1800s Male Fashion Photo Reference With Frills

Costume and fashion of the 1820s

Shopping in Paris, 1822: The woman wears a demure bonnet, a shawl, and gloves over her apparel. The man wears a top hat, long coat, tall collar, and striped trousers with straps under his shoes. 1822.

During the 1820s in European and European-influenced countries, fashionable women's article of clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 (with their relatively unconfining empire silhouette) and re-adopted elements that had been feature of most of the 18th century (and were to exist characteristic of the remainder of the 19th century), such as full skirts and clearly visible corseting of the natural waist.

The silhouette of men'southward fashion inverse in like ways: by the mid-1820s coats featured broad shoulders with puffed sleeves, a narrow waist, and total skirts. Trousers were worn for smart day wear, while breeches connected in utilise at court and in the country.

Women'southward fashions [edit]

Overview [edit]

Evening dress of 1823 features brusque puffed sleeves and is worn with a patterned shawl

Ruffled neckband and sheer linen cap, 1823

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 loftier waistline of the Regency (just below the breasts), and also further development of the trends of the tardily 1810s towards giving skirts a somewhat conical silhouette (as opposed to before more clinging and free-flowing styles), and in having various types of decoration (sometimes large and ornate) applied horizontally around the apparel near the hem. Sleeves also began increasing in size, foreshadowing the styles of the 1830s. Even so, in that location was still no radical break with the Empire/Regency aesthetic. Skirts became even wider at the bottom during the 1820s, with more decoration and definition toward the bottom of the skirt such equally tucks, pleats, ruffles, or loops of silk or fur.^[1]

During the second half of the 1820s, this neoclassical aesthetic was decisively repudiated, preparing the style for the main way features of the next ten to 15 years (large sleeves, somewhat strict corseting of the natural waist, total skirts, elaborate large-circumference hats, and visual emphasis on broad sloping shoulders). Rich colors such as chrome yellow and Turkey red became popular, and fabrics with large bold checkerboard or plaid patterns became fashionable,^{[two] [iii]} (another contrast with the previous manner menses, which had favored pocket-sized delicate pastel prints). A bustle was sometimes also worn. Belts accentuated the new defined waist.

Dresses were often worn with a round ruffled linen collar like to a soft Elizabethan ruff.

Hairstyles and headgear [edit]

Early in the decade, hair was parted in the middle front and styled into tight curls over the temples. Every bit the decade progressed, these curls became more than elaborate and expansive. The bun on the back became a looped knot worn high on peak 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 encompass the pilus, and a narrow skirt at the front end that widened to cover the ears and often tied under the chin. These caps were worn under bonnets for street-vesture.

Women also began to wear caps known equally a cornette around 1816. These caps were tied under the chin and worn indoors. They also tended to be greatly adorned with plumes, ribbons, flowers, and jewels. Some other alternative to the cornette was the turban, too often bejeweled and adorned, which shows the slap-up involvement in exotic cultures.^[4]

Outerwear [edit]

Shawls remained popular. Cloaks and total-length coats were worn in cold or wet weather.

Shoes [edit]

Black silk slippers ca 1825

The fashionable shoe was a flat slipper. In the late 1820s, the start high shoe appeared and became vogue for both men and women. The shoe typically consisted of a three-inch high fabric meridian that laced on the inner side and a leather vamp that supported a long, narrow, and squared toe.^[5]

Dresses of 1820 [edit]

Dinner apparel 1820 England

Style Plates [edit]

Style gallery 1820–1825 [edit]

• 

  1 – 1821

• 

  2 – 1822

• 

  3 – 1823

• 

  4 – 1823

• 

  5 – 1824

• 

  6 – 1824

• 

  7 - 1824

• 

  eight – 1825

• 

  ix – ca 1825

1. Mademoiselle Gonin wears a dark dress with small-scale puffed sleeves, with a ruffled collar and a blue plaid ribbon at the cervix. Her hair is styled into pocket-size curls at her temples.
2. 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.
3. Antonietta Vitali Sola wears an arrangement of tight, vertical curls at her temples. Her sheer chemise or chemisette has a double ruffled collar, 1823.
4. Evening gown of 1823 has a sheer overskirt.
5. Fashion plate of a "carriage" or travelling dress of 1824 has fur trim and a matching muff. Notation lower waist, fuller sleeves, and wider brim.
6. Marchesa Marianna Florenzi wears a fur-trimmed dress with a belt over a white ruffled undergown and carries a plumage-trimmed bonnet, 1824
7. This young lady wears a cherry-red gown with a satin waistband, accessorized with a paisley shawl, 1824.
8. The Duchess de Berry's fashion-frontwards gown of 1825 shows the wide waistband that was gradually lowering waistlines. Her fitted bodice and prominent headdress would exist important styles for the next several years.
9. The Duchess de Drupe's fashion-frontwards 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.
10. Day dress made of cotton, belonging to Josephine of Leuchtenberg

