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Societal effects on Women's Fashion throughout history

Focusing on 1783-1830
The women's fashion from 1783 to 1830 had several dramatic and artistic societal effects,
thus influencing and transforming individualism and characteristics of design and wear in the
nineteenth century. The sentimental societal effects of women's fashion in this period defined
women's morality and domestic aspects. The domestic aspects included the rising romanticism in
the society, with women being highly regarded as objects of love. The fashion designs in this
period revealed women's intrinsic and beautiful nature in society. This fashion interpreted the
meaning of love and romance in society. This era emphasized the development of wide collars,
artistic hairstyles, and puffed sleeves. These styles defined the development of silhouette as
significant fashion design in society. Therefore this study defines and analyses the
transformation and significance of fashion in this era.

Hart, A. B. (1901). American history told by contemporaries. Vol. III: National expansion 1783-
1845.
The author of this article reveals the transformation of American women's fashion and

design in this period, with Indians influencing the development of fashion. The Native

Americans used fashion to define legitimacy and authority in society. The white women settlers

from the southern states developed silhouettes design and curly hairstyles, thus revealing

prosperity in the society. These types of dress had status symbols and love in society. Women
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who wore these dresses were highly regarded and admired by their male counterparts. The

silhouette comprises a designed waist articulately hanging over the normal waistline and the side

skirts and sleeves. The sleeve was the basic fashion design, with Gigot being in their climax in

1830. The leg mutton sleeves also climaxed in the late 1830s, with wide varieties developing

fashions with wrists and elbow fitting designs (Thomas). The transitional stage of the silhouette

consisted of many stitches and designs in sewing and fitting these fashions.

In the 1800s, the silhouettes were improved by developing various undergarments with long

laces and giant sleeves for maintaining and supporting women’s shapes. Furthermore, these

garments were sewn with soft feathers reinforced with wires. The garments also compromised on

widening skirts with bustles around the waist to maintain the leverage of the skirts. These

clothing had bodice make-ups referred to as a la Sevigne segmented into horizontal hems with

short sleeves. This fashion was also comprised of puffed wrists sewn with silk.

Many significant elements in this era concerned women’s fashions and designs. During

the day, women wore white pelerine bodices overlapping on the sleeves, thus revealing the best

styles. The women's outerwear consisted of dresses and mantles with shawls covering the upper

parts. Different waistline designs consisting of buckles and belts were fundamental in revealing

women's stature (Gary, 88). Furthermore, most women wore stylish jewelry and bracelets on

their necks, waists, and wrists to show love and romance. The curly hairstyles symbolized fame

and romance hence being woven with articulate styles. Most Southern American women wore

brooches and earrings hence revealing a stunning appearance.

Most married women wore white caps such as bonnets and hats indoors and outdoors.

The bonnets gradually expanded, with high-status women preferring to wear them during

ceremonies and official functions. However, by 1830 the hats changed with women desiring to
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wear little bonnets with flowers. Furthermore, the hairstyles transformed with women

transforming their evening gestures and look. On most evenings, married women preferred

socialite fashion designs, most wearing turbans due to family responsibilities. Most institutional

women in the society in America and English Midlands wore silhouettes comprising of laces and

long sleeves hence representing societal status (Thomas). For example, in 1797 in North

Yorkshire, women wore bracelets and earrings depending on occasions and institutional

responsibilities. The political class elegantly dressed more than their corporate counterparts.

However, the rural women's fashion contrasted with their counterparts in cities and towns, with

many wearing low-quality dresses due to financial and societal status.

The author is a fashion design scholar who elaborated on the transformation of women's

fashion designs through this era. He is an experienced scholar in fashion and design, with most

of his work being used globally. The author fairly stated women's roles were linked to fashion in

this era. Furthermore, he was fair in his judgments and arguments, thus elevating articulate

points vital for this study.

The period the 1830s -1860s

Reinhardt, Paul. "The Costume Designs of James Robinson Planché (1796-

1880)." Educational Theatre Journal (1968): 524-544.

