Victorian Fashion Victorian Era Dress Up Tour

Fashions and trends in British civilisation during the Victorian era

Illustration depicting fashions throughout the 19th century

Victorian fashion 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 mode, including changes in styles, fashion engineering science and the methods of distribution. Various movement in compages, literature, and the decorative and visual arts as well equally a changing perception of gender roles also influenced fashion.

Nether Queen Victoria'southward reign, England enjoyed a period of growth along with technological advancement. Mass product of sewing machines in the 1850s likewise as the advent of synthetic dyes introduced major changes in way.^[1] Habiliment could be made more quickly and cheaply. Advancement in press and proliferation of fashion magazines immune the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, habiliment was increasingly factory made and often sold in large, stock-still-price department stores, spurring a new age of consumerism with the rising middle course who benefited from the industrial revolution.^[1]

Women's fashions

During the Victorian Era, women generally worked in the private, domestic sphere.^[2] Unlike in before centuries when women would often assist their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, requite up work entirely. Apparel reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian.

Clothes were seen as an expression of women's place in society,^[three] hence were differentiated in terms of social grade. Upper-class women, who did non need 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. Middle-class women exhibited similar wearing apparel styles; nonetheless, the decorations were non as improvident. 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 equally a symbol of wealth.

Picture of 1850s evening dress with a bertha neckline

Cervix-line: Bertha is the low shoulder neck-line worn by women during the Victorian Era. The cut exposed a woman's shoulders and information technology sometimes was trimmed over with a three to vi-inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of material pleats. However, the exposure of neck-line was but restricted to the upper and middle class, working-class women during the fourth dimension period were not allowed to reveal so much flesh.
The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and way was to produce two bodices, one closed décolletage for day and one décolleté for evening.
Boning: Corsets were used in women'southward gowns for emphasizing the small waist of the female body. They function as an undergarment which tin exist adjusted to bind tightly effectually the waist, concord and train a person'due south waistline, so to slim and conform it to a fashionable silhouette. It also helped finish 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, but the exercise was less commonplace than by and large thought today (Effects 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-scale waist in the design, 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 exist like large bells which gave the apparel a heavier book. Engageantes, which were usually fabricated of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, wash and restitch into position, so to human action as false sleeves, which was tacked to the elbow-length sleeves during the time. They ordinarily appear under the bell-shaped sleeves of 24-hour interval dresses.
Silhouette: Silhouette inverse over time supported by the evolution of the undergarment. In before days, wide skirts were supported past fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at to the lowest degree six layers petticoats worn under the skirt, which could counterbalance as much equally fourteen pounds. Later, the cage crinoline was adult. Women were freed from the heavy petticoats, and were able to move their legs freely below the cage. Silhouette later began to emphasise a slope toward the dorsum of the skirt. Polonaise way was introduced where fullness bunched up at the back of the brim. Crinolines and cages too started to disappear with information technology beingness more dangerous to working-form 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 lead, mercury, ammonia, and arsenic.

1830s apparel fashion

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

1840s wearing apparel style

In the 1840s, collapsed sleeves, depression necklines, elongated Five-shaped bodices, and fuller skirts characterised the apparel 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 front. In accordance with the heavily boned corset and seam lines on the bodice as well, the popular low and narrow waist was thus accentuated.

Sleeves of bodices were tight at the top, because of the Mancheron,^[5] but expanded around the area between the elbow and before the wrist. It was besides initially placed beneath the shoulder, yet; this restricted the movements of the arm.^[5]

As a outcome, the middle of the decade saw sleeves flaring out from the elbow into a funnel shape; requiring undersleeves to exist worn in order to encompass the lower arms.^[6]

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 farther emphasised the fullness of these wide skirts. In compliance with the narrow waist though, skirts were therefore attached to bodices using very tight organ pleats secured at each fold.^[5] This served as a decorative chemical element for a relatively plain brim. The 1840s way was perceived equally 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 day dresses dropped even lower into a Five-shape, causing a need to embrace the bust expanse with a chemisette. In contrast, evening dresses featured a Bertha, which completely exposed the shoulder area instead. Bodices began to extend over the hips, while the sleeves opened further and increased in fullness. The book and width of the skirt continued to increment, specially during 1853, when rows of flounces were added.

