All Victorian ladies, by whom we mean women of sufficient means
to be able to follow fashion, wore roughly the same types of garments
during the course of the nineteenth century. What changed was
the cut, construction, materials and the overall silhouette created.
The basic underwear consisted of a
chemise and drawers next to the skin (later substituted
sometimes by combinations) and a corset to shape the
figure. Over these was worn an under-petticoat, sometimes
with a corset cover, or alternatively, an all-in-one
petticoat with bodice attached. Then came a skirt support
of some kind - such as a stiffened petticoat, crinoline,
or bustle, to create the right silhouette for the skirt.
The skirt support was covered by a decorative petticoat,
which sometimes showed at the bottom of the dress. This
was the minimum number of petticoats that could be worn,
but at times it was fashionable to wear more. Underwear
was relatively plain and utilitarian during the first
half of the nineteenth century and became progressively
more decorated with lace and embroidery during the second,
culminating in a glorious explosion of frilly froth
by the end of the era.
Over the underwear came the dress itself.
Sometimes this was made as a separate matching bodice
and skirt, sometimes as a single garment joined at the
waist in a seam and occasionally it was a one-piece princess
dress with no waist seam. Some dresses were also made
in more than two pieces, with bodice, skirt and a variety
of other matching draperies and overskirts. The cut and
construction of the dress varied with fashion and is a
subject worthy of close study.
The look of the dress itself was completed by fashionable
matching accessories that were considered essential -
such as collars, cuffs, under-sleeves and chemisettes
(neck fill-ins). Some dresses even required a decorative
shirt or blouse to be worn with them, to provide all these
accessories in one. Eventually the blouse became an acceptable
fashion item in its own right.
Outer wear such as jackets, capes,
cloaks, shawls and mantles were worn over the dress. Some
dresses were made with matching capes and jackets to be
worn indoors. It was also sometimes fashionable for the
dress bodice to be cut like a jacket.
On their legs (an anatomical region never referred to
by a lady) were worn stockings (tights were not popularly
worn until the twentieth century). These were held up
initially with garters tied round the leg, then with slip-on,
elastic ones. Eventually stocking suspenders were sewn
to the bottom of the corset by the end of the century.
Shoes and boots varied during the century. Flat slippers
were fashionable in the first half of the nineteenth century,
though flat-heeled, short boots or half-boots were also
worn outdoors. Boots and shoes eventually developed heels
during the second half of the century and boots also increased
in height up the leg.
Caps were
worn indoors by all married and older ladies of the early
Victorian period. Decorative hair-nets also enjoyed brief
popularity. Outdoors, caps were covered by bonnets, or hats
were worn, usually without a cap underneath. Eventually
the demure cap and bonnet disappeared by the 1890s and only
the stylish hat remained.
Other important Victorian accessories include gloves, purses,
parasols, fans and of course, jewellery.
The 1830s began with very exuberant, romantic and almost
doll-like fashions. Dresses were usually made from lighter
weight fabrics in light colours, with moderately full skirts
flat-pleated to the bodice at a slightly raised waist, often
with a waistband, and with full gigot or leg-of-mutton sleeves,
narrow at the wrist and wide at the top, finely pleated
into a low, off-the-shoulder armhole. The bodice was usually
straight across at the waist and often horizontally gathered
at the bust accentuating the bust and shoulder line. A wide
collar or pelerine of lace or matching dress fabric further
emphasised the shoulders. Lace turn-back cuffs were worn
at the wrists. The ankle-length, dress skirt, often decorated
up to knee level, was held out by petticoats, one of which
may have been corded for extra volume.
Hair was worn in a knot, high on the head, with
sculpted curls and loops at the side, and caps were shaped to
complement this style with a high crown to accommodate the knot
and frills at the side that required the side curls to hold them
out. Outdoors a bonnet was worn over the cap, again with a high
crown and with a deep brim that curved outwards from the face
to allow the side curls to show. Despite the relatively wide skirt,
the general emphasis was clearly on the top half of the body.
As the 1830s progressed, sleeves became very full at the top,
(balanced in part by the widening skirt hem), but in 1836 they
began to collapse. By 1837, when Victoria acceded to the throne,
fashionable sleeves had collapsed and were caught down in pleats
or gathers to the top arm. Wide collars continued to be worn with
these modified gigot sleeves which lingered on into the early
1840's; and less fashionable women (such as Emily Brontë)
even continued to wear the full gigot into the '40's. But the
fashionable sleeve by 1840 had become plain and tight and the
armhole was still low and tight.
Skirts widened and lengthened to the ground during
the 1830s and continued to widen during the '40's, even when sleeves
had become tight. It became increasingly necessary to wear a number
of petticoats, at least one of which had to be stiffened with
cording or with horsehair (crinoline), to hold out the domed skirt.
The fashionable dress bodice of the early 40s was usually plain
and tight, like the sleeve, though sometimes gathered at the waist
in front. It had also dropped down to the natural waist and extended
into a point in the front, the gathers, if there were any, meeting
there and emphasizing the point. The plain, full skirt, was often
cartridge-pleated or gauged to the waistline rather than pleated.
This was necessary because of the widening skirt and because thicker,
heavier fabrics were increasingly favoured.
Hair was dressed lower on the head and smoothly on the sides,
sometimes with long, smooth ringlets, and this smaller coiffure
required a much smaller cap and a smaller, more demure bonnet.
In fact the whole fashionable look of the early 1840's was of
sobre, wilting demureness. The smaller, close bonnet, though easier
to keep on, did restrict the view of the wearer, adding to the
look of demureness.