Cassidy Percoco

@mimicofmodes.com

7008 Followers 1820 Following

Fashion/material culture scholar. Curator at GCVM (opinions my own). Author of Regency Women's Dress, 1800-1830. AskHistorians moderator. (she/her) Links to my blog, newsletter, and Etsy shop: https://cassidypercoco.carrd.co/

A white Regency dress on a dress form, standing on a roll of grey paper, lit from the sides.
A photo of a white muslin cap with ruffles around the face and a very large, gathered crown. A set of ties tie under the chin, and two long lappets drape down to the sides.
Photo of a corded white cotton bonnet with no ties on a styrofoam head.
A dress of dark green silk twill, with the increased upper sleeves of the mid 1820s.
Photo of a pelisse made of a white-on-white striped fabric, with a ruffles collar and ruffles down the front opening and around the hem.
A shot of the train from above, showing the embroidered pointed leaves and spiky seedpods.
A white muslin gown with high waistline and full, short sleeves, embroidered down the front and around the hem.
A photo of a narrow yellow-green print gown with a gathered bodice and long sleeves.
A close up photo of two double-tasseled ornaments on the front of a light blue silk bodice.
Pink and white silk wraps, crossed by an extremely thin, smooth, transparent fiber.
Silk plush strands, smooth and long and shiny.
The surface of leather, a light tan sort of cloud flecked with darker brown.
A zoomed in photo of blue and white threads of varying thicknesses woven together.
A highly magnified view of white silk crepe, showing over twisted, crinkling threads.
"Julia S Bassman / South Avon / 1842" is written on the waistline of the corset, below the bust gores.
The cover of a vintage blouse pattern, showing women in the four variants it contains.
A pair of heeled shoes with latches, but no buckles. They are covered with brown silk brocades with red and white flowers and vines.
A fashion plate of three women in winter dress, 1818. Labeled "Moden Z. 1818 / No. 2" at the bottom.
A close-up of a flared sleeve in white muslin woven with raised designs in bands. It is edged with a narrow frill.
A photograph of a red and blue-lit stage, with a promo pic of a red-haired woman reclining on a sofa.
Fashion plate showing a woman in a dark blue gown and flowered bonnet, holding a white shawl.
A small grey cat curled up with her paws bent at the wrist in front of her face and her tail tucked in.
The toe of a pink kid shoe, embroidered with an oak branch, complete with acorns. There is a pink ribbon rosette on the vamp tab.
A tall storage unit with multiple rows of children's dresses on hangers.
A small tube of ribbing in a variegated pink, purple, and blue sock yarn on wooden sticks.
Off-white stoneware jug marked "White's Utica" and painted with a bird.
A photo of a pair of black clogs with squared toes and ankle straps.
An evening dress of plum-colored satin with three-quarter-length sleeves; bodice is a surplice front with trim beaded and embroidered with zig-zags and triangles in contrasting colors. Natural waistline. The skirt is made rather plain, with the side fronts draped up to meet at center front at about knee level. On the right side of the image is a close-up of the beaded and embroidered trim.
A screencap of a tumblr post by DevilDaisies from November 16, 2022, reading "'bro where's your fucking whimsy' is such a good motto. I want to cross stitch it or something".
A buff cat curled into a ball on his side, squinting up at the camera, next to a smaller grey cat who is looking down at the floor or something.
A "silent protector" meme with the missiles labeled "dirt, oil, sweat, that kind of thing", the soldier labeled "body linens", and the sleeping child labeled "pretty clothes".
A very zoomed-out pattern diagram for a child's dress ca. 1838, with small color photos of the dress itself.
A skirted white bathing suit with halter top, decorated in stripes of red and off-white sequins.
A big, floppy white cotton cap with long lappets on the left; a modest bonnet with a long brim that curves right into the crown on the right.
A dark green satin gown with very full sleeves, a white lace capelet, and striped ivory ribbons running from the shoulders to the waist.
A gown with short, flounced sleeves and a bodice that is gathered at top to a yoke and at bottom to a waistband. Made of a cotton printed with checked stripes and columns of floral sprigs.
