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- Walking Dress 1810
The Empire gown is figured in the illustration of a walking dress, 1810. It lasted practically until the advent of the crinoline in the forties, when it finally disappeared. - Queues
Among the earliest innovations after the Restoration to which the Japanese people took kindly was the clipping of their queues. In the old days men had little queues on the top of their heads. For this purpose they shaved the crown and gathering the hair around, tied it at the top with a piece of paper string; then, they bent the queue and bringing it down forward over the forehead, fastened it with the ends of the same string so that the queue was tied tightly to the first knot. The end of the queue was cut straight. Fashion often changed in the making of the queue, though its general form remained unaltered. The bend, for instance, between the two knots might vary in size and shape, and the queue itself in length and thickness, its girth being regulated by the extent of the tonsure at the crown. Or the hair might be full or tight at the sides and the back. The front was usually shaved. In short, there was a wide scope for taste in the dressing of the queue. These queues were untied and remade every second or third day, and the head was shaved at the same time. Hair-dressing was therefore a troublesome business, especially as one had generally to get assistance for it. Consequently, when the cropping of the hair came into vogue, people eagerly adopted it as it saved them time and expense. At first they cut the hair long, letting it half hide the ears and come down to the neck behind; but it became shorter by degrees until now the fashion is to crop it to about a quarter of an inch, presenting a head which is appropriately known as “chestnut-bur.” - 1800 2
- Promenade Costume 1833
Promenade Costume 1833 - Japanese Hairstyles
Troublesome as was the man’s queue in the old days, it was a trifle compared with the woman’s coiffure. In the early days of the present regime when men began to cut their hair, many women followed suit and cropped theirs as short. The government, however, interfered and prohibited the cutting of the hair by women other than widows and grandames with whom it was a time-honoured custom. In 1887 when the pro-European craze was at its height, many women tied their hair in European style; but it was subsequently abandoned by those who found that by tying the hair in this manner, they spoilt it for the Japanese coiffure; for having been accustomed to oil it well for their native style, they discovered that the hair, when bound without any pomade, became very brittle and snapped short. Still, the European style is now largely adopted because it does not require expert assistance and the services of the professional hair-dresser can be dispensed with. Various styles are in vogue. Soon after the fall of Port Arthur in 1905, a high knot came into fashion under the formidable title of “203-metre hill knot,” in celebration of the capture of that famous hill which was practically the key to the great fortress. The favourite at present with our women is a low pompadour known as the “penthouse style.” But though the European way of dressing the hair has become very popular, it is not likely so long as the kimono remains unchanged that the Japanese coiffure, awkward as it is compared with the European, will be entirely superseded by the other. - Inverted Maidehair
- Crinoline
- Young girls’ hair
Newly-born infants are shaven; but as they grow up, a little circle at the crown is left untouched. At first the circle is small, but it grows larger with years; and at six or seven, boys let all their hair grow and crop them when too long, just like their elders. Girls, before they leave this “poppy-head” stage as it is called, have little queues on the crown, tied less closely than men’s in the old days. Next, at ten or more, they have their hair done in a more complicated manner; sometimes the tresses are tied together at the crown and made into bows, and sometimes the hair is gathered at the top and parted into two tresses, right and left, which are made into vertical loops, joined together at the side, the joint being covered with a piece of ornamental paper. It has of late become an almost universal custom with school-girls to tie their hair with a ribbon and let it down loose or plaited on their backs. - The shimada and ‘rounded chignon.’
