Dress design

The pocket flaps were of a curved form, with a rounded centre still, and many of the shoes had a high square front, high heels, and square toes: according to the caricature prints of Boitard, the fashionable hats were smaller in 1730, and much larger ten years later; very full skirts at the former date, and smaller and less stiffened at the latter. Stockings were often still worn outside the knee. Shoes reached an extreme high square front at the latter date, and gloves with curved or square cuffs are to be noted.

EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.

This long reign, like that of Queen Victoria, embraces several changes of style. Up till about 1785 white powder was still used for the hair, reaching its fullest extravagance in the middle of the seventies, set with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776 the top was widened considerably. The front hair, gathered from the forehead, was pressed in a forward curve over a high pad, with one to three curls at the sides and one at the shoulders, the back hair being arranged in a loose loop, curled on the top and set with a large bow at the back; a small round hat with very small low crown (usually decorated with flowers and silks gathered into puffs, or ribbons and small feathers) was tilted right on the front. About 1780 large mob caps with a big bow on the front came in, and were generally worn together with the tall-crowned hat or the large-brimmed hat in favour at this time. A cape with smallish hood worn in the earlier reigns was supplanted about 1777 by the calash, a huge hood set out with whalebone which came to cover the full head-dresses. The heavier caped or hooded cloak, sometimes with side opening for the arms, and usually trimmed with fur, still remained in use to 1800.

The bodice retained the same shape as in the former reign, rather longer in the points back and front, with a large fan finish to the sleeve, double or single; this became supplanted by a much-gathered elbow-piece, sometimes eight inches deep, gathered in four rows. Small drawn gathers started round the waist of the skirt, for the side panniers and hoops were being less worn, except for the "smart gown," but bunching, reefing, and looping took their place in effect, and quilted petticoats remained while this character of dress lasted. The later sack-back dress was sewn tighter to the body, and usually started in a narrower set at the back, while the full pleat from the shoulder down the front went out, and the neck was more displayed by lower bodice fronts, which continued to be set with bows, jewels, lace, or embroidery. Sack-back jackets were often worn in the seventies; when the sack began to disappear, it took the form of overlapped seams on the bodice. The decorated side pockets are noted in prints showing tuck-up dresses to 1775. The jacket bodice of the same form described in the preceding reign was perhaps more in evidence till 1780, not so long in the skirt as in the earlier reigns, but after this date it took a longer skirt, which was often pleated at the back, with a very low neck and short waist.

About 1780 we find a change of style appearing in a shorter waist, with less pointed setting, having often a rounded point or square tabs, and even a shaped finish to the corset front, which was sometimes used like a waistcoat effect under the cut-away dresses seen after 1770 (see Fig. 99, p. 221). A general tendency to imitate male attire is apparent, and the front of the bodice was set with lapels and straps buttoned across (though I have noted this latter character in the early part of this century), and long coats with this character were much worn, with two or three capes. The sleeves are sometimes set over a tight undersleeve, in fact the longer sleeve to the wrist became fashionable. With this change a short gathered skirt is seen on some bodices, and the full gathered skirt was bunched out at the back on a bustle, of which I give an illustration (p. 212), the low neck being filled with a large lawn fichu; a wide belt was generally worn, or a wide sash and bow at the back or side is seen with the lighter dresses, these being simple in style, just gathered at the waist, with short full sleeves set with a frill, and another frill was also arranged round the neck.

About 1790 the mode again began to change to a classic style, still higher in the waist, with a short tight sleeve, at times puffed in the upper part, or an outer and under sleeve, as per illustration A, Plate XXII (see p. 215). The fronts of this type of bodice were mostly buttoned or pinned up to the shoulders over a tight underfront, the skirt opening about 18 inches at the sides, thus saving a fastening at the back. I have illustrated some very interestingly cut jackets of this period from my collection, as A, Plate XXIV (see p. 231); the sleeves were very long and were ruckled on the arm, as likewise were the long gloves or mittens of this time. A long scarf or drape was carried with this style, and a round helmet-like hat in straw or a turban was adopted. High sticks were still carried by ladies till the nineties, and umbrellas or parasols; the former came into vogue about 1770, the latter about six years later. Muffs of beautifully embroidered silk and satin were set with purfled trimmings, gold and silver lace, or bows and ribbons; otherwise they were of furs or feathers. They remained rather small up to 1780, when a very large shape set in, which continued till the end of the reign; the quantity of beautiful fans of this century must be so well known as to need no description. The highest artistry was concentrated on them.