Nonetheless, in 1856, skirts expanded even further; creating a dome shape, due to the invention of the outset artificial cage crinoline. The purpose of the crinoline was to create an artificial hourglass silhouette by accentuating the hips, and fashioning an illusion of a small waist; forth with the corset. The muzzle crinoline was constructed by joining sparse metal strips together to grade a circular construction that could solely back up the large width of the skirt. This was made possible past technology which immune iron to exist turned into steel, which could and then be fatigued into fine wires.^[one] 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 pick.^[vii]

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

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 aamplitude at the bottom.^[8] In contrast, the shape of the crinoline became flatter in the front and more voluminous behind, as it moved towards the back 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 solar day dresses; low necklines for evening dresses. However, in 1868, the female person silhouette had slimmed downwards as the crinoline was replaced past the hurry, and the supporting flounce overtook the role of determining the silhouette.^[9] Brim widths diminished even further, while fullness and length remained at the back. In order to emphasise the dorsum, the train was gathered together to class soft folds and draperies^[x]

1870s dress style

The trend for broad skirts slowly disappeared during the 1870s, as women started to adopt an even slimmer silhouette. Bodices remained at the natural waistline, necklines varied, while sleeves began under the shoulder line. An overskirt was usually worn over the bodice, and secured into a large bow behind. Over time 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 clothes 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 finish.

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

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

1880s clothes way

A Victorian dandy pictured in the 1840s

The early 1880s was a period of stylistic defoliation.^[1] On 1 hand, there is the over-ornamented silhouette with contrasting texture and frivolous accessories. On the other paw, the growing popularity of tailoring gave ascent 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 Movement and the Rational Wearing apparel Movement in the mid-to-late Victorian Era advocating natural silhouette, lightweight underwear, and rejecting tightlacing. However, these movements did non proceeds widespread support. Others noted the growth in cycling and tennis as acceptable feminine pursuits that demanded a greater ease of movement in women's clothing.^[1] Notwithstanding others argued that the growing popularity of tailored semi-masculine suits was simply a fashionable fashion, and indicated neither advanced views nor the need for practical clothes.^[7] Yet, the diversification in options and adoption of what was considered menswear at that fourth dimension coincided with growing power and social status of women towards the late-Victorian period.

The bustle made a re-appearance in 1883, and information technology featured a further exaggerated horizontal protrusion at the back. Due to the additional fullness, drape moved towards the sides or front panel of the brim instead. Any drapery at the back was lifted up into poufs. Bodices on the other mitt, shortened and ended above the hips. However the fashion 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 college once more. Furthermore, an even further tailored-look began to develop until it improved in the 1890s.

1890s dress style

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

Hats

Hats were crucial to a respectable appearance for both men and women. To become bareheaded was simply not proper. The top chapeau, for example, was standard formal wear for upper- and eye-class men.^[7] For women, the styles of hats changed over fourth dimension and were designed to match their outfits.

During the early Victorian decades, voluminous skirts held upward with crinolines, and so hoop skirts, were the focal point of the silhouette. To enhance the style without distracting from it, hats were modest in size and design, straw and fabric bonnets being the popular option. Poke bonnets, which had been worn during the late Regency period, had loftier, small crowns and brims that grew larger until the 1830s, when the face of a woman wearing a poke bonnet could but be seen directly from the front. They had rounded brims, echoing the rounded form of the bell-shaped hoop skirts.

The silhouette changed over again equally the Victorian era drew to a close. The shape was essentially an inverted triangle, with a broad-brimmed hat on top, a full upper body with puffed sleeves, no bustle, and a skirt that narrowed at the ankles^[11] (the hobble skirt was a fad shortly afterward the end of the Victorian era). The enormous broad-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 stuffed. 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. By 1900, more than five 1000000 birds a year were beingness slaughtered, and nearly 95 percent of Florida's shore birds had been killed by plumage hunters.^[12]

Shoes

The women'southward shoes of the early Victorian period were narrow and heelless, in black or white satin. By 1850s and 1860s, they were slightly broader with a depression heel and made of leather or cloth. Ankle-length laced or buttoned boots were besides pop. From the 1870s to the twentieth century, heels grew higher and toes more than pointed. Low-cut pumps were worn for the evening.^[7]

Men's way

Drawing of Victorian men 1870s

During the 1840s, men wore tight-fitting, dogie length frock coats and a waistcoat or vest. The vests were single- or double-breasted, with shawl or notched collars, and might exist finished in double points at the lowered waist. For more formal occasions, a cutaway forenoon glaze was worn with calorie-free trousers during the daytime, and a dark tail coat and trousers was worn in the evening. Shirts were made of linen or cotton with low collars, occasionally turned down, and were worn with wide cravats or cervix ties. Trousers had fly fronts, and breeches were used for formal functions and when horseback riding. Men wore tiptop hats, with broad brims in sunny atmospheric condition.

