Neo-Classicism 1790 - 1820Patricia Sumod

patricia Sumod

Recap- 17TH CENTURY:

Woolen garments were in style. Facial and skin fashions began. The garments had a tight-lacing effect, farthingale, decollate, and the use of excessive fabrics.The ruff had diminished to a falling collar. Funnel boots, wide brimmed hats adorned with plumes. Shoes were very elaborate, decorated with laces, rosettes, ribbons, etc. Monsoons the footwear used were called chopines made of wood and leather. Laced garments were very prevalent. Vests were also worn in bright printed fabrics. Late 17th century the lace industry was established. The men wore Periwigs at this time. Women wore high hats with lace and ribbons called commode or tower The kings mainly led fashion at this time.The ruff became smaller. High buttoned neck collar that sometimes concealed the ruff.The courtiers continued to wear silk with fewer trimmings.The Three Musketeers movie for dress details.Cravat was worn by men.This era had the mens clothing look gayPatricia Sumod

patricia Sumod

Neo-Classicism 1790182018th-century individuals reverted to the ways of the Ancient Greeks, especially in the field of visual art. The period of art became known as Neo-Classicism, or returning back to the classics. The period of Neo-Classicism relies heavily on mimicking Greek art. During the time period, the concept of naturalism was a main concern. Artists especially made great efforts to model the ways in which the ancients portrayed bodies and emotions in their works of art.

Fashion in this period in European and European-influenced countries saw the rise of undress or informal styles over the brocades, lace, periwig, and powder of the earlier eighteenth century.

The aftermath of the French Revolution, resulted into a social norm where no one in France wanted to appear to be an aristocrat.

While in Britain, Beau Brummell* introduced trousers, perfect tailoring, and unadorned, immaculate linen as the ideals of men's fashion.

Women's fashions followed classical ideals, and tightly laced corsets were temporarily abandoned in favor of a high-waisted, natural figure.Patricia Sumod

Patricia Sumod

Laces were abolishedThe three-cornered hat was substituted for a topper.Tail-coats came in style, waist coats became extremely short, high collars, neck cloths became voluminous. Wigs were abandoned.Paniers, bustles and corsets were all abandoned.Women now wore a robe and chemise; consisting of a white high-waist Muslin, cambric or calico garment falling to the feet. Sometimes they dampened the dress to make it cling to the body in imitation to the Greek dresses.

Neo-Classicism 17901820Pockets became impracticable which fetched in need of little handbags called reticule or REDICULE.In 1800s mens clothing a top hat, not too exaggerated neck cloth, a coat with revers & collar cut-way in the front, a waist coat, breeches with a square flaps and diagonal side pockets, breeches fitting into riding boots.By the end of the 18th century Women's clothing the Empire gown, for men the costume of John BullPatricia Sumod

patricia Sumod

In this period, fashionable women's clothing styles were based on the Empire silhouette dresses were closely fitted to the torso just under the bust, falling loosely below. In different contents, such styles are commonly called "Directoire" (referring to the Directory which ran France during the second half of the 1790s), "Empire" (referring to Napoleon's 18041814/1815 empire, and often also to his 18001804 "consulate"), or "Regency" (most precisely referring to the 18111820 period of George IV's formal regency, but often loosely used to refer to various periods between the 18th century and the Victorian).

The high waistline of 17951820 styles took attention away from the natural waist, so that there was then no point to the tight "wasp-waist" corseting often considered fashionable during this period.

Inspired by neoclassical tastes, the short-waisted dresses sported soft, flowing skirts and were often made of white, almost transparent muslin, which was easily washed and draped loosely like the garments on Greek and Roman statues. Thus during the 17951820 period, it was often possible for middle- and upper-class women to wear clothes that were not very confining or cumbersome, and still be considered decently and fashionably dressed.

