History of Fashion

Focus of British brands

Picture is Jane Austen

Pre 20th Century

Elizabethan to Victorian

Golden age - because of economic prosperity, this has two big reasons first frugal
Elizabethen policies from the government. Second because it was relatively peaceful both
1550-1600
geopolitical and religiously it allowed the Atlantic trade both stealing from the
• Elizabeth 1
Spanish trade ships and slavery.
• Golden age
• Age of arts geopolitical and religiously - Elizabeth didn’t care about religion the way that her
• Sumptuary Laws sister did, not to say that it was easy for Catholics in England it wasn’t. But the
• Peaceful
reformation was coming to an end and by Elizabeths death England was a toughly
Queen Elizabeth, the "Ermine Portrait” Painted by William Segar 1585
Protestant country.
 Arts
William Shakespeare
creation of the sonnet

The Elizabethan Sumptuary Laws

Laws made for the purpose of restraining luxury or extravagance, particularly
against inordinate expenditures for apparel, food, furniture, or shoes,
etc."[2] Historically, they were intended to regulate and reinforce social
hierarchies and morals through restrictions on clothing, food, and luxury
expenditures, often depending on a person's social rank. They also were part of
restrictions on spending that created a wealthy society towards the end of her rein.

Elizabethan women's fashion was marked by a cone-shaped silhouette. The typical

Elizabethen
1550-1600
outfit consisted of a corset or bodice that flattened the chest and elongated the
Womens
torso, a farthingale (a hoop skirt) that created a wide silhouette, and elaborate
• Sumptuary Laws sleeves.
• Opulence
• Contraste
• Embroidery
By the end of the period, there was a sharp distinction between the sober fashions
favoured by Protestants in England and the Netherlands, which still showed heavy
Diana Cecil 1614 William Larkin
Spanish influence, and the light, revealing fashions of the French and Italian courts.
This distinction would carry over well into the seventeenth century.
 -Sumptuary Laws
These laws dictated what colors, fabrics, and styles people of different social
classes were allowed to wear. The purpose was to maintain social order and
prevent lower classes from imitating the clothing of the nobility.

-Contrasting fabrics and slashes to reveal contrasting colours and texture Only the
queen and direct family could wear gold and purple.
Lower classes were only allowed to use brown, beige, yellow, orange, green, grey
and blue in wool, linen and sheepskin, while usual fabrics for upper class were silk
or velvet. Dies made from insects and plants leaves and flowers

Towards the end of her life she wore mainly black and or white.

-Embroidery, trims, and other forms of surface ornamentation, like lace or jewels

Doublets and Jerkins:

Elizabethen
1550-1600
Doublets were fitted jackets that accentuated the broad shoulders and narrow
Mens
waist.
• Wide shoulders Jerkins were sleeveless jackets worn over doublets for additional layers.
• Codpieces Hose:
• Embelishments
• Slashes
Men wore tight-fitting hose, covering the legs and sometimes the feet. Hose could
• Ruffs be separate or joined to form a one-piece garment.
Trunk hose, which were padded and gave the appearance of exaggerated hips,
were fashionable.
 Codpieces:
Codpieces were fabric pouches that covered the front opening of men's hose. They
were often embellished and served both decorative and practical purposes.
Cloaks and Capes:
Elaborate cloaks and capes were worn over the shoulders and fastened with
decorative clasps.
The materials used for outerwear reflected the wearer's social status.

Make up
The Darnley Portrait, c. 1575
Pales make up
Both men and women used rouge to add colour to their cheeks, and dark eyeliner
was applied to emphasise the eyes.
Elizabeth was scared from mall pox so began using make up to cover it. She used a
lead based make up which would definitely have been poisonous.
It was used to suggest the status of virgin of the queen.
This got more extreme as she aged.

Because the queen wore it everyone did.

Ruffs were starched, pleated collars that encircled the neck. They became larger
and more intricate as the era progressed, reaching their peak in size during the
latter part of Elizabeth's reign.
Collars and cuffs were often edged with lace.

The invention of starch allowed for the extension of ruffs. Starch could be died to
make other colours. Elizabeth had rules on what ruffs could look like and colours.
Ruff English ruffs where smaller than those on the continent. Elizabeth also band blue
ruffs because of its connection to Scotland.
 Corsets and Bodices:
Corsets were tightly laced to create a narrow waist and a flattened chest,
contributing to the fashionable cone-shaped silhouette.
Bodices, often separate from the skirt, were worn over the corset and provided
additional shaping and support.
Farthingales:
Elizabeth’s effigy Farthingales were underskirts made with hoops or whalebone that gave skirts a
Undergarments wide, bell-like shape. The size of farthingales varied, with some reaching
considerable widths.

The Jacobean era and the early Stuart period witnessed a gradual shift from the
rigid and structured Elizabethan fashion to more flowing and ornate styles. The
increased emphasis on opulence and intricate detailing marked the beginning of the
Baroque era, which would fully flourish in the later 17th century
Jacobean & Stuart
(1603-1714)

-Transition to Baroque: Evolving towards the refined Baroque aesthetic.

