FASN2116 Historic Era Magazine Project 2020_Alex, Carmen, Chanelle, Chris, Jared

The Directoire
& Empire
Periods

******************************** The Directoire Period *********************************
The Directoire Period (1790-1800) consisted of the several power struggles over France that occurred
during the French Revolution, beginning when aristocracy and excess were questioned by the 3rd Estate
peoples, the commoners. The ‘Old Regime’ way of dress was abolished following the Estates General
meeting of 1789, and the commoners were temporarily sated. In 1792, rioters overthrew the monarchy and
established the First French Republic, demonstrating they were no longer satisfied. The social, political, and
economical problems facing the country in this time of uncertainty, led France into a dark period of time.
Following French King, Louis XVI’s trial and execution in 1793, revolutionary spirits were high. So much
so, that the Jacobins, radical, violent revolutionists, followed a similar path to power. By 1794, they too
were overthrown and their leader executed by a 5-man-ensemble known as the ‘Directoire’ (The Directory).
The Directoire restored peace to some extent, as the passion for revolution had calmed for a time.
These revolutionary attitudes and general European conflict contributed to the dress of the time.
Frenchmen wore red, white and blue to signify their passion for revolt, aristocratic ornamentation on
garments grew out of style, technological developments made clothing more accessible, and increased trade
spread ideas globally.
********************************* The Empire Period ***********************************
The Empire period Follows the Directoire period and it continues a lot of the fashion styles that had
developed during that time. The Empire period is from 1800-1810 when Napoleon took control. During
this time, European dress took a lot of influnce and inspiration from other cultures such as the First Nations,
Egyptians, and a lot of Ancient Romand and Greek styles. Within this period, techonology started to be
revolutionized, especially with Joseph Marie Jacquard who had developed an automatic loom that can
create unique designs in textiles.

LLeess IMnecrrovyeialbleluesseest c. 1790

In the early 1790’s, French peoples utilized fashion statements as a form of protest. These
trends would begin to question our understanding of fit, modesty, and extravagance. Women’s
Merveilleuse dresses were simplified pre-existing styles, emulating those from Rome’s ‘Golden
Age,’ with fabrics becoming increasingly sheer for both comfort and aesthetics; the French
have always been romantics. The Merveilleuse woman wears St.Esprit feathers in her hair,

which she has put up in ringlets at the back, and
would often be found wearing Greek & Roman
influenced sandals with straps reaching her
shins. She wears a coloured shawl, as was
typical for the average French woman.

Incroyable men, however, examined and
riffed off their common silhouettes,
experimenting also with mismatched
colours. Often, their coats might
have had a loose cut in the shoulders.
Here, we see a thigh-length coat
with a very deep and wide lapel,
worn atop a waistcoat and a tall-
collared chemise. His breeches
are extremely tight, ending
below his knees, and his
cravat reaches his chin. He
wears a Bicorne hat, which
when removed could be
folded flat and carried under
his arm.

Together, these ‘incredibles’ and
‘marvelous ones’ commandeered
the acceptable French dress
during the Jacobin’s Reign of
Terror (1793-1794). Following
the Jacobins’ ousting, these trends
became culturally significant to

the every man, and
the course of fashion
undeniably altered.

The Fashion Industry’s Technological Developments from the Industrial
Revolutions in France and the United Kingdom (C. 1780-1820)

Taras, Alex. 1820

**************************************************** The United Kingdom felt great success with the capital
When Napoleon Bonaparte restricted textile imports in restructuring of textile manufacturing plants as early as
1780. Developments in the spinning of cotton by Sir
France, the fashion industry needed to adapt to domestic Richard Arkwright (Hammond, 51), who incorporated
methods of production. Wartime efforts also, in Britain, the pushing force of water streams to spin thread and
coincidentally led to adaptations in common methods yarns, shifted the industry away from women weavers
of production, following technological developments and towards mechanization. From then on, an industry
with spinnerets and looms. These paradigm shifts would lead was established, British yarn exports exceeding
revolutionize the cotton industry from then on, shifting Europe’s capacity of weavers (Hammond, 50). With
parts of its reliance on manual labour to capital goods, thread supply eclipsing weaving capacity, the common
increasing accessibility, and ultimately changing the course production methods needed restructuring.
of the currently developing international fashion industry.
Figure 1: Power Loom Weaving, Circa 1836
While the Napoleonic empire restricted textile imports English inventor Edmund Cartwright would develop
after the turn of the millennia, – Indian muslin, printed
cottons, and Shawls (Tortora, et al., 309) – France and the first Power Loom in 1785 (Hills, 117), and numerous
England were battling toward the next innovation in their subsequent developments by various engineers would
ever-competing industries (Crafts, 594). At the same inspire Frenchmen to specialize these machines
time, rising French/British tensions from Napoleon’s even further. Christophe-Phillippe Oberkampf, who
unsuccessful 1805 French occupancy of the English unfortunately passed years ago, lead a very successful
channel in, ‘La Bataille de Trafalgar,’ (Tortora, et al., 310) textile printing business whose factories’ output still
were the cause of civil unrest. In other words, Napoleon’s increases with each innovation in the space (“Musée
own revolutionist country began to turn against him. Protestant,” n.d.). Moreover, who could forget Joseph
Within France, the pushing force to innovate was that of Marie Jacquard, who developed the automatic Jacquard
necessity, primarily needing to adapt to new legislation loom, which raised and lowered yarns to create intricate
which impacted our third largest import of the time; patterns (Tortera, et al., 314). These mechanizations,
textiles. Secondly, the changes to come were necessary, nowadays powered by steam engines engines similar to
following the economic downturn our country felt while
the English boomed (Teich, et al., 51). It is fair to assume
the English were ahead of the French in the industrialization
of the production of cotton textiles and goods. Napoleon’s
import restrictions were just as much an invigoration of
the domestic industry as they were a protectionist policy
attempting to maintain l’Ancien Régime’s dreadful way of
dress; the latter an unsuccessful attempt of immutability,
but ultimately both demonstrations of the empire’s folly
to fashion’s resilience. The recently terminated tensions
between Britain and France were felt deep within the
fashion industry, as the English were developing new tools
that replaced traditional means of production.

