Shopping in Paris, 1822: The woman wears a demure bonnet, a shawl, and gloves over her dress. The man wears a top hat, long coat, tall collar, and striped trousers with straps under his shoes. 1822.

During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically-influenced "Empire"/"Regency" styles of ca. 1795-1820 (with their relatively unconfining empire silhouette) and re-adopted elements that had been characteristic of most of the 18th century (and were to be characteristic of the remainder of the 19th century), such as full skirts and clearly visible corseting of the natural waist. Fashion in the period 1795-1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades lace periwigs and powder An Empire silhouette is created by a woman wearing a high-waisted dress gathered near or just under the bust with a long loose Skirt, which skims the body A corset is a Garment worn to mold and shape the Torso into a desired shape for Aesthetic or medical purposes (either for the duration of wearing it or

The silhouette of men's fashion changed in similar ways: by the mid-1820s coats featured broad shoulders with puffed sleeves, a narrow waist, and full skirts. A coat is a long garment worn by both men and women for warmth or Fashion. Trousers were worn for smart day wear, while breeches continued in use at court and in the country. Trousers are an item of Clothing worn on the lower part of the body from the waist to the ankles covering both legs separately (rather than with cloth stretching across Breeches (pronounced) are an item of male Clothing covering the body from the Waist down with separate coverings for each Leg, usually stopping just below

Women's fashions

Overview

1823 ball gown

"Newest Fashions for May 1829: Morning and Evening Dresses"

During the first half of the 1820s, there were slight gradual modifications of Regency styles, with the position of the waistline trending successively lower than the high waistline of the Regency (just below the breasts), and also further development of the trends of the late 1810s towards giving skirts a somewhat conical silhouette (as opposed to earlier more clinging and free-flowing styles), and in having various types of decoration (sometimes large and ornate) applied horizontally around the dress near the hem. Sleeves also began increasing in size , foreshadowing the styles of the 1830's. However, there was still no radical break with the Empire/Regency aesthetic.

During the second half of the 1820s, this neoclassical aesthetic was decisively repudiated, preparing the way for the main fashion features of the next ten to fifteen years (large sleeves, somewhat strict corseting of the natural waist, full skirts, elaborate large-circumference hats, and visual emphasis on wide sloping shoulders). Around 1826, fabrics with large bold checkerboard or plaid patterns were seen on various fashion plates (another contrast with the previous fashion period, which had favored small delicate pastel prints). A bustle was sometimes also worn. A bustle is a type of framework used to expand the fullness or support the drapery of the back of a woman's dress occurring predominantly between the mid- to late 1800s Belts accentuated the new defined waist.

Day gowns were often worn with a round ruffled linen collar similar to a soft Elizabethan ruff. A ruff is an item of Clothing worn in Western Europe from the mid- Sixteenth century to the mid- Seventeenth century.

The late 1820s fashion plate (right) gives examples of late 1820s fashions; the rightmost outfit, with its smaller, shorter sleeves, non-whitish color scheme, and slightly lower neckline, is the evening dress.

Hairstyles and headgear

Ruffled collar and sheer linen cap, 1823

Early in the decade, hair was parted in the center front and styled into tight curls over the temples. As the decade progressed, these curls became more elaborate and expansive. The bun on the back became a looped knot worn high on top of the head. Wide-brimmed hats and hat-like bonnets with masses of feathers and ribbon trims were worn by mid-decade.

Conservative married or older women wore indoor caps of fine linen descended from the earlier mob cap; these had a pleated or gathered caul on the back to cover the hair, and a narrow brim at the front that widened to cover the ears and often tied under the chin. Linen is a Textile made from the Fibers of the Flax plant Linum usitatissimum. A mob cap or mob-cap is a round gathered or pleated Cloth (usually Linen) bonnet consisting of a caul to cover the hair a frilled or ruffled These caps were worn under bonnets for street-wear.

Outerwear

Shawls remained popular. A shawl ( Persian شال Shāl from Sanskrit: साडी śāṭī is a simple item of Clothing, loosely worn over the shoulders upper body and arms Cloaks and full-length coats were worn in cold or wet weather. A cloak is a type of loose Garment that is worn over indoor Clothing and serves the same purpose as an Overcoat &mdashit protects the wearer from the cold A coat is a long garment worn by both men and women for warmth or Fashion.

Shoes

The fashionable shoe was a flat slipper.

