However, while dresses might stay plainer and more conservative than fashion plates show, worldly socialites wished to bedeck themselves in all the luxuries of Empire; colonial capitalists wanted to adorn their daughters in the spoils of their trade. This meant both other parts of Europe, plus "the Orient" (Africa and the East). Yet, this article discusses, the Eastern woman was stereotyped to be the antithesis of everything a Victorian woman ought to be. So how to combine that "exotic" allure with good, stolid Western virtue?
Accessories and trimmings.
Victorian outerwear mantles from the 1850s and 1870s, North African inspired, in the collection of the Metropolitan Museum of Art, whose online exhibit of Orientalist clothing is here and as droolworthy as it is educational.
Hence, we get turbans worn for evening in the 30s, patterned Chinese and Japanese silks and velvet brocades in at-home and bedroom wear throughout three centuries (the wallpaper in the Ribbon and Ladies' Bedrooms at Woodburn is another great example), and mosaic jewelry, Etruscan Revival jewelry like the demi-parure below, and (I kid you not) chandelier earrings.
Image courtesy of Jewels at South Kensington.
Unbeknownst to most, cameos are actually an expression of, not Orientalism but definitely multiculturalism. They're an old art form; there's a tale of Alexander the Great presenting his lover Bagoas with a cameo portrait in chalcedony. The best place in the world to get cameos was (and is) Pompeii, where there was a school of cameo-making and where students sold their work to pay their tuition. Lava cameos, made from the remaining lava rock from the Mt. Vesuvius explosion, were most popular. Lava cameos were a frequent gift to sweethearts when a young gentleman just out of school finished his Grand Tour. Owning one meant that you or someone you knew had either been to Rome or paid an exorbitant amount for an import.
For more on multicultural Victorian accessories: Have a look at the references to African imported silks and the turban Algerienne (remember Algeria was a violently oppressed French colony at the time) in these 1844 fashion forecasts, and later, this discussion of Poiret's exoticized Edwardian hats and slippers. And Beyond Victoriana has a wonderful analysis of what incorporating Orientalism (or the delightful neologism "Victorientalism") in steampunk actually means; I don't entirely agree with the discussion, because I frankly think the alternative to Victorientalism is whitewashing, but it is intelligent and anyone interested in Orientalism should give it a read.
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