Neo-Classicism

1790 - 1820

Patricia Sumod 1
Recap- 17TH CENTURY:

 Woolen garments were in style.

 Facial and skin fashions began.
 The garments had a tight-lacing effect, farthingale, decollate, and the
use of excessive fabrics.
The ruff had diminished to a falling collar.
 Funnel boots, wide brimmed hats adorned with plumes.
 Shoes were very elaborate, decorated with laces, rosettes, ribbons,
etc.
Monsoons the footwear used were called ‘chopines’ made of wood
and leather.
 Laced garments were very prevalent.
 Vests were also worn in bright printed fabrics.
 Late 17th century the lace industry was established.
 The men wore ‘Periwigs’ at this time.
 Women wore high hats with lace and ribbons called ‘commode’ or
‘tower’
The kings mainly led fashion at this time.
The ‘ruff’ became smaller. High buttoned neck collar that sometimes
concealed the ruff.
The courtiers continued to wear silk with fewer trimmings.
The Three Musketeers – movie for dress details.
‘Cravat’ was worn by men.
This era had the men’s clothing look – ‘gay’
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Neo-Classicism 1790–1820
•18th-century individuals reverted to the ways of the Ancient Greeks,
especially in the field of visual art. The period of art became known as
Neo-Classicism, or returning back to the classics. The period of Neo-
Classicism relies heavily on mimicking Greek art. During the time period,
the concept of naturalism was a main concern. Artists especially made
great efforts to model the ways in which the ancients portrayed bodies and
emotions in their works of art.

•Fashion in this period in European and European-influenced countries

saw the rise of undress or informal styles over the brocades, lace,
periwig, and powder of the earlier eighteenth century.

• The aftermath of the French Revolution, resulted into a social norm where
no one in France wanted to appear to be an aristocrat.

• While in Britain, Beau Brummell* introduced trousers, perfect tailoring,

and unadorned, immaculate linen as the ideals of men's fashion.

• Women's fashions followed classical ideals, and tightly laced corsets

were temporarily abandoned in favor of a high-waisted, natural figure.

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 Neo-Classicism 1790–1820
• Laces were abolished

• The three-cornered hat was substituted for a

‘topper’.

• Tail-coats came in style, waist coats became

extremely short, high collars, neck cloths
became voluminous. Wigs were abandoned.

• Paniers, bustles and corsets were all

abandoned.

• Women now wore a robe and chemise;

consisting of a white high-waist Muslin, cambric
or calico garment falling to the feet. Sometimes
they dampened the dress to make it cling to the
body in imitation to the Greek dresses.

•Pockets became impracticable which fetched in need of little handbags

called ‘reticule’ or ‘REDICULE’.
•In 1800s men’s clothing – a top hat, not too exaggerated neck cloth, a coat
with revers & collar cut-way in the front, a waist coat, breeches with a
square flaps and diagonal side pockets, breeches fitting into riding boots.
•By the end of the 18th century – Women's clothing – the ‘Empire’ gown,
for men – the costume of ‘John Bull’ Patricia Sumod 4
 Neo-Classicism 1790–1820
Women’s Wear
•In this period, fashionable women's clothing styles were based on the Empire silhouette — dresses were
closely fitted to the torso just under the bust, falling loosely below. In different contents, such styles are
commonly called "Directoire" (referring to the Directory which ran France during the second half of the
1790s), "Empire" (referring to Napoleon's 1804–1814/1815 empire, and often also to his 1800–1804
"consulate"), or "Regency" (most precisely referring to the 1811–1820 period of George IV's formal regency,
but often loosely used to refer to various periods between the 18th century and the Victorian).

• The high waistline of 1795–1820 styles took attention away from the natural waist, so that there was
then no point to the tight "wasp-waist" corseting often considered fashionable during this period.

