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art came alive and her body became a type of art. As an aid to her performances of tragic mythological and historical figures, Emma wore the clothing Γ‘ la grecque that would become popular in mainstream France in the coming years. A simple light-colored chemise made from thin, flowing material was worn and gathered with a narrow ribbon under the breasts. Simple cashmere shawls were used as headdresses or to give more fullness to the drapery of the chemise. They also helped to prevent broken lines in the performance so that the outstretched arms were always connected with the body, escalating the effect of fluid movement, and oftentimes, a cape or a cloak was worn to emphasize the lines of the body in certain poses. This highlighted the continuity of surface of line and form in the body of the performer to emphasize the unity, simplicity, and continuously flowing movement from one part of the body to the next. The hair was worn in a natural, loose, and flowing fashion. All of these properties blended together to allow an extensive play of light and shadow to reveal and accent certain parts of the body during the performance while covering others. Emma was highly capable in her attitudes, and the influence of her dress spread from Naples to Paris as wealthy
Parisians took the Grand Tour.
2842:. Instead, cut and tailoring became much more important as an indicator of quality. This transformation can be attributed in part to an increased interest in antiquity stemming from the discovery of classical engravings, including the Elgin Marbles. The figures depicted in classical art were viewed as an exemplar of the ideal natural form, and an embodiment of Neoclassical ideas. The style in London for men became more and more refined and this was due to the influence of two things: the dandy and the romantic movement. The dandy (a man who placed high importance on personal aesthetics and hobbies but wanted to seem totally nonchalant about it) arguably emerged as early as the 1790s. Dark colors were all but mandatory. (Dark doesn't necessarily mean dreary though; many items, particularly vests and coats were cut from rich, vivid fabrics.) Blue tailcoats with gold buttons were everywhere. White muslin shirts (sometimes with ruffles on the neck/sleeves) were extremely popular. Breeches were officially on their way out, with pants/trousers taking their place. Fabrics in general were becoming more practical silk and more wool, cotton, and buckskin. Therefore, in the 18th century, the dress was simplified and greater emphasis was put on tailoring to enhance the natural form of the body.
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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.
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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.
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worn by the French queen, whose reference was
Caribbean, not Greek. The style was often worn in white to denote as high social status. Josephine Bonaparte was one of the figureheads for the Empire waistline, with her elaborated and decorated Empire line dresses. Regency women followed the Empire style along with the same trend of raised waistlines as French styles, even when their countries were at war. Starting from the 1780s and early 1790s, women's silhouette became slimmer and the waistlines crept up. After 1795, waistlines rose dramatically and the skirt circumference was further reduced. A few years later, England and France started to show the focus of the high waist style and this led to the creation of Empire style.
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804:, a "divorce" was described as an undergarment that served to separate a woman's breasts. Made of steel or iron that was covered by a type of padding, and shaped like a triangle, this device was placed in the center of the chest.) "Short stays" (corsets extending only a short distance below the breasts) were often worn over the shift or chemise (not directly next to the skin), and "long stays" (corsets extending down towards the natural waist) were worn by women trying to appear slimmer than they were or who needed more support. The English wore these more than the French, but even such long stays were not primarily intended to constrict the waist, in the manner of Victorian corsets.
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811:, which was the name for any skirt worn under the gown and could be a skirt with a bodice, a skirt attached over the torso by tapes, or a separate skirt. These petticoats were often worn between the underwear and the outer dress and were considered part of the outer clothing, not underwear. The lower edge of the petticoat was intended to be seen since women would often lift their outer dresses to spare the relatively delicate material of the outer dress from mud or damp (so exposing only the coarser and cheaper fabric of the petticoat to risk). Often exposed to view, petticoats were decorated at the hem with rows of tucks or lace, or ruffles.
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789:, or shift, a thin garment with tight, short sleeves (and a low neckline if worn under evening wear), made of white cotton and finished with a plain hem that was shorter than the dress. These shifts were meant to protect the outer-clothes from perspiration and were washed more frequently than outer clothes. In fact, washerwomen of the time used coarse soap when scrubbing these garments, then plunged them in boiling water, hence the absence of color, lace, or other embellishments, which would have faded or damaged the fabric under such rough treatment. Chemises and shifts also prevented the transparent
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era. The dresses were usually light, long, and fit loosely, they were usually in white and often sheer from the ankle to just below the bodice which strongly emphasized thin hem and tied around the body. A long rectangular shawl or wrap, very often plain red but with a decorated border in portraits, helped in colder weather and was apparently lain around the midriff when seatedβfor which sprawling semi-recumbent postures were favored. The dresses had a fitted bodice and it gave a high-waist appearance.
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1439:, but in other respects, neoclassical influences became progressively diluted. Dresses remained narrow in the front, but fullness at the raised back waist allowed room to walk. Colors other than white came into style, the fad for diaphanous outer fabrics faded (except in certain formal contexts), and some elements of obviously visible ornamentation came back into use in the design of the dress (as opposed to the elegant simplicity or subtle white-on-white embroidery of the dress of ca. 1800).
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place, and whose habits are wholly local β 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.
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125:, and people began using clothing more as a form of individual expression of the true self 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."
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2967:"Some have imagined that dandyism is primarily a specialisation in the art of dressing oneself with daring and elegance. It is that, but much else as well. It is a state of mind made up of many shades, a state of mind produced in old and civilised societies where gaiety has become infrequent or where conventions rule at the price of their subject's boredom...it is the direct result of the endless warfare between respectability and boredom."
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socially-acceptable activities in which women could participate centered around social gatherings and fashion, the most important component of which was attending evening parties. These parties helped to build relationships and connection with others. As etiquette dictated different standards of attire for different events, afternoon dress, evening dress, evening full dress, ball dress, and different types of dresses were popular.
800:(more lightly boned). While high-waisted classical fashions required no corset for the slight of figure, most ordinary women still wore some kind of bust support, although the aim was to look as if they were not. The disappearance of the corset or stays has been much exaggerated by writers on the Regency period. There were some experiments to produce garments which would serve the same functions as a modern brassiere. (In the
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466:, etc.). 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
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wearing the coat unbuttoned, and gradually waistcoats became less visible. Shortly before this time waistcoats were commonly vertically striped but by 1810 plain white waistcoats were increasingly fashionable, as did horizontally striped waistcoats. High-collared waistcoats were fashionable until 1815, then collars were gradually lowered as the shawl collar came into use toward the end of this period.
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extreme
Parisian versions of the neoclassical style (such as narrow straps which bared the shoulders, and diaphanous dresses without sufficient stays, petticoats, or shifts worn beneath) were not widely adopted elsewhere, but many features of the late-1790s neoclassical style were broadly influential, surviving in successively modified forms in European fashions over the next two decades.
1914:
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features were used to highlight the waistline. The empire gowns were often with a low neckline and short sleeves and women usually wore them as for formal occasions. On the other hand, day dresses had a higher neckline and long sleeves. The chemisette was a staple for fashionable ladies. Although there were now differences between dresses and gowns, the high waistline was not changed.
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909:(which were often sleeveless and reached down as far as the ankles). These outer garments were often made of double sarsnet, fine Merino cloth, or velvets, and trimmed with furs, such as swan's down, fox, chinchilla, or sable. On May 6, 1801, Jane Austen wrote her sister Cassandra, "Black gauze cloaks are worn as much as anything."
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pregnant or nursing woman as the breasts were emphasized and their availability was heightened. Maternity became fashionable and it was not uncommon for women to walk around with their breasts exposed. Some women took the "fashionable maternity" a step further and wore a "six-month pad" under their dress to appear pregnant.
703:, Chinese hat, Oriental-inspired turban, and Highland helmet were popular. As for bonnets, their crowns and brims were adorned with increasingly elaborate ornamentations, such as feathers and ribbons. In fact, ladies of the day embellished their hats frequently, replacing old decorations with new trims or feathers.
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selectively revived elements of early 19th century fashions. During the late
Victorian and Edwardian periods, many genre paintings, sentimental valentines, etc. contained loose depictions of 1795β1820 styles (then considered to be quaint relics of a bygone era). In the late 1960s / early 1970s, there
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suppression of trade in the fabrics used in neoclassical dress. While waistlines were still high, they were beginning to drop slightly. Larger and more abundant decoration, especially near the hem and neckline foreshadowed greater extravagance in the coming years. More petticoats were being worn, and
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There is also some evidence that the white muslin shift dress became popular after
Thermidor through the influence of prison dress. Revolutionary women such as Madame Tallien portrayed themselves in this way because it was the only clothing they possessed during their time in prison. The chemise Γ‘ la
977:
to cool themselves and to enhance gestures and body language. Made of paper or silk on sticks of ivory and wood, and printed with oriental motifs or popular scenes of the era, these ubiquitous accessories featured a variety of shapes and styles, such as pleated or rigid. An information sheet from the
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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
3035:
Took four hours to dress; and then it rained; ordered the tilbury and my umbrella, and drove to the fives' court; next to my tailors; put him off after two years tick; no bad fellow that Weston...broke three stay-laces and a buckle, tore the quarter of a pair of shoes, made so thin by O'Shaughnessy,
553:
Due to the importance of showing social status, the fashion industry was very much influenced by society during the
Regency era. One's position was determined by the person's wealth, etiquette, family status, intelligence, and beauty. Women financially and socially relied on their husbands. The only
270:
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
3007:, echoing the fashion for all things classical seen in women's wear of this period. He also led the move from breeches to snugly tailored pantaloons or trousers, often light-colored for day and dark for the evening, based on working-class clothing adopted by all classes in France in the wake of the
1042:
began her performances of attitudes, something that was considered by contemporaries as entirely new. These attitudes were based loosely on the ancient practice of pantomime, though Emma's performances lacked masks and musical accompaniment. Her performances created a fusion between art and nature;
603:
which were belted under the bust, providing support for women and a cool, comfortable outfit especially in a warm climate. The empire silhouette was defined by the waistline, which was positioned directly under the bust. The Empire silhouette was the key style in women's clothing during the
Regency
274:
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
3584:
wears a double-breasted tailcoat with turned-back cuffs and a matching high collar of velvet (or possibly fur). Note that, while the man's obvious wasp-like torso is not overly emphasized in a caricature-like fashion, as was often the case in male fashion plates of the day, there is a definite and
1069:
It was during the second half of the 1790s that fashionable women in France began to adopt a thoroughgoing Classical style, based on an idealized version of ancient Greek and Roman dress (or what was thought at the time to be ancient Greek and Roman dress), with narrow clinging skirts. Some of the
607:
The style had waxed and waned in fashion for hundreds of years. The shape of the dresses also helped to lengthen the body's appearance. The clothing can also be draped to maximize the bust. Lightweight fabrics were typically used to create a flowing effect. Also, ribbon, sash, and other decorative
507:
Among middle- and upper-class women there was a basic distinction between morning dress (worn at home in the afternoons as well as mornings) and evening attire β generally, both men and women changed clothes in preparation for the evening meal and possible entertainments to follow. There were also
571:
The empire silhouette was created in the late 18th century to about the early 19th century and referred to the period of the First French Empire. This adoption had been linked with France's neoclassical taste for Greek principles. In fact, however, its genealogy is much more complex. It was first
567:
Women's fashion in the Regency era started to change drastically. It popularized the empire silhouette, which featured a fitted bodice and high waist. This "new natural style" emphasized the beauty of the body's natural lines. Clothing became lighter and easier to care for than in the past. Women
494:
Inspired by neoclassical tastes, 'undress' was the style of the day, casual and informal. It was the type of gown a woman wore from morning until noon or later depending on her social engagements of the day. The short-waisted dresses sported soft, loose skirts and were often made of white, almost
239:
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
2888:
Waistcoats were high-waisted, and squared off at the bottom, but came in a broad variety of styles. They were often double-breasted, with wide lapels and stand collars. Around 1805 large lapels that overlapped those of the jacket began to fall out of fashion, as did the 18th-century tradition of
964:. The form-fitting dresses or frocks of the day had no pockets, thus these small drawstring handbags were essential. These handbags were often called buskins or balantines. They were rectangular in shape and was worn suspended by a woven band from a belt placed around the figure above the waist.
