HISTORY OF COSTUMES

LEARNING DIARY

BRIGHT MARIYA SEBASTIAN

BD/19/518
 1790-1795

Womenswear
closely resembled the silhouettes of the 1780s at the beginning of the decade
Gowns were still made as two-piece ensembles with an open robe over a petticoat
Styles like redingote remained fashionable
Fitted Caraco and skirt

New styles were

Long tight sleeves, cut on a curve to fit closely around the elbow
Under petticoats that replaced the “false bums” of the early to mid-1780s and created gently
rounded shapes
Plain and striped cotton and silk were the favorite fabrics for daywear
Headwear continued to be adorned with ribbon, feathers and all
By the end of the decade, one-piece dresses known as “round gowns” in England and chemise
were dominant

Menswear
Like women's dress, men's daywear fashions of the early 1790s were similar to those of the
preceding decades
Three-piece suite comprising single or double-breasted coats
Turned down collars latter known as a fraque fitted closely to the body with long tight sleeves
and cutaway fronts
Single or double-breasted waistcoats cut straight across, and slim breeches
White linen shirts with fashionable high collars
In addition to solid-colored, often dark wools, striped silks were popular

Plain and striped cotton

 1795-1800
The causes of the French Revolution were far more complicated, the overlay lavish lifestyles of
the French monarchy certainly fueled the fire of the angry, poor masses.

Fashion designers looked into Ancient Greece and Rome for inspirations
Necklines began to dip and waistlines began to rise
The ever more revealing chemise reflected the increasing influence of classical antiquity
European neoclassicism began in the mid-eighteenth century as a reaction to excesses of
the Baroque and Rococo styles
White cotton chemise with a rounded drawstring neckline
Softly gathered bodice and skirt
Waistline placed directly under the bust, short tight sleeves or sleeveless

A woman of fashion and communicated her wealth by extra accessories like expensive shawls

Women carried small bags called reticules or ridicules “that hung from the wrist” or larger
versions called balantines that were suspended at the high waist.

Like fashionable hats, shoes, and shawls, jewelry expressed the wearer’s
personal taste and her wealth
Combs and bandeaux decorated with long or short hair
Bracelets were worn not only at the wrist as previously but now adorned the
upper arm, and necklaces included a variety of chokers and long chain
necklaces

mustard-colored Indian shawl with narrow

palmette borders
Introduced into England in the 1780s by men
who had traveled to India,
 1800-1809
Nineteenth Century Neo Classicism
Neoclassicism now defined fashion as both men and women took inspiration from classical antiquity

Womenswear
Dresses that revealed the natural body
High waist and lightweight draping muslins
Origin of this garments- chemise dress of the 1780s

Fall front dress or round gown

The bodice front is attached to the skirt which is partially cut in a flap
The wearer pulled on the sleeves and fastened the inner body lining
The skirt flap was pulled on the sleeves and fastened with ties around the
waist

White as the dress color was prominent due to the incorrect assumption drawn from the classical
statuary that classical women only wore white
Slim vertical lines on the garments - geometry expressed in other visual and art forms

Prominent use of fine cotton muslin - help achieve impressive drape and lightness
Nudity was suggested in the cuts of revealing dress
The narrowed skirt only required a single petticoat
Corset referred to lightly boned or even simply corded supports
The purpose of undergarments was to raise and shape the breasts for their natural roundness
The neckline of the dresses was quite low and was either square or v neck
 Court suit made of
silk
Menswear
unornamented wool in dark colors
Breeches and pantaloons - made of jersey or wool cut on the bias
The three basic elements - coat, the waistcoat, and breeches of pantaloons
There were two main types of coats: the dress coat and the riding coat
The dress coat - cut in at the waist, either straight across or in an inverted U shape
The riding coat, a less formal choice, sloped gently from waist back to the tails.
Made of fine felted wool in Color’s such as blue, black, brown, red and green

High collar sloped down into lapels cut with either an “M” or “V” shaped notch
Waistcoats were single-breasted and cut straight across the waist, peeking out beneath the
closed coat
Both breeches and pantaloons were worn, both featuring fall front openings
Breeches extended to the knee where they were fastened with buttons or buckle or tie

Fashion icon : George Bryan “Beau” Brummell

The monochromatic men’s suit today is a descendant of Brummell’s approach to taste and style
The instep strap on pantaloons is attributed to Brummell as a mechanism to maintain a taut line
Neckwear was his chief vanity
He was the first to starch the cravat, achieving a crispness that resulted in a splendid knot

George Brummell
 1810s

Womenswear
Fashion remained inspired by classical antiquity
Waistline remained high
Bodices became increasingly angular
Puff sleeves
Hemlines shorten to just above the floor
Skirts were cut with gores at the sides
Women wore stays and corsets - to support the bust
Corsets without bonning or minimal
Outerwear - The pelisse or redingote, both types of long coats, or the
spencer, a cropped jacket