those found in the “steam tramways” being developed in Figure 2: Cotton Gin, Circa 1794
Wales as of 1804 (“N.M.W,” 2006), have put pressure on
the fashion industry’s previous production standards and I stipulate that these developments were not fully
the state of worker efficacy. These pursuits for industry realized until the Americas’ cotton gin in 1794, which
development were majorly successful, Jacquard alone they developed to adapt to their increasing raw cotton
having sold thousands of mills throughout Europe, but production. The tool separated cotton fibers from the pods,
they brought with them some well-founded concerns “thereby speeding up the manufacture of cotton textiles,”
(Faulkner, 222). The working classes who at the time (Tortora, et al., 314). Nevertheless, these developments
would manually raise and lower individual warp yarns all-together could not compound before the declaration of
were being replaced by punched cards and gears (Oakes, peace following the conflict at Waterloo in 1815 (Bourhis,
4), threatening their livelihoods. This same worry came et al., ix). Since then, La France’s Bourbon monarchy has
about when steam was first introduced, and factories been stable enough, and French/British trade revitalized.
managed to thrive with corresponding falls in price and As a byproduct, the shared accumulated wealth of
greater demand. The former will likely follow this same knowledge during these times of turmoil and industrial
example. At this rate, the complex woven textiles France development have brought together Europe’s powers and
produces today will likely be produced on Jacquard brought production costs down, and will continue to make
looms tomorrow (Oakes, 3), and the whole industry may clothes more accessible from here on.
become mechanized!
This is all to say our industry is malleable. We are not
Figure 2: Jacquard Loom, Circa 1862 static, and revolutionary ideas and expression will continue
to shift the industry’s standard methods of production,
such as Jacquard’s loom or Arkwright’s use of streams.
Napoleon commandeered France’s luxury industry
(Bourhis, ix), the same way he brought us legislative and
educational reforms at his marvelous start. To hope our
industry never faces an untimely, unfortunate fall from
grace in the venture for mass-accessibility, in similar
fashion to the way he overreached and was disgraced.

****************************************************

Costume Timeline
Taras, Alex, 1820

Directoire & Empire Periods*

1790 1793

The ‘Old Regime’ way of dress incorporated excessive
ornamentation, embroidery, and gaudy pattern. Shown here
is a common set of men’s Drawers, a lightweight cotton or
linen set with chemise and breeches.

This aristrocrat gentlemen’s ensemble
demonstrates the ‘Old Regime’
way of dress. A fitted coat atop a
waistcoat, paired with matching
patterned breeches.

Revolutionary ardor in the 1790’s
led French men and women
to adorn red, white and blue to
symbolize their support for change.
Shown here is a blue men’s ‘Spencer,’
pinstriped Pantaloons; early versions
of later trousers, and the typical men’s cravat.
The woman’s Spencer, in red, could have been cropped
as high as her bosom. She wears this coat overtop a full dress.

Similarly, typical women’s dress consited of various simplified
dresses, skirts, and gowns. The idea of ‘Classical Antiquity’ was
one of growing popularity, and ancient Roman ‘Golden Age’ and
Greek influence was found throughout European fashion of the
period. These influences led to simple white Chemise dresses
gaining popularity, mimicking the white marble sculptures of the
past. Paired with a simple accent coloured shawl, this was the
typical woman’s dress (shown on the left).

Thereafter, trends began emerging within this era of simpler
dress. Sheer fabrics gained popularity alongside deep, square
necklines. Some dresses even exposed the wearer’s breasts,

such as this lightweight, 2 piece Apron Dress.

Jewelry, mostly reserved for women, felt the same influences
from ancient Roman, Greek, and even Italy, to name some notable
examples. Trade throughout Europe led to greater accessibility of different styles.

Empire Period 1820

1799

In this Period, men’s clothing lost its colour. The French strived
for the ‘ideal of equality’ between man, following the adoption of
the ‘Declaration of Rights of Man’ in 1789. The lasting effect of the
Industrial and French Revolutions was the subtraction of luxury and
gravitas. In other words, this unification of man was demonstrated
through men’s ever-simplifying dress.

Shown on the very left is the typical man’s Banyan, an indoor
robe worn over a ruffled or gathered chemise. Men’s suiting
at the turn of the millenia would have been a full mismatched
ensemble such as this navy, single breasted coat with 2 tails
ending above the knee, and a square cut front; cream trousers
ending at the ankle, and two waistcoats, one red and one yellow,
worn atop another ruffled shirt, layered for warmth.

By the end of this period, English styles conquered the European fashion scene, influencing the
fullness of skirts, and the man’s newfound ‘uniform’ (shown on the right), to name a few styles.

‘Regency’ era English dress also began introducing more reserved styles of dress for
women, such as this striped Pelisse with fullness at the tops of the sleeves. These
simplifications of styles were spearheaded by the industrialization of the
manufacturing process, and the attitudes of ‘Republican Austerity’
sweeping Europe.

The corset was replaced with the Stay, which had
a ‘push-up effect,’ on the wearer’s breast. These
were often worn atop the woman’s Chemise,
and paired with a Petticoat for volume,
depending on the current trends.

In summary, the power struggles in
France left the people yearning for
new ways to express their unification
and alliance, juxtaposed to the
Old Regime’s classist dress which
alienated commoners..

