60s Casual Fashion Bust Gown 1800s

Fashions and trends in British civilization during the Victorian era

Illustration depicting fashions throughout the 19th century

Victorian manner consists of the various fashions and trends in British culture that emerged and adult in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in style, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts too as a changing perception of gender roles also influenced fashion.

Under Queen Victoria's reign, England enjoyed a period of growth along with technological advocacy. Mass product of sewing machines in the 1850s as well as the appearance of synthetic dyes introduced major changes in fashion.^[1] Clothing could be made more than chop-chop and cheaply. Advocacy in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advert. By 1905, clothing was increasingly manufacturing plant made and often sold in large, fixed-price department stores, spurring a new historic period of consumerism with the ascension middle class who benefited from the industrial revolution.^[i]

Women's fashions

During the Victorian Era, women by and large worked in the private, domestic sphere.^[2] Unlike in earlier centuries when women would ofttimes help their husbands and brothers in family unit businesses and in labour, during the nineteenth century, gender roles became more divers. The requirement for farm labourers was no longer in such a loftier demand later on the Industrial Revolution, and women were more likely to perform domestic work or, if married, surrender work entirely. Wearing apparel reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian.

Dress were seen as an expression of women'southward place in lodge,^[iii] hence were differentiated in terms of social course. Upper-course women, who did not demand to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a brim adorned with numerous embroideries and trims; over layers of petticoats. Center-class women exhibited like dress styles; however, the decorations were not every bit extravagant. The layering of these garments brand them very heavy. Corsets were also stiff and restricted movement. Although the dress were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth.

Picture of 1850s evening dress with a bertha neckline

• Neck-line: Bertha is the low shoulder neck-line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a 3 to half dozen-inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. Withal, the exposure of neck-line was simply restricted to the upper and middle class, working-form women during the fourth dimension menstruum were not allowed to reveal so much flesh.
  The décolleté style fabricated shawls to go an essential feature of dresses. Corsets lost their shoulder straps, and mode was to produce two bodices, one closed décolletage for day and one décolleté for evening.
• Boning: Corsets were used in women'south gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to demark tightly around the waist, hold and train a person'due south waistline, and then to slim and suit information technology to a fashionable silhouette. It also helped terminate the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown.
  Corsets accept been blamed for causing many diseases because of tight lacing, merely the practice was less commonplace than generally thought today (Furnishings of tightlacing on the body).

• Sleeves: Sleeves were tightly fit during the early Victorian era. Information technology matched with the tight fit women's small waist in the pattern, and the shoulder sleeve seamline was drooped more to bear witness a tighter fit on the arm. This eventually limited women's movements with the sleeves.
  However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually fabricated of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were piece of cake to remove, launder and restitch into position, so to deed as imitation sleeves, which was tacked to the elbow-length sleeves during the fourth dimension. They unremarkably appear under the bell-shaped sleeves of mean solar day dresses.
• Silhouette: Silhouette changed over time supported by the development of the undergarment. In before days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least 6 layers petticoats worn under the brim, which could weigh every bit much as fourteen pounds. Later, the muzzle crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the muzzle. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise way was introduced where fullness bunched upward at the dorsum of the skirt. Crinolines and cages as well started to disappear with it being more than unsafe to working-grade women. Tournures or bustles were developed.

Victorian-era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics independent toxic or caustic ingredients like pb, mercury, ammonia, and arsenic.

1830s dress way

During the start of Queen Victoria's reign in 1837, the ideal shape of the Victorian woman was a long slim torso emphasised by wide hips. To accomplish a low and slim waist, corsets were tightly laced and extended over the abdomen and downwards towards the hips.^[4] A chemise was unremarkably worn under the corset, and cutting relatively low in social club to prevent exposure. Over the corset, was the tight-fitting bodice featuring a low waistline. Along with the bodice was a long skirt, featuring layers of horsehair petticoats^[four] worn underneath to create fullness; while placing emphasis on the small waist. To contrast the narrow waist, depression and straight necklines were thus used.

1840s wearing apparel way

In the 1840s, collapsed sleeves, low necklines, elongated V-shaped bodices, and fuller skirts characterised the dress styles of women.