• Inspired by neoclassical tastes, the short-waisted dresses sported soft, flowing skirts and were often
made of white, almost transparent muslin, which was easily washed and draped loosely like the
garments on Greek and Roman statues. Thus during the 1795–1820 period, it was often possible for
middle- and upper-class women to wear clothes that were not very confining or cumbersome, and still be
considered decently and fashionably dressed.

• Among middle- and upper-class women there was a somewhat basic distinction between "morning
dress" (worn at home in the afternoons as well as mornings) and evening attire — generally, both men
and women changed clothes in preparation for the evening meal and possible entertainments to follow.
There were also further gradations such as afternoon dress, walking dress, riding habits, travelling dress,
dinner dress, etc.

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 Neo-Classicism 1790–1820
Women’s Wear
Directoire and Empire (1795-1815)
This period, referred to as Regency style in
England, followed the French and American
revolutions. It saw a drastic shift in dress for both
men and women, though for women this change
would be short lived. Classical Greek and Roman
images were evoked to justify the democratic
revolutions of this period.

This resulted in the adoption of a classically

inspired silhouette for women which was long,
narrow, uncorsetted, and high-waisted. Initially
the color of choice was white, and the fabrics soft
cottons, often virtually transparent. Shawls and
long gloves were introduced to cover bare
shoulders and arms; shawls would remain in
fashion until the beginning of the bustle in the
1880's. Hair might be cut short, and turbans and
caps were worn.

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 Neo-Classicism 1790–1820
Women’s Wear
• In the Mirror of Graces; or the English Lady's Costume, published in
London in 1811, the author ("a Lady of Distinction") advised: In the
morning the arms and bosom must be completely covered to the
throat and wrists. From the dinner-hour to the termination of the
day, the arms, to a graceful height above the elbow, may be bare;
and the neck and shoulders unveiled as far as delicacy will allow.

•Morning dresses were worn inside the house. They were high-
necked and long-sleeved, covering throat and wrists, and
generally plain and devoid of decoration.

•Evening gowns were often extravagantly trimmed and

decorated with lace, ribbons, and netting. They were cut low and
sported short sleeves, baring bosoms. Bared arms were covered
by long white gloves. Our Lady of Distinction, however, cautions
young women from displaying their bosoms beyond the
boundaries of decency, saying, "The bosom and shoulders of a
very young and fair girl may be displayed without exciting much
displeasure or disgust."

•A Lady of Distinction also advised young ladies to wear softer

shades of color, such as pinks, periwinkle blue, or lilacs. The
mature matron could wear fuller colors, such as purple, black,
crimson, deep blue, or yellow. Many women of this era remarked
upon how being fully dressed meant the bosom and shoulders
were bare, and yet being under-dressed would mean one's
neckline went right up to one's chin. Patricia Sumod 7
 Neo-Classicism 1790–1820
•The clothing lines were more relaxed.
•Rich and splendid fabrics but easy flowing silhouettes
Women’s Wear
•The new head-dress for women was the Fontage – built the hair style
in a vertical manner with a high crowned cap.
•The full-bottomed wig became enormous with longer hair
– for men’s formal wear.
•Informal occasions men wore a ‘bob' wig
•New forms of dress were ‘sack’ or ‘saque’- a comfortable,
rather shapeless garment with box pleats behind.
•Return of hoops. Panier, French for ‘basket’ like structure
was introduced under the skirts to give extended sideways.
•Classification of women’s dress. 1.Open robes; 2.Closed robes.
•Closed robe was a dress consisting of a bodice and petticoat
(sometimes forming one garment) with no opening in front.
•Open robe had a gap in front of the skirt, in the shape of inverted V, which
allowed petticoat beneath to be seen the petticoat was sometimes
embroidered and quilted. Patricia Sumod 8
Neo-Classicism 1790–1820
Beau Brummell, born as George Bryan Brummell
was the arbiter of men's fashion in Regency England
and a friend of the Prince Regent, the future King
George IV.

He established the mode of men wearing

understated, but fitted, tailored clothes including
dark suits and full-length trousers, adorned with an
elaborately knotted cravat.

