1795–1820 in Western fashion


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 of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."
For women's dress, the day-to-day outfit of the skirt and jacket style were practical and tactful, recalling the working-class woman. Women's fashions followed classical ideals, and stiffly boned stays were abandoned in favor of softer, less boned corsets. This natural figure was emphasized by being able to see the body beneath the clothing. Visible breasts were part of this classical look, and some characterized the breasts in fashion as solely aesthetic and sexual.
This era of British history is known as the Regency period, marked by the regency between the reigns of George III and George IV. But the broadest definition of the period, characterized by trends in fashion, architecture, culture, and politics, begins with the French Revolution of 1789 and ends with Queen Victoria's 1837 accession. The names of popular people who lived in this time are still famous: Napoleon and Josephine, Juliette Récamier, Jane Austen, Percy Bysshe Shelley, Lord Byron, Beau Brummell, Lady Emma Hamilton, Queen Louise of Prussia and her husband Frederick William III, and many more. Beau Brummell introduced trousers, perfect tailoring, and unadorned, immaculate linen as the ideals of men's fashion.
In Germany, republican city-states relinquished their traditional, modest, and practical garments and started to embrace the French and English fashion trends of short-sleeved chemise dresses and Spencer jackets. American fashion trends emulated French dress, but in a toned-down manner, with shawls and tunics to cope with the sheerness of the chemise. Spanish majos, however, rebelled against foppish French Enlightenment ideals by reclaiming and elaborating upon traditional Spanish dress.
By the end of the eighteenth century, a major shift in fashion was taking place that extended beyond changes in mere style to changes in philosophical and social ideals. Prior to this time, the style and traditions of the Ancien Régime prevented the conceptualization of "the self". Instead, one's identity was considered malleable; subject to change depending on what clothes one was wearing. However, by the 1780s, the new, "natural" style allowed one's inner self to transcend their clothes.
During the 1790s, there was a new concept of the internal and external self. Before this time, there had only been one self, which was expressed through clothing. When going to a masquerade ball, people wore specific clothing, so they could not show their individuality through their clothing. Incorporated in this new "natural" style was the importance of ease and comfort of one's dress. Not only was there a new emphasis on hygiene, but also clothing became much lighter and more able to be changed and washed frequently. Even upper-class women began wearing cropped dresses as opposed to dresses with long trains or hoops that restricted them from leaving their homes. The subsequent near stasis of the silhouette inspired volumes of new trims and details on heavily trimmed skirts back into fashion. In the Regency years, complicated historic and orientalist elements provided lavish stylistic displays as such details were a vigorous vehicle for conspicuous consumption given their labor-intensive fabrications, and therefore a potent signifier of hierarchy for the upper classes who wore the styles. This kind of statement was particularly noticeable in profuse trimmings, especially on skirts where unrestrained details were common, along with cut edge details and edge trims.
Women's fashion was also influenced by male fashion, such as tailored waistcoats and jackets to emphasize women's mobility. This new movement toward practicality of dress showed that dress became less of a way to solely categorize between classes or genders; dress was meant to suit one's personal daily routine. It was also during this time period that the fashion magazine and journal industry began to take off. They were most often monthly periodicals that allowed men and women to keep up with the ever-changing styles.

