subject: 1820s In Fashion [print this page] Women's fashions Women's fashions
Overview
Gown of 1823 features short puffed sleeves and is worn with a patterned shawl
"Newest Fashions for May 1829: Morning and Evening Dresses"
During the first half of the 1820s, there were slight gradual modifications of Regency styles, with the position of the waistline trending successively lower than the high waistline of the Regency (just below the breasts), and also further development of the trends of the late 1810s towards giving skirts a somewhat conical silhouette (as opposed to earlier more clinging and free-flowing styles), and in having various types of decoration (sometimes large and ornate) applied horizontally around the dress near the hem. Sleeves also began increasing in size , foreshadowing the styles of the 1830s. However, there was still no radical break with the Empire/Regency aesthetic.
During the second half of the 1820s, this neoclassical aesthetic was decisively repudiated, preparing the way for the main fashion features of the next ten to fifteen years (large sleeves, somewhat strict corseting of the natural waist, full skirts, elaborate large-circumference hats, and visual emphasis on wide sloping shoulders). Around 1826, fabrics with large bold checkerboard or plaid patterns were seen on various fashion plates (another contrast with the previous fashion period, which had favored small delicate pastel prints). A bustle was sometimes also worn. Belts accentuated the new defined waist.
Day gowns were often worn with a round ruffled linen collar similar to a soft Elizabethan ruff.
The late 1820s fashion plate (right) gives examples of late 1820s fashions; the rightmost outfit, with its smaller, shorter sleeves, non-whitish color scheme, and slightly lower neckline, is the evening dress.
Hairstyles and headgear
Ruffled collar and sheer linen cap, 1823
Early in the decade, hair was parted in the center front and styled into tight curls over the temples. As the decade progressed, these curls became more elaborate and expansive. The bun on the back became a looped knot worn high on top of the head. Wide-brimmed hats and hat-like bonnets with masses of feathers and ribbon trims were worn by mid-decade.
Conservative married or older women wore indoor caps of fine linen descended from the earlier mob cap; these had a pleated or gathered caul on the back to cover the hair, and a narrow brim at the front that widened to cover the ears and often tied under the chin. These caps were worn under bonnets for street-wear.
Outerwear
Shawls remained popular. Cloaks and full-length coats were worn in cold or wet weather
Shoes
The fashionable shoe was a flat slipper.
Style gallery 182025
1 1821
2 1822
3 1823
4 1823
5 1824
6 1824
7 1825
Mademoiselle Gonin wears a dark dress with small puffed sleeves, with a ruffled collar and a blue plaid ribbon at the neck. Her hair is styled into small curls at her temples.
Collette Versavel's blue dress of 1822 is slightly cone-shaped, and is trimmed with frills around the hem. She carries a deep red shawl with a paisley patterned border.
Antonietta Vitali Sola wears an arrangement of tight, vertical curls at her temples. Her sheer chemise or chemisette has a double ruffled collar, 1823.
Ball gown of 1823 has a sheer overskirt.
Fashion plate of a "carriage" or travelling dress of 1824 has fur trim and a matching muff. Note lower waist, fuller sleeves, and wider skirt.
Marchesa Marianna Florenzi wears a fur-trimmed gown with a belt over a white ruffled undergown and carries a feather-trimmed bonnet, 1824
The Duchess de Berry's fashion-forward gown of 1825 shows the wide waistband that was gradually lowering waistlines. Her fitted bodice and prominent headdress would be important styles for the next several years.
Style gallery 182629
1 1826
2 1826
3 182530
4 1827
5 c. 1827
6 1828
7 1829
Madame Marie Marcotte wears a brown gown with a wide buckled belt, full sleeves, and a sheer collar with shell buttons. Her hair is worn in elaborate curls on the sides and on top. 1826.
Viennese fashion plate of 1826. Stripes run in different directions on the skirt, hem and sleeves, and the hat is lined with plaid fabric and trimmed with a matching ribbon.
Comtesse de MacMahon wears a satin gown with a conical skirt trimmed with horizontal frills at the hem. Matching frills accent the new wide-puffed sleeves. She wears a large hat decorated with ostrich plumes, latter half of the 1820s.
Auguste Strobl wears a sheer overdress with full sleeves in the new fashion over a white gown with short puffed undersleeves. A wide ribbon sash is fastened with a gold buckle. German, 1827.
Sarah Stanton Blake wears a frilled indoor cap trimmed with sheer ribbon and a high-necked chemise or chemisette under her black gown and scarlet shawl. Massachusetts, c. 1827.
Evening gown of 1828 shows the beginnings of the dropped shoulder and wide sleeve puff that would flower in the 1830s. Hair is worn in elaborate side curls, and the knotted bun is higher on the crown of the head. German.
