Queen Victoria ruled England from 1837-1901.
Before this time, men were the focus of fashion, but with a queen in power, women surged to the forefront. The role of a wife became to show of her husbands status and wealth to the public, with the husband himself receding into the background.
Many different clothing styles came and went during her reign.
In the 1840's, Full skirts were supported by a vast array of petticoats. These petticoats were made of horsehair, or stiffened with cane and padding.
The natural waist could be slightly longer than natural, with points in front and behind. Most trimmings were applied in a manner that was wide at the shoulder, narrowing at the waist and then widening again at the hem of the skirt. This would accentuate the tightly laced waistline. The bodice shoulder line ended well below the natural shoulder, often pinning the arm of the wearer down. The sleeves were narrow for day dresses.Evening bodices were low off the shoulder, often covered with folds of fabric or a bertha.The overall look of the dresses did not change much during this period. The sleeves started to become wider in the 1850's. The skirts expanded in size as more and more petticoats were worn. Added flounces on the skirt would help create a wider look
Before this time, men were the focus of fashion, but with a queen in power, women surged to the forefront. The role of a wife became to show of her husbands status and wealth to the public, with the husband himself receding into the background.
Many different clothing styles came and went during her reign.
In the 1840's, Full skirts were supported by a vast array of petticoats. These petticoats were made of horsehair, or stiffened with cane and padding.
The natural waist could be slightly longer than natural, with points in front and behind. Most trimmings were applied in a manner that was wide at the shoulder, narrowing at the waist and then widening again at the hem of the skirt. This would accentuate the tightly laced waistline. The bodice shoulder line ended well below the natural shoulder, often pinning the arm of the wearer down. The sleeves were narrow for day dresses.Evening bodices were low off the shoulder, often covered with folds of fabric or a bertha.The overall look of the dresses did not change much during this period. The sleeves started to become wider in the 1850's. The skirts expanded in size as more and more petticoats were worn. Added flounces on the skirt would help create a wider look
1869-1876
When the hoop skirt lost popularity it was replaced by a framework known as the bustle. The overall shape was full in front and even more fabric to the back. Most dresses were trained, but "walking dresses" were just floor length.
The look was basically one of horizontal lines to the trims and necklines. Overskirts (tunics) became a must, and if one was not worn, one could be simulated with trimmings. Trimmings galore were added to all but the plainest dresses.
In 1870-1871, most bodices ended at the natural waist. The overskirt (tunic) would then be fitted over the bodice, showing a belt and often a large bow behind. A detatched basque (a very short overkirt) became very fashionable. This basque soon became attached to the bodice, and the bodices began to extend past the waist and over the hips.
Evening bodices were off-the-shoulder with trimming framing the neckline. Evening sleeves were small and decorated with ruffles, puffings and bows.
By 1873, bodices bacame longer and longer, and the polonaise was born. A polonaise is like a bodice and overskirt in one garment, in many shapes or styles. Skirts began to narrow in the front. The underskrits were often separated into sections, with the front, sides and backs trimmed seaparatley to remarkale effect.
More trimmings are added than ever before and often completly cover the entire foundation skirt.
Sleeves became narrower to the wrist, though still not tight. The two-piece coat sleeve was found on every garment. Full length sleeves were weighted with heavy complicated cuffs that could extend as high as the elbow. Often, the sleeves are cut of a contrasting fabric from the main bodice.
In 1875, the bustle began to dwindle in size, but the excess fabric remained. A more veritical line started to apear in trimmings.
For day wear, the neckline could be high (with or with out a collar), square or heart shaped ( in a "V"). Often an open neckline would be filled with a chimisette and full sleeves filled with a linen undersleeve/cuff.
Many petticoats were worn to help keep the dress from trailing throught he dirt. Often dust ruffles were added to the inside of the train to help as well.
Light weight fabrics were popular, especialy for evening wear.
The shoulder line of the bodice still extended slightly past the natural shoulder.
