The fashion canvas of the 18th century changed radically as the 19th century began and simpler, lighter brushstrokes were applied. Fashion in the first two decades mimicked classical Grecian drapery with its fluid lines. Bodices were minimal, cut to end under the bust thereby achieving a high waist that defined the silhouette. Necklines were predominantly low. Sleeves could be long or short. The fiddle-back bodice, with side, back and shoulder seams that were placed to
{…}
From 1810 to 1820 dresses became slightly more structured with padded hems and firmer fabrics, such as twills and even some taffeta. Soft colors returned to fashion after a 10-year absence. Sleeves began to grow fuller at the shoulder and high waists endured throughout this period but lowered slightly as the years went by. Skirt hems widened ever so slightly. Fabric trimmings (often in the same fabric as the dress) were used extensively. Written by
{…}
As the Romantic era arrived, clothing became more complex and increasingly structured. The previous design simplicity was replaced with decorative excess. Horizontal hem treatments added focus to skirts. Wide lapels created shoulder emphasis and the sleeves and shoulders were further emphasized with extended wings. Surface ornamentation, color and print positively abounded. Three-dimensional effects in trimmings were achieved with padding. The waistline dropped much closer to its natural spot and was often accentuated by a wide
{…}
In the 1830s, the first cross cut Gigot or Leg O’ mMtton sleeves appeared. The previous shoulder fullness dropped toward the elbow and sleeves became enormous. The waist resumed its natural position while necklines became very wide and bodice lines took on a highly distinctive V-shape. Ankle length skirts became quite full and needed several petticoats beneath for support. This produced the 19th century’s first version of an hourglass silhouette. As so often happens, when
{…}
The Gothic era arrived on the scene and fashion lines wilted into drooping ringlets and dragging skirts. Sleeves lost their fullness and became fitted; shoulders were extended below their natural line and skirt hems lowered to the floor. Generally necklines were worn high during the day and wide in the evening. The skirt became very domed in silhouette, requiring yet more petticoats to achieve the desired shape. Trimmings of tucks and pleats were used to
{…}
By 1855, the cage crinoline or hoop had swayed on to the scene and skirts expanded to their maximum size. Women were delighted to wear the cage as it provided relief from the weight of numerous petticoats and the plethora of undergarments that needed to be washed. The hoop was worn almost universally and could be seen on ladies, maids, the middle class and shop girls. Women working hard in fields and those scrubbing floors
{…}
So began the era of the skirt and it was to be 30 years before skirts were worn unhindered by support structures. The round hoop of 1860 evolved into an oval hoop by 1864. As the skirt developed, the back emphasis saw the creation of the first bustle, which had appeared by 1868. The big, soft, high and very draped bustle skirt enjoyed its popularity for 8 years. In the 1860s, the bodice waist became
{…}
In the early 1870s the shoulders were allowed to return to the position nature intended. In 1876-78 the long line cuirass bodice appeared. This reached to the hips in all its molded, whale-boned glory. Day bodices had high necklines and fitted sleeves with pleated or ruffled cuffs at the wrists. The new look for evening was three-quarter length sleeves with a square neckline. In 1876, although the amount of skirt drapery remained constant (if not
{…}
Popular demand brought back the bustle in 1883, but with changes. It was now worn at a lower placement with a narrower width. Dresses worn over this new frame were sturdier, being constructed in heavier fabrics such as velvet, satin and wool. Colors were darker with bottle green, deep wine, navy blue and black coming to the fore. Mercifully cotton and linen were used for summer. Drapery was harder and considerably more rigid than in
{…}
In 1889 the bustle began to fade, possibly joined by its wearers! By 1891 just a tiny pad remained. The gathers at the back of the skirt remained until 1900. With the decline of the bustle, sleeves began to grow and the 1830s hourglass revival was well underway. Sleeves ballooned to proportions never seen before or indeed since – reaching their height in 1895-96. Leg O’ Mutton, Melon, Gigot and Balloon were a few of
{…}