Among middle- and upper-class women there was a somewhat basic distinction between "morning dress" (worn at home in the afternoons as well as mornings) and evening attire generally, both men and women changed clothes in preparation for the evening meal and possible entertainments to follow. There were also further gradations such as afternoon dress, walking dress, riding habits, travelling dress, dinner dress, etc.Womens Wear Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

Directoire and Empire (1795-1815) This period, referred to as Regency style in England, followed the French and American revolutions. It saw a drastic shift in dress for both men and women, though for women this change would be short lived. Classical Greek and Roman images were evoked to justify the democratic revolutions of this period.

This resulted in the adoption of a classically inspired silhouette for women which was long, narrow, uncorsetted, and high-waisted. Initially the color of choice was white, and the fabrics soft cottons, often virtually transparent. Shawls and long gloves were introduced to cover bare shoulders and arms; shawls would remain in fashion until the beginning of the bustle in the 1880's. Hair might be cut short, and turbans and caps were worn.

Womens Wear Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

Womens Wear In the Mirror of Graces; or the English Lady's Costume, published in London in 1811, the author ("a Lady of Distinction") advised: In the morning the arms and bosom must be completely covered to the throat and wrists. From the dinner-hour to the termination of the day, the arms, to a graceful height above the elbow, may be bare; and the neck and shoulders unveiled as far as delicacy will allow.

Morning dresses were worn inside the house. They were high-necked and long-sleeved, covering throat and wrists, and generally plain and devoid of decoration.

Evening gowns were often extravagantly trimmed and decorated with lace, ribbons, and netting. They were cut low and sported short sleeves, baring bosoms. Bared arms were covered by long white gloves. Our Lady of Distinction, however, cautions young women from displaying their bosoms beyond the boundaries of decency, saying, "The bosom and shoulders of a very young and fair girl may be displayed without exciting much displeasure or disgust."

A Lady of Distinction also advised young ladies to wear softer shades of color, such as pinks, periwinkle blue, or lilacs. The mature matron could wear fuller colors, such as purple, black, crimson, deep blue, or yellow. Many women of this era remarked upon how being fully dressed meant the bosom and shoulders were bare, and yet being under-dressed would mean one's neckline went right up to one's chin.

Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

The clothing lines were more relaxed.Rich and splendid fabrics but easy flowing silhouettesThe new head-dress for women was the Fontage built the hair style in a vertical manner with a high crowned cap.The full-bottomed wig became enormous with longer hair for mens formal wear.Informal occasions men wore a bob' wigNew forms of dress were sack or saque- a comfortable, rather shapeless garment with box pleats behind.Return of hoops. Panier, French for basket like structure was introduced under the skirts to give extended sideways.Classification of womens dress. 1.Open robes; 2.Closed robes.Closed robe was a dress consisting of a bodice and petticoat (sometimes forming one garment) with no opening in front.Open robe had a gap in front of the skirt, in the shape of inverted V, which allowed petticoat beneath to be seen the petticoat was sometimes embroidered and quilted.Womens Wear Neo-Classicism 17901820Patricia Sumod

patricia Sumod

Neo-Classicism 17901820Beau Brummell, born as George Bryan Brummell was the arbiter of men's fashion in Regency England and a friend of the Prince Regent, the future King George IV. He established the mode of men wearing understated, but fitted, tailored clothes including dark suits and full-length trousers, adorned with an elaborately knotted cravat.Beau Brummell is credited with introducing and establishing as fashion the modern man's suit, worn with a tie. He claimed he took five hours to dress, and recommended that boots be polished with champagne. His style of dress is often referred to as dandyism.He set the fashion for dandyism in British society from the mid-1790s, which was characterized by immaculate personal cleanliness, immaculate linen shirts with high collars, perfectly tied cravats, and exquisitely tailored plain dark coats (contrasting in many respects with the Maccaroni" (or Molly, an 18th Century term for effeminate homosexual) of the earlier 18th century).

