1795-1820 in Western fashion

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Fashion in the period 1795-1820 in affected European and European countries saw the final victory of dress or informal style on brocade, lace, periwigs and powder from the early 18th century. After the French Revolution, no one wanted to emerge as a member of the French aristocracy, and people began to use more clothing as a form of individual expression of the true self rather than as a purely indication of social status. As a result, the shift that occurred in fashion at the turn of the 19th century provided an opportunity to present a new public identity that also provided insights into their personal self. Katherine Aaslestad shows how "fashion, embodying new social values, emerges as the main site of confrontation between tradition and change."

For women's clothing, everyday clothes of skirts and jacket styles are practical and thoughtful, considering working class women. The women's fashions follow the classical ideal, and the tightly bound corset is temporarily abandoned for the sake of a high-altitude nature figure. This natural figure is emphasized by being able to see the body under the clothes. The visible breasts are part of this classic look, and some breast traits are in a purely aesthetic and sexual fashion.

In England, Beau Brummell introduces trousers, perfect sewing, and uncluttered linen as a menswear ideal. In Germany, the republican city-state took off traditional, simple, and practical attire and began to embrace the fashion trends of France and Britain from short-sleeved short-sleeve dress and Spencer jackets. American fashion trends emulate French outfits, but in a gentle way with scarves and tunics to overcome the softness of the chemise. However, in Spain, members of the Aristocracy, as well as lower-class citizens, unite and rebel against the ideals of the French and fashion enlightenment by dressing up as majas and majos to restrain their Spanish pride.

By the end of the XVIII century, major changes in fashion occurred that transcended the only change of force for change in philosophical and social ideals. Prior to this time, the style and tradition of "Ancien RÃƒ Â© Ã‚ Â© gime" prevented the conceptualization of "self". Conversely, a person's identity is considered soft; can change depending on what clothes a person is wearing. However, in the 1780s, the new "natural" style allowed one to surpass their clothes.

During the 1790s, there was a new concept of internal and external self. Before this time, there was only one self, expressed through clothing. When going to a mask party, people wear special clothes, so they can not show their individuality through their clothes. Because, for everyday wear, most people wear similar clothes, people use accessories to show their individuality. Accessories and details on this outfit are more important than the shape of her dress.

Incorporated in this new "natural" style is the importance of the convenience and comfort of a person's dress. Not only is there a new emphasis on cleanliness, but clothing also becomes much lighter and more changeable and washable often. Even upper-class women start wearing cut dresses compared to dresses with long trains or circles that restrict them from leaving their homes. In a sense, women are influenced by men's fashion, such as vests and jackets that are tailored to emphasize female mobility. This new movement toward practicality of dressing shows that clothing becomes less of a way to simply categorize classes or genders; The outfit is meant to fulfill one's personal daily routine. It was also during this period that fashion magazines and journal industries began to take off. They are most often monthly (often competing) periodically which allows men and women to follow an ever-changing style.

Video 1795-1820 in Western fashion

Influence of Industrial Revolution in fashion

At the end of the 18th century, clothing was mostly sold by individual shop owners who often became artisans who made things. Customers typically staying in the same neighborhood as shops and shops will gain popularity with word of mouth recommendations from their customers, with the exception of warehouses (ie, every retail in wholesale), where items sold are not always made in stores. However, things began to change during the transition to the 19th century. People seek efficiency and variety; under the influence of the Industrial Revolution, increased transport and the introduction of machinery in manufacturing enabled fashion to evolve at a faster pace.

The first sewing machine appeared in 1790, and later, Josef Madersperger began developing his first sewing machine in 1807, presenting his first work machine in 1814. The introduction of sewing machines accelerated the production of garments. Meanwhile, the advanced spinning, weaving, and cottoning techniques developed in the 18th century have brought washable and detailed fabrics. This durable and affordable fabric is becoming popular among the majority of the population. These techniques are further developed by the introduction of the machine. Previously, accessories such as embroidery and lace were produced on a small scale and limited by skilled craftsmen and sold in their own stores; in 1804, a machine for embroidery was built by John Duncan, and people began to manufacture these essential accessories in factories and shipped products to stores across the country. Technical developments in the production of apparel allow for greater style variations; rapid changes in fashion are also possible.

