10 - Pierre-Paul Prud'hon (French, 1758-1823). Gift of the Brooklyn Museum, 2009. 8 - Designer unknown (British). During the day, hemlines were usually just above the floor (Tortora 391). Historic Costume - 19th Century, 1800s. Figure 4 depicts the common lobster tail bustle. Dress reformers, influenced by artistic movements, protested these heavy, ultra restrictive trends. They began to slowly be accepted as informal wear, especially at the seaside (Davidson 258-259; Foster 28; Byrde 93). The Edwardian age was known for the excesses, elegance, and strict social rules modeled by the wealthy. Source: Bumble Button Blog. 4 - Artist unknown (British). Oil on canvas; 225 x 165 cm. 7) (Cunnington 320B-321; Tortora 391). In the early years, long trains were common on fashionable gowns, for both day and evening wear, but these began to gradually disappear around 1807 (Byrde 24; Foster 21, 29). The cage crinoline was invented in the mid-1800s and was constructed to have a framework made of steel, whalebone, or cane. Skeleton suit, ca. While white was considered correct for evening, the nearly transparent muslins were sometimes worn over colored silk slips, creating shimmering pastels (Fig. Newcastle Upon Tyne: Laing Art Gallery, TWCMS : G1749. Presented by the Rev. Lambert, Anne Thrse de Marguenat de Courcelles, John Scott, and Edward Augustus Kendall. Court suit, ca. Source: Los Angeles County Museum of Art, Fig. She has focused much of her research on the nineteenth century, particularly millinery and theatre costume. Transferred from the Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. He helped to strengthen the reputation of the English as standard setters for fashionable male dressthe studied epitome of the unstudied riding-dress style seen as English taste. (202), Fig. 1800-1809 Portraits of Women, 1800s. These new hairstyles were referred to asla Titus or Brutus, underscoring their classical inspirations (Davidson 57; Laver 153). By 1884, the bustle had returned, this time a hard, shelf-like protrusion that projected from the small of the back (Fig. Given by Miss M. D. Nicholson. 5), were borrowed from the German Hessian soldiers, and a different, more practical style was named for British military hero, the Duke of Wellington (Davidson 232). 2). Source: Birmingham Museums Trust, Fig. Womenswear F ashion in the 1880s was increasingly slender and angular, marked by heavy decoration. Sleeves were worn tight at the top of the arm but flared out below the elbow. Source: Royal Collection Trust. 2) (Cunnington 276, 320A; Cumming 61). Given by Mr James Laver CBE. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessoriesfrom wedding gowns and military uniforms to Halloween . Everything from the hairstyles to the draping shawls evoked antiquity; the preeminence of white as a dress color was due, in part, to the incorrect assumption drawn from classical statuary that classical women only wore white. Catharine Lorillard Wolfe Collection, Wolfe Fund, 1913. Pinterest. If you have suggestions or corrections, pleasecontact us. Silk. It consisted of loose trousers buttoned onto a very short jacket, completed with a white shirt featuring an open collar (Fig. The ladies and childrens attire is mostly made by us. Source: Wikipedia. Costume Institute Fashion Plate collection, http://digital.ub.uni-duesseldorf.de/ihd/periodical/titleinfo/1911099, http://zs.thulb.uni-jena.de/receive/jportal_jpjournal_00000029?XSL.referer=jportal_jpvolume_00055071&XSL.vol.start=10, http://zs.thulb.uni-jena.de/receive/jportal_jpjournal_00000029?XSL.referer=jportal_jpvolume_00055071&XSL.vol.start=20, https://catalog.hathitrust.org/Record/010518913, https://catalog.hathitrust.org/Record/100964504, https://catalog.hathitrust.org/Record/009712310, https://catalog.hathitrust.org/Record/008016903, https://catalog.hathitrust.org/Record/101919645, https://en.wikipedia.org/w/index.php?title=1795%E2%80%931820_in_Western_fashion&oldid=815717738, http://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/dossiers-thematiques/chronologie-de-la-mode-1715-1914/, https://www.metmuseum.org/toah/chronology/#?time=10, https://www.metmuseum.org/toah/hd/empr/hd_empr.htm, https://vintagefashionguild.org/fashion-timeline/1800-to-1810/, http://www.vam.ac.uk/content/articles/i/introduction-to-19th-century-fashion/, https://www.metmuseum.org/toah/hd/19sil/hd_19sil.htm, http://www.oxfordartonline.com/subscriber/article/grove/art/T2081334, http://users.physik.fu-berlin.de/~kleinert/kleinerta/kleinertab5/, http://