1018:
By the mid-1790s, neoclassical clothing had come into fashion in France. Several influences had combined to bring about this simplification in women's clothing: aspects of Englishwomen's practical country outdoor-wear leaked up into French high fashion, and there was a reaction in revolutionary
503:
a centerpiece of public spectacle. Satin was sometimes worn for evening wear. 'Half Dress' is thought of as how one would dress when going out during the day or meeting with guests.' Full Dress' was what a lady wore to formal events, day or night. 'Evening Dress' was only appropriate at evening
3746:
During the first half of the Victorian era, there was a more or less negative view of women's styles of the 1795β1820 period. Some people would have felt slightly uncomfortable to be reminded that their mothers or grandmothers had once promenaded about in such styles (which could be considered
262:
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-ofβmouth recommendation, with the exception of
1073:
With this Classical style came the willingness to expose the breast. With the new iconography of the Revolution as well as a change in emphasis on maternal breast-feeding, the chemise dress became a sign of the new egalitarian society. The style was simple and appropriate for the comfort of a
866:
During this time period, women's clothing was much thinner than in the eighteenth century so warmer outerwear became important in fashion, especially in colder climates. Coat-like garments such as pelisses and redingotes were popular, as were shawls, mantles, mantelets, capes, and cloaks. The
235:
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.
3747:
indecent according to Victorian norms), and many would have found it somewhat difficult to really empathize with (or take seriously) the struggles of a heroine of art or literature if they were being constantly reminded that she was wearing such clothes. For such reasons, some Victorian
449:
These 1795β1820 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 (often inflated by means of
3806:'s writings, due to the various movie adaptations of her novels. There are also some Regency fashion urban myths, such as that women dampened their gowns to make them appear even more diaphanous (something which was certainly not practiced by the vast majority of women of the period).
867:
mantelet was a short cape that was eventually lengthened and made into a shawl. The redingote, another popular example, was a full-length garment resembling a man's riding coat (hence the name) in style, that could be made of different fabrics and patterns. Throughout the period, the
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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.
3585:
deliberate nipping of the waist. It is highly likely that the sitter in this portrait wore some sort of tight-laced corset or similar undergarment. The coat-sleeves are puffed at the shoulder. He wears a white waistcoat, shirt, and cravat, and light-colored pantaloons, 1819.
1966:
697:, previously something often associated with prostitutes. However, most women continued to wear something on their head outdoors, though they were beginning to cease to do so indoors during the day (as well as for evening wear). The antique head-dress, or Queen Mary
2863:
for fashionable streetwear. The French Revolution is largely responsible for altering the standard male dress. During the revolution, clothing symbolized the division between the upper classes and the working-class revolutionaries. French rebels earned the nickname
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often wore several layers of clothing, typically undergarments, gowns, and outerwear. The chemise, the standard undergarment of the era, prevented the thin, gauzy dresses from being fully transparent. Outerwear, such as the spencer and the pelisse, were popular.
523:
In the morning the arms and bosom must be completely covered to the throat and wrists. From the dinner-hour to the termination of the day, the arms, to a graceful height above the elbow, may be bare; and the neck and shoulders unveiled as far as delicacy will
231:
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.
3048:; lost three quarters of an hour by that, tore two pairs of kid gloves in putting them hastily on; was obliged to go gently to work with the third; lost another quarter of an hour by this; drove off furiously in my chariot but had to return for my splendid
2962:
Other admirers of dandyism have taken the view that it is a sociological phenomenon, the result of a society in a state of transition or revolt. Barbey d'Aurevilly, one of the leading French dandies at the end of the nineteenth century, explained:
1803:
a stiffer, more cone-shaped skirt became popular. Stiffness could be supplemented by layers of ruffles and tucks on a hem, as well as corded or flounced petticoats. Sleeves began to be pulled, tied, and pinched in ways that were more influenced by
263:
warehouses (i.e., any retail on wholesale), 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
537:. Our Lady of Distinction, however, cautions young women from displaying their bosoms beyond the boundaries of decency, saying, "The bosom and shoulders of a very young and fair girl may be displayed without exciting much displeasure or disgust."
240:
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 (often competing) periodicals that allowed men and women to keep up with the ever-changing styles.
3172:
to adopt a short haircut instead of long hair tied in a queue. Older men, military officers, and those in conservative professions such as lawyers, judges, physicians, and servants retained their wigs and powder. Formal court dress of European
343:
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
1066:) probably paved the way for the simplification of the attire worn by teenage girls and adult women in the 1790s. Waistlines became somewhat high by 1795, but skirts were still rather full, and neoclassical influences were not yet dominant.
3962:
Aaslestad, Katherine B.: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006,
3086:
4013:
Katherine B. Aaslestad: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press, 2006,
3952:
Aaslestad, Katherine B.: "Sitten und Mode: Fashion, Gender, and Public Identities in Hamburg at the Turn of the Nineteenth Century, Gender in Transition: Discourse and Practice in German-Speaking Europe, University of Michigan Press,
1235:
is not a typical neo-classicist, but this shows a somewhat similar idealization of antiquity (as well as predicting the future high fashions of the late 1790s). The particular image was composed in 1795 and is currently held by the
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1609:
wears a short sleeved, light-pink dress with a high waistline. She also wears a thin, chain necklace, a golden-colored shawl, and her hair in a bun with loose waves; the simplicity, yet elegance, of her attire, is typical of the
1062:
grecque also represented the struggle for representation of the self and the stripping down of past cultural values. Also, a simplification of the attire worn by preteen girls in the 1780s (who were no longer required to wear
2918:, as they were known, became the rage; tops were knee-high in front and cut lower in back. The jockey boot, with a turned-down cuff of lighter colored leather, had previously been popular but continued to be worn for riding.
1279:
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were always worn by women outside the house. When worn inside, as when making a social call, or on formal occasions, such as a ball, they were removed when dining. About the length of the glove, A Lady of Distinction writes:
226:
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
1411:
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A Lady of Distinction also advised young ladies to wear softer shades of color, such as pinks, periwinkle blue, or lilacs. The mature matron could wear fuller colors, such as purple, black, crimson, deep blue, or yellow.
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wears a high-collared shirt with a dark cravat, a buff waistcoat, a double-breasted brown coat with covered buttons, and a dark gray overcoat with contrasting collar (perhaps sealskin). 1810. His bicorne hat lies on the
737:
2971:
In Regency London dandyism was a revolt against a different kind of tradition, an expression of distaste for the extravagance and ostentation of the previous generation, and of sympathy with the new mood of democracy.
681:
comb, or bodkin, give graceful specimens of the simple taste of modern beauty. Nothing can correspond more elegantly with the untrammeled drapery of our newly-adopted classic raiment than this undecorated coiffure of
504:
affairs. Thus during the 1795β1820 period, it was often possible for middle- and upper-class women to wear clothes that were not very confining or cumbersome, and still be considered decently and fashionably dressed.
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Gowns (now restricted to formal occasions) were often extravagantly trimmed and decorated with lace, ribbons, and netting. They were cut low and sported short sleeves, baring bosoms. Bared arms were covered by
1182:
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1644:
wears a dress with a sheer top layer over a partial lining and a patterned shawl. She wears a gold armlet on her left arm. Her hair is styled in loose waves at the temples and over her ears. Massachusetts,
3144:
and powder in these countries and younger men of fashion in both countries began to wear their own unpowdered hair without a queue in short curls, often with long sideburns. The new styles like the Brutus
1387:) after a drawing by George M. Woodward. (In 1796, strongly neoclassically influenced styles were still very new in England.) Notice the single vertical feather springing from the hair of the 1796 woman.
970:(as shown in the illustration) protected a lady's skin from the sun and were considered an important fashion accessory. Slender and light in weight, they came in a variety of shapes, colors, and sizes.
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or armlet. But this should only be the case when the arm is muscular, coarse, or scraggy. When it is fair, smooth, and round, it will admit of the glove being pushed down to a little above the wrists.
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3040:, that they were light as brown paper; what a pity they were lined with pink satin, and were quite the go; put on a pair of Hoby's; over-did it in perfuming my handkerchief, and had to recommence
2950:
in that the dandy's dress was more refined and sober. The dandy prided himself in "natural excellence" and tailoring allowed for exaggeration of the natural figure beneath fashionable outerwear.
2802:
This gentleman wears a double-breasted frockcoat in dark blue over a buff waistcoat. His gray trousers have straps under his shoes. His slightly conical tall hat sits in the windowsill, Germany,
4829:
3168:(1767-1848) who had worn a powdered wig and long hair tied in a queue in his youth, abandoned this fashion during this period while serving as the U.S. Minister to Russia (1809-1814) and later
320:
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
3023:
Not every male aspiring to attain Brummel's sense of elegance and style succeeded, however, and these dandies were subject to caricature and ridicule. Venetia Murray quotes an excerpt from
3388:
288:, 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.
211:, 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
545:
Many women of this era remarked upon how being fully dressed meant the bosom and shoulders were bare, and yet being under-dressed would mean one's neckline went right up to one's chin.
3363:
wears a brown double-breasted coat with a contrasting collar and brass buttons. The pleated frill of his shirt front can be seen next to the knot of his white cravat, Germany, 1808β09.
529:
Mourning dresses were worn to show the mourning of a loved one. They were high-necked and long-sleeved, covering throat and wrists, generally plain and black, and devoid of decoration.
2655:
1402:
644:
During this period, the classical influence extended to hairstyles. Often masses of curls were worn over the forehead and ears, with the longer back hair drawn up into loose buns or
278:
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,
3554:, merchant and landowner, strikes a romantic pose that displays details of his white waistcoat, frilled shirt, and fall-front breeches with covered buttons at the knee, 1812β13.
2727:
2607:
2576:
3391:
remained a feature of formal court suits like this one, which pairs a red wool coat with a cloth-of-silver waistcoat, both embroidered in silver thread. Italy, c. 1800β1810.
1594:
152:. 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
1841:
1759:, a caricature purporting to show the provocative and revealing character of 1807 fashions as compared to those of the 18th century (deliberately exaggerating the contrast).
499:, which was easily washed and draped loosely like the garments on Greek and Roman statues. Since the fabric clung to the body, revealing what was underneath, it made nudity
3547:
3354:
1829:
943:
If the prevailing fashion be to reject the long sleeve, and to partially display the arm, let the glove advance considerably above the elbow, and there be fastened with a
1613:
1038:
Along with the influences of the Pompeii and Herculaneum excavations, several other factors came together to popularize neoclassical dress. Starting in the early 1790s,
1035:, and would likely have not been possible outside such a specific geographic and historical setting that allowed the idea of the past made present to become paramount.
5366:
3581:
422:
in the 20th century β dresses were closely fitted to the torso just under the bust, falling loosely below. In different contexts, such styles are now commonly called "
3444:
4114:
1772:
1687:
1273:
3169:
2054:
4039:
Noyes, Dorothy: "La Maja Vestida: Dress as Resistance to Enlightenment in Late 18th-century Madrid," Journal of American Folklore, vol 111, no 440, 1998, 197β217.