Jacobean & Stuart
-Rich Textiles: Luxurious brocade and damask adorned with lace and trims
• Transition to Baroque
-Influence of Royalty: Fashion heavily influenced by the monarchs.
• Rich Textiles
• Influence of Royalty
Minor changes to silhouette - higher white lines for women and smaller sleeve

Jacket British 1615–20

 Opening of necklines

Puritanical era

waistcoats and petticoats -the waistline was high and the length short, which
Diego Velázquez, Kitchen Scene with Christ in the House of
Martha and Mary, 1618, oil on canvas. The National Gallery,
London

created the illusion of a short torso

Daniel Mytens, Elizabeth Leicester, c. 1620s. Tabley House Collection

Unknown Woman c. 1620

Third image is that of what working people wore. Similare silhouette but without the
embroidery . Can see the impact of puritanical influences in high collar.

Marcus Gheeraerts the younger, Margaret Layton, c. 1620, oil on panel. The Victoria
This is the
surviving vest
worn in this
and Albert Museum London, E.214-1994. © Victoria and Albert Museum, London.
painting.

wearing the exact waistcoat

Marcus Gheeraerts the younger, Margaret Layton, c. 1620, oil on panel. The Victoria and Waistcoat of Margaret Layton, c. 1610-15, English. Victoria and Albert Museum, London.
Albert Museum London, E.214-1994. © Victoria and Albert Museum, London. T.228-1994. © Victoria and Albert Museum, London.

Portrait of Bertoldo Pazzi 1580s Warsaw National Museum

 There were several Acts of Union throughout history, but the most commonly
referred to is the Acts of Union 1707, which united the Kingdom of England and the
Kingdom of Scotland into a single entity known as the Kingdom of Great Britain.

Until this time England and Scotland were separate sovereign states with their own
parliaments, monarchs, and legal systems.
Unification
Creation of the United
The idea of union gained traction due to political, economic, and military reasons,
Kingdom: Scottish influence.
Scottish mercenaries in the Thirty Years War 1631
including the desire for a united front against common enemies.
Negotiations for union began in earnest in the late 17th century, and there were
economic incentives, such as addressing Scotland's financial difficulties after the
Darien Scheme.

Scotland retained its separate legal system, education system, and Presbyterian
Church.
Opposition:

The union was met with significant opposition in both England and Scotland. In
Scotland, there were concerns about losing independence, while in England, there
were fears of economic competition.

The Acts of Union 1707 marked the creation of the Kingdom of Great Britain,
unifying England and Scotland under a single government.

The new state had a unified Parliament, currency, and foreign policy, fostering
greater political and economic cohesion.

Scotland retained its distinct legal and educational systems, as well as its
Presbyterian Church, preserving elements of its cultural and institutional identity.

The political union with Scotland paved the way for future acts of union, notably
with Ireland in 1801, creating the United Kingdom of Great Britain and Ireland.
 Scottish mercenaries in the Thirty Years War.jpg
Scottish mercenaries, assumed to be men of Mackay's Regiment landing in the
Baltic port of Stettin (Szczecin) in 1630 or 1631. This print is regarded as the earliest
surviving depiction of Highland dress. The original caption states, "They are a
strong and hardy people who survive on little food. If they have no bread, they eat
roots [turnips may be intended]. When necessary, they can cover more than 20
German miles in a day's forced march. [1 German mile = 4¾ English miles!] Besides
muskets, they carry bows, quivers and long swords."

Early versions of the kilt-like garment can be traced back to the 16th century or
Kilts
even earlier. These garments were essentially a length of cloth gathered and belted
• Feileadh Mor
at the waist, worn by Gaelic-speaking people in the Scottish Highlands.
• Act of Proscription (1746) Formalisation of Highland Dress: The 19th century also saw the formalization of
• Repeal of the Ban (1782
Highland dress, with specific rules and guidelines for wearing kilts, sporrans, and
• Romantic Movement

• Modern Kilts
other accessories.

Early example of Feileadho More Contemporary Usage:

Symbol of Scottish Identity: The kilt is now a symbol of Scottish identity and is often
worn during formal occasions, weddings, and cultural events.

Variety of Kilts: There are various styles of kilts, including the traditional tartan kilt,
the modern utility kilt, and the casual kilt. Each serves different purposes and
occasions.

Global Appeal: The kilt has transcended its Scottish origins and has gained
popularity around the world. It is often worn as a distinctive and symbolic garment,
showcasing a connection to Scottish heritage.

The belted plaid, or "feileadh mor" in Gaelic, emerged as a practical and versatile
garment in the late 16th to early 17th century. It consisted of a large piece of cloth,
often up to six yards in length, pleated and gathered around the body. The excess
fabric was then belted at the waist. Plaid means Blanket blanket in Nordd

Incredibly versatile, the plaid could serve as a cloak, a blanket for sleeping, or a
working garment. It allowed for ease of movement, especially in the rugged terrain
of the Highlands.

