Early Victorian era
December 17, 2009
1850-1870
Early Victorian
Crinoline Period
Second Empire Costume
The Victorian period is so named for Queen Victoria who ruled the British Empire from 1837 to 1901. A very long reign. See www.pbs.org/empires/victoria for more information on her life and the British Empire. She was married to Prince Albert and had eleven children. Prince Albert dies in 1861 and Victoria goes into mourning for the rest of her life. The dark colors of the mourning dress set the maroon and dark hues we associate with the later Victorian periods.
It is a period associated with strict moral and social codes of behavior and dress, yet filled
with wealthy men having mistresses openly. The image that society saw was
tremendously important.
In France the Second Empire was under the rule (1852-1870) of Napoleon III and his wife Eugenie. Both of these couples (Victoria and Albert and Napoleon and Eugenie) were important inspirations for the fashion trends. www.En.wikipedia.org/wiki/Second_French_Empire Napoleon III was as ambitious as his uncle. Like Louis XIV and Napoleon I, he used the textile industry to further the French economy. Charles Frederick Worth (considered the first couturier) came to Napoleon and Eugenie with his designs. Worth had many connections in the textile industry and convinced Napoleon that he would use those connections in his designs. Needless to say, when Eugenie wore a Worth gown the rest of the society fell in as well.
In the U.S. the most dominant event was the Civil War which starts in 1661 and ends in
1865. It took its toll on the resources of the country. www.historyplace.com/civilwar
Technology is bursting: electricity, photography, steam power, telegraph, telephone,
aniline dyes, and sewing machines. The technological changes between 1850 and 1900
are astounding. The rapid pace of these changes parallels the rapid changes in fashion.
Women’s Clothing
The Early Victorian, Crinoline, or Second Empire costume is what you should envision.
Think of the movie Gone with the Wind. It is a narrow shoulder look, small waist, and
extremely large hem sweep with a supporting hoop or crinoline underneath the dress.
In the Romantic period the sleeves were full at the biceps, that fullness moved down the
arm and opened into a funnel like shape called pagoda sleeves. In Figure 4 note the
striped trim on the bicep portion of the sleeve and the striped trim on the open funnel
portion of the sleeve. This sleeve is often worn with a full sleeve (gathered at the wrist)
under it.
The circular hoop or cage was an intricate device. Some folded up, some tilted, there
were cords attached so one could pull adjust easily. The Thompson cage was one that
was not circular but extended in the back. It put more attention to the back of the
garment and gradually leads to the bustle.
Hairstyles
The hairstyles changed from the Apollo knot to more sever styles, parted in the middle
and often pulled back into a bun. However, softness was added by having long curls
(Shirley Temple style) hanging from the sides of the head.
Bloomer Costume
In the midst of the exaggerated hem sweeps of the skirts, tightly corseted waists, and tight
bodices came a call for dress reform. Over the past two centuries there was an outcry of
justice for the working classes and now, it seems, it was the start of an outcry for
woman’s rights. There were several magazines for women and one such magazine, Lily,
featured a costume that would be practical for women and still stylish. It was called the
Bloomer Costume (Figure 21) due to the woman, Amelia Bloomer, who was the editor
and occasionally wore the costume. The costume was NOT universally worn, however.
Later on, it would be used as a bathing costume.
Men’s Wear
The clothing for men did not change very much during the last 50 years of the 19th
century. The curved waistline of the Romantic period straightened out into a boxy look
and the men generally wore longer jackets that were even in the front and back. They
looked more like today’s suits.
Often the jacket and pants did not match. When they did match as in figure 25 they were
called ditto suits.
Hats worn were top hats, Figure 24, or bowlers, Figures 25. Canes were still important
male accessories.
While facial hair was very common, men were clean shaven, had moustaches, beards,
and a natural looking hairstyle. In Figure 26 you can see a white shirt, white brocaded
waistcoat, and purple jacket. The collar stands up with the help of a black tie.
Children
The children wore similar clothing to the adults, but with much more freedom than they
had in the 16th and 17th centuries. The skirts and knickers were short for the children and
got longer as they got older. Figure 27 shows a young girl with a shorter skirt than her
mother but still with the tiny waist and full hem.
Movies: Gone with the Wind
Little Women
The Piano
Great Expectations
Discussion:
During the Early Victorian period, technology boomed more than ever. Technological advances in electricity, photography to capture the moments (also use of documentation and primary source), Steam power, telegraphs and telephones as a means of communication, and last but definitely not the least is the sewing machines. Before the sewing machine was invented, most of the sewing was done by hand. During the Civil war, the use of a sewing machine was demonstrated and soon became the epitome of the RTW business. Without the sewing machine, it would have been impossible for designers to produce large quantities of clothing for the American growing population. Not only did the sewing machine save time and effort, it made certain garments popular because it was already made. The invention of the sewing machine made it easy for the work of an individual designer to make a certain type of garment. An example of the use of technical advances came the Crinoline cage. Crinoline is a stiff like type of fabric used mostly in petticoats for women’s skirts. The cage was made so that the women’s skirts would stay in place and hold out. Still during this period, corsets were still in, but the Crinoline cages were considered undergarments as well and was used for the shaping of the full skirt. This made it easy for women to move more freely under their garments.
Technology today is still an important aspect in fashion. Sewing machines are more advanced and used widely in garment factories. But what happens when you mix a unique designer and the use of technology within a garment? Designer Hussein Chalayan fused both fashion and technology into one during a spring/summer collection in 2007. He took bits and pieces of garments from different eras and decades and “cross pollinated” certain garments together. He looked at what elements he could use from one era and somehow incorporated it into another era to make the garment piece look unique. Hussein definitely showed a futuristic type feel and encapsulated evolution within the garments he presented. Here in the picture, Hussein turned a simple dress into a Victorian dress making it look like she has a crinoline-like cage underneath.Technology is definitely still advancing today, and garments are getting more and more complex as time progresses. As much as we say history repeats itself, fashion is taking a different tone with designers and their unique ideas with combining fashion from the past and making it their own with a more modern day twist for the future.
