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1837 dress. During the start of Queen Victoria's reign in 1837, the ideal shape of the Victorian woman was a long slim torso emphasised by wide hips. To achieve a low and slim waist, corsets were tightly laced and extended over the abdomen and down towards the hips. [4]
In the winter and spring of 1851, newspapers across the country carried startled sightings of the dresses. [4] The wearing of bloomers—a woman wearing pants, a men's garment—was a question of power. The symbolism of bloomers was enormous. Men felt threatened by them, and sometimes disparaged women wearing them as "Amazons" or "male ...
The technology, art, politics, and culture of the 19th century were strongly reflected in the styles and silhouettes of the era's clothing. For women, fashion was an extravagant and extroverted display of the female silhouette with corset pinched waistlines, bustling full-skirts that flowed in and out of trend and decoratively embellished gowns ...
1897 advertisement in The Graphic for Elliman's Universal Embrocation (manufactured in Slough), showing a relatively early example of an ordinary non-sea-bathing Western woman appearing skirtless in public (wearing "rationals" or "knickerbockers" or "bloomers" for bicycle-riding). The whole outfit (top and bottom) was known as a "bicycle suit".
These 1795–1820 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 hoop skirts, crinolines, panniers, bustles, etc.). Women ...
Early nineteenth century dresses in Russia were influenced by Classicism and were made of thin fabrics, with some semi-transparent. [44] Elizabeth Vigée Le Brun wore these types of dresses with a short skirt (reaching to her ankles) when she lived in Russia between 1785 and 1801 [44] and many Russian women copied her style. [44]
An image of model Paloma Elsesser wearing a Miu Miu micro mini skirt on the cover of i-D magazine seemingly opposes this stance, as it shows a plus-size woman in the very piece that seems to ...
These styles were then adopted by the painters' wives and models for everyday dress. Dresses were loosely fitted and comparatively plain, often with long puffed sleeves; they were made from fabric in muted colors derived from natural dyes, and could be ornamented with embroidery in the art needlework style.