After the defeat of the Jacobites in the Battle of Culloden in 1746, the British
government implemented the Act of Proscription. This legislation sought to
suppress Highland culture and the clan system. Wearing Highland dress, including
the kilt and tartan, was banned. wearing highland wear was band, would would be
arrested if you wore a kilt.he ban on Highland dress aimed to break the power of the
clans and assimilate the Highlanders into British culture. Violators faced severe
penalties. results in assimilation into english style of dress

The ban on Highland dress was eventually repealed in 1782. This marked the
beginning of a gradual revival of Scottish Highland culture

Romantic Movement: In the early 19th century, the Romantic Movement, with its
emphasis on national identity and heritage, contributed to a renewed interest in
Scottish culture. The kilt, along with tartan patterns, became associated with a
romanticized image of the Scottish Highlands.

Introduction of the Modern Kilt: The modern kilt, as it is known today, evolved in the
19th century. It is generally shorter than the belted plaid, usually reaching just above
the knee.
 The Georgian era was a period in British history from 1714 to c. 1830–1837, named
after the Hanoverian kings George I, George II, George III and George IV

Is an era of dramatic change in fashion in what was until then a short amount of
Georgian Era
1714 to c. 1830–1837 time. We’ve talked about centuries before this and now we’ll be talking about 20-40
years. Late Georgian or Regency has lots of changes in really short succession.

Queen Charlotte by Thomas Gainsborough. Photograph: Royal Collection Trust/various

The Georgian era, spanning from 1714 to 1837, was a time of significant social,
Georgian era
1714 to c. 1830–1837
political, and cultural change in England. The fashion during this period underwent
• Religious reform
various shifts, reflecting the tastes and influences of the time. The Georgian era is
• Napoleon I often divided into three sub-periods: the Early Georgian (1714-1760), the Mid-
• Grand Tour
• Industrial Revolution
Georgian (1760-1780), and the Late Georgian or Regency era (1795-1837).
• Expansion of empire through trade
• Abolition of the Slave Trade Act
• Jane Austen
The Georgian period saw continual warfare, with France the primary enemy. Major
• Democracy
Suit , 1760, The Met
episodes included the Seven Years' War, known in America as the French and
Indian War (1754–1763), the American Revolutionary War (1775–1783), the French
Revolutionary Wars (1792–1802), the Irish Rebellion of 1798, and the Napoleonic
Wars (1803–1815). The British won most of the wars except for the American
Revolution, where the combined weight of the United States, France, Spain and the
Netherlands overwhelmed Britain, which stood alone without allies.[14]
The British Empire at the end of the Napoleonic Wars in 1815
had lost 13 American Colonies.
Increase on trains and bolstering the trading companies like the east india company

1769–1770
Australia and New Zealand are claimed as British colonies.

1807
The Abolition of the Slave Trade Act became law, making it illegal to engage in
the slave trade throughout the British Empire, partly as a result of a twenty-year
parliamentary campaign by William Wilberforce.

1815
Napoleon I of France is defeated by the Seventh Coalition under The Duke of
Wellington at the Battle of Waterloo.

The Georgian era witnessed a dynamic evolution in fashion, influenced by changes

in art, politics, and societal norms. The transition from the elaborate and structured
styles of the early Georgian period to the more natural and Neoclassical styles of
the late Georgian and Regency era reflects the shifting cultural landscape of the
time.

The UK became a democracy with the passing of the First Reform Act in 1832
which extended the vote to seven percent of men and redistributed house seats for
better representation. This was the first in a succession of further reforms aiming to
broaden the electorate
 Women's Fashion:
Early Georgian
1714-1760
Court style was behind that of regular people. The first time the ‘street style’ would
• Opulence
influence the elite.
• Rococo influence
• Hoop petticoats The style was influenced by the Rococo aesthetic, featuring flowing lines and soft
• Wigs
• Floral motifs
fabrics.
Hoop petticoats became popular, giving skirts a wider and more bell-like shape.
Robe à la française Court dress British ca. 1750. The met
Fabrics and Colors:

Silks, satins, and taffetas were commonly used for gowns. Pastel colors were
fashionable, reflecting the influence of Rococo art and design.
Floral patterns and delicate embroidery adorned fabrics.
Accessories:

Women's hairstyles were often elaborate, with high-piled curls and the use of
accessories like ribbons, feathers, and small hats.
Fans, gloves, and parasols were popular accessories.

Men's Fashion:

Men's coats featured a more fitted silhouette with long, narrow sleeves and a flared
skirt.
Waistcoats remained a key element of men's attire, often embroidered or made of
rich fabrics.
Wigs and Hairstyles:

Wigs continued to be worn by men, and they became smaller and more refined
compared to the elaborate wigs of the late 17th century.
Men's natural hair was often styled with curls and powder.

(dress
 A robe à la piémontaise is a variant of the basic robe à la française, except that the
rear pleats, instead of being attached, float freely from the neckline to the center
back. The style is named after a princess of the House of Savoy who wore a gown
of this type in Lyons in 1755. Another rare example of this style is in the Rocamora
Collection, Barcelona.