Brummell abandoned his wig and cut his hair short in a Roman fashion dubbed la Brutus, echoing the fashion for all things classical seen in women's wear of this period. He also led the move from breeches to snugly tailored pantaloons or trousers, often light-colored for day and dark for evening, based on working-class clothing adopted by all classes in France in the wake of the Revolution. Patricia Sumod

Patricia Sumod

This period saw the final abandonment of lace, embroidery, and other embellishment from men's clothing outside of formalized court dressit would not reappear except as an affectation of Aesthetic dress in the 1880s and its successor, the "Young Edwardian" look of the 1960s. Instead, cut and tailoring became much more important as an indicator of quality.This was also the period of the rise of hair wax for styling men's hair, as well as mutton chops as a style of facial hair.Breeches became longertightly fitted leather riding breeches reached almost to the boot topsand were replaced by pantaloons or trousers for fashionable street wear. Coats were cutaway in front with long skirts or tails behind, and had tall standing collars. The lapels featured an M-shaped notch unique to the period.Shirts were made of linen, had attached collars, and were worn with stocks or wrapped in a cravat tied in various fashions. Pleated frills at the cuffs and front opening went out of fashion by the end of the period.

Mens Wear Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

Waistcoats were relatively high-waisted, and squared off at the bottom, but came in a broad variety of styles. They were often double-breasted, with wide lapels and stand collars. High-collared white waistcoats were fashionable until 1815, then collars were gradually lowered as the shawl collar came into use toward the end of this period.Overcoats or greatcoats were fashionable, often with contrasting collars of fur or velvet. The garrick, sometimes called a coachman's coat, was a particularly popular style, and had between three and five short caplets attached to the collar.Boots, typically Hessian boots with heart-shaped tops and tassels were mainstay in men's footwear. After the Duke of Wellington defeated Napoleon at Waterloo in 1815, Wellington boots, as they were known, became the rage; tops were knee-high in front and cut lower in back. The jockey boot, with a turned-down cuff of lighter colored leather, was correct for riding.

Mens Wear Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

After 1805, as society began to return to a more sedate, conservative mode, the aristocracy returned to styles of France.Dress gradually became less semi-fitted and more tailored. Bodices became more fitted, more surface decoration was used, as well as heavier fabrics and more modest long sleeves. As it turned out, the revolutions had opened up new opportunities for men; but for women, life would continue much as it had before.

Neo-Classicism 17901820Patricia Sumod

Patricia Sumod

Romanticism The Victoria Era 1820 1850The Crinoline Era 1850 1869The Bustle Era 1870 1900 patricia Sumod

patricia Sumod

Romanticism Romanticism (or the Romantic era/Period) was an artistic, literary and intellectual movement that originated in the second half of the 18th century in Europe.

It built up as a reaction to the Industrial Revolution. It was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. patricia Sumod

patricia Sumod

RomanticismUntil 1820 dress waists had been round, but in 1828 the bodice waistline took on a V-pointed form. Even so it was the late 1830s before every lady sported the fashion for long pointed bodices. Evidence in museums suggests that real women were still wearing and making dresses with a slightly raised waistlines well into the 1830s despite the low waist illustrations of fashion plates.Women dress consisted of a bodice, petticoat and the gown. The bodice was cut with a dcollet and laced with silk ribbon in the front.Large sleeves slashed or panned, puffed. The sleeves of the Romantic Era are the main feature and were built on an inverted triangle bodice. The bodice dcolletage was so exposed by the pull of the wide sleeves that it really showed off the chest, throat and the sloping shoulders. The full length gigot or leg of lamb sleeve or the gigot de mouton known as the leg of mutton sleeve, was first seen in 1824. The long sleeve pattern was cut on the true cross of the fabric. It was rounded at the top, increasing to greater size.

The characteristic style two skirts were worn. One as under-skirt and over skirt which was pinned higher than the actual length so as to show the underskirt. expensive lace Hair was worn flat on the top of the head frizzy curls on the sides- hoods made of black taffeta or simple lace for their heads. The 3/4th sleeves had turn-ups of lace. Skirt fell in folds to the ground, Stylish Modestypatricia Sumod

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patricia Sumod

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patricia SumodEarly Victorian Era

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The young Queen Victoria came to the throne in 1837, and would rule England until 1901 during the height of the British Empire. During this period she became a happily married mother of nine children, and represented the ideal of womanhood for her age-- modest, devoted to family and duty, and the guardian of morality. Her tastes in clothing were also influential, reflecting her values, and those of her times.

