The nineteenth century opened with a fashion landscape that was changing dramatically and rapidly from the styles of a generation earlier. The French Revolution brought fashions that had been emerging since the 1780s to the forefront. Neoclassicism now defined fashion as both men and women took inspiration from classical antiquity. For women, the high-waisted silhouette in lightweight muslin was the dominant style, while fashionable men looked to the tailors of Britain for a new, refined look.

Womenswear

Dresses saw minor changes during the 1800s, losing much of the rounded volume of the previous decade. By 1810, skirts were much straighter, and the fullness that was left in the skirt was concentrated at the back, while the front was flat, falling straight to the floor (Fig. 4). In the early years, long trains were common on fashionable gowns, for both day and evening wear, but these began to gradually disappear around 1807 (Byrde 24; Foster 21, 29). The straighter, slimmer appearance of the 1800s was also echoed in the bodice back which featured seams that created a distinctive “kite” or “diamond” shape and gave a very slim, small-backed effect. Finally, straight, narrow sleeves too reinforced the clean lines (Davidson 26; Johnston 56).

Importantly, part of the neoclassical ideal was the beauty of the natural, nude body. Fashion legends abound that tell of women leaving off their stays entirely, and appearing with very little underwear at all; while it seems that some women really did abandon their stays, the practice was not widespread or mainstream. Instead, nudity was suggested in the revealing cut of dresses. Large portions of the chest and back were bared even in day dresses, sleeves were short, and draping muslin revealed the shape of the leg (Fig. 5) (C.W. Cunnington 28; Davidson 63-64; Laver 155). Of course, this new style of dress did force a change in underwear. The narrowed skirt only required a single petticoat; indeed one was necessary for modesty beneath the nearly-transparent muslin (Byrde 25). Both long and short stays were worn; the new term “corset” referred to lightly boned or even simply corded supports, and these were often worn instead of stays. The chief goal of any supportive undergarment was to raise and shape the breasts, as their natural roundness was desirable for the first time (Davidson 64). Finally, throughout the decade, the fullness in the back of the gown was supported by a bustle pad attached to the inside of the skirt (Johnston 166; C.W. Cunnington 32-33).

The neckline of dresses, for both day and night, was quite low and could be either square or V-neck. During the day, the low neckline could be filled in with a chemisette or tucker (Foster 22). In the early years, the most fashionable sleeve was short for both day and night. Later in the decade, long sleeves were also worn, and they began to gain some fullness at the sleeve head (Davidson 288-289). In the evening, there was a fashion for short overdresses or tunics which borrowed from the ancient Greek chlamys (Fig. 6). While white was considered correct for evening, the nearly transparent muslins were sometimes worn over colored silk slips, creating shimmering pastels (Fig. 4) (Byrde 25-27; C.W. Cunnington 29-30).

Textiles of the 1800s were often enriched with embroidery, one of the few elements permitted to disrupt the classical line. Whitework, colored and gilt threads, and chenille were all employed to decorate gowns with a variety of embroidered designs (Figs. 2, 7) (Johnston 146, le Bourhis 95, 104). While white was undoubtedly the most modish color for dresses, it was difficult and costly to maintain. Sturdier printed cottons and patterned silks were common for daywear, and warmer wools were acceptable in the winter months (Figs. 3, 8) (Byrde 27).

Fashion icon: George bryan “Beau” brummell (1778-1840)

Brummell is still considered a true fashion icon and the foundation of dandy theory and philosophy. Jules Amédée Barbey d’Aurevilly wrote Du Dandysme et de Georges Brummell in 1845, which raised dandyism to the level of a philosophical and intellectual pursuit, a trend that continued throughout the nineteenth century. Brummell has been recreated in plays and Hollywood films, and modern menswear brands still invoke his name to represent quality and refinement (David). Beyond fashion, Brummell represented many of the larger shifts of the era and foreshadowed trends to come:

“Beau Brummell captured in the turn of his cuff and the knot of his cravat the studied irony and languor that defined his age…[his posturing] aptly crystallized the uncertainty of a period that witnessed the decline of aristocracy and the early rise of democratic politics…in many ways he anticipated the modern era-a world of social mobility in which taste was privileged above birth and wealth. Elevated as a style icon, he presaged the contemporary dominance of fashion and celebrity.” (Cicolini)

Menswear

The influence of neoclassicism could also be seen in fashionable menswear. Breeches and pantaloons were often made of jersey or wool cut on the bias, providing an incredibly close fit, which when combined with the cream color often chosen, gave a revealing, almost nude effect; like the draperies of women’s gowns, this effect recalled Greek or Roman statues (Byrde 90; Ashelford 185). Beginning in the previous decade, men abandoned the practice of powdering their hair and cropped it short, creating a natural, tousled appearance (Fig. 3). These new hairstyles were referred to as à la Titus or Brutus, underscoring their classical inspirations (Davidson 57; Laver 153). The Napoleonic Wars also influenced menswear, as men in uniform dominated life (Fig. 4). The uniforms of the Napoleonic Wars were some of the most lavish and elaborate in history, showing “an unparalleled deployment of rich costumes, a veritable explosion of panache” (le Bourhis 179). The braid, frogging, Brandenburg buttons, and tassels served as inspiration in civilian men’s and womenswear for years (Johnston 14, 20). The prevailing fashion for pantaloons tucked into boots was, at least in part, inspired by the military; the ultra-fashionable hessian boots, defined by their cleft tops trimmed with tassels (Fig. 5), were borrowed from the German Hessian soldiers, and a different, more practical style was named for British military hero, the Duke of Wellington (Davidson 232).