Influence of the Industrial Revolution

In the late 18th century, clothes were mostly sold by individual shopkeepers who were often the artisans who made the goods. Customers usually lived in the same neighborhood as the shops and the shops would gain popularity by their customers' word-of–mouth recommendation, with the exception of warehouses, where goods being sold were not necessarily made in the shop. However, things started to change during the transition to the 19th century. People sought efficiency and variety; under the influence of the Industrial Revolution, improved transportation and introduction of machines in manufacturing allowed fashion to develop at an even faster pace.
The first sewing machine emerged in 1790, and later, Josef Madersperger began developing his first sewing machine in 1807, presenting his first working machine in 1814. The introduction of the sewing machine sped up garment production. However, it had no widespread social impact until the 1840s, and clothing was entirely made by hand in the period to 1820. Meanwhile, advanced spinning, weaving and cotton-printing techniques developed in the 18th century had already brought cheaper, widely available washable fabrics. These durable and affordable fabrics became popular among the larger population. These techniques were further developed by the introduction of machines. Before, accessories like embroidery and lace were manufactured on a small and limited scale by skilled craftsmen and sold in their own shops; in 1804, a machine for embroidering was constructed by John Duncan, and people started producing these essential accessories in factories and dispatching the products to shops throughout the country. These technical developments in clothing production allowed a greater variety of styles; rapid changes in fashion also became possible.
The Industrial Revolution bridged Europe and America with regards to travel. When Louis Simond first arrived in America, he was struck by the mobility of the population and frequency of people made trips to the capital, writing "you meet nowhere with those persons who never were out of their native place, and whose habits are wholly local — nobody above poverty
who has not visited London once in his life; and most of those who can, visit once a year.' New canals and railways not only transported people, but created national and even broader markets by transporting goods manufactured in factories at great distances. The rise of industry throughout the Western world increased garment production and people were encouraged to travel more widely and purchase more goods than ever before.
Communication was also improved in this era. New ideas about fashion were conveyed by little dolls dressed in the latest style, newspapers, and illustrated magazines; for example, La Belle Assemblée, founded by John Bell, was a British women's magazine published from 1806 to 1837. It was known for its fashion plates of contemporary fashions, demonstrating ways for women to dress and create ensembles.

Changes in fashion

1790s:
  • Women: "age of undress"; dressing like statues coming to life; Greek fashion started to inspire the current fashion, and fillet-Greek classical hairstyles and high waisted clothing with a more triangular hem started to find its way; pastel fabrics; natural makeup; bare arms; blonde wigs; accessorized with: hats, Draped turban, gloves, jewelry, small handbags – reticules, shawls, handkerchiefs; parasols; fans; Maja: layered skirt
  • Men: trousers with perfect tailoring; linen; coats cutaway in the front with long tails; cloaks; hats; the Dandy; Majo: short jacket
1800s:
  • Women: short hair; white hats; trim, feathers, lace; Egyptian and Eastern influences in jewelry and apparel; shawls; hooded-overcoats; hair: masses of curls, sometimes pulled back into a bun
  • Men: linen shirts w. high collars; tall hats; hair: short and wigless, à la Titus or Bedford Crop, but often with some long locks left coming down
1810s:
  • Women: soft, subtle, sheer classical drapes; raised back waist of high-waisted dresses; short-fitted single-breasted jackets; morning dress; walking dress; evening dress; riding habits; bare bosoms and arms; hair: parted in the center, tight ringlets over the ears
  • Men: fitted, single-breasted tailcoats; cravats wrapped up to the chin; sideburns and "Brutus style" natural hair; tight breeches; silk stockings; accessorized with: gold watches, cane, hats outside.
1820s:
  • Women: dress waistlines began to drop; elaborate hem and neckline decoration; cone-shaped skirts; sleeves pinched
  • Men: overcoats/greatcoats w. fur or velvet collars; the Garrick coat; Wellington boots; jockey boots

    Women's fashion

Overview

In this period, fashionable women's clothing styles were based on a high, under the bust waistline, only called the Empire silhouette in the 20th century — dresses were closely fitted to the torso just under the bust, falling loosely below. In different contexts, such styles are now commonly called "Directoire style", "Empire style", or "Regency". Empire silhouette and Directoire style were not used at the time these styles were worn.
These 1795–1820 fashions were quite different from the styles prevalent during most of the 18th century and the rest of the 19th century when women's clothes were generally tight against the torso from the natural waist upwards, and heavily full-skirted below. Women's fashion around this time started to follow classical ideals, inspired by the ancient Greek and Roman style with its gracious, loosely falling dresses that were gathered or just accentuated over the natural waist under the bust. For women, heavily boned stays gave way to a celebration of the natural form. Bodices were short with waistlines falling just below the bust. Fashion fabrics such as cotton muslin were light to the point of being sheer, however, printed heavier cottons, wools and other textiles were also popular.