Beau Brummell is credited with introducing and

establishing as fashion the modern man's suit, worn
with a tie. He claimed he took five hours to dress,
and recommended that boots be polished with
champagne. His style of dress is often referred to as
dandyism. Brummell abandoned his wig and cut his hair
short in a Roman fashion dubbed à la Brutus,
He set the fashion for dandyism in British society echoing the fashion for all things classical seen
from the mid-1790s, which was characterized by in women's wear of this period. He also led the
immaculate personal cleanliness, immaculate linen move from breeches to snugly tailored
shirts with high collars, perfectly tied cravats, and pantaloons or trousers, often light-colored for
exquisitely tailored plain dark coats (contrasting in day and dark for evening, based on working-
many respects with the “Maccaroni" (or Molly, an 18th class clothing adopted by all classes in France in
Century term for effeminate homosexual) of the earlier 18th the wake of the Revolution.
century). Patricia Sumod 9
 Neo-Classicism 1790–1820
Men’s Wear
This period saw the final abandonment of lace,
embroidery, and other embellishment from men's
clothing outside of formalized court dress—it would
not reappear except as an affectation of Aesthetic
dress in the 1880s and its successor, the "Young
Edwardian" look of the 1960s. Instead, cut and
tailoring became much more important as an
indicator of quality.

This was also the period of the rise of hair wax for
styling men's hair, as well as mutton chops as a
style of facial hair.

Breeches became longer—tightly fitted leather

riding breeches reached almost to the boot tops—
and were replaced by pantaloons or trousers for
fashionable street wear. Coats were cutaway in
front with long skirts or tails behind, and had tall
standing collars. The lapels featured an M-shaped
notch unique to the period.

Shirts were made of linen, had attached collars, and

were worn with stocks or wrapped in a cravat tied in
various fashions. Pleated frills at the cuffs and front
opening went out of fashion by the end of the
period.
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 Neo-Classicism 1790–1820
Men’s Wear
Waistcoats were relatively high-waisted, and
squared off at the bottom, but came in a broad
variety of styles. They were often double-
breasted, with wide lapels and stand collars. High-
collared white waistcoats were fashionable until
1815, then collars were gradually lowered as the
shawl collar came into use toward the end of this
period.

Overcoats or greatcoats were fashionable, often

with contrasting collars of fur or velvet. The
garrick, sometimes called a coachman's coat, was
a particularly popular style, and had between
three and five short caplets attached to the collar.

Boots, typically Hessian boots with heart-shaped

tops and tassels were mainstay in men's footwear.
After the Duke of Wellington defeated Napoleon
at Waterloo in 1815, Wellington boots, as they
were known, became the rage; tops were knee-
high in front and cut lower in back. The jockey
boot, with a turned-down cuff of lighter colored
leather, was correct for riding.
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 Neo-Classicism
1790–1820

• After 1805, as society began to

return to a more sedate,
conservative mode, the
aristocracy returned to styles of
France.

• Dress gradually became less Hessian boots with heart-shaped

semi-fitted and more tailored. tops and tassels
Bodices became more fitted,
more surface decoration was
used, as well as heavier fabrics
and more modest long sleeves.

• As it turned out, the revolutions

had opened up new
opportunities for men; but for
women, life would continue
much as it had before.

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Romanticism The Victoria Era 1820 – 1850

The Crinoline Era 1850 – 1869

The Bustle Era 1870 – 1900

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Romanticism
 Romanticism (or the Romantic
era/Period) was an artistic, literary
and intellectual movement that
originated in the second half of the
18th century in Europe.

 It built up as a reaction to the

Industrial Revolution. It was also a
revolt against aristocratic social and
political norms of the Age of
Enlightenment and a reaction against
the scientific rationalization of nature.

 It was most strongly visible in arts, music, fashion/clothing and literature, but had a major
impact on historiography, education and natural history.