Skirts were a source of endless variation. Skirts were gored into panels between 1820 and 1828, so that width could be added to hemlines whilst keeping the waist clear of bulk. They were first stiffened with horsehair about 1815 and gradually padding adding was added. The padding backed the lower six inches of the skirt.

Decoration of stuffed rouleau tubes, Italian quilting and flounces and frills were added to push out the skirt hem width in an architectural way. It also shortened the dress to reveal the ankle at the same time. When all forms of decoration had been exhausted just the padded hems remained by about 1828.

Gores disappeared at the same time and from then on skirts were made from straight panels of dress material pleated and gathered to waistbands.

The silhouette changed and lost its overall puffiness by 1835.

The skirts began to get rounder and more bell like, setting the scene for the Victorian Era.patricia Sumod

patricia Sumod

patricia SumodBy the early 1860s, skirts had reached their ultimate width. Day dresses featured wide pagoda sleeves worn over under-sleeves. High necklines with lace or tatted collars or chemisettes completed the demure daytime look.Evening dresses had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts.Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist; this spelled the end of the brief fashion for border-printed dress fabrics.Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodices, one long-sleeved and high necked for afternoon wear and one short-sleeved and low-necked for evening.As the decade progressed, sleeves narrowed, and the circular hoops of the 1850s decreased in size at the front and sides and increased at the back. Looped up overskirts revealed matching or contrasting underskirts, a look that would reach its ultimate expression the next two decades with the rise of the bustle. Waistlines rose briefly at the end of the decade.Fashions were adopted more slowly in America than in Europe. It was not uncommon for fashion plates to appear in American women's magazines a year or more after they appeared in Paris or London.

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The major characteristic of the dress silhouette in this period was the exceptionally full and long skirts that completely shrouded the lower body . The skirts became so full that by the late 1850's hoops were needed to support the skirts, as the heavy layers of petticoats could no longer achieve the desired effect. The bodice and shoulders were very narrow, accentuating a weak upper body silhouette and tiny waist accentuated by the voluminous skirts.

In the 1840s and 1850s deep bonnets were worn that modestly hid the face and neck except when the wearer looked directly at the viewer. In fact, except for evening wear, clothing covered virtually every bit of skin except the face. The n there began protests against this restrictive form of dress appeared. Dress reform was associated with concern for protecting the health and welfare of women, which included the women's suffrage movement and the temperance movement.

The restrictive fashionable dress of the day was seen as both unhealthy and as a restriction on women's activities. An alternative costume was promoted that was based on loose-fitting pants borrowed from traditional Turkish women's (harem pants) costume. This costume was similar to that known as Bloomers, because it was popularly associated with activist and editor Amelia Bloomer. However, this costume was not widely accepted at the time for street wear, although bloomers were gradually adopted for girl's and women's physical education activities.

In the 1860's, though skirts reached their fullest, hats became smaller. Decoration became more geometric, and striped fabrics were also popular. By the end of the period, the full skirts became asymmetrical, with fullness pushed to the back, a precursor of the next major fashion shift.

In this period the sewing machine was invented, revolutionizing the manufacture of clothing. By the mid 1850s sewing machines were appearing in private homes, and began to account for a substantial proportion of domestic clothing production. This invention also made possible the rise of the ready-to-wear clothing industry.

Early Victorian Erapatricia Sumod

patricia Sumod

patricia Sumod (See picture on above) The exceptionally full and long skirts that completely shrouded the lower body . The skirts became so full that by the late 1850's hoops were needed to support the skirts, as the heavy layers of petticoats could no longer achieve the desired effect.