At the start of the decade, the sides of bodices stopped at the natural waistline, and met at a point in the forepart. In accordance with the heavily boned corset and seam lines on the bodice equally well, the popular low and narrow waist was thus accentuated.

Sleeves of bodices were tight at the superlative, because of the Mancheron,^[v] just expanded around the area between the elbow and before the wrist. It was also initially placed below the shoulder, notwithstanding; this restricted the movements of the arm.^[5]

As a result, the middle of the decade saw sleeves flaring out from the elbow into a funnel shape; requiring undersleeves to be worn in society to comprehend the lower arms.^{[half dozen]}

Skirts lengthened, while widths increased due to the introduction of the horsehair crinoline in 1847; becoming a status symbol of wealth.

Extra layers of flounces and petticoats, also further emphasised the fullness of these wide skirts. In compliance with the narrow waist though, skirts were therefore fastened to bodices using very tight organ pleats secured at each fold.^[five] This served every bit a decorative chemical element for a relatively plain skirt. The 1840s fashion was perceived as conservative and "Gothic" compared to the flamboyance of the 1830s.^[7]

1850s dress style

A similar silhouette remained in the 1850s, while certain elements of garments changed.

Necklines of 24-hour interval dresses dropped even lower into a V-shape, causing a need to cover the bust surface area with a chemisette. In dissimilarity, evening dresses featured a Bertha, which completely exposed the shoulder expanse instead. Bodices began to extend over the hips, while the sleeves opened farther and increased in fullness. The volume and width of the skirt continued to increase, especially during 1853, when rows of flounces were added.

Nevertheless, in 1856, skirts expanded even further; creating a dome shape, due to the invention of the first artificial muzzle crinoline. The purpose of the crinoline was to create an bogus hourglass silhouette by accentuating the hips, and fashioning an illusion of a small waist; along with the corset. The cage crinoline was constructed by joining thin metal strips together to form a round structure that could solely support the large width of the skirt. This was fabricated possible past technology which allowed iron to be turned into steel, which could so be drawn into fine wires.^[1] Although often ridiculed by journalists and cartoonists of the time as the crinoline swelled in size, this innovation freed women from the heavy weight of petticoats and was a much more hygienic choice.^[7]

Meanwhile, the invention of constructed dyes added new colours to garments and women experimented with gaudy and bright colours. Technological innovation of 1860s provided women with freedom and choices.^[1]

1860s dress style

1860s dress featuring a train

During the early and middle 1860s, crinolines began decreasing in size at the top, while retaining their amplitude at the bottom.^[8] In contrast, the shape of the crinoline became flatter in the front and more than voluminous behind, as information technology moved towards the dorsum since skirts consisted of trains now. Bodices on the other hand, ended at the natural waistline, had wide pagoda sleeves, and included high necklines and collars for day dresses; low necklines for evening dresses. Nonetheless, in 1868, the female silhouette had slimmed down as the crinoline was replaced by the bustle, and the supporting flounce overtook the role of determining the silhouette.^[9] Skirt widths macerated fifty-fifty farther, while fullness and length remained at the back. In club to emphasise the dorsum, the train was gathered together to form soft folds and draperies^[10]

1870s dress manner

The trend for wide skirts slowly disappeared during the 1870s, as women started to prefer an fifty-fifty slimmer silhouette. Bodices remained at the natural waistline, necklines varied, while sleeves began under the shoulder line. An overskirt was commonly worn over the bodice, and secured into a large bow backside. Over fourth dimension though, the overskirt shortened into a discrete basque, resulting in an elongation of the bodice over the hips. As the bodices grew longer in 1873, the polonaise was thus introduced into the Victorian dress styles. A polonaise is a garment featuring both an overskirt and bodice together. The tournure was also introduced, and along with the polonaise, it created an illusion of an exaggerated rear stop.

By 1874, skirts began to taper in the front end and were adorned with trimmings, while sleeves tightened around the wrist area. Towards 1875 to 1876, bodices featured long merely even tighter laced waists, and converged at a abrupt point in front. Bustles lengthened and slipped fifty-fifty lower, causing the fullness of the skirt to further diminish. Actress fabric was gathered together behind in pleats, thus creating a narrower merely longer tiered, draped railroad train too. Due to the longer trains, petticoats had to exist worn underneath in order to keep the apparel clean.