 The movement validated strong emotion as an authentic source of aesthetic experience,

placing new emphasis on such exaggerated emotions as unease, horror and terror, awe, etc.
especially that feeling which is experienced when one confronts untamed nature.

 It elevated folk art and ancient custom to something noble, made spontaneity a desirable
characteristic and argued for a "natural" environment.

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• Until 1820 dress waists had been round, but in 1828 the bodice
waistline took on a V-pointed form. Even so it was the late 1830s
Romanticism
before every lady sported the fashion for long pointed bodices.
Evidence in museums suggests that real women were still wearing and
making dresses with a slightly raised waistlines well into the 1830s
despite the low waist illustrations of fashion plates.

• Women’ dress consisted of a bodice, petticoat and the gown. The

bodice was cut with a décolleté and laced with silk ribbon in the front.

• Large sleeves – slashed or panned, puffed. The sleeves of the

Romantic Era are the main feature and were built on an inverted
triangle bodice. The bodice décolletage was so exposed by the pull of
the wide sleeves that it really showed off the chest, throat and the
sloping shoulders. The full length gigot or leg of lamb sleeve or the
gigot de mouton known as the leg of mutton sleeve, was first seen in
1824. The long sleeve pattern was cut on the true cross of the fabric. It
was rounded at the top, increasing to greater size.

• The characteristic style – two skirts were worn. One as under-skirt and over skirt which was pinned higher
than the actual length so as to show the underskirt. – expensive lace
• Hair was worn flat on the top of the head – frizzy curls on the sides- hoods made of black taffeta or simple
lace for their heads.
• The 3/4th sleeves had turn-ups of lace.
• Skirt fell in folds to the ground, ‘Stylish Modesty”
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Early Victorian Era

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 • The young Queen Victoria came to the throne in 1837, and would rule England until 1901 during the
height of the British Empire. During this period she became a happily married mother of nine children, and
represented the ideal of womanhood for her age-- modest, devoted to family and duty, and the guardian
of morality. Her tastes in clothing were also influential, reflecting her values, and those of her times.

•Skirts were a source of endless variation. Skirts were gored into panels between 1820 and 1828, so that
width could be added to hemlines whilst keeping the waist clear of bulk. They were first stiffened with
horsehair about 1815 and gradually padding adding was added. The padding backed the lower six inches of
the skirt.

•Decoration of stuffed rouleau tubes, Italian quilting and flounces and frills were added to push out the
skirt hem width in an architectural way. It also shortened the dress to reveal the ankle at the same time.

•When all forms of decoration had

been exhausted just the padded hems
remained by about 1828.

•Gores disappeared at the same time

and from then on skirts were made
from straight panels of dress material
pleated and gathered to waistbands.

•The silhouette changed and lost its

overall puffiness by 1835.

• The skirts began to get rounder and

more bell like, setting the scene for
the Victorian Era. Patricia Sumod 18
By the early 1860s, skirts had reached
their ultimate width.
Day dresses featured wide pagoda
sleeves worn over under-sleeves. High
necklines with lace or tatted collars or
chemisettes completed the demure
daytime look.
Evening dresses had low necklines and
short sleeves, and were worn with short
gloves or lace or crocheted fingerless
mitts.
Skirts were now assembled of shaped
panels, since gathering a straight length
of fabric could not provide the width
required at the hem without unwanted
bulk at the waist; this spelled the end of As the decade progressed, sleeves narrowed, and the
the brief fashion for border-printed dress circular hoops of the 1850s decreased in size at the front
fabrics. and sides and increased at the back. Looped up overskirts
Heavy silks in solid colors became revealed matching or contrasting underskirts, a look that
fashionable for both day and evening would reach its ultimate expression the next two decades
wear, and a skirt might be made with two with the rise of the bustle. Waistlines rose briefly at the
bodices, one long-sleeved and high end of the decade.
necked for afternoon wear and one short- Fashions were adopted more slowly in America than in
sleeved and low-necked for evening. Europe. It was not uncommon for fashion plates to appear
in American women's magazines a year or more after they
Patricia
appearedSumodin Paris or London. 19
 Early Victorian Era
• The major characteristic of the dress silhouette in this period was the exceptionally full and
long skirts that completely shrouded the lower body . The skirts became so full that by the late
1850's hoops were needed to support the skirts, as the heavy layers of petticoats could no
longer achieve the desired effect. The bodice and shoulders were very narrow, accentuating a
weak upper body silhouette and tiny waist accentuated by the voluminous skirts.

