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The Romantic Period (1820-1850)

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miss punkrockstar

on 19 May 2014

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Transcript of The Romantic Period (1820-1850)

Accesories, Hair, and Headresses
Costume for Women
Historical Background
Romantic art and literature emphasized emotion, sentiment, and feeling. They represented a reaction against the formal Classical styles of the 17th and 18th C. Tended to reject the Classical insistence on rules governing creative work.
Costume for Women - Dresses
By 1825, the waistline had moved downward from just under the bust to several inches above the anatomical location of the waist. Along with the changes in waistline placement, women's dresses had, by 1825, developed large sleeves, which continued to grow larger, and gored skirts, which were widening and becoming gradually shorter. Chemises were wide, about knee length, and usually had short sleeves
Costume for Men
No major changes took place in the kinds of undergarments being worn. Some men used corsets and padding to achieve a fashionable silhouette
The Romantic Period (1820-1850)
The term Romantic is applied to the literature, music, graphic arts, and the dress of the period, where emphasis was on emotion, sentiment, and feeling versus form and function.
Romantics were concerned more with content and less with form; they preferred to break rules. Romanticism was a form of rebellion against restrictions on artistic expression. Artists and writers should express their innermost feelings in any form they chose. They felt that art should please the senses. Imagination was more important than reason.
DRAMAtics - emos of their time?
Romantics ignored social conventions, including marriage. They resorted to tears and violent emotions, loving and hating fiercely. A true Romantic heroine fainted easily because of inner spiritual turmoil. The Romantic lifestyle included wearing beards, long hair, and unusual clothing.
Romantics preferred other times and places (Middle Ages). The Romantic movement invented the historical novel. In France, Alexander Dumas the Elder wrote swashbuckling historical novels, including The Three Musketeers and The Count of Monte Cristo. Subjects of Romantic paintings were often events from the past, as well as Oriental and Mediterranean scenes of violent action. Some Romantic artists painted moonlit ruins, ghosts, and mysterious forms. Tales such as Mary Shelley's Frankenstein exemplified the Romantic love of the unusual and fantastic.
These trends in the arts were reflected in costume. After 1820, elements that can be related to Romanticism in the arts began to appear, especially in women's dress. Many costumes showed conscious attempts to revive certain elements of historical dress, such as neck ruffs, the ferroniere (a chain with a jewel worn at the center of the forehead), or sleeve styles from earlier costume periods. Costume balls at which men and women appeared dressed as figures from the past were in vogue (in fashion, not the magazine). The leading Romantic poet, Lord Byron, through exotic costume, inspired some styles or names of styles in men's dress. Fashionable colors were given names such as “dust of ruins” or “Egyptian earth.”
Dresses were frequently identified in fashion magazines according to the times of day or the activities for which they were intended. As a result, fashion plates generally carried captions such as “morning dresses,” “day dresses,” “walking” or “promenade dresses,” “carriage dresses,” “dinner dresses,” or “evening” or “ball dresses.” Morning dresses were generally the most informal, often being made of lingerie-type fabrics such as white cotton or fine linen with lace or ruffled trimmings. Day dresses, promenade or walking dresses, and carriage dresses are often indistinguishable one from the other, especially in summer.
Marie sleeve: full to the wrist, but tied in at intervals with ribbons or bands.
Demi-gigot (demi-ghe-go): full from shoulder to elbow, then fitted from elbow to wrist, often with an extension over the wrist
Gigot (ghe-go), also called leg-of-mutton sleeves: full at the shoulder, gradually decreasing in size to the wrist where they ended in a fitted cuff.
Imbecile or idiot sleeves: extremely full from shoulder to wrist, where they gathered into a fitted cuff. The name imbecile derived from the fact that its construction was similar to that of sleeves used on garments for confining mad persons—a sort of “strait jacket” of the period.
Fillers, also called chemisettes (shem-eze-zet') or tuckers, raised the necklines of daytime dresses. They were separate from the dress and could be worn with different bodices.
Wide, capelike collars that extended over the shoulders and down across the bosom called pelerines (pel-er-eens') were especially popular.
A variant of the pelerine, the fichu pelerine (fee-shu pel-er-een) had two wide panels or lappets extending down the front of the dress and passed under the belt.
Santon (sahn-tohn'), a silk cravat worn over a ruff
Hair, and Headresses
The style called à la Chinoise (ah la shen-wahs') of about 1829 was created by pulling back and side hair into a knot at the top of the head, while hair at forehead and temples was arranged in curls.
Many hair ornaments were used, and these included jewels, tortoise shell combs, ribbons, flowers, and feathers. For evening, hair ornaments were favored over hats, although berets and turbans were also worn.
Most important changes to mens fashion occured to outerwear, here we see a boy in tunic suit. The jacket has large, demi-gigot sleeves and is worn over contrasting trousers. Man in frock coat, top hat, and trousers. Man dressed in riding coat, knee-breeches, and boots.
Of all the items of menswear, waistcoats were most likely to provide touches of brightness. Man at left wears an opera cloak over his evening clothes and carries a chapeau bras. Man at right wears a frock coat and carries a top hat.
Paisley-patterned fabrics were widely used and the garments that were made from them ranged from women's paisley shawls to men's dressing gowns; this one is from c. 1845.
Greatcoats: a general term for overcoats. Coats could be single- or double-breasted, were often as long as to the ankle, and their collars had a deep roll. Coats were made with and without lapels
Box coats: large, loose greatcoats with one or more capes at the shoulder. (In the 1840s this coat was likely to be called a curricle coat.)
Mackintosh: a waterproof coat made of rubber and cut like a short, loose overcoat. Invented at this time, the mackintosh was named after its inventor. These early mackintoshes did not meet with universal approval. Complaints included“… the mackintosh is now becoming a troublesome thing in town on account of the offensive stench which they emit.”
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