Shoes at the beginning of this reign were set on very high spindle heels; the toe-front became rounded, the instep-front a pointed shape, and wide latchets were buckled till about 1785, but fashion discarded them earlier; for about 1780 the shoes became very small at the heel, and pointed again at the toe. When the latchets went out, the pointed instep remained for a time, but a low round front appeared, and the heel practically vanished just before 1800. These later shoes were decorated on the front by needlework or incised leather openwork underlaid with another colour. The soles at this time were extremely quaint in shape, and the shoes were tied sandal fashion up the ankle.

EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.

Hats were still worn of the three-cornered shape, but the favourites became a front cockade hat and a hat with a rounded crown and rather wide brim, sometimes turned up on one side; a short type of top-hat was also often seen, and later became the fashion. The same lawn and lace cravat developed into more of a plain white stock, with a frilled shirt-front.

The coat was worn much tighter in the arms and was smartly cut, with the fronts running away into a narrow tailed skirt. The pockets often began to take a plain square form, with or without buttons; the buttons on the front of the coat stopped at the waist—many cuffs are seen without them; and the side pleats, set more to the back, were pressed and narrower. Both the plain and turn-over collars were set up high in the neck, large cut-steel buttons were introduced in the early seventies, and many fancy china buttons, besides the gilt silver and paste ones were in use. A new type of coat made its appearance with a high turn-over collar and large lapels, and a sudden cut-in of the coat-front high in the waist, giving a very long-tailed effect to the skirt. A cuff shape with these was mostly made in one with the sleeve and buttoned at the side towards the back, and when the cuff was additional, it seldom had buttons, as formerly.

A greatcoat with one, two, or three capes was a picturesque garment, and a leather-covered bottle was often carried when riding a distance, of which I have an example in my collection.

Waistcoats, which had become much shorter, were now giving place to a type with a straight-across front and turned-back lapels at the neck; these large lapels were mostly worn outside over the coat lapel. The waistcoats were often double-breasted with an embroidered design down the front between the double row of buttons, and the straight pockets of these had no flaps; they shortened at the waist in character with the lapelled coat, but were worn lower than the cut-in shape of the coat, showing about 3 inches when the coat was fastened. Breeches became very tight, and trousers begin to appear after 1790. Striped stockings and suits were much in favour. Top-boots with rather long brown tops were worn, or high boots with a curved top, with a gold tassel set in front, were seen. The shoes with latchets and buckles had a low front on the instep, and from about 1780 took a rather pointed oval toe shape; the heels were mostly worn shorter. Swords were not so much in use except on great occasions, but sword-sticks were carried, and heavy club-sticks were fashionable before 1800. Patches were little used after the seventies, but the snuff-box was still indispensable. The double long purse with central rings and tassels at the ends was carried, of knitted silk or of leather, the former with steel beads and coloured silks worked together after 1780: small bag purses were also in use, usually set in gilt mounts and made in the same methods with a tassel below.

CHAPTER VIII

CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.

During the later part of the 18th century, a great deal of tinsel drawn work was done on fine muslin, and became beautifully treated in delicate design on the hem and down the front of many of the high-waisted dresses as in Fig. A, Plate XXIII (see p. 218). Later on towards the twenties we see a great deal of effective coarse work in heavy gold tinsel, and at the same time to the forties a number of dresses were ably enriched with fine gold thread.

The white embroidery in the earlier trimmings of this period, of which I give examples in Plate XXIV (see p. 231), was remarkable for its wealth of fancy; the chief beauty of these dresses was the delightful treatment of gathered effects, and with the reign of George IV we note the gradual return of the longer pointed bodice, with the growth of very full sleeves, also the increase in the size and fuller set-out of the skirts over the stiff flounced drill petticoats. The V-shaped Bertha setting to neck and shoulders began to establish itself, and became a great feature through the thirties and forties; the first signs of it appear about 1814. Varieties of materials were used to great advantage in designing, and drawn tulle trimmings were happily introduced to soften hard shapes and colours. The shoulder fullness also began to be neatly drawn in and held by straps, which gave a charming character to many bodices.