* Garment information was retrieved from (Tortera, et al., “Survey of Historic Costume”, Chapter 11)



Joseph Marie Jacquard: A Man
who Revolutionized Textiles

As we continue to develop our society, it is important for people
to maintain relationships to gain allies. Some voyagers have gone across
the ocean and met a group of people named the First Nations. They are
particularly different to how Europeans have developed a society yet, they
work within a unique way. Communicating with them is difficult but
we have gotten some translators to aid with the language barrier. Eu-
ropean settlers in the Americas continue to have influence from the
First Nations dress for a long time.
A few of European settlers have told stories about how they
have adapted First Nations dress to their clothing. Both as fash-
ion and function, they have learned the ways that
First Nations have been living with nature.
One of these exchanges between both
parties include how European settlers
used glass beads on their garments for
decorative use. In the First Nations
culture, glass beads were significant
in ceremonies also seen as decorative
on their garments. The First Nations
have taught the Europeans how to make
these glass beads and we started to man-
ufacture them with different in Europe
so more people can experience these tiny
gems. When European settlers brought back
glass beads to America, the First nations were
quick to adapt these coloured beads to their
clothing.
European settlers in America
brought colourful blankets and would
usually trade them with the First Nations;
these blankets were called Indian Blan-
kets.

Classical Antiquity:

The Revival of Ancient Rome and Greece

in the 18th Century

During the 18th century, Classical antiquity has sky- white garments continued to be popular
rocketed in popularity. This popularity was initiated with women. The Empire style is also
when Napoleon was trying to take control of some influenced by political views of ascen-
parts of Italy. In Italy they have established some of dancy in the ancient times. Classical
the Roman and Greek methodologies in politics, Antiquity not only influenced dress
art, and architecture into their society. This is what and art, but philosophy and politics
started the revival of ancient Rome and Greece in Europe. A lot of academics and
styles in Europe. There was some inclusion of Egyp- leaders would use ancient Roman
tian influences in some of the art, architecture, and and Greek reference to develop
furniture as Napoleon took an Egyptian artist when the their own thinking.
army made there way to Egypt.
As Classical Antiquity started to gain accep-
tance in European society, French artist took
their own interpretation of ancient Rome
and Greek lifestyles on to large paintings,
depicting what life could be life in the
past. Also, the influences stretched
over to how women dressed. The
Empire styles of the waist lined
being raised right underneath the
breasts were inspired by ancient
Greek women in the Golden Age.
As the depiction of ancient Greek
and roman statues presented
white garments, it was mislead-
ing as the statues were bleached
away over time, but
the



A Lasting Relationship
with the First Nations

As we continue to develop our society,
it is important for people to maintain
relationships to gain allies. Some voy-
agers have gone across the ocean and
met a group of people named the
First Nations. They are particularly
different to how Europeans have
developed a society yet, they work
within a unique way. Communi-
cating with them is difficult but we
have gotten some translators to aid
with the language barrier. European
settlers in the Americas continue to
have influence from the First Nations

dress for a long time.
A few of European settlers have told
stories about how they have adapted First
Nations dress to their clothing. Both as fashion
and function, they have learned the ways that First
Nations have been living with nature. One of these
exchanges between both parties include how Euro-
pean settlers used glass beads on their garments
for decorative use. In the First Nations culture,
glass beads were significant in ceremonies also

seen as decorative on their garments. The
First Nations have taught the Europeans
how to make these glass beads and we
started to manufacture them with
different in Europe so more people
can experience these tiny gems.
When European settlers brought
back glass beads to America, the
First nations were quick to adapt
these coloured beads to their
clothing.
European settlers in Ameri-
ca brought colourful blankets and
would usually trade them with the

First Nations; these blankets were
called Indian Blankets. The Euro-
peans discovered that they were not
using the blankets for their intend-
ed use but rather, the First Nations
would use the coloured bands of these
blankets, cut it off, and adapt the bor-
der to the hem of their own garments.
Soon, European settlers adapted this
style to their own garments and there
have been stories that both Canadians
and Americans adopted their warm
hooded coats for their outdoor sports.
As the First Nations had influence
within decorating our garments, how to
coverup and decorate our coats, now
we also take influence in our footwear.
European settlers describe the climate
in America as a bit extreme, especially
during the wintertime and it can be
quite difficult to survive without the
right equipment and garments for the
harsh weather. The First Nations footwear
usually consists of boots and an Algonquian
style shoe, the Moccasins. Most of the footwear
was made from soft deer or moose skins. These
skins for footwear provided the protection that
is needed when passing through the woodlands
and it is typically more flexible than leather.
The European settlers in America will
continue to trade and learn from the First Nations
and pass down their knowledge to Europe. Their
way of living is drastically different than ours and
it is quite an experience as most Europeans de-
scribe it. The First Nation’s dress will have a lasting
influence in some of the European dress overtime.

The Romantic Period
1820-1850

Carmen Paletta

Romantic Era - Social Recap

American Slavery Becomes Increasingly Controversial

The American slavery industry is undoubtedly a fundamental pillar of the nation’s economy.
Slaves help support the cotton, textiles, mining and tobacco industries. More than 3,500,000 slaves are
working in southern states, and nearly 430,000 utilized on the Atlantic board (Tortora et al, p.330). As
a result, the country’s cotton output has been fluorishing. The United States’ dependence on slaves has
been engrained into the American psyche since the birth of their nation. Despite the financial and social
benefits of the slave trade, there has been a growing population that has posed a threat to the industry.
Specifically, those residing in the Northern states declare that slave ownership, as well as the slave
trade itself is dishonourable, unethical. Their Southern opposition, deeply set in tradition, continue
to relish in the physical, financial, and social comforts of slave ownership. The South’s hesitation to
take on the labour of hundreds of thousands of slaves is justified, is it not? Almost 2 million people
beg to differ. Many abolitionists are vocal about their distaste for the trade. Harriet Beecher Stowe’s

antislavery novel, Uncle Tom’s Cabin has sold over 300,000 copies during the first year it was

published (Brock, 2018). Another white abolition supporter, William Lloyd Garrison founded the

politically forceful newspaper The Liberator. The use of mainstream media outlets to spread the anti-

slavery message does suggest that their effors are gaining traction.
Are Americans truly ready to stray from their roots? Is the taxing process of assimilation actually
worth the so-called ‘moral highground’? Is it possible to neglect such a rudimentary aspect of what it
means to be a colony? In any case, these times will certainly make one question what it is to be a white
American.

