DRESS CODE DURING QUEEN VICTORIA REIGN

Student Teacher
Ilea Bianca Schiopu Suzana

2020

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 CHAPTERS
1. 1830s dress style……………………………..5
2. 1840 dress style………………………………5
3. 1850s dress style……………………………..7
4. 1860s dress style……………………………8
5. 1870s dress style……………………………..10
6. 1880s dress style………………………………11
7. 1890 dress style………………………………..12
8. Hats……………………………………………13
9. Shoes…………………………………………..14
10. Men’s fashion…………………………………15
11. Mourning black………………………………..17

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 THESIS
Victorian fashion comprises the various fashions and trends in British culture that emerged and
developed in the United Kingdom and the British Empire throughout the Victorian era, roughly
from the 1830s through the 1890s. The period saw many changes in fashion, including changes in
styles, fashion technology and the methods of distribution. Various movement in architecture,
literature, and the decorative and visual arts as well as a changing perception of the traditional
gender roles also influenced fashion.

Under Queen Victoria's ruby, England enjoyed a period of ecogrowth along with technological
advancement. Mass production of sewing machines in the 1850s as well as the advent of
synthetic dyes introduced major changes in fashion. Clothing could be made quicker and more
cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to
participate in the evolving trends of high fashion, opening the market of mass consumption and
advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed-price
department stores, spurring a new age of consumerism with the rising middle class who benefited
from the industrial revolution.

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 INTRODUCTION
During the Victorian Era, women generally worked in the private, domestic sphere. Unlike in
earlier centuries when women would often help their husbands and brothers in family businesses
and in labour, during the nineteenth century, gender roles became more defined. The requirement
for farm labourers was no longer in such a high demand after the Industrial Revolution, and
women were more likely to perform domestic work or, if married, give up work entirely. Dress
reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian.

Clothes were seen as an expression of women's place in societY and were hence, differentiated in
terms of social class. Upper-class women, who did not need to work, often wore a tightly laced
corset over a bodice or chemisette, and paired them with a skirt adorned with numerous
embroideries and trims; over layers of petticoats. Middle-class women exhibited similar dress
styles; however, the decorations were not as extravagant. The layering of these garments make
them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not
comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth.
Victorian-era cosmetics were typically minimal, as makeup was associated with promiscuity.
Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.

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 1. 1830s dress style
During the start of Queen Victoria's reign in 1837, the ideal shape of the Victorian
woman was a long slim torso emphasised by wide hips. To achieve a low and slim
waist, corsets were tightly laced and extended over the abdomen and down towards
the hips. A chemise was commonly worn under the corset, and cut relatively low in
order to prevent exposure. Over the corset, was the tight-fitting bodice featuring a
low waistline. Along with the bodice was a long skirt, featuring layers of horsehair
petticoats worn underneath to create fullness; while placing emphasis on the small
waist. To contrast the narrow waist, low and straight necklines were thus used.

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 2. 1840 dress style
In the 1840s, collapsed sleeves, low necklines, elongated V-shaped bodices,
and fuller skirts characterised the dress styles of women. At the start of the
decade, the sides of bodices stopped at the natural waistline, and met at a point
in the front. In accordance with the heavily boned corset and seam lines on the
bodice as well, the popular low and narrow waist was thus accentuated.
Sleeves of bodices were tight at the top, because of the Mancheron,but
expanded around the area between the elbow and before the wrist. It was also
initially placed below the shoulder, however; this restricted the movements of
the arm.

As a result, the middle of the decade saw sleeves flaring out from the elbow
into a funnel shape; requiring undersleeves to be worn in order to cover the
lower arms.

Skirts lengthened, while widths increased due to the introduction of the

horsehair crinoline in 1847; becoming a status symbol of wealth.

Extra layers of flounces and petticoats, also further emphasised the fullness of
these wide skirts. In compliance with the narrow waist though, skirts were
therefore attached to bodices using very tight organ pleats secured at each fold.
This served as a decorative element for a relatively plain skirt. The 1840s style
was perceived as conservative and "Gothic" compared to the flamboyance of
the 1830s.

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 3. 1850s dress style
A similar silhouette remained in the 1850s, while certain elements of garments
changed.