The Industrial Revolution bridges Europe and America with regard to travel. When Louis Simond first arrived in America, he was struck by the mobility of the population and the frequency of people traveling to the capital, writing "You do not meet a place with people who never get out of their hometown, and whose habits are entirely local - none people over poverty who have never visited London in their lifetime, and most of those who can, visit once a year.'New channels and trains not only transport people but create national markets and even more widely by transporting goods which are produced in factories in great distances The emergence of industries throughout the Western world is increasing the production of garments and people are encouraged to travel more widely and buy more goods than ever before.

Communication has also increased in this era. New ideas about fashion delivered by small dolls wearing the latest styles, newspapers, and picture magazines; for example, La Belle AssemblÃƒ Â© Ãƒ Â© e, founded by John Bell, is a British women's magazine published from 1806 to 1837. Famous for the style styles of District-style styles, which show how women should dress and behave. When the mode becomes available to everyone, people are expected to dress according to the latest fashions. Tailors will show fashion plates to their customers, so customers can keep up with the latest styles.

Maps 1795-1820 in Western fashion

Fashion changes

1790:

Woman: "age undress"; dressed as life-alive statues; a classic Greek hair-style fillet; chemise simple muslin w. tape; mere; the royal silhouette; pastel cloth; natural makeup; bare hand; blonde wig; accessible with (to indicate individuality): hats, turbans, gloves, jewelry, small bags - reticules, scarves, handkerchiefs; parasol; fan; Maja: layered skirt
Men: trousers w. perfect sewing; linen; coat cut in front of w. long tail; cloak; hat; Dandy; Majo: short jacket

1800s:

Women: short hair; white hat; trim, fur, lace; The influence of Egypt and the East in jewelry and clothing; scarf; hooded-overcoats; hair: the mass of curls, sometimes drawn back into the bun
Men: linen shirt w. high collar; top hat; hair: short and without wigs, ÃƒÆ' la Titus or Bedford Crop, but often with some long locks remaining down

1810:

Women: soft, smooth, classic curtains; lifting waist high-waisted dress; single-breasted short jacket; morning dress; walking dress; evening dress; riding habits; chest and bare arms; hair: parted in the middle, tight neck circle above ear
Men: single-breasted coat; cravat wrapped to chin; sideburns and natural hair "Brutus style"; tights; silk stockings; accessible with: gold watch, stick, hat outside.

1820s:

Woman: the waistline line starts to fall; elaborate hem and neck trimmings; conical skirts; arms clamped
Men: big coat/coat w. fur or velvet collar; Garrick's coat; Wellington shoes; jockey shoes

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Female mode

Overview

In this period, fashionable women's clothing styles are based on the imperial silhouette - dresses fit perfectly into the body under the breasts, falling below. In a different context, this style is commonly called the "Directoire Style" (referring to the French directory government during the second half of the 1790s), the "royal style" (referring to the kingdom 1804-1814/1815 Napoleon, and often also to the 1800- 1804 "consulate"), or "District" (most accurately refers to the formal period 1811-1820 of the George IV formal district, but is often loosely used to refer to various periods between the 18th century and the Victorian period).

Clothing 1795-1820 is very different from the style prevalent during most of the 18th century and the rest of the 19th century, when women's clothing is generally tight against the body from the natural waist up, and very full skirt underneath (often increased by way of skirts hoops, crinolines, panniers, bustles, etc.). The high waist line of 1795-1820 style takes the attention of the natural waist, so there is no point for tight corset "wasp-waist" often considered fashionable during other periods. Without a corset, chemise gowns show a long line of body, also a woman's curves.

Dress

Inspired by neoclassical tastes, short-sided dresses wear soft, often loose skirts made of a white and almost transparent muslin cloth, which is easily washed and loosely wrapped like clothes on Greek and Roman statues. Because the fabric is stuck to the body, revealing what lies beneath it, it makes the nudity of ÃƒÆ' la grecque a public spectacle center. So during the period 1795-1820, often middle and upper class women may wear less or less practical clothing, and still be considered polite and fashionable.

Among middle and upper class women there is a basic difference between "morning dress" (worn at home in the afternoons and mornings) and evening wear - generally, both men and women change clothes in preparation for dinner and the possibility of entertainment to follow. There are also further gradations such as evening gowns, walking gowns, riding habits, traveling clothes, dinner dresses, etc.

In Mirror of Graces; or British Women's Costume, published in London in 1811, the author ("Lady of Distinction") suggests:

In the morning, the arms and chest should be completely covered to the throat and wrist. From lunchtime until the cessation of days, arms, to elegant heights above the elbows, may be empty; and the neck and shoulders that opened as far as possible.