From 1816 choice work in piped shapes, often of flower forms decorated with pearls or beads, was set on fine net, as seen in Plates XXIII and XXIX (see pp. 218, 263). The attraction to the thirties was the happy effects gained by the bow and flower looping on the flounces, and these ripened in fancy and variety through the forties. Braiding was adopted in the thirties with a rather charming treatment of tassels down the front of the dress; the polonaises of this time were also effective and simple, caught here and there with posies of flowers, and we find this fashion again revived in the sixties.

With the reign of George IV we notice an increasing choice of strong coloured effects, which culminated in the mid-Victorian era in raw colour and violent shot silks, velvets, and heavy fringes, but one may see that many of these dresses of bright pure tone looked exceedingly refined and were quite stately. A remarkable dress is Fig. A, Plate XXXII (see p. 279), which is of very strong bright blue; its only enrichment being a curved line of folded silk. All these dresses from 1800 were delightfully embellished with embroidered fichus, light scarves of frail gauze, crêpe, or Norwich silk, and in the Victorian times capes and V-shaped shawls; fascinating lace ruffles and tuck-in fronts to the bodice necks, of frills and bands of embroidery, broke the severity or bareness of many dresses. An endless variety of fascinating caps and lace head-lappets was pinned or caught into the hair at the wearer's fancy; besides the bows, flowers, and jewels (especially pearls) which have always played an important part in the coiffure from early times, the chatelaines and bags, fobs, fans, and lace or silk handkerchiefs all give the artist a note of extra colour when desired. The cruel period of taste really came with the seventies, though one can trace many quaint and interesting cuts in the bodices and skirts of this time; but the "grand dress" of complicated drapings, heavily fringed or braided, was a "set piece" which, let us hope, will never appear again.

The long stocking-purse which began to appear in the late 17th century was up to 1820 sometimes carried tucked through the belt; it was set with a pair of metal rings and tassels of steel or gilt beads. Small and large circular and bag-shaped purses were also in use; all these were made in coloured silk threads enriched with steel, gilt, or coloured beads, the latter shapes being set in chased metal mounts, the circular ones generally having a fringe and the bag shape a small tassel or heavy drop. These shapes can also be seen in coloured leathers with a leather tassel, besides the plain money-bag with a draw-string.

NINETEENTH CENTURY. GEORGE III. FEMALE.

The classic high-waisted dress continued till 1808, and was often beautifully decorated with white embroidery and gold or tinsel, as in A, Plates XX and XXIII (see pp. 199, 218), and the frontispiece is a lovely white example. There were several interesting drapings, one being a cord hanging from the back of the shoulder to loop up the train of the dress, as in A, Plate XXII (see p. 215). The simple tunic shapes are better described by the illustrations: more originality was essayed in design after the last-mentioned date. A high Vandyked lace collar and fan setting to the shoulders appeared, and many interesting dresses of a plain cut, mostly in velvet and silks, were worn about 1810-12. A gathered sleeve drawn tight at intervals was often seen up to 1816, when embroidered ruffles and frills decorated most of the necks and skirts, and a braided type of character, rather military in effect with beautifully piped edgings, came in from about 1817. Spencer bodices were an additional interest at this period, and a short puff sleeve was generally banded or caught with bows; these being often worn over a fairly loose long sleeve gathered by a wristband. Dresses were worn shorter from about 1810. Charming lace and embroidered fichus crossed the shoulders, and long scarf-capes were thrown round the neck and were often tied round behind, as in the 18th century; long capes with points and tassels in front fell to the knees, and a simple pelisse with cape became a pleasing feature. Bags were always carried, of which there is a variety of shapes in the plates; long gloves or mittens were generally worn. Parasols of a flat shape, or others with round or pagoda shaped tops are seen, many being edged with a deep fringe. Long purses were often tucked through the waistband.

NINETEENTH CENTURY. GEORGE III. MALE.

The coats were set with very high turn-over collars and a wide-shaped lapel, and the lapel of the waistcoat was still brought outside. As these lapels on the coats became smaller and changed into a roll collar, they were cut into points at the breast, as seen in the illustrations.

The front of the coat cut away in a short square, rather high in the waist, which thus formed a long-tailed skirt; the fronts were made double-breasted, and were often fastened high up the lapel. The hip-pleats had gone round more to the back into a closely pressed fold, about three inches from the back-opening. Sleeves were gathered rather full in the shoulders, becoming very tight on the forearm, and were finished in a cuff, or buttoned cuff-shape. We also see that a short square coat without tails was worn over the longer one. Overcoats (or long-skirted coats) with a cape or capes, up to four, were worn all through this reign, both double and single breasted, sometimes with turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff or cuff made in the sleeve was now worn, and began to take a curved shape well over the hand, with three buttons to fasten it on the outer sides.

