Women's fashion Gowns Princess di Sant' Antimo's evening gown of watered silk shows the short sleeves, lace flounce collar, and long pointed waist of the early 1840s. The tiny pleats that gather her skirt can be seen at the waistline. 184044. Shoulders became narrow and sloping, waists became low and pointed, and sleeve detail migrated from the elbow to the wrists. Where pleated fabric panels had wrapped the bust and shoulders in the previous decade, they now formed a triangle from the shoulder to the waist of day dresses. Skirts evolved from a conical shape to a bell shape, aided by a new method of attaching the skirts to the bodice using organ or cartridge pleats which cause the skirt to spring out from the waist. Full skirts were achieved mainly through layers of petticoats. The increasing weight and inconvenience of the layers of starched petticoats would lead to the development of the crinoline in the second half of the 1850s. Sleeves were narrower and fullness dropped from just below the shoulder at the beginning of the decade to the lower arm, leading toward the flared pagoda sleeves of the 1850s and 1860s. Evening gowns were worn off the shoulder and featured wide flounces that reached to the elbow, often of lace. They were worn with sheer shawls and opera-length gloves. Another accessory was a small bag. At home, bags were often white satin and embroidered or painted. Outdoor bags were often green or white and tasseled. There were also crocheted linen bags. Shoes were made from the same materials as handbags. There were slippers of crocheted linen and bright-colored brocade satin slippers that were tied around the ankle with silk ribbon. Hairstyles and headgear Hairstyle of 1840 1848 fashion plate shows bonnets and winter wear. The wide hairstyles of the previous decade gave way to fashions that kept the hair closer to the head, and the high bun or knot on the crown descended to the back of the head. Hair was still generally parted in the center. Isolated long curls dangling
down towards the front (sometimes called "spaniel curls") were worn, often without much relationship to the way that the rest of the hair was styled. Alternately the side hair could be smoothed back over the ears or looped and braided, with the ends tucked into the bun at the back. Linen caps with frills, lace, and ribbons were worn by married women indoors, especially for daywear. These could also be worn in the garden with a parasol. Bonnets for streetwear were smaller than in the previous decade and were less heavily decorated. The decorations that did adorn bonnets included flowers on the inside brim or a veil that could be draped over the face. Married women wore their caps under their bonnets. the crown and brim of the bonnet created a horizontal line and when tied under the chin, the brim created a nice frame around the face. For evening, feathers, pearls, lace, or ribbons were worn in the hair. There was also a small brimless bonnet worn with the ribbon untied at the nape of the neck. Underwear Women's undergarments were essentially unchanged from the previous period; a knee-length chemise was worn beneath a boned corset and masses of starched petticoats. Also, some undergarments, like the corset, were worn to make women look thinner. Outerwear With the narrow, sloping shoulder line of the 1840s, the shawl returned to fashion, where it would remain through the 1860s. It was now generally square and worn folded on the diagonal. Riding habits consisted of a high-necked, tight-waisted jacket with long snug sleeves, worn over a tall-collared shirt or chemisette, with a long matching petticoat or skirt. Contrasting waistcoats or vests cut like those worn by men were briefly popular. Tall hats or broad-brimmed hats like those worn by men were worn. With the new narrower sleeves, coats and jackets returned to fashion. These were generally knee-length with a cape-like collar. Ankle-length cloaks with cape collars to cover slits for the arms were worn in cold or wet weather. Ermine muffs with attached handkerchiefs were worn to keep hands warm and be fashionable. The pelerine was a popular name for wide, capelike collars that extended over the shoulders and covered the upper chest. Sometimes they had layers of tiered fabric, long front panels hanging down from the center front, or were also belted at the natural waistline. The mantlet was a general name for any small cape worn as outerwear. Style gallery 184044 1 c. 1840 2 1841 3 1841 4 1841 5 -1842 6 1842 7 1844 8 1844 Transitional gown, c. 1840. The fullness at the shoulder has moved down the arm, and although the gown is still belted in an 1830s manner, the fabric is gathered in to accentuate the V-shaped front rather than the breadth of the shoulders. This is an early image of hair worn in cascades of curls or ringlets. 