Editing Victorian fashion (section)

==Women's fashions==
During the [[Victorian era|Victorian Era]], women generally worked in the private, domestic sphere.<ref>{{Cite web|url=https://www.bl.uk/romantics-and-victorians/articles/gender-roles-in-the-19th-century|title=Gender roles in the 19th century|website=The British Library|access-date=2016-10-21}}</ref> Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the [[Industrial Revolution]], and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian.

Clothes were seen as an expression of women's place in society,<ref>{{Cite book|title=Victorian and Edwardian Fashion - A Photographic Survey|last=Gernsheim|first=Alison|publisher=Dover Publications Inc.|year=1963|location=New York|pages=26}}</ref> hence were differentiated in terms of [[social class]]. [[Upper class|Upper-class women]], who did not need to work, often wore a tightly laced [[corset]] over a [[bodice]] or [[chemisette]], and paired them with a [[skirt]] adorned with numerous [[Embroidery|embroideries]] and [[Trim (sewing)|trims]]; over layers of [[petticoat]]s. [[Middle class|Middle-class women]] exhibited similar dress styles; however, the decorations were not as extravagant. The many layers and the construction of garments made women's clothing was much heavier than today, and more restrictive, especially in the waist (due to the stiffness of the corset) and the shoulders (due to the popularity of dropped shoulder seams). The amount and quality of fabric was often a display of wealth.

[[File:1850's Evening Dress.jpg|thumb|Picture of 1850s evening dress with a bertha neckline]]
* '''Neck-line''': Bertha is the low shoulder neck-line worn by women during the [[Victorian Era]]. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six-inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck-line was only restricted to the upper and middle class, working-class women during the time period were not allowed to reveal so much flesh.<br />The [[décolletage|décolleté style]] made shawls to become an essential feature of dresses. [[Corsets]] lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening.
* '''Boning''': [[Corset]]s were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown.<br />Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today ([[Effects of tightlacing on the body]]).

[[File:The Engageants sleeves.jpg|thumb|Engageants]]

* '''Sleeves''': Sleeves were tightly fit during the early [[Victorian era]]. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves.<br />However, as [[crinoline]]s started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. [[Engageante]]s, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow-length sleeves during the time. They commonly appear under the bell-shaped sleeves of day dresses.
* '''Silhouette''': Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. [[Crinoline]]s were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the [[Crinoline|cage crinoline]] was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. [[Polonaise (clothing)|Polonaise style]] was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working-class women. [[Tournure]]s or [[bustle]]s were developed.

[[Victorian-era cosmetics]] were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.

=== 1830s dress style ===
[[File:1837 Dress.jpg|alt=This dress features a low waistline, and the bodice is worn over the hips to further emphasise the silhouette|thumb|upright|1837 dress]]

During the start of Queen Victoria's reign in 1837, the ideal shape of the Victorian woman was a long slim [[torso]] emphasised by wide hips. To achieve a low and slim waist, corsets were tightly laced and extended over the abdomen and down towards the hips.<ref name=":0">{{Cite book|title=From Queen to Empress - Victorian Dress 1837-1877|last=Goldthorpe|first=Caroline|publisher=The Metropolitan Museum of Art|year=1988|location=New York|pages=23–24}}</ref> A chemise was commonly worn under the corset, and cut relatively low in order to prevent exposure. Over the corset, was the tight-fitting bodice featuring a low waistline. Along with the bodice was a long skirt, featuring layers of horsehair petticoats<ref name=":0" /> worn underneath to create fullness; while placing emphasis on the small waist. To contrast the narrow waist, low and straight necklines were thus used.

=== 1840s dress style ===
[[File:1840's Dress.jpg|alt=This evening dress features low straight necklines at the shoulder, bodices ending at the natural waistline and converging to a point at the front, and sleeves flaring out from the elbow. Organ pleats were used to further create the fullness of the skirts.|left|thumb|1840s dress]]
[[File:Mid-1840s Dress.jpg|alt=The mid-1840s saw day dresses featuring V-shaped necklines, which were covered by a chemise for decency. Skirt widths widened due to the horsehair petticoat, and extra flounces were added for emphasis and decoration.Funnel sleeves.|thumb|right|upright|Mid-1840s day dress]]

In the 1840s, collapsed sleeves, low necklines, elongated V-shaped bodices, and fuller skirts characterised the dress styles of women.

At the start of the decade, the sides of bodices stopped at the natural waistline, and met at a point in the front. In accordance with the heavily boned corset and [[Seam (sewing)|seam]] lines on the bodice as well, the popular low and narrow waist was thus accentuated.