The bodice and shoulders were very narrow, accentuating a weak upper body silhouette and tiny waist accentuated by the voluminous skirts.

patricia Sumod

patricia SumodIn the 1840s and 1850s deep bonnets were worn that modestly hid the face and neck except when the wearer looked directly at the viewer. In fact, except for evening wear, clothing covered virtually every bit of skin except the face.Pelerine collars .Example of ope.n robe, trail dress

patricia Sumod

Mid-Victorian EraAfter the death of her husband in 1861, Victoria went into seclusion, and though still deeply respected as sovereign of a great empire, she ceased to influence fashion as directly. The somber colors that came into fashion are attributed to the fact that the British Court remained in mourning. Black became a popular fashion color in this period, not only worn for mourning. Although the new look was decried as immodest because it revealed, even exaggerated the female shape, it was also an extremely restricting style that required exceptionally severe corseting. This was a period in which more women were coming out of the home and into the community to participate in volunteer work and other public activities. In this period the women's rights movement (which included suffrage, protection for working women, and dress reform) gained momentum. Both the revelation of the woman's body and the protest against the restrictiveness of the garments reflected the changing times. patricia SumodIn addition to factory work, long done by poor women, the typewriter and the sewing machine were now creating work opportunities for middle class women who needed income. Since fashionable dress limited mobility, changes in dress were called for to accommodate these new realities.

patricia Sumod

patricia SumodMid-Victorian Era

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Mid-Victorian Erapatricia Sumod

patricia Sumod

patricia Sumod

patricia Sumod

Charles Frederick Worth became established in Paris in this period as the first true couturier-- that is the first dressmaker who would set fashion, not merely follow the instructions of his wealthy clients. His premier client was the French Empress Eugenie. By the 1870s the well-to- do women of the world came to his salon to be dressed by the great Worth. Mid-Victorian Erapatricia Sumod

patricia Sumod

Mid-Victorian Erapatricia Sumod

patricia Sumod

Mid-Victorian Erapatricia Sumod

patricia Sumod

Late - Victorian Era 1878 - 1901

The Art Nouveau silhouette, particularly that of the 1890's, in some ways echoed the look of the early Romantic period. The Full "leg-o-mutton" sleeves and flared, moderately full skirts were similar. However, the hour-glass figure with its erect posture, stiffly boned collar band, and high shoulders suggested a more formidable image than the slope-shouldered "decorative butterfly" of the 1820s and 1830s. Increasing numbers of young unmarried women now worked in shops and offices, and housewives were often active in church work and other community voluntary activities. Women also began to appear socially in public, in restaurants and even at the beach. Sportswear -specialized clothing for strenuous activity- had begun to appear as early as the 1860s but in the 1890s the advent of the bicycle put women into pants-- "bloomers"-- in public for the first time. Tailored (but skirted) suits for women, similar to men's suits in cut, were now part of every woman's wardrobe (right). After 1900 the silhouette shifted to the "s" curve of the new corset style , recommended by reformers as a healthier alternative to the hour-glass silhouette. Soft, gauzy fabrics combined with lace became the style, and for special occasions, lightweight white lacy cotton dresses were worn by every one. The sinuous lines and soft materials and colors were consistent with the Art Nouveau style as we have seen it in furnishings and architecture. These soft dresses, particularly those worn near the end of the period, were also reminiscent of the "classical" styles of the revolutionary period a century earlier. Suits and tailored dresses also continued to be part of the daytime repertoire, however. On the whole, clothing was becoming more relaxed as women's lives continued to expand. patricia Sumod

patricia Sumod

Late - Victorian Era 1878 - 1901patricia Sumod

patricia Sumod

Late - Victorian Era 1878 - 1901 patricia Sumod

patricia Sumod

Late - Victorian Era 1878 - 1901 patricia Sumod

patricia Sumod

Late - Victorian Era 1878 - 1901 patricia Sumod

patricia Sumod

Late - Victorian Era 1878 1901The Bustle Era patricia Sumod

patricia Sumod

Late - Victorian Era 1878 1901The Bustle Era patricia Sumod

patricia Sumod

Victorian Era HairstylesThe Victorian period of fashion was about living more simply than the previous era. Clothing, makeup, and hairstyles become more natural and relaxed. The use of elaborate wigs made way for cleaner, gentler looks. False hair was limited to rats or switches.