Another interesting style trend in 1875 is the skirt pocket. These pockets were often too low and too far back to be of any practical use, but were very much a stylish decoration. Short lived, the pocket trend only lasted about a year, after being ridiculed as a "boon to pick pockets".
1883-1889
In 1883, the bustle came back with a vengance. The skirts remained slim in front and sides, but the back ballooned out over a bustle framework.
The line was still vertical, but the bodice shortened back up to above the hip atthe sides. Beadwork and braid forming motifs begin to cover the flat portions of garments Evening dresses are all high on the shoulder, and often without any sleeve.
The back draperies are usually lifted high into poufs. All skirts are floor length except very formal wear.
Soon, poufs, swags and drapes became an art form in itself. As the drapery became more complicated, the amount of trimmings declined, as there were fewer flat places to put them.
symetrical lines are still very popular. The daytime neckline becomes very high, with a collar. Even at dinner, the neckline is more conservative. A more tailored look apears with shawl collars and reveres added to the bodices to simulate vests and jackets.
When the hoop skirt lost popularity it was replaced by a framework known as the bustle. The overall shape was full in front and even more fabric to the back. Most dresses were trained, but "walking dresses" were just floor length.
The look was basically one of horizontal lines to the trims and necklines. Overskirts (tunics) became a must, and if one was not worn, one could be simulated with trimmings. Trimmings galore were added to all but the plainest dresses.
In 1870-1871, most bodices ended at the natural waist. The overskirt (tunic) would then be fitted over the bodice, showing a belt and often a large bow behind. A detatched basque (a very short overkirt) became very fashionable. This basque soon became attached to the bodice, and the bodices began to extend past the waist and over the hips.
Evening bodices were off-the-shoulder with trimming framing the neckline. Evening sleeves were small and decorated with ruffles, puffings and bows.
By 1873, bodices bacame longer and longer, and the polonaise was born. A polonaise is like a bodice and overskirt in one garment, in many shapes or styles. Skirts began to narrow in the front. The underskrits were often separated into sections, with the front, sides and backs trimmed seaparatley to remarkale effect.
More trimmings are added than ever before and often completly cover the entire foundation skirt.
Sleeves became narrower to the wrist, though still not tight. The two-piece coat sleeve was found on every garment. Full length sleeves were weighted with heavy complicated cuffs that could extend as high as the elbow. Often, the sleeves are cut of a contrasting fabric from the main bodice.
In 1875, the bustle began to dwindle in size, but the excess fabric remained. A more veritical line started to apear in trimmings.
For day wear, the neckline could be high (with or with out a collar), square or heart shaped ( in a "V"). Often an open neckline would be filled with a chimisette and full sleeves filled with a linen undersleeve/cuff.
Many petticoats were worn to help keep the dress from trailing throught he dirt. Often dust ruffles were added to the inside of the train to help as well.
Light weight fabrics were popular, especialy for evening wear.
The shoulder line of the bodice still extended slightly past the natural shoulder.
Another interesting style trend in 1875 is the skirt pocket. These pockets were often too low and too far back to be of any practical use, but were very much a stylish decoration. Short lived, the pocket trend only lasted about a year, after being ridiculed as a "boon to pick pockets".
1883-1889
In 1883, the bustle came back with a vengance. The skirts remained slim in front and sides, but the back ballooned out over a bustle framework.
The line was still vertical, but the bodice shortened back up to above the hip atthe sides. Beadwork and braid forming motifs begin to cover the flat portions of garments Evening dresses are all high on the shoulder, and often without any sleeve.
The back draperies are usually lifted high into poufs. All skirts are floor length except very formal wear.
Soon, poufs, swags and drapes became an art form in itself. As the drapery became more complicated, the amount of trimmings declined, as there were fewer flat places to put them.
symetrical lines are still very popular. The daytime neckline becomes very high, with a collar. Even at dinner, the neckline is more conservative. A more tailored look apears with shawl collars and reveres added to the bodices to simulate vests and jackets.
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