Feeds:
Posts
Comments

Archive for the ‘fashion’ Category

chaleur

You would not want to experience a sultry summer in the 19th century, of that I’m sure. Look at the picture of suffering Parisians. No tank tops for the women, no short pants or sandals for the men. The fashion did not allow for such a relief. The only human being happy with the situation is the lemonade vendor, who is doing brisk business while carrying a pack of ice on his back.

Our ancestors fought back without air conditioning. Some  ways of staying cool are described in Mrs Daffodil’s post How to Keep Cool: 1860 – 1902. The post is an amalgam of heat remedies of the past: some efficient, others humorous if useless, and some downright ingenious. Who would have thought of serving ice cream inside a hollowed out rose? Do read the post and see whether you can find something useful should modern technology fail us.

 

 

Read Full Post »

 

1858 Italian gownThe previous post dealt with the duel – a very masculine endeavor of two men killing each other for the sake of honor. Unlike the male population, women did not carry swords or pistols to assert themselves. They used fashion to that end. The 1850’s  and 60’s was the era of expansion in every way including the fashion. Railways expanded around the world, an undersea cable was laid and the telegraph carried instant news across the Atlantic. Machines and bridges were built that required chains of links the size of a human body. International expositions united goods and people from every corner of the globe. Women in their ever-increasing skirts took more and more room at such gatherings. A dress made of 15 to 20 yards of fabric covered with an ample mantle in the winter made women look like moving pyramids. Fortunately, the sewing machine was invented just then to help with assembling the abundant material.

Although I published a few posts on the 19th century fashion, especially on the infamous 1850-60’s crinoline, none of them can compete with Mimi Matthews’ meticulous work The 1850s in Fashionable Gowns: A Visual Guide to the Decade. Mimi is working her way through the century post by post, each decade a careful assemblage of museum collections photos: a visual feast not to be missed. You’ll find some fashion atrocities like the Queen Victoria’s Great Exhibition gown with cancerous satin growths, but also things of stunning beauty, of rich materials and clever use of sewing skills. The winning entry is the orange Italian court gown. Do click on the photo to enlarge the gorgeous gold embroidery. You will be taken directly to the Metropolitan Museum fashion collection. But do come back to read Mimi Matthews’ remarkable post!

Related post:

The Hoop Crinoline: Dying for fashion

 

Read Full Post »

sports belfort One hundred and twenty-five years ago—and four years before the first Olympic Games of the modern era in 1896—the first long distance course was organized by a Parisian newspaper. It was all new and nobody had the slightest idea how the participants would behave during the 500-kilometers long journey. The vast majority were ignorant of the first principles of physical training. However, of the 840 men who gathered in Paris, about 250 reached Belfort – not a bad result at all considering that they had neither experience nor the comfortable sportswear we enjoy today. One has to admit though that the assortment of jackets, jerseys, naval uniforms, and the variety of headgear, scarves, and bright belts gave the participants that romantic look of adventure which we usually don’t associate with sports.

Read Full Post »

The art of sitting in a cage crinoline

The art of sitting in a cage crinoline

The Hoop Crinoline: Living in a cage post, published here earlier, discussed the encumbrance of this fashionable accessory mostly in a humorous way. Yet there was a serious—one may say tragic—side to the matter.

When the crinoline had reached its greatest degree of expansion, it was extremely hard—indeed, practically impossible—for more than two ladies to manoeuvre their skirts in one small room. “It was necessary,” remarked a lady of the Empress Eugénie’s court, in later years, “to watch one’s every movement carefully, to walk with a gliding step, and to supply the elegance lacking to the outline by a certain yieldingness of figure.   It was not easy for a woman to walk with such a mass of material to carry along with her. But as to sitting, it was a pure matter of art to prevent the steel hoops from getting out of place. To step into a carriage without crushing the light tulle and lace fabrics required a long time, very quiet horses, and a husband of extraordinary patience! To travel, to lie down, to play with the children, or indeed merely to shake hands and to walk with them—these were problems which called for great fondness and much good will for their solution.”