A Shift in the Arts

Politics in the 20s-50s These years have seen a shift in the collective
social physhe. The arts have pivoted in a more organic
The past few decades have been a time of direction. On the whole, artists of all mediums have
compelling change. We have seen a social shift from shown a keen interest in obscurity and fantasy, or
tradition in practically every sector of society. Politically, anything that obviously deviates from classical themes
we have seen significant reforms. (Tortora et al, p328). There has been a strong resurgence
of emotionally slanted literature, art, music, dress. What
Most noteably, the massive strides to abolish slavery historians call ‘Romanticism or ’ encapsulates a distaste
in the United States has shaken the nation. With the for traditional leadership, ideology, and creative subject
resistence against the trade gaining traction, the future of matter.
America will look like.
In literature, authors dared more to write about
France’s efforts to recover from their recent full- politics and class. Charles Dickens is known for his
blown revolution, as well as adapt to an omniscient commentary on English classism (Fulford et al, The
monarch, Charles X have been challenging. The French Modern Language, P.832). Prior to the past few years,
have experienced several revolts, including a violent blatantly writing about politics through fiction has been
3-day-long uprising. (Tortora et al p329). The drastic series viewed as impropper. The first historical novel emerged
of events has resulted in the election of Louis Napoleon for during the past few years. Furthermore, overarching
President. literary themes include highly emotional plots, charged
with mystique, fantasy and violence. Authors unleashed
Similar to France, England has also endured their imaginations during this creative renaissance.
monarchical stuggles. King George IV rose to the throne The most successful authors indicative of the era
in 1820 and has been most unpopular, mostly due to his include Lord Byron, Samuel Taylor Coleridge, William
marital scandals. Next came politically-dim William IV in Wordsworth, Mary Wollstonecraft Shelley and John
1830. William’s teenaged niece Victoria took over after his Keats.
death. (Tortora et al, P329). Queen Victoria has seeminly
recaptured England’s faith in the monarchy. The common In dress, paying homage to the past through
theme of political change has sparked similar events historical accessories and design motifs has been
among many other European nations. extremely popular. Specifically, wearing themed
costumes referncing the Middle Ages has recently
been a prominent trend (Rousseau, McCord Museum,
2020). The sociological term for this collective interest
in the time period is Medievalism (Oxford, 2020).
Recurring themes in other artistic mediums included
the same themes: unrestricted subject matter, historical
references, and mystical and emotional slants.

Literary Corner:
“The Rime of the Ancient Mariner”

Part VII

This Hermit good lives in that wood Upon the whirl, where sank the ship,
Which slopes down to the sea. The boat spun round and round;
How loudly his sweet voice he rears! And all was still, save that the hill
He loves to talk with marineres Was telling of the sound.
That come from a far countree.
I moved my lips—the Pilot shrieked
He kneels at morn, and noon, and eve— And fell down in a fit;
He hath a cushion plump: The holy Hermit raised his eyes,
It is the moss that wholly hides And prayed where he did sit.
The rotted old oak-stump.
I took the oars: the Pilot’s boy,
The skiff-boat neared: I heard them talk, Who now doth crazy go,
‘Why, this is strange, I trow! Laughed loud and long, and all the while
Where are those lights so many and fair, His eyes went to and fro.
That signal made but now?’ ‘Ha! ha!’ quoth he, ‘full plain I see,
The Devil knows how to row.’
‘Strange, by my faith!’ the Hermit said—
‘And they answered not our cheer! And now, all in my own countree,
The planks looked warped! and see those sails, I stood on the firm land!
How thin they are and sere! The Hermit stepped forth from the boat,
I never saw aught like to them, And scarcely he could stand.
Unless perchance it were
‘O shrieve me, shrieve me, holy man!’
Brown skeletons of leaves that lag The Hermit crossed his brow.
My forest-brook along; ‘Say quick,’ quoth he, ‘I bid thee say—
When the ivy-tod is heavy with snow, What manner of man art thou?’
And the owlet whoops to the wolf below,
That eats the she-wolf’s young.’ Forthwith this frame of mine was wrenched
With a woful agony,
‘Dear Lord! it hath a fiendish look— Which forced me to begin my tale;
(The Pilot made reply) And then it left me free.
I am a-feared’—’Push on, push on!’
Said the Hermit cheerily. Since then, at an uncertain hour,
That agony returns:
The boat came closer to the ship, And till my ghastly tale is told,
But I nor spake nor stirred; This heart within me burns.
The boat came close beneath the ship,
And straight a sound was heard. I pass, like night, from land to land;
I have strange power of speech;
Farewell, farewell! but this I tell That moment that his face I see,
To thee, thou Wedding-Guest! I know the man that must hear me:
He prayeth well, who loveth well To him my tale I teach.
Both man and bird and beast.
What loud uproar bursts from that door!
He prayeth best, who loveth best The wedding-guests are there:
All things both great and small; But in the garden-bower the bride
For the dear God who loveth us, And bride-maids singing are:
He made and loveth all. And hark the little vesper bell,
Which biddeth me to prayer!
The Mariner, whose eye is bright,
Whose beard with age is hoar, O Wedding-Guest! this soul hath been
Is gone: and now the Wedding-Guest Alone on a wide wide sea:
Turned from the bridegroom’s door. So lonely ‘twas, that God himself
Scarce seemèd there to be.
He went like one that hath been stunned,
And is of sense forlorn: O sweeter than the marriage-feast,
A sadder and a wiser man, ‘Tis sweeter far to me,
He rose the morrow morn. To walk together to the kirk
With a goodly company!—
]Under the water it rumbled on,
Still louder and more dread: To walk together to the kirk,
It reached the ship, it split the bay; And all together pray,
The ship went down like lead. While each to his great Father bends,
Old men, and babes, and loving friends
Stunned by that loud and dreadful sound, And youths and maidens gay!
Which sky and ocean smote,
Like one that hath been seven days drowned
My body lay afloat;
But swift as dreams, myself I found
Within the Pilot’s boat.