The morning dress is worn inside the house. They are tall and long-sleeved, covering the throat and wrist, and are generally plain and unadorned.

Evening dresses are often pruned and decorated with lace, ribbons, and mosquito nets. They are cut low and wear short sleeves, showing off the chest. The covered arm is covered by long white gloves. Our Lady of Distinction, however, warns young women to show their breasts beyond the limits of decency, saying, "Payud and the shoulders of a very young and fair girl can be displayed without causing much discomfort or disgust."

A Lady of Distinction also advises young women to wear softer shades of colors, such as pink, blue periwinkle, or lilac. Mature matrons can wear fuller colors, such as purple, black, dark red, dark blue, or yellow.
Many women in these days say how fully clothed means his chest and shoulders are open, but with clothes that are too low will mean a person's neckline is pointing to a person's chin.
Silhouette
Because of the importance of showing social status, the fashion industry was strongly influenced by society during the district era. A person's position is determined by one's wealth, etiquette, family status, intelligence, and beauty. Women are financially and socially dependent on their husbands. The only socially acceptable activity in which women can participate is centered around meetings and social modes, the most important component of attending an evening party. These parties help build relationships and relationships with others. As the etiquette dictates different clothing standards for various events, evening dresses, evening dresses, full evening dresses, party dresses, and various popular dresses.
Women's fashion in the District era began to change drastically. It popularized the imperial silhouette, featuring a corset fitting and a high waist. This "new natural style" emphasizes the beauty of the body's natural line. Clothing becomes lighter and easier to maintain than in the past. Women often wear several layers of clothing, usually underwear, dresses, and outerwear. The camisole shirt, the standard underwear of the era, prevents thin and thin dresses from being completely transparent. Outerwear, such as spencer and pelisse, are very popular.
The imperial silhouette was created in the late 18th century until about the beginning of the 19th century, and refers to the period of the First French Empire. This adoption has been associated with French relations and was adopted from Greek and Roman principles. The style is often worn white to indicate as a high social status. Josephine Bonaparte was one of the figures for the imperial waistline, with the elaborate and decorated outfit of the Imperial line. District women followed the Empire's style along the same trend to increase waist circumference as the French style, even when their country was at war. Starting from the 1780s and early 1790s, the female silhouette became leaner and the waistline edged upward. After 1795, the waistline increased dramatically and the circumference of the skirt diminished. A few years later, Britain and France began to show a high waist-high focus and this led to the creation of the Empire style.
The style begins as part of Neoclassic mode, reviving the style of Greco-Roman art that shows women wearing loose rectangular tunics known as peplos tied under breasts, providing support for women and cool clothes, comfortable especially in warm climates. The imperial silhouette is defined by the waist line, which is positioned directly below the breast. The Imperial Silhouette is a key style in women's clothing during the District era. The dresses are usually light, long and loose fitting, usually white and often from ankles to just below the corset that emphasizes the thin end and is tied to the body. A long rectangular shawl or wrapper, very often ordinary red but with borders adorned in portraits, helps in cold weather, and seems to lie around the abdomen when seated - to which the semi-reclining posture is favored. The dress had a fitting corset and it gave a high waist appearance.
The style has changed and shrunk in fashion for hundreds of years. The shape of the dress also helps extend the appearance of the body. Clothing can also be wrapped to maximize breasts. Light fabrics are usually used to create flow effects. Also, ribbons, sling, and other decorative features are used to accentuate the waistline. Royal dress often with low neckline and short sleeves and women usually wear it as evening dress. On the other hand, the day dress has a higher neckline and long sleeves. The chemisette is a staple for fashionable ladies. Although there is a difference between a day's dress and evening gown, the waist height is unchanged.
Hairstyles and headgear

During this period, the classical influence extends to the hairstyle. Often the curls worn over the forehead and ear, with long back hairs pulled into loose bread or Psyche knots influenced by the Greek and Roman styles. In the later 1810s, the front hair was split in the middle and worn in a tight ringlet above the ear. Adventurous women like Lady Caroline Lamb wearing short cut hairstyle "ÃƒÆ' la Titus", journal Journal de Paris reported in 1802 that "more than half of elegant women wore their hair or wigs ÃƒÆ' la Titus ", layered pieces usually with some hanging hair.

