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1860s fashion in European and European-influenced Clothing is characterized by extremely full-skirted women's fashions relying on Crinoline s and Hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress Movement . WOMEN'S FASHIONS By the early 1860s, Skirts had reached their ultimate width. Day dresses featured wide pagoda Sleeve s worn over undersleeves or Engageante s. High necklines with Lace or Tatted Collars or Chemisette s completed the demure daytime look. Evening dresses had low necklines and short sleeves, and were worn with short Glove s or Lace or Crochet ed fingerless Mitt s. Heavy Silk s in solid colors became fashionable for both day and evening wear, and a skirt might be made with two Bodice s, 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 . Fashions were adopted more slowly in America than in Europe. It was not uncommon for Fashion Plate s to appear in American women's Magazine s a year or more after they appeared in Paris or London . '', Dec. 1859. Later Zouave jackets were typically waist-length.]] Military and political influences Following a visit by the Italian revolutionary Giuseppe Garibaldi to England in 1863 , the ''Garibaldi jacket'' or ''Garibaldi shirt'' became all the rage. These bright red woolen garments featured black Embroidery or Braid and military details. In America , the early years of the Civil War also saw increased popularity of military-influenced styles such as Zouave jackets. These new styles were worn over a ''waist'' ( Blouse ) or Chemisette and a skirt with a Belt at the natural waistline. Rise of ''haute couture'' The Englishman Charles Frederick Worth had established his first Fashion House in Paris in 1858 . He was the first Couturier , a Dressmaker considered an artist, and his ability to dictate design in the 1860s lead to the dominance of Parisian Haute Couture for the next hundred years. Artistic dress The followers of the Pre-Raphaelite Brotherhood and other artistic reformers objected to the elaborately Trimmed confections of high fashion with their emphasis on rigid Corset s and hoops as both ugly and dishonest. An "anti-fashion" for Artistic Dress spread in the 1860s in literary and artistic circles, and remained an undercurrent for the rest of the century. The style was characterised by " Medieval " influences such as Juliette Sleeves , the soft colors of vegetable Dye s, narrow skirts, and simple ornamentation with hand Embroidery . Hairstyles and headgear Hair was worn parted in the middle and smoothed, waved, or poofed over the ears, then braided or pinned into a low bun, or caught up in a Snood or net. Bonnet s for outdoor wear had small brims that revealed the face, and fell out of fashion over the decade in favor of small hats. Style gallery # has romantic, vaguely medieval lines with a slight train, and is worn without a corset or hoops. This young girl wears her hair down. 1862. # in bright red with ball fringe and braid trim is waist length and cutaway in front. 1864. # in evening dress, 1865. The skirt has an overlayer of sheer fabric called ''illusion'' and is noticeably fuller in back than in front, the first hint of the styles that would prevail in the next decade. # wears a typical American hairstyle of 1865-66. # from the early 1860's. # fashion plate, showing male and female attire. SEE ALSO REFERENCES Arnold, Janet : ''Patterns of Fashion 2: Englishwomen's Dresses and Their Construction C.1860-1940'', Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977. ISBN 0896760278 Ashelford, Jane: ''The Art of Dress: Clothing and Society 1500-1914'', Abrams, 1996. ISBN 0810963175 Goldthorpe, Caroline: ''From Queen to Empress: Victorian Dress 1837-1877'', Metropolitan Museum of Art, New York, 1988, ISBN 0870995359 Tozer, Jane, and Sarah Levitt: ''Fabric of Society: A Century of People and Their Clothes 1770-1870'', Laura Ashley Ltd., 1983; ISBN 0950891304 EXTERNAL LINKS
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