Discussion Topics

1. What does the a albatross symbolize in this poem? Why does the Mariner shoot it? Why did the sailors hang the bird’s corpse
on the mast of their ship?
2. Discuss the significance of Death & Life-in-Death’s rolling the dice and what it suggests about the sailors’ destiny. Do you
believe that one’s own fate is determined in a similar fashion? What do you think Coleridge is saying about religion in this
scene?
3. Why must the Mariner share the tale of his journey upon his rescue? What is the Hermit’s promise to him?
4. How does the Mariner choose the Wedding-Guest to listen to his story? How does the guest react afterwards?
5. What does Coleridge imply about humanity in this poem? Consider the emphasis on death and life mirroring each-other
throughout the poem.

The next Poem of the Month is Edgar Allan Poe’s “The Raven”. Read along this month to join on our literary discussions.

Praise for an eerie journey into the depths of Poe’s imagination.

ABOUT THE AUTHOR - SAMUEL TAYLOR COLERIDGE (1772-1834)

Samuel Taylor Coleridge was a British poet known for his intimate diction and contemporary style. His verses are packed
with allusions to nature, grounding readers to their humane mortality. The poet’s lines have noteable depth, and often adopt a
musical rhythm. Coleridge’s interest in German idealist philosophy - inspired namely by Immanuel Kant, becomes obvious
in his narratives (Gilroy, 2006). Using this background, he has tackled theological, social and political subjects in a digestable
manner. Coleridge is now recognized as one of the most influencial writers of the 19th Century. His most noteable works con-
sist of “Lyrical Ballads”, and “Kubla Khan”, and “Christabel”, and “Rime of the Ancient Mariner”, this edition’s Poem of the
Month. He resided in Highgate before passing away in 1834 (Poetry Foundation, 2020).

A ROMANTIC LOOK

This costume encapsulates the character a proper lady. She should be both a beautiful, loving
accessory to her husband. A woman strives to impress her partner through her warbrobe. Collecting
a wide variety of dresses and gowns shows a wife’s dedication to her relationship. Whether you aim
to satisfy your husband or impress a suitor, this outfit will undoubtedly woo him.

Pair the dress with a fan for a more
feminine look. Some say fan-wielding
women are portrayed as mysterious and
more promiscuous to onlookers. Be wary
of the suitors that this accessory may
attract. It is a functional and decorative
accessory indeed.

A poem called “the Fan”, (1896) reads,

“The stubbornest male in his own despite
Moves when this magnet attracts his chair.”
(Beaujot, p63-104)

Flirtatious gigot sleeves are very indicative of the 30s. Their shaping the
wearer’s range of motion, rendering her unable to do much physical labour at all.
A woman has no business doing that, anyways. The Eastern-inspired block print
and daring red colour point to a woman’s sophistication. The full, gathered skirt
is both feminine and youthful. The slightly-lowered empire waist is an ode to
the wearer’s The fabric yield for this 1830s dress is generous, two and a half
yards for the gigot sleeves alone - how indulgent (Cumming et al, 2017, p92)!

This ankle-length dress is just short enough to catch a glimpse
of your slippers. This look was inspired by Italian ballerina
Marie Taglioni (Edwards, P.76), who wore calf-length dresses
to emphasize her pointe walk. These silk slippers are sleek and
luxurious and will keep him looking for more.

For a more practical feel, accessorize with a parasol.
Not only does it act as a sunshade, it’s also a means of
avoiding idle hands. Match the silk slippers with the para-
sol for an elevated sense of continuity (Beaujot, P105-138).

Luxurious goose-down sleeve pads give gigot sleeves
body. Not only do they fill the shape, they also assist in drawing
the eyesdown. This further emphasises the gentle slope of a
woman’s shoulder. This silhouette is impeccably flattering.

These goose-down sleeve pads give gigot sleeves
body. Not only do they fill the shape, they also assist in
drawing the eyes down. This further emphasises the gentle

slope of a woman’s shoulder. This silhouette is impeccably
flattering.

REINE
COSMETICS

PARIS
*****************
REINE’S Secret
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REINE COSMETICS, 78 RUE DE RIVOLI, PARIS

Crinoline Period
1850-1870

Princess Dagmar of Denmark [Digital image]. (2014, August 28). Retrieved October 29, 2020, from http://theebonswan.blog-
spot.com/2014/08/princess-dagmar-of-denmark.html

Day dress
England
Cotton pique
Embroidered
3-Piece Set

Glimpse

into

Futthue re

Hatakeyama, T. (2020). [Day Dress]. Retrieved October The upcoming style and silhouette take a look at
29, 2020, from https://www.kci.or.jp/en/archives/digital_ the white dress to bring all the inspiration needed for this
archives/1850s_1860s/KCI_095 trend. This dress has less fullness at the waist and flatter
in the front and fuller. It is a cotton day costume that is a
Museum, M. (2020). Parasol two-piece matching set instead of the one-piece princess
[Digital image]. Retrieved Octo- style with a seam connecting the bodice and skirt like the
ber 29, 2020, from https://www. pink dress (Tortera, et al.,368). The sleeves are narrow at
metmuseum.org/art/collection/ the shoulders and widen at the elbow, then it gathers into
search/157262 the wristband that is fitting with an epaulette. It also has a
high neckline typical for day dresses; two-bust darts and
Parasol curved seams create shape on the bodice. A brown thread
American embroidery covers the edges of the dress. Pairing this with
Silk some boots cut above the ankle with lacing or elastic, a
Wood pair of white silk stockings and the swiss belt would look
Metal fabulous, along with a dome-shaped parasol lined with silk,
11 a fan, and handkerchiefs for a hand accessory (Tortera, et
al.,370).

fBrlaosmt Evening Dress
Pthae st France
Creme Silk and
Wool Mixed
Gauze
Floral Print
1-Piece