5795:
3860:
3375:
collar reaches his chin, and his cravat is wrapped around his neck and tied in a small bow. His short hair is casually dressed and falls over his forehead, 1809.
3019:
In certain congruities of dark cloth, in the rigid perfection of his linen, in the symmetry of his glove with his hand, lay the secret of Mr Brummell's miracles.
1756:
1680:
1228:
355:; cravats wrapped up to the chin; sideburns and "Brutus style" natural hair; tight breeches; silk stockings; accessorized with: gold watches, cane, hats outside.
128:
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
648:
influenced by Greek and Roman styles. By the later 1810s, front hair was parted in the center and worn in tight ringlets over the ears. Adventurous women like
1983:
3572:
wears a double-breasted coat which shows a bit of the waistcoat beneath at the waist, tight pantaloons tucked into boots, and a high collar and cravat, 1816.
3378:
2492:
1027:
was adopted for its association with classical republican ideas . This renewed fascination of the classical past was encouraged by the recent discoveries of
3718:
3124:(1739-1824). While the older ones, Cambacérès and Lebrun, wear old-fashioned powdered wigs, younger Napoleon wears a fashionable short unpowdered hairstyle.
3866:
1674:
4689:
4524:
4341:
4277:
2770:
2377:
215:. 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
4830:"Naomi Entreating Ruth and Orpah to Return to the Land of Moab, object 1 (Butlin 299) "Naomi Entreating Ruth and Orpah to Return to the Land of Moab""
3706:
4388:
3872:
814:"Drawers" (large, flowy 'shorts' with buttons at the crotch) were only occasionally worn at this time. Women had no underwear under their dresses.
709:
4051:
Dror Warman, The Making of the Modern Self: Identity and Culture in Eighteenth-Century England (Yale University Press, 2004), pp. 166β189, 265β278
3468:
2480:
1194:
5254:
Freund, Amy. "The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution," Art Bulletin, vol. 93 no. 3 (2011), 325β344.
4800:
Freund, Amy. "The Citoyenne Tallien: Women, Politics, and Portraiture during the French Revolution," Art Bulletin, vol. 93 no. 3 (2011), 325β344.
4363:
3578:
wears a rich blue tailcoat and brown fall-front trousers over a white waistcoat, shirt, and cravat. His tall hat sits on an antique plinth, 1817.
2667:
2262:
1376:
1364:
954:
were worn rather loosely during this period, crumpling below the elbow. As described in the passage above, "garters" could fasten longer gloves.
878:
were generally draughty, and the sheer muslin and light silk dresses popular during this time provided less protection. Shawls were made of soft
2214:
5902:
5813:
5359:
3563:
3177:
also still required a powdered wig or long powdered hair tied in a queue until the accession of Napoleon to the throne as emperor (1804-1814).
1995:
1641:
912:
Thin, flat fabric (silk or velvet), or leather slippers were generally worn (as opposed to the high-heeled shoes of much of the 18th century).
3328:
2900:, sometimes called a coachman's coat, was a particularly popular style, and had between three and five short caplets attached to the collar.
5375:
5076:
4301:"The Little White Dress: Politics and Polyvalence in Revolutionary France" in: Fashion Theory. The Journal of Dress, Body and Culture, 19:5
1352:
1980:
and her daughter wear their hair parted in the front center with tight ringlets over each ear; back hair is brushed back into a bun. 1816.
1019:
France against the stiffly boned corsets and brightly colored satins and other heavy fabrics that were in style in the Ancien RΓ©gime (see
4060:
Peter McNeil, "The Appearance of Enlightenment: Refashioning the Elites," in The Enlightenment Worlds, eds (Routledge, 2004), pp. 381β400
3504:
3398:
2401:
1778:
1249:
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2135:
1762:
1218:
4898:
5828:
5352:
5078:
Presidents and Presidencies in American History: A Social, Political, and Cultural Encyclopedia and Document Collectionβ Google Knihy
2066:
690:, which now had wider brims at the sides to cover the ears. Fashionable women wore similar caps for morning (at home undress) wear.
310:
Men: trousers with perfect tailoring; linen; coats cutaway in the front with long tails; cloaks; hats; the Dandy; Majo: short jacket
4229:
O'Brien, Alden, 'Empire Style', in The Berg Companion to Fashion, ed. by Valerie. Steele (Oxford; New York: Berg, 2010), pp. 247β48
3304:
3156:
Many notable men during this period, especially younger ones, followed this new fashion trend of short unpowdered hairstyles, e.g.
2027:
1961:
1063:
4600:
3113:
4818:
Gelpi, Barbara C. "Significant Exposure: The Turn-of-the-century Breast." Nineteenth-Century Contexts 20.2 (1997): 125β45. Print.
3366:
3153:
became fashionable and subsequently spread also in other European and European-influenced countries including the United States.
3092:
3073:
2468:
2353:
1635:
1408:"A French Invasion on the Fashionable Dress of 1798," British caricature, also showing tight trousers, wigs, and square neckline.
248:
5569:
3331:
of boxer "Jem" Belcher wearing a patterned cravat and a double-breasted brown coat with a dark (fur or velvet?) collar, c. 1800.
3187:
hats were still worn, but the most fashionable hat was tall and slightly conical; this would soon, however, be displaced by the
3528:
2715:
2021:
2009:
wears the new fashion for rich color. Her crimson gown with frills at neck and sleeves is worn with an ivory shawl with a wide
5212:
2643:
2298:
26:
5052:
5025:
3534:
2750:
in riding dress, 1795. His snug leather breeches have a tie and buttons at the knee and a fall front. The white waistcoat is
2001:
1989:
1811:
styles than neoclassical. Hats and hairstyles became more elaborate and trimmed, climbing higher to balance widening skirts.
1340:
1077:
White was considered the most suitable color for neoclassical clothing (accessories were often in contrasting colors). Short
3640:
3616:
2988:
with high collars, perfectly tied cravats, and exquisitely tailored plain dark coats (contrasting in many respects with the
1431:
has back gathers and long sleeves, and like the walking costume, has trim at the hemline and new detail at the upper sleeve.
5412:
2779:
2540:
2226:
2123:
1623:
267:, improved transportation and introduction of machines in manufacturing allowed fashion to develop at an even faster pace.
3812:
3456:
3360:
2885:
tied in various fashions. Pleated frills at the cuffs and the front opening went out of fashion by the end of the period.
2758:
406:
4629:
3516:
3369:
has fashionably tousled hair. He wears a long redingote over his coat, tan waistcoat, white shirt, and dark cravat, 1808.
1658:
1462:
1393:, a highly stylized parody which caricatures women's feather headdresses and dandies' tight trousers, among other things.
1390:
1285:
2859:
became longerβtightly fitted leather riding breeches reached almost to the boot topsβand were replaced by pantaloons or
5502:
3569:
3372:
3244:
3161:
2878:. Lapels were not as large as they had been in years before and often featured an M-shaped notch unique to the period.
3531:, a satire on French fashions of 1810; long tight breeches or pantaloons, short coats with tails, and massive cravats.
2703:
1258:, showing a lady who seems none too warmly attired for a balloon journey in her low-cut thin-looking Directoire dress.
470:
were light to the point of being sheer, however, printed heavier cottons, wools and other textiles were also popular.
5937:
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wears a white waistcoat with a tall upright notched collar over his high shirt collar and wide cravat. America, 1807.
2504:
2250:
2069:, a satire by George Cruikshank of the female trend towards a conical silhouette, and male high cravats and dandyism.
1405:, an over-the-top caricature by Isaac Cruikshank of allegedly excessively diaphanous styles worn in late 1790s Paris.
3730:
2619:
1732:
575:
418:
In this period, fashionable women's clothing styles were based on a high, under the bust waistline, only called the
5733:
5728:
5615:
5610:
5605:
5600:
5595:
5417:
5388:
3778:
Later in the Victorian period, the Regency seemed to retreat to an unthreateningly remote historical distance, and
3392:
2552:
2159:
1865:
1664:
1582:
753:
693:
For the first time in centuries, respectable but daringly fashionable women would leave the house without a hat or
2437:
1708:
1246:
showing woman and girl wearing elegantly simple high-waisted styles, which are not strongly neoclassical, however.
1104:
842:
5922:
4674:
2111:
1396:
365:
Women: dress waistlines began to drop; elaborate hem and neckline decoration; cone-shaped skirts; sleeves pinched
3292:
2516:
2341:
1632:
Mob cap of c. 1805 is pleated in the front and has a narrow frilled brim that widens to cover the ears. America.
1570:
5221:
4946:
3316:
2274:
2016:
557:
189:
114:
3604:
2365:
1304:
1270:
of a day outfit with short "spencer" jacket (less neoclassical, though still following the empire silhouette).
53:
5897:
5892:
5527:
5404:
4748:
Cage, E. Claire (2009). "The Sartorial Self: Neoclassical Fashion and Gender Identity in France, 1797β1804".
2449:
2099:
2087:
847:
4854:
Cage, E. Claire (2009). "The Srtorial Self: Neoclassical Fashion and Gender Identity in France, 1797β1804".
2679:
381:
4171:
Wurst, Karin A. (2001). "Spellbinding: The Body as Art/Art as Body in the Cultural Practice of AttitΓΌden".
3344:
3334:
3137:
1798:, pseudo-Grecian styles in women's dress. This decline was especially evident in France due to the Emperor
1267:
389:
3694:
3628:
5507:
5497:
3972:
Ribeiro, Aileen: The Art of Dress: Fashion in England and France 1750β1820, Yale University Press, 1995,
3752:
3480:
3202:
2984:
society from the mid-1790s, which was characterized by immaculate personal cleanliness, immaculate linen
2171:
1889:
1648:
1522:
1288:
of 1799. The habit on the right features a short jacket with tails. The green habit on the left may be a
1255:
1128:
307:, gloves, jewelry, small handbags β reticules, shawls, handkerchiefs; parasols; fans; Maja: layered skirt
43:
4392:
1620:
showing two different dresses, one more elaborate than the other. Note the low neckline then in fashion.
919:
were strapped on shoes to protect them from rain or mud, raising the feet an inch or so off the ground.
161:
5840:
5818:
5449:
3762:
3160:(1769-1821), initially wearing long hair tied in a queue, changed his hairstyle and cut his hair short
2914:
were a mainstay in men's footwear. After the Duke of Wellington defeated Napoleon at Waterloo in 1815,
2528:
1696:
wears a simple white satin gown and the ubiquitous shawl. Her headdress is trimmed with ostrich plumes.
1629:
90:
A well-to-do family edges cautiously along a plank to avoid the muddy streets of Paris, by Boilly, 1803
4367:
3848:
3121:
1435:
During the first two decades of the 19th century, fashions continued to follow the basic high-waisted
5866:
5519:
5434:
5393:
3011:. In fact, Brummel's reputation for taste and refinement was such that, fifty years after his death,
2766:
wears a cropped riding coat and dark breeches tucked into boots. He carries his hat and gloves, 1795.
2631:
2329:
1744:
1720:
1504:
1243:
1092:
478:
3751:
of the Napoleonic wars intentionally avoided depicting accurate women's styles (see example below),
3256:
2588:
2042:
1949:
999:
633:
434:" (referring to Napoleon's 1804β1814/1815 empire, and often also to his 1800β1804 "consulate"), or "
5835:
5723:
5700:
5695:
5683:
5678:
5673:
5668:
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5658:
5653:
5632:
5454:
3652:
3133:
2810:
2691:
1817:
1020:
743:
Mme Seriziat wears a straw bonnet trimmed with green ribbon over a lace mob cap, 1795 (painting by
486:
3869:(1868), a mid-Victorian painting which deliberately does not show accurate women's styles of 1815.
