Fashions of the 1860s include square paisley shawls folded on the diagonal and full skirts held out by crinolines. Auguste Toulmouche's Reluctant Bride of 1866 wears white satin, and her friend tries on her bridal wreath of orange blossoms.

1860s fashion in European and European-influenced clothing is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement. Clothing (also called clothes, accoutrements, accouterments, or habiliments) protects the Human body from extreme Weather Crinoline was originally a stiff fabric with a Weft of Horse-hair and a warp of Cotton or Linen thread. A hoop skirt or hoopskirt is a women's Undergarment worn in various periods to hold the Skirt extended into a fashionable shape The Artistic Dress movement and its successor Aesthetic Dress, were Fashion trends in nineteenth century Clothing.

In men's fashion, the three-piece ditto suit of sack coat, waistcoat, and trousers in the same fabric emerged as a novelty.

Women's fashions

Day dresses, 1861

Croquet players of 1864 loop their skirts up from floor-length over hooped petticoats. Croquet is a Game played both as a recreational Pastime and as a competitive Sport which involves hitting wooden or plastic balls with a mallet through Year 1864 ( MDCCCLXIV) was a Leap year starting on Friday (link will display the full calendar of the Gregorian Calendar (or a Leap year Small hats with ribbon streamers were very popular for young women in the mid-1860s.

Gowns

By the early 1860s, skirts had reached their ultimate width. A skirt is a tube- or cone-shaped Garment that hangs from the Waist and covers all or part of the Legs In European culture, skirts are usually After about 1862 the silhouette of the crinoline changed and rather than being bell-shaped it was now flatter at the front and projected out more behind. [1]

Day dresses featured wide pagoda sleeves worn over undersleeves or engageantes. Sleeve ( O Eng ''slieve'' or ''slyf'', a word allied to slip, cf Engageantes are false Sleeves worn with women's Clothing in the 18th and 19th centuries High necklines with lace or tatted collars or chemisettes completed the demure daytime look. This page is about a form of lace making Tatting is a technique for handcrafting a particularly durable Lace constructed by a series of Knots and loops In Clothing, a collar is the part of a Shirt, Dress, coat or Blouse that fastens around or frames the Neck. A Chemisette (from French "little Chemise " is an article of women's Clothing worn to fill in the front and neckline of any garment

Evening dresses had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts. A glove ( Middle English from Old English glof) is a type of Garment (and more specifically a Fashion Crochet (kroʊˈʃeɪ is a process of creating fabric from Yarn or thread using a Crochet hook. Large crinolines were probably reserved for balls, weddings and other special occasions.

Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist; this spelled the end of the brief fashion for border-printed dress fabrics.

Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodices, one long-sleeved and high necked for afternoon wear and one short-sleeved and low-necked for evening. Silk is a natural Protein Fiber, some forms of which can be woven into Textiles The best-known type of silk is obtained from cocoons A bodice is an article of Clothing for women covering the body from the neck to the waist

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. 1850s fashion in European and European-influenced Clothing is characterized by an increase in the width of women's Skirts supported by Crinolines or 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. 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 Waistlines rose briefly at the end of the decade.

Fashions were adopted more slowly in America than in Europe. The United States of America —commonly referred to as the It was not uncommon for fashion plates to appear in American women's magazines a year or more after they appeared in Paris or London. A fashion plate is literally an illustration (a plate) demonstrating the highlights of Fashionable styles of Clothing. Magazines, periodicals or serials are Publications generally published on a regular schedule containing a variety of articles, generally Paris (ˈpærɨs in English; in French) is the Capital of France and the country's largest city London ( ˈlʌndən is the capital and largest urban area in the United Kingdom.

Outerwear

Actress Effie Bancroft wears a cape and bonnet, c. Marie Effie Wilton Lady Bancroft (1840-1921 was an English actress and theatre manager 1861

Long coats were impractical with the very full skirts, and the common outer garments were square shawls folded on the diagonal to make a triangle and fitted or unfitted hip-length or knee-length jackets. A shawl ( Persian شال Shāl from Sanskrit: साडी śāṭī is a simple item of Clothing, loosely worn over the shoulders upper body and arms

Three-quarter-length capes (with or without sleeves) were also worn.