For young women the formal coiffure is the shimada, so called from the name of the town on the high road between Tokyo and Kyoto, where it first came into fashion. In this the hair is gathered and tied tightly at or near the crown together with a large tuft of false hair. The tip is folded in forward; the hair is then folded twice in the same direction as the tip so that the edge of the fold is half an inch or less behind the knot; and the whole is turned over the knot in such a way that the edge of the second fold is forward of the crown. Then, by a string passing over the knot the fold is tied down. The chignon is formed by spreading out the hair; sometimes a piece of paper, of the size of the chignon, is well pomaded and put under the surface of the chignon to help it to keep in place. The size of the chignon varies with the wearer’s taste; but, generally speaking, a young woman’s is larger than her elder sister’s. Its position too varies, as it depends upon that of the first knot, whether over or behind the crown. In the formal coiffure of a young lady of social standing it is close to the crown; but girls in a lower station of life or anxious to be thought chic prefer the chignon to be more to the back of the head. - 1916 Woman
- Young Gentleman Louis XIII period - 1625 - 1640
Young Gentleman Louis XIII period - 1625 - 1640 - Tie-back skirt
Tie-back skirt Late '7o's and Early '8o's The bustle remained an important feature after the panier effect had been discarded. The skirts were made severely plain and were pulled back by strings, so as to fit with extreme snugness in the front. At the back, however, they were drawn out over a bustle of such extent that the fashion plates of the late '70's now have the appearance of caricatures. - Choice of fabric
Here a small all-over pattern minimizes size, the plaits and tassels lengthen, the necklace adds a slenderizing touch. The appearance as a whole is graceful and youthful. - Botocudo Indian with Lip-plug
Many of these wild tribes delight in bright feathers. They make necklaces, head-dresses, arm-rings, bracelets, leg-bands, aprons, and capes from them. Not that a single tribe makes all of these many ornaments; some will use the feathers in one way, others in another. Among the tribes of Brazil, the Botocudo are famous for the ornaments they wear in their lips and ears. These ornaments are mere disks or plugs of wood, which are inserted in holes pierced in the ears and lower lip. Some Botocudo lip plugs are three inches in diameter. Such a lip ornament holds the lip out almost like a shelf. - Hats 1
These two examples show how even a hat with drooping brim, if not too wide, can be worn by the stout person if trimming is adeptly used to direct the vision upward and lend an illusion of height. - Hats 2
Here trimming is used on two entirely different types of hats to give in each case added height to the figure and help in attaining a slenderizing appearance. Left—Hats with medium brims and high trimming are often becoming, especially if wide enough to avoid the pyramid effect. Right—High built trimming and delicate veils are advantageous where a double chin is the handicap. - Practical Dress Instructor
Headdress of the Lady on the Right.—Hair in bandeaux à la Niobe; torsade of pearls. Moire dress, low body, with progressive revers opening over a modestie of embroidered muslin edged with lace; short open sleeves à la Watteau; undersleeves of embroidered muslin; half-long gloves; bracelets of pearls, or more often worn different, according to choice. The other Figure (Lady seated).—Cap of tulle trimmed with lace and ribbon. Low body, with revers open to waist; loose bell-shaped sleeves, edged with a bouillonne; two skirts trimmed with the same; modestie of embroidered muslin, edged with point de Venise; black velvet bracelets, half-long gloves, and Venetian fan. - Spring Fashions 1854
Spring Fashions 1854 - The costumes given for 1835 are a nursemaid and children
The costumes given for 1835 are a nursemaid and children - Optical Illusion in dress
Note the diagonal line in the small diagram of the figure below. It is actually straight, but the vertical lines which break it give it a “going-down-steps” appearance. This principle is used in the dress below—the two vertical panels of trimming break the line of the tunic and give the whole figure a more slender appearance than in the figure above. - The Albuera
This mantilla is one of great beauty. It is made of blue glacé silk, but can be in any choice color. Lavender and lustrous pearl and mode colors look especially well, as also the greens, in this garment. Its chief peculiarity consists in its square front and its fitting so as to just cut the edge of the shoulder. It is fastened at the top by a bow; the back falls with an easy fulness; it is embroidered. - 1807
- Two looks - same pattern
Would you believe that the pattern of these two dresses is exactly the same? This illustrates how you can vary a dress once you find the foundation lines that are becoming to you. One pattern can suffice for both a tailored and an afternoon dress, as you see both effects are pleasing in their slenderness. - 1804
1804 - The latest French fashions
Evangeline and Annoinette EVANGELINE.—Silk embroidered, and trimmed with two rows of guipure lace—one row of lace round the yoke, and one about ten inches from the bottom, each row headed with a narrow quilling of ribbon, which also goes down the front and round the neck. On the yoke and between the rows of lace there is handsome embroidery. ANTOINETTE. An entirely new pattern.—The mantilla is entirely formed of rows of lace or pinked silk on a silk or thin foundation. - The Grecian Bend