However, when 1877 approached, dresses moulded to fit the figure,^[8] as increasing slimmer silhouettes were favoured. This was allowed past the invention of the cuirass bodice which functions like a corset, but extends down to the hips and upper thighs. Although dress styles took on a more natural form, the narrowness of the skirt limited the wearer in regards to walking.

1880s clothes style

A Victorian keen pictured in the 1840s

The early on 1880s was a menstruum of stylistic confusion.^[1] On one mitt, in that location is the over-ornamented silhouette with contrasting texture and frivolous accessories. On the other hand, the growing popularity of tailoring gave rise to an alternative, severe style.^[7] Some credited the change in silhouette to the Victorian dress reform, which consisted of a few movements including the Artful Costume Move and the Rational Dress Movement in the mid-to-late Victorian Era advocating natural silhouette, lightweight underwear, and rejecting tightlacing. However, these movements did not gain widespread back up. Others noted the growth in cycling and lawn tennis equally acceptable feminine pursuits that demanded a greater ease of motility in women's clothing.^[one] Still others argued that the growing popularity of tailored semi-masculine suits was simply a fashionable style, and indicated neither advanced views nor the need for practical clothes.^[seven] Nonetheless, the diversification in options and adoption of what was considered menswear at that time coincided with growing power and social status of women towards the belatedly-Victorian period.

The bustle made a re-appearance in 1883, and it featured a further exaggerated horizontal protrusion at the back. Due to the additional fullness, drape moved towards the sides or front console of the skirt instead. Whatever drapery at the back was lifted upwards into poufs. Bodices on the other hand, shortened and concluded above the hips. Yet the mode remained tailored, simply was more structured.

However, by 1886, the silhouette transformed back to a slimmer figure again. Sleeves of bodices were thinner and tighter, while necklines became higher again. Furthermore, an even further tailored-await began to develop until it improved in the 1890s.

1890s apparel fashion

By 1890, the crinoline and bustle was fully abased, and skirts flared abroad naturally from the wearer's tiny waist. It evolved into a bell shape, and were made to fit tighter around the hip area. Necklines were loftier, while sleeves of bodices initially peaked at the shoulders, but increased in size during 1894. Although the large sleeves required cushions to secure them in place, it narrowed down towards the end of the decade. Women thus adopted the style of the tailored jacket, which improved their posture and confidence, while reflecting the standards of early on female liberation.

Hats

Hats were crucial to a respectable appearance for both men and women. To become bareheaded was only not proper. The top hat, for instance, was standard formal clothing for upper- and middle-course men.^[7] For women, the styles of hats inverse over time and were designed to match their outfits.

During the early Victorian decades, voluminous skirts held upward with crinolines, then hoop skirts, were the focal point of the silhouette. To raise the style without distracting from it, hats were minor in size and design, straw and fabric bonnets existence the popular choice. Poke bonnets, which had been worn during the late Regency period, had high, small-scale crowns and brims that grew larger until the 1830s, when the face of a adult female wearing a poke bonnet could merely be seen directly from the front. They had rounded brims, echoing the rounded class of the bell-shaped hoop skirts.

The silhouette changed one time once more every bit the Victorian era drew to a close. The shape was substantially an inverted triangle, with a broad-brimmed hat on pinnacle, a full upper body with puffed sleeves, no bustle, and a skirt that narrowed at the ankles^[11] (the hobble skirt was a fad before long after the end of the Victorian era). The enormous wide-brimmed hats were covered with elaborate creations of silk flowers, ribbons, and above all, exotic plumes; hats sometimes included entire exotic birds that had been blimp. Many of these plumes came from birds in the Florida everglades, which were nearly fabricated entirely extinct by overhunting. By 1899, early environmentalists similar Adeline Knapp were engaged in efforts to curtail the hunting for plumes. Past 1900, more five million birds a year were being slaughtered, and near 95 percentage of Florida's shore birds had been killed past plume hunters.^[12]

Shoes

The women'south shoes of the early Victorian menstruum were narrow and heelless, in black or white satin. By 1850s and 1860s, they were slightly broader with a low heel and made of leather or cloth. Talocrural joint-length laced or buttoned boots were also popular. From the 1870s to the twentieth century, heels grew college and toes more than pointed. Low-cut pumps were worn for the evening.^[seven]