Short double-breasted waistcoats continued much the same, but a round-shaped lapel appeared on many.

Very tight-fitting breeches were worn of the same 18th-century cut, and trousers began to gain favour; a fob of seals, &c., was always worn, coming from under the waistcoat.

Soft high boots with turn-down tops, and boots with longish brown tops set low on the leg. The top-boot with the pointed or oval-shaped front and tassel still held sway, and an oval-toed low shoe with or without small latchets was in use.

NINETEENTH CENTURY. GEORGE IV. FEMALE.

The hair at this period was worn in plaits or curls gathered on top, and during the latter years was arranged into stiff loops set with a high comb; a group of curls was drawn to the sides of the face, the hair being mostly parted from the centre. Plumes were much used for head-dresses, and caps with gathered puffs and pointed frills. A high-crowned straw poke bonnet, tilted upwards, was still in form; but the prevailing mode was a silk bonnet, with the brim curved in at the front, the sides being drawn together under the chin with a bow. The prevailing decoration was a group of feathers thrown forward or ribbon loops, and after this a large round hat, with a full gathered crown, arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII (see p. 259).

Dresses gradually assumed a longer waist, and a short pointed bodice made its appearance here and there from about 1822, when short stays began to return, and pointed belt corselets were frequent, though the waistband or sash was chiefly used. Short puffed sleeves of charming character and workmanship were sometimes set in a gauze sleeve, as in Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves coming from these short ones; they were rather full, and were caught at the wrist with a band. The upper sleeve gradually disappeared as the full-topped sleeves began to develop in size, about 1824; this fullness was often broken up into gathered parts, a tight cuff-piece usually finished at the wrist. The high set-up collars and neck-frills gave way to the flat capes about 1827, though the small ruffs were worn round the top of the high-necked capes to 1830. The gathered shoulder began about 1823, and soon became a marked feature; pointed or scalloped frills and trimmings came into favour from 1825, Fig. B, Plate XXIII (see p. 218), and about 1827 the sloped appearance in the bodice began to be noticed as the sleeves were set lower. The shoulders in ball dresses were shown, and a gathered Bertha of silk or lace was arranged round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form was made in the pattern as in Fig. C, Plate XXII (see p. 215). The V-shaped piece from the centre of waist or breast began to spread over the shoulders, where it was opened, as in Fig. B, Plate XXII (see p. 215). This V shape was often open down to the waist, where it was filled in with a centre-piece of embroidery. Skirts were gradually set out fuller, with stiff-flounced petticoats; they had various simple or richly decorated borders and fronts, or several small flounces, or one deep one often with the edges cut into divers shapes.

I have striven to give good examples of the marked styles in the various dated illustrations, as well as the court train to dress, Fig. A, Plate XXXIII (see p. 282), which also comes into this time.

Shoes were rather round at the toes till near the end of the reign, when they took a square shape; a tiny rosette or bow was placed at the front of instep, and they were held by narrow ribbons, crossed and tied round the ankle. Boots lacing at the inside, with seam down the front, often had a toe-cap as in Fig. 5, Plate XXI (see p. 202); no heels were worn.

Light gauze scarves were usually carried, and very small fans besides the larger feather ones. Bags or sachets of the forms illustrated were painted or embroidered in ribbonwork, chenille, tulle, and coloured silks.

A few specimens of parasols are also given, and gloves and mittens were of the same character as in the latter part of the last reign.

The patterns given of some of the dresses shown in the plates will be useful as to the measurements of the increase in skirt-width and sleeves; one may also note the very pointed set-out of the breast, sometimes made with two gores, which only occurs in this reign. Muffs were usually of a large size, and a bow with long ends was often worn on the front.

NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.

The mode in beaver hats was most varied; high straight crowns with small brims, others tapering at the top with larger curled brims, or crowns enlarging at the top with almost straight small brims; a top-hat of straw is shown on page 309. A short-crowned hat was also worn. The hair was combed towards the front at either side, and the face shaven, with the exception of short side-whiskers.

A very high stock of black satin or linen surrounded the throat, with or without the points of collar showing, and a frilled shirt, often stiffly goffered.

