VICTORIAN FASHION CONTINUED 1870-1900. THE 1870S By 1870, fullness in the skirt had moved to the rear, where elaborately draped overskirts were held in.

VICTORIAN FASHION CONTINUED

1870-1900

THE 1870S

By 1870, fullness in the skirt had moved to the rear, where elaborately draped overskirts were held in

place by tapes and supported by a bustle. This fashion required an underskirt, which was heavily

trimmed with pleats, flounces, rouching, and frills. This fashion was short-lived (though the bustle

would return again in the mid-1880s), and was succeeded by a tight-fitting silhouette with fullness as

low as the knees: the cuirass bodice, a form-fitting, long-waisted, boned bodice that reached below the

hips, and the princess sheath dress. Sleeves were very tight fitting. Square necklines were common.

Day dresses had high necklines that were either closed, squared, or V-shaped. Sleeves of morning

dresses were narrow throughout the period, with a tendency to flare slightly at the wrist early on.

Women often draped overskirts to produce an apronlike effect from the front.

Evening gowns had low necklines and very short, off-the-shoulder sleeves, and were worn with short

(later mid-length) gloves. Other characteristic fashions included a velvet ribbon tied high around the

neck and trailing behind for evening (the origin of the modern choker necklace

THE 1870S

Tea gowns and artistic dress[edit]

Under the influence of the Pre-Raphaelite Brotherhood and other artistic reformers, the "anti-fashion" for Artistic dress with its

"medieval" details and uncorseted lines continued through the 1870s. Newly fashionable tea gowns, an informal fashion for

entertaining at home, combined Pre-Raphaelite influences with the loose sack-back styles of the 18th century.[2]

Leisure Dress[edit]

Leisure dress was becoming an important part of a women's wardrobe. Seaside dress [3] in England had its own distinct

characteristics but still followed the regular fashions of the day. Seaside dress was seen as more daring, frivolous, eccentric, and

brighter. Even though the bustle was extremely cumbersome, it was still a part of seaside fashion.

1870S

Undergarments[edit]

With the narrower silhouette, emphasis was placed on the bust, waist and hips. A corset was used to help mold the body to the desired shape. This

was achieved by making the corsets longer than before, and by constructing them from separate shaped pieces of fabric. To increase rigidity, they were

reinforced with many strips of whalebone, cording, or pieces of leather. Steam-molding, patented in 1868, helped create a curvaceous contour.[4]

Skirts were supported by a hybrid of the bustle and crinoline or hooped petticoat sometimes called a "crinolette". The cage structure was attached

around the waist and extended down to the ground, but only extended down the back of the wearer’s legs. The crinolette itself was quickly superseded

by the true bustle, which was sufficient for supporting the drapery and train at the back of the skirt.[5]

Hairstyles and headgear[edit]

In keeping with the vertical emphasis, hair was pulled back at the sides and worn in a high knot or cluster of ringlets, often with a fringe (bangs)

over the forehead. False hair was commonly used. Bonnets were smaller to allow for the elaborately piled hairstyles and resembled hats except for

their ribbons tied under the chin. Smallish hats, some with veils, were perched on top of the head, and brimmed straw hats were worn for outdoor wear

in summer.

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1880S FASHION

As in the previous decade, emphasis remained on the back of the skirt, with fullness gradually rising from

behind the knees to just below the waist. The fullness over the bottom was balanced by a fuller, lower

chest, achieved by rigid corseting, creating an S-shaped silhouette.

Skirts were looped, draped, or tied up in various ways, and worn over matching or contrasting

underskirts. The polonaise was a revival style based on a fashion of the 1780s, with a fitted, cutaway

overdress caught up and draped over an underskirt. Long, jacket-like fitted bodices called basques were

also popular for daywear.

Evening gowns were sleeveless and low-necked (except for matrons), and were worn with long over the

elbow or shoulder length gloves of fine kid leather or suede.

Choker necklaces and jewelled collars were fashionable under the influence of Alexandra, Princess of

Wales, who wore this fashion to disguise a scar on her neck.

1880S

Bodices were very tight fitted as a result of darts and princess seams. In the early 19th century

dropped waists were common, creating a very long torso. Most ended in a point just below the

waist. Collars that were very high and banded were very popular. These types of collars were

called "officers collars".

Underwear

The bustle returned to fashion and reached its greatest proportions ca. 1886–1888, extending

almost straight out from the back waist to support a profusion of drapery, frills, swags, and

ribbons. The fashionable corset created a low, full bust with little separation of the breasts.

The usual undergarment was a combination, a camisole with attached knee- or calf-length

drawers, worn under the corset, bustle, and petticoat. Woolen combinations were recommended

for health, especially when engaging in fashionable sports.

1880S

Outerwear

Riding habits had become a "uniform" of matching jacket and skirt worn with a high-collared shirt or chemisette,

with a top hat and veil. They were worn without bustles, but the cut of the jacket followed the silhouette of the day.

In contrast, hunting costumes were far more fashionably styled, with draped ankle-length skirts worn with boots or

gaiters.

Tailored costumes consisting of a long jacket and skirt were worn for travel or walking; these were worn with the

bustle and a small hat or bonnet. Travelers wore long coats like dusters to protect their clothes from dirt, rain, and

soot.

Aesthetic dress

Artistic or Aesthetic dress remained an undercurrent in Bohemian circles throughout the 1880s. In reaction to the

heavy drapery and rigid corseting of mainstream Paris fashion, aesthetic dress focused on beautiful fabrics made

up simply, sometimes loosely fitted or with a belt at the waist. Aesthetic ideas influenced the tea gown, a frothy

confection increasingly worn in the home, even to receive visitors.

1880S

Hairstyles and headgear

Hair was usually pulled back at the sides and worn in a

low knot or cluster of ringlets; later hair was swept up to

the top of the head. Fringe or bangs remained fashionable

throughout the decade, usually curled or frizzled over the

forehead, often called "Josephine Curls."

Bonnets resembled hats except for their ribbons tied

under the chin; both had curvy brims

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1890S FASHION

Fashion in the 1890s in European and European-

influenced countries is characterized by long elegant

lines, tall collars, and the rise of sportswear.

Fashionable women's clothing styles shed some of

the extravagances of previous decades (so that skirts

were neither crinolined as in the 1850s, nor

protrudingly bustled in back as in the late 1860s and

mid-1880s, nor tight as in the late 1870s), but

corseting continued unmitigated, or even slightly

increased in severity

1890S FASHION

Early 1890s dresses consisted of a tight bodice with the skirt gathered at the

waist and falling more naturally over the hips and undergarments than in

previous years. The mid 1890s introduced leg o' mutton sleeves, which grew in

size each year until they disappeared in about 1896. During the same period of

the mid '90s, skirts took on an A-line silhouette that was almost bell-like. The late

1890s returned to the tighter sleeves often with small puffs or ruffles capping the

shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more

closely over the hip and flaring just above the knee. Corsets in the 1890s helped

define the hourglass figure as immortalized by artist Charles Dana Gibson. In the

very late 1890s the corset elongated, giving the women a slight S-curve

silhouette that would be popular well into the Edwardian era.

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