3775:(set in 1811β1812) neo-Grecian fashions are anachronistically relocated to an earlier generation.
3268:
2310:
1937:
5427:
3783:
3420:
2835:
2787:
1606:
1261:
561:
47:
20:
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4720:
4148:
3432:
2147:
1901:
1877:
79:
5917:
5912:
5907:
5512:
4030:
Betty-Bright P. Low, "Of Muslins and Merveilleuses," Winterthur Portfolio, vol 9 (1974), 29β75.
3594:
Both boys and girls wore dresses until they were about four or five years old, when boys were "
3575:
2413:
1474:
1206:
583:
or similar wrap, or a short "Spencer" jacket, as the dresses were light and left much uncovered
101:
and European-influenced countries saw the final triumph of undress or informal styles over the
5015:
1546:
1316:
982:
describes fans and their use in body language and communication (click and scroll to page 4).
5856:
5823:
5042:
4938:
4932:
4833:
4315:
3988:
Four Hundred Years of Fashion, Victoria & Albert Museum, V&A Publications, 1984 p. 31
3492:
3405:
3280:
3150:
3037:
1977:
875:
285:
264:
58:
280:
254:
5927:
4071:
3875:(1882), a later Victorian genre painting which uses the Regency period for nostalgia value.
3382:
2881:
Shirts were made of linen, had attached collars, and were worn with stocks or wrapped in a
2868:, or "the people without breeches," because of the loose floppy trousers they popularized.
2783:
2763:
2286:
2195:
2183:
1558:
588:
220:
173:
1925:
1617:
1328:
165:
8:
5871:
4475:
3757:
3551:
2989:
2389:
1046:
1006:
744:
653:
438:" (loosely used to refer to various periods between the 18th century and the Victorian).
185:
122:
63:
3766:
1486:
829:
were introduced in the late 19th century and were often of a white or pale flesh color.
5861:
5564:
4984:
4879:
4871:
4765:
4713:
4608:
3918:
3913:
3903:
3348:
3232:
3220:
3157:
3117:
2006:
1684:
1237:
1170:
957:
662:
reporting in 1802 that "more than half of elegant women were wearing their hair or wig
649:
459:
212:
4072:"Women's Fashion: Fashion Plates, Illustrations, and Watercolours from 1790s to 1810s"
2798:
1534:
1146:
19:"1800s in Western fashion" redirects here. For fashion in the century as a whole, see
5690:
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1837 accession. The names of popular people who lived in this time are still famous:
118:
1116:
5790:
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depicted in later years of his life, dressed according to the fashion of the 1820s.
3049:
2839:
2775:
2010:
1380:
1078:
1055:
728:
658:
443:
427:
423:
67:
4654:
4194:
1450:
1264:
of white Directoire dress worn with contrasting red shawl with a Greek key border.
1158:
1050:
A satirical 1796 contrast between old Elizabethan and Directoire clothing styles:
228:
5489:
5172:, Selected and Introduced by Penelope Hughes-Hallett, Collins & Brown, 1990.
3771:
3408:
shows how Scandinavian society has viewed men's fashion in the Age of Revolution.
3385:
depicts him in a dark coat over a tan waistcoat and high collar and cravat, 1809.
2915:
2871:
2751:
2747:
1011:
624:
435:
369:
133:
4809:
Yalom, Marilyn. A History of the Breast. New York: Alfred A. Knopf, 1997. Print.
1853:
731:
wears her hair in a mass of curls; her mother wears a sheer indoor cap, c. 1820.
5439:
3779:
3045:
2981:
2791:
1024:
961:
858:
629:
398:
153:
31:
4633:
4267:
Grigsby, Darcy G. "Nudity Γ La Grecque." The Art Bulletin 80.2 (1998): 311β35.
2874:
were cutaway in front with long skirts or tails behind, and had tall standing
2030:(for staying inside the house during the mornings and early afternoons), 1819.
769:
252:
Fashion Plate (The Russian & Prussian Bonnet & Pelisse), published in
5886:
5184:
What Clothes Reveal: The Language of Clothing in Colonial and Federal America
3923:
3673:
3658:
3338:
2977:
2865:
2830:, and other embellishments from serious men's clothing outside of formalized
1913:
1795:
1766:
1652:
1428:
1232:
1039:
995:
951:
927:
879:
782:
534:
519:, published in London in 1811, the author ("a Lady of Distinction") advised:
325:
304:
181:
86:
4499:
4426:
3146:
3898:
3012:
2907:
2850:
1222:
509:
431:
330:
5469:
5273:: The Little White Dress: Politics and Polyvalence in Revolutionary France
4134:
Patterns of fashion: The cut and construction of clothes for men and women
1769:. A satire of clinging dresses worn with few layers of petticoats beneath.
1423:
677:
Now, easy tresses, the shining braid, the flowing ringlet confined by the
3893:
3803:
3792:
2919:
2831:
1804:
1668:
1032:
944:
837:
778:
637:
592:
169:
141:
4875:
78:
Painting of a family game of checkers ("jeu de dames") by French artist
5554:
5141:
4988:
4867:
4761:
3933:
3863:
making fun of the contemporary distaste for early 19th century clothes.
3796:
3402:
3008:
2996:
2896:
were fashionable, often with contrasting collars of fur or velvet. The
2827:
1808:
902:
851:
826:
451:
323:
Men: linen shirts w. high collars; tall hats; hair: short and wigless,
177:
145:
129:
74:
5294:
History of Costume from the Ancient Egyptians to the Twentieth Century
5275:
in: Fashion Theory. The Journal of Dress, Body and Culture, 19:5, 2015
4827:
4195:"Regency & Romantic Hairstyles and Hats 1800β1840 Fashion History"
3802:
In recent years, 1795β1820 fashions are most strongly associated with
2922:
with elevated heels became popular with the introduction of trousers.
773:
1811 illustration of underclothes, showing one form of Regency "stays"
368:
Men: overcoats/greatcoats w. fur or velvet collars; the Garrick coat;
3191:
and reign as the only hat for formal occasions for the next century.
1289:
808:
616:
455:
223:
ideals by reclaiming and elaborating upon traditional Spanish dress.
149:
4980:
3351:
wears a tan cravat with his high white collar and dark coat. Boston.
5296:, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS
4317:
Coiffures: Hair in Nineteenth-century French Literature and Culture
3560:
wears a striped waistcoat under a black double-breasted coat, 1813.
3180:
3174:
2860:
2856:
2846:
1799:
974:
967:
352:
193:
157:
39:
35:
5332:
Fabric of Society: A Century of People and their Clothes 1770β1870
3997:
Yalom, Marilyn, "A History of the Breast." (Knopf: New York, 1997)
2838:
in the 1880s and its successor, the "Young Edwardian" look of the
1992:, showing the beginning of the trend towards a conical silhouette.
5213:
The Age of Napoleon: Costume from Revolution to Empire, 1789β1815
3188:
3184:
2882:
2754:, a popular style at this time. His tall hat is slightly conical.
1028:
916:
890:
for summer. Paisley patterns were extremely popular at the time.
822:
818:
786:
687:
208:
102:
5304:
A Lady of Fashion: Barbara Johnson's Album of Styles and Fabrics
5280:
High Society: A social History of the Regency Period, 1788β1830,
5228:
The Most Polished Gentleman: George IV and the Women in His Life
3741:
1377:"TOO MUCH and TOO LITTLE, or Summer Clothing of 1556 & 1796"
4971:
Hollander, Anne (Winter 1992). "The Modernization of Fashion".
3112:
The three Consuls of French Republic in 1799-1804 : (L-R)
2955:
High Society: A Social History of the Regency Period, 1788β1830
2935:
2911:
1229:"Ruth entreating Naomi and Orpah to return to the land of Moab"
990:
935:
898:
887:
797:
790:
600:
496:
467:
463:
197:
98:
5259:
Everyday Life in Regency and Victorian England: From 1811β1901
4047:
4045:
5422:
4009:
4007:
4005:
4003:
3908:
2985:
2943:
2939:
2931:
871:
868:
620:
Miniature portrait of a Russian lady, Russian school, c. 1800
596:
580:
394:
201:
430:
government of France during the second half of the 1790s), "
4042:
3108:
3000:
2903:
2823:
2743:
883:
699:
508:
further gradations such as afternoon dress, walking dress,
402:
216:
106:
4934:
From Top Hats to Baseball Caps, From Bustles to Blue Jeans
4026:
4024:
4022:
4020:
4000:
3140:
in 1795 in Britain effectively ended the fashion for both
1081:
trailing behind were common in dresses of the late 1790s.
579:
French lady in 1808; the style was often accompanied by a
4715:
Fashion in History: Western Dress, Prehistoric to Present
3141:
3077:
2947:
666:", a layered cut usually with some tresses hanging down.
595:
art which showed women wearing loose-fitting rectangular
243:
110:
192:
and her husband and many more. Beau Brummell introduced
34:, women wore thin gauzy outer dresses while men adopted
5041:
Hewson, Martha S.; Cronkite, Walter (January 1, 2009).
4899:"Men's Fashion During the Regency Era (1810s to 1830s)"
4828:
Morris Eaves; Robert N. Essick; Joseph Viscomi (eds.).
4781:
4779:
4456:
Palais Galliera | MusΓ©e de la mode de la Ville de Paris
4017:
1282:
wears a white transparent dress over a white petticoat.
121:, no one wanted to appear to be a member of the French
5244:, Batsford (UK), 1986; Holmes & Meier (US), 1987.
4166:
4164:
4162:
5374:
4776:
4743:
4741:
4719:. Minneapolis: Burgess Publishing Company. pp.
3544:
demonstrating different male fashions, Paris, 1812.
3052:, as I knew that I should eclipse the circle by it.
2834:βit would not reappear except as an affectation of
1757:"The Fashions of the Day, or Time Past and Present"
821:), made of silk or knitted cotton, were held up by
686:Conservative married women continued to wear linen
4712:
4188:
4186:
4159:
3566:wears a frilled shirt with a knotted white cravat.
3080:that was a common piece of men's dress by c. 1795.
1399:satirizes early neo-classical influenced fashions.
446:were not used at the time these styles were worn.
5242:Working Dress: A History of Occupational Clothing
4738:
4690:"Mirror of Graces; or the English Lady's Costume"
4525:"Mirror of Graces; or the English Lady's Costume"
4342:"Mirror of Graces; or the English Lady's Costume"
4278:"Mirror of Graces; or the English Lady's Costume"
3058:Transformation of men's fashion during a lifetime
333:, but often with some long locks left coming down
5884:
5156:The Art of Dress: Clothing and Society 1500β1914
4571:
4560:Dress in the Age of Jane Austen: Regency Fashion
4547:Dress in the Age of Jane Austen: Regency Fashion
4414:Dress in the Age of Jane Austen: Regency Fashion
4256:Dress in the Age of Jane Austen: Regency Fashion
4243:Dress in the Age of Jane Austen: Regency Fashion
4101:The art of dress: Clothes and society, 1500β1914
874:was the favored wrap, as houses and the typical
4790:. The British School at Rome. pp. 123β146.
4183:
3795:due to the popularity of the television series
2946:of the time, a dandy was differentiated from a
2075:, a French fashion satire by George Cruikshank.
901:, Turkish wraps, mantles, capes, Roman tunics,
517:Mirror of Graces; or the English Lady's Costume
5040:
5000:
4998:
4788:The Impact of Italy: The Grand Tour and Beyond
4585:
4583:
4500:"Bust bodice | V&A Search the Collections"
1789:
1671:" bonnet and blue-striped dress with flounces.