Technology today is still an important aspect in fashion. Sewing machines are more advanced and used widely in garment factories. But what happens when you mix a unique designer and the use of technology within a garment? Designer Hussein Chalayan fused both fashion and technology into one during a spring/summer collection in 2007. He took bits and pieces of garments from different eras and decades and “cross pollinated” certain garments together. He looked at what elements he could use from one era and somehow incorporated it into another era to make the garment piece look unique. Hussein definitely showed a futuristic type feel and encapsulated evolution within the garments he presented. Here in the picture, Hussein turned a simple dress into a Victorian dress making it look like she has a crinoline-like cage underneath.Technology is definitely still advancing today, and garments are getting more and more complex as time progresses. As much as we say history repeats itself, fashion is taking a different tone with designers and their unique ideas with combining fashion from the past and making it their own with a more modern day twist for the future.
Another rainy day…
December 16, 2009
Amazon Kindle commercial
Annie Little Fly Me Away Lyrics
Silver Moons and paper chains,
Faded maps and shiny things.
You’re my favorite one-man show.
A million different ways to go.
Will you fly me away?
Take me away with you,
My love.
Painted scenes, I’m up all night.
Slaying monsters, flying kites.
Speak to me in foreign tongues.
Share your secrets one by one.
Will you fly me away?
Take me away with you,
My love.
Now I cant think what life was like
Before I had you by my side.
Cant say what I’d do without you,
Knowing what its like to have you.
Hidden walk ways back in time.
Endless stories, lovers cry.
In my mind I’ve been set free.
Will you take this Journey
You and Me?
Will you Fly me away?
Take me away with you,
My love.
Fly me away with you,
My Love.
Take me away with you,
My Love.
don’t forget your umbrella!
Fall semester 09 DONE!
December 16, 2009
whoo! just turned in my last final that was a research project on consumers and their attitudes toward sustainable apparel and why practicing sustainability is good for the environment. This project turned out to be about 70 pages long! here’s a snip-it from my research:
CHAPTER I
INTRODUCTION
A huge problem in today’s society is the effect of products harmful to the environment. Items like plastic bottles, aerosol cans, and gases can harm the environment if no precaution is taken. It is essential that sustainability is engrained in our vocabulary and is practiced throughout as a method for saving the environment. Some easy sustainable methods that can be used in a person’s everyday life is the purchasing of aluminum canisters instead of plastic water bottles. The use of aluminum canisters is considered safer for the environment because it does not create waste whereas plastic water bottles need to be thrown out. Yes, water bottles can be recycled but aluminum canisters will save so much more trouble by refilling it with water each time. How can this concept of sustainability be put into action for apparel? For instance, clothing can be sustainable if it is made of sustainable fibers like bamboo, hemp, and organic cotton. These fibers must be grown without any pesticides for it to become a sustainable product. Another way of practicing sustainable apparel is to buy sustainable apparel and recycle old apparel. Second life apparel such as Buffalo Exchange, and wasteland are stores in which they sell used clothing available in good condition. Some are more vintage than others and all sell at a reasonable price. Sustainable apparel is good for the environment because instead of throwing apparel in the dumps, donating and reselling can definitely help the environment.
Purpose
The purpose of this study is to educate consumers, as well as other researchers about the importance of sustainability and consumer attitudes toward sustainable products. In Hypothesis one, the correlations testing was used to determine if there is a relationship in consumer pro-attitudes toward sustainable apparel and their purchase intentions of sustainable apparel. In Hypothesis two, the paired sample t-test was used to determine if there is relationship in consumer product knowledge of sustainable apparel and their pro-attitudes toward sustainable apparel. In Hypothesis three, the independent sample t-test was used to determine if there is a difference in consumer pro-attitudes towards sustainable apparel based on gender. In Hypothesis four, the cross-tabulation & chi-squared tests were used to determine if there is a difference in consumer pro-attitudes toward sustainable apparel based on age. Each of these hypotheses helped to determine more about the consumer for the consumer is most important in keeping updated with fashion and the RTW business.
Justification
This study of consumer attitudes toward sustainable apparel is essential to retailers, designers, advertisers and manufacturers for all need to understand the importance of sustainability. Sustainable apparel is good for environment because apparel waste or any waste can pollute the earth. This study is significant because it helps us understand whether or not consumers have an outlook for sustainable products, and why it is consumers know or don’t know about sustainable products.
Limitations
Unfortunately, there were some limitations in this study. Some limitations of this research include the lack of money and time for the duration of the surveys and possibly not enough respondents. Due to a short time period, the number of respondents was acceptable. There were four hypotheses tested during the conducting of this survey. Hypothesis one tested consumers and their purchase intensions. Hypothesis two tested the consumer and their knowledge about sustainable apparel. Hypothesis three was tested to see if there was a difference in consumer attitudes based on gender. Hypothesis four was tested to see if there was a difference in consumer attitudes based on the different generations. If the hypotheses were broken down to only one or two studies, then it might have been better focused.
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Romantic period 1820-1845
December 12, 2009
Romantic Period or Restoration: c. 1820-1845
This period is called the Romantic period because such writers as Keats, Shelley (his wife wrote Frankenstein), Byron, Austen, and composers such as Brahms and Tchaikovsky wrote and composed based on emotion and adventure and exhibited artistic freedom. . It was also the restoration of the short lived monarchy (1814-1830) in France. This is a continuing period of progress in industrialization and trade with the further development of the railways and fast transportation. The appearance of cheap press, modern advertising, and fashion magazines all produced major changes in the economy, social life, and in fashion.