Sleeves of bodices were tight at the top, because of the [[wikt:mancheron|Mancheron]],<ref name=":1">{{Cite book|title=From Queen to Empress - Victorian Dress 1837-1877|last=Goldthorpe|first=Caroline|publisher=The Metropolitan Museum of Art|year=1988|location=New York|pages=32}}</ref> but expanded around the area between the elbow and before the wrist. It was also initially placed below the shoulder, however; this restricted the movements of the arm.<ref name=":1" />

As a result, the middle of the decade saw sleeves flaring out from the elbow into a funnel shape; requiring [https://janeaustensworld.wordpress.com/tag/undersleeves/ undersleeves] to be worn in order to cover the lower arms.<ref>{{Cite book|title=From Queen to Empress - Victorian Dress 1837-1877|last=Goldthorpe|first=Caroline|publisher=The Metropolitan Museum of Art|year=1988|location=New York|pages=39}}</ref>

Skirts lengthened, while widths increased due to the introduction of the [http://3.bp.blogspot.com/-bOuPyjWzwT8/TuKx-x1R12I/AAAAAAAAAF0/oRs6AyGH0gw/s1600/CI53.51.15_B1870Amer.Horsehair.jpg horsehair crinoline] in 1847; becoming a status symbol of wealth.

Extra layers of [[Ruffle (sewing)|flounces]] and petticoats, also further emphasised the fullness of these wide skirts. In compliance with the narrow waist though, skirts were therefore attached to bodices using very tight [[Pleat|organ pleats]] secured at each fold.<ref name=":1" /> This served as a decorative element for a relatively plain skirt. The 1840s style was perceived as conservative and "Gothic" compared to the flamboyance of the 1830s.<ref name=":4">{{Cite book|title=Victorian Fashion. Fashion and Eroticism: Ideals of Feminine Beauty from the Victorian Era to the Jazz Age|url=https://archive.org/details/fashioneroticism0000stee|url-access=registration|last=Steele|first=Valerie|publisher=Oxford University Press|year=1985|pages=[https://archive.org/details/fashioneroticism0000stee/page/51 51]–84|isbn=978-0-19-503530-8}}</ref>

=== 1850s dress style ===
[[File:1850's Dress.jpg|alt=Necklines plunged further, needing a chemisette to be worn underneath. Sleeves widened at the elbow, while bodices ended at the natural waistline. Skirts widened and were further emphasised by the addition of flounces.|left|thumb|1850s dress]]
[[File:Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie MET DT717.jpg|thumb|upright|''[[The Princesse de Broglie]]'', 1851-53|alt=Princess Albert de Broglie wears a blue silk evening gown with delicate lace and ribbon trim. Her hair is covered with a sheer frill trimmed with matching blue ribbon knots. She wears a necklace, tasseled earrings and bracelets on each wrist.]]
[[File:1856 Cage Crinoline.jpg|alt=1st patented cage crinoline.Fullness of the skirt is even further emphasised.|thumb|1856 cage crinoline]]

A similar silhouette remained in the 1850s, while certain elements of garments changed. Necklines of day dresses dropped even lower into a V-shape, causing a need to cover the bust area with a chemisette. In contrast, evening dresses featured a [[Collar (clothing)|Bertha]], which completely exposed the shoulder area instead. Bodices began to extend over the hips, while the sleeves opened further and increased in fullness. The volume and width of the skirt continued to increase, especially during 1853, when rows of flounces were added.

Nevertheless, in 1856, skirts expanded even further; creating a dome shape, due to the invention of the first [[Cage crinoline|artificial cage crinoline]]. The purpose of the crinoline was to create an artificial hourglass silhouette by accentuating the hips, and fashioning an illusion of a small waist; along with the corset. The cage crinoline was constructed by joining thin metal strips together to form a circular structure that could solely support the large width of the skirt. This was made possible by technology which allowed iron to be turned into steel, which could then be drawn into fine wires.<ref name=":3" /> Although often ridiculed by journalists and cartoonists of the time as the crinoline swelled in size, this innovation freed women from the heavy weight of petticoats and was a much more hygienic option.<ref name=":4" />

Meanwhile, the invention of synthetic dyes added new colours to garments and women experimented with gaudy and bright colours. Technological innovation of 1860s provided women with freedom and choices.<ref name=":3" />

=== 1860s dress style ===
[[File:1860 Cage Crinoline.jpg|alt=Emphasis has moved to the back, in order to create a Train.|left|thumb|upright|1860s cage crinoline]]
[[File:1860's Dress featuring a Train..jpg|thumb|1860s dress featuring a train]]
[[File:1860's Dress.jpg|alt=Bodices ended at the natural waistline. Wide pagoda sleeves are in fashion, and skirts are longer at the back; depicting a train.|center|thumb|1860s dress]]