Necklines of day dresses dropped even lower into a V-shape, causing a need to
cover the bust area with a chemisette. In contrast, evening dresses featured a
Bertha, which completely exposed the shoulder area instead. Bodices began to
extend over the hips, while the sleeves opened further and increased in fullness.
The volume and width of the skirt continued to increase, especially during
1853, when rows of flounces were added.

Nevertheless, in 1856, skirts expanded even further; creating a dome shape, due
to the invention of the first artificial cage crinoline. The purpose of the crinoline
was to create an artificial hourglass silhouette by accentuating the hips, and
fashioning an illusion of a small waist; along with the corset. The cage
crinoline was constructed by joining thin metal strips together to form a circular
structure that could solely support the large width of the skirt. This was made
possible by technology which allowed iron to be turned into steel, which could
then be drawn into fine wires. Although often ridiculed by journalists and
cartoonists of the time as the crinoline swelled in size, this innovation freed
women from the heavy weight of petticoats and was a much more hygienic
option.

Meanwhile, the invention of synthetic dyes added new colours to garments and
women experimented with gaudy and bright colours. Technological innovation
of 1860s provided women with freedom and choices.

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 4. 1860s dress style
During the early and middle 1860s, crinolines began decreasing in size at the
top, while retaining their amplitude at the bottom. In contrast, the shape of the
crinoline became flatter in the front and more voluminous behind, as it moved
towards the back since skirts consisted of trains now. Bodices on the other
hand, ended at the natural waistline, had wide pagoda sleeves, and included
high necklines and collars for day dresses; low necklines for evening dresses.
However, in 1868, the female silhouette had slimmed down as the crinoline
was replaced by the bustle, and the supporting flounce overtook the role of
determining the silhouette. Skirt widths diminished even further, while fullness
and length remained at the back. In order to emphasise the back, the train was
gathered together to form soft folds and draperies

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 5. 1870s dress style
The trend for broad skirts slowly disappeared during the 1870s, as women
started to prefer an even slimmer silhouette. Bodices remained at the natural
waistline, necklines varied, while sleeves began under the shoulder line. An
overskirt was commonly worn over the bodice, and secured into a large bow
behind. Over time though, the overskirt shortened into a detached basque,
resulting in an elongation of the bodice over the hips. As the bodices grew
longer in 1873, the polonaise was thus introduced into the Victorian dress
styles. A polonaise is a garment featuring both an overskirt and bodice together.
The tournure was also introduced, and along with the polonaise, it created an
illusion of an exaggerated rear end.

By 1874, skirts began to taper in the front and were adorned with trimmings,
while sleeves tightened around the wrist area. Towards 1875 to 1876, bodices
featured long but even tighter laced waists, and converged at a sharp point in
front. Bustles lengthened and slipped even lower, causing the fullness of the
skirt to further diminish. Extra fabric was gathered together behind in pleats,
thus creating a narrower but longer tiered, draped train too. Due to the longer
trains, petticoats had to be worn underneath in order to keep the dress clean.

However, when 1877 approached, dresses moulded to fit the figure,as

increasing slimmer silhouettes were favoured. This was allowed by the
invention of the cuirass bodice which functions like a corset, but extends
downwards to the hips and upper thighs. Although dress styles took on a more
natural form, the narrowness of the skirt limited the wearer in regards to
walking.

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 6. 1880s dress style
The early 1880s was a period of stylistic confusion. On one hand, there is the
over-ornamented silhouette with contrasting texture and frivolous accessories.
On the other hand, the growing popularity of tailoring gave rise to an
alternative, severe style. Some credited the change in silhouette to the Victorian
dress reform, which consisted of a few movements including the Aesthetic
Costume Movement and the Rational Dress Movement in the mid-to-late
Victorian Era advocating natural silhouette, lightweight underwear, and
rejecting tightlacing. However, these movements did not gain widespread
support. Others noted the growth in cycling and tennis as acceptable feminine
pursuits that demanded a greater ease of movement in women's clothing. Still
others argued that the growing popularity of tailored semi-masculine suits was
simply a fashionable style, and indicated neither advanced views nor the need
for practical clothes. Nonetheless, the diversification in options and adoption of
what was considered menswear at that time coincided with growing power and
social status of women towards the late-Victorian period.

The bustle made a re-appearance in 1883, and it featured a further exaggerated

horizontal protrusion at the back. Due to the additional fullness, drapery moved
towards the sides or front panel of the skirt instead. Any drapery at the back
was lifted up into poufs. Bodices on the other hand, shortened and ended above
the hips. Yet the style remained tailored, but was more structured.