Silk evening dress

Menswear
the silhouette changed subtly after 1811, as the waist dropped and padding
was added to the shoulder
The three basic elements - coat, the waistcoat, and breeches of pantaloons
There were two main types of coats: the dress coat and the riding coat
Around 1815, the frock coat emerged for informal daywear
Shirts were white with ruffled or pleated fronts, and very high stand collars
that skimmed the jaw
 1820s
Womenswear
In the first years of decade
Waistline was still high at an inch or two below the bust
Skirt was slightly flared with gores at the sides and fullness gathered at the back
Sleeves were puffed at the shoulder
The empire silhouette completely disappeared

Over the few years by 1825

The waistline was nearly at the natural level Evening dress -
As the waistline dropped, the skirts and sleeves widened
Silk and Taffetta
The early Romantic silhouette was established with a natural waistline, large puffed sleeves,
and a wide skirts with increasing number of gores

By the end of decade

Sleeves grew into true gigot or leg o mutton styles
Necklines varied as there were different draped styles with pleats and folds including plain
darted styles
Tightly laced corsets were long and featured gussets over the hips and breasts, emphasising
natural curves
Skirts required underpinnings
Down filled pads around the arm were attached to the corset straps to support sleeve
All these created a false but very dramatic hourglass effect

Silk day dress with examples of

slashing and ruffles
 Hairstyles & Headgear
Hairstyles were tall and exaggerated
The Apollo knot was very fashionable - tall loops of hair raising straight up from the crown
and curls were arranged at the temples
Hats and bonnets expanded in size
Brims widened into large halos, crowns grew taller and enormously trims were added
Wide ribbons, flowers and greenery were used above and under the brim

Menswear
The waistline was nipped and the sleeves began to puff at the shoulder after 1825
Some fashionable men also wore corsets to achieve desired waistline
Expansive chest and shapely legs were fashionable
Coats were padded and stockings were also padded to create pronounced calves

For formal daywear

Dress coat - tailcoat with the fronts cut straight across the waist
Hanging tails in the back
The morning coat was a variation on the dress tailcoat- sloped fronts that curved gently
towards back

Informal daywear
Frock coat was fashionable
Dress coat ans
Frock coat featured a waistline seam, tightly fitted and full skirts hanging straight to the knee
Along with dress coat, trousers were increasingly worn slip waistcoat
Trousers were narrowly fitted and reached the top of the shoe
Pantaloons were ankle length in 5he 1820s with a buttoned side slit
 1830s

Romanticism emphasized emotion, the beauty of nature, and individualism

For women, it ignited the importance of the domestic sphere and the moral center at home

The decade began with bold fashion but ended with a style that collapsed into drooping
sentimentality
The silhouette consisted of a nipped waist that fell just above the natural waistline
It gave a short-waisted effect
Wide sleeves and skirt that ended just above the ankle
Sleeves were typically very full
The gigot sleeve and the demi gigot sleeve consisted of a large puffed sleeve at the armscye
that tapered narrow down giving a close fit at the wrist

Womenswear

Stays, petticoat, and sleeve

supporters

By 1837
Romantic silhouette began to deflate
The fullness of the sleeve moved further down the arm
Hemlines lengthened and sleeves became narrower
The waistline returned to a normal position - no waistband
Rounded or pointed front waistline became prominent
The widening of skirts required an ever-increasing number of petticoats
A small bustle pad was worn at the back of the waist as a skirt improver
Accessories and Headgear
Many bodices had wide round or v-shaped necklines worn with a variety of chemisettes
Large white collars that had lapels extended down the front were called the pelerines
Finer fabrics such as silk satin and gauze were used for evening gowns
For outdoors, the mantle or mantelet was worn
Hairstyles simplified by the end of the decade
The hair was usually parted in the middle and brushed smoothly over the ears into a chignon
at the back
The brim of hats and bonnets moved down into a narrow oval shape concealing the face

Cotton pelerine with delicate

white work embroidery French Mantle

Menswear
Coats nipped at the waist and flared skirt
Sleeves had a fullness that puffed at the shoulder
Towards the end of the decade, the waistline lengthened and sleeves began to fit smoothly at
the shoulder

Headwear
Gibus hat - patented design by Antoine gibus- collapsible top hat
 1840s
Womenswear Bonnets became closely fitted
- brim was curved down to
the face
Influences of the gothic era
By 1841 - Whalebone corset was a necessity - support the outer layers
By the late romantic period - a narrower sleeve that fits low on the shoulder
Close-fitting sleeves coupled with low shoulder seam - they couldn’t lift their arms above their
heads
Sleeve caps were trimmed with fringes or ribbon
Detachable undersleeves - rectangular pieces of cloth with a cuffed end
It was sewn into the sleeve and could be removed by regular laundering
Later - sleeves began to loosen creating an early version of pagoda sleeves