Dalam Mirror of Graces, Lady of Distinction menulis,

Now, easy hair, a shining braid, a flowing ring bounded by an antique comb, or bodkin, gives a graceful specimen of a simple taste of modern beauty. Nothing fits better with the unwavering curtains of our newly adopted classic clothing than the un-decorated natural styles.

Conservative married women continue to wear mafia linen caps, which now have wider edges on the sides to cover the ears. A fashionable woman wore a similar hat for morning wear (at home undress).

For the first time in centuries, respectable but brave women will leave the house without hats or hats, which have often been associated with prostitutes. But most women keep wearing something on their heads outside the room, even though they start stopping doing it indoors during the day (also for evening wear). An antique head dress, or Queen Mary coif , a Chinese hat, an Oriental inspired turban, and a very popular Highland helmet. The hats, crowns and edges are decorated with increasingly intricate ornaments, such as feathers and ribbons. In fact, the ladies often wear their hats, replacing the old decor with new trim or feathers.

Undergarments

Fashionable women from the district era wearing a few layers of lingerie. The first is chemise, or shift, thin clothing with tight short sleeve (and low neck if worn under night wear), made of white cotton and finished with plain hem that shorter than dress. This shift is intended to protect outerwear from sweat and wash more often than outerwear. In fact, time-lapse women use rough soap when rubbing these clothes, then dipping them into boiling water, so there is no color, lace, or other decoration, which will fade or damage the fabric under such rough treatment. Chemises and shifts also prevent transparent muslin or silk dresses being too open.

The next layer is a fixed pair or a corset. However, the high-waisted classic fashion model does not require a corset for a few figures, and there are several experiments to produce clothing that will work just like a modern bra. (In Mirror of Graces, divorce is described as an underwear that serves to separate women's breasts, made of steel or iron covered by a bearing type, and is triangular in shape, the device is placed in the center of the chest. ) "Short fixed" (corsets only extend short distances under the breast) is often worn during shifts or camisoles (indirectly next to the skin), and "length of stay" (corsets extending toward the natural waist) worn by a small number of women attempting appear slimmer than they are (but even long still not primarily meant to constrict the waist, by way of a Victorian corset.)

The last layer is a skirt, which can have a bowed and sleeveless neckline, and is mounted on the back with hooks and fish eyes, buttons or tapes. These skirts are often worn between underwear and outerwear and are considered part of the outer garment instead of underwear. The bottom edge of the petticoat is meant to be seen, as women often lift their outer gowns to keep the material subtle enough from outer clothing from mud or damp (so it only shows a rougher and cheaper skirt fabric to take risks). Often exposed to views, skirts that are decorated on the edge with rows of tucks or lace, or ruffles.

"Drawers" (short-legged pants) have only begun to be worn by some women during this period. They are tied separately around the waist.

Stockings (socks), made of silk or cotton knits, held by a garter under the knee until the suspenders were introduced at the end of the 19th century and often white or pale

Outerwear and shoes

During this period, women's clothing was much thinner than it was in the 18th century so warmer outer clothing became important in fashion, especially in colder climates. Clothes such as coat such as pelis and redingote are very popular, such as scarves, coats, coats, robes and robes. The coat is a short robe that is finally extended and made into a shawl. Redingote, another popular example, is a long, full-length garment that resembles a man's horse suit (hence its name) in style, which can be fabricated from different fabrics and patterns. During that period, Indian shawls were the preferred wrap, as the homes and homes of typical British nations were generally draughty, and the popular silk and silk dresses during this time provided less protection. Scarves are made from soft cashmere or silk or even muslin for the summer. The Paisley pattern was very popular at the time.

Short jackets (high-waisted) called spencer are worn outdoors, along with long-hooded robes, Turkish wrappers, coats, robes, Roman robes, chemisettes, and coats called pelisses > (which is often sleeveless and reaches as far as the ankle). Outerwear is often made of double sarsnet, Merino smooth, or velvety, and trimmed with feathers, like swans, foxes, chinchillas, or civets. On May 6, 1801, Jane Austen wrote her sister Cassandra, "The black gauze cloth is worn as much as anything."

Thin and flat fabrics (silk or velvet) or leather sandals are generally worn (compared to high heels from most of the 18th century).

Pattens metal tied on shoes to protect them from rain or mud, lifting feet an inch or more from the ground.

