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1840s fashion is characterised by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Evening dresses were often off the shoulder. Hair was parted in the centre with ringlets at the side of the head, or styled with loops around the ears and pulled into a bun at the back of the head. Paisley or crochet shawls were fashionable accessories, as were linen caps with lace frills for indoor wear, and large bonnets for outdoors. Capes with large collars were fashionable.
Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert. They also wore tight trousers and waistcoats, with high upstanding collars and neckties tied around them. Hair was worn quite long, but swept to the sides. Moustaches and side-burns were popular.
The print is unusual in showing a dancer of the 1840s in a fashionable dress rather than a ballet costume. Her dress is typical of the decade, with low sloping shoulders, a long and narrow pointed waist, and a voluminous bell-shaped skirt.
Fashions in hats and headwear changed more quickly than other items of clothing. While a dress would be expected to last at least a decade, new styles of hats arrived annually. The latest fashion in bonnets usually featured the latest fabrics and trimmings, rather than a new shape. Most 19th-century women expected a new hat each year, even if it meant recovering an old one themselves. Personal accounts for this period show women buying new ribbons, laces, fabrics and trimmings to update their headwear.
By the end of the 1840s, the wide neckline had closed up to a high, round opening. The waist remained long and narrow, ending in a point below the waistline. This particular example is made of silk satin, striped in a complex arrangement of purple, crimson, magenta, grey and white. The sleeves are beginning to widen at the wrist into a slight bell shape. This dress was probably made in the mid-1840s and then altered about five years later to accommodate a change in style. The sleeves have had gores inserted at the wrist to bring them up to date with the new fashion.
Just visible over the collar of the frock coat is a bright waistcoat. In the 19th century waistcoats tended to be one of the more elaborate and colourful pieces of the male wardrobe, which is partly why they survive in relatively large numbers. They might also have been kept for their decorative quality or for sentimental reasons when they went out of fashion.
Floral designs such as this were fashionable in the 1840s and 1850s. In this example a delicate pattern of vine leaves and speedwell is jacquard-woven in blue and cream giving a variety of textural effects.
This is a music sheet cover with a portrait of the young Queen Victoria, showing her in fashionable dress. Royalty led taste and fashion, and women followed the style set by the Queen. Her dress is off the shoulder, and her bodice is long and pointed at the front. The skirt is made with tiers and frills of lace. Her hair is parted in the centre and looped down over the ears.
'Dress Wellingtons' were named after Arthur Wellesley, 1st Duke of Wellington (1769-1852). Wellingtons first appeared at the time of the Napoleonic Wars, when the army became more socially visible and military costume influenced fashionable dress. Another boot with military links was the Blucher, a laced boot named after the Prussian General Gebhart von Blucher, who played a decisive role alongside Wellington in the Battle of Waterloo in 1815.
In the 1850s, women's skirts were domed and bell-shaped, supported by crinoline petticoats.They often featured deep flounces or tiers.Long bloomers and pantaloons trimmed with lace were popular.Tiered cape-jackets were fashionable, as were paisley patterned shawls.Deep bonnets were worn and hair was swept into buns or side coils from a centre parting.
Men wore matching coats, waistcoats and trousers, with hairstyles characterised by large mutton-chop side-burns and moustaches, after the style set by Prince Albert.Shirts had high upstanding collars and were tied at the neck with large bow-ties.High fastening and tight fitting frock coats were also very fashionable; though a new style called the sack coat (a thigh-length, loosely fitted jacket) became popular.The bowler hat was invented around 1850, but was generally seen as a working class hat, while top-hats were favoured by the upper classes.
The vertical emphasis of the pattern suits the fashionable shaping of the bodice which is pleated over the bust into a V-shaped point at the waist, while its lighter horizontal stripe complements the fullness of the skirt. Many dresses of this date were decorated with trimmings of self-fabric, focusing the eye on the fabric pattern or richness of the material as well as the fashionable silhouette. On this dress, bias cut strips of fabric decorate the bell-shaped ends of the sleeves, and the neckline, shoulder seams, sleeve head and hem of the bodice are carefully finished with self-piping.
This eye-catching day dress formed part of the trousseau belonging to Miss Janet Gilbert. It is beautifully constructed in the latest style as would befit a young fashionable woman, although its pristine condition suggests it might not have been worn. Made of moiré silk, it has a lustrous rippled sheen accentuated by the rich Prussian blue dye, applied chenille flowers and sparkling metal buttons. Box pleated trimmings stand out in relief along the bottom edge and seams of the wide pagoda sleeves, emphasising their width. Had Miss Gilbert worn this dress, white 'engageantes', or undersleeves tacked to the armholes would have covered her lower arms and a lace collar might have decorated the neckline.
He wears a newly fashionable sack coat, a slightly looser fitting coat than the more tailored frock coat. The sack coat would become increasingly popular over the following decades, worn most often for leisure activities or informal occasions.
Shoes with high heels were almost non-existent in women's fashions during the first part of the 19th century. Instead simple flat satin slippers or 'sandals' with a bow or rosette at the throat and ribbons or elastic loops to fasten them round the ankle were all the rage. However, by the 1850's the heel had begun to make a comeback.
This is a portrait of Maharaja Duleep Singh, photographed by the London firm of Horne & Thornthwaite around 1850. He is dressed and bearded according to the fashionable formal English style. He wears a dark double-breasted frock coat over a high buttoned light waistcoat. His collars are starched and upstanding, with a necktie tied in the distinctive 'four-in-hand' style where the corners of a folded kerchief create pointed wings. This necktie style was newly fashionable in the 1850s.
His clothing is typical of 'Artistic' dress, fashionable with artists and intellectuals of the time. Artistic dress is characterised by loosely fitting clothes, made of plain, muted fabrics coloured with natural dyes, which they wore in deliberate contrast to the tight and starched rigidity of Victorian formal dress.
In the 1860s it was fashionable for men's coats and jackets to be single-breasted and semi-fitted, extending to the mid thigh. Waistcoats were often collarless and single-breasted, and trousers were occasionally cut from a narrow check cloth. High, starched collars were worn with cravats and neck-ties. Hair was parted from the centre and moderately waved. A particular hairstyle, known as 'Dundreary whiskers' or 'Piccadilly weepers', were long pendant side-whiskers worn with a full beard and drooping moustache.
This type of illustration is known as a 'fashion plate', and featured in magazines to advertise and promote the latest styles. This plate shows day dresses. The dresses have fashionable wide skirts, reflecting the contemporary popularity of crinolines. Introduced in 1856, and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to proportions beyond those possible using only layers of petticoats. The dress on the right is mauve, a new colour at the time.
This fashion plate shows examples of ball dresses. France dominated the world of fashion during this period and French fashion plates were an important source of information on the latest styles and colours. The dresses have fashionable wide skirts, reflecting the contemporary popularity of crinolines. Introduced in 1856, and generally made of hoops of spring steel suspended on strips of material, these allowed skirts to expand to enormous proportions not possible with layers of petticoats. Towards the end of the 1860s skirts would start reducing again, and fabric would be draped up into a bustle.
In 1860 the publisher of this magazine, Samuel Beeton (husband of the celebrated cookery writer Mrs Beeton), first began including hand-coloured fashion plates by Jules David. Beeton also included paper patterns, a new phenomenon that, combined with the fashion plates, ensured the magazine a particular appeal among the increasing numbers of owners of the domestic sewing machine. The sewing machine itself had only become widely available since the late 1850s. This magazine's wide distribution ensured an awareness of French fashions among a wider section of society. 781b155fdc