New Educational Centre «Perm Lyceum № 2»

The Evolution of Fashion in the XVIII -XIX

Centuries
(On the example of a ball gown).

Made by:
Batalova Luydmila Gennadievna
Teacher of English
Perm Lyceum № 2

Perm 2017
 Contents

Introduction
Part I. Historical events that affected fashion in XVIII century. 3
English influence on fashion
1. Regency 3
2. French influence on fashion. The French Revolution 4
3. The period of Directoire. 4
4. The period of Consulate 5
5. Industrial overturn 5
Part II. Evolution of fashion in the XVIII-XIX centuries 5
1. Regency Fashion Timeline: Waists and Hems 5
2. Fasion trends in 1780s – 1799 5
3. Fasion trends in 1800 – 1810 6
4. Fashion trends in 1811-1820
6
Part III. Analyzing ball gown details of different historic periods.
Designing a gown and creating a sketch.
6

Conclusion 14

Bibliography 15
 Introduction

Fashion is constantly developing and changing. Fashion is flexible: styles evolve and are
adopted at a different pace depending on the wearer's age, location and economic or social status.
In our project we are planning to find out what historic events influenced fashion and made a
considerable impact upon new trends in fashion in the centuries. In our practical part we aim to
make a sketch of a fashionable ball gown of 1812 that is historically informed as well as
beautiful.
To achieve our aim we state the following tasks:

 find out what major historic events influenced fashion in XVIII - XIX centuries
 compare general gown silhouettes typical of different historic periods in XVIII - XIX centuries:
find out differences and similarities in the silhouettes
 analyze the particular design details: the cut of the bodice, the sleeve length, the height of the
bustline
 make our own sketch of a fashionable ball gown of 1812

Part I. Historical events that affected fashion in the 18 th century. English influence on
fashion.
1.Regency.
During the height of the Regency period (1811-1820) women's fashions took their inspiration
from the classical world. The waistline moved up and skirts became more streamlined and
columnar in shape. White was the color of choice and thin, diaphanous muslin the preferred
fabric.
The influence of regency was really noticeable. Rigid and formal features in garments
went away. Textiles were used in a new way and clothes frame (carcass) was made of new
materials – withies, whalebones and iron bars, wrapped in linen. The clothes carcass was
constructed like hoops the diameter of which became smaller towards waist. It was quite a light
construction that let the dress sway freely and let a female leg in a high heel shoe be open in
motion.
Often the dress included a low-cut tight bodice in front, so a breast and a neck were
exposed and on the back the cloth turned into a flowing tail. The skirt on the carcass almost
didn’t have pleats. The sleeves were narrow on top and wide below, ending with a few lines of
gorgeous laces. This new female image full of charming and delicacy was chanted in creative
works of French artist Jean Antoine Watteau. That is why later that specific back cut of the dress
was called “pleats of Watteau”.
English culture of the 18th century had its own traits. One of them was the fashionable
style a-la Vandyke which didn’t exist long time. However in modern language there is a term left
- “vandyked”, used by authors of both nonfiction and fiction about costume history. The “falling
vandyked collar” resembles “falling bands” – turndown collars of the 17 th centuries, trimmed
with lace or made entirely of lace. Not only collars could be “vandyked” but other elements
either like ribbons or frills with the same cut edge. Here is a description of a wedding dress of
1827-1829 years from the book by J. Arnold “Patterns of Fashion, 1660 – 1860”: “A wedding
dress in ivory brocaded silk with Marie sleeves and a vandyked collar edged with blonde lace.
The hem is padded and above it is a deep vandyked band of brocade”. And some comments from
the pattern to the same dress include: “The crossway strip for the vandyked frill. The vandyked
decorative strips are piped all the way round the edges”.