A day dress with high neckline, bishop sleeves, and full skirt, made out of a cotton with printed stripe.
Dress of dark green silk twill with a high neckline, center front closure, and long sleeves with fullness at the shoulder.
Morning dress of white dimity with a ruffled collar, long sleeves with short oversleeves, and a ruffle down the center front and around the hem.
A black circle skirt with a white poodle holding a red rose on it, and a navy blue circle skirt with two white poodles playing tennis.
A slightly trained Edwardian skirt made out of white lace.
A mannequin in a pinkish-orange silk coat with vast sleeves gathered into wide cuffs.
A sleeveless evening dress beaded and embroidered in a diagonal grid over the torso, with silver beading that looks like fringe in swags down the skirt, and black ruffles set into the side seams.
A pair of gowns from the 1910s. The one on the left is made of layers of sheer white silk and lace, with a large-scale pattern of white sequins on the front of the bodice; the one on the right is a striped print with a draped bodice trimmed with ruffles, and more ruffles down the sides of the skirt.
An afternoon or evening dress in pink silk with a lace overlayer; full upper sleeves and a high neckline.
Day dress in pink silk with resist print of foliate motifs. Bodice is open in the front to show a white blouse.
Knee-length evening dress that's covered in beads. The bodice is decorated with small flowers and a large geometric neckline motif, and the skirt in horizontal stripes.
A small grey cat curled up in a very small box on the floor beneath a grey curtain.
A detail of a pattern diagram of a waistcoat front, with the lining shown in dashed lines and pockets in grey shapes.
A zoomed-out pattern diagram for an 1840s gown, with the pattern pieces pushed out to the edges of the grid.
Olympia had intended to go out shopping and visiting that afternoon, but it seemed better to stay sedately at home while Miss Baring settled in, so she resolved herself to be bored. After dressing, she returned to the morning room and sat with the newspaper for long enough to become restless, waiting for Miss Baring to come back. Finally, she sent a footman to find the young woman and let her know that she could feel free to do so; when Miss Baring subsequently arrived, the temperature seemed to drop ten degrees. Her face blank, she set herself carefully on the edge of the cushion of the armchair across from Olympia and arranged her hands in her lap. “You requested my presence, Mrs. Farrar?” Her tone made it sound as though she meant to say “madam,” which was an immediate irritation: Olympia had hardly commanded her presence and certainly didn’t intend on treating her like a lady’s maid, so why did she have to imply with her manner that she was being oppressed?
A closeup of a welt pocket on a waistcoat, the welt edged with piping.
The two pieces of carpet at a right angle to each other. The seam is obvious but the stitches aren't.
A hand holding a needle in the midst of a whip stitch in a burgundy woven carpet. A gold and green diaper woven carpet is beneath it.
A small grey cat curled up and sleeping inside a tiny box.
A large buff cat crouches on a lower platform of a cat tower, while a small grey cat is curled up in a tiny box that's bursting at the seams.
“Well. I don’t suppose you mind hearing things to your cousin’s discredit?” Miss Baring laughed breathily, which she took as assent. “He came in to the place —” “A gaming hell?” “Yes, the Fox Hunters’ Club. He was already rather the worse for drink when he got there, and making unwise decisions in his play. Losing a great deal. His friends tried to persuade him against playing any more as he’d only lose more money in that state, so he said that — paraphrasing, of course — he would stop betting money and would wager you instead, presumably meaning your hand in marriage.” “Presumably,” Miss Baring repeated.
A woman's suit of blue wool. Jacket has a peplum and full, elbow-length sleeves; skirt is tiered and is belled out on the floor to some extent. A pair of matching blue spats lie in the foreground.
A miniature portrait in an oval frame of a man in a purple coat over a white waistcoat, and in a pair of round glasses with heavy silver frames.
A buff cat lying on a bed and looking sleepily at the camera.