archive.org/details/taylorsinstructo00quee, https://www.pinterest.com/pocketmuseum/1800-1809-accessories/, https://www.pinterest.com/pocketmuseum/1800-1809-fashion-plates/, https://www.pinterest.com/pocketmuseum/1800-1809-mens-fashion/, https://www.pinterest.com/pocketmuseum/1800-1809-portraits-of-women/, https://www.pinterest.com/pocketmuseum/1800-1809-womens-fashion/, https://www.pinterest.com/pocketmuseum/1800-1809-underwear/, https://www.pinterest.com/pocketmuseum/1800-1899-fabrics-textiles/, https://www.pinterest.com/pocketmuseum/1800-1899-jewelry/, https://www.pinterest.com/pocketmuseum/patterns-tutorials-1800-1900/, https://www.pinterest.com/maellen/historic-costume-19th-century/, 1884 John Singer Sargent, Madame X (Virginie Gautreau), 1867 White piqu afternoon dress with black cording, Downtown, Uptown: From the Dry Goods Store to the Palace of Consumption, Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. 1 - Jacques-Louis David (French, 1748-1825). To discover primary/period sources, explore the categories below. 1880s Fashion in Photographs, 1880s. Last updated Aug 24, 2018 | Published on Mar 24, 2017, Last updated Oct 14, 2018 | Published on Mar 24, 2017, Last updated May 16, 2018 | Published on Mar 24, 2017, Last updated Nov 2, 2020 | Published on Mar 26, 2020. 7 - Designer unknown (Probably British). By 1810, skirts were much straighter, and the fullness that was left in the skirt was concentrated at the back, while the front was flat, falling straight to the floor (Fig. Sometimes they had lace "wings" at the sides, giving a somewhat grotesque appearance to the head when seen from behind. 1880. It was made in a variety of shapes, usually in felt; although the silk top hat began to be seen around 1803, it was not perfected until the 1830s (Ginsburg 85-86; le Bourhis 112-113). The Art of Dress: Fashion in Renoirs La Loge. In, Roskill, Mark W. Early Impressionism and the Fashion Print., Schirrmeister, Anne. It symbolizes gravitas and an indifference to luxury-essential elements of republican austerity; its virtual uniformity emphasizes the revolutionary ideal of equality. (141). The nineteenth century opened with a fashion landscape that was changing dramatically and rapidly from the styles of a generation earlier. Fig. Pastel on paper, laid down on canvas; 60.6 x 45.1 cm. The dress of Aesthetes influenced the Rational Dress Society, founded in 1881, which argued against the constrictive and cumbersome mainstream fashion for women (Laver 200). Source: The Metropolitan Museum of Art. 3 - Samuel Woodforde (English, 1763-1817). Fashion historian Philippe Sguy wrote that early 1800s dress "would have been at home in the days of Hadrian" (le Bourhis 73). Woman with a fan made of feathers, ca. Girl's dress, back view, 1800-1810. Marketing the Maternal Body in the Public Spaces of Post-Revolutionary Paris. In, Jensen, Heather Belnap. Birmingham, U.K.: Birmingham Museum and Art Gallery, 1938P680. A boy remained in the skeleton suit until about age ten; a transitional variation was sometimes worn by older boys in which the short jacket was worn outside the trousers. 1870-1879, 1880-1889, 1890-1899, 19th century, designer profile, 1880-1889, 19th century, artwork analysis, 1880-1889, 19th century, garment analysis, 1880-1889, 19th century, artwork analysis, LGBTQ+, 1870-1879, 1880-1889, 19th century, B, C, term definition. After this, boys wore suits consisting of short trousers or knickerbockers that buckled at the knee, and a jacket (Fig. Source: State Hermitage Museum. 3, 8) (Byrde 27). Cunnington 27). 6) (Tortora 404). Boston: Museum of Fine Arts, 64.692. Posted by Harper Franklin | Last updated Aug 18, 2020 | Published on Oct 11, 2019 | 1880-1889, 19th century, decade overview. Outerwear of the 1880s was particularly marked by the mantle or dolman, a garment featuring a wide sleeve cut with the body in one piece, and short basques in the back that exposed the bustle (Fig. Jackets were increasingly worn and cut to fit over the bustle style of any particular year (Tortora 392). A Private View at the Royal Academy, 1881, detail, 1883. Outerwear and accessories were essential elements of the period, often introducing pops of color (Ashelford 178). Oxford: Bloomsbury Academic, 2010. Glasscock, Jessica. The introduction of the princess line narrowed girls dresses, as it did their mothers. Costume Institute/Watson Library @ the Met (. They were frequently made in the same fabric as the jacket and trousers. London: The Victoria & Albert Museum, T.165&A-1915. Group, Balmoral, Portraits of the Royal Children, September 1885. Oil on canvas. Brummell has been recreated in plays and Hollywood films, and modern menswear brands still invoke his name to represent quality and refinement (David). 