Fashion Plate published in a ladies magazine. New advances in the textile industry enabled more people to buy fabric at affordable costs. The cotton industry, woolen industry, textile printing, and weaving were all impacted by technological improvements. The manufacturing of clothing was changing as well. Although the majority of garments were made-to-order, there were emerging signs that the mass production of clothing was on its way. Tailors, for example, no longer received their materials from their customers but bought their own. Many tailors pre-cut and sewed part of the pants for sailors who did not have sufficient on shore time to make an entire garment from scratch.
The role of the woman changed again in this period. During the Empire many women took on public roles, but they suddenly went back to the house and became more involved with the household matters. They had time to indulge in making themselves into butterflies with ribbons, trims, laces, and corsets. The corset emerged again developing into the wasp waist (remember Crete?). Some men wore corsets under their shirts as well. (The number of patents for corsets in 1828 was 2. That number increased to 64 by 1848.) The ideal body shape was the hourglass figure.
While the fashions of the time were extremely feminine, romantic, and ephemeral, there were those who had the freedom and self-security to do the opposite. One such person was George Sand, a female author, who took on a man’s name and wore trousers in an effort to strike a blow at feminism and, it is imagines, for publicity. Her actions and the actions of a few others were the beginning of the woman’s rights movements which came about in more force at the beginning of the 20th century.
Department stores developed. Prior people bought their goods from specialists such as the meat vendor, the fabric vendor, the cobbler, etc. While the development of the department store does not radically change consumption at this time, it will eventually.
Women’s apparel
The evolution of women’s costume from Empire to Romantic is a good example of a slow evolution. Those costumes between 1815 and 1825 will be called “transition costumes”. There are three areas to take note of: the shoulders, the waist, and the hem.
The woman’s dress in Figure 8 is called the Restoration Costume and it consists of a bodice with a boat line neckline that ended off the shoulder; large puffy sleeves, a tiny waist that was just a bit higher than the natural waistline, and a very full skirt that was short enough to display tiny feet. The garment is made from light weight and generally pastel colored fabrics and prints and is embellished with ribbons and bows. As women changed their attire often so it would be suitable for their activities, the dresses were called “morning dress,” “tea dress”, “walking dress,” etc. The pelisse is a coat dress and is made to keep the wearer warm, but looks like a dress.
Both the wide shoulders and the wide hem emphasized the smallness of the waist. Necklines were further emphasized by pelerines and other neckline devices. Sleeves are of paramount importance in this period. Generally they are called gigot sleeves, but had all kinds of other names: Marie, Imbecile, elephant ears, and many other names. They were quite often double layered with a sheer sleeve over the solid one, they could be gathered, they could be full at the top and narrow at the bottom, they could be gathered like virago sleeves, they could be cut to the wrist, the elbow, or shorter. Tortora and Eubanks have some excellent illustrations. A bridal dress from the period. Sleeves are full on top and narrow at the wrist. Note that the sleeve does not start at the shoulder but is dropped and starts a few inches down the arm. This is an important characteristic because in the Late Victorian period this large sleeve will be seen again and will start at the shoulder/arm juncture. They did not have zippers but relied quite heavily on cords and ties.
Hairstyles
The hairstyle, Apollo Knot, is a strong characteristic in identifying the Romantic period. It was composed of piling the hair on top of the head in a large knot or bow-like form and adding ribbons. Apollo knots were often worn with hats. The use of lace in the hats was typical. Figure 16. Portrait of a woman in a bonnet or hat. Again note the lowered shoulder/arm seam. The dropped or lowered shoulder/arm seam made it difficult to raise one’s arm, especially if it were fitted a tight as this one is. Therefore it would be difficult for these women to do many kinds of physical work. Ladies in afternoon dresses from cotton prints, and wearing bibi bonnets. These had a front rim that helped protect their faces from the sun.
Textiles
The textile industry was booming during the Romantic period so many kinds of textiles could be produced. The fashionable textiles were the light weight ones: silk taffetas, cotton voiles, cotton calicoes, cotton batistes, wool challis. While solid colors were used generally in pastels, small prints were popular as well as plaids.
Undergarments
Corsets were worn as well as undergarments that gave shape to the structure of the sleeves and the dresses.
Men’s Costume
The men’s costume silhouette did not change much throughout the 19th century. They continued to wear the frock coat and it did take on some variations. They continued with the waistcoat or vest, the shirt, the cravat and the breeches or trousers. A tight fit was fashionable as well as a small waist. Man in blue frock coat, yellow waistcoat, red cravat, white breeches and a top hat. Note that the breeches have a strap or stirrup that attached to the hem of the leg went under the foot instep and to the other side of the hem. This kept the pant leg smooth and tight. The “stirrup” pant was revived in the 1960s and used for woman’s pants. This would be the extreme of fashion of the day, not generally worn by all men. The common man wearing a frock coat, waistcoat, breeches. The top hats are a bit shorter. The intricate patterning and fitting of the frock coat is evident from the center figure. Boots and shoes were worn. Canes were a popular accessory.
Movies: Jane Eyre
Impromtu (Chopin)
Not only was this period called the Romantic period because of writers, composers, and art, this period was also romantic because of their clothing. Corsets were still popular during this period, the hour glass shape was ideal for women and men encouraged it. Shoulders were also exaggerated along with the tiny waist. The Apollo Knot was a strong characteristic for this was when women would gather their hair at the top of their head in a large knot or bow-like form and add ribbons. The tying of the hair gives a sense of romantic feel for the neck and back may be more visible. Due to more advanced technology, fabrics became more refine. Silk taffetas, cotton calicoes and lace as lightweight fabrics were used. Lace was more used on items such as the bibi bonnets to give a more feminine look. The bonnet was an item I thought was unique because it added to a woman’s feminine look. Colors such as pastels were used to give a more soft touch to the womanly bodice. As for the men’s costume, the frock coats still existed and continued to wear tight fitting clothes with small waists and a cane as an accessory.