1841 fashion plate shows lower sleeve fullness, triangular or V-shaped emphasis in the bodice, and a sloping shoulder line. The indoor cap is trimmed with ribbon loops and frills. Viennese summer fashions for 1841 feature pleated panels at the breast and sloping shoulder over long sleeves. The waist is narrow and slightly pointed, and skirts are bell-shaped. Marie-Louis, Queen of the Belgians wears a red velvet evening gown with a pointed waist. Her hair is worn in a mass of sausage curls, 1841. A fashion plate from La Mode seems to play up the contrast between a menswear-influenced riding habit and a more ordinary high fashion. Fanny Hensel wears the V-neckline, sloped shoulder, and cascades of side curls fashionable in 1842. Fashion plate from Le Moniteur de la Mode. Day dress (left) with cape-collared jacket and evening dress (right). Day dresses of August 1844 show detail on lower sleeves. The dress on the left is an evening style. Style gallery 184
549 1 1845 2 c.1845 3 1846 4 c. 1847 5 1847 6 1848 7 1848 8 1849 Vicomtess Othenin d'Haussonville wears her hair parted in the center and smoothed over her ears. The hairstyle of c.1845, with a central part, long sausage curls, and a bun on the back of the crown, is a fashionably romantic echo of mid-seventeenth century styles. This style would remain popular into the next decade. German, c. 1845. A young lady of Holland wears a lace collar and ruffled chemise or chemisette with her dark dress. The fashion plate of a riding habit c.1847 features a cutaway jacket over a contrasting waistcoat and shirt with a stiff turned-down collar. The lady wears a dashing plumed hat. Underwear of 1847: This woman is unlacing her corset, having stepped out of her petticoats. Her chemise is knee-length, with sleeves ending just above the elbow. Baroness Rothschild wears a pink satin evening gown with rows of ruching at the hem and lace frills at the collar and sleeves, all trimmed with ribbon bows. Her hair is smoothed over her ears and decorated with ostrich plumes, 1848. In Winterhalter's portrait of 1848, Princess Maria Carolina Augusta of Bourbon-Two Sicilies wears her hair parted in the center and hanging in sausage curls. Her skirt is gathered with wide, flat pleats, and the pleating on her bodice is visible through the black lace. Fashion illustration of 1849. The lady on the left wears a low-waisted gown and an outdoor bonnet. The lady on the right wears a short jacket over her gown and a lacey indoor cap. Men's fashion Landscape painter Oswald Achenbach wears a broad-brimmed hat for a painting tour of Italy. He wears a striped ascot and his waistcoat has the rounded chest and lowered waistline of the late 1840s. His waistcoat is finished with two points at the lowered waist and contrasts with both his striped trousers and brown coat. Similar styles were worn in the American West at this time. Overview In this period, men's fashion plates show the lowered waistline taking on a decision point at the front waist, which was accompanied by a full rounded chest. Albert, Prince Consort of Queen Victoria, had a high influence on male fashion, primarily because of his young age at the time of his wife's coronation, and his great attention to his appearance. Therefore, the clothing, particularly of upper-class gentlemen, continued to follow the trend of earlier decades with full shoulders and chest and a tightly-cinched waist. Shirts and cravats Shirts of linen or cotton featured lower standing collars, occasionally turned down, and were worn with wide cravats or neckties tied in several different ways: Around the neck, knotted in front, and puffed up to hide the shirt collar and create a pigeon-like neck Similar to the first version but tucked down into the waistcoat Around the neck and knotted into a bow tie The "Osbaldiston", a barrel shape knot under the chin Knotted in a wide pointy bow. Dark cravats were popular for day wear and patterned ones were worn in the country. At this time, the dickey was introduced, a false shirt front usually made of satin. It was worn with an "intentionally messy" look. Coats and waistcoats Frock coats (in French redingotes) were worn for informal day wear, were calf-length and might be double-breasted. The shoulders were narrower and slightly sloped. Waistcoats or vests were single- or double-breasted, with a shawl or notched collars, and might be finished in double points at the lowered waist. A cutaway morning coat was worn with