A court dress and shoes from 1740-60. Credit: Fashion Museum Bath Court suit for a Georgian man. Amgueddfa Cymru/National Museum
Wales/Historic Royal Palaces

Mid-Georgian (1760-1780):
Mid-Georgian
1760-1790
We can see the change from the wide skirts to more ‘natural’ skirts The need for the
Women
big hooped skirts mandated by Queen Charlotte was removed and softer styles
• Narrower skirts came into fashion.
• Higher waistlines
• Robe à l’anglaise
• Robe à la polonaise
The silhouette of women's gowns evolved, with a narrower skirt and a higher
• Cotton waistline. The "robe à l'anglaise" became popular, featuring a fitted back bodice.
• Caps and bonnets Robe à la française: 1770–75
Robe à la Polonaise 1780-1785 , The met
The hoop petticoat persisted, but it became less voluminous.
Robe à la Polonaise:
 A new style emerged called the "robe à la polonaise," characterised by a fitted
bodice, an open front, and a skirt draped up in a bustle effect.
Accessories:
Caps and bonnets became fashionable headwear for women, often adorned with
ribbons and lace.
Jewelry, including necklaces and earrings, featured pearls and gemstones.

The east India company success resulted in cotton becoming very fashionable. The
‘Robe à l’anglaise’ would normally be made in cotton.

Close-bodied gown or robe à l'anglaise of purple and white striped silk,

French, 1785-90, LACMA, M.2007.211.931

Robe à l’anglaise French, 1784–87 coton, métal, soie, The Met

Mid-Georgian (1760-1780):
Mid-Georgian
1760-1790
Men's coats retained a fitted shape, and waistcoats became shorter, exposing more
Men
of the shirt.
• Shorter waistcoats Tricorn hats became popular, replacing the larger hats of the earlier period.
• Tircorn hats Wig and Hairstyles:
• more natural style wigs
Wigs were still worn, but there was a shift towards simpler styles with fewer curls.
Men's hairstyles became more natural, with shorter and less extravagant wig styles.
Suit 1775–80, The Met

Late Georgian, Regency Era
1795-1837
• Dramatic change in shape
• Minimal embellishments
• Large bonnets and hats
• Gloves Reticules and shawls
• Change in undergarments
Late Georgian or Regency Era (1795-1837):
Women's Fashion:
The silhouette of women's dresses became more columnar and high-waisted,
marking the transition to the Regency style.
Empire-line dresses with a high waist and a straight, flowing skirt became popular.
White Muslin Dresses:
White muslin dresses gained popularity, reflecting Neoclassical influences. These
dresses were often lightweight, sheer, and adorned with minimal embellishments.
Empire Silhouette:
The hallmark of Regency women's fashion was the high-waisted empire silhouette.
Dresses featured a high waistline just below the bust, with a loose and flowing skirt
that fell to the ankles.
Columnar Dresses:
Dresses had a columnar shape, and the emphasis was on a natural and slender
figure. The style was influenced by Neoclassical ideals, reflecting an interest in
ancient Greek and Roman art.
Sheer Fabrics:
Muslin, a lightweight and often sheer fabric, was popular for dresses. White muslin
dresses, in particular, became iconic of Regency fashion.
Short Sleeves:
Dresses typically had short sleeves or were sleeveless, exposing the arms. Puffed
sleeves and delicate lace trims were common.
Empire-Waist Gowns:
Empire-waist gowns were often accessorised with a decorative sash or belt tied
around the high waist.
Spencer Jackets:
Spencer jackets, short jackets with long sleeves, were worn over dresses for a more
modest look. They complemented the high-waisted style.
Corsets were not generally needed under these high-waisted fashions. However, in
lieu of a proper brassiere, women wore a short corset or ‘stays.’
 Although they were considered racy and a proper lady would never be known to
wear them, women started wearing ‘drawers’ during this time.
‘Drawers’ consisted of two short pant legs that tied at the waist.
Footwear:
Flats and low-heeled slippers were popular choices for footwear. Ankle boots also
became fashionable.
Accessories:
Bonnets were the preferred headwear, featuring wide brims and ribbons. Hairstyles
were often simple, with curls framing the face inspired by ancient Greek and Roman
influences.
Gloves, reticules (small handbags), and shawls completed the ensemble.

Late Georgian or Regency Era (1795-1837):

Late Georgian, Regency Era
1795-1837
Men's Fashion:
• Long trousers
Men's coats became more tailored and streamlined, featuring high collars and
• High collars narrow lapels.
• Top hats
• Cravats
• Real hair.
Simplified Silhouette:
Men's fashion saw a move towards a simpler and more tailored silhouette. Coats
and jackets became more fitted, and the overall look was neater and less
ostentatious.
 Tailcoats:
Tailcoats, featuring a cutaway front and long tails at the back, became a staple of
men's formal wear. They were often worn with contrasting waistcoats and trousers.
Trousers:
Full-length trousers, as opposed to knee breeches, became more common.
Trousers were high-waisted and tapered towards the ankles.
Shirts and Neckwear:
Cravats, or neckcloths, were popular and worn in various styles. Shirts had high
collars and were typically white or light-colored.
Top Hats:
Men's hair was generally short, and wigs became less common
Top hats, also known as beaver hats, became a fashionable accessory for men.
They were often worn with formal attire.
Footwear:
Shoes had a more subdued and practical design. Hessian boots, characterized by a
low heel and tassels, were popular.