Early Victorian hairstyles for women were almost always worn up. Hair was parted down the middle, curled or braided, then tied or pinned back. Only formal occasians saw the Victorian lady dare leave her hair fall loose around her shoulders.

Later in the 19th century, Victorian hairstyles became more elaborate. Bangs made their debut around 1880. Women began to use hot irons to wave their hair or add ringlets for an updo. It's ironic that the long locks that women strove to achieve were often heavily damaged by constant heat styling. patricia Sumod

patricia Sumod

Hairstyles and headwear fashions like dress fashions often change gradually, moving slowly from one line to another. These are some drawings of hair, bonnet and hat styles between the early and mid Victorian fashion era 1844-1870.Victorian Era Hairstylespatricia Sumod

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Victorian Era Hairstylespatricia Sumod

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Victorian Era Hairstylespatricia Sumod

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Corsetspatricia Sumod

patricia Sumod

Girl holding a muffSome examples of crinoline skirts worn with corsetspatricia Sumod

patricia Sumod

Some examples of crinoline skirts worn with corsetspatricia Sumod

patricia Sumod

Crinolinespatricia Sumod

patricia Sumod

Crinolinespatricia Sumod

patricia Sumod

Half dome crinoline, lace shawl, ribbons for hair styling.Crinolinespatricia Sumod

patricia Sumod

patricia Sumod

patricia Sumod

Bustle fashion was molded to the body and the heavy corsetry gave an armor like rigidity to the silhouette. The pointed bodice began to look quite tailored.Tailored garments had been introduced in 1874 and their influence on design was subtle, but led eventually to the tailor made suit so fashionable in the 1890s. In 1887 the sleeves were still slimmer, plain and close fitting. The sleeves look like quite a different style than on the bustle dress of the 1870s which had sleeves that would not have looked out of place on dresses of 1860. By 1889 silhouette changes now couturier led were changing more rapidly and the sleeve developed a very slight leg of mutton outline which soon needed support.It's interesting to note how late Victorian women embraced the sharper tailored jacket fashion which gave them a different posture with a more confident air reflecting the ideals of early female emancipation. Other military and more tailor made styles of jacket were also popular. Some dresses also had a more severe air about them.There are similarities in the period 1885 with 1985 when women also showed their strength in the corporate workplace with Power Dressing through more masculine tailored, shoulder padded clothes. A similar broad shoulder trend occurred in the Utility Clothing era of the 1940s when women did work usually thought of as men's work.

Right -La Grande Jatte by Georges Seurat 1884-6. Art Institute Chicago.Tailor made suit of 1895. Late - Victorian Era 1878 1901patricia Sumod

patricia Sumod

patricia Sumod

patricia Sumod

Male fashion changed comparatively little throughout the century once the John Bull style was set at the turn of 1800. Generally it remained rather sober in keeping with Victorian industry. It was only after 1900 and the practical requirements necessitated by the 1914-18 war that more relaxed styles entered general fashion styling. As always this was mostly initially through sportswear or battle dress which is always more accommodating to the realities of function in dress. Eventually the more relaxed way of dressing enters mainstream fashion.Mens Fashion through the Victorian Era 1878 1901patricia Sumod

patricia Sumod

Cut-away coats like frock-coats are made lighter and more supple, stiffening being suppressed. The revers are a little wider, opening wider across the chest. It is young, it is dashing, it is elegant, all at the same time, and what is more important, it is new. The waistcoats are of the fashionable Valencia. The trousers are of light woolen cloth.Mens Fashion through the Victorian Era 1878 1901patricia Sumod

patricia Sumod

Easy form of walking coat. It is single-breasted, with a bold turn at top. The waist is long comparatively to the length lately worn. The back is cut broad across to the scye (armhole). The side-seam is tolerably straight. There are three holes and buttons only at front, the top one reaching nearly on a level with the bottom of the scye. The skirt-part is plain, and reaches to the knee. There is no seam across the waist, as the coat is cut with a side-body let in, a style still retained in France, although totally exploded in this country. The pockets are in the plaits, one outside the left breast, and one in the right fore-part at the hollow of the waist.