Men'due south manner

Cartoon of Victorian men 1870s

During the 1840s, men wore tight-fitting, calf length frock coats and a waistcoat or vest. The vests were single- or double-breasted, with shawl or notched collars, and might be finished in double points at the lowered waist. For more formal occasions, a cutaway morn coat was worn with light trousers during the daytime, and a nighttime tail glaze and trousers was worn in the evening. Shirts were fabricated of linen or cotton with low collars, occasionally turned down, and were worn with wide cravats or neck ties. Trousers had fly fronts, and breeches were used for formal functions and when horseback riding. Men wore pinnacle hats, with wide brims in sunny weather.

During the 1850s, men started wearing shirts with loftier ethical or turnover collars and 4-in-hand neckties tied in a bow, or tied in a knot with the pointed ends sticking out similar "wings". The upper-class continued to wear top hats, and bowler hats were worn by the working form.

In the 1860s, men started wearing wider neckties that were tied in a bow or looped into a loose knot and fastened with a stickpin. Frock coats were shortened to human knee-length and were worn for concern, while the mid-thigh length sack coat slowly displaced the frock coat for less-formal occasions. Top hats briefly became the very tall "stovepipe" shape, but a diversity of other chapeau shapes were pop.

During the 1870s, three-piece suits grew in popularity along with patterned fabrics for shirts. Neckties were the four-in-hand and, subsequently, the Ascot ties. A narrow ribbon necktie was an alternative for tropical climates, especially in the Americas. Both frock coats and sack coats became shorter. Flat straw boaters were worn when boating.

During the 1880s, formal evening clothes remained a dark tail coat and trousers with a nighttime waistcoat, a white bow tie, and a shirt with a winged collar. In mid-decade, the dinner jacket or tuxedo, was used in more relaxed formal occasions. The Norfolk jacket and tweed or woolen breeches were used for rugged outdoor pursuits such every bit shooting. Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in wintertime. Men's shoes had higher heels and a narrow toe.

Starting from the 1890s, the blazer was introduced, and was worn for sports, sailing, and other casual activities.^[13]

Throughout much of the Victorian era most men wore adequately curt hair. This was often accompanied past various forms of facial pilus including moustaches, side-burns, and full beards. A make clean-shaven face up did not come back into fashion until the end of the 1880s and early 1890s.^[14]

Distinguishing what men really wore from what was marketed to them in periodicals and advertisements is problematic, every bit reliable records do not exist.^[xv]

Mourning black

Victoria's five daughters (Alice, Helena, Beatrice, Victoria and Louise), photographed wearing mourning black beneath a bust of their late father, Prince Albert (1862)

In Britain, black is the color traditionally associated with mourning for the dead. The community and etiquette expected of men, and peculiarly women, were rigid during much of the Victorian era. The expectations depended on a circuitous hierarchy of shut or afar relationship with the deceased. The closer the relationship, the longer the mourning menses and the wearing of black. The wearing of full blackness was known equally Showtime Mourning, which had its own expected attire, including fabrics, and an expected duration of 4 to eighteen months. Following the initial period of First Mourning, the mourner would progress to Second Mourning, a transition period of wearing less black, which was followed by Ordinary Mourning, and then Half-mourning. Some of these stages of mourning were shortened or skipped completely if the mourner'due south relationship to the deceased was more than distant. Half-mourning was a transition menses when black was replaced by acceptable colours such as lavender and mauve, possibly considered acceptable transition colours because of the tradition of Church building of England (and Catholic) clergy wearing lavender or mauve stoles for funeral services, to correspond the Passion of Christ.^[sixteen]

The mourning dress on the correct was worn by Queen Victoria, "it shows the traditional touches of mourning attire, which she wore from the death of her husband, Prince Albert (1819–1861), until her own death."^[17]

Norms for mourning

Manners and Rules of Good Society, or, Solecisms to be Avoided (London, Frederick Warne & Co., 1887) gives clear instructions, such as the following:^[18]