Women, moreover, with the introduction of the most advanced Victorian fashions, had become highly inflammable. Though gasoliers now lighted ballroom and drawing-room in place of the crystal chandeliers and silver sconces, candles and oil lamps were still set in dangerous proximity to flimsy shawls, sleeves and skirts, and the chronicles of the nineteenth century are full of stories  of dreadful deaths by fire – of how the Duchess de Maillé was burned to death at her friend’s fireside; how the Archduchess Mathilde, discovered smoking, attempted to hide the surreptitious cigarette in her petticoat and went up in flames; how a French actress was incinerated on stage; and how Queen Victoria’s daughter, the Princess Royal, narrowly escaped death by the same agency.

Source: Victorian Panorama by Peter Quennell

Further reading:

Visit the richly illustrated Crinoline Review 1850-1859

Read Full Post »

Fashion is based on volume, or the lack of it, and the repartition of said volume. Nothing illustrates this fact better than the rapidly changing silhouettes of the 19th century dresses. A century that began with a healthy, unconstrained approach to the female body ended with the grotesque distortion of the S-shaped corset.

____

1800

____

1810

____

1820

__

1830

____

1840

____

1850

____

1860

____

1870

____

1880

____

1890

____

1900

____

 Related article:

All About Corsets

 

 

 

Read Full Post »

A Bird of Prey, Punch 1892

If you are interested in 19th century fashion, I suggest a visit at The Victorianist blog. An in-depth, richly illustrated article reveals little known ugly facts behind the image of the fashionable Victorian woman. You don’t want to miss that.

Related posts:

 The Fashion Empire of Charles Worth

The Hoop Crinoline: Living in a Cage

All about Corsets

Note: For the month of April, I’m preparing a 3-part series about the lifestyle of Parisians of all classes.

Read Full Post »

In the mid-19th century, at a time when home stain-cleaning was the norm and dyeing of clothes a scary thought, Parisians had a remarkable alternative:

An art which has been recently brought to an astonishing degree of perfection in Paris, is that of dyeing, cleaning, scouring, and restoring almost all descriptions of habiliments; this has been effected by M. Bonneau, but not until he had visited the principal manufacturing towns, and had passed many years in studying the art scientifically, aided by persevering researches into the depths of chymistry, to which he is indebted for being able to perform that which has not until now been accomplished. I have seen instances of a soiled, faded, cashmere shawl, almost considered beyond redemption, committed to his charge, and reappear so resuscitated that the owners could scarcely believe it was the same dingy, deplorable-looking affair they had sent a fortnight before. The same power of restoring is effected upon all descriptions of satin, even that of the purest white, which, although so soiled as to be of a dirty yellow colour, is brought forth perfectly clean and with all its original lustre; with silks, merinos, gros de Naples of the tenderest tints, the process adopted is equally successful; blonde, guipure, and all descriptions of lace, no matter how discoloured, are restored to their original whiteness. With the apparel of men, the same advantages are obtained, silk, cashmere, velvet, and other waistcoats that many would throw aside as totally spoiled, or too shabby to be worn any longer, by being sent to M. Bonneau, are returned, having the appearance of being quite new. His establishment, at No. 17, Rue Lepelletier, just facing the French Opera, is well known to many English families; but having heard so much of the wonders he performed in reviving the lost colours of the elaborate borders of ladies’ cashmeres, and rendering them their pristine brilliance, I determined to visit his premises, upon which he carried on his operations, in the Rue de Bondy, No. 40. I there found everything conducted upon a most methodical system of regularity and order each room was appropriated to its peculiar department, and heated and ventilated by a certain process, and that which does M. Bonneau much honour, is, that all is so arranged, with the utmost consideration for the health of his work-people, by taking care that they shall be kept as dry as possible, and that a proper degree of warmth and air shall be admitted into every chamber. When required, M. Bonneau sends his men to clean furniture at persons’ houses, which would be rather incommodious to remove. When any article is sent to him, the bearer is informed what day it will be completed, and is sure not to be deceived, and he has an apartment so arranged for preserving whatever is confided to him, from any injury which might be caused by moths or other insects.

From How to Enjoy Paris in 1848 by F. Herve

 Related posts:

The Hoop Crinoline: Living in a cage

The Fashion Empire of Charles Worth

Read Full Post »

Older Posts »

%d bloggers like this: