Dress design Part 13

(_d_) Satin and Gauze Bodice. 1820-30.]

EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.

The wigs, which were rather high in the front of the crown in the earlier part, began to cast off the most eccentric forms, and became just curled, rather full at the sides, and tied with a bow at the back: dull pink powder became a favoured hue from about 1780; most people began to return to their own hair, and one might see many without long hair in the nineties. The last type of dressing the hair in imitation of the wig form was a long, tightly braided pigtail at the back, with one or even two side curls over the ear, and side whiskers were allowed to fill up to them; thus when the short hair set the fas.h.i.+on, side whiskers came in.

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

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

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

[Ill.u.s.tration: FIG. 105.]

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

[Ill.u.s.tration: Plate XXV.--

(_a_) Silk Dress. 1800-10.

(_b_) Cotton Dress. 1800-10.

(_c_) Embroidered Muslin Dress. 1820-30 (_Pattern, see p._ 339).

(_d_) Silk Gauze Dress. 1824-30.]

[Ill.u.s.tration: FIG. 106.]

CHAPTER VIII

CHARACTER OF Tr.i.m.m.i.n.gS OF THE NINETEENTH CENTURY.

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

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

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

With the reign of George IV we notice an increasing choice of strong coloured effects, which culminated in the mid-Victorian era in raw colour and violent shot silks, velvets, and heavy fringes, but one may see that many of these dresses of bright pure tone looked exceedingly refined and were quite stately. A remarkable dress is Fig. A, Plate x.x.xII (see p. 279), which is of very strong bright blue; its only enrichment being a curved line of folded silk. All these dresses from 1800 were delightfully embellished with embroidered fichus, light scarves of frail gauze, crepe, or Norwich silk, and in the Victorian times capes and =V=-shaped shawls; fascinating lace ruffles and tuck-in fronts to the bodice necks, of frills and bands of embroidery, broke the severity or bareness of many dresses. An endless variety of fascinating caps and lace head-lappets was pinned or caught into the hair at the wearer's fancy; besides the bows, flowers, and jewels (especially pearls) which have always played an important part in the coiffure from early times, the chatelaines and bags, fobs, fans, and lace or silk handkerchiefs all give the artist a note of extra colour when desired.

The cruel period of taste really came with the seventies, though one can trace many quaint and interesting cuts in the bodices and skirts of this time; but the "grand dress" of complicated drapings, heavily fringed or braided, was a "set piece" which, let us hope, will never appear again.

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

NINETEENTH CENTURY. GEORGE III. FEMALE.

The hair up to 1808 was gathered into a knot of curls at the back of the head, rather high up, with a small curl at the sides in front of the ear. Later the knot was set more on the top, and the side curls were made more of a feature, several being arranged at the sides. Numerous varieties of large and small brimmed hats, bonnets, and turbans are seen, and several masculine top-hats and c.o.c.kade hats may be noted late in this reign. The usual feather decorations and large ribbons or flowers were in use, and a handkerchief was sometimes bound over the top of the straw hat and tied under the chin.

[Ill.u.s.tration: FIG. 107.--Costume notes, 1811-1812.]

[Ill.u.s.tration: FIG. 108.--Costume notes, 1814-1816.]

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

[Ill.u.s.tration: FIG. 109.]

The pointed shoe, tied sandal fas.h.i.+on up the leg, and with no heel, remained through this reign, but a round-toed low shoe, tied on in the same manner, began to supersede it about 1810.

NINETEENTH CENTURY. GEORGE III. MALE.

Wigs had practically gone out, except for a few of the latter type of the 18th century amongst elderly people. The hair was now worn short, and left rather full on the front, with short side-whiskers. Plain black or white stocks tied with a front bow, and a starched or unstarched collar with a frilled or gathered s.h.i.+rt-front were in use. A tie-pin or stud was also seen in the centre of the stock or frilling.

The same hats as in the latter part of the 18th century continued for a time, but the top-hat had established its favour, and a.s.sumed various shapes throughout this reign.

[Ill.u.s.tration: Plate XXVI.--

(_a_) Morning Coat of Chintz. 1825-45.

_Pattern, see p. 313._ (_b_) Cloth Coat. 1808-20.

_Pattern, see p. 307._ (_c_) Cloth Overcoat. 1820-35.

_Pattern similar to p. 311._]

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

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

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

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

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

NINETEENTH CENTURY. GEORGE IV. FEMALE.

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

[Ill.u.s.tration: FIG. 110.]

Dresses gradually a.s.sumed a longer waist, and a short pointed bodice made its appearance here and there from about 1822, when short stays began to return, and pointed belt corselets were frequent, though the waistband or sash was chiefly used. Short puffed sleeves of charming character and workmans.h.i.+p were sometimes set in a gauze sleeve, as in Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves coming from these short ones; they were rather full, and were caught at the wrist with a band. The upper sleeve gradually disappeared as the full-topped sleeves began to develop in size, about 1824; this fullness was often broken up into gathered parts, a tight cuff-piece usually finished at the wrist. The high set-up collars and neck-frills gave way to the flat capes about 1827, though the small ruffs were worn round the top of the high-necked capes to 1830. The gathered shoulder began about 1823, and soon became a marked feature; pointed or scalloped frills and tr.i.m.m.i.n.gs came into favour from 1825, Fig. B, Plate XXIII (see p. 218), and about 1827 the sloped appearance in the bodice began to be noticed as the sleeves were set lower. The shoulders in ball dresses were shown, and a gathered Bertha of silk or lace was arranged round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form was made in the pattern as in Fig. C, Plate XXII (see p. 215). The =V=-shaped piece from the centre of waist or breast began to spread over the shoulders, where it was opened, as in Fig. B, Plate XXII (see p.

215). This =V= shape was often open down to the waist, where it was filled in with a centre-piece of embroidery. Skirts were gradually set out fuller, with stiff-flounced petticoats; they had various simple or richly decorated borders and fronts, or several small flounces, or one deep one often with the edges cut into divers shapes.

[Ill.u.s.tration: Plate XXVII.--Outdoor Silk Dress. 1825-35.]

[Ill.u.s.tration: FIG. 111.]

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