Human relationship to deceased	Showtime mourning	Second mourning	Ordinary mourning	One-half-mourning
Wife for husband	one-year, 1-month; bombazine fabric covered with crepe; widow'due south cap, lawn cuffs, collars	6 months: less crepe	half-dozen months: no crepe, silk or wool replaces bombazine; in final three months jet jewellery and ribbons tin can exist added	vi months: colours permitted are grey, lavander, mauve, and blackness-and-grey
Girl for parent	6 months: black with black or white crepe (for young girls); no linen cuffs and collars; no jewellery for first 2 months	4 months: less crepe	–	two months as above
Wife for hubby's parents	xviii months in black bombazine with crepe	–	3 months in black	3 months as to a higher place
Parent for son- or girl-in-law's parent	– Black armband in representation of someone lost	–	1-month black	–
2nd married woman for parent of a first wife	–	–	3 months black	–

The complication of these etiquette rules extends to specific mourning periods and attire for siblings, stride-parents, aunts and uncles distinguished by blood and by marriage, nieces, nephews, first and second cousins, children, infants, and "connections" (who were entitled to ordinary mourning for a catamenia of "1–3 weeks, depending on level of intimacy"). Men were expected to wear mourning blackness to a lesser extent than women, and for a shorter mourning period. Afterward the mid-19th century, men would clothing a black hatband and black conform, but for merely half the prescribed period of mourning expected of women. Widowers were expected to mourn for a mere three months, whereas the proper mourning menstruum expected for widows was up to four years.^[19] Women who mourned in black for longer periods were accorded nifty respect in public for their devotion to the departed, the about prominent example being Queen Victoria herself.

Women with lesser financial ways tried to keep upward with the case existence set by the middle and upper classes by dyeing their daily dress. Dyers fabricated most of their income during the Victorian period by dyeing wearing apparel black for mourning.^[20]

Technological advancement

Technological advancements not only influenced the economy but brought a major change in the fashion styles worn by men and women. As the Victorian era was based on the principles of gender, race and class.^[21] Much advancement was in favor of the upper class equally they were the ones who could afford the latest applied science and change their mode styles accordingly. In 1830s at that place was introduction of horse hair crinoline that became a symbol of condition and wealth as only the upper-course women could article of clothing it. In 1850s there were more fashion technological advancements hence 1850s could rightly be called a revolution in the Victorian style manufacture such as the innovation of artificial cage crinoline that gave women an artificial hourglass silhouette this meant that women did not have to wear layers of petticoats anymore to achieve illusion of wide hips and it was also hygienic.^[22] Constructed dyes were also introduced that added new vivid colours to garments. These technological advancement gave women freedom and choices. In 1855's Haute couture was introduced equally tailoring became more mainstream in years to follow.^[23]

Charles Frederick Worth, a prominent English designer, became popular amidst the upper class though its urban center of destiny always is Paris. Haute couture became popular at the same time when sewing machines were invented.^[24] Hand sewn techniques arose and were a stardom in compared to the sometime means of tailoring. Princess Eugenie of France wore the Englishman dressmaker, Charles Frederick Worth's couture and he instantly became famous in French republic though he had only arrived in Paris a few years ago. In 1855, Queen Victoria and Prince Albert of Britain welcomed Napoleon Iii and Eugenie of France to a full state visit to England. Eugenie was considered a style icon in France. She and Queen Victoria became instant friends. Queen Victoria, who had been the way icon for European high manner, was inspired past Eugenie'southward style and the fashions she wore. Afterward Queen Victoria also appointed Charles Frederick Worth as her clothes maker and he became a prominent designer amongst the European upper form. Charles Frederick Worth is known as the begetter of the haute couture as later the concept of labels were likewise invented in the late 19th century every bit custom, fabricated to fit tailoring became mainstream.^[25]

By the 1860s, when Europe was all about made-to-fit tailoring, crinolines were considered impractical. In the 1870s, women preferred more slimmer silhouettes, hence bodices grew longer and the polonaise, a skirt and bodice fabricated together, was introduced. In 1870s the Cuirass Bodice, a piece of armour that covers the torso and functions like a corset, was invented. Towards the terminate of Victoria's reign, dresses were flared naturally equally crinolines were rejected by center-class women. Designers such as Charles Frederick Worth were besides against them. All these inventions and changes in manner led to women'southward liberation as tailored looks improved posture and were more practical.^[24]

Home décor

Home decor started spare, veered into the elaborately draped and busy fashion we today regard every bit Victorian, then embraced the retro-chichi of William Morris as well as pseudo-Japonaiserie.