Let’s learn about what consists of the che- Hatakeyama, T. (2020). [Evening Dress]. Retrieved October 29, 2020,
mise, a plain short-sleeved knee-length garment from https://www.kci.or.jp/en/archives/digital_archives/1850s_1860s/
made of cotton or linen, taking a look and the new KCI_082
style. And drawers are another undergarment that
is knee-length and has trim on the edges consisting Museum, Met. “Shoes.” Met Museum,
of lace, tucking or embroidery (Tortera, et al.,364). 2020, www.metmuseum.org/art/collection/
Then comes the corset and the crinoline or hoop, search/90386?searchField=All&sortBy=Rele-
and with the hoop design, the corset has become vance&ft=1850+shoes&offset=0&rp-
shorter. Typically, being made of whalebone for p=20&pos=6.v
structure, a newer style gives shape through the
fabric’s gores and the inset gussets of elastic. The Shoes
crinoline has a whalebone or steel structure for the French
figure, but the steel only came in 1857 onward. The Silk
crinolines rounded shape has a circumference of Linen
about 12 -15 feet (Tortera, et al.,368). Leather
This beautiful pink dress is from France. Lace-up
It is silk and wool, and it is a lovely evening dress
with a dipped neckline instead of the straight-
across neckline. It has beautiful short straight
sleeves with a removable bertha trim, but the trend
is moving towards sleeveless with shoulder straps
or having ribbons tied over the shoulders (Tortera,
et al.,369). This dress has a beautiful floral print
all over the dress, but it was also common to have
embroidery or lace as decoration. Pair this dress
with a beautiful pair of white kid or satin shoes
with a square toe and a low heel would look stun-
ning. Along with some short white gloves, brace-
lets, earrings, brooches, and necklaces made from
coral, cameos, cabochon stones, coloured glass and
jets, this woman would be the talk of the evening
(Tortera, et al.,372).

11

London and Paris Fashions for July 1850 [Digital image]. (2020). Retrieved October 29, 2020, from http://collections.vam.ac.uk/

INTRODUCTIONitem/O568076/london-and-paris-fashions-for-print-unknown/

Charles Fredrick Worth is popularizing the crinoline (hoop skirt) so get rid of all those heavy petticoats than are
weighing you down and into something that gives you movement. The English man has dressed Queen Victoria and
many other noblewomen and has taken his talents to France, which is considered the world’s fashion capital (Tortera, et
al.,356). The House of Worth is the first couture house and where he sells his designs. Their masked balls are where the
women show off their fancy gowns, and a must-see is Eugénie de Montijo, the wife of Napoleon, the third in her dresses.
Along with his foreign adventures are costing a fortune. (Tortera, et al.,358)
The American civil war raging, and slavery is changing, but the prices of clothing have skyrocketed in the south;
the gold rush is booming, and this new style of pants by this brand is called Levi’s (Tortera, et al.,359). Is this brand here
to stay and become a new staple in workwear? The growing demand for civil war uniforms has increased the sale of sew-
ing machines, and this ready-to-wear fashion is growing and could be the future of fashion? The Singer sewing machine
is the most popular due to its unique marketing strategy and financing, making it affordable for the people, setting them
apart from Howe machines (Tortera, et al.,361).

This collection of hats and outerwear gives some insight into what is popular. Women’s hair is parted in the

center and drawn over the ears into a bun or plaits and some false hair and head pads on the side to give the hair more

width (Tortera, et al.,370). A silk or chenille snood or a small cap with long lappets, ribbon, hats with a low flat crown

and wide brim, and flowers were all worn in the hair. Some of the outerwear seen here on the women are shawls, wash-

able aprons, cloaks, loose and fitted jackets varying in lengths and capes (Tortera, et al.,369).
11

PrCaoBcOemtav&iufecortayrltity
Petticoat costs have become a nuisance, and a group of women has turned to an
alternative style. It is called the Bloomer costume, named after Amelia Bloomer, who en-
dorsed the style but did not create it (Tortera, et al.,361).It was commonly found in health
sanitariums but has made its way out into the world located in countries like the United
States, England, Germany, Netherlands and Sweden. The woman on the left in the picture is
wearing a typical Bloomer costume. It consists of a Turkish trouser that synchs at the ankle
and a dress with a short skirt. Many of the women wearing this style are fighting for wom-
en’s rights and find that “fashion, [is] seen as excessive and disabling, provided a lens for
making a broad critique of society’s major flaws.” Mas, C. (2017). Schools and seminaries
have adopted this costume for their exercise program. It provides mobility for doing physi-
cal activating and is also under in gymnastics.

Mas, C. (2017). She wears the pants: The reform dress as technology in nineteenth-cen-
tury america. Technology and Culture, 58(1), 35-66. doi:http://dx.doi.org.ezproxy.kpu.
ca:2080/10.1353/tech.2017.0001

11

The Miriam and Ira D. Wallach Division of Art, Prints and MDLriaakeenss
Photographs: Picture Collection, The New York Public Library.
(1868). Gentlemen’S Paris Winter Fashions. Retrieved from
http://digitalcollections.nypl.org/items/510d47e0-e204-a3d9-
e040-e00a18064a99

Like women, men’s undergarments are made from cotton and linen in the sum-
mer and wool in the winter. Men’s costume will have a similar style to that of the old, with
daytime shirts losing the pointed collar to the neck, embroidery and ruffles that the evening
shirts have. Daytime shirts are usually white and paired with a tie or cravat. These men wear
their trousers with either suspenders or knickerbockers with a tab and buckle in the back
(Tortera, et al.,375). Their coats are double-breasted with side vents and small collars, jack-
ets, reefers or a sack jacket. The newer jackets have a little bit of a larger lapel. A top hat with
short curled or wavey hair and a mustache or beard, clean-shaven is no longer a popular
style. Canes, watches, pins, rings, and canes are good jewelry choices these days and shoes
and short boots for footwear (Tortera, et al.,376).
Children’s wear
Infants wear long gowns and hats. Boys and girls until the age of 4 wore dresses end-
ing just below the knee. As they get older wearing something similar to their gender with
some exceptions like boys’ jackets did not have collars and girls would wear ringlets in their
hair (Tortera, et al.,377).

11



THE
BUSTLE
PERIOD

From 1870s ~ 1890s

What is the

Bustle Period?
And What Was Going On?