1800-1809 Mens Fashion, 1800s. For shooting and country activities, a Norfolk jacket, marked by its pleated back and belted waist, was the most common ensemble. To discover primary/period sources, explore the categories below. A Snowy Day in Westchester County, New York. Tea gowns were soft dresses, often worn with a loosened corset or without a corset at all, meant to be worn at home, perhaps while visiting with female friends. Luxury in menswear was now expressed through a perfect fit of each element of a mans wardrobe, and Britains exceptional tailors led the way (Waugh 112). A common form was the tippet, a small cape which was often made to match the dress. Fashion Timeline: 1880 To 1890, n.d. Victoria and Albert Museum. Source: Royal Collection Trust, Fig. Source: Kent State University Museum, Fig. They featured stand collars and could be made of a variety of materials, solid or patterned; indeed, most of the color left in mens clothing retreated to the waistcoat (Fig. Kyoto: Kyoto Costume Institute, AC10343 2000-26-2AC. Shirts were of white cotton or linen with very high stand collars that skimmed the jaw. Oil on canvas; (57.9 x 40.2 in). Court costume, ca. Not Just a Pretty Picture: Fashion as News. In. Most jackets buttoned quite high in the 1880s, and thus waistcoats took on less importance. Attendance at royal occasions throughout the courts of Europe remained events where ostentatious costume, much more akin to eighteenth-century dress, was required. 5 - Robert Lefvre (French, 1755-1830). Towards the end of the decade, Spanish ornamentation, such as slashed sleeves, and a heavy use of fur imported from Russia, Poland, and Prussia was the result of Napoleons incursions in those countries (le Bourhis 108-109; C.W. Cunnington 34-38). Joyce Li. 1820 According to an 1820 edition of La Belle Assemble, popular sleeves for evening dresses at the beginning of the year were "short and full." Gerald C. Streatfeild 1977. Similar to womenswear, toddler dresses usually featured low, square necklines, puffed sleeves, and a very high waistline (Buck 66, 106; Ashelford 280-281). Unless specifically noted, images used in the Timeline are not subject to this Creative Commons License applied to the written work from the Timeline. 1800-1899 Fabrics & Textiles, 1800s. Victoria and Albert Museum. 1800-1810. Figure 3 depicts all three styles. Chesterfield, Philip Dormer Stanhope, Ansell, John Gregory, and John Trusler. The Little Lord Fauntleroy suit began to gain favor in 1886; it consisted of a velvet tunic and knickerbockers, flounced shirt, and a wide lace collar (Fig. Copenhagen, Denmark: The National Museum, 414/1942. The main form was the cravat, a large square of fine muslin or silk, folded cornerwise and carefully tied in a variety of arrangements (Fig. 1805-1810. The origin of this garment was the chemise dress of the 1780s, worn by influential women such as Marie Antoinette and Georgiana, Duchess of Devonshire (Ashelford 174-175). 3). Los Angeles, CA: Los Angeles County Museum of Art, M.2007.211.399. However, the followers of the Rational Dress movement were more concerned with the unhealthiness of current fashions, than artistic pursuits. Source: The Metropolitan Museum of Art, Fig. It was especially fashionable in the evening, carried under the arm, for which occasions it was known as a chapeau bras (Tortora 322; Davidson 200, 226). By sixteen years of age, a girl was considered a young woman, lowering her hem all the way to the floor (P. Cunnington 194). 1) (Cumming 87; Laver 202). Finally, a girl completed her outfit with headwear similar to adult fashions (Buck 212-217; Rose 43). 1802. Oil on canvas; 193.4 x 90.8 cm (76 1/8 x 35 3/4 in). 2). 1800-1860: Lifestyles, Social Trends, Fashion, Sports & Recreation: Overview The Old West. Les Arts Dcoratifs. Evening hat, ca. The imperial commissions alone saved the French fashion industry which had been decimated during the Revolution (Fukai 125; le Bourhis 84-94, 100). However, the new era brought forth by the Revolution saw the English style find its full expression. A new evening option was introduced in the 1880s; a dress version of the lounge jacket became a less formal evening ensemble worn with black tie. The new classical style, imitating the clothing of ancient democracies, seemed to be evidence of a political philosophy on the rise (Tortora 313-314; Byrde 23). By the mid 1800s, the style of clothing had changed somewhat. 