The Grecian Bend , a feature of the late 70's - Parisian Fashions
MARQUISE and NAVAILLES SHAWL-MANTELET. MARQUISE.—Silk Pelisse. The body is close; it is trimmed with three rows of goffered ribbons disposed in arcades, and terminated at each point by loops of ribbons one over the other. A row of ribbons runs round the bottom of the body, which has also a lace trimming that falls over the opening of the sleeve. The skirt falls in flutes; it has three rows of ribbons and a lace flounce. NAVAILLES.—Shawl-Mantelet, of taffetas trimmed with lace, fringe, and silk ribbons having velvet stripes. It opens like a shawl in front, and comes high behind. A lace of two inches in width turns down on the neck as far as the bow on the breast; a point falls behind like a little shawl, and is bordered with a ribbon sewed on flat, and a lace of about five inches, besides a fringe; in front this lace forms a bertha. The lower part of the garment, sewed on under the point, is rounded, and hangs in flutes behind. It is bordered with the same ribbon, accompanied by the same, and fringe. The ends in front are pointed. - Spring Fashions
LACE MANTILLA and TABLET MANTILLA LACE MANTILLA.—This mantilla has three capes—the first is in depth twenty-three inches, the second eighteen inches, and the third fourteen inches, with lace edging to match. The collar is six inches in depth, with a bow of ribbon behind. TABLET MANTILLA.—Material. Watered or plain silk. It is made with a yoke, and falls low on the shoulders. For trimming, it is cut in turrets, trimmed with narrow braid and netted fringe sewed underneath. - 1803
- The more practical gown of the Empire Period
The more practical gown of the Empire Period - 1805
1805 - two walking dresses as well as an indoors and evening dress 1836
two walking dresses as well as an indoors and evening dress 1836 - 1805
1805 - 1806
- 1808
- Toga
From Hope's "Costume of the Ancients." The material of the toga was wool, in the earlier time and for the common people; afterwards silk and other materials were used, coloured or bordered according to the `rank` or station of the wearer. - The Incroyable of the Revolution Period - 1795
The Incroyable of the Revolution Period - 1795 "Incroyable" (incredible) was the sobriquet given to the fops or dandies of the later Revolutionary period. Here is the description of one of these remarkably dressed personages as given by the French writer, Honore de Balzac: The costume of his unknown presented an exact picture of the fashion which at that time called forth the caricatures of the Incroyables. Imagine a person muffled in a coat so short in front that there showed beneath five or six inches of the waistcoat and with skirts so long behind that they resembled a codfish tail, a term then commonly employed to designate them. An immense cravat formed round his neck such innumerable folds that the little head emerging from a labyrinth of muslin almost justified Captain Merle's kitchen simile. [Merle had described the Incroyable as looking "like a duck with its head protruding from a game pie."] The stranger wore tight breeches and boots a la Suwarrow; a huge white and blue cameo was stuck, as a pin, in his shirt. Two watch chains hung in parallel festoons at his waist, and his hair, hanging in corkscrew curls on each side of the face, almost hid his forehead. Finally, as a last touch of decoration, the collars of his shirt and his coat rose so high that his head presented the appearance of a bouquet in its paper wrappings. If there be added to these insignificant details, which formed a mass of disparities with no ensemble, the absurd contrast of his yellow breeches, his red waistcoat, his cinnamon brown coat, a faithful portrait will be given of the height of fashion at which dandies aimed at the beginning of the Consulate Preposterous as the costume was, it seemed to have been invented as a sort of touchstone of elegance to show that nothing can be too absurd for fashion to hallow it. - An official ball in the Strassbourg Theatre
- 1806
- Hairstyles for 1836
Hairstyles for 1836 - Women's Costume during the Directory - 1795 - 1800
Women's Costume during the Directory - 1795 - 1800 - The 1840 style
The 1840 style - Out for a ride
- Morning costume of Dandy of the early Revolutionary period - 1791
Morning costume of Dandy of the early Revolutionary period - 1791 - The Extreme of the Crinoline - 1862
NO radical change in womens' costumes occurrred until the early fifties when what are known as the "Second Empire" styles were introduced. A remarkable feature of the fashions set by Eugenie, the consort of Napoleon III, was the enormous crinoline, of which we have more than once in recent years been threatened with a revival. The monstrous dimensions of women's skirts during the period from 1853 to the early seventies afforded an excellent theme for the pencil of the comic artist, and those who care to search the volumes of "Punch" and other illustrated publications of English and French origin, as well as those produced at the time in this country, will find both exact reproductions and caricatures of this style of costume. - The 1830 Effect
The 1830 Effect - French Restoration period - 1823
French Restoration period - 1823 - The costumes given for 1835 are indoor and walking dresses
The costumes given for 1835 are indoor and walking dresses