Now the term “vandyked” is used in relation to the costume of the 18 th, 19th and even 20th
centuries. But it appeared in 80-90’s years of the 18th century in England with the same name
fashion style. F. Boushet in his “History of costume” remarks ” Vandyked style which was
widely spread in English fashion at the end of the 18 th century is characterized by usage of soft
textiles, special cut out of sleeves, bands, and bodice cut line. The description of this costume
can be found in works of another fashion researcher Cannington: “Long under skirts, high
waistline, wide waistbands, hoops under skirts were almost not seen. These clothes were more
simplified. Vandyked edgings and falling collars were very popular. A narrow bodice with a low
round neckline in the form of “V” in front was decorated with a falling collar, consisting of one
or two layers and often being vandyked. This style in garments was conditioned by the
fashionable tendency in painting. Cannington writes: “It was fashionable to write female
portraits in dresses a la Rubens or a la VanDyke style”.
Cannington confirms the thought that it is not right to judge about fashion looking at
paintings only because they don’t always reflect a precise and real picture. We can’t but agree
with his point of view but we should remember that vandyked portraits did influence much on
fashion and promoted a new style in costume.
2.French influence on fashion. The French Revolution.
The French Revolution promoted a new aesthetic in fashion. Clothing for men and women
became simplified. Fabrics tended now towards uncomplicated cotton which in France was more
in line with the republican attitudes and in England with the technological advances in the
milling of cotton fabric. The large workforces in the factories could generate the amounts of
cotton in demand.
In France, the revolutionary attitude shunned the corseted, hooped, extravagant dresses
associated with the ancient regime and opted for the more pragmatic fashions of the working
classes. In England, the short-waisted gowns arrived from France with large ribbons and sashes
tied directly underneath the breast. These dresses were made of simple fabrics, cotton or linen
gauze.
By the 1790s social revolution began to affect female dress. Clothing became plainer and
the fabrics less extravagant as women demanded more freedom from the restrictive fashions of
the 18th century. The higher-heeled and frilled shoes gave away to the lighter, lower heeled
slippers. Colors gave way to pale colors and whites and additional ornamentation was considered
ostentatious. Women on both sides of the Channel would be influenced by the clothing on Greek
and Roman statuary recently unearthed at Pompeii and other archaeological sites in Italy.
During years of revolution the costume had various, often very extravagant forms,
conditioned by complicated events of that historic period. Depending on political views Parisians
and Englishmen then started wearing clothes underlining their belonging to a party. Fashion
trends during French revolution depended on events of that time and occurred as a reaction on an
event and disappeared as harshly as occurred.
 Being inspired by ideas of Liberty, Equality and Fraternity the ideologists of French
revolution turned to images of ancient world, sharing their ideas about democracy, morals and
esthetic ideals. The member of revolutionary Convent the famous artist David performed on state
order a series of projects of common costumes for citizens of French republic. With the help of
those costumes the Convent wanted to express an idea of Equality, and destroy class differences.
That was also reflected in the fashion in England.
3.The period of Directoire.

During the period of Directoire the costume underwent the influence of classicism.
Women refused from any dress carcass, pads and even under clothes and they put on a kind of
ballet tights of body color and on top of it a light, long, wide with beautifully placed pleats tunic,
cut on both sides and girt with a band under bust.
Shoes were performed as sandals with long ribbons. Hairstyle was copy of antique heads.
The female image of that period should have reminded of a marble sculpture. That’s why only
white clothes were worn. Powder became fashionable and it was used not only on face, but on
neck, breast, back and arms. When weather got colder men refused from ancient costumes and
wrapped themselves in warmer dresses, but women kept “antique” theme fashionable long time
more.
4. The period of Consulate.
However gradually extravagant costumes of post revolutionary years were extruded. Up
to the end of the 18th-beginning of the 19th centuries, during the Consulate and the Empire
costumes became more stable and strict. During the Consulate men wore white shirts from thin
batiste with a stick-up collar, a wide neck handkerchief, in which they hid their chin, waistcoat,
dark frockcoat with metal buttons and velvet collar, narrow light trousers, which were usually
down high boots, short shoes or high boots with fair flaps. Hair was shortly cut. Powder got out
of fashion. Hats were not high, with small risen up brims. From male fashion gradually
disappeared velvet and silk textiles of bright colors. Instead of them the fashion made accent on
woolen linen of decent and understated colors. Velvet and silk were used only in ceremonial,
court costumes and for dress edging.
Only pants and waistcoats were brighter and more fairy than a frockcoat and tailcoat. So
up to the 18th century the male costume gained more manful and strict character and it didn’t
remind that of dandy style of the rococo époque. The female costume of post revolutionary years
remained graceful and light. It kept on the antique style in clothes of revolutionary period. Light,
fairy and airy female costume was like in opposition to the strict and dark male costume. There
were even competitions among female dresses and the lightest one weighed only 200 grams. On
the whole dresses were divided according to their purpose: for balls, for walks, for home.
5. Industrial overturn.
The beginning of the 19th century was marked by industrial overturn in England, rapid growth of
manufacturing, setting of bourgeois industrial relations. Forceful technical progress, social
relations changes, concentration of population in large cities of different European countries
influenced greatly on English costume. As a result there was created a background for ending of
the process of the unified English citified costume expansion. The costume started losing local
and national features.