However, by 1886, the silhouette transformed back to a slimmer figure again.

Sleeves of bodices were thinner and tighter, while necklines became higher
again. Furthermore, an even further tailored-look began to develop until it
improved in the 1890s.

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 7. 1890s dress style
By 1890, the crinoline and bustle was fully abandoned, and skirts flared away
naturally from the wearer's tiny waist. It evolved into a bell shape, and were
made to fit tighter around the hip area. Necklines were high, while sleeves of
bodices initially peaked at the shoulders, but increased in size during 1894.
Although the large sleeves required cushions to secure them in place, it
narrowed down towards the end of the decade. Women thus adopted the style
of the tailored jacket, which improved their posture and confidence, while
reflecting the standards of early female liberation.

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 8. Hats
Hats (and gloves) were crucial to a respectable appearance for both
men and women. To go bareheaded was simply not proper. The top
hat, for example, was standard formal wear for upper- and middle-
class men. For women, the styles of hats changed over time and were
designed to match their outfits.

During the early Victorian decades, voluminous skirts held up with

crinolines, and then hoop skirts, were the focal point of the silhouette.
To enhance the style without distracting from it, hats were modest in
size and design, straw and fabric bonnets being the popular choice.
Poke bonnets, which had been worn during the late Regency period,
had high, small crowns and brims that grew larger until the 1830s,
when the face of a woman wearing a poke bonnet could only be seen
directly from the front. They had rounded brims, echoing the rounded
form of the bell-shaped hoop skirts.

The silhouette changed once again as the Victorian era drew to a

close. The shape was essentially an inverted triangle, with a wide-
brimmed hat on top, a full upper body with puffed sleeves, no bustle,
and a skirt that narrowed at the ankles (the hobble skirt was a fad
shortly after the end of the Victorian era). The enormous wide-
brimmed hats were covered with elaborate creations of silk flowers,
ribbons, and above all, exotic plumes; hats sometimes included entire
exotic birds that had been stuffed. Many of these plumes came from
birds in the Florida everglades, which were nearly made entirely
extinct by overhunting. By 1899, early environmentalists like Adeline
Knapp were engaged in efforts to curtail the hunting for plumes. By
1900, more than five million birds a year were being slaughtered, and
nearly 95 percent of Florida's shore birds had been killed by plume
hunters.[

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 9. Shoes
The women's shoes of the early Victorian period were narrow and heelless, in
black or white satin. By 1850s and 1860s, they were slightly broader with a low
heel and made of leather or cloth. Ankle-length laced or buttoned boots were
also popular. From the 1870s to the twentieth century, heels grew higher and
toes more pointed. Low-cut pumps were worn for the evening.

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 10. Men’s fashion
During the 1840s, men wore tight-fitting, calf length frock coats and a
waistcoat or vest. The vests were single- or double-breasted, with shawl or
notched collars, and might be finished in double points at the lowered waist.
For more formal occasions, a cutaway morning coat was worn with light
trousers during the daytime, and a dark tail coat and trousers was worn in the
evening. Shirts were made of linen or cotton with low collars, occasionally
turned down, and were worn with wide cravats or neck ties. Trousers had fly
fronts, and breeches were used for formal functions and when horseback riding.
Men wore top hats, with wide brims in sunny weather.

During the 1850s, men started wearing shirts with high upstanding or turnover
collars and four-in-hand neckties tied in a bow, or tied in a knot with the
pointed ends sticking out like "wings". The upper-class continued to wear top
hats, and bowler hats were worn by the working class.

In the 1860s, men started wearing wider neckties that were tied in a bow or
looped into a loose knot and fastened with a stickpin. Frock coats were
shortened to knee-length and were worn for business, while the mid-thigh
length sack coat slowly displaced the frock coat for less-formal occasions. Top
hats briefly became the very tall "stovepipe" shape, but a variety of other hat
shapes were popular.

During the 1870s, three-piece suits grew in popularity along with patterned
fabrics for shirts. Neckties were the four-in-hand and, later, the Ascot ties. A
narrow ribbon tie was an alternative for tropical climates, especially in the
Americas. Both frock coats and sack coats became shorter. Flat straw boaters
were worn when boating.