For walking, jackets were accompanied by floor-length skirts that could be looped or drawn up by means of tapes over a shorter petticoat.

Riding habits had fitted jackets with long sleeves, worn over a collared shirt or (more often) chemisette. A riding habit is women's Clothing for Horseback riding. Since the mid-17th century a formal habit for riding Sidesaddle usually consisted of They were worn with long skirts and mannish top hats.

Undergarments

As skirts became narrower and flatter in front, more emphasis was placed on the waist and hips. A corset was therefore used to help mold the body to the desired shape. 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 This was achieved by making the corsets longer than before, and by constructing them from separate shaped pieces of fabric. To increase rigidity, they were reinforced with many strips of whalebone, cording, or pieces of leather. As well as making corsets more constricting, this heavy structure helped prevent them from riding up, or from wrinkling at the waist. Steam-molding also helped create a curvaceous contour. Developed by Edwin Izod in the late 1860s, the procedure involved placing a corset, wet with starch, on a steam heated copper torso form until it dried into shape. [2]

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. Garibaldi redirects here for other meanings see Garibaldi (disambiguation. England is a Country which is part of the United Kingdom. Its inhabitants account for more than 83% of the total UK population whilst its mainland Year 1863 ( MDCCCLXIII) was a Common year starting on Thursday (link will display the full calendar of the Gregorian calendar (or a Common These bright red woolen garments featured black embroidery or braid and military details. Embroidery is the Art or Handicraft of decorating fabric or other Materials with designs stitched in strands of thread or Trim or trimming in Clothing and Home decorating is applied ornament such as gimp, passementerie, Ribbon, Ruffles In America, the early years of the Civil War also saw increased popularity of military-influenced styles such as Zouave jackets. The United States of America —commonly referred to as the Causes of the war See also Origins of the American Civil War, Timeline of events leading to the American Civil War The coexistence of a slave-owning South Zouave was the title given to certain Infantry regiments in the French Army, normally serving in French North Africa between 1831 and 1962 These new styles were worn over a waist (blouse) or chemisette and a skirt with a belt at the natural waistline. The word blouse most commonly refers to a woman's Shirt, although the term is also used for some men's military uniform jackets A Chemisette (from French "little Chemise " is an article of women's Clothing worn to fill in the front and neckline of any garment A belt is a flexible band typically made of Leather or heavy Cloth, and worn around the Waist. Women's fashion overall was highly influenced by the reigning Queen Victoria of England. Victoria (Alexandrina Victoria 24 May 1819 – 22 January 1901 was from 20 June 1837 the Queen of the United Kingdom of Great Britain and Ireland

Rise of haute couture

The Englishman Charles Frederick Worth had established his first fashion house in Paris in 1858. Charles Frederick Worth ( October 13, 1825 &ndash March 10, 1895) widely considered the Father of Haute Couture, was an English Haute couture ( French for "high sewing" or "high dressmaking" oːt kuˈtyʁ refers to the creation of exclusive custom-fitted fashions Year 1858 ( MDCCCLVIII) was a Common year starting on Friday (link will display the full calendar of the Gregorian Calendar (or a Common 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. A couturier is a person involved in the clothing fashion industry who makes original garments to order for private clients For other uses see Dressmaker (disambiguation A dressmaker is a person who makes custom Clothing for women such as Haute couture ( French for "high sewing" or "high dressmaking" oːt kuˈtyʁ refers to the creation of exclusive custom-fitted fashions

