The nineteenth century marks the period beginning January 1, 1801 and ends December 31, 1900.
It was a period of dramatic change and rapid socio-cultural advancement, where society and culture are constantly changing with advancement of time.
The technology, art, politics, and culture of the 19th century were strongly reflected in the styles and silhouettes of the era's clothing.
For women, fashion was an extravagant and extroverted display of the female silhouette with corset pinched waistlines, bustling full-skirts that flowed in and out of trend and decoratively embellished gowns. For men, three piece suits were tailored for usefulness in business as well as sporting activity.
The fashion in this article includes styles from the 19th Century through a Western context - namely Europe and North America.
At the turn of the 18th century, the Western world – namely Europe and the United States – were revelling in the prosperity of the rapid progress that came with the rise of the Industrial Revolution. [1] The period from approximately 1760 to between 1820 and 1840 saw the transition to new manufacturing processes from traditional hand production methods to new machine production methods. [2]
The textile industry was the first to use modern production techniques, namely mechanised cotton spinning with automatic machine looms. [2] With the arrival of automated methods, through industrialisation came too the creation of factories which maximised productivity and enhanced efficient production. [3] The unprecedented rapid and sustained economic growth demonstrated by the textile industry – through employment and value output – saw huge changes in the affordability of clothes and materials as prices fell. [4] [5]
The early 19th century saw a shift from 18th century Enlightenment ideologies of order, reason and rationalism to new values of imagination and emotion with the emergence of Romanticism. [6] The period of Romanticism from around 1800-1840 emphasised an opposition to stability, celebrating an appreciation of the chaotic which admires creativity, individuality, subjectivity, spontaneity, the sensory and the transcendental. [6]
In England, this period is also known as the Georgian [or Regency] Era which saw great change with rapid urbanisation as cities grew, trade expanded, and a capitalist-driven consumer culture emerged. [7]
The fashion of the time reflects this transitional period as it gradually moves away from the Empire silhouette and Neoclassical influences of Enlightenment which take inspiration from 'classical antiquity'. [8] The shift towards a new Romantic style inspired by creativity and imagination, is defined by more theatrical and dramatic designs which are inspired by a blend of the mysterious medieval past with lavish and dramatic Gothic decoration. [9] The extravagance of these displays reaches its peak nearing the end of Romanticism as 'exuberance becomes sentimentality'. [10] For both men and women, silhouettes were increasingly exaggerated with the establishment of curvaceous shapes pointing to an obvious rejection of previous Neoclassical geometric style. [11] Layers of colour and pattern added to the dramatic and expressive display which became characteristic of Romanticism and again contrasted the 18th century monochromatic palette. [11]
By mid-nineteenth century people were settling into the normal routine of life as shaped by the changes and innovations that came with the First Industrial Revolution. Further discoveries in mathematics, science and engineering saw advancements in medicine as well as huge progress for communication and transportation. [12] The introduction of telegraphy and the opening of major railways connected people in major industrial cities to one another. [12] Emerging globalisation and world-wide economic integration saw new trade routes and brought wealth to the capitalist powers of the Western world. [13] As standards of living slowly improved and income per capita was on the rise, the middle-class were beginning to spend more on indulgent rather than solely necessary goods. [14] [15]
The modernisation of communication and transportation technologies saw a shift in the traditional consumption patterns of retail consumers. The invention of mail order business by Pryce Pryce-Jones in 1861 revolutionised shopping patterns and enabled people to order clothing and accessories [via telegram] from other parts of the world [to then be delivered via train] [16] a much similar concept to contemporary online shopping habits.