During the 1850s, men started wearing shirts with high upstanding or turnover collars and iv-in-mitt neckties tied in a bow, or tied in a knot with the pointed ends sticking out like "wings". The upper-class connected to article of clothing acme hats, and bowler hats were worn by the working course.

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. Apron coats were shortened to knee-length and were worn for business, while the mid-thigh length sack coat slowly displaced the apron glaze for less-formal occasions. Height hats briefly became the very alpine "stovepipe" shape, only a variety of other chapeau shapes were popular.

During the 1870s, 3-piece suits grew in popularity forth with patterned fabrics for shirts. Neckties were the iv-in-manus and, later, the Ascot ties. A narrow ribbon necktie was an culling 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 apparel remained a nighttime tail coat and trousers with a dark waistcoat, a white bow necktie, and a shirt with a winged neckband. 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 as shooting. Knee-length topcoats, oft with contrasting velvet or fur collars, and calf-length overcoats were worn in winter. 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 coincidental activities.^[13]

Throughout much of the Victorian era near men wore adequately short hair. This was often accompanied by various forms of facial pilus including moustaches, side-burns, and full beards. A clean-shaven confront did not come back into style until the finish of the 1880s and early on 1890s.^[14]

Distinguishing what men really wore from what was marketed to them in periodicals and advertisements is problematic, as reliable records exercise non exist.^[15]

Mourning black

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

In Britain, black is the colour traditionally associated with mourning for the dead. The customs and etiquette expected of men, and specially women, were rigid during much of the Victorian era. The expectations depended on a circuitous hierarchy of close or distant relationship with the deceased. The closer the human relationship, the longer the mourning catamenia and the wearing of blackness. The wearing of full black was known as Showtime Mourning, which had its own expected attire, including fabrics, and an expected duration of 4 to 18 months. Post-obit the initial period of First Mourning, the mourner would progress to 2d Mourning, a transition catamenia 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's relationship to the deceased was more distant. Half-mourning was a transition period when black was replaced by acceptable colours such every bit lavender and mauve, peradventure 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 represent the Passion of Christ.^[16]

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

Norms for mourning

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

Relationship to deceased	First mourning	Second mourning	Ordinary mourning	One-half-mourning
Wife for husband	1-year, 1-calendar month; bombazine textile covered with crepe; widow's cap, lawn cuffs, collars	vi months: less crepe	6 months: no crepe, silk or wool replaces bombazine; in last 3 months jet jewellery and ribbons tin can be added	6 months: colours permitted are grey, lavender, mauve, and black-and-grey
Daughter for parent	6 months: black with black or white crepe (for young girls); no linen cuffs and collars; no jewellery for first two months	iv months: less crepe	–	two months as above
Wife for husband'southward parents	18 months in black bombazine with crepe	–	3 months in blackness	3 months equally above
Parent for son- or daughter-in-law'due south parent	– Black armband in representation of someone lost	–	1-calendar month black	–
2nd wife for parent of a showtime wife	–	–	3 months black	–

The complexity of these etiquette rules extends to specific mourning periods and attire for siblings, step-parents, aunts and uncles distinguished by claret and past marriage, nieces, nephews, first and second cousins, children, infants, and "connections" (who were entitled to ordinary mourning for a period of "1–three weeks, depending on level of intimacy"). Men were expected to wear mourning black to a bottom extent than women, and for a shorter mourning period. After the mid-19th century, men would article of clothing a blackness hatband and blackness adapt, merely for only one-half the prescribed period of mourning expected of women. Widowers were expected to mourn for a mere three months, whereas the proper mourning flow expected for widows was up to four years.^[19] Women who mourned in black for longer periods were accorded great respect in public for their devotion to the departed, the virtually prominent example being Queen Victoria herself.