Style gallery 1820-25

1 - 1821

2 - 1822

3 - 1823

4 - 1824

1. Mademoiselle Gonin wears a dark dress with small puffed sleeves, with a ruffled collar and a blue plaid ribbon at the neck. Her hair is styled into small curls at her temples.
2. Collette Versavel's blue dress of 1822 is slightly cone-shaped, and is trimmed with frills around the hem. She carries a deep red shawl with a paisley patterned border. A shawl ( Persian شال Shāl from Sanskrit: साडी śāṭī is a simple item of Clothing, loosely worn over the shoulders upper body and arms Paisley (Pàislig is a town and former Burgh in the west- Central Lowlands of Scotland.
3. Antonietta Vitali Sola wears an arrangement of tight, vertical curls at her temples. Her sheer chemise or chemisette has a double ruffled collar, 1823.
4. Fashion plate of a "carriage" or travelling dress of 1824 has fur trim and a matching muff. Note lower waist, fuller sleeves, and wider skirt.

Style gallery 1826-29

1 - 1826	2 - 1826	3 - 1825-30	4 - 1827
5 - c. 1827	6 - 1828

1. Madame Marie Marcotte wears a brown gown with a wide buckled belt, full sleeves, and a sheer collar with shell buttons. In Clothing and Fashion design, a button is a small plastic or metal disc- or knob-shaped typically round object usually attached to an article of Clothing Her hair is worn in elaborate curls on the sides and on top. 1826.
2. Viennese fashion plate of 1826. Stripes run in different directions on the skirt, hem and sleeves, and the hat is lined with plaid fabric and trimmed with a matching ribbon.
3. Comtesse de MacMahon wears a satin gown with a conical skirt trimmed with horizontal frills at the hem. Matching frills accent the new wide-puffed sleeves. She wears a large hat decorated with ostrich plumes, latter half of the 1820s.
4. Auguste Strobl wears a sheer overdress with full sleeves in the new fashion over a white gown with short puffed undersleeves. A wide ribbon sash is fastened with a gold buckle. German, 1827.
5. Sarah Stanton Blake wears a frilled indoor cap trimmed with sheer ribbon and a high-necked chemise or chemisette under her black gown and scarlet shawl. Massachusetts, c. 1827.
6. Evening gown of 1828 shows the beginnings of the dropped shoulder and wide sleeve puff that would flower in the 1830s. Hair is worn in elaborate side curls, and the knotted bun is higher on the crown of the head. German.

Men's fashions

Men's fashion plate, 1826

This man wears a dark coat with a high shawl collar. His sleeves have puffs at the shoulder and taper to the wrist. He wears light brown trousers, 1828.

Overview

By the mid-1820s, men's fashion plates show a shapely ideal silhouette with broad shoulders emphasized with puffs at the sleevehead, a narrow waist, and very curvy hips.

A corset was required to achieve the tiny waistline shown in fashion plates. A corset is a Garment worn to mold and shape the Torso into a desired shape for Aesthetic or medical purposes (either for the duration of wearing it or Already de rigueur in the wardrobes of military officers, men of all middle and upper classes began wearing them, out of the necessity to fit in with the fashionable gentry. Usually referred to as "girdles", "belts" or "vests" (as "corsets" and "stays" were considered feminine terms) they were used to cinch the waist to sometimes tiny proportions, although sometimes they were simply whalebone-stiffened waistcoats with lacing in the back. Many contemporary cartoonists of the time poked fun at the repressed nature of the tightlaced gentlemen, although the style grew in popularity nonetheless. This was the case especially amidst middle-class men, who often used their wardrobe to promote themselves, at least in mind, to a higher class - hence the dandy was born. A dandy (also known as a beau gallant or flamboyant person is a man who places particular importance upon Physical appearance, refined language and leisurely hobbies

Shirts and cravats

Shirts of linen or cotton featured tall standing collars and were worn with wide cravats tied in a soft bow. A shirt is a cloth garment for the upper body Originally an item of underwear worn exclusively by men it has become in American English a catch-all term for In Clothing, a collar is the part of a Shirt, Dress, coat or Blouse that fastens around or frames the Neck. The necktie (or tie) is a long piece of cloth worn around the neck resting under the shirt collar and knotted at the throat