Part II. Evolution of fashion in the 18-19th centuries.

 1. Regency Fashion Timeline: Waists and Hems.
Ladies gowns have always changed according to the fashion of the day. For a short
period between the Georgian era and Victoria era, women's fashion experienced a dramatic and
liberating change in waistlines and skirts. From the late 18th-century to the early 19th century,
tightly-waisted gowns and wide-hooped skirts were cast off in favor of rising waistlines and
slim, flowy dresses. The columnar empire dress silhouette was fluid, changing from year to year.
In Great Britain, waists rose, then fell, then rose once more, while hems rose and became
increasingly ornamental and elaborate. By 1825, waists had fallen to their natural place again,
tightly laced corsets and full petticoats reappeared, and fashion had turned full circle.
2. Fasion trends in 1780s - 1799
During the mid-18th century, fashionable ladies wore elaborate brocade and silk gowns
that opened in the front to reveal beautiful ornate petticoats. By the 1780s Marie Antoinette had
popularized the chemise à la reine in France. The Duchess of Devonshire introduced the style in
England. These simple white dresses, worn with colored sashes, were noticeably plainer than
other gowns of the period. By the end of the 18th century, fashions began to be influenced by
classical Greek and Roman statuary. Waists rose and skirt silhouettes became slimmer. Closed
gowns (round gowns) gained popularity in the 1790's. Wide hooped skirts were replaced with
simple chemise shifts that were gathered under the breasts and at the neck. By 1799, the high-
waisted empire gown had become the predominant fashion. Skirts were fully gathered in the
back and came with a train.

3. Fasion trends in 1800 - 1810

The white hight-waisted muslin dresses favored during the beginning of the 19th century
were slim and unadorned. Skirts were narrow and long. Hems stayed classically simple, with
little trim or embroidery. Trains for day dresses began to disappear around 1805, and were
discarded by the following year. They disappeared for walking dresses in 1807, and became
optional for evening wear.
The ongoing conflict with the French during the Napoleonic Wars prevented British
ladies from receiving news about French fashion trends. Left to their own devices, British
fashion designers lowered waists and shortened skirt lengths. The classic silhouette disappeared
as hems were elaborately decorated with tucks, scalloped edges, Van Dyke points, and
embroidery.

4. Fashion trends in 1811-1820

The Regency era in England lasted for only nine years when King George III fell ill and
the Prince Regent ruled as his proxy. Empire gowns continued to evolve, with lowering waists
and ankle length skirts flaring out from the body. In 1814, during the Treaty of Paris, British
ladies visited France for the first time in years. Much to their surprise, French and British
fashions had diverged. French waists had remained high, positioned just under the bosom, and
their skirts were even more elaborately decorated than those in England.
By 1815, British fashion had begun to be influenced by the French again. Waistlines rose
through 1817, until they could go no higher, and hems became so elaborate that they often
included up to three sets of flounces or four lines of embroidery. In 1818, waists began to
 descend, and by 1820 had fallen to a medium low position. Ankle-length skirts were adorned
with colored rope edges, puffing, flowers, and flounces.

Part III. Analyzing ball gown details of different historic periods. Designing a gown and
creating a sketch.

