Exquisite, lace-adorned dresses and fashionable undersleeves in the Victorian Era.
During the reign of Queen Victoria, fashion evolved by the decade, with Her Majesty often setting the trend. The sewing machine made possible the addition of lavish trim, lace and other ornamentation on ladies' dresses. Accessories such as fans, gloves, hats, bonnets and parasols complemented the exquisite dresses of the English upper class. The Aesthetic movement, started by writers, artisans and performers in 1870, was begun in opposition to mass-produced products.
Day Dresses
Day dresses often featured a boned bodice with a V-shape. Day dresses of the 1830s and 1840s included bell-shaped or dome-shaped skirts supported with stiffened fabrics and starched muslin petticoats. The crinoline cage frame with its shaped beehive foundation gave skirts their rounded look without the weight of extra petticoats. Sleeves shaped like bells sometimes included decorative sleeve hemlines. False, detachable undersleeves, known as engageantes, fashioned from linen, fine lace or other dainty materials complemented their wide dress sleeves. Fabrics featured plain colors or small patterns. Cashmere or pashmina shawls or black lace mantillas draped across the lady's shoulders. Prior to 1890, trimmed bonnets with silk ribbons, birds and feathers added to the look of gentility.
Bustle Dresses
In 1883, the hard bustle style featured a silhouette with a flat front and a shelf-like form extended from the back of the waist. The bustle, made from a cushion and steel half-hoops, let the fabric flow to the sides. Fabrics included velveteen and sateen, as well as less expensive fabrics available during the economic depression from 1880-1890. The slim, tailored princess bodice was separate from the top skirt that featured draped fabrics for an apron.
Aesthetic Dress
In the late 19th century, a group known as the Aesthetes focused on aesthetic values and criticized machine-produced goods of the Industrial Revolution. In contrast to bustle dresses, the aesthetic dress featured a less structured style without restrictive foundation garments. Materials included velvet, wood or liberty silk in earthy colors produced by vegetable dyes. Embellishments included smocking or embroidery with a nature theme such as sunflowers. Large sleeves and loose dresses resembled medieval or Renaissance dress. The Aesthetes, some of whom campaigned for animal rights, decried the use of dead birds and feathers as hat ornaments.
Male aesthetic dress, such as worn by playwright Oscar Wilde, included a velvet jacket and knee breeches. The influence of classical robes and Turkish-style trousers inspired aesthetic dress attire created with flowing fabrics for both genders.
Mourning Dress
A widow's mourning clothes reflected the different stages of mourning during 2 1/2 years. Dull fabrics featured black as the chief mourning color. Mourning clothes, often cut from crape cloth -- a silk gauze -- eventually gave way to black velvets and silk. In the final six months of mourning, the widow introduced clothes of white, gray, purple and subdued shades. Widows wore hats or bonnets that became more decorative as mourning progressed.
In contrast, men's mourning clothes included a regular dark suit complemented by black cravats, gloves and hatbands.
Men's Fashions
Beginning in approximately 1850, men wore shirts with plain fronts and detachable, highly starched collars. Cuff links attached cuffs worn on formal occasions. Gentlemen during the mid-19th century often wore white shirts while working-class men sometimes wore colored shirts. Neckties or cravats ranged in form from narrow cuts, like the scarf-like octagon or ascot, to small, white cambric bow ties. Men's coats evolved from tight waists and broad hips to a straighter, streamlined cut that emphasized a longer waist. Formal wear included the frock coat while informal wear adapted the jacket.
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