Luxury in menswear was now expressed through a perfect fit of each element of a man’s wardrobe, and Britain’s exceptional tailors led the way (Waugh 112). The three basic elements were the coat, the waistcoat, and breeches or pantaloons. It was rare for all three pieces to be the same color. There were two main types of coats, both versions of the tailcoat: the dress coat and the riding coat. The dress coat was cut in at the waist, either straight across or in an inverted U-shape (Figs. 1, 5). The riding coat, a less formal choice, sloped gently from the waist back to the tails (Fig. 6). Either style was made of fine, felted wool, which could be molded to the body, in dark colors such as blue, black, brown, red, and green (Byrde 91). The felted quality of the material allowed it to be cut with raw edges, and the high collar sloped down into lapels cut with either an “M” or “V” shaped notch (Davidson 28). Waistcoats were single-breasted and cut straight across the waist, peeking out beneath the closed coat. They featured stand collars and could be made of a variety of materials, solid or patterned; indeed, most of the color left in men’s clothing retreated to the waistcoat (Fig. 7) (Tortora 321; Davidson 28-29). It was also not unusual to wear two waistcoats at a time (Byrde 94).

Both breeches and pantaloons were worn, both featuring fall-front openings (Waugh 116). Breeches extended to the knee where they were fastened with buttons and a buckle or tie (Fig. 6); pantaloons, which had originated in the 1790s, were very tightly-fitted and longer, extending to the calf or ankle where they fastened with ties or buttons (Fig. 8). Either were appropriate in the daytime, but for evening wear, cream breeches paired with a black or blue dress coat, white waistcoat, and stockings were considered correct (Byrde 93; Johnston 14). As mentioned above, breeches or pantaloons with tall boots was a favorite fashion of the era, and lent civilian dress a martial allure (le Bourhis 112; Ashelford 186). Finally, during the 1800s, trousers gained some acceptance as an informal choice. While still narrow, trousers were looser-fitting than pantaloons at the calf and ankle, and they had been present in dress as a young boy’s garment and wear for sailors. They began to slowly be accepted as informal wear, especially at the seaside (Davidson 258-259; Foster 28; Byrde 93).

Several pieces completed the male ensemble. Shirts were of white cotton or linen with very high stand collars that skimmed the jaw. Frills decorated the front of the shirt; after 1806, some shirts for daywear instead featured pleated fronts (Tortora 319; Byrde 94). Neckwear was a crucial element of a man’s wardrobe. The main form was the cravat, a large square of fine muslin or silk, folded cornerwise and carefully tied in a variety of arrangements (Fig. 3) (Waugh 119). Properly wrapping and tying the cravat was a principle concern of well-dressed men, and several manuals were available to consult for the correct method (Byrde 94). A hallmark of early nineteenth-century menswear was the dangling seals and fobs at the waist, which were attached to the watch tucked into a pocket in the waistband (Figs. 1, 5, 6) (Ashelford 186; Cumming 83). The top hat was now the dominant form of headwear. It was made in a variety of shapes, usually in felt; although the silk top hat began to be seen around 1803, it was not perfected until the 1830s (Ginsburg 85-86; le Bourhis 112-113). The eighteenth-century bicorne, a hat with a turned-up brim creating two points, was still seen (Fig. 6). It was especially fashionable in the evening, carried under the arm, for which occasions it was known as a chapeau bras (Tortora 322; Davidson 200, 226).

CHILDREN’S WEAR

Girls’ clothing and womenswear were closely related. Throughout their childhood and adolescence, girls wore dresses much like their mother’s (Fig. 3). During the 1800s, even young girls wore their hemlines long to the ankles; it was only in later years that girls’ hemlines began to climb. As the silhouette narrowed, girls could dispense with layers of petticoats, instead wearing just one. Drawers were increasingly worn, but the long skirts hid these bifurcated garments from view (P. Cunnington 194-197; Buck 106, 211). Dresses for morning wear were often of a printed cotton (Fig. 4), but afternoon or best dresses were in fine white muslin. The wide waist sash of the previous decade had disappeared in womenswear, but remained an important element of a girl’s outfit (Rose 38-41; Buck 203-204, 208). Outerwear was important for girls as the short-sleeves and low necklines of fashionable dress offered little protection. A common form was the tippet, a small cape which was often made to match the dress. The spencer was also worn. Finally, a girl completed her outfit with headwear similar to adult fashions (Buck 212-217; Rose 43).  By sixteen years of age, a girl was considered a young woman, lowering her hem all the way to the floor (P. Cunnington 194).

Boys passed through roughly three stages of dress, beginning with the frocks of toddlerhood, discussed above. Then, at about age three or four, a boy was breeched, a rite of passage in which he received his first trousers. These were an element of the skeleton suit, a garment that originated in the 1780s (Fig. 5). It consisted of loose trousers buttoned onto a very short jacket, completed with a white shirt featuring an open collar (Fig. 3) (Callahan). During the 1800s, the skeleton suit was made in strong cotton or linen, and the jacket and trousers could be of contrasting colors (Buck 111; Rose 51). A boy remained in the skeleton suit until about age ten; a transitional variation was sometimes worn by older boys in which the short jacket was worn outside the trousers. Then, from age ten through their early teenage years, boys wore short, round jackets and waistcoats with closer-fitting trousers or pantaloons. Sometimes the jacket had shortened, squared tails in the back (Fig. 6). By fifteen, a boy made the full transition to men’s styles, switching the open collar for a cravat and donning adult tailcoats and breeches (Buck 194-196; P. Cunnington 172-175; Callahan).

References:

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Secondary Sources

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