1804 Napoleon becomes Emperor. As mentioned above, breeches or pantaloons with tall boots was a favorite fashion of the era, and lent civilian dress a martial allure (le Bourhis 112; Ashelford 186). Outerwear was important for girls as the short-sleeves and low necklines of fashionable dress offered little protection. London, U.K.: Christie's. This bustle was rigidly structured, as opposed to the soft, draped bustle of the 1870s (Tortora 386, 390). While Paris was the center of womens fashion, the best cottons originated in Britain and India; Napoleon forbade the wearing of foreign cotton in order to stimulate French manufacturing. Both long and short stays were worn; the new term corset referred to lightly boned or even simply corded supports, and these were often worn instead of stays. A growing Anglomania was shifting menswear even before the Revolution. Purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne. Notably, the reticule, a small drawstring handbag, became a standard element of a womans outfit (Fig. A crowd of folks gather around the Glen Mountain House in Watkins Glen, New York. The sailor suit, first introduced in the 1840s, became a favorite for boys from about the age of four through early adolescence (Olian vi; Shrimpton 49). 1885. A Running Boy, Marcus Holst von Schmidten, 1802. Later in the decade, long sleeves were also worn, and they began to gain some fullness at the sleeve head (Davidson 288-289). When the visitor inquired about them, the valet responded, Those, sir, are our failures (Laver 160). Find many great new & used options and get the best deals for Dover Fashion and Costumes Ser. 12 - Designer unknown (English or American). Nonetheless, his ideas about fashion and dress had an outsized presence in any discussion of dress during the 1880s. There was an astonishing variety of millinery. Aster, Jane., and Cairns Collection of American Women Writers. Fig. 1800. The Aesthetic Movement underscored this concern, chiefly through the introduction of Kate Greenaway dresses. Chronologie de La Mode 1715-1914, n.d. 10) (Jensen). Court costumes, increasingly diverged from fashion, continued for decades (Marschner). After that age, boys wore trousers under their frocks; girls did as well but since their hemlines descended to ankle-length, it was harder to discern their trousers, or drawers as they would later be called (P. Cunnington 161; Buck 109). If you have suggestions or corrections, pleasecontact us. Source: The New York Public Library, Fig. Printed cotton. The braid, frogging, Brandenburg buttons, and tassels served as inspiration in civilian mens and womenswear for years (Johnston 14, 20). Hand-colored etching. 11). The prevailing fashion for pantaloons tucked into boots was, at least in part, inspired by the military; the ultra-fashionable hessian boots, defined by their cleft tops trimmed with tassels (Fig. London: The Victoria & Albert Museum, T.24-1946. Johnston, Lucy, Marion Kite, Helen Persson, Richard Davis, and Leonie Davis. Dresses for morning wear were often of a printed cotton (Fig. Madame Rcamier, ne Julie (known as Juliette) Bernard, 1800. In 1885, the famous Irish poet and playwright Oscar Wilde wrote in his essay, The Philosophy of Dress: Fashion rests upon folly. (Photo courtesy of Fred Blystone) The French Revolution brought the old world hierarchy crashing down, forever altering dress during the 1790s. Purchased, 1938. Source: International Center of Photography, Fig. Gift of Daniel Cowin, 1990. Source: The National Museum, Fig. Cunnington 28; Davidson 63-64; Laver 155). Albumen print. Pinterest. Women began to wear their hair more neatly in the 1880s. 6) (Shrimpton 38). A more relaxed garment, the influence of Aesthetic and Rational Dress ideas on tea gowns is clear. It was also not unusual to wear two waistcoats at a time (Byrde 94). Fashion legends abound that tell of women leaving off their stays entirely, and appearing with very little underwear at all; while it seems that some women really did abandon their stays, the practice was not widespread or mainstream. Dress, 1805. Pinterest. In the early 1800s, men typically wore knee-length trousers, a waistcoat, and a jacket. In the 1880s, the notched collar of previous years tailcoats were often replaced with a continuous rolled collar faced in satin. Source: Wikipedia. His strange costumes were