Reoccuring garments
December 4, 2009
In the Empire period, A betsy is a pleated starched collar worn around the neck just like in the 16th century during the Elizabethan Age. The older version of the betsy was also worn around the neck and was also starched and pressed to make the ruffle around the neck. This garment was called the cartwheel ruff. During this time, the corset was also a reoccurring garment that appeared in the empire period. The corset was to form fit the women around the bodice so that a dress may be worn with a skinny waist and a wide skirt. The corset still exists as of today, but with a modern twist to fit today’s styles. The long headdress veil was adapted from the Greeks and worn over women’s short hair. And braces, also known as ribbons were reminiscent of the greek girdle to support their petticoats.
As much as we say history repeats itself, clothing also repeats itself but with a more refined look. Reoccurring garments and accessories keep repeating because the consumer is willing to buy this garment. In order to keep the garments new, and fresh, designers revise it to put a different style or feel so that the consumer can keep coming back for more.
In today’s society, clothing is reminiscent of dress from history. For example:
Men in today’s society do not wear togas, but a circle scarf in modern day times represent some kind of resemblance to the clavi that is usually sewn on a tunic or toga and would represent the rank that person is in society. Through it is unsure if the picture of a roman man is accurate, I think the thickness or thinness of the clavi is similar to the circle scarf just by itself and not attached to the tunic or toga. The reason why the circle scarf is probably popular today is because instead of a regular straight scarf wrapping around the neck a dozen times, it is easier and more convenient to wrap the circle scarf around the neck. These circle scarves are sold in RTW stores like Urban Outfitters, American Apparel, and Forever 21.
Footwear of the Romans were these sandals. Though the Romans sometimes did not wear sandalis or solea at all. Places like urban outfitters sell the modern day roman sandals but with a modern day twist. Mostly all are made of leather and display many straps and different lengths reaching as high as the knee. The reason why sandals are probably popular today is because during the spring and warm weather, these sandals gave a different type of style to the RTW business.
Along with the Roman sandals, the women of Rome wore Stolas. This type of dress can be seen worn on the red carpet or at any RTW place selling elegant dresses. This type of garment is repeated probably because of the smooth rhythm of the drapery and the asymmetrical balance of the one shoulder toga. The white color of the garment represents the importance of rank during the Roman period, but as of today, there is no symbolic means of ranking, just the elegant feel of the garment.
Lecture #19: The Empire: 1800-1815
December 4, 2009
The importance of the Industrial Revolution is strongly felt in the economy and lifestyles of all people in the early 19th century. Since the fashion focus was on France at this time it is natural to consider France an economic power as well. Actually, England, with its global outreach, extensive trade, and monetary reserves became the most powerful economic center in the world. There was regular trade with Canada, America, the Mediterranean, the Baltic, the Cape and the Indies, Far East, Australia. There were many improved trade routes. European textile materials and colorants were the first commodities to benefit from this extensive trade: cotton from America, wools from Ireland, silks from China, dyes from India, etc. Figure 1. Map of Europe 1805 The revival of the textile industry and improved quality of materials woven had a noticeable effect on costume. White or plain cotton which was of such a good quality it did not need to be printed. However, by 1805 both sexes wore sumptuous fabrics such as velvets, heavy satins, and taffetas. Napoleon liked these rich fabrics for ceremonial occasions. See Figure 2, a painting by Jacques-Louis David, The Coronation of Josephine. It illustrates the rich fabrics used for court functions, but were not worn as everyday dress. . Figure 2. Coronation of Napoleon, David. …… ……………. Figure 3. Josephine Figure 4. Napoleon I by David Napoleon did for the textile industry what Louis XIV had done. He developed it through stimulation of the fashion industry. The sumptuous court activities and costumes, the triumphal ceremonies of the Imperial armies, the embellishment of architecture and costume all contributed to an extravagant way of court life and provided greedy customers for the textile industry. Napoleon made himself the Roi Soleil. He dictated that women could not wear the same garment to court twice. Josephine, his first wife, was very interested in fashion and had her own designer, Leroy. During the War of 1812 the French trading came to a virtual halt for a time and there was a suspension on court pompous activities. At that period there was an unemployment crisis in the textile industry. Once the extreme political and social events became to become more conservative with the rise of Napoleon and the change of the French rule of the Directory into an Empire, the clothing was modified. Again the French court made important especially with the Bonaparte family in the thrones of allied countries through marriages. The aristocracy was highly fashion conscious, but not the people in the country districts which favored an assortment of national costumes. The upper classes were surprisingly homogeneous between nations. Fathers held the control of both the morals of a family and the money even though mistresses continued. Young ladies were highly chaperoned, educated at home with their mother and governess, taught the fine arts of embroidery and other needle crafts. The quality and subtly of the embroidery showed one’s breeding. Young men were formally educated. Popular portrait artists of the time were David, Reynolds, Gainsborough, and Romney. Women’s clothing: The Empire repeated the silhouette of the Directory in women’s clothing, however, the fabrics became stiffer and more elaborate. Generally the women were depicted as having a tall, slender, willowy silhouette. The fabric used was light, supple, and often clung to the wearer. The round gown or chemise was a very high-waisted sheath, generally with a square, low-cut neckline covering the shoulders and girdled below the bust with a narrow belt. We often refer to this style as Empire and the highwaisted element in it was revived in the early 20th century as well as in the 1950s. The round gowns or chemises could be transparent garments with tiny slips underneath and long trains. Often the women would wet themselves down with oil or water to make the fabric even clingier, like the Greek relief of Nike Adjusting Her Sandal. A severe epidemic of influenza hit Paris in 1803 and gave rise to calling muslin “pneumonia cloth” since the epidemic was in part due to the wet bodies going out in cold weather. Figure 5. The headdress in this illustration has been adapted from the Greeks. Short hair was popular, the high waist in this muslin round gown is emphasized by the colored edging. Edging also emphasizes the drape of the fabric. Small starched ruffle has been placed around the neckline edge. Figure 6. Modest round gown worn with a shawl and bonnet. Figure 7. Primary source round gown in muslin with embroidery at the hem and short puffy sleeves. A shawl serves as an accessory. Tiny shoes peek out under the hem. Figure 8. Portrait of Madame Raymond de Verninac, J-L David. 