1626:of 1804. Note the even more generous neckline.
1064:miniature versions of adult stays and panniers
144:, marked by the regency between the reigns of
5360:
4601:"Beyond the Fringe: Shawls of Paisley Design"
4237:
4235:
3742:Revival of Directoire/Empire/Regency fashions
1986:wears a red dress over a white chemise. 1816.
1379:, a February 8, 1796, caricature engraved by
636:. Madame Murat wears the formal red train of
632:and her daughter Letizia, painted in 1807 by
5117:
5013:
4918:Sex and Suits: The Evolution of Modern Dress
4320:. University of Delaware Press. p. 35.
4216:
4214:
4212:
4210:
4208:
4206:
4204:
3103:
1794:This era signaled the loss of any lingering
1775:, 1810 caricature of impractical hat styles.
1403:"Parisian ladies in their full winter dress"
140:This era of British history is known as the
4995:
4580:
897:were worn outdoors, along with long-hooded
219:, however, rebelled against foppish French
5367:
5353:
5170:My Dear Cassandra: The Illustrated Letters
4232:
3412:
3194:
1054:, reads the caption of this caricature by
793:or silk dresses from being too revealing.
611:
4970:
4915:
4476:"Brassiere ca. 1820 American or European"
4201:
2822:This period saw the final abandonment of
1010:An idealized classicized depiction of an
985:
4549:, Yale University Press, 2019, pp. 66-67
4427:"Stays | V&A Search the Collections"
4416:, Yale University Press, 2019, pp. 62-65
3867:"Before Waterloo" by Henry Nelson O'Neil
3761:depicted the women of the 1810s wearing
3107:
2925:
2845:This was also the period of the rise of
2797:
2769:
2757:
2742:
1422:
1276:wears an almost transparent white dress.
1045:
1005:
989:
973:Fashionable ladies (and gentlemen) used
926:
862:Leather slippers, between 1795 and 1805.
857:
836:
768:
715:Two English girls practice archery, 1799
623:
615:
574:
556:
485:
477:
388:
380:
247:
85:
73:
52:
25:
5017:Napoleon, The Path to Power 1769 - 1799
4785:
4710:
4298:
3873:"Two Strings to her Bow" by John Pettie
1427:English and French fashions, 1815. The
397:, some society ladies rebelled against
5885:
5196:Black, J. Anderson and Madge Garland:
5074:
5020:. Yale University Press. p. 472.
4896:
4313:
4192:
4115:"Nineteenth-Century Industrialization"
3793:revival in interest in Regency fashion
3558:German physician Johann Abraham Albers
3044:; could not please myself in tying my
832:
796:The next layer was a pair of stays or
512:, traveling dress, dinner dress, etc.
482:'Morning Dress' or 'Half Dress', 1817.
244:Influence of the Industrial Revolution
5903:History of clothing (Western fashion)
5348:
5075:Girard, Jolyon P. (October 7, 2019).
4170:
4098:
4094:
4092:
4090:
4088:
3787:was a limited fashion revival of the
3589:
3164:. Likewise the future U.S. President
2934:first appeared in the 1790s, both in
1677:of a woman by Henri Mulard, ca. 1810.
1661:gown, shown with elbow-length gloves.
1418:
1084:
291:
5413:Prehistory of nakedness and clothing
5216:, Metropolitan Museum of Art, 1989.
5118:Adkins, Roy; Adkins, Lesley (2013).
4930:
4853:
4747:
4562:, Yale University Press, 2019, p. 67
4258:, Yale University Press, 2019, p. 81
4245:, Yale University Press, 2019, p. 24
3646:Girls play-dresses and bonnets, 1804
2073:"A peep at the French Monstrosities"
1225:gives an idea of the styles of 1795.
893:Short (high-waisted) jackets called
652:wore short cropped hairstyles "Γ la
4937:. New York: Clarion Books. p.
4734:Cheltenham Art Gallery & Museum
4598:
4146:
4103:. National Trust. pp. 195β197.
3564:American artist Samuel Lovett Waldo
2849:for styling men's hair, as well as
1292:rather than a jacket and petticoat.
13:
5130:
4131:
4125:
4085:
2321:
2206:
2079:
2024:, with ornamentation near the hem.
376:
14:
5949:
4975:(154). Walker Art Center: 27β33.
4220:Payne, Blanche (1965) pp. 452β455
2599:
2460:
1779:"Almack's Longitude and Latitude"
1442:
5468:
5389:History of clothing and textiles
5044:John Quincy Adams β Google Knihy
4589:Payne, Blanche (1965) p. 447β449
4193:Thomas, Pauline (20 July 2005).
3847:
3835:
3823:
3811:
3729:
3717:
3705:
3693:
3681:
3666:
3651:
3639:
3627:
3615:
3603:
3515:
3503:
3491:
3479:
3467:
3455:
3443:
3431:
3419:
3393:Los Angeles County Museum of Art
3315:
3303:
3291:
3279:
3267:
3255:
3243:
3231:
3219:
3201:
3114:Jean-Jacques-Régis de Cambacérès
3085:
3066:
3003:short in a Roman fashion dubbed
2980:set the fashion for dandyism in
2738:
2726:
2714:
2702:
2690:
2678:
2666:
2654:
2642:
2630:
2618:
2606:
2587:
2575:
2563:
2551:
2539:
2527:
2515:
2503:
2491:
2479:
2467:
2448:
2436:
2424:
2412:
2400:
2388:
2376:
2364:
2352:
2340:
2328:
2309:
2297:
2285:
2273:
2261:
2249:
2237:
2225:
2213:
2194:
2182:
2170:
2158:
2146:
2134:
2122:
2110:
2098:
2086:
2053:
2041:
1998:is heavily trimmed and tasseled.
1948:
1936:
1924:
1912:
1900:
1888:
1876:
1864:
1852:
1840:
1828:
1816:
1743:
1731:
1719:
1707:
1700:
1593:
1581:
1569:
1557:
1545:
1533:
1521:
1503:
1485:
1473:
1461:
1449:
1363:
1351:
1339:
1327:
1315:
1303:
1205:
1193:
1181:
1169:
1157:
1145:
1127:
1115:
1103:
1091:
764:
752:
736:
720:
708:
204:as the ideals of men's fashion.
5796:impact of the COVID-19 pandemic
5261:, Writer's Digest Books, 1998.
5186:, Yale University Press, 2002.
5111:
5102:
5068:
5034:
5007:
4964:
4955:
4924:
4909:
4890:
4847:
4821:
4812:
4803:
4794:
4727:
4704:
4682:
4668:
4647:
4622:
4592:
4572:Nesfield Cookson, Mary (1935).
4565:
4552:
4539:
4517:
4492:
4468:
4444:
4419:
4406:
4381:
4356:
4334:
4314:Rifelj, Carol de Dobay (2010).
4307:
4292:
4270:
4261:
4248:
4223:
4140:
4107:
4069:
4063:
4054:
1252:of Gabrielle Josephine du Pont.
759:Fashionable bonnet, Paris, 1818
95:Fashion in the period 1795β1820
5330:Tozer, Jane and Sarah Levitt,
5318:An American in Regency England
4897:Cadeau, C (December 6, 2017).
4711:Bigelow, Marybelle S. (1979).
4033:
3991:
3982:
3966:
3956:
3946:
3132:(1789-1799) in France and the
2992:of the earlier 18th century).
1296:
922:
673:a Lady of Distinction writes,
1:
4389:"Regency Fashion and Costume"
4364:"Jane Austen Centre Magazine"
3755:'s illustrations to his book
3209:
2817:
2803:
2034:
1763:"Three Graces in a High Wind"
1638:Cotton Morning dress c. 1806.
1511:
1493:
1135:
960:held personal items, such as
848:Jean Auguste Dominique Ingres
548:
351:Men: fitted, single-breasted
16:Costume and fashion 1795-1820
5108:Payne, Blanche (1965) p. 458
4961:Payne, Blanche (1965) p. 456
4786:Hornsby, Clare (2000). "7".
3939:
3078:powdered wig tied in a queue
1221:of the Frankland sisters by
200:, and unadorned, immaculate
70:. "Year 7", that is 1798β99.
66:, with clothes and chair in
46:and his family, 1801β02, by
7:
5712:1920sβ1950s Western fashion
5642:1830sβ1910s Western fashion
5579:1500sβ1820s Western fashion
3887:
2910:with heart-shaped tops and
2853:as a style of facial hair.
1790:Regency (1815β1820) gallery
640:over her high-waisted gown.
587:The style began as part of
413:
44:Rutger Jan Schimmelpenninck
10:
5954:
4903:All About Canadian History
4856:Eighteenth-Century Studies
4750:Eighteenth-Century Studies
4576:. New York: R. M. McBride.
3634:Young girl, Paris, c. 1803
3170:became the first president
1694:Marguerite-Charlotte David
117:. In the aftermath of the
113:and powder of the earlier
59:Madame Raymond de Verninac
18:
5849:
5806:
5773:
5742:
5711:
5641:
5578:
5477:
5466:
5403:
5394:History of fashion design
5383:
4630:"Jane Austen's Hampshire"
3598:", or put into trousers.
2957:, Venetia Murray writes:
1990:1817 dancing illustration
1974:with an ornate hat. 1816.
777:Fashionable women of the
5938:19th century in the arts
5933:18th century in the arts
5719:Suffrage Movement period
5320:, Pergamon Press, 1968.
4916:Hollander, Anne (1995).
4655:"Letters of Jane Austen"
3791:. The early 2020s saw a
3529:Les Modernes Incroyables
2811:Georg Friedrich Kersting
1397:"The gallery of fashion"
807:The final layer was the
473:
5378:of clothing and fashion
5136:A Lady of Distinction:
4920:. Kodansha. p. 85.
4299:Lubrich, Naomi (2015).
4119:Encyclopedia of Fashion
4070:The, Elizabeth Roslyn.
3784:Artistic Dress movement
3413:Style gallery 1810β1820
3373:Count Victor Kochubey's
3195:Style gallery 1795β1809
3122:Charles-François Lebrun
3104:Hairstyles and headgear
2995:Brummell abandoned his
2067:"Monstrosities of 1818"
2060:2 β French fashion 1818
1642:Mrs. Harrison Gray Otis
1412:"Monstrosities of 1799"
1052:Too Much and Too Little
905:, and overcoats called
781:wore several layers of
612:Hairstyles and headgear
591:, reviving styles from
562:Hortense de Beauharnais
190:Queen Louise of Prussia
21:19th century in fashion
5923:Neoclassicism by genre
5334:, Laura Ashley Press,
5230:, A Kudos Book, 1995.
3576:Nicolas-Pierre Tiolier
3361:Friedrich von Schiller
3162:while in Egypt in 1798
3125:
3076:(1757β1834) wearing a
3054:
3021:
2975:
2814:
2795:
2767:
2755:
1984:Countess Thekla Ludolf
1432:
1058:
1015:
1003:
1000:Elisabeth VigΓ©e-Lebrun
986:Directoire (1795β1799)
949:
932:
863:
855:
774:
684:
641:
634:Elisabeth VigΓ©e-Lebrun
621:
584:
564:
526:
491:
490:'Evening Dress', 1816.
483:
410:
386:
259:
91:
83:
71:
50:
5807:By country and region
5120:Jane Austen's England
5014:Philip Dwyer (2007).