During the early and middle 1860s, crinolines began decreasing in size at the top, while retaining their amplitude at the bottom.<ref name=":2">{{Cite book|title=From Queen to Empress - Victorian Dress 1837-1877|last=Goldthorpe|first=Caroline|publisher=The Metropolitan Museum of Art|year=1988|location=New York|pages=26}}</ref> In contrast, the shape of the crinoline became flatter in the front and more voluminous behind, as it moved towards the back since skirts consisted of [[Train (clothing)|trains]] now. Bodices on the other hand, ended at the natural waistline, had wide [[Sleeve|pagoda sleeves]], and included high necklines and [[Collar (clothing)|collars]] for day dresses; low necklines for evening dresses. However, in 1868, the female silhouette had slimmed down as the crinoline was replaced by the bustle, and the supporting flounce overtook the role of determining the silhouette.<ref>{{Cite book|title=From Queen to Empress - Victorian Dress 1837-1877|last=Goldthorpe|first=Caroline|publisher=The Metropolitan Museum of Art|year=1988|location=New York|pages=45}}</ref> Skirt widths diminished even further, while fullness and length remained at the back. In order to emphasise the back, the train was gathered together to form soft folds and [[Drapery|draperies]]<ref>{{Cite book|title=Making Victorian Costumes for Women|last=Audin|first=Heather|publisher=Crowood|year=2015|pages=45}}</ref>

=== 1870s dress style ===
[[File:1870's Dress.jpg|alt=Dresses featuring the Bustle & Polonaise|left|thumb|1870s dress]]
[[File:1877 Dress.jpg|alt=Dresses fitted the figure, and featured a long tiered, draped train.|thumb|upright|1877 dress]]
[[File:Tournure.jpg|thumb|1870s tournure]]

The trend for broad skirts slowly disappeared during the 1870s, as women started to prefer an even slimmer silhouette. Bodices remained at the natural waistline, necklines varied, while sleeves began under the shoulder line. An [[overskirt]] was commonly worn over the bodice, and secured into a large bow behind. Over time though, the overskirt shortened into a detached [[Basque (clothing)|basque]], resulting in an elongation of the bodice over the hips. As the bodices grew longer in 1873, the [[Polonaise (clothing)|polonaise]] was thus introduced into the Victorian dress styles. A polonaise is a garment featuring both an overskirt and bodice together. The [[tournure]] was also introduced, and along with the polonaise, it created an illusion of an exaggerated rear end.

By 1874, skirts began to taper in the front and were adorned with trimmings, while sleeves tightened around the wrist area. Towards 1875 to 1876, bodices featured long but even tighter laced waists, and converged at a sharp point in front. Bustles lengthened and slipped even lower, causing the fullness of the skirt to further diminish. Extra fabric was gathered together behind in pleats, thus creating a narrower but longer tiered, draped train too. Due to the longer trains, petticoats had to be worn underneath in order to keep the dress clean.

However, when 1877 approached, dresses moulded to fit the figure,<ref name=":2" /> as increasing slimmer silhouettes were favoured. This was allowed by the invention of the [[cuirass]] bodice which functions like a corset, but extends downwards to the hips and upper thighs. Although dress styles took on a more natural form, the narrowness of the skirt limited the wearer in regards to walking.

=== 1880s dress style ===
[[File:1840s Victorian Dandy.jpg|left|thumb|A Victorian [[dandy]] pictured in the 1840s ]]
[[File:1885 Bustle.jpg|alt=Horizontal protrusion at the back.|thumb|1885 bustle]]

The early 1880s was a period of stylistic confusion.<ref name=":3" /> On one hand, there is the over-ornamented silhouette with contrasting texture and frivolous accessories. On the other hand, the growing popularity of tailoring gave rise to an alternative, severe style.<ref name=":4" /> Some credited the change in silhouette to the [[Victorian dress reform]], which consisted of a few movements including the [[Artistic Dress movement|Aesthetic Costume]] Movement and the [[Victorian dress reform|Rational Dress Movement]] in the mid-to-late Victorian Era advocating natural silhouette, lightweight underwear, and rejecting [[tightlacing]]. However, these movements did not gain widespread support. Others noted the growth in cycling and tennis as acceptable feminine pursuits that demanded a greater ease of movement in women's clothing.<ref name=":3" /> Still others argued that the growing popularity of tailored semi-masculine suits was simply a fashionable style, and indicated neither advanced views nor the need for practical clothes.<ref name=":4" /> Nonetheless, the diversification in options and adoption of what was considered menswear at that time coincided with growing power and social status of women towards the late-Victorian period.

The bustle made a re-appearance in 1883, and it featured a further exaggerated horizontal protrusion at the back. Due to the additional fullness, drapery moved towards the sides or front panel of the skirt instead. Any drapery at the back was lifted up into poufs. Bodices on the other hand, shortened and ended above the hips. Yet the style remained tailored, but was more structured.

However, by 1886, the silhouette transformed back to a slimmer figure again. Sleeves of bodices were thinner and tighter, while necklines became higher again. Furthermore, an even further tailored-look began to develop until it improved in the 1890s.

=== 1890s dress style ===
By 1890, the crinoline and bustle was fully abandoned, and skirts flared away naturally from the wearer's tiny waist. It evolved into a bell shape, and were made to fit tighter around the hip area. Necklines were high, while sleeves of bodices initially peaked at the shoulders, but increased in size during 1894. Although the large sleeves required cushions to secure them in place, it narrowed down towards the end of the decade. Women thus adopted the style of the tailored jacket, which improved their posture and confidence, while reflecting the standards of early female liberation.