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The style was characterised by " medieval " influences such as juliette sleeves , the soft colors of vegetable dyes , narrow skirts, and simple ornamentation with hand embroidery.

Material used in the southern American elite were silk , velvet , muslin and fine lawn. Hair was worn parted in the middle and smoothed, waved, or poofed over the ears, then braided or "turned up" and pinned into a roll or low bun at the back of the neck.

Such styling was usually maintained by the use of hair oils and pomades. Styled hair was often further confined in decorative hairnets, especially by younger women.

NOTE: Although many modern reenactors refer to this garment as a " snood ", [ citation needed ] it is not a period term for this article of clothing; snoods were something else entirely.

These hairnets were frequently made of very fine material to match the wearer's natural hair color, but occasionally more elaborate versions were made of thin strips of velvet or chenille sometimes decorated with beads.

Whether plain or resplendent, many hairnets were edged with ruchings of ribbon that would serve to adorn the crown of the wearer's head.

Fashion Bonnets for outdoor wear had small brims that revealed the face. Earlier bonnets of the decade had lower brims.

However, by mid-century Spoon Bonnets, which featured increasingly high brims and more elaborate trimmings, became the vogue.

Bonnets were made specifically to accessorize a dress. Other less common variants, such as the Marie Stuart Bonnet, with its heart-shaped brim, and the fanchon bonnet, with its very short brim and back curtain, made appearances in the realm of fashionable headwear.

Bonnets could be made of a variety of materials. Bonnets formed from buckram and wire and covered with fashion fabric were very popular.

During the warmer seasons, bonnets made of straw, woven horsehair, or gathered net were also seen. Heavier materials like velvet were favored for winter bonnets, though quilted winter hoods were much more practical and warm.

Trimmings varied according to the changing styles and whims of the individual wearer, but most bonnets of the period followed some general rules with regards to form.

Rows of gathered net lining the brim was a fashion carry-over from the decade before, and a decorative curtain also referred to as a "bavolet" appeared on most bonnets in order to shade the wearer's neck and accommodate for the low hairstyles.

Another standard of s bonnets is bonnet ties. There were often two sets, a thin pair of "utility ties" to take the strain of tying the bonnet, and another set of wide ties of silk or another fancy material.

These rich ties were tied below the chin in a bow or left untied to show off the beautiful print or material. Shirts of linen or cotton featured high upstanding or turnover collars , and neckties grew wider and were tied in a bow or looped into a loose knot and fastened with a stickpin.

Heavy padded and fitted frock coats in French redingotes , now usually single-breasted and knee length, were worn for business occasions, over waistcoats or vests with lapels and notched collars.

Waistcoats were generally cut straight across the front and had lapels. The loosely fitted, mid-thigh length sack coat continued to slowly displace the frock coat for less-formal business occasions.

The slightly cutaway morning coat was worn for formal day occasions. The most formal evening dress remained a dark tail coat and trousers, with a white cravat; this costume was well on its way to crystallizing into the modern "white tie and tails".

While during the first half of the decade the waist was long, after the waist became shorter, with pockets in the pleats. Full-length trousers were worn, generally of a contrasting fabric.

Costumes consisting of a coat, waistcoat and trousers of the same fabric called a " ditto suit " remained a novelty at this time.

In domestic settings, the sack coat or a lounge jacket could be worn with a waistcoat and trousers of the same fabric. This form of ditto suit, referred to as a lounge suit in the United Kingdom was generally made of wool, with baggy tailoring.

However, the lounge suit was not considered appropriate for public settings until the s. Top hats briefly became the very tall "stovepipe" shape, but a variety of other hat shapes were popular.

During this time, the bowler hat gained popularity as an informal hat. This new type of hat was normally made of felt, black for most of the year or brown for the summer months.

In hatmaker John B. Stetson invented the Boss of the Plains hat. It gained immediate success in the Old West among cowboys and settlers, due to its practicality.

It had a vaguely round ribbon-lined crown and a wide brim, originally straight but soon becoming stylized into the iconic rim of the typical cowboy hat.

Its dense felt could be rugged enough to carry water. Both boys and girls wore skirts from the time they could walk until they reached age 5 or 6.

Very small girls wore their skirts just below knee-length over pantalettes. Skirts became very gradually longer as girls grew up until they reached ankle length at coming-out in their later teens, usually Older girls wore hoops to hold out their skirts.

Young girls wore washable pinafores over their dresses for work and play to keep them clean, as typified by the eponymous heroine of Lewis Carroll's novel, and her Alice in Wonderland dress.

From Wikipedia, the free encyclopedia. Redirected from s in fashion. Costume and fashion of the s. Alice Liddell , Willett , English Women's Clothing in the Nineteenth Century , Dover Publications, Inc.

Archived from the original on Retrieved A History of Costume. New York: Dover Publications. Earlier: A History of Costume by Carl Köhler, edited and augmented by Emma von Sichart, and translated by Alexander K.

Dallas ; New York, G. Howard Watt. Clothing Through American History: The Civil War through the Gilded Age Oxford: Greenwood Press.

Willett Handbook of English Costume in the Nineteenth Century. Boston: Plays, Inc. The Art of Dress: Clothes and Society Great Britain: National Trust Enterprises Limited.

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Redirected from s in fashion. Add No Thanks. As huge skirts began to fall from favor, aroundthe shape of the crinoline began to change.

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  1. Zulkishakar sagt:

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