Another style of morning-coat is illustrated on the centre figure. It is very different in character, and partakes more of the jacket form. It is single-breasted, with low waist. The back skirt is only open a short distance from the bottom without a tacking. The fore-part and skirt are cut in one, and a long fish taken out under the arm to reduce the coat at the hollow of the waist and give freedom over the hip. There are three buttons and holes at front. Narrow collar and low in the stand. Sleeve easy.

Single-breasted morning waistcoats without collar having been much worn during the summer, will continue in favor for the autumn. They are usually made to button up rather high.Mens Fashion through the Victorian Era 1878 1901patricia Sumod

patricia Sumod

Trousers for morning wear continue to be straight in the leg. The side-seams are lapped rather broad.A representation of the costume for shooting worn by French sportsmen. The jacket is single breasted, long in the waist, and also in the skirt. There are four buttons and holes at front, and a narrow collar; sleeve roomy. A pouch pocket in each skirt and one to each fore-part.Mens Fashion through the Victorian Era 1878 1901patricia Sumod

patricia Sumod

patricia SumodMovies & costumes inspired from the Victorian EraMovies on Queen Elizabeth the Golden Era.

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Movies & costumes inspired from the Victorian EraDavid Copperfieldpatricia Sumod

patricia Sumod

Movies & costumes inspired from the Victorian EraVICTORIA & ALBERT (2001)Summary"Victoria & Albert" is an elegant miniseries about the love affair between British monarch Victoria (Victoria Hamilton) and her husband Albert (Jonathan Firth, younger brother of actor Colin Firth). The lavish production from A&E features a supporting cast of British thespians including Diana Rigg, David Suchet, Nigel Hawthorne, Jonathan Pryce and Peter Ustinov. The miniseries tells the story of an arranged marriage between the young queen and her cousin. Although Victoria falls for her new husband, the Prince views the union as a dutiful obligation until the two fall madly in love. The miniseries chronicles the legendary royal romance, as well as Albert's positive influences on his wife's governance.patricia Sumod

patricia Sumod

Movies & costumes inspired from the Victorian Era

WIVES AND DAUGHTERS (1999)This 1999 BBC miniseries is a delightful adaptation of Elizabeth Gaskell's unfinished novel of the same name, directed and produced by Andrew Davies and Sue Birtwistle of "Pride and Prejudice" fame. This miniseries centers on Molly Gibson (Justine Waddell), a virtuous and sweet young woman, whose quiet life with her widowed father is turned upside down when he marries the self-absorbed Claire Fitzpatrick (Francesca Annis). Soon, Claire's beautiful daughter Cynthia (Keeley Hawes) joins the household and attracts the attention of Roger Hamley, a family friend of the Gibsons who, unbeknownst to him, has captured Molly's heart. Many twists and turns abound before Molly can find true love. This BBC costume drama is a delight, with a wonderful performance by Waddell as Molly, a character that truly captivates the audience.patricia Sumod

patricia Sumod

Movies & costumes inspired from the Victorian Era

LITTLE WOMEN (1994)SummaryRobin Swicord's "Little Women" is a delightful film adaptation of Louisa May Alcott's novel about the joys and struggles of a family of four sisters set in Victorian New England. The film celebrates the cherished bonds of family relationships, as well as explores the confining social mores for women in the post-Civil War America. Winona Ryder delivers a charming performance as Jo March, the high-spirited and imaginative protagonist who dreams of becoming a writer. Supporting performances by Claire Danes as the sweet Beth March, Kirsten Dunst and Samantha Mathis as the young, romantic Amy March, and Christian Bale as Theodore "Laurie" Lawrence are also excellent. This is the perfect family film for the Christmas holidays!

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