1800. The “Grecian look” gave its inspiration first to the Directory and then continued to the Empire. The clingy and transparent nature of the fabrication used at this time was at its extreme between 1803-07. See figure 35. Figure 9. Madame Recamier, by J-L. David, 1800. If you look closely at the woman’s dress you will see that the back of the bodice has many seams and is raised slightly. This round gown has a long train that was popular at the beginning of the century. Gradually it diminishes. Figure 10. Comical illustration of English middle class in the Empire period. Shorter garments were needed for the working classes. V-necks were also known. The round gown generally reached the feet and had a train, although there are many examples of a tunic style that reached the knees with another garment underneath. Gradually the train was diminished. The early round gowns were made with no waistline seam. Throughout the time period a seam was inserted between bodice and skirt. This gave a greater variation to the skirt silhouette. The round gown generally had short sleeves that were set in. The fashionable style was puffy sleeves. The bodice back was highly structured. Figure 11. Illustration of young people playing kissing games. The fabric appears to be very clingy in this illustration. Figure 12. Wedding dress Figure 13. Two summer walking round gowns with bonnets and a shawl. Figure 14. A fancy court garment with a train, shawl, brocaded material, a feather in the hair, and a fan. Primary source garment. Figure 15. Illustration of three young women. The woman on the left is wearing a round gown with a ¾ length tunic over it. She also has a dickey in her neckline that is raised at the neck into a ruffle. Her top hat is from the male wardrobe. The woman on the right has a round gown with short sleeves. She is wearing a fur shawl, gloves, and a bonnet in the Grecian style. Since the round gowns were so light and airy, it was essential that heavier outer garments evolved. The redingote was the warm outer coat, generally made of worsted wool. Shawls were highly important and were imported from India. Figure 16. Illustration of four women. The central figure is wearing an outdoor coat or redingote. This particular garment has many versions, but basically it is the outdoor coat used by men and women. Note that there is more attention to the hem line and embroidery or ruffles at the hem. When so much attention is paid to one area of a garment, evolutionary changes will most likely make that area change. In this case the hemline will gradually get fuller and fuller. Often a betsy, a pleated starched collar worn around the neck, was worn. These could have one layer of fabric or many layers. The woman in Figure 17 wears a white betsy with her brown velvet gown. In Figure 16 the woman second from the left has a multilayered white betsy. Figure 17. Portrait. The Empire period also played with different sleeves. You will note short puffy sleeves (generally the favorite), but also slashed sleeves (Figure 17), long sleeves (Figure 15, virago sleeves (Figure 15 and 22), and double sleeves (Figure 25). The early round gowns followed the example of the Directory, however, gradually corsets began to reappear. They were lighter and shorter than the 18th century corsets adding support to only the bust. These were called braces and could often be seen outside the garment. (See Figure 18). However, as the Empire progresses these corsets become longer and boning is added. Figure 18. The woman on the left is adjusting her braces. The illustration in the top center is a dickey with ruffled neckline. Figure 19. Illustration of braces and corsets being adjusted. Figure 20. If you look closely at this original garment you will note at the biceps on the left that you can see the strap of her braces. Undergarments became important. Chemises and petticoats reappeared towards 1809 and had a great deal of attention paid to their embroidery. Braces were ribbons passed over the shoulders or crossed over the back. These were reminiscent of the Greek girdling. (See figure 18 and 20) However, about 1811 elastic braces appeared. These were actually knitted rather than having elastic fibers, but it enabled women to support their petticoats. Many authors identify the use of pantaloons for women that were knitted and close fitting. These were strictly undergarments and women were embarrassed to have anyone see them. In the next fashion era, the pantaloons will come out of hiding. Undress – contradictory term really means modest dressing, like covering in the neckline with a dickey. See Figure 15 and 16. The length of the skirts and trousers often told the age. Figure 21. Illustration of a family group. The length of the skirt was longer as the child advanced in years. The same was true of boys. Their pants were longer as they got older. Illustration Figure 22. A family portrait.. The pantaloons are visible for the young girls. Often the pantaloons or pantalettes were taped to the knees and did not reach the waist as we might imagine. Figure 23. Primary source garments. The young man is in court costume or breeches. He has been dressed as a miniature adult (including wig). While this practice still goes on, children are most often dressed in more comfortable clothing. Figure 24. J-L David, 1804. Shawl and hairdo. The natural, short hairdo for women is called al la Titus. Obviously it is based on the ancient Romans. Textiles: At the beginning of the Empire period, muslins were the fabric of choice, but gradually, especially with the rise of the textile industry, many other fabrics came into vogue. Predominantly the fabrics were light in color and weight. If the fabric was brocade it was a light brocade, etc. Figure 25. J-L David, 1812. Fabrics gradually changed to velvets, embroidered muslins, and light weight cottons. However, there was not a heavy look to the fabrics used. Accessories: As the garments were rather simplified, accessories became very important. A variety of shawls, especially the paisley shawls (see figure 27), became important. First these were imported from the mid-east, but gradually the Manchester mills began to reproduce them. Muffs were also an important accessory (See figure 