The mid-19th century again shifts from Romanticism to Realism, sometimes called Naturalism. This ideological art movement 'sought to convey a truthful and objective vision of contemporary life'. [17]
1837 marked the beginning of the Victorian Era, a time that saw tremendous progress, change and power for the British Empire and one that characterises an entire genre of fashion history. [18]
Women's fashion at the beginning of Queen Victoria's reign became more modest – corsets were paired with swelled skirts which aligned with early Victorian ideals of the modest domestic lady stereotype. [19] Layered petticoats with crinoline and steel-hoop structures,. [20] [21] Menswear of the early Victorian Era was understated with the rise of the respectable male bourgeois gentleman. [18] However, soon after both men's and women's fashion became more colourful and relaxed with more exuberant styles and new techniques including passementerie trims thanks to increasing availability of the sewing machine. [22] By the latter half of mid-nineteenth century it becomes clear that fashion technologies revolutionised the designs of particularly womenswear fashion with cage crinoline enabling a larger but more lightweight hoop skirt. [23] In align with the trend of offering greater comfort, menswear 'relaxed into wide, easy cuts'. [23]
The late-19th century constituted further industrialization with the Second Industrial Revolution, also known as the Technological Revolution, which was responsible for illustrious innovations. [24] The modern social and economic infrastructure continued to revolutionise consumption patterns as the prices of consumer goods decreased dramatically with the increase in productivity. [25] The growth of urban centres and 'new technologies, such as the introduction of electricity into clothing manufacturing, produced a boom in the ready-to-wear market'. [26]
Progress in communications and the media meant that fashionable styles and silhouettes were widespread globally and accessible to the everyday person. With the rise of publications, magazines aimed especially at women depicted the styles in vogue at the time and began to introduce paper patterns. [27] The popularity of these patterns paired with machine innovation and ease-of-use saw a rise in the popularity of at home dressmaking. [27]
Late 19th century movements in art and culture include Impressionism and Post-Impressionism which are characterised by their rebellion against classical subject matter and that which embraces depictions of modern life including new technology and ideas [28] – 'concentrating on themes of deeper symbolism to express emotions, rather than simply optical impressions'. [29]
The women's rights and suffragist movement towards the turn of the 20th century also saw a shift in gender roles. As the 19th century neared its end, the world began to transition away from stiff Victorian fashions with the rise of the Edwardian era to new freedoms of a more simplistic dress structure and silhouette. [26]
Women's fashion of the late 19th century saw an introduction of styles with a long, slim, body-hugging silhouette that revealed the natural figure, including the popular 'princess line' and later 'artistic' style dresses. [27] These styles featured seamless waists, streamlined skirts and a slow move away from corsetry, much more practical than the conventional attire. [27] These 'slender and angular' [30] styles, had excessive decoration which compensated for the rebellion against heavy, ultra-restrictive trends. [30] Dress embellishments included bows, emphasised ruching, thick rich fabrics and trims. [31] Menswear began to have a significant influence on women's clothing [30] with masculine styles and tailoring becoming increasingly popular, women sometimes wore a shirt collar and tie, particularly when exercising. [31] For men, lounge suits were becoming increasingly popular and were often quite slim, maintaining an overall narrow silhouette. [31] A three-piece suit was a more casual attire regularly worn by businessmen, with jackets open or partially undone with a waistcoat underneath. [31] Heavily starched collars on shirts were worn high and stiff-standing, with turned down wingtips. [26]
Handmade shawls, fans and umbrellas, hats, purses and handbags were popular. [32]
For most of the 19th century babies wore 'long, white dresses with short sleeves' [33] whilst toddlers and young children wore 'short dresses with frilled drawers peeking out underneath'. [33]
As children grew into young adults the dress styles mimicked that of the elder generation, with the only difference being more simplistic styles and shorter lengths. [33]
Introduced in the beginning of the century, proper work clothes and work uniforms were a sign of a new era. It started off with small businesses and factories creating a specific uniform for their company. Not too long later, government bodies such as the police, firefighters, and miners adopted the idea. [34]
A dandy is a man who places particular importance upon physical appearance and personal grooming, refined language and leisurely hobbies. A dandy could be a self-made man in person and persona, who imitated an aristocratic style of life, despite his middle-class origin, birth, and background, especially in the Britain of the late-18th and early-19th centuries.
A corset is a support undergarment worn to hold and train the torso into the desired shape and posture. They are traditionally constructed out of fabric with boning made of whalebone or steel, a stiff panel in the front called a busk which holds the torso rigidly upright, and some form of lacing which allows the garment to be tightened. Corsets were an essential undergarment in European women's fashion from the 17th century to the early 20th century. In the 17th and 18th centuries they were commonly known as "stays" and had a more conical shape. This later evolved into the curvaceous 19th century form which is commonly associated with the corset today. By the beginning of the 20th century, shifting gender roles and the onsets of World War I and II led the corset to be largely discarded by mainstream fashion.
Christian Ernest Dior was a French fashion designer and founder of one of the world's top fashion houses, Christian Dior SE. His fashion houses are known all around the world, having gained prominence "on five continents in only a decade."
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.
The corset is a supportive undergarment for women, dating, in Europe, back several centuries, evolving as fashion trends have changed and being known, depending on era and geography, as a pair of bodies, stays and corsets. The appearance of the garment represented a change from people wearing clothes to fit their bodies to changing the shape of their bodies to support and fit their fashionable clothing.
Fashion in the 1890s in European and European-influenced countries is characterized by long elegant lines, tall collars, and the rise of sportswear. It was an era of great dress reforms led by the invention of the drop-frame safety bicycle, which allowed women the opportunity to ride bicycles more comfortably, and therefore, created the need for appropriate clothing.