The author describes how the 1830 to 1860s saw the transformation of women's fashion

with garments and dressing changing shape. The silhouettes evolved depending on the socio-

economic status of women. In this era, women wore chemises, dresses, and drawers made from

silk, linen, and white cotton. The chemise was the main garment worn by women due to its

comfort. Most women's clothing in this era was defined by their daily activities and roles in
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society. Most corporate women dressed elegantly while their wealthy counterparts wore costly

clothes made of high-quality materials. However, other married women wore affordable clothes

due to their economic status.

Women's dressing depended on their daily responsibilities in society. Most wore

petticoats and crinoline, thus defining their roles in society (Judith). Regardless of social class,

women dress and fashion depending on sewn channels with horse hair and whalebones. In

America, white women's fashion contrasted with their black counterparts. The white women

wore complicated, fancy, and structured fashions, while their black counterparts wore common

silhouettes and petticoats.

Furthermore, fashion in this era was also determined by the occasions or events. Widows

wore long black dresses covering their bodies without petticoats. These dresses depended on

mourning periods. For the socialite women in the society, they wore costly dresses.

The societal culture and beliefs in the mid-19th century with most women wearing dresses

depending on trends and patterns. Most women wore stockings over their knees. These stockings

were manufactured from linen, wool, and cotton. They tightly hung above the knee, with silk and

linen stockings costing more than cotton (Anderson, 288). The black and white stockings were

common among the women with high status in the society, while their cooperate counterparts

wore other colored stockings. Most homemakers only wore stockings during occasions and

preferred the less expensive ones due to their status. These women averagely wore stockings due

to limited roles in society.

This era saw the transformation of women's fashion into wearing corsets acting as

supportive garments for the chests. These corsets were vital in supporting heavy-weight women
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who wore them for safety purposes. The corsets comprised maternity, summer, and physical

garments, with most women designing their fittings and fashions. These corsets depended on

women's body status, with most slim women preferring fitting corsets more than their weighty

counterparts. Most corsets were worn during winter as a preventive dress for colds, safeguarding

the body from diseases such as common colds (Anderson, 288). In this era, most white women

wore corsets more than their black counterparts due to their high costs and societal ranking.

However, misconceptions about corsets arose with many women rejecting them in the late 19 th

century due to their racial standings in society (Judith). White women wore it more than their

black counterparts, showing racial segregation in society. By the end of the 19th century, the

corset was discarded.

The author of this book is an experienced and seasoned scholar in matters of fashion. In

his book, he explains the importance of fashion among different classes of women in society. He

elaborates on racial discrimination among white and black women in society. However, he is not

fair in judging and discriminating against black women's fashion. This article is vital for this

study since it reflects the transitional period of fashion into the 19th century.

Summary

This article reveals the transformation of women's fashion between the two centuries and how

this impacted society. The article reveals how societal levels defined and determined women's

dressing styles for different occasions and roles. However, the article is not elaborative on the

racial discrimination of fashion among black women due to limited resources and explanations

from secondary and tertiary sources.

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Works Cited

"<sc>Bonnie S. Anderson</sc>. <italic>Joyous Greetings: The First International Women's

Movement, 1830–1860</italic>. New York: Oxford University Press. 2000. Pp. xii, 288.

$30.00." The American Historical Review, 2001.

Bennahum, Judith. "The Lure of Perfection." 2005.

Dublin, Thomas. "Women at Work. the Transformation of Work and Community in Lowell,

Massachusetts, 1826–1860." 1979.

https://hssh.journals.yorku.ca/index.php/hssh/article/download/37912/34380

Hart, A. B. (1901). American history told by contemporaries. Vol. III: National expansion 1783-
1845. https://dspace.gipe.ac.in/xmlui/bitstream/handle/10973/24571/GIPE-002568.pdf?
sequence=3

Lacey, Gary. "FOLK SAYINGS FROM LUNENBURG COUNTY." Lunenburg County folklore

and oral history, pp. 87-89.

Reinhardt, Paul. "The Costume Designs of James Robinson Planché (1796-1880)." Educational

Theatre Journal (1968): 524-544.