Regina Daxenberger wears sheer blue oversleeves with short puffed undersleeves. Her fitted bodice has pairs of waist darts, 1829.
Men's fashions
Men's fashion plate, 1826
This man wears a dark coat with a high shawl collar. His sleeves have puffs at the shoulder and taper to the wrist. He wears light brown trousers, 1828.
Overview
By the mid-1820s, men's fashion plates show a shapely ideal silhouette with broad shoulders emphasized with puffs at the sleevehead, a narrow waist, and very curvy hips.
A corset was required to achieve the tiny waistline shown in fashion plates. Already de rigueur in the wardrobes of military officers, men of all middle and upper classes began wearing them, out of the necessity to fit in with the fashionable gentry. Usually referred to as "girdles", "belts" or "vests" (as "corsets" and "stays" were considered feminine terms) they were used to cinch the waist to sometimes tiny proportions, although sometimes they were simply whalebone-stiffened waistcoats with lacing in the back. Many contemporary cartoonists of the time poked fun at the repressed nature of the tightlaced gentlemen, although the style grew in popularity nonetheless. This was the case especially amidst middle-class men, who often used their wardrobe to promote themselves, at least in mind, to a higher class - hence the dandy was born.
Shirts and cravats
Shirts of linen or cotton featured tall standing collars and were worn with wide cravats tied in a soft bow.
Coats and waistcoats
Coats and waistcoats had high shawl-like collars to frame the face and were cut straight across the waist. Waistcoats were buttoned high on the chest. Cutaway coats were worn as in the previous period for formal daywear, but the skirts might almost meet at the front waist.
Frock coats had the same nipped-in waist and full skirts. Very fashionable sleeves were gathered or pleated into a slightly puffed "leg of mutton" shape. Coats could be made of wool or velvet, and jewel colors like bottle green and midnight blue were high style. Double-breasted coats were very much in fashion throughout the decade.
Trousers and breeches
Full-length light-colored trousers were worn for day; these were cut full through the hips and thighs, tapering to the ankles. They were held smoothly in place by straps fastened under the square-toed shoes. Dark trousers were worn for evening wear, and breeches were worn for formal functions at the British court (as they would be throughout the century). Breeches were also worn for horseback riding and other country pursuits, especially in Britain, with tall fitted boots.
Hats and hairstyles
The crowns of tall hats also became curvy in keeping with the new style, and began to flare from the headband to the top. Curled hair and sideburns were fashionable.
Style gallery
1 182022
2 1823
3 1823
4 1825
5 1826
6 1827
7 1828
8 1828
President James Monroe wears a high shirt collar and white cravat tied in a wide bow. His jacket collar and lapels form a continuous curve very like a shawl collar. 182022.
Country clothes in the city: In this caricature by Richard Dighton, a stout man wears country clothes (breeches and riding boots) at the Royal Exchange in London. Hats of 1823 are not yet curvy, and the straight-bottomed waistcoat shows slightly below the coat in front.
French fashion plate shows an evening cape or manteau with a fur collar and shoulder cape, worn over dark formal breeches and double-breasted coat, 1823.
Conte Ninni wears a black coat with a tall collar and a slight puff at the sleeve head over a tall-collared white shirt and white cravat, 1825.
Francisco de Goya wears a gray coat over a satin single-breasted waistcoat and a tall-collared shirt that reaches to his ears, with a white cravat. Spanish, 1826.
Baron Schwiter wears a dark cutaway coat, waistcoat, and narrow fitted pantaloons or trousers. His flat shoes have square toes and bows on the instep, and are worn with white stockings, 1827.
Goethe wears a coat with a slight puff at the sleeve head, a satin lining turned back to form lapels, and a high contrasting collar over a patterned waistcoat. His white cravat is fastened with a gold pin. German, 1828.
In his self-portrait, Ferdinand Georg Waldmller wears a striped cravat and striped waistcoat, both in dull gold and blue, 1828.
Children's fashion
English children dancing, early 1820s
Princess Victoria of the United Kingdom, 1823
Portrait of Alwine and Robert Uellenberg by Heinrich Christoph Kolbe, Germany, 1825
United Kingdom, 1826
References
Wikimedia Commons has media related to: 1820s fashion
Ashelford, Jane: The Art of Dress: Clothing and Society 15001914, Abrams, 1996. ISBN 0-8109-6317-5
Picken, Mary Brooks: The Fashion Dictionary, Funk and Wagnalls, 1957. (1973 edition ISBN 0-308-10052-2)
Tozer, Jane and Sarah Levitt, Fabric of Society: A Century of People and their Clothes 17701870, Laura Ashley Press, ISBN 0-9508913-0-4
Walker, Richard: The Savile Row Story, Prion, 1988, ISBN 1-85375-000-X
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