Accessories

Gloves are always worn outdoors. When worn inside, like when making a social call, or on formal occasions, like a ball, they are removed while eating. About the length of the glove, A Lady of Distinction writes:

If the prevailing mode is to reject the long arm, and to partially display the arm, leave the gloves well above the elbow, and there are tied with a strap or bracelet. But this should only happen when the arms are muscular, rough, or thin. When it's fair, smooth, and round, it will admit the glove is pushed to slightly above the wrist.

Longer gloves are worn rather loosely during this period, squeezing under the elbow. As described in the section above, "garter" can tighten the gloves again.

Reticules hold personal belongings, such as vinaigrette. Fitting dresses or day fitting skirts do not have a pocket, so this little rope bag is very important. These bags are often called buskins or balantine. They are rectangular and worn by a woven ribbon from a belt that is placed around the figure above the waist.

Parasol (as shown in the illustration) protects women's skin from the sun, and is regarded as an important fashion accessory. Lightweight and lightweight, they come in many shapes, colors, and sizes.

Fashionable women (and men) use fans to cool themselves and improve body movement and language. Made of paper or silk on ivory and wooden rods, and printed with oriental motifs or popular scenes of the era, these ubiquitous accessories display various shapes and styles, such as pleated or stiff. The information sheet from Cheltenham Museum depicts fans and their use in body language and communication (click and scroll to page 4).

Directoire (1795-1799)

In the mid-1790s, neoclassical clothing had become fashionable in France. Several influences have been combined to bring this simplification into women's clothing: the practical aspects of foreign garments of English women leaking into French high fashion, and there is a revolutionary French reaction against rigid and bright satin bodies and brightly colored satin and other heavy fabrics style in Ancien RÃƒÆ'Ã‚ Â© gime (see 1750-1795 in fashion). But in the end, Neo-classicism was adopted because of its association with classical republican ideas [with reference to the Greeks, rather than the Roman republic, now considered politically dangerous]. The new appeal of the classical past is fueled by recent discoveries of Pompeii and Herculaneum, and it is most likely impossible beyond certain geographic and historical arrangements that allow the idea of â€‹â€‹the past to make the present the most important.

Along with the influence of excavations of Pompeii and Herculaneum, several other factors come together to popularize the neoclassical clothing. Beginning in the early 1790s, Emma Hamilton began her performance of attitudes, something that contemporaries consider to be completely new. This attitude is based on the ancient practice of pantomime, although the appearance of Emma has no mask and musical accompaniment. His appearance creates a blend of art and nature; art comes alive and its body becomes a kind of art. As an aid to his appearance of mythological and historical figures tragically, Emma wore the ÃƒÆ'Ã‚Â¡ la grecque clothing that would become popular in France in the coming years. A simple light-colored chemise is made of thin, flowing material used and collected with a narrow band under the breast. A simple cashmere scarf is used as a headdress or to give more fullness to the curtains of the shirt. They also help prevent dashed lines in performance so that the outstretched arm is always connected to the body, enhancing the effects of fluid movement, and often, a robe or cloak is worn to emphasize the body line in a particular pose. It highlights the continuity of line and shape surfaces in the player's body to emphasize unity, simplicity, and continuous flowing motion from one part of the body to the next. The hair is worn in a natural, loose, and flowing way. All these properties combine together to allow for vast game of light and shadow to reveal and highlight certain parts of the body during the show, while covering the others. Emma was very good at her attitude, and the influence of her dress spread from Naples to Paris as the wealthy Parisians took part in the Grand Tour.

There is also some evidence that the white muslin shift dress became popular after Thermidor through the influence of a prison dress. Revolutionary women like Madame Tallien describe themselves in this way because it is the only clothing they have during their time in prison. The chemise ÃƒÆ'Ã‚Â¡ la grecque also represents a struggle for self-representation and stripping of past cultural values. Also, the simplification of clothing worn by preteen girls in the 1780s (which is no longer required to use miniature versions of adults and panniers) may pave the way for simplifying clothing worn by adolescent girls and adult women in the 1790s.. The waist line became rather high in 1795, but the skirt was still rather full, and neoclassical influences were not yet dominant.

During the second half of the 1790s fashionable women in France began to adopt a thoroughly classical style, based on the idealized version of ancient Greek and Roman clothing (or what was thought at the time to be ancient Greek and Roman clothing), with narrow skirts attached. Some extreme versions of Paris's neoclassical style (such as narrow ropes with shoulders, and beautiful dresses with no enough clothes, skirts, or upholstery worn below) are not widely adopted elsewhere, but many features of the late 1790s neoclassical style widely influential, surviving in a form that was effectively modified in European fashion over the next two decades.