Women with bottom financial means tried to keep upwardly with the case being ready by the middle and upper classes by dyeing their daily dress. Dyers fabricated most of their income during the Victorian catamenia by dyeing clothes black for mourning.^[xx]

Technological advancement

Technological advancements not only influenced the economy but brought a major alter 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 course as they were the ones who could afford the latest technology and change their fashion styles appropriately. In 1830s there was introduction of horse hair crinoline that became a symbol of condition and wealth as but the upper-form women could article of clothing it. In 1850s there were more mode technological advancements hence 1850s could rightly be called a revolution in the Victorian manner industry such as the innovation of bogus 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] Synthetic dyes were also introduced that added new bright colours to garments. These technological advancement gave women freedom and choices. In 1855's Haute couture was introduced as tailoring became more mainstream in years to follow.^[23]

Charles Frederick Worth, a prominent English designer, became popular amongst the upper class though its city 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 distinction in compared to the old ways 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 simply arrived in Paris a few years ago. In 1855, Queen Victoria and Prince Albert of United kingdom welcomed Napoleon Iii and Eugenie of French republic to a total country visit to England. Eugenie was considered a fashion icon in French republic. She and Queen Victoria became instant friends. Queen Victoria, who had been the fashion icon for European high mode, was inspired by Eugenie's style and the fashions she wore. Later Queen Victoria also appointed Charles Frederick Worth as her dress maker and he became a prominent designer amidst the European upper class. Charles Frederick Worth is known as the male parent of the haute couture as after the concept of labels were also invented in the late 19th century as custom, made to fit tailoring became mainstream.^[25]

By the 1860s, when Europe was all almost 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 made together, was introduced. In 1870s the Cuirass Bodice, a slice of armour that covers the torso and functions like a corset, was invented. Towards the end of Victoria'due south reign, dresses were flared naturally as crinolines were rejected by heart-form women. Designers such every bit Charles Frederick Worth were also against them. All these inventions and changes in manner led to women's liberation as tailored looks improved posture and were more practical.^[24]

Home décor

Domicile decor started spare, veered into the elaborately draped and busy style we today regard as Victorian, then embraced the retro-chic of William Morris besides equally pseudo-Japonaiserie.

Gimmicky stereotypes

Victorian Modesty

"The proper length for little girls' skirts at various ages", from Harper's Bazaar, showing a 1900 idea of how the hemline should descend towards the talocrural joint every bit a girl got older

Many myths and exaggerations near the menses persist to the modern day. Examples include the idea of men'south clothing is seen as formal and stiff, women'southward as elaborate and over-done; clothing covered the unabridged trunk, and even the glimpse of an ankle was scandalous. Critics debate that corsets constricted women'south bodies and women'southward lives. Homes are described as gloomy, dark, cluttered with massive and over-ornate furniture and proliferating bric-a-brac. Myth has it that even piano legs were scandalous, and covered with tiny pantalettes.

In truth, men's formal clothing may have been less colourful than it was in the previous century, just brilliant waistcoats and cummerbunds provided a touch of colour, and smoking jackets and dressing gowns were oft of rich Oriental brocades. This phenomenon was the result of the growing cloth manufacturing sector, developing mass product processes, and increasing attempts to market fashion to men.^[15] Corsets stressed a woman'due south sexuality, exaggerating hips and bosom by contrast with a tiny waist. Women's evening gowns bared the shoulders and the tops of the breasts. The jersey dresses of the 1880s may have covered the trunk, only the stretchy novel fabric fit the body like a glove.^[26]

Home furnishing was not necessarily ornate or overstuffed. However, those who could afford lavish draperies and expensive ornaments, and wanted to display their wealth, would oftentimes do and so. Since the Victorian era was ane of increased social mobility, at that place were ever more nouveaux riches making a rich bear witness.

The items used in decoration may also take been darker and heavier than those used today, only equally a affair 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 defunction, and chose colours that didn't show soot quickly. When all washing was done past manus, curtains were not washed as frequently as they might be today.

There is no bodily testify that piano legs were considered scandalous. Pianos and tables were often draped with shawls or cloths—just if the shawls hid annihilation, it was the cheapness of the furniture. In that location are references to lower-centre-class families covering up their pine tables rather than show that they couldn't afford mahogany. The piano leg story seems to have originated in the 1839 volume, A Diary in America written by Captain Frederick Marryat, as a satirical comment on American prissiness.^[27]

Victorian manners may take been as strict as imagined—on the surface. One simply did not speak publicly virtually sex activity, childbirth, and such matters, at least in the respectable middle and upper classes. However, as is well known, discretion covered a multitude of sins. Prostitution flourished. Upper-grade men and women indulged in adulterous liaisons.