26). Bonnets, fans, and gloves were also popular accessory items. Figure 26. Illustration of a woman with a fur muff. Figure 27 Mme. David, by David. Figure 28. Illustration showing a woman with a fan, gloves, turban hat with feather, shawl, and a revival of the Medici collar. Her hair is short in the a la Titus style, she wears a round gown with short puffed sleeves and embroidery at the hem. Figure 29. Woman with a fur scarf, fur muff, bonnet, and reticule. Primary source garment. The reticule was the first purse. Transition clothing Between approximately 1812 and 1825 there was a gradually change in the woman’s costume. The hem grew wider, the waistline slowly moved to a natural waistline, and the sleeves enlarged. Figures 30-32 show some of these changes. Figure 30. Figure 31 Figure 32. All three of these illustrations show evidence of change. Men’s Clothing Men’s fashion which had been so rich and varied before the Revolution now became less interesting. This followed the mechanization of the Industrial Revolution. Men became deeply involved with manufacturing, banking, and warfare. With some exceptions, there was little interest in clothing. Men still wore the basics: frock coat, waistcoat, shirt, cravat, and pants/breeches. The frockcoat had several variations based on the shape at the waist (cutaway) and the shape of the back tail (claw hammer tail).The waistcoat was the most changeable garment for men as they varied in collars, cut, lapels, material. Often men would wear several on top of each other so you only saw a small edge of the one underneath. Figure 33 Illustration of a couple. The man is wearing a cutaway frock coat (it is cut straight across the waistline at the front), breeches, a waistcoat (the gold garment under the frock coat), a shirt with cravat, and a top hat. Figure 34 Illustration showing a man with top hat, frockcoat, blue breeches, and hussar boots. Shirts were rare seen as jackets were always worn over them in fashionable groups. However, the working man often just wore his shirt. Along with the shirt was the cravat which was a large square folded diagonally then rolled around the neck, tied only with a small knot. Some men were very fastidious about how this cravat was formed and would take hours tying it, untying, repressing, and retying so that the folds were “perfect.” Beau Brummel made cravat tying one of the main preoccupations of the Dandies. Along with the many inventions and innovations of convenience was the col-cravate. This was a prefabricated cravat that was already tied, mounted to a collar, and just needed to be buttoned to the shirt neckband. Trousers or pantaloons were very tight and often worn with gaiters attached to the bottom to hold them to the ankles. Some had a placket at the ankles with buttons. These were often worn with hussar boots, the tall closely fitted boot with a high front and lower back. Figure 35. Portrait showing military dress. Figure 36. Portrait showing military dress (hussar boots, breeches, and military jacket. Gloves and bicorn hat are accessories. Figure 37. Napoleon in the bicorn hat. This was his trademark. Garrick is the coat or cape with 3 to 5 capes attached to it. It is often called a greatcoat and is worn throughout the century. It is identified with coachmen and carolers as the many capes would help keep off the snow. Figure 38. Illustration showing various coats. The central figure is in the Garrick or greatcoat with the many layered capes. Double breasted coats became popular as well. Figure 39 Illustration showing a double breasted coat and a garrick or greatcoat. Both men wear top hats. While the French dominated the style and cut of women’s clothing, the English tailors with the subtle cut of silhouette, dominated the trends for men’s wear. Figure 40. This illustration shows the continuation of tailoring that went into a man’s garment. The men put emphasis on their frock coats and outer coats fitting very well. One way they achieved this is through the intricate seaming in the back of the bodice. . Hair: Sideburns were common at this time although not all men wore them. Napoleons hair shows carefully casual locks and a clean shaven face. The English dandies grouped around the Prince Regent, the future George IV and George Brummell, George IV’s close companion and advisor. They gradually imposed the new style of men’s clothing which was studied correctness and impeccable fitting that only the English tailors could do well. Brummell led English fashion from 1796 to 1816 when he fled the country due to debt. He initiated shoe polish, fresh linen daily, starched cravats, changed clothing 3 times a day. The dandy at his day wore button waistcoats with pale colors, buckskin breeches and short boots, very tight, ankle buttoned trousers, and low, square beaver hats. Figure 41. Illustration of man and woman. Figure 42. Primary source material. Court Frock Coat. Note the embroidery on the pockets and sleeves. The court dress did not differ from the court dress of the 18th century. Figure 43. Illustration of a man and woman in court dress. Note the beginning of puffiness at the tops of the man’s sleeve. Figure 44. Woman and sailor. Figure 45. English man with daughter. Fabrications: worsted wool serge, cambric, challis, lace, patent lace which was machine lace but not widely used, cotton muslin of various weights, embroidered muslin and lawn, tissue silk, brocades, velvets. Figure 46. Group of people both peasants and upper class. Can you detect the difference? The group on the left is the lower class and the woman in the white round gown is upper class. Figure 47. The left side of this illustration is the same as Figure 16. However, the two figures on the right side are transition garments leading into the Romantic costume period, 1825 -1845. Movies: War and Peace, Napoleon and Josephine
Before Thanksgiving break…
November 21, 2009
Link Love: RIP Daul Kim, VS Lingerie Cirque du Soleil and Fashion IMBD
Juicy bits to start your weekend …
The Cut reported that twenty-year-old model, photographer and artist Daul Kim was found dead in her Paris apartment on Thursday. We’ll miss her enigmatic character and unique look.
It was like a Cirque du Soleil of lingerie. Fashionista captured the Victoria’s Secret runway show on video.
As up on the industry as you are, it’s virtually impossible to remember every detail of designers, models and collections. Introducing what every fashionista has been waiting for—the IMDB of the fashion world called MyFDB.com.
Like so many others in these trying times, Zac Posen agreed to design a lower-priced sportswear line for Saks Fifth Avenue. Refinery29 gives us a sneak peek.
Kate Moss is chastised for her flippant comment, “Nothing tastes as good as skinny feels.” Out of context or not, this is one giant step back in the struggle against eating disorders. (via NYT)
Wev’e got a new suggestion for how you can spend your lunch hour. DailyCandy launches a new sample sale site today called Swirl.