Coats were very tight-fitting and mostly double-breasted, with long swallow-tailed skirts, or long full skirts; the waist was rather short, and the effect of coat-front round-breasted with a high turned-over collar finished in large lapels, which were often treated with velvets. The favourite colours for overcoats were greys, buffs, greens, and blues, and the edges were neatly finished with fine cord. The sleeves, rather full in the shoulder, became tight on the lower arm, coming to a curved shape well over the hand, and buttoned up the side. The pockets were frequently set at an angle, as in illustration, and a short round cape, or two, was seen on many overcoats. A short type of coat is seen about 1827, with a single roll collar.

Breeches were not so much worn as trousers of cloth, nankeen, drill, and fine white corduroy; these were usually fastened under the boots with a strap, others were looser and often worn short, well above the ankle. A very full type in the upper part peg-tops, was in fashion about 1820-25 amongst the dandies, and for evening dress, very close-fitting breeches to the knee, or just above the ankle, the latter being opened and buttoned up to the calf. Pince-nez were favoured, with a heavy black ribbon, generally worn tucked in the lapels of the waistcoat; and a fob of gold seals, &c., hung from the braces, below waistcoat pocket.

NINETEENTH CENTURY. WILLIAM IV. FEMALE.

The hair still retained the high loops on top and the bunch of curls at the sides, poised by a back comb and set with flowers or feathers; there was also a great variety of fancy capes with pointed frills, some with long tie ends, and these are seen with most dresses, and were worn in conjunction with the hats. The favourite hat was a big, flat, circular form, generally tilted at one side, and decorated with bows, flowers, and feathers; a flat tam-o'-shanter shape was often worn with the riding-dress, sometimes with a large peak-shape in front, and straps under the chin. The large poke-bonnet also kept the front as flat and round as possible, with a high crown tilted upward in order to set over the hair loops.

The skirts were set out very full over stiff flounced petticoats, and were worn rather short; as a rule they were trimmed with one or two flounces, which were handsomely decorated, and a short polonaise is occasionally seen. There were many interesting trimmings of gauze, flowers, and bows; while silk-flowered gauze over dresses made some charming effects.

Heavy mantles and capes or pelisses began to be braided, and rather strong colours were in general taste.

The hand-bags were of a curved form and generally bore heavy tassels. Very small fans and round fans were attractive, and bouquet-holders of gilt, with pearl handles, became the thing to carry.

Shoes were of the low sandal type, fastened by crossed elastic, with very square toes, and a tiny rosette or bow on the front; boots to the ankle were now in fashion, mostly lacing at the inside, and having a long toe-cap, sometimes with a small rosette at the top of this or a tassel at front of the top of the boot.

NINETEENTH CENTURY. WILLIAM IV. MALE.

The coats were similar to the last reign: the chief differences being an increase in the length of the waist, wider tails, and large lapels of a similar cut: velvet collars and cuffs were much worn, and the waist was still made tight. A coat with a square skirt as in Fig. 116 is seen for the first time, and the swallow-tailed coat was worn not quite so long. A lower opening to the waistcoat was generally seen in evening attire, which sometimes had but four small buttons, while more of the single-breasted type were in use, with and without lapels.

Very tight trousers to the ankle buttoned up to the calf continued, or plain trousers were held by straps under the boot; twill, corduroy, or nankeen were both strapped or free at the ankle and rather short. Knee-breeches were still worn by many for evening dress, and long Italian capes with overcapes and high turn-over collars were fashionable, besides the very full-skirted greatcoat.

Boots and shoes were square at the toes and rather long and narrow, the shoes having a bow or buckle. Short Wellington boots continued much in use, also spats.

Fobs of gold seals, &c., were worn, and eye-glasses attached to a black ribbon is a noticeable feature.

NINETEENTH CENTURY. VICTORIA. FEMALE.

The hair was parted in the centre and tightened in a top setting of plaits, with side curls over the ears. This mode was retained by many till the fifties, but the top plaits began to be set lower at the back, and the same flat parted hair was brought in a curved shape to the front of the ears, often in a small plait, allowing the ear to show, or in a plaited knot at either side; about 1850 it was waved, parted, and simply curved from the forehead over the ears in a fuller manner, sometimes being turned under to increase the side fullness, while the back hair was arranged lower down the neck. In the sixties the hair was waved and caught behind in ringlets or was bunched into the hideous chignons, which are seen till about 1880.