With this classic style came the desire to expose the breasts. With the new iconography of the Revolution as well as the changing emphasis on breastfeeding mothers, clothing clothing became a mark of a new egalitarian society. The style is simple and suitable for the comfort of pregnant or breastfeeding women when breasts are emphasized and their availability increases. Childbirth becomes fashionable and it's not unusual for women to walk with their breasts open. Some women take "fashionable pregnancies" a step further and put on a "six-month cushion" beneath their clothes to appear pregnant.

White is considered the most suitable color for neoclassical clothing (accessories are often contrasted in color). The short train left behind was common in the late 1790s dresses.

Gallery directoire

The Frankland brothers portrait by John Hoppner gives an idea of â€‹â€‹the style of 1795.
"Ruth begged Naomi and Orpah to return to the land of Moab" by William Blake. Blake is not a typical neo-classical, but this shows a somewhat similar idealization of ancient times (as well as predicting the future of high fashion in the late 1790s). The special drawing was compiled in 1795 and is currently held by the Fitzwilliam Museum.
Leipzig's fashion plates featuring women and girls wear a simple elegant slimmer style, which is not very neoclassical, however.
Portrait of Gabrielle Josephine du Pont.
1798 pictures, showing a woman who seems not too warm for a balloon ride in a low-cut low-directoire gown.
The white Directoire dress plate worn with red scarves contrasts with the Greek key border.
Sketches of the day 1798 of everyday clothes with a short "spencer" jacket (less neoclassical, though still following the royal silhouette).
Habit of horseback in 1799. The custom on the right shows a short jacket with a tail. The green custom on the left may be redingote than the jacket and skirt.

Caricatures

"TOO MANY and TOO LITTLE, or Summer Outfit 1556 & 1796", February 8, 1796, a caricature engraved by Isaac Cruikshank (George's father) after a picture by George M. In the direction of the forest. (In 1796, a force so neoclassically influenced is still very new in the UK.) Notice the single vertical feather that emerged from a woman's hair in 1796.
"Tippies of 1796", a very stylish parody depicting female hairs with headdresses and tight tights, among others.
"Parisian women in their full winter dress", an over-the-top caricature by Isaac Cruikshank who allegedly exaggerated the style worn in the late 1790s Paris.

Empire (1800-1815)

During the first two decades of the nineteenth century, fashion continued to follow the high-edged imperial silhouette, but in other respects neoclassical influences became increasingly diluted. The dress remains narrow in front, but fullness at the back waist allows room to run. Colors other than white are becoming stylish, the trends for faded outer fabrics are faded (except in certain formal contexts), and some ornate elements are clearly visible again used in dress design (as opposed to elegant or fine white simplicity - white embroidered embellishment of ca. 1800 dress ).

Royal Gallery

Dolley Madison wears short, pink, short sleeves with high waistlines. She also wears a thin chain chain, a golden shawl, and her hair is bun with a loose wave; simplicity, yet elegance, her clothes are typical of the era.
1804 The French painting by Marguerite GÃƒÆ' Ã‚ Â© rard features two different dresses, one more complicated than the other. Notice the low neckline in fashion.
Paris Fashion of 1804. Notice the more generous necklines.
Conservative clothing: Close mob c. 1805 is pleated in the front and has a narrow full rim that extends to cover the ears. America.
Mrs. Harrison Gray Otis wore a dress with a thin top layer over a partial layer and a patterned scarf. He wears a gold bracelet on his left arm. Her hair was wavy in her temples and above her ears. Massachusetts, 1809.
1809 evening dress worn with gloves along the elbow.
evening dress 1810, shown with gloves along the elbow.
1810 female sketches in a "Schute" hat and a striped blue dress with folds.
A woman's portrait by Henri Mulard, ca. 1810.
Marguerite-Charlotte David wore a simple white satin night dress and scarves everywhere. His head trimmed with ostrich feathers.

Caricature

"Fashions of the Day, or Time Past and Present", a caricature intended to show a provocative character and reveal 1807 modes compared to the 18th century (deliberately exaggerating the contrast).
"Three Graces in the High Wind" 1810, a caricature by Gillray. A sarcastic attachment dress worn with several layers of skirt underneath.