In our practical part we are going to compare general gown silhouettes typical of different
historic periods in the 18th -19th centuries: find out differences and similarities in the silhouettes;
analyze the particular design details: the cut of the bodice, the sleeve length, the height of the
bust line; fabrics and colors.
We are going to answer the following questions: How full is the skirt, and where is that
fullness? What colors are used? What type of fabric? Is there trim? If so, how much, what kind,
and where is it placed? Based on the shape of the gown, what can we tell about the foundation
garments? By focusing on the details we can see both the evolution of fashion for this period in
order to best re-create a fashionable ball gown of 1812 and make our own sketch of it.

General Silhouette
1795 1800-1805 1810s 1819

Light fabric, full, Diaphanous Neckline broadens, often square, puff Late teens: bodice at it's
high-waisted skirt muslins, white on sleeves, bodice sometimes gathered, smallest and highest.
usually cut as one white sometimes trimmed, bustline even Sleeves and bodice
with the bodice, embroidery. higher, strong vertical embroidery on highly decorated. Skirt
elbow length sleeves Think Greek or front center skirt. Silks and more color. is cut wider and
(full length for day Roman draperies. Hair dressed close to head but with stiffened and trimmed
wear), rounded Gathered bodice, curls and twists on top of head and to to make it stand out. By
bosom filled in with still cut as one sides of face. Turbans for evening wear. 1820 the waist will start
a large handkerchief. with gown. to drop as skirts widen.
Moderately high Hair continues to be
bustline, gathered dressed on top of head,
neckline, short or turbans still worn.
elbow length
sleeves, train.
Some overtunics.
Hair dressed
 "Greek fashion"
towards the back
of the head.

Bodice Front
1790s 1805 1808 1815-20

This gown with a This formal silk gown The bodice has a broad, The black bodice shows the
crossover neckline, features a broad neckline, rounded neckline, gathered wide but short style of the
as well as other gathered slightly at the slightly by a drawstring (this late teens. The waistline is
gowns of this neck. The waist is drawn actually improves the fit). quite high, and there is now
period, feature a in slightly by a There are no gathers at the trimming that adds volume
bodice that is low, drawstring but there are front of the skirt. to the shoulder, enhancing
round, and filled in no gathers: again, the the horizontal effect.
with a ideal is a smooth column.
handkerchief. The The waistline is only
bodice is not about a third of the way
separate. It is cut as between the shoulder and
one piece with the elbow.
skirt and gathered.

Bodice Back

1795-1800 1800-1810 1800-1810 1816/1818

This silk gown shows Net gowns with chenille This bodice shows the As the decade advances,
the longer, less full embroidery were popular in classic "diamond back" cut fashion magazines
sleeve. The bustline is the 1806-1810 years. This for this period. Shoulder describe gowns as having
high and the waistline gown has the narrower skirt seams were set behind the a "broad back." The
is only very slightly than many gowns of the modern shoulder line and a diamond shape remains
lower in the back. The time. The fullness is all at diagonal back seam went standard, but is cut wider.
skirt is very full, with the back, with a small bustle from near the center back to The waistline is cut
the fullness being pad added to help the skirt the back of the arm. Backs higher in the back than in
distributed evenly stand out from the body. were narrow (posture: the front. This half-
around the waistline. Waistlines were still even upright, shoulders back). mourning evening gown
 front-to-back, or dipped
slightly, as seen here. The
neckline is fairly high at the
back.
Unlike modern armholes
that are cut almost vertically
from the shoulder, armholes
from this period were cut
deeply towards the center
back. Note there is no
underarm seam (see sewing
guide below).
shows the characteristic
back arch. Also note that
the lower seam is not cut
with the deep curve of a
princess seam, but is
either straight or only
slightly curved.

Sleeves

1810 1816/1818
1795-1800

18th century sleeves covered the elbow. With the transition to the new, lightweight gowns, sleeves
began to shorten. Long sleeves were still in use for daywear, but sleeves for evening wear were
generally shorter. During the early phase, sleeves were straight, set into the armhole with little or no
gathering. As puff sleeves replaced straight sleeves, the gathering was still concentrated at the back,
particularly in English gowns. Also note that as the armhole is cut much closer to the center back than
a modern armhole the sleeves need to accommodate that.

