1800s

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 form a diamond shape, was typical of this period.

The use of tiny piping to finish seams began in this decade.

Dresses generally opened in the front, with pins or drawstrings as the closures, while the skirts of the dresses had side openings, if any at all. The desired effect was one of simplicity. White was the most popular color and any applied trimming was used sparingly.

Fabrics were lightweight, soft drapery, with embroidery and details that did not interrupt the aesthetic flow. Outerwear consisted of Spencer jackets (waist-length jackets named after Lord Spencer), pelisses (a type of sleeved cloak) and the ubiquitous long shawl.

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.

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Next 1820 to 1830
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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 belt. Pelisses and Spencer jackets continued to be worn for warmth.

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Next 1830 to 1840
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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 one fashion change occurs, the rationale for another is created. The very full sleeves that were the rage created the need for alternative outerwear. It was difficult to force these large sleeves into coats and so cloaks were worn. Short capes with longer front ends called pelerines become quite popular as did chemisettes (under-bodices of net or lace) for low-necked gowns. The focus was clearly on femininity. Aprons were popular accessories.

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Next 1840 to 1850
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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 emphasize this new line. Colors shifted to darker tones and solid color fabrics were more in tune with the new solemnity.

In mid-century, skirts become even fuller with horizontal flounces or tucks added to the base skirt to give it even greater width and volume. Lines shifted from the vertical to the horizontal assisted by shorter, wider bodices. A new triangular, cone-shaped silhouette emerged featuring new pagoda sleeves.

Prints and patterns came to the fore for obvious reasons. The substantial expanses of fabric were crying out for visual interest which large plaids and border prints provided.

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Next 1850 to 1860
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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 were some of the few exceptions.

Cloaks and mantlelets remained fashionable for practical reasons – they were the only outerwear capable of covering the triangular silhouette. Shawls worked wonderfully spread out over the width of the hoop and were popular for their ornamental possibilities as well as their functional role.

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Next 1860 to 1870
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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 slightly short but the dropped shoulders remained. Sleeves narrowed and although fitted at the wrist, a little width was available at the elbow. Square yoke lines were often seen for day. These were created with braid, fringe or even developed as a separate piece that could be removed for evening wear, leaving a lower, square neckline.

To emphasize the wide neckline on evening dresses, Bertha collars following the décolleté were made of pleated fabric, ruffles, or lace. In fact fringe, braid and lace were in their element and widely used. Fabric stayed lightweight with lawn, taffeta and silk and wool blends popular. Dresses tended to be made of one fabric but with lace or trim for interest.

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Next 1870 to 1880
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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 even more complex), the bustle foundation disappeared and a very small hoop was worn, primarily to keep the mass of fabric away from the feet.

Fabrics were light in color and weight with favored fabrics being cotton, silk-taffeta and light wool. The problem of fitting outerwear over bustles was solved as three-quarter length cloaks and Dolman mantles (a short capelet with wide sleeves that were quite restrictive) began to make an appearance.

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Next 1880 to 1890
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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 the 1870s.

1880 was a decade of severely tight and restrictive corsetry that was worn (or endured) under dresses with long boned bodices, tight sleeves and high necks. On the surface a very modest and even prudish look, this line was so torso defining that a woman’s shape could hardly go unnoticed. Dresses could weigh 15 – 20 pounds. Skirts were almost always layered and draped, often with an apron front and a trained back. Pleating was everywhere, both in skirt construction and in trimming.

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Next 1890 to 1900
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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 the names given to this sleeve. Skirts became flared and gored, even circular. Tiny boned bodice waists were emphasized with a point in front. Evening dresses often sported elbow length sleeves.

Silhouette slimmed and elongated considerably in 1897. Sleeves began to reduce in size and skirts were fashioned to be slim over the hips. Bodices began to have fullness at the front, which developed into the pigeon breast or monobosom shape of the early 20th century. Necklines rose even higher, supported by very high boned collars.

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Next 1900 to 1910
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