Regency (1815-1820) gallery

This era signifies the loss of neoclassical, pseudo-Greek style remaining in women's clothing. This decline is particularly apparent in France because of the suppression of Emperor Napoleon against the trade in fabrics used in neoclassical clothing. While waistlines are still high, they start to fall slightly. Larger and more abundant decorations, especially near the edges and necklines give the impression of greater luxury in the years to come. More petticoats are worn, and more conical, cone-shaped skirts become popular. Stiffness can be equipped with a layer of ruffles and tucks on the hem, as well as rocket welded or jerked. Arms begin to be pulled, tied, and pinched in a way that is more influenced by romantic and gothic rather than neoclassical styles. Hats and hairstyles become more complicated and trimmed, climbing higher to balance the widening skirt.

running costume 1815
Comtesse Vilain and his daughter wore their hair in the center of the front with a tight little circle in each ear; hair back brushed back into the bread. 1816.
1817 dancing illustrations, showing the beginning of the trend toward a cone-shaped silhouette.
1817's walking cost is highly pruned and tufted.
1818 evening dress
Mary Lodge is wearing a new fashion for rich colors. Her red evening gown with a decoration on her neck and sleeves was worn with an ivory scarf with a wide paisley patterned border, 1818.
1819 evening dress, with decoration near hems.
"Morning dress" (to stay indoors during the morning and early evening), 1819.

Caricature

"Monstrosity of 1818", an allusion by George Cruikshank about women's trends toward cone-shaped silhouettes, and high cravats and male dandyism.

Russian mode

Spanish Mode

Overview

This period sees the final neglect of lace, embroidery, and other decorations of serious men's clothing outside official attire in court - it will not reappear except as a pretense of the Aesthetic dress in the 1880s and its successor, the "Edwardian Young" from the 1960s. Conversely, cutting and sewing become more important as an indicator of quality. This transformation can be attributed to increased interest in ancient times derived from classical carvings invention, including Elgin Marbles. The figures depicted in classical art are seen as examples of ideal natural forms, and the embodiment of Neoclassical ideas. Therefore, in the 18th century, clothing was simplified and more emphasized on adjustments to enhance the body's natural shape.

This is also the period of the emergence of hair wax for men's hair styling, as well as goat meat as a facial hair style.

The breech becomes longer - the fitted leather shorts almost reach the top of the shoe - and replaced by pantaloons or trousers for fashionable street clothes. The French Revolution is largely responsible for changing standard men's suits. During the revolution, clothing symbolized the division between the upper class and the revolutionary working class. The French rebels earned the nickname sans-culottes, or "(people without pants," because of the loose pants they show off.

Coats are cut in front with a long skirt or tail in the back, and have a high stand collar. Collars are no larger than in previous years and often appear uniquely shaped M at that period.

The shirt is made of linen, has an inherent collar, and is worn with stock or wrapped with cravats that are tied in various modes. The pleated folds on the cuffs and the front opening are no longer fashionable at the end of the period.

High-lined vests, and fit at the bottom, but have a variety of styles. They often wear double-breasted, with wide collars and collars standing. Around 1805 the large collar overlapping with the jacket began to fall out, as did the tradition of the 18th century wearing a buttonless coat, and gradually the vest became less visible. Shortly before this time the waist waist was usually striped vertically but in 1810 the plain white vest became more fashionable, as did the horizontal striped vest. The fashionable high-fashioned vest until 1815, the collar was gradually lowered as the shawl collar became used towards the end of this period.

Cool coat or jacket is fashionable, often with a contrasting velvet or velvet collar. The garrick , sometimes called the coach's coat, is a very popular style, and has between three and five short caplets attached to the collar.

Shoes boots, usually Hessian shoes with heart-shaped tops and tassels are a mainstay in men's shoes. After the Duke of Wellington defeated Napoleon at Waterloo in 1815, Wellington's boots, as is known, became angry; knee-high peak in front and cut lower in the back. Boot jockeys, with lighter colored leather cuffs, have previously been popular but continue to be worn for riding. The high heel court shoes became popular with the introduction of trousers.

The appearance of dandy

The first obsessively cool outfit appeared in the 1790s, both in London and Paris. In time slang, a dandy is distinguished from the dandy because her dandenya dress is smoother and quieter. The dandy prides itself on "natural excellence" and sewing is allowed to overestimate the natural figure under fashionable outerwear.