A bustle is a padded undergarment or wire frame used to add fullness, or support the drapery, at the back of women's dresses in the mid-to-late 19th century. Bustles are worn under the skirt in the back, just below the waist, to keep the skirt from dragging. Heavy fabric tended to pull the back of a skirt down and flatten it. As a result a woman's petticoated skirt would lose its shape during everyday wear.
An evening gown, evening dress or gown is a long dress usually worn at formal occasions. The drop ranges from ballerina, tea, to full-length. Such gowns are typically worn with evening gloves. Evening gowns are usually made of luxurious fabrics such as chiffon, velvet, satin, or organza. Silk is a popular fibre for many evening gowns. Although the terms are used interchangeably, ball gowns and evening gowns differ in that a ball gown will always have a full skirt and a fitted bodice, while an evening gown can be any silhouette—sheath, mermaid, fit and flare, A-line, or trumpet-shaped—and may have straps, halters or even sleeves.
A mantua is an article of women's clothing worn in the late 17th century and 18th century. Initially a loose gown, the later mantua was an overgown or robe typically worn over stays, stomacher and either a co-ordinating or contrasting petticoat.
Youthquake was a 1960s cultural movement. The term was coined by Vogue magazine's editor-in-chief Diana Vreeland in 1965. Youthquake involved music and pop culture, and it changed the landscape of the fashion industry. The movement is characterized by looking to youth culture for a source of inspiration, taking dominance away from the English and Parisian couture houses.
Empire silhouette, Empire line, Empire waist or just Empire is a style in clothing in which the dress has a fitted bodice ending just below the bust, giving a high-waisted appearance, and a gathered skirt which is long and loosely fitting but skims the body rather than being supported by voluminous petticoats. The outline is especially flattering to pear shapes wishing to disguise the stomach area or emphasize the bust. The shape of the dress also helps to lengthen the body's appearance.
A himation was a type of clothing, a mantle or wrap worn by ancient Greek men and women from the Archaic through the Hellenistic periods. It was usually worn over a chiton and/or peplos, but was made of heavier drape and played the role of a cloak or shawl. When the himation was used alone, without a chiton, it served both as a chiton and as a cloak. The himation was markedly less voluminous than the Roman toga. Many vase paintings depict women wearing a himation as a veil covering their faces.
Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true self than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."
A fichu is a large, square kerchief worn by women to fill in the low neckline of a bodice.
A dress is a garment traditionally worn by women or girls consisting of a skirt with an attached bodice. It consists of a top piece that covers the torso and hangs down over the legs. A dress can be any one-piece garment containing a skirt of any length, and can be formal or casual.
Steampunk fashion is a subgenre of the steampunk movement in science fiction. It is a mixture of the Victorian era's romantic view of science in literature and elements from the Industrial Revolution in Europe during the 1800s. Steampunk fashion consists of clothing, hairstyling, jewellery, body modification and make-up. More modern ideals of steampunk can include t-shirts with a variety of designs or the humble jeans being accessorised with belts and gun holsters.
The sack-back gown or robe à la française was a women's fashion of 18th century Europe. At the beginning of the century, the sack-back gown was a very informal style of dress. At its most informal, it was unfitted both front and back and called a sacque, contouche, or robe battante. By the 1770s the sack-back gown was second only to court dress in its formality. This style of gown had fabric at the back arranged in box pleats which fell loose from the shoulder to the floor with a slight train. In front, the gown was open, showing off a decorative stomacher and petticoat. It would have been worn with a wide square hoop or panniers under the petticoat. Scalloped ruffles often trimmed elbow-length sleeves, which were worn with separate frills called engageantes.
A house dress is a type of simple dress worn informally at home for household chores or for quick errands. The term originated in the late nineteenth century to describe at-home garments designed for maximum practicality and usually made from washable fabrics. It is directly descended from the Mother Hubbard dress. House dresses are also known as dusters in American and Philippine English, a term which also encompasses the muumuu. Such dresses were a necessary part of the housewife's wardrobe in the early twentieth century and could be widely purchased through mail-order catalogues. The house dress remains a contemporary and frequently worn garment in some parts of the world.
The Women's Suffrage Movement in the Western world influenced changes in female fashions of the early 1900s: causing the introduction of masculine silhouettes and the popular Flapper style.
Grace Hoops is a genre painting by the American artist Winslow Homer. It depicts two young women outdoors playing the game of graces. Scenes of childhood innocence constituted one of Homer's recurring subjects throughout the 1870s. The work is now in the collection of the McMullen Museum of Art at Boston College, having been donated as part of the Carolyn A. and Peter S. Lynch collection.