Unisex Trends:
Empire Waistcoats:
Both men and women embraced the empire waistline. Men's waistcoats and coats
often featured a higher waistline, echoing the Neoclassical influence.
Neutral Colors:
Bridgerton

Neutral and pastel colours were fashionable for both genders, reflecting a departure
from the vibrant colours of the previous century.
Pride and Prejudice

The Regency era's clothing reflected a move towards simplicity, elegance, and a
 revival of classical influences. The emphasis on a natural and uncorseted silhouette
in women's fashion and the adoption of more tailored and understated styles in
men's fashion were key characteristics of this period. These trends paved the way
for the evolving styles of the Victorian era.

Pringle of Scotland
 Pringle of Scotland, established in 1815, is a historic luxury knitwear brand with a
Pringle of Scotland
Scottish cashmere. rich and storied history. It is one of the world's oldest continually operating fashion
• 1815: Robert Pringle in Hawick established Pringle of
Scotland initially focused on hosier and undergarments.

• 1870:Shift to knitwear
companies
• 1870-1930:s: Cashmere inovation
• 1934: Royal warrant. Otto Weisz becomes first full time
designer

• 1920’s: 1930’s: Twinset Foundation (1815):

• 1967,:Pringle of Scotland was acquired by Joseph
Dawson (Holdings) Limited

• 20th century: Expansion and Global Presence

Pringle of Scotland was founded by Robert Pringle in Hawick, a town in the Scottish
• 21st century: Collaborations
• 2000: Acquisition be Fang Brothers
Borders known for its textile industry. The brand initially focused on the production
• 2007: Clare Waight Keller appointed Creative Director
• 2011:Ailstair Carr design director
of hosiery and undergarments.

Introduction of Knitwear (1870s):

In the late 19th century, Pringle began to shift its focus to knitwear. The brand
gained recognition for its high-quality knitted garments, particularly socks and
underwear. The use of innovative techniques set Pringle apart in the industry.

Cashmere Innovation (1870s - 1930s):

Pringle played a significant role in popularizing cashmere wool. The brand's
cashmere sweaters became synonymous with luxury, and Pringle contributed to the
refinement of techniques for working with this exquisite material.

Royal Warrant (1934):

Pringle of Scotland received the Royal Warrant from H.R.H. The Duke of Windsor in
1934. This prestigious recognition further solidified Pringle's reputation for quality
and craftsmanship. The company would later also dress The Queen and the Queen
Mother.

Iconic Twinset (1920s - 1930s):

Pringle is credited with popularizing the twinset – a matching set of a sweater and a
cardigan. The twinset became an iconic and enduring style associated with the
brand.

In 1967, Pringle of Scotland was acquired by Joseph Dawson (Holdings) Limited,

who were later renamed Dawson International Plc.

Expansion and Global Presence (20th Century):

In the mid-20th century, Pringle of Scotland expanded its reach internationally,
establishing itself as a prominent luxury brand. The classic argyle pattern, a
diamond-shaped design, became one of Pringle's signature motifs. 1993/4 saw
rapid global expansion that they were forced to sell by 1995. The rest of the 90’s
saw the brand struggle. They scaled back workers and even have a shortened work
week.

Acquisition by Fang Brothers (2000):

In 2000, Pringle of Scotland was acquired by the Hong Kong-based Fang Brothers
Knitting Limited. The acquisition aimed to bring new investment and opportunities
for the brand.
Revitalization and Modernization. However the new owners would say "Half the
workforce will go, with 140 losing their jobs and 60 being transferred to another
company.”

Collaborations and Innovations (21st Century):

In the 21st century, Pringle of Scotland continued to innovate and collaborate. The
brand collaborated with designers and artists, bringing a contemporary edge to its
traditional craftsmanship. In 2019 there were collaborations with H&M worldwide
(Pringle of Scotland X H&M) and skater brand Palace (Pringle of Scotland X Palace).
In 2020 Pringle of Scotland celebrated its 205th anniversary.

Under new ownership, Pringle of Scotland underwent efforts to revitalize and

modernize the brand. Collaborations with designers like Clare Waight Keller brought
fresh perspectives to the traditional heritage of Pringle.

Continued Legacy:
Pringle of Scotland remains a symbol of Scottish heritage and craftsmanship. The
 brand continues to produce high-quality knitwear, blending traditional techniques
with contemporary design elements.
Pringle of Scotland's long and illustrious history reflects its enduring commitment to
quality craftsmanship and innovation in the world of luxury knitwear. The brand's
iconic designs and contributions to the fashion industry have solidified its place as
a global heritage brand.

Victorian
1837-1901

"in truth, the Victorian period is three

periods, and not one".