4834:William Blake Archive
4173:Lessing Yearbook 2001
3535:Marcotte d'Argenteuil
3345:In this self-portrait
3111:
3033:
3025:Diary of an Exquisite
3017:
2959:
2930:The clothes-obsessed
2926:The rise of the dandy
2801:
2773:
2761:
2746:
1781:, 1813 caricature by
1765:, 1810 caricature by
1630:Conservative fashion:
1426:
1244:Leipzig fashion plate
1049:
1009:
993:
941:
930:
876:English country house
861:
840:
825:below the knee until
772:
675:
627:
619:
578:
560:
521:
489:
481:
407:DoΓ±a Isabel de Porcel
392:
384:
265:Industrial Revolution
251:
89:
77:
56:
29:
5898:19th-century fashion
5893:18th-century fashion
5774:2000βpresent fashion
5210:Bourhis, Katell le:
5198:A History of Fashion
5138:The Mirror of Graces
5122:. Penguin Books Ltd.
4149:"La Belle AssemblΓ©e"
3389:Elaborate embroidery
3383:Gwyllym Lloyd Wardle
3093:Marquis de Lafayette
3074:Marquis de Lafayette
3029:The Hermit in London
2784:Jean-Baptiste Belley
2764:Jean-Baptiste Isabey
1996:1817 walking costume
1962:1815 walking costume
1773:"The Invisible Ones"
1274:Marie-Denise Villers
1021:1750β1795 in fashion
785:. The first was the
589:Neoclassical fashion
426:" (referring to the
174:Percy Bysshe Shelley
132:ideals, and stiffly
80:Louis-LΓ©opold Boilly
48:Pierre-Paul Prud'hon
5814:Indian subcontinent
5743:1960s-1990s fashion
5226:Campbell, Cynthia:
5182:Baumgarten, Linda:
4931:Perl, Lila (1990).
4605:Victoriana Magazine
4504:V and A Collections
4431:V and A Collections
3700:United States, 1812
3622:United States, 1798
3610:Mozart's sons, 1798
3552:Baltimore, Maryland
3542:Back-facing figures
3341:by Richard Dighton.
1653:elbow-length gloves
1616:French painting by
1023:). But ultimately,
996:Emma, Lady Hamilton
833:Outerwear and shoes
745:Jacques-Louis David
64:Jacques-Louis David
5300:Rothstein, Natalie
5257:Hughes, Kristine:
4868:10.1353/ecs.0.0039
4762:10.1353/ecs.0.0039
4527:. pp. 100β101
4254:Davidson, Hilary,
4241:Davidson, Hilary,
3919:Lady Caroline Lamb
3914:History of fashion
3904:Corset controversy
3883:by Kate Greenaway.
3854:4 β Kate Greenaway
3842:3 β 1882 nostalgia
3590:Children's fashion
3349:Washington Allston
3158:Napoleon Bonaparte
3126:
3118:Napoleon Bonaparte
3038:St. James's Street
2815:
2796:
2778:dandy in 1797, by
2768:
2756:
1688:English court gown
1433:
1419:Empire (1800β1815)
1238:Fitzwilliam Museum
1231:by William Blake.
1085:Directoire gallery
1059:
1016:
1004:
933:
864:
856:
775:
650:Lady Caroline Lamb
642:
622:
585:
565:
492:
484:
411:
387:
292:Changes in fashion
281:La Belle AssemblΓ©e
260:
255:La Belle AssemblΓ©e
186:Lady Emma Hamilton
92:
84:
72:
51:
5880:
5879:
5278:Murray, Venetia:
5240:de Marly, Diana:
5154:Ashelford, Jane:
5054:978-0-7910-7599-9
5027:978-0-300-13754-5
4558:Davidson, Hilary
4545:Davidson, Hilary
4480:www.metmuseum.org
4412:Davidson, Hilary
3789:Empire silhouette
3749:history paintings
3166:John Quincy Adams
3130:French Revolution
3120:(1769-1821), and
2011:paisley-patterned
1783:George Cruikshank
1618:Marguerite GΓ©rard
1437:empire silhouette
1391:"Tippies of 1796"
980:Cheltenham Museum
671:Mirror of Graces,
535:long white gloves
440:Empire silhouette
420:Empire silhouette
166:Juliette RΓ©camier
119:French Revolution
5945:
5626:Directoire style
5472:
5369:
5362:
5355:
5346:
5345:
5306:, Norton, 1987,
5292:Payne, Blanche:
5200:, Morrow, 1975.
5158:, Abrams, 1996.
5124:
5123:
5115:
5109:
5106:
5100:
5099:
5097:
5095:
5072:
5066:
5065:
5063:
5061:
5038:
5032:
5031:
5011:
5005:
5002:
4993:
4992:
4973:Design Quarterly
4968:
4962:
4959:
4953:
4952:
4928:
4922:
4921:
4913:
4907:
4906:
4894:
4888:
4887:
4851:
4845:
4844:
4842:
4840:
4825:
4819:
4816:
4810:
4807:
4801:
4798:
4792:
4791:
4783:
4774:
4773:
4745:
4736:
4731:
4725:
4724:
4718:
4708:
4702:
4701:
4699:
4697:
4686:
4680:
4679:
4672:
4666:
4665:
4663:
4661:
4651:
4645:
4644:
4642:
4641:
4632:. Archived from
4626:
4620:
4619:
4617:
4616:
4607:. Archived from
4596:
4590:
4587:
4578:
4577:
4574:The Costume Book
4569:
4563:
4556:
4550:
4543:
4537:
4536:
4534:
4532:
4521:
4515:
4514:
4512:
4511:
4496:
4490:
4489:
4487:
4486:
4472:
4466:
4465:
4463:
4462:
4448:
4442:
4441:
4439:
4438:
4423:
4417:
4410:
4404:
4403:
4401:
4400:
4391:. Archived from
4385:
4379:
4378:
4376:
4375:
4366:. Archived from
4360:
4354:
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3929:Season (society)
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3827:
3818:1 β 1857 cartoon
3815:
3767:Charlotte BrontΓ«
3733:
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3685:
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3406:JΓΈrgen JΓΈrgensen
3319:
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3283:
3271:
3259:
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2916:Wellington boots
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2045:
1967:1816 day dresses
1952:
1940:
1928:
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1892:
1880:
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1856:
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1381:Isaac Cruikshank
1367:
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1107:
1095:
1056:Isaac Cruikshank
802:Mirror of Graces
756:
740:
729:Rolinda Sharples
724:
712:
659:Journal de Paris
444:Directoire style
424:Directoire style
385:1811 dance dress
370:Wellington boots
154:Queen Victoria's
68:Directoire style
5953:
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5316:Simond, Louis:
5133:
5131:Further reading
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4675:Musee du Louvre
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4153:Regency History
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3861:An 1857 cartoon
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3830:2 β 1868 denial
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3138:hair powder tax
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2836:Aesthetic dress
2820:
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2752:double-breasted
2748:Pierre Seriziat
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2322:British fashion
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2207:Spanish fashion
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2080:Russian fashion
2061:
2058:
2049:
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2037:
2028:"Morning dress"
1978:Comtesse Vilain
1956:
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1667:of a woman in "
1651:gown worn with
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1012:English Regency
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748:
741:
732:
725:
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614:
551:
476:
416:
401:by dressing as
379:
377:Women's fashion
294:
246:
213:Spencer jackets
24:
17:
12:
11:
5:
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5282:Viking, 1998.
5276:
5271:Lubrich, Naomi
5269:
5255:
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5194:
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5168:Austen, Jane:
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5110:
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4908:
4889:
4862:(2): 193β215.
4846:
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4793:
4775:
4756:(2): 193β215.
4737:
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4703:
4681:
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4599:Andrews, Meg.
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4099:Ashelford, J.
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3780:Kate Greenaway
3769:'s 1849 novel
3763:1840s fashions
3743:
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3582:Unknown artist
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2792:Saint-Domingue
2782:; Portrait of
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2600:French fashion
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2461:German fashion
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1636:Morning dress:
1633:
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1607:Dolley Madison
1603:
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1443:Empire gallery
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1109:
1102:
1100:
1097:
1090:
1086:
1083:
1025:Neo-classicism
1014:domestic scene
987:
984:
924:
921:
843:Madame Rivière
834:
831:
766:
763:
762:
761:
758:
751:
749:
742:
735:
733:
726:
719:
717:
714:
707:
630:Caroline Murat
613:
610:
550:
547:
539:
538:
530:
475:
472:
415:
412:
399:French fashion
378:
375:
374:
373:
372:; jockey boots
366:
357:
356:
349:
335:
334:
321:
312:
311:
308:
293:
290:
258:, July 1, 1814
245:
242:
142:Regency period
15:
9:
6:
4:
3:
2:
5950:
5939:
5936:
5934:
5931:
5929:
5926:
5924:
5921:
5919:
5918:1810s fashion
5916:
5914:
5913:1800s fashion
5911:
5909:
5908:1790s fashion
5906:
5904:
5901:
5899:
5896:
5894:
5891:
5890:
5888:
5873:
5870:
5868:
5865:
5863:
5860:
5858:
5855:
5854:
5852:
5848:
5842:
5841:Western world
5839:
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5826:
5825:
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5815:
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5809:
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5797:
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5779:
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5772:
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5758:
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5702:
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5694:
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5682:
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5677:
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5672:
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5667:
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5662:
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5657:
5655:
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5634:
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5609:
5607:
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5602:
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5584:
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5536:
5534:
5531:
5529:
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5525:
5523:
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5518:
5514:
5511:
5509:
5506:
5504:
5501:
5499:
5496:
5495:
5493:
5491:
5488:
5486:
5483:
5482:
5480:
5476:
5471:
5461:
5458:
5456:
5453:
5451:
5448:
5446:
5443:
5441:
5438:
5436:
5433:
5429:
5426:
5424:
5421:
5420:
5419:
5416:
5414:
5411:
5410:
5408:
5406:
5402:
5395:
5392:
5390:
5387:
5386:
5382:
5377:
5370:
5365:
5363:
5358:
5356:
5351:
5350:
5347:
5341:
5340:0-9508913-0-4
5337:
5333:
5329:
5327:
5326:0-08-007074-4
5323:
5319:
5315:
5313:
5312:0-500-01419-1
5309:
5305:
5301:
5298:
5295:
5291:
5289:
5288:0-670-85758-0
5285:
5281:
5277:
5274:
5270:
5268:
5267:0-89879-812-4
5264:
5260:
5256:
5253:
5251:
5250:0-8419-1111-8
5247:
5243:
5239:
5237:
5236:1-86052-003-0
5233:
5229:
5225:
5223:
5219:
5215:
5214:
5209:
5207:
5206:0-688-02893-4
5203:
5199:
5195:
5193:
5192:0-300-09580-5
5189:
5185:
5181:
5179:
5178:1-85585-004-4
5175:
5171:
5167:
5165:
5164:0-8109-6317-5
5161:
5157:
5153:
5151:
5150:0-914046-24-1
5147:
5143:
5139:
5135:
5134:
5121:
5114:
5105:
5090:
5088:9781440865916
5084:
5080:
5079:
5071:
5056:
5050:
5046:
5045:
5037:
5029:
5023:
5019:
5018:
5010:
5001:
4999:
4990:
4986:
4982:
4978:
4974:
4967:
4958:
4950:
4944:
4940:
4936:
4935:
4927:
4919:
4912:
4904:
4900:
4893:
4885:
4881:
4877:
4873:
4869:
4865:
4861:
4857:
4850:
4839:September 26,
4835:
4831:
4824:
4815:
4806:
4797:
4789:
4782:
4780:
4771:
4767:
4763:
4759:
4755:
4751:
4744:
4742:
4735:
4730:
4722:
4717:
4716:
4707:
4692:. p. 130
4691:
4685:
4676:
4671:
4656:
4650:
4636:on 2006-08-13
4635:
4631:
4625:
4611:on 2008-02-16
4610:
4606:
4602:
4595:
4586:
4584:
4575:
4568:
4561:
4555:
4548:
4542:
4526:
4520:
4505:
4501:
4495:
4481:
4477:
4471:
4457:
4453:
4447:
4432:
4428:
4422:
4415:
4409:
4395:on 2004-03-06
4394:
4390:
4384:
4370:on 2008-04-30
4369:
4365:
4359:
4343:
4337:
4329:
4327:9780874130997
4323:
4319:
4318:
4310:
4302:
4295:
4279:
4273:
4264:
4257:
4251:
4244:
4238:
4236:
4226:
4217:
4215:
4213:
4211:
4209:
4207:
4205:
4196:
4189:
4187:
4178:
4174:
4167:
4165:
4163:
4154:
4150:
4143:
4135:
4128:
4120:
4116:
4110:
4102:
4095:
4093:
4091:
4089:
4073:
4066:
4057:
4048:
4046:
4036:
4027:
4025:
4023:
4021:
4010:
4008:
4006:
4004:
3994:
3985:
3979:
3978:0-300-06287-7
3975:
3969:
3959:
3949:
3945:
3935:
3932:
3930:
3927:
3925:
3924:Regency dance
3922:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3891:
3882:
3881:
3877:
3874:
3871:
3868:
3865:
3862:
3859:
3858:
3850:
3845:
3838:
3833:
3826:
3821:
3814:
3809:
3808:
3807:
3805:
3800:
3798:
3794:
3790:
3785:
3781:
3776:
3774:
3773:
3768:
3764:
3760:
3759:
3754:
3750:
3736:Denmark, 1818
3732:
3727:
3724:England, 1815
3720:
3715:
3712:England, 1815
3708:
3703:
3696:
3691:
3688:England, 1812
3684:
3679:
3675:
3674:Skeleton suit
3669:
3664:
3660:
3659:Skeleton suit
3654:
3649:
3642:
3637:
3630:
3625:
3618:
3613:
3606:
3601:
3600:
3599:
3597:
3583:
3580:
3577:
3574:
3571:
3570:Lord Grantham
3568:
3565:
3562:
3559:
3556:
3553:
3549:
3546:
3543:
3540:
3536:
3533:
3530:
3527:
3526:
3518:
3513:
3506:
3501:
3494:
3489:
3482:
3477:
3470:
3465:
3458:
3453:
3446:
3441:
3434:
3429:
3422:
3417:
3416:
3407:
3404:
3400:
3397:
3395:, M.80.60a-b.