Contemporary stereotypes

Victorian Modesty

"The proper length for little girls' skirts at various ages", from Harper'southward Bazaar, showing a 1900 idea of how the hemline should descend towards the ankle as a girl got older

Many myths and exaggerations about the menstruation persist to the modern solar day. Examples include the thought of men'due south wear is seen as formal and potent, women's equally elaborate and over-done; clothing covered the entire body, and even the glimpse of an ankle was scandalous. Critics contend that corsets constricted women'due south bodies and women'south lives. Homes are described as gloomy, dark, cluttered with massive and over-ornate furniture and proliferating bric-a-brac. Myth has information technology that even pianoforte legs were scandalous, and covered with tiny pantalettes.

In truth, men'southward formal clothing may have been less colourful than it was in the previous century, but brilliant waistcoats and cummerbunds provided a touch of color, and smoking jackets and dressing gowns were often of rich Oriental brocades. This miracle was the outcome of the growing textile manufacturing sector, developing mass product processes, and increasing attempts to market fashion to men.^[15] Corsets stressed a adult female's sexuality, exaggerating hips and bust by contrast with a tiny waist. Women's evening gowns bared the shoulders and the tops of the breasts. The bailiwick of jersey dresses of the 1880s may have covered the body, but the stretchy novel fabric fit the body like a glove.^[26]

Domicile furnishing was not necessarily ornate or overstuffed. However, those who could afford lavish draperies and expensive ornaments, and wanted to brandish their wealth, would often do and so. Since the Victorian era was 1 of increased social mobility, there were ever more nouveaux riches making a rich show.

The items used in ornament may also have been darker and heavier than those used today, merely as a matter of practicality. London was noisy and its air was full of soot from countless coal fires. Hence those who could afford it draped their windows in heavy, sound-muffling curtains, and chose colours that didn't show soot quickly. When all washing was washed by manus, curtains were not done equally oft as they might exist today.

There is no actual evidence that piano legs were considered scandalous. Pianos and tables were ofttimes draped with shawls or cloths—but if the shawls hid anything, it was the cheapness of the furniture. At that place are references to lower-middle-class families covering upward their pine tables rather than bear witness that they couldn't beget mahogany. The piano leg story seems to have originated in the 1839 volume, A Diary in America written by Helm Frederick Marryat, as a satirical comment on American prissiness.^[27]

Victorian manners may have been as strict as imagined—on the surface. One just did not speak publicly about sex, childbirth, and such matters, at least in the respectable heart and upper classes. Even so, as is well known, discretion covered a multitude of sins. Prostitution flourished. Upper-class men and women indulged in cheating liaisons.

Gallery

• 

  A mid-Victorian interior: Hide and Seek past James Tissot, c. 1877

• 

• 

• 

• 

Run across too

• Victorian wearing apparel reform
• Women in the Victorian Era
• Victorian morality
• Charles Frederick Worth
• Victorian decorative arts
• Victoriana

Time periods

• 1830s in fashion
• 1840s in manner
• 1850s in style
• 1860s in style
• 1870s in fashion
• 1880s in fashion
• 1890s in fashion