Michael Sadleir
 Like the Georgian era the Victorian saw rapid change in styles.
Victorian
1837-1901
This happened amounts the back drop of England being the most powerful country
• Most powerful country
in the world. The only war of note is the Crimean War, from 1853 to 1856.
• Prudery
• Great Famine
• Urbanisation
Strong moral ideas - prudery. Society had strong moral codes and as such that
• Education extended to clothing.
• Scientific advancements
• Feminist movement
• Victorias mourning Great famine is also often called the potato family in Ireland. It causes mass
emigration from Ireland as well as death. 1845 to 1852

In the 1901 census, around three out of every four people lived in an urban area.
Compared to the census completed a century earlier (1 in 5 lived in urban areas),
the increase led Historian Richard A. Soloway to write that “Great Britain had
become the most urbanized country in the West.”

Expansion of the middle class, protections on children lead to higher levels of

literacy. 1840 only about 20 per cent of the children in London had any schooling.
[76] By the 1850s, around half of the children in England and Wales were in school

Gas, electricity and germ theory

Rational dress society - beginnings of feminist movement

 Early Victorian women's dresses were characterized by a bell-shaped silhouette
Early Victorian
1837-1860
with a narrow waist and full, bell-shaped skirts.
• Bell silhouette
Bodices featured a pointed waistline and a sloping shoulder line. Low necklines
• sloping shoulder were common.
• not much embroidery -flat
fabrics with lace and bows
Sleeves were often pagoda-shaped or adorned with flounces.
• bonnets Fabrics included silk, satin, and velvet, and dresses were richly decorated with lace,
• beginning of haut couture
ribbons, and bows. Technology advancements in fabric meant that often rich
• Synthetic dies
brocades would be used instead of embroidery.
Women's hairstyles were often elaborate, with ringlets, braids, and curls. Bonnets
were popular headwear.

1855 the term haute couture came into use as sewing machines became more
common. Charles Frederick Worth an Englishman went to france were he dresses
the Empress Eugénie de Montijo and earned him the title the father of haute
couture. He began making cloths for Queen Victoria in the 1880’s

Synthetic dies allowed for more rich and vibrant colours

Men's fashion retained a tailored and fitted silhouette. Coats had a more defined
Early Victorian
1837-1860 mens
waist, and trousers were straight-legged.
• Similar for that of the regency era
Cravats and neckties were worn, and high collars were fashionable.
• Defined waist Tailcoats were commonly worn for formal occasions.
• Bowler hats for middle classes

“The dominant figure was now a respectable bourgeois,

who had no desire to make himself conspicuous but
more sober look -
wished merely to present a gentlemanly appearance…
what we are watching, in fact, in this period is the fading
away of flamboyance and color from men’s garments.”
no puff in the sleeve
James Laver
1st Lord Penrhyn of Llandegai Eden Upton Eddis (1812–1901)

sideburns were fashionable

 The mid-Victorian period saw the emergence of the cage crinoline, a structured
Mid Victorian
1860-1880
petticoat that supported wide skirts.
• Cage crinoline
Day dresses had lower necklines, and evening gowns featured off-the-shoulder
• Lower necklines styles.
• Two piece Garments were often two-piece outfits with a bodice and a separate skirt.
• Bustles and Trains
Bustles, worn at the back of the skirt, became a prominent feature, giving skirts a
distinct shape.
Jenny Lind replica by Eduard Magnus oil on canvas, circa 1861, based on a work of 1846
Trains were fashionable for evening gowns, adding a touch of drama and formality.

Ideas on how holding certain accessories meant certain things. This is generally
thought to not have been accurate - however is sure that the fans were used for
some communication.
 1850 saw the introduction of the artificial cage crinoline - this allows for wide skirts
with out having to wear layers of petticoats under.

Ideas on how holding certain accessories meant certain things. This is generally
thought to not have been accurate - however is sure that the fans were used for
some communication.

Men's suits became more somber and business-like, with dark colours and minimal
Mid Victorian
1860-1880
embellishments.
Starting to see men’s clothing
Frock coats and morning coats were popular for daytime wear, while the tailcoat
looking more similar to what we
would recognise today. remained a formal choice.

1870’s
 The hourglass silhouette became fashionable, achieved with the use of the corset,
Late Victorian
1880-1901
bustle, and a tight-fitting bodice.
• Hourglass silhouette
Skirts were narrow at the waist and flared out at the hips and hem.
• Narrow skirts Leg-of-mutton sleeves, characterised by a full upper arm and a fitted lower arm,
• Tailored suits were popular.