3394:
3390:
3387:
3384:
3380:
3377:
3374:
3371:
3368:
3367:Chateaubriand
3365:
3362:
3359:
3356:
3353:
3350:
3346:
3343:
3340:
3339:Beau Brummell
3336:
3333:
3330:
3327:
3326:
3318:
3313:
3310:9 - 1800-1810
3306:
3301:
3294:
3289:
3282:
3277:
3270:
3265:
3258:
3253:
3246:
3241:
3234:
3229:
3222:
3217:
3204:
3199:
3198:
3192:
3190:
3186:
3182:
3178:
3176:
3171:
3167:
3163:
3159:
3154:
3152:
3148:
3143:
3139:
3135:
3131:
3123:
3119:
3116:(1753-1824),
3115:
3110:
3094:
3088:
3083:
3079:
3075:
3069:
3064:
3063:
3053:
3051:
3047:
3043:
3039:
3032:
3030:
3026:
3020:
3016:
3014:
3010:
3006:
3002:
2998:
2993:
2991:
2987:
2983:
2979:
2978:Beau Brummell
2973:
2966:
2965:
2964:
2958:
2956:
2951:
2949:
2945:
2941:
2937:
2933:
2923:
2921:
2917:
2913:
2909:
2908:Hessian boots
2905:
2901:
2899:
2895:
2892:Overcoats or
2890:
2886:
2884:
2879:
2877:
2873:
2869:
2867:
2866:sans-culottes
2862:
2858:
2854:
2852:
2848:
2843:
2841:
2837:
2833:
2829:
2825:
2812:
2800:
2793:
2789:
2785:
2781:
2777:
2772:
2765:
2760:
2753:
2749:
2745:
2739:Men's fashion
2729:
2724:
2717:
2712:
2705:
2700:
2693:
2688:
2681:
2676:
2669:
2664:
2657:
2652:
2645:
2640:
2633:
2628:
2621:
2616:
2609:
2604:
2603:
2590:
2585:
2578:
2573:
2566:
2561:
2554:
2549:
2542:
2537:
2530:
2525:
2518:
2513:
2506:
2501:
2494:
2489:
2482:
2477:
2470:
2465:
2464:
2455:England, 1819
2451:
2446:
2443:England, 1815
2439:
2434:
2431:England, 1812
2427:
2422:
2419:England, 1810
2415:
2410:
2407:England, 1808
2403:
2398:
2395:England, 1804
2391:
2386:
2383:England, 1802
2379:
2374:
2371:England, 1800
2367:
2362:
2359:England, 1798
2355:
2350:
2347:England, 1796
2343:
2338:
2335:England, 1795
2331:
2326:
2325:
2312:
2307:
2300:
2295:
2288:
2283:
2276:
2271:
2264:
2259:
2252:
2247:
2240:
2235:
2228:
2223:
2216:
2211:
2210:
2197:
2192:
2185:
2180:
2173:
2168:
2161:
2156:
2149:
2144:
2137:
2132:
2125:
2120:
2113:
2108:
2101:
2096:
2089:
2084:
2083:
2074:
2071:
2068:
2065:
2064:
2056:
2051:
2044:
2039:
2038:
2029:
2026:
2023:
2020:
2018:
2015:
2013:border, 1818.
2012:
2008:
2005:
2003:
2000:
1997:
1994:
1991:
1988:
1985:
1982:
1979:
1976:
1973:
1972:Italian woman
1970:
1968:
1965:
1963:
1960:
1959:
1951:
1946:
1939:
1934:
1927:
1922:
1915:
1910:
1903:
1898:
1891:
1886:
1879:
1874:
1867:
1862:
1855:
1850:
1843:
1838:
1831:
1826:
1819:
1814:
1813:
1812:
1810:
1806:
1801:
1797:
1784:
1780:
1777:
1774:
1771:
1768:
1764:
1761:
1758:
1755:
1754:
1746:
1741:
1734:
1729:
1722:
1717:
1710:
1705:
1704:
1695:
1692:
1689:
1686:
1682:
1681:Fashion plate
1679:
1676:
1673:
1670:
1666:
1663:
1660:
1657:
1654:
1650:
1647:
1643:
1640:
1637:
1634:
1631:
1628:
1625:
1624:Paris Fashion
1622:
1619:
1615:
1612:
1608:
1605:
1604:
1596:
1591:
1584:
1579:
1572:
1567:
1560:
1555:
1548:
1543:
1536:
1531:
1524:
1519:
1506:
1501:
1488:
1483:
1476:
1471:
1464:
1459:
1452:
1447:
1446:
1440:
1438:
1430:
1429:morning dress
1425:
1413:
1410:
1407:
1404:
1401:
1398:
1395:
1392:
1389:
1386:
1382:
1378:
1375:
1374:
1366:
1361:
1354:
1349:
1342:
1337:
1330:
1325:
1318:
1313:
1306:
1301:
1300:
1291:
1287:
1286:Riding habits
1284:
1281:
1278:
1275:
1272:
1269:
1268:A 1798 sketch
1266:
1263:
1262:Fashion plate
1260:
1257:
1254:
1251:
1248:
1245:
1242:
1239:
1234:
1230:
1227:
1224:
1220:
1219:This portrait
1217:
1216:
1208:
1203:
1196:
1191:
1184:
1179:
1172:
1167:
1160:
1155:
1148:
1143:
1130:
1125:
1118:
1113:
1106:
1101:
1094:
1089:
1088:
1082:
1080:
1075:
1071:
1067:
1065:
1057:
1053:
1048:
1044:
1041:
1040:Emma Hamilton
1036:
1034:
1030:
1026:
1022:
1013:
1008:
1001:
997:
992:
983:
981:
976:
971:
969:
965:
963:
959:
955:
953:
952:Longer gloves
948:
946:
940:
937:
929:
920:
918:
913:
910:
908:
904:
900:
896:
891:
889:
885:
881:
877:
873:
870:
860:
853:
849:
845:
844:
839:
830:
828:
824:
820:
815:
812:
810:
805:
803:
799:
794:
792:
788:
784:
783:undergarments
780:
771:
765:Undergarments
755:
750:
746:
739:
734:
730:
723:
718:
711:
706:
705:
704:
702:
701:
696:
691:
689:
683:
680:
674:
672:
667:
665:
661:
660:
655:
651:
647:
639:
635:
631:
626:
618:
609:
605:
602:
598:
594:
590:
582:
577:
573:
569:
563:
559:
555:
546:
543:
536:
531:
528:
527:
525:
520:
518:
513:
511:
510:riding habits
505:
502:
498:
488:
480:
471:
469:
465:
461:
457:
453:
447:
445:
441:
437:
433:
429:
425:
421:
408:
404:
400:
396:
391:
383:
371:
367:
364:
363:
362:
361:
354:
350:
348:over the ears
347:
342:
341:
340:
339:
332:
328:
327:
322:
319:
318:
317:
316:
309:
306:
305:Draped turban
301:
300:
299:
298:
289:
287:
284:, founded by
283:
282:
276:
272:
268:
266:
257:
256:
250:
241:
237:
233:
230:
229:Ancien RΓ©gime
224:
222:
221:Enlightenment
218:
214:
210:
205:
203:
199:
195:
191:
187:
183:
182:Beau Brummell
179:
175:
171:
167:
163:
159:
155:
151:
147:
143:
138:
135:
131:
126:
124:
120:
116:
112:
108:
104:
100:
96:
88:
81:
76:
69:
65:
61:
60:
55:
49:
45:
41:
37:
33:
30:In the early
28:
22:
5620:
5331:
5317:
5303:
5293:
5279:
5272:
5258:
5241:
5227:
5211:
5197:
5183:
5169:
5155:
5137:
5119:
5113:
5104:
5092:. Retrieved
5081:. Abc-Clio.
5077:
5070:
5058:. Retrieved
5047:. Infobase.
5043:
5036:
5016:
5009:
4972:
4966:
4957:
4933:
4926:
4917:
4911:
4902:
4892:
4859:
4855:
4849:
4837:. Retrieved
4823:
4814:
4805:
4796:
4787:
4753:
4749:
4729:
4714:
4706:
4694:. Retrieved
4684:
4670:
4658:. Retrieved
4649:
4638:. Retrieved
4634:the original
4624:
4613:. Retrieved
4609:the original
4604:
4594:
4573:
4567:
4559:
4554:
4546:
4541:
4529:. Retrieved
4519:
4508:. Retrieved
4506:. 2021-01-12
4503:
4494:
4483:. Retrieved
4479:
4470:
4459:. Retrieved
4455:
4446:
4435:. Retrieved
4433:. 2021-01-12
4430:
4421:
4413:
4408:
4397:. Retrieved
4393:the original
4383:
4372:. Retrieved
4368:the original
4358:
4346:. Retrieved
4344:. p. 89
4336:
4316:
4309:
4300:
4294:
4282:. Retrieved
4280:. p. 95
4272:
4263:
4255:
4250:
4242:
4225:
4176:
4172:
4152:
4147:Knowles, R.
4142:
4136:. Macmillan.