By Allison McCarthy
What’s the Deal: John Varvatos, Martha Davis, Artillery and more…
Outside, it may be cold and dreary. But these weekend deals are bright and cheery…
John Varvatos: The fall-winter collection is 40 percent off through Tuesday. Visit the San Francisco store in Union Square or use online code F09PRS.
Martha Davis: Tonight from 6 p.m. to 9 p.m. at Hayes Valley’s Gimme Shoes, meet the local shoe designer and receive 25 percent off her collection while perusing special holiday styles. Can’t make it? Shop online and use code Martha25 for the discount.
Artillery: A one-day sale goes down today at this Mission destination for apparel and footwear. DJ TeaMore will be on the turbtables from 6 to 8 p.m. Everything in the store will be 10 percent off during the sale, but select items will be up to 30 percent off and there’s a special deal on shoes: buy two pairs and the second is 30 percent off.
Goodwill: Attention thrifters, all brand name clothing is going for $2 per piece on Friday and Saturday at San Francisco locations. To top it off, all clothing in the West Portal Goodwill Boutique will be 50 percent off on Sunday.
Thread: We’ve already mentioned 7 reasons to go to Thread this weekend, but we’ll reiterate one today: up to 80 percent off apparel and accessories by local and independent designers.
Heidi Says: Select designer brands are on sale for 20 percent off during the Pacific Heights trio of boutiques’ pre-Thanksgiving sales. Stop by the shoe salon for deals on Guiseppe Zanotti and Missoni, the casual boutique for TBags and Rachel Pally and the original shop for M Missoni and DVF.
Beyond the Alley: A pre-Thanksgiving sale at this Chestnut Street shop means 50 percent off all scarves, hats and gloves today and tomorrow.
GAMA GO: An online-only, 48-hour sale starts today at 11:30 a.m. and runs through Sunday at the same time. In keeping with the theme, all tees, hoodies, bags, wallets and coin purses from the SoMa company will be 48 percent off.
By Lorraine Sanders
Look of the Week: Hip Hop Haze
With HipHop DanceFest bringing some of the most cutting-edge dance troupes in the world together this weekend in SF, it’s safe to say that anyone remotely interested in dance (or dancers for that matter) should definitely be there. Even fashionistas whose dance experience is limited to watching Lady Gaga videos and Dancing with the Stars are sure to find fresh inspiration in the hip hop styles that will brighten the stage and crowds alike, which brings us to this week’s look:
1. Adidas Deadstock 1988 Olympic Sapporo 72 Sweatshirt, $100: We’re loving the vibrant hues and snow-capped details on this vintage find.
2. Topshop Panelled Wetlook Leggings, $44: Add sex appeal to your street ensemble with this futuristic panelled leggings.
3. Litter Comb Ear Cuff, $55: This au courant accent provides a subtle dose of flair.
4. Scales Aviator Flat Top Sunglasses in tortoise, $10: These ’80s-inspired shades look perfectly modern whether you’re uptown or downtown.
5. A Bathing Ape Foil Roadstas in red, $212: You’re sure to shine in these metallic kicks.
By Jaclyn Binder
7×7 update
November 10, 2009
Three Items Tim Gunn Says You Must Have in SF
It seems Tim Gunn is determined to make over the Bay Area, one Westfield at a time. After stopping by Bloomingdale’s in SF last month to introduce Kate Spade’s latest offerings, the style guru hosted a Fall/Holiday fashion show on Nov. 7 as part of the Westfield Style Tour in Santa Clara. The 200 fortunate fashionistas who attended the event were shown how to maximize their wardrobes by mixing and matching new pieces with closet staples. Check out what Mr. Gunn had to say about fashion faux pas and must haves.
Link Love: A Nation’s First Fashion Week, Luxe Fashion for Rent and Tay Leaves Zoe?
On our radar this fine Monday morning….
Pakistan holds its first-ever fashion week, despite ongoing violence and political tension in the country’s northwest.
Taylor (a.k.a. Tay Tay) Jacobson of The Rachel Zoe Project fame exited her job on Friday. We wonder how her bangs feel about being unemployed. Via People.
InStyle has the scoop on new site RentTheRunway.com, launching today. For as little as $50, style hounds can rent coveted fashions from labels such as Herve Leger, DVF and Proenza Schouler and return them after the big event.
New York label Built By Wendy surprises with its latest garment: a poncho for wheelchair users.
New Moxie Girlz dolls are giving Barbie a run for her money, the New York Times reports.
If you thought (perhaps with fashion-fueled glee) that Crocs were doomed, think again. The Cut reports the company is once again profitable.
Inhabitat gets a kick out of artist Gabriel Dishaw’s up-cycled Jordans, made of scraps from old computers and electronic cast-offs.
The troubled Escada brand is purchased by the 33-year-old daughter of a steel industry billionaire. Via Luxist.
Ferragamo launches an online museum and invites aspiring designers to revamp its shoe designs and submit them for a chance to appear in a virtual gallery show.
W intrigues us with the 6 makeup brands you’ve never heard of (hint: you may have heard of a few, or at least their makers)….
What’s the Deal: Atelier Des Modistes, Edo Salon, Harputs Union and more…
Deal us in…
Edo Salon and Gallery: A two-for-one color special is on at this Lower Haight salon. During November, book an appointment for a color service with a friend, and you’ll receive back-to-back treatments and only pay for one of them. Appointments for both clients must be booked at the same time under one person’s name. Intrigued? Get an introduction to the salon during a 20’s-inspired cocktail party being held there tonight from 9 p.m. to 1 a.m.