Gowns were often made in one piece - bodice attached

to the skirts
By mid of the 1840s- skirt took on a bell shape and stiff
crinolines along with the multiple layers of petticoats
Double flounced skirts became popular
Bodices of the late romantic period - basque waist &
were tightly fitted

Necklines were round, v-shaped or wide for both day

and night
Interchangeable chemisettes and collars were worn
Pelerines were necessity

Menswear
Men wore tight-fitting, calf-length frock coats and waistcoats or vest
The vest - single or double-breasted with a shawl or notched collars with a variety of patterns
For leisurely occasions - lounge or sack jacket
Sacks were cut straight, without waistline seam
Trousers were narrow fitted - lighter color than the coat
Trousers were made with a center fly front
 1850s
Decorated petticoats
Womenswear
Dome-shaped skirt - created using several layers of crinoline petticoats
Steel cage crinolines were introduced
Daytime dresses featured high necklines - wide white collar, long sleeves
V-shaped Bretelles - common bodice decoration - centre waist to dropped shoulders
Sleeves became more wide and open - pagoda sleeves
By 1870, pagoda sleeve - often trimmed with bows and fringed epaulettes
Two-piece dresses - skirt and separate matching bodice
Patterned lightweight silks were used
The hairstyle was parted in the centre, brushed down and arranged heavily on the sides
Deep bonnets were worn
Long bloomers and pantaloons trimmed with lace were popular

Machine embroidered
nets stitched to silk
and taffeta

Bonnets made of silk

velvet ribbons,

Menswear
Matching sets of coat, vest, and trousers
Single-breasted frock coats - snug and form-fitting
Sack coats - loose fitting
Suits had high, stiff collars with decorated bow ties
Top hats were worn by the upper class and large bow ties by working class
V-shaped bretelles Men styled their facial hair into mutton chop sideburns and mustaches
1860s
Womenswear
Defined by cage crinoline or hoop skirt
The dome-shaped silhouette changed - emphasized towards the back of the dress
Tight bodices with high necks in daywear continued
Front button shirts became popular
Tops emphasized low, sloping shoulders
Bodices featured basques - peplum extending past the waistline
Wide flared sleeves decorated with white lace collars and cuff
Heavy silks in solid colors

Cage crinloine

Menswear
Coats were single-breasted and semi-fitted
Jackets reached mid-thigh
Waistcoats were collarless
Undershirts had high, starched collars with cravats or neckties
Overcoats - wide lapels and deep cuffs - velvet collars
A style known as Dundreary or Piccadilly whiskers became fashionable for facial hair
 1870s
Womenswear Corsets lengthened
over hips - slim
silhouette
The focus of the clothing concentrated at the back
Bustle style - ruching, ruffles, flounces emphasizing this look
Waist moved lower - front of the skirt became flat
Bodice became elongated, low sloped shoulders
This style fell out quickly - tight-fitting silhouette favored later
The bustle collapsed into princess style - fitted with long vertical tucks and darts Princess line
Corsets lengthened over the hips for a fashionable slim silhouette silhouette -
Hats were small and tilted forward on the head separate bodice and
skirt

Wide collar lapels

pressed to chest

Menswear
Similar to the previous decade
Tips of shirt collar were pressed into wings
Coats had wide lapels and fastened lower on the chest
Bow ties were increasingly replaced with neck ties and ascots
 1880s
Tightly fitted bodice
Womenswear with narrow sleeves

Tightly fitting bodices with very narrow sleeves

High necklines, trimmed at wrists with white frills or lace
At the beginning of the decade - the emphasis was at the back of the skirt - ruching, flouncing, ribbons, ruffles, flounces,
and embellishments- bows and thick, rich fabrics shirring, bows, and lace -
Middle of the decade - the brief revival of bustle - exaggerated and protruded horizontally decoration
from the small of the back
Hats and caps - small and neat to fit on the top of hairstyles

Small and neat hat

decorated with
Menswear feathers and ruffles

Lounge suits were popular - slim and jackets were worn open
Or partially undone to reveal the high buttoning waistcoat
Collars were stiff and high - tips turned into wings
Neckties were either knotted ‘four in hand’ or tied around the collar
 1890s
Womenswear
In the early part - women wore tight bodices with high collars and narrow sleeves
Sleeves expanded into the leg of mutton shape
Wide shoulders were fashionable
Horizontal decoration on the bodice further exaggerated the line
Skirts were worn in a full length - simple a line or bell-shaped High collar and
Masculine styles and tailoring gained popularity - Gibson girls were popular narrow sleeve, tight
Hair was worn high on top of the head in tight curls bodice, bell shaped
Hats were small or wide with lots of trimming
skirt

Leg of mutton sleeve

masculine style
tailoring

Wide hat with lots

of trimmings- laces,
feathers, ribbons and
flowers

Menswear
Three-piece lounge suit
Creases at the front of the trousers
Collars were starched and high - tips pressed down into wings
By the end of the century - century collars were more frequently turned down
Hair was short and parted at the side
Heavy moustaches were common