The Bustle period, or what Mark Twain used to call the Gilded Age, is
an era between 1870-1890, where the term bustle derived from the device

that supported women’s dress for its back fullness. Also, during this
period, it was a Victorian-era where Great Britain was exerting its sheer
power throughout the world. When the Bustle skirt style became pop-
ular, it marked 30 years of Queen Victoria’s ruling, which she remained
in power for the next 30 years as well. To take a little more dive into
Great Britain, or the British Empire, England during the 1870s was in the
midst of an economic boom from industrialization. New changes were

taking place inside Great Britain as the new legislation extended the
voting rights along with mandating the clean-up of slums. With the
country flourishing both in and outside of the country, Great Brit-
ain was no doubt the most powerful nation in the world at the time

(Tortora. et al, pg. 384).

Great Britain’s close
neighbour, France, situa-
tions were much different
as they were defeated by
Prussian (French-Prussian
War), and as a result of
its Napoleon III surren-
dered which marked the
end of the Second French
Empire and the start
of the Third Republic.
During this transition-
al era in France, a civil
war broke out in Par-
is between radicals and
conservative (Tortora, Et
al,pg 384).

In the US, the US Civil War has just ended,
and the country was being united from
the east to the west via railroads. Settlers
were moving towards the west at an in-
creasing number. Along with the expan-
sion, industrialization, urbanization,
and immigration were also growing

at a rapid pace. Unfortunately, along
with the growth of the nation, it
also grew labour exploitation and
poverty. All this was possible due
to the peace that was brought
along with the end of the Civ-

il War which stabilized and
allowed improving their
economic status for

most Americans.

(tortora, et Al,Pg 384)

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(Tortora, et al, pg. 384)

Women in Motion

“Only men can work, and women need to stay at home” will soon be an old saying now
as more and more women are joining the workforce every day. Statistics show that there
is an increasing number of women who are actively looking and getting hired for a job.
This rising trend seems to be the new norm with our society soon, which will be very
different from before where most ladies were housewives. Within many different types
of occupations, teaching, dressmaking, domestic, personal services, bookkeeping, and
accounting are the most trending occupation at the moment. Our analysis predicts that
approximately 3,704,000 women will have a job outside of their house and will reach
5,319,000 by 1900. This rising trend of women working also raised attention to more
practical wears for the ladies to suit their occupational needs. Although the traditional
attires for women are beautiful, they are not suitable for women who will be nursing or
even blacksmithing for example. This indicates that maybe in the upcoming future, peo-
ple will be seeing generally simplified attires and shorter skirts with lesser decoration will
be the new fashion needs or the trend (Tortora, et al, pg.385).

Ladies! Time for Some Actions:

Rising trend of Recreational Sports
For Women

It was not common to see ladies participate in sports before but that seems like it is about to change now. The latest trend
shows that more and more women participating in sports. Even though the sports that ladies like to participate is not huge-

ly active in terms of physical activity, it is still a step towards a new era. The research shows that the most popular sports
amongst ladies are the following: tennis, golf, roller skating, hiking, and even some mountain climbing. Some ladies are very
close to the water, but unlike competitive swimming, most ladies are there for a casual “bath”. If you were wondering wheth-

er there is a special attire ladylike to wear for their bathing, my answer to that question is yes! Many ladies modified their
daytime dresses to have a shorter skirt for ease, but nothing too specialized yet, maybe we will see a dress that is fully dedi-

cated to bathing or even swimming.
Speaking of sports for ladies, we have also seen an increasing number of women’s seminaries and colleges where they include
gymnastics in their curriculum. We have also noticed that they have a dedicated women’s sports team for baseball as well. At

this point, the same question aforementioned rises again, is there special clothing’s that these ladies wear? And the answer
is Yes once again! Although many colleges and seminaries require their students to bring their appropriate garments, some

colleges introduced physical education uniforms to have proper attire for physical activities (Tortora, et al, pg.386).

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Fashion
Recap

Outfit 2: Evening Dress (1870)
Another submission from an anonymous designer, this
evening dress fully captures the essence of the 1870s.
Generally, the bodice of the dress for the evening dress
is used for the daytime dress as well, so I don’t doubt
the owner of this dress has a similar yet less flamboy-
ant style of skirts for the daytime dress. As you can
see, this dress utilizes a beautiful V-neck along with a
highly decorative and beautifully draped back to make
whoever is wearing this dress a shining star of that

night.

Outfit 3: Daytime and Evening dress – Skirt (est. 1872-1875)
Anonymous designer’s submission of women’s cage Cri-
nolette Petticoat. For this garment, in particular,
there is no bodice presented along with the skirt, but
it is enough for us to see the essence. 78-83 was the peri-
od where the bustle skirt was starting to slim down to
compliment the cuirass bodice, and since this skirt was
made in-between that period, it has significantly lesser

volume compared to the prior submissions

Outfit 4: Daytime dress (1886)
Anyone missing the bustle fullness? Well, good news because they are
back! However, there is a key difference that you will notice if you have
a sharp eye. The difference between this dress’ bustle to its prior dresses is
that this dress’ bustle has a more constructed bustle. Other than that,
the bodice construction follows the generally similar essence of the
1870s. The only noticeable difference would be the neckline where this

dress has a high fitted collar compared to the 1870s.

Outfit 5: Outdoor Dress (1883) – by Emile
Pingat

Finally, a non-anonymous designer for
our submission. The first thing that
grabbed my eyes was the leopard prints
that were used for this dress. Very ad-
venturous choice in terms of prints.
Although it is an outdoor dress, it
lacks cloaks or capes, utilizes a jack-
et instead (Cloaks and Capes are heav-
ily used during the crinoline-period).

Overall, a beautiful dress.

Monthly Accessories
Top 1 Pick

Our editors have chosen this evening hat as a winner of this
month’s accessory. The first thing that grabs people’s attention
will be the beautifully preserved whole bird sitting on top of
the hat along with the braids that surround the edge. It also
does a fantastic job of capturing the feel of the 1880s as it was
trendy to have braids along with some feathers, ribbons, or lace
as a decoration. If there is a lady who is looking for a state-

ment piece, this will be it.