Gallery

A mid-Victorian interior: Hibernate and Seek by James Tissot, c. 1877

Run into also

Victorian clothes reform
Women in the Victorian Era
Victorian morality
Charles Frederick Worth
Victorian decorative arts
Victoriana

Fourth dimension periods

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

Women'south article of clothing

Corset
Corset controversy
Tightlacing
Bloomers
Bodice

Gimmicky interpretations

Steampunk
Neo-Victorian
Lolita

References

^ ^a ^b ^c ^d ^e ^f Breward, Christopher (1995). The Culture of Fashion. Manchester Academy Press. pp. 145–180.
^ "Gender roles in the 19th century". The British Library . Retrieved 21 October 2016.
^ Gernsheim, Alison (1963). Victorian and Edwardian Fashion - A Photographic Survey. New York: Dover Publications Inc. p. 26.
^ ^a ^b Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Apparel 1837-1877. New York: The Metropolitan Museum of Art. pp. 23–24.
^ ^a ^b ^c Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Dress 1837-1877. New York: The Metropolitan Museum of Art. p. 32.
^ Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Dress 1837-1877. New York: The Metropolitan Museum of Art. p. 39.
^ ^a ^b ^c ^d ^e ^f Steele, Valerie (1985). Victorian Fashion. Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the Jazz Historic period . Oxford University Press. pp. 51–84.
^ ^a ^b Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Wearing apparel 1837-1877. New York: The Metropolitan Museum of Art. p. 26.
^ Goldthorpe, Caroline (1988). From Queen to Empress - Victorian Dress 1837-1877. New York: The Metropolitan Museum of Art. p. 45.
^ Audin, Heather (2015). Making Victorian Costumes for Women. Crowood. p. 45.
^ Laver, James (2002). Costume and Mode: A Concise History. London: Thames & Hudson Ltd. pp. 224–5. ISBN978-0-500-20348-4.
^ "Everglades National Park". PBS. Retrieved vii Nov 2011.
^ Landow, George. "Men's informal sporting dress, late 1880s and '90s".
^ "Victorian Men's Fashions, 1850–1900: Hair".
^ ^a ^b Shannon, Brent (2004). "Refashioning Men: Manner, Masculinity, and the Tillage of the Male Consumer in Great britain, 1860–1914". Victorian Studies. 46 (4): 597–630. doi:ten.1353/vic.2005.0022.
^ "The Colors of the Church building Year". Consortium of Country Churches. Retrieved half-dozen November 2011.
^ The Metropolitan Museum of Art (7 September 2019). "Mourning Clothes, 1894–95". The Metropolitan Museum of Art . Retrieved 7 September 2019.
^ Flanders, Judith (2003). The Victorian Firm. London: Harper Perennial. pp. 378–83. ISBN0-00-713189-v.
^ Flemish region, Judith (2003). The Victorian House. London: Harper Perennial. pp. 378–nine. ISBN0-00-713189-five.
^ Flanders, Judith (2003). The Victorian House. London: Harper Perennial. p. 341. ISBN0-00-713189-5.
^ Graham, P. "The Victorian Era". Digital Library of India.
^ Shrimpton, J. Victorian Way. Bloomsbury Shire Publications.
^ Aspelund, Karl. Fashioning Society. Fairchild Books.
^ ^a ^b Martin, Richard; Koda, Harold. Haute Couture. The Metropolitan Museum of Art.
^ Saillard, Olivier; Zazzo, Anne. Paris Haute Couture. Skira Flammarion.
^ Gernsheim, Alison (1981). Victorian & Edwardian Fashion: A Photographic Survey (New ed.). New York: Dover Publications. p. 65. ISBN0-486-24205-vi.
^ 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 feel in its full force the extreme delicacy of the mistress of the institution, and her care to preserve in their utmost purity the ideas of the immature ladies under her charge, she had dressed all these four limbs in modest little trousers, with frills at the bottom of them!"

External links

Victorian Fashion
VictorianVoices.net – Mode articles and illustrations from Victorian periodicals; extensive fashion paradigm gallery
Victorian myths
Victorian mode, etiquette, and sports
Background on "A Diary in America"
Course and Way — the development of women's dress during the 19th century (many photographs)
Educational Game: Mix and Match — build a 19th-century wearing apparel using a virtual mannequin
"Victorian Dress". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Retrieved 3 April 2011.
Manner detective: Style, Fiction and Forensics in nineteenth century Australian way on Civilization Victoria