•In the 1840s and 1850s deep bonnets were worn that modestly hid the face and neck except
when the wearer looked directly at the viewer. In fact, except for evening wear, clothing
covered virtually every bit of skin except the face. The n there began protests against this
restrictive form of dress appeared. Dress reform was associated with concern for protecting the
health and welfare of women, which included the women's suffrage movement and the
temperance movement.

•The restrictive fashionable dress of the day was seen as both unhealthy and as a restriction on
women's activities. An alternative costume was promoted that was based on loose-fitting
pants borrowed from traditional Turkish women's (harem pants) costume. This costume was
similar to that known as Bloomers, because it was popularly associated with activist and
editor Amelia Bloomer. However, this costume was not widely accepted at the time for street
wear, although bloomers were gradually adopted for girl's and women's physical education
activities.

• In the 1860's, though skirts reached their fullest, hats became smaller. Decoration became
more geometric, and striped fabrics were also popular. By the end of the period, the full skirts
became asymmetrical, with fullness pushed to the back, a precursor of the next major fashion
shift.

• In this period the sewing machine was invented, revolutionizing the manufacture of clothing.
By the mid 1850s sewing machines were appearing in private homes, and began to account for
a substantial proportion of domestic clothing production. This invention also made possible the
rise of the ready-to-wear clothing industry. Patricia Sumod 20
• (See picture on above) The exceptionally full and long skirts that
completely shrouded the lower body . The skirts became so full
that by the late 1850's hoops were needed to support the skirts,
as the heavy layers of petticoats could no longer achieve the
desired effect.

•The bodice and shoulders were very narrow, accentuating a

weak upper body silhouette and tiny waist accentuated by the
voluminous skirts.

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• In the 1840s and 1850s deep bonnets were worn that modestly hid
the face and neck except when the wearer looked directly at the
viewer. In fact, except for evening wear, clothing covered virtually
every bit of skin except the face.

• Pelerine collars .
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• Example of ope.n robe, trail dress
 Mid-Victorian Era
• After the death of her husband in
1861, Victoria went into seclusion, and
though still deeply respected as
sovereign of a great empire, she
ceased to influence fashion as
directly. The somber colors that came
into fashion are attributed to the fact
that the British Court remained in
mourning. Black became a popular
fashion color in this period, not only
worn for mourning.

• Although the new look was decried

as immodest because it revealed,
even exaggerated the female shape,
it was also an extremely restricting
style that required exceptionally
severe corseting. This was a period in
which more women were coming
out of the home and into the
community to participate in
volunteer work and other public
activities. In this period the women's
rights movement (which included
suffrage, protection for working •In addition to factory work, long done by poor women, the
women, and dress reform) gained typewriter and the sewing machine were now creating work
momentum. Both the revelation of opportunities for middle class women who needed income. Since
the woman's body and the protest fashionable dress limited mobility, changes in dress were called for
against the restrictiveness of the to accommodate these new realities.
garments reflected the changing
times.
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 Mid-Victorian Era
• After decades of full skirts, a new silhouette appeared that accentuated the body
while still covering it. The tightly fitted bodice remained, but now the full skirts were
swept back, leaving a tight narrow skirt in the front, with all the fullness arranged in
the back. The chief feature of this period was the rear emphasis in dress, typified by the
bustle, a padded arrangement of drapery that accentuated the buttocks. The bustle
was at its largest in the mid 1870s but would develop in a more tailored form in the mid
1880s . However, throughout the period, the narrow silhouette and rear emphasis was
a constant.