Throughout this period the direction of the fullness of the sleeve is increasingly outward, not upward.
Even the highly ornate sleeves of the late 18-teens follow this line. It will be taken to extremes in the
wide-shouldered gowns of the late 1820s and 30s.

Note that after about 1805 the lower edge of the puff sleeves generally falls horizontally in line with
the bodice. Many gowns of the 18-teens that have tiny bodices show equally tiny sleeves. Necklines
also widen, though bare shoulders will not be seen until later in the century.

Skirt

1795 1800 1805-10 1816

Light cotton or A similar gown, A yellow line is drawn Skirts continue to be cut with a
silk undergown without the on this image to show front rectangle, side gores, and
is gathered overdress, gathered how the side seam falls. gathered back. After about 1815
around entire slightly in the front The front of skirt is now they begin to widen at the hem.
waist and has a and extensively in a single rectangular The front is still set smoothly
slight train. the back. Round panel set into the bodice into the bodice but the panel is
Overgown has train. Trains are with no gathers. The more traingular. The
longer train. found on day and side seam is well to the increasingly heavy decoration at
evening dresses back, and, as the panel the bodice is balanced by
during the first few is a rectangle, falls decoration at the lower skirt.
years of the slightly to the front (i.e.
century. They it is a straight seam but The fashion plates show ball
disappear in due to the shape of the gowns with short hemlines, at or
daywear around skirt it appears to just above the ankles, beginning
1806, although curve.) The side back around 1810.
they do hang on for panels are triangular to
a bit in evening or provide fullness and all
"opera" gowns (not the gathering is in the
ball gowns). back.

Fabrics.
The cottons of the period are called muslin. Smooth cotton gauze, cotton voile, light
batiste or fine silk/cotton blends are reasonable substitutes. Modern silks tend to be soft and
drapey. Period silks were light but stiffer. Good quality dupioni or shantung can be a reasonable
substitute, though they are more "slubby" and stiffer than period silks. Silk taffeta provides a
more authentic drape and feel. A few online sources for fabrics are listed below.
A net or sheer silk or cotton overlay, was also popular. The net overlay embroidered with
chenille was in vogue for the years just before 1810 (see red example above). The fashion plates
from just before 1820 show many gowns made of silk satin (not as shiny as modern satin) with a
sheer overdress. Again, the difficulty is finding a period-equivalent. Chiffon and georgette tend
to be too fluid. Some lightweight silk organza, though rather stiff, may work.
Colors

White, of course, and a variety of pastels, but stronger colors were also popular. For example,
the Ladies Magazine of 1812 lists salmon, blue, pink, green, red-lilac or heliotrope, buff, grey,
crimson, orange, lemon, jonquil and puce as fashionable colors. Patterned fabrics are trickier: the
white-on-white embroidered muslins show a variety of trellised vines and flowers, but where a
contrasting figure appears (an embroidered flower or woven in design) the pattern is usually a
small figure made with few colors, regularly spaced.

Finishing Details

Trims on gowns followed an evolutionary pattern of their own. The early period sheer muslins
were often embroidered elaborately. The embroidery was often more dense near the hem. In the
years just before and after 1810 a definite vertical line in the center front of the skirt was popular.
Piping, “van dyke” (pointy) lace and trim, and “windowpane” sleeves all became popular in the
18teens under gothic influences. In the years leading up to 1820, skirts widened. Padded hems or
padded rouleau (tubes of fabric stuffed with lambswool, cotton or even rope) were used to stiffen
the lower skirt. Trim became increasingly elaborate both on bodices and on skirts.
Fashion changes