Coats and waistcoats

Coats and waistcoats had high shawl-like collars to frame the face and were cut straight across the waist. A waistcoat (sometimes called a wescot, Vest or a vestee in Canada and the US) is a sleeveless upper-body Garment Waistcoats were buttoned high on the chest. Cutaway coats were worn as in the previous period for formal daywear, but the skirts might almost meet at the front waist. Fashion in the period 1795-1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades lace periwigs and powder

Frock coats had the same nipped-in waist and full skirts. A frock coat is a man's coat characterised by knee-length skirts all around the base popular during the Victorian and Edwardian period Very fashionable sleeves were gathered or pleated into a slightly puffed "leg of mutton" shape. Coats could be made of wool or velvet, and jewel colors like bottle green and midnight blue were high style. Wool is the fiber derived from the specialized skin cells called follicles of animals in the Caprinae family principally sheep, but the hair of certain species Velvet is a type of tufted fabric in which the cut threads are very evenly distributed with a short dense pile giving it a distinct feel Double-breasted coats were very much in fashion throughout the decade. In Clothing, double-breasted refers to a coat, jacket or similar garment having a very wide overlap in the front and two parallel columns of Buttons

Trousers and breeches

Full-length light-colored trousers were worn for day; these were cut full through the hips and thighs, tapering to the ankles. They were held smoothly in place by straps fastened under the square-toed shoes. Dark trousers were worn for evening wear, and breeches were worn for formal functions at the British court (as they would be throughout the century). The United Kingdom of Great Britain and Northern Ireland, commonly known as the United Kingdom, the UK or Britain,is a Sovereign state located Breeches were also worn for horseback riding and other country pursuits, especially in Britain, with tall fitted boots. For the Roman class see Equestrian (Roman Equestrianism refers to the skill of riding or driving Horses This broad description

Hats and hairstyles

The crowns of tall hats also became curvy in keeping with the new style, and began to flare from the headband to the top. A hat is a headcovering It may be worn for protection against the elements for religious reasons for safety or as a Fashion accessory. Curled hair and sideburns were fashionable. Hair is a keratinised protein filament that grows through the epidermis from follicles deep within the Dermis.

Style gallery

1-1820-2	2 - 1823	3 - 1823	4 - 1825
5 - 1826	6 - 1827	7 - 1828	8 - 1828

1. President James Monroe wears a high shirt collar and white cravat tied in a wide bow. His jacket collar and lapels form a continuous curve very like a shawl collar. 1820-22.
2. Country clothes in the city: In this caricature by Richard Dighton, a stout man wears country clothes (breeches and riding boots) at the Royal Exchange in London. Hats of 1823 are not yet curvy, and the straight-bottomed waistcoat shows slightly below the coat in front.
3. French fashion plate shows an evening cape or manteau with a fur collar and shoulder cape, worn over dark formal breeches and double-breasted coat, 1823.
4. Conte Ninni wears a black coat with a tall collar and a slight puff at the sleeve head over a tall-collared white shirt and white cravat, 1825.
5. Francisco de Goya wears a gray coat over a satin single-breasted waistcoat and a tall-collared shirt that reaches to his ears, with a white cravat. Spanish, 1826. Spain () or the Kingdom of Spain (Reino de España is a country located mostly in southwestern Europe on the Iberian Peninsula.
6. Baron Schwiter wears a dark cutaway coat, waistcoat, and narrow fitted pantaloons or trousers. His flat shoes have square toes and bows on the instep, and are worn with white stockings, 1827.
7. Goethe wears a coat with a slight puff at the sleeve head, a satin lining turned back to form lapels, and a high contrasting collar over a patterned waistcoat. His white cravat is fastened with a gold pin. German, 1828.
8. In his self-portrait, Ferdinand Georg Waldmüller wears a striped cravat and striped waistcoat, both in dull gold and blue, 1828. Ferdinand Georg Waldmüller ( 15 January 1793 in Vienna, † 23 August 1865 in Hinterbrühl, Austria) was

Children's fashion

Germany, 1825

References

Ashelford, Jane: The Art of Dress: Clothing and Society 1500-1914, Abrams, 1996. ISBN 0-8109-6317-5

Picken, Mary Brooks: The Fashion Dictionary, Funk and Wagnalls, 1957. (1973 edition ISBN 0-308-10052-2)

Tozer, Jane and Sarah Levitt, Fabric of Society: A Century of People and their Clothes 1770-1870, Laura Ashley Press, ISBN 0-9508913-0-4

Walker, Richard: The Savile Row Story, Prion, 1988, ISBN 1-85375-000-X