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 corsets and hoops as both ugly and dishonest. The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters Poets, and critics founded in 1848 by Trim or trimming in Clothing and Home decorating is applied ornament such as gimp, passementerie, Ribbon, Ruffles 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 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 Artistic Dress movement and its successor Aesthetic Dress, were Fashion trends in nineteenth century Clothing. The style was characterised by "medieval" influences such as juliette sleeves, the soft colors of vegetable dyes, narrow skirts, and simple ornamentation with hand embroidery. Sleeve ( O Eng ''slieve'' or ''slyf'', a word allied to slip, cf A dye can generally be described as a Colored substance that has an affinity to the substrate to which it is being applied Embroidery is the Art or Handicraft of decorating fabric or other Materials with designs stitched in strands of thread or

Hairstyles and headgear

Hair was worn parted in the middle and smoothed, waved, or poofed over the ears, then braided or "turned up" and pinned into roll or low bun at the back of the neck. Such styling was usually maintained by the use of hair oils and pomades.

A late 1860s CDV, showing a girl sporting a fine hairnet decorated with ribbon. Note in French '''carte de visite''' refers to Business card or Visiting card.

Styled hair was often further confined in decorative hairnets (often called "snoods"), especially by younger women. A snood is a type of Headgear, worn by women over their long Hair. These hairnets were frequently made of very fine material to match the wearer's natural hair color, but occasionally more elaborate versions were made of thin strips of velvet or chenille (sometimes decorated with beads). Chenille may refer to either a type of cored Yarn or fabric made from it Whether plain or resplendent, many hairnets were edged with ruchings of ribbon that would serve to adorn the crown of the wearer's head.

Fashion Bonnets for outdoor wear had small brims that revealed the face. Earlier bonnets of the decade had lower brims. However, by mid-century Spoon Bonnets, which featured increasingly high brims and more elaborate trimmings, became the vogue. Other less common variants, such as the Marie Stuart Bonnet, with its heart-shaped brim, and the fanchon bonnet, with its very short brim and back curtain, made appearances in the realm of fashionable headwear.

A composite of two fashion engravings from an early 1860s Godey's Lady's Book, showing ensembles with fashion bonnets, richly decorated with trimmings like laces and wide ribbon ties. Godey's Lady's Book, alternatively known as Godey's Magazine and Lady's Book, was a popular United States Magazine among

Bonnets could be made of a variety of materials. Bonnets formed from buckram and wire and covered with fashion fabric were very popular. During the warmer seasons, bonnets made of straw, woven horsehair, or gathered net were also seen. Heavier materials like velvet were favored for winter bonnets, though quilted winter hoods were much more practical and warm.

Trimmings varied according to the changing styles and whims of the individual wearer, but most bonnets of the period followed some general rules with regards to form. Rows of gathered net lining the brim was a fashion carry-over from the decade before, and a decorative curtain (also referred to as a "bavolet") appeared on most bonnets in order to shade the wearer's neck and accommodate for the low hairstyles. Another standard of 1860s bonnets is bonnet ties. There were often two sets, a thin pair of "utility ties" to take the strain of tying the bonnet, and another set of wide ties of silk or another fancy material. These rich ties were tied below the chin in a bow or left untied to show off the beautiful print or material.

Bonnets fell out of fashion over the decade in favor of small hats.

Style gallery 1860-1864

1 - c. 1860	2- early 1860s	3 - 1861	4 - 1862
5 - 1862	6 - 1862	7 - 1864	8 - 1864

1. Evening dresses from around 1860 with full skirts held out by crinolines
2. Ball gowns from the early 1860's.
3. Italian woman wears a gray striped jacket with turned-back pagoda sleeves trimmed in contrasting fabric and a matching skirt. Her blouse sleeves or engageantes are full over her lower arms, 1861.
4. 1862 portrait of Jenny Lind depicts her in a white evening gown with a wide lace collar. Autograf Jenny Lind Goldschmidt Nordisk familjebokpng|thumb|left|Autograph of Jenny Lind after her February 5 1852 marriage to Otto Goldschmidt Her hair is parted in the center, rolled or "turned up" at the sides, and decorated with flowers.
5. Vienna fashion plate, showing male and female attire.
6. Artistic dress 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.
7. Zouave jacket in bright red with ball fringe and braid trim is waist length and cutaway in front, 1864.
8. Fashion plate of 1864 shows the fashionable braided Zouave-style cutaway jacket worn with a shirtwaist (blouse), skirt, and wide belt. The lady on the right wears a knee-length velvet coat.

