics For a Week." YouTube. July 26, 2023.

Fabrics Rudolph, Nicole. "Did Silk Spontaneously Combust in the Victorian Era?" YouTube. August 8, 2021. Rudolph, Nicole. "The History of Elastic." YouTube. July 4, 2021. Rudolph, Nicole. "The Truth About Arsenic in the Victorian Era." YouTube. January 24, 2021.

Gowns Bullat, Samantha. "Dress Historian Analyzes Victorian Mourning Clothing of the Mid-19th Century." YouTube. March 14, 2021. Lady Rebecca Fashions. "All About 1860's Fashion // What did Civil War-era fashion look like?" YouTube. November 12, 2022. Lady Rebecca Fashions. "How did fashion evolve from 1850-1859? // 1850's Fashion Deep Dive." YouTube. October 1, 2022. Rudolph, Nicole. "Victorian Fast Fashion? The Truth about the History of Disposable Clothing." YouTube. February 6, 2022. SnappyDragon. "Were the Pre-Raphaelites painting accurate medieval dress . . . or Victorian fairtytalecore?" YouTube. April 26, 2024. Zebrowska, Karolina. "19th Century Fashion - How To Tell Different Decades Apart?" YouTube. November 17, 2017.

Hair care and styling Banner, Bernadette. "Following a Victorian Home Made Hair Care Routine (1889)." YouTube. September 11, 2021. Lady Rebecca Fashions. "Getting Dressed in an 1888 Daisy Costume // Easy Bustle-Era Hair Tutorial." YouTube. November 13, 2020. Lady Rebecca Fashions. "Getting Dressed in the 1870s & 1874 Hairstyle Tutorial." YouTube. February 23, 2020. Rudolph, Nicole. "Why did Victorian Women Cut their Hair Short?" YouTube. December 18, 2022. Laundry and housekeeping English Heritage. "A Tour of the Laundry - The Victorian Way." YouTube. September 6, 2019. English Heritage. "How to Wash Up - The Victorian Way." YouTube. March 18, 2021. English Heritage. "Laying the Table at Christmas – The Victorian Way." YouTube. December 14, 2022. Walkley, Christina, and Vanda Foster. Crinolines and Crimping Irons: Victorian Clothes: How They Were Cleaned and Cared for. Peter Owen Limited: London, 1978.

Outerwear and working wear Birchwood, Vasi. "What Irish Working Women Wore in the Late 19th Century | I Made the Clothing of My Irish Ancestors." YouTube. June 23, 2023. English Heritage. "The Real Mrs Crocombe | Part Four: A Victorian Cook's Outfit." YouTube. July 5, 2018. Stowell, Lauren. "It's Hot: Let's Look At Some Bathing Suits." American Duchess. August 18, 2023. Rudolph, Nicole. "The History of Jeans, T-shirts, and Hoodies: Time Travel 101." YouTube. March 20, 2022. Zebrowska, Karolina. "The 1851 Women's Pants That Made The Victorians Go Crazy." YouTube. March 2, 2020.

Shoes Rudolph, Nicole. "100 years of Antique Boots." YouTube. February 10, 2024. Rudolph, Nicole. "How to Make Regency & Victorian Shoes: Beginner Shoemaking." YouTube. June 27, 2021. Rudolph, Nicole. "The Myth of Tiny Feet "Back Then"." YouTube. September 26, 2021.

Undergarments Banner, Bernadette. "I Wore a (Medical) Corset for 5 Years. How do Victorian Corsets Compare?" YouTube. November 7, 2020. Banner, Bernadette. "Making Some Frilly Victorian Underwear || 1890s Combinations." YouTube. February 9, 2019. Birchwood, Vasi. "What Victorians Wore to Bed." YouTube. May 5, 2023. Cox, Abby. "I made weird Victorian underwear (it's a knit onesie) & a pretty 1890s corset || historical sewing." YouTube. March 21, 2021. Lady Rebecca Fashions. "How 8 Different Historical Corsets Affect the Same Plus Size Body." YouTube. December 12, 2020. Rudolph, Nicole. "100 Years of Corset History: How 8 Corsets affect the same body." YouTube. November 29, 2020. Zebrowska, Karolina. "How Did Victorian Ladies Stay Warm in Winter? || THE EXPERIMENT." YouTube. January 22, 2021. Zebrowska, Karolina. "How Did Victorian Women Deal With Their Periods?" YouTube. October 17, 2019.