Mode gallery 1826–1829 [edit]

• 

  ane – 1826

• 

  2 – 1826

• 

  3 – 1825–1830

• 

  iv – 1827

• 

  v – c. 1827

• 

  vi - c. 1827

• 

  vii - 1827

• 

  8 – 1828

• 

  9 – 1829

• 

  10 - 1829

1. Madame Marie Marcotte wears a brownish 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 superlative. 1826.
2. Viennese style plate of 1826. Stripes run in different directions on the skirt, hem and sleeves, and the lid is lined with plaid fabric and trimmed with a matching ribbon.
3. Comtesse de MacMahon wears a satin clothes with a conical skirt trimmed with horizontal frills at the hem. Matching frills accent the new wide-puffed sleeves. She wears a big hat decorated with ostrich plumes, latter half of the 1820s.
4. Auguste Strobl wears a sheer overdress with total sleeves in the new manner over a white gown with short puffed undersleeves. A broad ribbon sash is fastened with a gold buckle. German, 1827.
5. Sarah Stanton Blake wears a frilled indoor cap trimmed with sheer ribbon and a high-necked chemise or chemisette nether her black dress and scarlet shawl. Massachusetts, c. 1827.
6. Dress of silk and cotton gauze, dyed chrome yellow and cake printed with a chinoiserie pattern, Europe, c. 1827. Los Angeles County Museum of Art, M.2007.211.937.
7. Fashion poster with 1827 hats.
8. Evening gown of Amalie von Krüdener in 1828 shows the beginnings of the dropped shoulder and broad sleeve puff that would blossom in the 1830s. Hair is worn in elaborate side curls, and the knotted bun is higher on the crown of the caput. German.
9. Regina Daxenberger wears sheer blue oversleeves with brusque puffed undersleeves. Her fitted bodice has pairs of waist darts, 1829.
10. Fashion plate shows "Newest Fashions for May 1829: Morning and Evening Dresses"^[6]

Men'due south article of clothing [edit]

Men's fashion plate, 1826

This human wears a dark glaze with a loftier shawl neckband. His sleeves accept puffs at the shoulder and taper to the wrist. He wears light brownish trousers, 1828.

Overview [edit]

By the mid-1820s, men'south mode plates bear witness a shapely ideal silhouette with wide 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. Normally referred to equally "girdles", "belts" or "vests" (equally "corsets" and "stays" were considered feminine terms) they were used to sure-fire 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 peculiarly amid middle-form men, who oftentimes used their wardrobe to promote themselves, at least in their minds, to a higher class — hence the bully was born.

The emergence of wool as a primary fabric choice for men'south outer garments led to a revolution in tailoring that allowed fit and finish to be of the utmost importance as opposed to ornamentation. This revolution allowed for an idealized classical silhouette to be materialized in men's fashion.^[7]

Shirts and cravats [edit]

Shirts of linen or cotton featured tall continuing collars and were worn with wide cravats tied in a soft bow.

Coats and waistcoats [edit]

Around 1820, coats began to exist made in an entirely new way. The tails and lapels were cut separately and subsequently attached to the glaze. This ensured a amend fit, a greater following of the body's contours, and more consistent positioning, even when the coat was unbuttoned. The tails themselves were narrow, pointed, and cruel only below the genu. The shoulders were wide and the glaze stood off the chest, however was snug at the waist. Coats also were padded at the breast and waist. The collars and lapels were too padded in order to stiffen them.^[viii] The collars were high and shawl-similar in society to frame the face up. Coats were cut straight across the waist. Waistcoats were buttoned high on the chest. Cutaway coats were worn every bit in the previous menstruation for formal daywear, but the skirts might well-nigh see 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 fabricated of wool or velvet, and jewel colors like bottle light-green and midnight blueish were high style. Double-breasted coats were very much in fashion throughout the decade.

Trousers and breeches [edit]

Trousers underwent a notable change in the 1820s. The new fit was a product of the French Revolution equally information technology was considered uncouth to wearable attire that looked wealthy. The length of the pant changed from beneath the knee joint to below the talocrural joint and the fit of the pant loosened slightly from the offset decade of the 19th century. The pants featured a small waistline and flared out slightly at the hip with small pleats, creating the image of fullness in the hip region. The introduction of straps that went nether the foot, known as stirrup pants, also changed the shape and fit of these trousers.^[9]

Full-length light-colored trousers were worn for mean solar day; these were cut full through the hips and thighs, tapering to the ankles. They were held smoothly in place by straps attached nether the square-toed shoes. Dark trousers were worn for evening wearable, and breeches were worn for formal functions at the British court (as they would exist throughout the century). Breeches were also worn for horseback riding and other country pursuits, particularly in U.k., with tall fitted boots.