cartoonishly replicated across the press (Lambourne 141-142). Hairdressing further underscored the classical inspiration of the era; styles were frequently given names from antiquity such lAgrippine and la Phdre (le Bourhis 80). In 1860-1869, 19th century, garment analysis, In 18th century, 19th century, ancient, Asia, K, P, S, term definition, In 1900-1909, 20th century, artwork analysis, In 1890-1899, 1900-1909, 1910-1919, 19th century, 20th century, thematic essays, In 1900-1909, 1910-1919, 20th century, blog, Last updated Aug 18, 2020 | Published on Oct 11, 2019. Los Angeles: Los Angeles Public Library, rbc0238. White cotton was the usual material as it allowed for easy laundering. Given by Miss E. Marian Adeney. For white Americans in the early nineteenth century the West represented many things. Large portions of the chest and back were bared even in day dresses, sleeves were short, and draping muslin revealed the shape of the leg (Fig. Bustle, ca. The 1880s saw girls dresses most frequently cut from the shoulder to hem, without a waistline seam, and often featuring a wide sash worn low between the hips and the knee. Neither reform, Aesthetic dress nor Rational Dress, were accepted into the mainstream, and were both mercilessly mocked in the press (Laver 200). For some it offered adventure or a chance to get rich quick; for others, the opportunity to own land. Similarly, this long, slim line could be created with a cuirass bodice, which emerged as early as 1875; it consisted of a long, tightly-fitted bodice, frequently boned, that extended over the hips (Fig. Purchased with funds provided by Michael and Ellen Michelson. Silk, linen, metal. Source: Wikimedia. The wide panniers, conical stays, and figured silks of the eighteenth century had melted into a neoclassical dress that revealed the natural body, with a high waist and lightweight draping muslins (Fig. Old West and Spanish American War (Span-Am)) is available. 11 - Designer unknown (English). New York: The Brooklyn Museum, 1989.28. Source: Royal Collection Trust, Fig. These dresses, praised by many for their supposed health benefits, saw some favor in the 1880s, a trend that would continue into the 1890s (Mitchell 173). Contact us! Victorian Era: First Bustle and Natural Form (1870-1883), n.d. History of Fashion and Dress. Finally, throughout the decade, the fullness in the back of the gown was supported by a bustle pad attached to the inside of the skirt (Johnston 166; C.W. Bath, U.K.: Fashion Museum Bath. Properly wrapping and tying the cravat was a principle concern of well-dressed men, and several manuals were available to consult for the correct method (Byrde 94). Then, at about age three or four, a boy was breeched, a rite of passage in which he received his first trousers. Gowns were also full at the back, often sporting a small train to help create an elegant draping effect. He was so inextricably tied to the movement, that when Gilbert and Sullivan sought to parody Aestheticism in their 1881 operetta, Patience, the leading character was based on Wilde (Tortora 384). London: The Tate, T02207. Fashion and the Representation of Modernity: Studies in the Late Work of douard Manet (1832-1883). Ph.D. dissertation, New York University, 2007. Takeda, Sharon Sadako, Kaye Durland Spilker, Kimberly Chrisman-Campbell, Clarissa Esguerra, and Nicole LaBouff. Contact us! Oil on canvas; 127 x 101.8 cm. 1880s Portrait Paintings, 1880s. By fifteen, a boy made the full transition to mens styles, switching the open collar for a cravat and donning adult tailcoats and breeches (Buck 194-196; P. Cunnington 172-175; Callahan). The sash often tied in a pronounced bow in the back, echoing the bustles of adult fashions (Shrimpton 54). He eschewed flippant fineries, rejecting showy, colorful fashions. Sad News, ca. Source: The Victoria & Albert Museum, Fig. 4 - James McNeill Whistler (American, 18341903). Throughout the nineteenth century, babies and toddlers of both sexes wore long white dresses (Fig. Throughout the second half of the nineteenth century, several artistic groups were reacting against the new, industrial era, and looking to the past for true beauty. Assigned to the Louvre, 1879. Instead, nudity was suggested in the revealing cut of dresses. Named for the eponymous hero of a childrens book, the author claimed his characters costume was influenced by the Aesthetic dress of Oscar Wilde (Tortora 405). Photographic print on cabinet card; 17 x 11 cm. 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