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Mid-Victorian Era

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Patricia Sumod 26
Charles Frederick Worth became established in Paris in this period as the first true couturier-
- that is the first dressmaker who would set fashion, not merely follow the instructions of his
wealthy clients. His premier client was the French Empress Eugenie. By the 1870s the well-
to- do women of the world came to his salon to be dressed by the great Worth.

Mid-Victorian Era
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Mid-Victorian Era

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Mid-Victorian Era

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 Late - Victorian Era 1878 - 1901
• The Art Nouveau silhouette, particularly that of the 1890's, in some ways echoed the look of
the early Romantic period. The Full "leg-o-mutton" sleeves and flared, moderately full skirts
were similar. However, the hour-glass figure with its erect posture, stiffly boned collar band,
and high shoulders suggested a more formidable image than the slope-shouldered
"decorative butterfly" of the 1820s and 1830s.

• Increasing numbers of young unmarried women now worked in shops and offices, and
housewives were often active in church work and other community voluntary activities.
Women also began to appear socially in public, in restaurants and even at the beach.
Sportswear -specialized clothing for strenuous activity- had begun to appear as early as the
1860s but in the 1890s the advent of the bicycle put women into pants-- "bloomers"-- in
public for the first time. Tailored (but skirted) suits for women, similar to men's suits in cut,
were now part of every woman's wardrobe (right).

• After 1900 the silhouette shifted to the "s" curve of the new corset style , recommended by
reformers as a healthier alternative to the hour-glass silhouette. Soft, gauzy fabrics combined
with lace became the style, and for special occasions, lightweight white lacy cotton dresses
were worn by every one. The sinuous lines and soft materials and colors were consistent with
the Art Nouveau style as we have seen it in furnishings and architecture. These soft dresses,
particularly those worn near the end of the period, were also reminiscent of the "classical"
styles of the revolutionary period a century earlier. Suits and tailored dresses also continued
to be part of the daytime repertoire, however. On the whole, clothing was becoming more
relaxed as women's lives continued to expand.
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Late - Victorian Era
1878 - 1901

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Late - Victorian Era 1878 - 1901

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Late - Victorian Era 1878 - 1901

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Late - Victorian Era 1878 - 1901

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Late - Victorian Era 1878 – 1901
The Bustle Era

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Late - Victorian Era 1878 – 1901
The Bustle Era

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 Victorian Era Hairstyles
The Victorian period of fashion was about living more simply
than the previous era. Clothing, makeup, and hairstyles become
more natural and relaxed. The use of elaborate wigs made way
for cleaner, gentler looks. False hair was limited to rats or
switches.

Early Victorian hairstyles for women were almost always worn

up. Hair was parted down the middle, curled or braided, then
tied or pinned back. Only formal occasians saw the Victorian lady
dare leave her hair fall loose around her shoulders.

Later in the 19th century, Victorian hairstyles became more elaborate. Bangs made their
debut around 1880. Women began to use hot irons to wave their hair or add ringlets for
an updo. It's ironic that the long locks that women strove to achieve were often heavily
damaged by constant heat styling. Patricia Sumod 37
Victorian Era Hairstyles

Hairstyles and headwear

fashions like dress fashions often
change gradually, moving slowly
from one line to another. These
are some drawings of hair,
bonnet and hat styles between
the early and mid Victorian
fashion era 1844-1870.