Before war 1812 During war 1812 After war 1812

color Light colors. Mainly white. Dark colors. Mainly Colors were
green, blue, pink and symbols of pride
brown. of national
regiments.
fabrics The net overlay embroidered with chenille Simple muslin ball Many gowns made
gowns Whitework of silk satin with a
embroidery sheer overdress.
hairdo Hair free and open. At occasions women Ornaments were woven Pearls and flowers
decorated their narrow gold hoop, flowers through upswept are woven
and ribbons. hairdos throughout the
hair.
Silhouett High-waisted and narrow in the skirt. Dress Shirt cut- dress waistlines began to
e Waistlines sat just under the bust, shmiz. Dresses were drop and tighten.
emphasizing this feature and de- freely falling down Broader hemlines
emphasizing the natural waist and from the shoulders, and shoulders
hips. bell-shaped, with heavier belted at the waist or bell-shaped skirts
ornamentation around the hemline, chest. held out by many
Empire line. petticoats and
tightly cinched
waist lines.
length Dresses up to the floor. Dresses to toe. Dresses to the
 ankles.

If we compare the fashion before during and after the war, we can find a lot of changes. Colors
became darker. Moreover, fabric became more rich and elegant than before the war because the
silk was used. Also hairdos were more celebratory and colorfull after the war and it made women
more graceful and elegant. Shiluette was was focused on the waist. Indeed, we can say that
there are a lot of changes after the war.

A sketch of a ball gown of 1812, designed by our group.

 A ball gown is extravagantly trimmed and decorated with lace with Vandyke
points, ribbons and braids. The dress is high-waisted and is gathered near or just
under the bust. There is a long loose skirt which skimmed the body. On the hem of
the skirt there is also Vandyke lace trimming. On the waist there could be a bow-
knot that is fastened to the back. The front of the dress is decorated with crossed
braids as a pattern of a military style. This style appeared during war period as
imitation of military uniform. The colors of dresses were pastel such as pink, light
green or blue and pale yellow. In our sketch we have chosen pink color.
 The main emphasis is put on a bodice. It is a low-cut-tight bodice that is
decorated amazingly with lacing in the gold color, small tassels and white lace on
the top of the bodice. The dress has short puffed sleeves. They are ruffled at the
shoulders.

Mandatory extension to the dress is white gloves of French kind that are
bellow elbows. Loose-fitting gloves are bunching down in casual folds.

Conclusion

In the end of the 18th century women wore gowns with a fitted bodice, the waist at
or below the natural waistline, and full skirts over a visible, often ornate, petticoat.
They were made in a variety of heavy silks, cotton or wool. Later ornate gowns
were replaced by simple, lightweight, often sheer cotton or silk gowns that
reflected the ideals of classicism. A ball gown underwent many changes in the
course of time. Firstly, the main influence came from France and brought Empire
style with its lightness, grace, airiness, fragility and tenderness. Major historic
events also made a significant impact on forming a silhouette of a ball dress.
French Revolution inspired designers to extravagant forms. The Patriotic war of
1812 brought a military style in fashion. In our sketch of a ball gown it is presented
with the braids decorating the front. During Regency era in Britain Empire gowns
continued to evolve. Social revolution of 1790s made . clothing plainer and the
fabrics less extravagant as women demanded more freedom from the restrictive
fashions of the 18th century.

Bibliography.

Regency Web Sites

1. Jessamyn's Regency Costume Companion:
http://www.songsmyth.com/costumerscompanion.html
2. The Costume Gallery: http://www.costumegallery.com/
3. University of Washington Fashion Plate Collection:
http://content.lib.washington.edu/costumehistweb/
4. Blum, Stella, and Rudolph Ackermann. Ackermann's Costume Plates:
Women's Fashions in England, 1818-1828. New York: Dover Publications,
1978.
5. Byrde, Penelope. Jane Austen Fashion: Fashion and Needlework in the
Works of Jane Austen. Ludlow: Moonrise Press, 2008.
6. Hunnisett, Jean. Period Costume for Stage and Screen: Patterns for Women's
Dress, 1800-1909. Studio City, Ca: Players ress, 1991.
7. Johnston, Lucy, Marion Kite, Helen Persson, Richard Davis, and Leonie
Davis. Nineteenth-Century Fashion in Detail. London: V&A Publications,
2005.
8. Downing, Sarah Jane. Fashion in the Time of Jane Austen. Shire
Publications, Oxford. 2010
9. Burkhard, Linore Rose. "Modesty and the Regency Miss." 2010.