Dalam High Society: A Social History of the Regency Period, 1788-1830 , Venetia Murray menulis:

Beau Brummell set the fashion for dandy in English society from the mid-1790s, characterized by immaculate personal hygiene, neat, high-collared linen shirts, perfectly tied cravats, and highly customized black suits (contrasted in many ways with " maccaroni "" from the early 18th century).

Brummell abandoned his wig and cut his hair short in a Roman style dubbed ÃƒÆ' la Brutus , echoing fashion for all the classic things seen in women's clothing in this period. He also leads the movement of trousers to matching pantaloons or trousers, often brightly colored for day and night for the night, based on the working-class clothes adopted by all classes in France after the Revolution. In fact, Brummel's reputation for taste and perfection is such that, fifty years after his death, Max Beerbohm, writes:

In a certain congruence of black cloth, in the perfection of its rigid linen, in the symmetry of his glove with his hands, lie in the secret of Mr. Brummell.

Not all men who aspire to achieve a sense of elegance and style of Brummel succeed, however, and these dandies are subject to caricatures and ridicule. Venetia Murray quotes quotations from the Diary of an Exquisite, from The Hermit in London, 1819:

It took four hours to dress; and then rain; ordered my tilbury and umbrella, and went to the toddler court; next to my tailor; release him after two years have passed; there's no bad guy that Weston... broke three belts and buckles, tore a quarter of shoes, made very thin by O'Shaughnessy, at St. James's Street, that they are as light as brown paper; Too bad they're coated with pink satin, and pretty easy; wearing a pair of Hoby; over-do it in the scent of my handkerchief, and have to restart de novo ; can not please myself in tying my cravat; lost three quarters of an hour with it, tore two pairs of children's gloves in a hurry; should go gently to work with the third; lose another quarter of an hour with this; drove angrily on my train but had to return for my beautiful tobacco box, because I knew that I had to flood the circle.

Hairstyles and headgear

During this period, young fashion men start wearing their hair with short curls, often with long sideburns. In 1795, the Pitt hair tax bill effectively ended the fashion for wigs and powders, and new styles such as Brutus and Bedford Crop became fashionable. Older people, military officers, and those with conservative professions such as lawyers, judges, doctors, and servants retained their wigs and powders. Formal court suits also still require hair powder.

Baik anak laki-laki dan perempuan mengenakan gaun sampai mereka berusia sekitar empat atau lima tahun, ketika anak laki-laki "dipeligakan", atau dimasukkan ke dalam celana panjang.

Kebangkitan mode Directoire/Empire/Regency

During the first half of the Victorian era, there were more or less negative views about the female style of the period 1795-1820. Some people will feel a little uncomfortable to be reminded that their mother or grandmother ever promenade in such a style (which can be considered obscene according to Victorian norms), and many will find it rather difficult to really empathize (or take seriously) the struggle of an art hero or a literature if they continue to be reminded that he is wearing such a garment. For that reason, some Victorian historical paintings about Napoleonic wars are deliberately avoided depicting an accurate female style (see examples below), Thackeray's illustrations to his book Vanity Fair depicting women in the 1810s dressed in the 1840s fashion , and in Charlotte BrontÃƒÆ'Ã‚'s 1849 Shirley novel (set in 1811-1812) an anachronistic neo-Grecian mode was transferred to the previous generation.

Later in the Victorian period, the District seems to retreat to historical distances far from threatening, and Kate Greenaway and the Artistic Gesture movement selectively revived the early 19th century fashion elements. During the late Victorian and Edwardian periods, many paintings of genre, sentimental sentimental, etc. Contains a loose depiction of style 1795-1820 (later considered an ancient relic from a bygone era). In the late 1960s/early 1970s, there was a limited fashion awakening of the imperial silhouette.

In recent years, the fashion of 1795-1820 is closely related to Jane Austen's writing, due to the various adaptations of his novel film. There are also some Regency fashion "urban myths," such as that women wet their dresses to make them look more silent (something that most women would not have practiced at the time).

The 1857 cartoons mocked contemporary dislikes for early 19th century clothing.
"Before Waterloo" by Henry Nelson O'Neil (1868), a mid-Victorian painting that deliberately did not show an accurate female style in 1815.
"Two Strings to her Bow" by John Pettie (1882), Victorian Victorian painting which then uses the Regency period for nostalgic value.
May Day by Kate Greenaway.

1795-1820 in Western fashion

Minggu, 03 Juni 2018