Atelier Des Modistes: This Russian Hill bridal salon launches its annual sample sale today. Through Sunday, Suzanne Hanley’s couture bridal gowns made of Italian silks and adorned in vintage French trims and semi-precious stones are 25 to 75 percent off, with prices starting at $500. Headpieces and veils are also on sale. You’ll need to contact the shop for an appointment if you’d like to try sample gowns on.
Harputs Union: We hear that the new Union Square location from this longtime local retailer is celebrating its new digs with 35 percent off apparel for men and women from such labels as Pleasure Principle, Comme des Garcons, Martha Davis and Y-3.
Sisley: The Grant Ave. boutique’s Veteran’s Day sale starts today and runs through Nov. 11. Stop by the shop for 20 percent off select items.
GAMA-GO: The annual holiday sale from this SoMa-based company goes down on Saturday at Rickshaw Stop. Head on over for t-shirts, wallets, hoodies, messenger bags and gifty items priced up to 75 percent off.
Honeys and Heroes: Shop for hip children’s apparel from labels such as Pink Chicken and Sister Sam at this Presidio Heights store this weekend, and you’ll save 20 percent on regularly priced items. Or shop online and use the discount code SAVE.
Rebecca Minkoff: Chestnut Street boutique dress is in the midst of a “warehouse” sale on Rebecca Minkoff handbags, including styles such as the Nikki Hobo and Morning After Bag. All bags by the designer are 50 percent off through the weekend – or until inventory runs out.
Carrots: To celebrate its second anniversary, the Jackson Square emporium will gift shoppers who spend $250 or more during November a free t-shirt (reg. $80) designed exclusively for the shop by SGR.
Work Clothes: Take 50 percent off this small Bay Area t-shirt company’s limited edition offerings for men and women until Thanksgiving with the discount code THANKSWORK when you shop online.
“Stylemaker” Lady Gaga Aces in Lace
Renata Espinosa
November 03rd, 2009 @ 00:08 AM – New YorkPop star Lady Gaga is not afraid to take fashion risks, as her ensemble for the 13th annual ACE Awards proved. At New York’s Cipriani on 42nd Street on Monday, Nov. 2, to pick up her “Stylemaker” award from presenter Marc Jacobs, Lady Gaga wore a fifties-style pale pink bra and girdle-like panties over a gray crushed velvet shirt in a masculine-meets-feminine play.
While in typical Lady Gaga fashion, she did not wear any pants, this being an awards ceremony for the Accessories Council, it was her headpiece by Erickson Beamon that was most striking: A black lace net covered her entire head like a present while a large blond bouffant exploded from the back.
Model Agyness Deyn received the “Brand of the Year” award on behalf of Burberry, wearing cropped black pants and boxy boyfriend jacket and her hair cut like famous sixties model Peggy Moffitt and her eyes rimmed with thick false lashes. Tomas Maier, who joined Bottega Veneta in 2001 as creative director, took home honors as the “Designer of the Year.”
Diane von Furstenberg won the “Accessory Visionary” award and Barbie received the “Fashion Icon” award for her status as fashion newsmaker for the past 50 years. Blake Mycoskie of eco-friendly label Tom’s Shoes – the company donates one pair of shoes to a needy child every time a pair is sold – was given the “Humanitarian” award.
Online fashion retailers were the big ACE winner this year, showing a shift in the changing retail landscape and consumer buying preferences. Shoe powerhouse Web site Zappos.com won “Retailer of the Year,” while the site responsible for bringing designer sample sales to the masses, Gilt Groupe, won the award for “Retail Innovation.”
And in the fashion journalism segment, Hal Rubenstein, InStyle fashion director, was honored with the “Marylou Luther Award for Fashion Journalism,” while designer Alexander Wang presented V Magazine with “Magazine of the Year.”
The Accessories Council is a not-for-profit advocacy group founded in 1995 to promote and support accessories retailers and manufacturers to the consumer.
Yahoo!Shopping Clothing Accessories Shoes
2010 Spring Ready-to-Wear
<!–strong>2010 Spring Ready-to Wear <br/–> Designers delivered an optimistic mandate for spring 2010 with collections that addressed the new reality from dual points of view: desire and sensibility. To that end, lingerie and military were two of the season’s obsessions, executed with an eye toward wearability by Nina Ricci and Dior in the first camp, Balmain and Burberry in the latter. Clothes weren’t the only way the industry got real, as several houses faced the inevitability of social media, streaming shows live and seating bloggers front row.
2010 Men’s Spring Collections
<!–strong>Men’s Spring Collections 2010<br/–> The spring 2010 men’s collections were dominated by a sense of leisure, interpreted in myriad ways. The dynamism of bike messengers lent inspiration at Louis Vuitton, while Bottega Veneta injected tight patterns and tie-dye into elegantly disheveled looks and Giorgio Armani led the charge back to soft tailoring. Indeed, suits remained fundamental to men’s wardrobes, but emitted no businesslike vibes.
2009 Fall Couture
<!–strong>Fall 2009 Couture<br/–> With the state of couture in major flux and at least one storied house (Lacroix) on the brink of extinction, the masters of haute made-to-measure took a measured approach. There were pinstripes and sailor Ts at Gaultier, classics suits done with a flap motif chez Chanel, and beautiful Bar jackets at Dior, all of it reality-based. As for M. Lacroix, his collection, quite possibly his last, was full of signatures — extravagant decoration, poufs — distilled to subtle perfection.
2009 Men’s Fall Collections
<!–strong>2009 Men’s Fall Collections<br/–> For fall, men’s designers had to craft responses to the weakened demand for luxury apparel. They delivered understated collections that reflected their brands’ core values and icons, such as Thom Browne’s signature quirky tailoring and Burberry Prorsum’s house check. Craftsmanship defined true luxury at Dolce & Gabbana and Missoni, while some houses, including Lanvin and Bottega Veneta, demystified luxe fabrics through casual handling.
The things that make me happy.
November 7, 2009