Hats and hairstyles [edit]

Tall, silk hats again came into mode. They were seen as a comfortable and light fashion to protect against dominicus and rain and were adequate for travelling and hunting.^[8] The crowns of alpine 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 stylish.

Shoes [edit]

Rubber was introduced to Europe and America and created a shift in shoes from the pattens and clogs to the galosh. The galosh was soft and gluey in warm weather and hard and strong in the cold. The style of men's shoes closely mirrored that of women's, as they were narrow, heelless slippers with low-cutting vamps. They were very flimsy looking, every bit though they were held on past suction cups, for the leather barely covered the toes and hardly gripped the heel.^[10]

Style gallery [edit]

• 

  1 – 1820–22

• 

  2 – 1823

• 

  three – 1823

• 

  four – 1825

• 

  five – 1826

• 

  6 – 1827

• 

  7 - 1827

• 

  8 – 1828

• 

  9 – 1828

1. 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 neckband. 1820–22.
2. Land clothes in the urban center: In this caricature past Richard Dighton, a stout human wears country clothes (breeches and riding boots) at the Purple Exchange in London. Hats of 1823 are not still curvy, and the straight-bottomed waistcoat shows slightly below the glaze in front.
3. French style plate shows an evening cape or manteau with a fur collar and shoulder cape, worn over night formal breeches and double-breasted coat, 1823.
4. Conte Ninni wears a black glaze with a tall collar and a slight puff at the sleeve caput over a alpine-collared white shirt and white cravat, 1825.
5. 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.
6. Baron Schwiter wears a dark cutaway coat, waistcoat, and narrow fitted pantaloons or trousers. His apartment shoes accept square toes and bows on the instep, and are worn with white stockings, 1827.
7. Alexander Pushkin wears a blackness coat, blackness silk cravat and plaid shawl. Russian, 1827.
8. Goethe wears a coat with a slight puff at the sleeve head, a satin lining turned back to course lapels, and a high contrasting collar over a patterned waistcoat. His white cravat is fastened with a gold pivot. German, 1828.
9. In his cocky-portrait, Ferdinand Georg Waldmüller wears a striped cravat and striped waistcoat, both in dull gold and blue, 1828.

Caricature gallery [edit]

• 

  "Monstrosities of 1822," 1822 way satire.

• 

  "Monstrosities of 1827," fashion satire.

Way plates [edit]

• 

  1823

• 

  1826

• 

  1828

• 

  1829

Children's fashion [edit]

• 

  English children dancing, early 1820s

• 

• 

  Young boy'southward dress, Berlin, c. 1820

• 

• 

  United Kingdom, 1826

Notes [edit]

1. ^ Russell, Douglas A. (1983). Costume History and Manner. Englewood Cliffs, New Bailiwick of jersey: Prentice-Hall, Inc. p. 341. ISBN0-xiii-181214-ix.
2. ^ Tozer and Levitt (1983), p. 29
3. ^ Takeda and Spilker (2010), p. 69
4. ^ Warren, Geoffrey (1987). Fashion Accessories Since 1500. London: Unwin Hyman. p. 93.
5. ^ Wilcox, Turner R. (1958). The Mode in Costume. New York, NY: Charles Scribner's Sons. p. 248.
6. ^ "Galoshes". The Metropolitan Museum of Fine art. Retrieved 4 February 2014.
7. ^ Hollander, Anne (1995). Sex and Suits: The Evolution of Modern Dress. Kodansha. p. 89.
8. ^ ^{a b} Kohler, Carl (1963). A History of Costume. New York, NY: Dover Publications. pp. 372–373.
9. ^ B. Payne, "Men's Wearable in the Nineteenth Century", History of Costume: From the Ancient Egyptians to the Twentieth Century (1965)
10. ^ Kemper, Rachel H: "Costume", 1992, pp. 121

References [edit]

• Ashelford, Jane: The Art of Dress: Wearable and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5
• Picken, Mary Brooks: The Mode Dictionary, Funk and Wagnalls, 1957. (1973 edition ISBN 0-308-10052-two)
• Takeda, Sharon Sadako, and Kaye Durland Spilker, Fashioning Fashion: European Apparel in Detail, 1700 - 1915, LACMA/Prestel The states (2010), ISBN 978-three-7913-5062-2
• Tozer, Jane and Sarah Levitt, Cloth of Society: A Century of People and their Clothes 1770–1870, Laura Ashley Press, ISBN 0-9508913-0-4
• Walker, Richard: The Savile Row Story, Prion, 1988, ISBN 1-85375-000-X

External links [edit]

• 1820s Fashion Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries
• 1820s Fashions in the Staten Island Historical Society Online Collections Database

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