light trousers for any formal daytime occasion; an evening dress called for a dark tail coat and trousers. A frockcoat was a tight-fitting coat with the front cut up to the waistline, this was for casual wear. A vest replaces the waistcoat at this time, they were still very decorative with no collar. A pardessus for men was a large, black formal cape with a yoke across the shoulder line. A chesterfield was a calf-length, fur-lined coat, with a fur collar, cuffs, and lapels. There was also no waistline seam. Trousers Full-length trousers had fly fronts. Breeches remained a requirement for formal functions at the British court (as they would be throughout the century). Breeches continued to be worn for horseback riding and other country pursuits, especially in Britain, with tall fitted boots. Hats and hairstyles The crowns of tall hats were straighter than in the previous period and grew taller on the way to the stovepipe shape of the 1850s. They were essential for formal occasions and in cities. Wide-brimmed hats were worn outdoors in sunny climates. Curled hair and sideburns remained fashionable, along with mustaches. Style gallery 1 1841 2 1841 3 1840s 4 1845 5 1847 6 1848 7 1849 Viennese fashion plate of 1841 shows at-home wear (a patterned dressing gown) and visiting wear. The top hat is becoming taller. Alessandro Manzoni wears tan fly-front trousers with a dark coat and waistcoat. Italy, 1841. British civil servant Charles Edward Trevelyan wears a boldly checked waistcoat and a patterned cravat with fly-front trousers and a dark frock coat, the 1840s. The Duke of Beaufort wears a dark coat and breeches with a deep red waistcoat. His black cravat is fastened with a stick pin, and he wears heeled boots, 1845. 1848 fashion plate shows the lowered waistline and full, rounded chest popular in the latter 1840s (compare to the waistline of the 1841 styles). Alexandre Cabanel wears his cravat loosely tied and secured with a stickpin, 1847. Children's Fashion In this period, children's wear followed trends found in adult fashion. Wool and cashmere were popular textiles for baby cloaks while cotton was still widely accepted for toddler dresses, drawers, and playwear. A popular silhouette for toddlers was a cotton bodice, pleated skirt, and long sleeves. Small boys (ages 3 through 6) commonly wore a Tunic suit, also known as "Hussar tunics". The jackets were fitted to the waist and then flared out to a full skirt ending at knee length. This was worn over trousers, or for very small boys with white drawers. A round-collared shirt was usually worn underneath the jacket. Elementary to older age boys wore an Eton suit, which was a short, waist-level jacket, trousers, round-collared shirts, vest, and sometimes neckties. In 1840 flat caps were popularly worn by boys. Small girls wore cotton drawers, cotton chemise, petticoats, and stockings. As girls got older in age they followed the trend of their mothers and began to wear stays or tight corsets Young boy in a tunic, shirt, and trousers, 1840 French boy, 184344 Prince Albert Edward, The future King Edward VII in a sailor suit,1846 Fashion plate of young girl's costume, 1849 See also Victorian fashion References ^ a b c d Warren, Geoffrey. Fashion Accessories. New York: Drama Book Publishers, 1987. ^ Baynes, Ken & Kate. The Shoe Show. London: Crafts Council, 1979. ^ Warren, Geoffrey. Fashion Accessories. New York: Drama Book Publishers. 1987. ^ Bigelow, Marybelle S. Fashion In History. Minneapolis: Burgess Publishing Company, 1979. Ashelford, Jane: The Art of Dress: Clothing and Society 15001914, Abrams, 1996. ISBN 0-8109-6317-5 Goldthorpe, Caroline: From Queen to Empress: Victorian Dress 18371877, Metropolitan Museum of Art, New York, 1988, ISBN 0-87099-535-9 Tozer, Jane, and Sarah Levitt, Fabric of Society: A Century of People and their Clothes 17701870, Laura Ashley Press, ISBN 0-9508913-0-4 External links The Romantic Era: Fashions 1825-1845 1840s Men's Fashions circa 1840 Men's Fashion Photos (Daguerreotypes) with Annotations Men's fashion plates of the 1840s at Victoriana.com v d e History of Western fashion Ancient Ancient World in General Roman Medieval Byzantine Early Medieval Anglo-Saxon 12th century 13th-century 14th century Renaissance and Reformation 15th century 15001550 15501600 16001650 16501700 Enlightenment to Regency 17001750 17501795 17951820 1820s Victorian 1830s 1840s 1850s 1860s 1870s 1880s 1890s Edwardian 1900s 1910s Between the World Wars 1920s 19301945 Cold War 19451959 1960s 1970s 1980s Contemporary 1990-2009 2010-present Categories: 1840s | History of clothing
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