4133:
4127:
4118:
4109:
4100:
4075:. Retrieved
4065:
4056:
4035:
3993:
3984:
3968:
3958:
3948:
3899:Beau Brummel
3879:
3801:
3777:
3770:
3756:
3745:
3593:
3355:Rubens Peale
3322:10 - 1808-09
3179:
3155:
3151:Bedford Crop
3127:
3041:
3034:
3028:
3024:
3022:
3018:
3013:Max Beerbohm
3004:
2999:and cut his
2994:
2976:
2970:
2961:
2954:
2952:
2929:
2906:, typically
2902:
2897:
2893:
2891:
2887:
2880:
2870:
2855:
2851:mutton chops
2844:
2821:
2733:France, 1819
2721:France, 1815
2709:France, 1812
2697:France, 1810
2685:France, 1808
2673:France, 1804
2661:France, 1802
2649:France, 1800
2637:France, 1798
2625:France, 1796
2613:France, 1795
2594:German, 1819
2582:German, 1815
2570:German, 1812
2558:German, 1810
2546:German, 1808
2534:German, 1804
2522:German, 1802
2510:German, 1800
2498:German, 1798
2486:German, 1796
2474:German, 1795
2201:Russia, 1819
2189:Russia, 1810
2177:Russia, 1809
2165:Russia, 1806
2153:Russia, 1799
2141:Russia, 1799
2129:Russia, 1798
2117:Russia, 1797
2105:Russia, 1797
2093:Russia, 1796
1796:neoclassical
1793:
1434:
1370:6 β 1799.jpg
1280:Gertrud Hage
1256:1798 picture
1223:John Hoppner
1076:
1072:
1068:
1060:
1051:
1037:
1017:
994:Portrait of
972:
966:
962:vinaigrettes
956:
950:
942:
934:
914:
911:
906:
894:
892:
865:
841:
816:
813:
806:
801:
795:
776:
698:
692:
685:
678:
676:
670:
668:
663:
657:
646:Psyche knots
645:
643:
628:Portrait of
606:
586:
570:
566:
552:
544:
540:
522:
516:
514:
506:
501:Γ la grecque
500:
495:transparent
493:
448:
432:Empire style
417:
359:
358:
337:
336:
331:Bedford Crop
324:
314:
313:
303:with: hats,
296:
295:
279:
277:
273:
269:
261:
253:
238:
234:
225:
206:
139:
127:
115:18th century
94:
93:
57:
5928:Regency era
5850:By clothing
5513:Western Xia
5503:Jurchen Jin
5485:Anglo-Saxon
5478:Middle Ages
5423:Han Chinese
5094:November 9,
5060:November 4,
5004:Murray 1998
4678:(in French)
4132:Arnold, J.
3804:Jane Austen
3758:Vanity Fair
3462:4 β 1812β13
3262:5 β 1808β09
3213: 1800
3149:") and the
3005:Γ la Brutus
2990:"maccaroni"
2920:Court shoes
2832:court dress
2807: 1815
2316:Spain, 1816
2304:Spain, 1810
2292:Spain, 1806
2280:Spain, 1805
2268:Spain, 1805
2256:Spain, 1805
2244:Spain, 1804
2232:Spain, 1802
2220:Spain, 1800
1701:Caricatures
1665:1810 sketch
1515: 1806
1497: 1805
1383:(father of
1297:Caricatures
1139: 1798
1033:Herculaneum
945:draw-string
923:Accessories
903:chemisettes
817:Stockings (
779:Regency era
638:court dress
593:Greco-Roman
452:hoop skirts
170:Jane Austen
123:aristocracy
5887:Categories
5570:Vietnamese
5528:400sβ1000s
5302:(editor):
5222:0870995707
4948:0899198724
4640:2006-10-08
4615:2006-09-03
4510:2021-01-12
4485:2021-01-12
4461:2021-01-12
4437:2021-01-12
4399:2006-09-02
4374:2009-03-15
4179:: 151β181.
4077:8 February
3797:Bridgerton
3403:adventurer
3401:of Danish
3335:Watercolor
3175:monarchies
3147:Γ la Titus
3009:Revolution
2894:greatcoats
2828:embroidery
2776:Directoire
2035:Caricature
2007:Mary Lodge
1800:Napoleon's
1002:ca. 1790s.
827:suspenders
664:Γ la Titus
549:Silhouette
456:crinolines
326:Γ la Titus
196:, perfect
178:Lord Byron
146:George III
82:, c. 1803.
5734:1945β1960
5729:1930β1945
5691:Edwardian
5649:Victorian
5621:1795β1820
5616:1775β1795
5611:1750β1775
5606:1700β1750
5601:1650β1700
5596:1600β1650
5591:1550β1600
5586:1500β1550
5565:Tocharian
5490:Byzantine
5142:R.L. Shep
4884:144480882
4770:144480882
3940:Footnotes
3765:, and in
3753:Thackeray
3661:, c. 1806
3347:of 1805,
3050:snuff-box
3015:, wrote:
2942:. In the
2022:1819 gown
2017:1818 gown
2002:1818 gown
1955:12 β 1819
1943:11 β 1819
1931:10 β 1818
1685:panniered
1600:12 β 1813
1588:11 - 1810
1576:10 β 1810
1290:redingote
1212:10 β 1799
958:Reticules
809:petticoat
599:known as
428:Directory
353:tailcoats
286:John Bell
198:tailoring
162:Josephine
150:George IV
130:classical
40:overcoats
5872:Swimwear
5836:Thailand
5494:Chinese
5460:Thracian
5445:Biblical
5435:Egyptian
5376:Timeline
5144:, 1997.
4876:40264250
4452:"Bodice"
4014:282β318.
3894:Almack's
3888:See also
3782:and the
3596:breeched
3522:9 β 1819
3510:8 β 1817
3498:7 β 1816
3486:6 β 1815
3474:5 β 1813
3450:3 β 1812
3438:2 β 1810
3426:1 β 1810
3399:Portrait
3379:Portrait
3329:Portrait
3298:8 β 1809
3286:7 β 1809
3274:6 β 1808
3250:4 β 1807
3238:3 β 1805
3226:2 β 1805
3181:Tricorne
3031:, 1819:
2861:trousers
2857:Breeches
2847:hair wax
2818:Overview
2048:1 β 1818
1919:9 β 1818
1907:8 β 1818
1895:7 β 1817
1883:6 β 1817
1871:5 β 1816
1859:4 β 1816
1847:3 β 1815
1835:2 β 1815
1823:1 β 1815
1805:romantic
1750:4 β 1813
1738:3 β 1810
1726:2 β 1810
1714:1 β 1807
1675:Portrait
1564:9 β 1810
1552:8 β 1810
1540:7 β 1809
1528:6 β 1809
1480:3 β 1804
1468:2 - 1804
1456:1 β 1804
1358:5 β 1798
1346:4 β 1799
1334:3 β 1796
1322:2 β 1796
1310:1 β 1796
1250:Portrait
1200:9 β 1799
1188:8 β 1798
1176:7 β 1798
1164:6 β 1799
1152:5 β 1798
1122:3 β 1796
1110:2 β 1795
1098:1 β 1795
968:Parasols
931:ca. 1813
907:pelisses
895:spencers
886:or even
880:cashmere
846:, 1806,
688:mob caps
460:panniers
414:Overview
346:ringlets
194:trousers
158:Napoleon
111:periwigs
103:brocades
99:European
36:trousers
5560:Ottoman
5524:Europe
5520:English
5405:Ancient
4989:4091263
3934:White's
3880:May Day
3772:Shirley
3189:top hat
3185:bicorne
3042:de novo
3027:, from
2982:British
2912:tassels
2898:garrick
2876:collars
2780:Girodet
2762:Artist
1767:Gillray
1690:, 1810.
1029:Pompeii
917:pattens
823:garters
819:hosiery
787:chemise
727:Artist
682:nature.
679:antique
669:In the
656:", the
515:In the
464:bustles
436:Regency
409:, 1805.
405:, like
209:Germany
5862:Corset
5857:Bikini
5555:Korean
5338:
5324:
5310:
5286:
5265:
5248:
5234:
5220:
5204:
5190:
5176:
5162:
5148:
5085:
5051:
5024:
4987:
4945:
4882:
4874:
4768:
4696:4 July
4660:4 July
4531:4 July
4348:4 July
4324:
4284:4 July
3976:
3676:, 1808
3538:table.
3046:cravat
2986:shirts
2936:London
2883:cravat
2788:Deputy
1809:gothic
1669:Schute
1385:George
1079:trains
936:Gloves
915:Metal
899:cloaks
888:muslin
869:Indian
852:Louvre
798:corset
791:muslin
695:bonnet
601:peplos
597:tunics
524:allow.
497:muslin
468:muslin
360:1820s:
338:1810s:
315:1800s:
297:1790s:
5829:Meiji
5824:Japan
5819:Italy
5791:2020s
5786:2010s
5781:2000s
5765:1990s
5760:1980s
5755:1970s
5750:1960s
5724:1920s
5701:1910s
5696:1900s
5684:1890s
5679:1880s
5674:1870s
5669:1860s
5664:1850s
5659:1840s
5654:1830s
5633:1820s
5548:1400s
5543:1300s
5538:1200s
5533:1100s
5455:Roman
5450:Greek
5440:Inuit
5418:China
4985:JSTOR
4880:S2CID
4872:JSTOR
4858:. 2.
4766:S2CID
3953:2006.
3909:Dandy
2944:slang
2940:Paris
2932:dandy
2904:Boots
2872:Coats
2840:1960s
1683:of a
1645:1809.
1233:Blake
872:shawl
654:Titus
581:shawl
474:Gowns
403:majas
395:Spain
217:majos
202:linen
134:boned
32:1800s
5867:Hide
5508:Yuan
5498:Liao
5336:ISBN
5322:ISBN
5308:ISBN
5284:ISBN
5263:ISBN
5246:ISBN
5232:ISBN
5218:ISBN
5202:ISBN
5188:ISBN
5174:ISBN
5160:ISBN
5146:ISBN
5096:2019
5083:ISBN
5062:2018
5049:ISBN
5022:ISBN
4943:ISBN
4841:2013
4698:2009
4662:2009
4533:2009
4350:2009
4322:ISBN
4286:2009
4079:2014
3974:ISBN
3963:283.
3550:, a
3208:1 β
3183:and
3142:wigs
3134:Pitt
3128:The
3001:hair
2938:and
2824:lace
2809:(by
2790:for
1807:and
1659:1810
1649:1809
1614:1804
1610:era.
1510:5 β
1492:4 β
1134:4 β
1031:and
975:fans
884:silk
700:coif
442:and
160:and
148:and
107:lace
38:and
5428:Shu
4977:doi
4864:doi
4758:doi
4721:226
3381:of
3337:of
3136:'s
3036:in
2997:wig
2953:In
2948:fop
998:by
882:or
393:In
329:or
207:In
97:in
62:by
5889::
5140:,
4997:^
4983:.
4941:.
4939:33
4901:.
4878:.
4870:.
4860:42
4832:.
4778:^
4764:.
4754:42
4752:.
4740:^
4603:.
4582:^
4502:.
4478:.
4454:.
4429:.
4234:^
4203:^
4185:^
4177:33
4175:.
4161:^
4151:.
4117:.
4087:^
4044:^
4019:^
4002:^
3799:.
3210:c.
3145:("
2826:,
2813:).
2804:c.
2786:,
2774:A
1512:c.
1494:c.
1136:c.
850:,
462:,
458:,
454:,
188:,
184:,
180:,
176:,
172:,
168:,
164:,
109:,
105:,
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5368:e
5361:t
5354:v
5098:.
5064:.
5030:.
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23:.
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