Style gallery 1865-1866

1 - 1865	2 - 1865	3 - 1865	4 - 1865
5 - 1865	6 - 1866

1. Emilia Wlodowska wears a bronze-colored satin evening dress with bands of trim on the skirt, 1865.
2. The Empress Elisabeth 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.
3. Clara Barton wears a typical American hairstyle of 1865-66.
4. Countess Karoly wears her hair in a net or snood. Her hat is tipped forward over her forehead, and is trimmed with ostrich plumes, 1865.
5. Ellinor Guthrie wears a black satin gown trimmed with passementerie, 1865. Passementerie or passementarie is the art of making elaborate trimmings or edgings (in French passements) of applied Braid, Gold
6. Emilie Menzel wears her hair in a net snood. Her day dress has a pointed waist and slightly puffed, long sleeves, 1866.

Style gallery 1867-1869

1 - 1867

2 - Late 1860s

3 - 1869

4 - 1869

1. Riding habits of 1867 feature short ot hip-length jackets and trailing petticoats for riding sidesaddle.
2. Margherita of Savoy-Genoa wears an outdoor walking costume consisting of a loose jacket and matching skirt. The skirt is drawn up for ease of walking over an ankle-length underskirt or petticoat and hoops. She wears a bowler-like hat wrapped in a scarf or veil. Latter half 1860s.
3. Fashions of 1869 show a high waist and an elliptical skirt. Draped styles suggest a separate underskirt or petticoat. Jackets are knee-length.
4. Fashions from the Englishwoman's Domestic Magazine, 1869, show the beginnings of the bustle: high-waisted skirts are looped up over underskirts. Hats are worn tipped forward over the forehead, and short gloves are worn with long, tight sleeves.

Men's fashion

Parisian composers: The Circle of the Rue Royale, 1868.

Men's fashion of the 1860s remained much the same as in the previous decade.

Shirts of linen or cotton featured high upstanding or turnover collars, and neckties grew wider and were tied in a bow or looped into a loose knot and fastened with a stickpin. 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 Heavy padded and fitted frock coats (in French redingotes), now usually single-breasted, were worn for business occasions, over waistcoats or vests with lapels and notched collars. A frock coat is a man's coat characterised by knee-length skirts all around the base popular during the Victorian and Edwardian period The redingote is a type of coat that has had several forms over time Waistcoats were generally cut straight across the front and had lapels.

The loosely fitted, mid-thigh length sack coat continued to slowly displace the frock coat for less-formal business occasions.

The slightly cutaway morning coat was worn for formal day occasions. The most formal evening dress remained a dark tail coat and trousers, with a white cravat; this costume was well on its way to crystalizing into the modern "white tie and tails".

Full-length trousers were worn, generally of a contrasting fabric. 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 Costumes consisting of a coat, waistcoat and trousers of the same fabric (called a "ditto suit") remained a novelty at this time.

Overcoats had wide lapels and deep cuffs, and often featured contrasting velvet collars.

Top hats briefly became the very tall "stovepipe" shape, but a variety of other hat shapes were popular. For the item of clothing see Top hat. For the fictional TUGS character see Top Hat (TUGS.