Tailored suits for women, often referred to as tailor-mades, gained popularity,

featuring jackets with defined waists and skirts.
Walking suits with matching jackets and skirts were worn for outdoor activities.
The Gibson Girl look, characterized by a high collar, puffed sleeves, and a narrow
skirt, represented an idealized feminine image.
The growing popularity of bicycling influenced fashion, leading to the introduction of
more practical and comfortable clothing for women.

examples of undergarments to make the shape

Wedding corset, by Edwin Izod, 1887, England. Museum no. T.265&A-1960. © Waterfall’ bustle, about 1875, England. Museum no. T.144-1970 © The New Phantom, bustle, designed by Stapley & Smith, 1887 – 8, Great Britain.
Victoria and Albert Museum, London Victoria and Albert Museum, London Museum no. T.131C-1919. © Victoria and Albert Museum, London
 Suits and Tailoring:
Late Victorian
1880-1901
Advancing into 1880, most gentlemen of fashion owned several styles of coat,
• Frock Coats
including a frock coat, tailcoat, cutaway coat, and sack coat.
• Sack Coats Frock Coats: Frock coats were still worn for formal occasions. They featured a
• Straight-Legged Trousers knee-length cut, a fitted bodice, and a flared skirt.
• Cuffed Hems
• High-Collared Waistcoats
Sack Coats: Sack coats, a less formal and more practical option, had a straighter
• Double-Breasted Styles cut and were often worn for everyday activities.
• Facial hair
The Sartorial Art Journal, 1894
2. Trousers:
Straight-Legged Trousers: Trousers became narrower and straighter compared to
the wide and flared styles of the mid-Victorian period. The invention of the trouser
press resulted often in a cresses down the middle
Cuffed Hems: Trousers often had cuffed hems, and the length allowed them to
break slightly at the shoes.
3. Waistcoats (Vests):
High-Collared Waistcoats: Waistcoats were an essential part of a gentleman's
ensemble, featuring high collars and often made of contrasting fabrics.
Double-Breasted Styles: Double-breasted waistcoats became fashionable during
this period.
4. Shirts and Ties:
High-Collared Shirts: Shirts had high, starched collars that stood up and were often
detachable.
Cravats and Ties: Cravats remained popular, and neckties, tied in a variety of knots,
became more common.
5. Outerwear:
Overcoats: Overcoats were worn for warmth and could be quite long, especially for
formal occasions. They often featured velvet collars.
Ulster Coats: A style of overcoat known as the Ulster coat gained popularity,
characterized by a loose, boxy shape.
6. Accessories:
Hats: Toppers (top hats) were still worn for formal occasions. Bowler hats became
popular for everyday wear.
Gloves: Gloves were a common accessory, especially for formal events.
7. Hairstyles:
Short Hair: Men generally wore their hair short and neatly groomed.
Moustaches and Beards: Moustaches were common, and some men wore beards,
often in a more trimmed and controlled fashion than the full beards of the mid-
Victorian era. Men wore facial hair in more elaborate styles, mutton chops, goatee,
Van dykes eat
8. Fabrics and Colors:
Dark Colours: Suits and coats were often in dark, subdued colors such as black,
navy, and charcoal grey.
Subtle Patterns: Subtle patterns, such as pinstripes, were introduced.
9. Formal and Informal Distinctions:
Daywear: Daywear for informal occasions featured simpler designs, while formal
wear was more ornate and structured.
Evening Wear: Evening wear for formal events often included tailcoats and well-
tailored suits.
 Early History:
Hunter
Founded in Scotland in 1856
The story of Hunter boots dates back to the mid-19th century when the company
Producing durable and waterproof was founded in Scotland in 1856. Initially, the brand focused on producing durable
boots for outdoor activities
Original Green Wellington Boot 1956 and waterproof boots for outdoor activities, particularly for those involved in farming
Received a Royal Warrant from the
Duke of Edinburgh in 1977 and hunting.
Modernization

Celebrity Endorsement

Cultural Impact **2. Iconic Design:

Global Recognition Hunter's most iconic design is the Original Green Wellington Boot, commonly
known as the Hunter Original. Introduced in 1956, this classic design features a tall
shaft, a rounded toe, a comfortable fit, and a distinctive buckle detail. The boots are
made from natural rubber, providing waterproof protection.

**3. Royal Warrant:

Hunter received a Royal Warrant from the Duke of Edinburgh in 1977, recognizing
the brand's commitment to quality and excellence. This prestigious endorsement
further solidified Hunter's reputation as a provider of top-quality footwear.

**4. Expansion and Modernisation:

In the early 21st century, Hunter boots underwent a rebranding and modernisation
process. The classic wellington boot design was embraced not only for its
practicality but also for its fashion appeal. The boots became a symbol of British
heritage and outdoor style.

**5. Fashion and Celebrity Endorsement:

Hunter boots experienced a surge in popularity as they became a fashion
statement. The brand gained traction among urban dwellers, music festival-goers,
and fashion enthusiasts. Celebrities, including members of the British royal family,
were often spotted wearing Hunter boots, contributing to their status as a stylish
and iconic footwear choice.

**6. Cultural Impact:

Hunter boots became synonymous with outdoor pursuits, festivals, and a laid-back,
adventurous lifestyle. The boots are often associated with muddy fields, music
festivals like Glastonbury, and a love for the great outdoors. Their cultural impact
extended beyond functional footwear to a symbol of rugged yet fashionable
sensibility.

**7. Collaborations and Innovations:

Hunter engaged in collaborations with fashion designers and brands, further
elevating its status in the fashion world. The brand also expanded its product line to
include different styles, colours, and accessories, appealing to a diverse consumer
base.