Art Nouveau:

A Revolt against the Arts of the Victorian
Period

As we continue to develop our soci- discovered that they were not using the blan-
ety, it is important for people to maintain kets for their intended use but rather, the First
relationships to gain allies. Some voyagers Nations would use the coloured bands of these
have gone across the ocean and met a group blankets, cut it off, and adapt the border to the
of people named the First Nations. They are hem of their own garments. Soon, European
particularly different to how Europeans have settlers adapted this style to their own garments
developed a society yet, they work within a and there have been stories that both Canadi-
unique way. Communicating with them is ans and Americans adopted their warm hooded
difficult but we have gotten some translators coats for their outdoor sports.
to aid with the language barrier. European
settlers in the Americas continue to have in- As the First Nations had influence within
fluence from the First Nations dress for a long decorating our garments, how to coverup and
time. decorate our coats, now we also take influence
A few of European settlers have told in our footwear. European settlers describe the
stories about how they have adapted First Na- climate in America as a bit extreme, especial-
tions dress to their clothing. Both as fashion ly during the wintertime and it can be quite
and function, they have learned the ways that difficult to survive without the right equipment
First Nations have been living with nature. and garments for the harsh weather. The First
One of these exchanges between both par- Nations footwear usually consists of boots and
ties include how European settlers used glass an Algonquian style shoe, the Moccasins. Most
beads on their garments for decorative use. of the footwear was made from soft deer or
In the First Nations culture, glass beads were moose skins. These skins for footwear provid-
significant in ceremonies also seen as decora- ed the protection that is needed when passing
tive on their garments. The First Nations have through the woodlands and it is typically more
taught the Europeans how to make these glass flexible than leather.
beads and we started to manufacture them
with different in Europe so more people can The European settlers in America will continue
experience these tiny gems. When European to trade and learn from the First Nations and
settlers brought back glass beads to America, pass down their knowledge to Europe. Their
the First nations were quick to adapt these way of living is drastically different than ours
coloured beads to their clothing. and it is quite an experience as most Europeans
European settlers in America brought describe it. The First Nation’s dress will have a
colourful blankets and would usually trade lasting influence in some of the European dress
them with the First Nations; these blankets overtime.
were called Indian Blankets. The Europeans

“this artistic philosophy
that stressed the need for
art to be divorced from
the past led to the true
revolution in art that
arrive with modern,
abstract art after World
War I”





Mourning Ettiquette:

Featuring Queen Victoria

Mourning clothing etiquette started to gain popularity due to the influence of
Queen Victoria. After the death of Prince Albert in 1861, Queen Victoria has prom-
ised to wear mourning clothes until her death day; the grief of Prince Albert was too
much for her. After this occurrence, Queen Victoria has influenced the standard of
mourning for society.

Queen Victoria styled her mourning clothes with all black and it is
rumoured that she would wear jewelry that had the hair of a lost loved one. She
would layer on all her undergarments and her dresses over; all being the colour
black of course! Another rumour had spread that she would wear black under-
garments too and some of the other upper class women close to her would
follow.

Both men, women, and children would participate in
mourning. Men would take a minimalistic approach and they
would only need to wear a black armband. Some would take it
further and wear black from head-to-toe, yet their aesthetic
was already implementing dark coloured clothing.

Widows would take the mourning quite seri-
ously. The first period of mourning would consists of
wearing a black-crape covered dress adorned with black
accessories. Mourning crape is a black, silk fabric with
a crinkled or uneven surface. For the second period of

mourning which would be worn for 21 months would
add an additional crape trimmings around the gar-
ments.

Children would wear black coloured clothing as
the parents would usually dress them up. Their clothes
are typically the children’s version of adult clothing.



Women on a Roll!

Women Cycling

During the start of the Nineties period, women started to get
into sports and activities such as bathing, tennis, and cycling. Typically
women would wear gored, bell shaped skirts that would smooth over the
hips; some may vary by having fullness in the back. For tops, women
would wear shirtwaists which mostly had leg-of-mutton sleeves which
resembled a tailored look similar to men’s style of dress.

The typical dress for women would not be suitable for
riding a bicycle. Many have tried and they also have plenty
of difficulty with riding one with a full length skirt. If you are
a women interested in cycling, the ideal bottoms would be knickers with a
fitted jacket.

Knickers are pants with additional fullness which initially
gives and illusion that a women is still wearing a skirt when dis-
mounted off a bicycle. Knickers provides the comfort while
riding a bicycle without the hassle about worrying if your skirt
got ruined in the wheels or the dirt along the streets.

Other ways of dress for cycling includes a divid-
ed skirt or a skirt could be worn over knickers with a
blouse. A lot of women would recommend that you
wear a shirtwaist to maintain a dignified look; it would
help you look like you have a upright, straight posi-
tion.



Jane Austen’s
Emma, 2020 Film

After watching Emma, which is about how a young
lady falls in love with men and is in a romantic dilemma,
we can notice the following. Most of the dress in the film
is quite accurate. But, some scenes in the film portray an
exaggerated version of dress, such as some of the male
characters wearing printed suits which were not yet very
popular in the Empire Period. Instead, men would have
typically worn dark, solid colours. Conversely, women’s
dress in the film is portrayed rather accurately, as most
women’s clothing of the period would either have been
white or of a pastel colour, with a high empire waistline.

The hairstyles in the film are also quite accurate,
as women would mainly have them in curls and pinned
up. The bonnets that they wore in the film were a bit
exaggerated, as they would have likely been more simple
and minimalistic during this era. The other accessories
from the gloves and their shawls are accurate to the times,
each having been popular with the average woman.

There were not many appearances from children
in the film, but they would wear very similar clothing
between the boys and girls. Mainly wearing long white
dresses until they reached a certain age where the styles
of children’s clothing would diverge; pants and suits for
boys while girls wore dresses and skirts.

An overall final review is that this film is worth the watch
as it takes reference from Jane Austen’s novels who took
a lot of influence of the Empire Period.