Style gallery

1 - 1855-65	2 - 1860	3 - 1860-65	4 - 1855-65
5 - 1860-65	6 - 1862	7 - c. 1863-69	8 - 1868

1. Eduard de Stoeckl wears a frock coat over a waistcoat with a low front and lapels. He wears a patterned tie. 1855-65.
2. Manet's unidentified man wears a tie secured with a jewel at the neck, a shawl-collared waistcoat, and a contrasting coat, 1860.
3. British journalist George Augustus Sala wears an overcoat with black velvet collar, wide lapels, and deep cuffs over a frock coat, waistcoat, and tweed trousers. He wears leather gloves and carries a top hat. c. 1860-65.
4. W. Curtis Noyes wears an overcoat with very wide lapels, wide cuffs, a contrasting (probably velvet) collar, and braid trim over a frock coat, waiscoat, and trousers which appear to be made of matching fabric. The ends of his large necktie are loosely looped and secured with a stickpin, and then tucked into his waistcoat. 1855-65.
5. Former President John Tyler wears a cravat tied in a floppy bow. John Tyler Jr (March 29 1790 January 18 1862 was the tenth President of the United States (1841-1845 and the first ever to obtain that office via succession His coat has wide lapels and contrasting waistcoat have wide lapels, 1860-65.
6. Composer Wilhelm Taubert wears a dark necktie tied in a bow and slightly winged collar. German, 1862.
7. Thomas Henry Huxley wears a three-piece suit. His coat is cutaway in front. His waistcoat has no lapels and the front has a slight point on either side at the waist.
8. Canadian journalist Thomas D'Arcy McGee wears a dark double-breasted frock coat over a high-buttoned single-breasted waistcoat and trousers. , 1868.

Note: Photographs from the Library of Congress's Brady-Handy collection are collectively dated 1855-1865. Where possible, tighter dates have been applied based on known facts about the sitters. See Mathew Brady. Note that Mathew B Brady spelled his first name with only one "t"

Children's fashion

Both boys and girls wore skirts from the time they could walk until they reached age 5 or 6. Very small girls wore their skirts just below knee-length over pantalettes. Pantalettes are Undergarments covering the legs worn by women girls and very young boys (before they were Breeched) in the early- to mid- Nineteenth century Skirts were longer as girls grew up until they reached floor length at coming-out (in their later teens). Older girls wore hoops to hold out their skirts. Young girls wore washable pinafores over their dresses for work and play to keep them clean. A pinafore (colloquially pinny in British English) is a Sleeveless garment worn as an Apron

Boys wore simple jackets and trousers.

Girls in pinafores, 1860-62

Germany, 1861

Boy, 1867

See also

• Victorian fashion
• Artistic Dress movement
• Crinoline

References

• Arnold, Janet: Patterns of Fashion 2: Englishwomen's Dresses and Their Construction C. The term " Victorian Fashion " refers to Fashion in Clothing in the Victorian era, or the reign of Queen Victoria (1837&ndash1901 The Artistic Dress movement and its successor Aesthetic Dress, were Fashion trends in nineteenth century Clothing. Crinoline was originally a stiff fabric with a Weft of Horse-hair and a warp of Cotton or Linen thread. Janet Arnold ( 1932 - November 2, 1998) was a British Clothing Historian, Costume designer, teacher conservator 1860-1940, Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977. ISBN 0-89676-027-8

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

• Goldthorpe, Caroline: From Queen to Empress: Victorian Dress 1837-1877, Metropolitan Museum of Art, New York, 1988, ISBN 0-87099-535-9

• Johnston, Lucy: From the Crinoline, to the Crinolette, to the Bustle: 1860-1880, V&A Museum, Collections, Corsets and Crinoline.

• Payne, Blanche: History of Costume from the Ancient Egyptians to the Twentieth Century, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS

• Steele, Valerie: Paris Fashion: A Cultural History, Oxford University Press, 1988; ISBN 0-19-504465-7

• Tozer, Jane, and Sarah Levitt: Fabric of Society: A Century of People and Their Clothes 1770-1870, Laura Ashley Ltd. , 1983; ISBN 0-9508913-0-4

External links

• 1850s and 1860s Fashion
• 1860s Men's Fashions - circa 1860 Men's Fashion Photos with Annotations
• Garibaldi jacket
• Photographs of Women from the American Civil War Period c. 1859-1865 (with notes on costume and hairstyles)
• 1864 Wedding Dress - Metropolitan Museum of Art Costume Institute