| 1795-1820 In Fashion |
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Rutger Jan Schimmelpenninck and his family, 1801-02.]] Fashion in the period 1795-1820 in Europe an and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs, and powder of the earlier Eighteenth Century . In the aftermath of the French Revolution , no one in France wanted to appear to be an Aristocrat , while in Britain , Beau Brummell introduced Trousers , perfect Tailor ing, and unadorned, immaculate Linen as the ideals of men's fashion. Women's fashions followed Classical ideals, and tightly laced Corset s were temporarily abandoned in favor of a high-waisted, natural figure. WOMEN'S FASHION In this period, fashionable women's clothing styles were based on the Empire Silhouette — dresses were closely-fitted to the torso just under the breasts, falling loosely below. In different contexts, 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 1804-1814/1815 empire, and often also to his 1800-1804 "consulate"), or " Regency " (most precisely referring to the 1811-1820 period of George IV's formal regency, but often loosely used to refer to various periods between the 18th century and the Victorian). These 1795-1820 fashions were quite different from the styles prevalent during the most of the rest of the 18th and 19th centuries, when women's clothes were generally tight against the torso from the natural waist upwards, and heavily full-skirted below (often inflated by means of Hoop-skirts , Crinoline s, Panniers , Bustle s, etc.). The high waistline of 1795-1820 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 other periods. Thus during the 1795-1820 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. Directoire (1795-1799) , showing the late 1790's Parisian high Greek look]] By the early-to-mid 1790's, several influences had combined to produce a certain simplification in women's clothes: aspects of Englishwomen's practical country outdoors wear leaked upwards into high fashion, there was a reaction in revolutionary France against the ornately cumbersome aristocratic style of dress of the former royal regime (see ) probably prepared the way for the simplification of the attire worn by teenage girls and adult women in the 1790s. Waistlines became somewhat high by 1795, but skirts were still rather full, and neo-classical influences were not yet dominant. It was during the second half of the 1790s that fashionable women in France began to adopt a thoroughgoing Classical style, based on an idealized version of ancient Greek and Roman dress (or what was thought at the time to be ancient Greek and Roman dress), with narrow clinging skirts. Some of the extreme Parisian versions of the neo-classical style (such as narrow straps which bared the shoulders, and diaphanous gowns without sufficient stays, petticoats, or shifts worn beneath) were not widely adopted elsewhere, but many features of the late-1790s neo-classical style were broadly influential, surviving in successively modified forms in European fashions over the next two decades. White was considered the most suitable color for neo-classical clothing (accessories were often in contrasting colors). Short trains trailing behind were common in dresses of the late 1790s. Directoire gallery # of the Frankland sisters by John Hoppner gives an idea of the styles of 1795. # by William Blake. Blake is not a typical neo-classicist, but this shows a somewhat similar idealization of antiquity (as well as predicting the future high fashions of the late 1790's). # showing woman and girl wearing elegantly-simple high-waisted styles, which are not strongly neoclassical, however. # of Gabrielle Josephine du Pont. #, showing a lady who seems none too warmly attired for a balloon journey in her low-cut thin-looking directoire gown. # of white directoire gown worn with contrasting red shawl with Greek key border. # of a day outfit with short "spencer" jacket (less neo-classical, though still following the empire silhouette). Caricatures #, a February 8th 1796 caricature engraved by Isaac Cruikshank (father of George ) after a drawing by George M. Woodward. (In 1796, strongly neoclassically-influenced styles were still very new in England.) Notice the single vertical feather springing from the hair of the 1796 woman. #, an over-the-top caricature by Isaac Cruikshank of allegedly excessively diaphanous styles worn in late 1790's Paris. Empire/Regency During the first two decades of the nineteenth century, fashions continued to follow the basic high-waisted Empire Silhouette , but in other respects neoclassical influences became progressively diluted. (In many countries, the strictest or most uncompromising versions of the neoclassical style were never quite as popular as in Paris.) Colors other than white came into style, the fad for diaphanous outer fabrics faded (except in certain formal contexts), and some elements of obvious visible ornamentation came back into use in the design of the gown (as opposed to the elegant simplicity or subtle white-on-white embroidery of the gown of ca. 1800). During the second half of the 1810s, a somewhat conical silhouette (slightly-stiffened by layers of petticoats) began to be preferred (as opposed to the earlier narrow and clinging skirts), and decoration (sometimes heavy and elaborate) was often applied near the hem of the dress, preparing the way for the transition to 1820s Styles . Empire gallery |
Image:Gillray-Three-Graces-in-High-Windjpg"Three Graces In A High Wind", 1810 Caricature By
| "http://wwwinformationdelightinfo/encyclopedia/entry/James_Gillray" class="copylinks">Gillray Satire of clinging gowns worn with few layers of petticoats beneath |
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Image:1815-walking-costume-Ackermannspng1815 Walking Costume — Probably More Realistic To The Everyday Wear Of
| "http://wwwinformationdelightinfo/encyclopedia/entry/Jane_Austen" class="copylinks">Jane Austen 's characters than most fashion-plates |
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