During the 1880s, formal evening dress remained a dark tail coat and trousers
with a dark waistcoat, a white bow tie, and a shirt with a winged collar. In mid-
decade, the dinner jacket or tuxedo, was used in more relaxed formal occasions.
The Norfolk jacket and tweed or woolen breeches were used for rugged outdoor
pursuits such as shooting. Knee-length topcoats, often with contrasting velvet
or fur collars, and calf-length overcoats were worn in winter. Men's shoes had
higher heels and a narrow toe.

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Starting from the 1890s, the blazer was introduced, and was worn for sports,
sailing, and other casual activities.

Throughout much of the Victorian era most men wore fairly short hair. This
was often accompanied by various forms of facial hair including moustaches,
side-burns, and full beards. A clean-shaven face did not come back into fashion
until the end of the 1880s and early 1890s.

Distinguishing what men really wore from what was marketed to them in
periodicals and advertisements is problematic, as reliable records do not exist.

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 11. Mourning black
In Britain, black is the colour traditionally associated with mourning for the
dead. The customs and etiquette expected of men, and especially women, were
rigid during much of the Victorian era. The expectations depended on a
complex hierarchy of close or distant relationship with the deceased. The closer
the relationship, the longer the mourning period and the wearing of black. The
wearing of full black was known as First Mourning, which had its own
expected attire, including fabrics, and an expected duration of 4 to 18 months.
Following the initial period of First Mourning, the mourner would progress to
Second Mourning, a transition period of wearing less black, which was
followed by Ordinary Mourning, and then Half-mourning. Some of these stages
of mourning were shortened or skipped completely if the mourner's relationship
to the deceased was more distant. Half-mourning was a transition period when
black was replaced by acceptable colours such as lavender and mauve, possibly
considered acceptable transition colours because of the tradition of Church of
England (and Catholic) clergy wearing lavender or mauve stoles for funeral
services, to represent the Passion of Christ.

The mourning dress on the right was worn by Queen Victoria, "it shows the
traditional touches of mourning attire, which she wore from the death of her
husband, Prince Albert (1819-1861), until her own death.

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 Conclusion
Many myths and exaggerations about the period persist to the modern day.
Examples include the idea of men's clothing is seen as formal and stiff,
women's as elaborate and over-done; clothing covered the entire body, and
even the glimpse of an ankle was scandalous. Critics contend that corsets
constricted women's bodies and women's lives. Homes are described as
gloomy, dark, cluttered with massive and over-ornate furniture and
proliferating bric-a-brac. Myth has it that even piano legs were scandalous, and
covered with tiny pantalettes.

In truth, men's formal clothing may have been less colourful than it was in the
previous century, but brilliant waistcoats and cummerbunds provided a touch of
color, and smoking jackets and dressing gowns were often of rich Oriental
brocades. This phenomenon was the result of the growing textile manufacturing
sector, developing mass production processes, and increasing attempts to
market fashion to men. Corsets stressed a woman's sexuality, exaggerating hips
and bust by contrast with a tiny waist. Women's evening gowns bared the
shoulders and the tops of the breasts. The jersey dresses of the 1880s may have
covered the body, but the stretchy novel fabric fit the body like a glove.

Home furnishing was not necessarily ornate or overstuffed. However, those

who could afford lavish draperies and expensive ornaments, and wanted to
display their wealth, would often do so. Since the Victorian era was one of
increased social mobility, there were ever more nouveaux riches making a rich
show.

The items used in decoration may also have been darker and heavier than those
used today, simply as a matter of practicality. London was noisy and its air was
full of soot from countless coal fires. Hence those who could afford it draped
their windows in heavy, sound-muffling curtains, and chose colours that didn't
show soot quickly. When all washing was done by hand, curtains were not
washed as frequently as they might be today.

There is no actual evidence that piano legs were considered scandalous. Pianos
and tables were often draped with shawls or cloths—but if the shawls hid
anything, it was the cheapness of the furniture. There are references to lower-
middle-class families covering up their pine tables rather than show that they

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couldn't afford mahogany. The piano leg story seems to have originated in the
1839 book, A Diary in America written by Captain Frederick Marryat, as a
satirical comment on American prissiness.

Victorian manners may have been as strict as imagined—on the surface. One
simply did not speak publicly about sex, childbirth, and such matters, at least in
the respectable middle and upper classes. However, as is well known,
discretion covered a multitude of sins. Prostitution flourished. Upper-class men
and women indulged in adulterous liaisons.

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