**8. Global Recognition:

Hunter boots achieved global recognition, becoming a sought-after brand in various
markets. The combination of classic design, durability, and a touch of British
heritage contributed to the brand's enduring appeal.
Savile Row
• Late 18th Century: The origins of Savile Row as a
tailoring destination can be traced to the late 18th
century, with tailors like Henry Poole & Co. setting
up establishments.

• 19th Century: Savile Row rose to prominence

during the 19th century, dressing British aristocracy,
military officers, and influential figures. The street
became a symbol of high-quality bespoke tailoring.

• 20th Century: Savile Row maintained its reputation

through the 20th century, adapting to changing
styles while preserving traditional craftsmanship.
The street continued to attract a global clientele.

• Royal Connections: Savile Row tailors have had

the honor of dressing members of the British royal
family, further solidifying the street's association
with regal elegance.

• Global Recognition: Savile Row's reputation for

producing exceptional bespoke suits earned it
global recognition, with clients from around the
world seeking the expertise of its tailors.

Savile Row
Key Design Elements:

• Bespoke Tailoring: Savile Row is synonymous with bespoke tailoring,

where each garment is meticulously crafted to the client's exact
measurements and specifications.

• Attention to Detail: The tailors on Savile Row are known for their
impeccable attention to detail, ensuring that every aspect of a garment,
from stitching to finishing, meets the highest standards.

• Timeless Silhouettes: Designs on Savile Row often embrace timeless

silhouettes and classic styles that transcend passing trends. The focus is
on creating garments that stand the test of time.

• High-Quality Fabrics: Tailors on Savile Row source and work with the
finest fabrics, ranging from luxurious wools to cashmeres and silks,
emphasizing both comfort and durability.

• Handcrafted Techniques: Many tailors on Savile Row still employ

traditional handcrafted techniques, including hand-stitched lapels,
canvassed construction, and intricate hand-finishing.

Impact:

• Global Reputation: Savile Row has a global reputation for producing

some of the world's finest bespoke tailoring. The street's name is
synonymous with craftsmanship, quality, and sartorial excellence.

• Influence on Menswear: The tailoring traditions of Savile Row have had a

profound impact on menswear globally, influencing designers and tailors
around the world.

• Clientele and Legacy: Over the years, Savile Row has dressed a
distinguished clientele, including royalty, business leaders, and celebrities,
contributing to its enduring legacy as a symbol of refined British tailoring.
 Very little is know about Irish clothing before the 12th century
Irish
the earliest information we have is the Moy gown was found on a body in a bog in
• The Moy Gown
Moy, County Clare in 1931. It was sent to National Museum of Ireland, where
• Pampooties
• Wool and linen analysts showed it to be wool and probably brown. From the early 1300’s
• Leine Dutch watercolour (c. 1575) of "Irish in the
service of the late king Henry (VIII)" depicting

• Brat
a léine.

shoes would have been similar to that of Irish dancers today called Pampooties. a
• Head Coverings
• Aran Jumpers shoe was also found in a bog called Coolatoor Bog Shoe that shows what the
• Donegal tweed
Arn Jumper
Galway shawl on fish seller, Claddagh, Galway, Ireland, 1905.
shoes were like.

Natural fibres of wool and linen were most common, with occasional leather.

1. Women's Clothing:
Leine: The leine is a traditional Irish garment worn by women. It is a long, loose-
fitting dress with bell sleeves, often made of linen. The length and color of the leine
can vary.

Brat: The brat is a cloak worn by women. It is typically a large, square or rectangular
piece of woolen cloth fastened with a brooch. The color and design of the brat can
indicate regional variations.
Head Coverings: In some regions, women wore head coverings such as caps, coifs,
or snoods. The styles varied, and the headgear was often adorned with lace or
embroidery.

Aprons: Women would also wear aprons, which were practical for daily tasks.

2. Men's Clothing:
Léine: Similar to the women's leine, the men's léine is a long, loose-fitting garment.
It typically reaches the ankles and is often made of linen. The color and design can
vary.

Truibhís: The truibhís, or trews, are tight-fitting trousers made of wool. They were
often worn by men, especially in colder weather.

Brat: Men also wore the brat, a woolen cloak fastened with a brooch. The design
and color could indicate the wearer's region or social status.

Caps and Hats: Flat caps, known as caipín or brógán, were common head
coverings for men, especially in rural areas.

Aran Sweaters: While not historically traditional, Aran sweaters have become
associated with Irish heritage. They feature intricate cable patterns and are often
made of wool.

Dance Costumes: Traditional Irish dance costumes, especially for step dancing, are
distinct and often include dresses with elaborate embroidery and vibrant colors.

Aran jumper, named after the islands of the west coast of Galway A traditional Aran
Jumper usually is off-white in colour, with cable patterns on the body and sleeves.
Originally the jumpers were knitted using unscoured wool that retained its natural
oils (lanolin) which made the garments water-resistant and meant they remained
wearable even when wet.

Donegal produces a few types of tweed - the area is best known for a plain-weave
cloth of differently-coloured warp and weft, with small pieces of yarn in various
colours woven in at irregular intervals to produce a heathered effect. Such fabric is
often labelled as "donegal"