Women's clothing

• Corset
• Corset controversy
• Tightlacing
• Bloomers
• Bodice

Gimmicky interpretations

• Steampunk
• Neo-Victorian
• Lolita

References

1. ^ ^{a b c d due east f} Breward, Christopher (1995). The Civilisation of Fashion. Manchester University Press. pp. 145–180.
2. ^ "Gender roles in the 19th century". The British Library . Retrieved 21 October 2016.
3. ^ Gernsheim, Alison (1963). Victorian and Edwardian Fashion - A Photographic Survey. New York: Dover Publications Inc. p. 26.
4. ^ ^{a b} Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Clothes 1837-1877. New York: The Metropolitan Museum of Art. pp. 23–24.
5. ^ ^{a b c} Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Dress 1837-1877. New York: The Metropolitan Museum of Fine art. p. 32.
6. ^ Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Wearing apparel 1837-1877. New York: The Metropolitan Museum of Fine art. p. 39.
7. ^ ^{a b c d e f} Steele, Valerie (1985). Victorian Fashion. Manner and Eroticism: Ideals of Feminine Dazzler from the Victorian Era to the Jazz Age . Oxford University Press. pp. 51–84. ISBN978-0-19-503530-eight.
8. ^ ^{a b} Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Dress 1837-1877. New York: The Metropolitan Museum of Art. p. 26.
9. ^ Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Wearing apparel 1837-1877. New York: The Metropolitan Museum of Art. p. 45.
10. ^ Audin, Heather (2015). Making Victorian Costumes for Women. Crowood. p. 45.
11. ^ Laver, James (2002). Costume and Fashion: A Concise History. London: Thames & Hudson Ltd. pp. 224–5. ISBN978-0-500-20348-4.
12. ^ "Everglades National Park". PBS. Retrieved seven November 2011.
13. ^ Landow, George. "Men's breezy sporting apparel, late 1880s and '90s".
14. ^ "Victorian Men'south Fashions, 1850–1900: Pilus".
15. ^ ^{a b} Shannon, Brent (2004). "Refashioning Men: Fashion, Masculinity, and the Cultivation of the Male Consumer in Britain, 1860–1914". Victorian Studies. 46 (iv): 597–630. doi:10.1353/vic.2005.0022.
16. ^ "The Colors of the Church Year". Consortium of State Churches. Retrieved half-dozen November 2011.
17. ^ The Metropolitan Museum of Art (7 September 2019). "Mourning Wearing apparel, 1894–95". The Metropolitan Museum of Art . Retrieved vii September 2019.
18. ^ Flanders, Judith (2003). The Victorian House. London: Harper Perennial. pp. 378–83. ISBN0-00-713189-5.
19. ^ Flanders, Judith (2003). The Victorian Business firm. London: Harper Perennial. pp. 378–9. ISBN0-00-713189-v.
20. ^ Flanders, Judith (2003). The Victorian House. London: Harper Perennial. p. 341. ISBN0-00-713189-5.
21. ^ Graham, P. "The Victorian Era". Digital Library of India.
22. ^ Shrimpton, J. Victorian Manner. Bloomsbury Shire Publications.
23. ^ Aspelund, Karl. Fashioning Society. Fairchild Books.
24. ^ ^{a b} Martin, Richard; Koda, Harold. Haute Couture. The Metropolitan Museum of Art.
25. ^ Saillard, Olivier; Zazzo, Anne. Paris Haute Couture. Skira Flammarion.
26. ^ Gernsheim, Alison (1981). Victorian & Edwardian Fashion: A Photographic Survey (New ed.). New York: Dover Publications. p. 65. ISBN0-486-24205-six.
27. ^ Marryat, C.B. (1839). A Diary in America: With Remarks on Its Institutions. Vol. 2. London, England: Longman, Orme, Brown, Green, and Longmans. pp. 246–247. From pp. 246-247: "I was requested by a lady to escort her to a seminary for young ladies, and on being ushered into the reception-room, conceive my astonishment at beholding a square piano-forte with four limbs. However, that the ladies who visited their daughters, might experience in its full force the farthermost delicacy of the mistress of the establishment, and her care to preserve in their utmost purity the ideas of the immature ladies nether her accuse, she had dressed all these four limbs in pocket-size little trousers, with frills at the bottom of them!"

Further reading

• Phipps, Elena; et al. (1988). From Queen to Empress: Victorian dress 1837-1877 . New York: The Metropolitan Museum of Art. ISBN0870995340.
• Sugariness, Matthew – Inventing the Victorians, St. Martin's Printing, 2001 ISBN 0-312-28326-1

External links

• Victorian Manner
• VictorianVoices.net – Style articles and illustrations from Victorian periodicals; extensive fashion epitome gallery
• Victorian myths
• Victorian fashion, etiquette, and sports
• Background on "A Diary in America"
• Form and Fashion — the evolution of women'due south dress during the 19th century (many photographs)
• Educational Game: Mix and Match — build a 19th-century wearing apparel using a virtual mannequin
• "Victorian Clothes". Manner, Jewellery & Accessories. Victoria and Albert Museum. xiv January 2011. Retrieved 3 April 2011.
• Style detective: Mode, Fiction and Forensics in nineteenth century Australian fashion on Civilisation Victoria

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