Patricia Sumod 38
Victorian Era Hairstyles

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Victorian Era
Hairstyles

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 Corsets

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Some examples of crinoline skirts worn with corsets

Girl holding a muff

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Some examples of crinoline skirts worn with corsets

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Crinolines

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Crinolines

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 Crinolines

Half dome crinoline, lace shawl, ribbons for hair Patricia Sumod 46
styling.
Patricia Sumod 47
 Late - Victorian Era 1878 – 1901

•Bustle fashion was molded to the body and the heavy corsetry gave
an armor like rigidity to the silhouette. The pointed bodice began to
look quite tailored.
• Tailored garments had been introduced in 1874 and their influence
on design was subtle, but led eventually to the tailor made suit so
fashionable in the 1890s.
•In 1887 the sleeves were still slimmer, plain and close fitting. The Right -La Grande Jatte by Georges Seurat
1884-6. Art Institute Chicago.
sleeves look like quite a different style than on the bustle dress of
the 1870s which had sleeves that would not have looked out of place
on dresses of 1860.
•By 1889 silhouette changes now couturier led were changing more
rapidly and the sleeve developed a very slight leg of mutton outline
which soon needed support.
•It's interesting to note how late Victorian women embraced the
sharper tailored jacket fashion which gave them a different posture
with a more confident air reflecting the ideals of early female
emancipation. Other military and more tailor made styles of jacket
were also popular. Some dresses also had a more severe air about
them.
•There are similarities in the period 1885 with 1985 when women
also showed their strength in the corporate workplace with Power
Dressing through more masculine tailored, shoulder padded clothes.
A similar broad shoulder trend occurred in the Utility Clothing era of
the 1940s when women did work usually thought of as men's work.
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Tailor made suit of 1895.
 1790–1820 1820 – 1850 Early Victoria Era

1850 – 1869 Mid Victorian Era 1870 – 1900 late Victorian Era

Patricia Sumod 49
 Men’s Fashion through the Victorian Era 1878 – 1901
Male fashion changed comparatively little throughout the century once the John Bull style was set
at the turn of 1800. Generally it remained rather sober in keeping with Victorian industry.
It was only after 1900 and the practical requirements necessitated by the 1914-18 war that more
relaxed styles entered general fashion styling. As always this was mostly initially through
sportswear or battle dress which is always more accommodating to the realities of function in
dress.
Eventually the more relaxed way of dressing enters mainstream fashion.

Patricia Sumod 50
Men’s Fashion through the Victorian Era 1878 – 1901

Cut-away coats like frock-coats are made

lighter and more supple, stiffening being
suppressed. The revers are a little wider,
opening wider across the chest. It is young, it is
dashing, it is elegant, all at the same time, and
what is more important, it is new. The
waistcoats are of the fashionable Valencia. The
trousers are of light woolen cloth.

Patricia Sumod 51
 Men’s Fashion through the Victorian Era 1878 – 1901
•Easy form of walking coat. It is single-breasted, with a bold
turn at top. The waist is long comparatively to the length
lately worn. The back is cut broad across to the scye
(armhole). The side-seam is tolerably straight. There are
three holes and buttons only at front, the top one reaching
nearly on a level with the bottom of the scye. The skirt-part
is plain, and reaches to the knee. There is no seam across
the waist, as the coat is cut with a side-body let in, a style
still retained in France, although totally exploded in this
country. The pockets are in the plaits, one outside the left
breast, and one in the right fore-part at the hollow of the
waist.

•Another style of morning-coat is illustrated on the centre

figure. It is very different in character, and partakes more of
the jacket form. It is single-breasted, with low waist. The
back skirt is only open a short distance from the bottom
without a tacking. The fore-part and skirt are cut in one,
and a long fish taken out under the arm to reduce the coat
at the hollow of the waist and give freedom over the hip.
There are three buttons and holes at front. Narrow collar
and low in the stand. Sleeve easy.

•Single-breasted morning waistcoats without collar having

been much worn during the summer, will continue in favor
for the autumn. They are usually made to button up rather
high.
Patricia Sumod 52
Men’s Fashion through the Victorian Era 1878 – 1901

Trousers for morning wear continue to be straight in the

leg. The side-seams are lapped rather broad.
A representation of the costume for shooting worn by
French sportsmen. The jacket is single breasted, long
in the waist, and also in the skirt. There are four
buttons and holes at front, and a narrow collar; sleeve
roomy. A pouch pocket in each skirt and one to each
fore-part.

Patricia Sumod 53