1890 жылдардағы киім және сәндегі өзгерістер

Costume and fashion of the 1890s

Fashion in the 1890s in Western countries is characterized by long elegant lines, tall collars, and the rise of sportswear. It was an era of great dress reforms led by the invention of the drop frame safety bicycle, which allowed women the opportunity to ride bicycles more comfortably, and therefore, created the need for appropriate clothing. Another great influence on women's fashions of this era, particularly among those considered part of the Aesthetic Movement in America, was the political and cultural climate. Because women were taking a more active role in their communities, in the political world, and in society as a whole, their dress reflected this change. The more freedom to experience life outside the home that women of the Gilded Age acquired, the more freedom of movement was experienced in fashions as well. As the emphasis on athleticism influenced a change in garments which allowed for freedom of movement, the emphasis on less rigid gender roles influenced a change in dress which allowed for more self expression, and a more natural silhouette of women's bodies were revealed. The 1890s brought the beginnings of a change in how fashion was presented as well. While illustrations still dominated fashion magazines, printed fashion photographs first appeared in French magazine La Mode Pratique in 1892, where they would continue be a weekly feature.

Fashionable women's clothing styles shed some of the extravagances of previous decades (so that skirts were neither crinolined as in the 1850s, nor protrudingly bustled in back as in the late 1860s and mid 1880s, nor tight as in the late 1870s), but corseting continued unmitigated, or even slightly increased in severity. Early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years. Puffy leg of mutton sleeves (also known as gigot sleeves) made a comeback, growing bigger each year until reaching their largest size around 1895. During the mid 1890s, skirts took on an A line silhouette that was almost bell like. The late 1890s returned to tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the hourglass figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the corset elongated, giving the women a slight S bend silhouette that would be popular well into the Edwardian era.

Changing attitudes about acceptable activities for women also made sportswear popular for women, with such notable examples as the bicycling dress and the tennis dress. Unfussy, tailored clothes, adapted from the earlier theme of men's tailoring and simplicity of form, were worn for outdoor activities and traveling. The shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Walking suits featured ankle length skirts with matching jackets. The notion of "rational dress" for women's health was a widely discussed topic in 1891, which led to the development of sports dress. This included ample skirts with a belted blouse for hockey. In addition, cycling became very popular and led to the development of "cycling costumes", which were shorter skirts or "bloomers" which were Turkish trouser style outfits. By the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have been more commonly worn in Paris than in England or the United States and became quite popular and fashionable. In the United States, bloomers were more intended for exercise than fashion. The rise of American women's college sports in the 1890s created a need for more unencumbered movement than exercise skirts would allow. By the end of the decade, most colleges that admitted women had women's basketball teams, all outfitted in bloomers. Across the nation's campuses, baggy bloomers were paired with blouses to create the first women's gym uniforms. The rainy daisy was a style of walking or sports skirt introduced during this decade, allegedly named after Daisy Miller, but also named for its practicality in wet weather, as the shorter hemlines did not soak up puddles of water. They were particularly useful for cycling, walking or sporting pursuits as the shorter hems were less likely to catch in the bicycle mechanisms or underfoot, and enabled freer movement. This was especially seen in the adoption of the uncorseted tea gown for at home wear. In the United States during this period, Dress, the Jenness Miller Magazine (1887–1898) , reported that tea gowns were being worn outside the home for the first time in fashionable summer resorts. Before women acquired a more prominent role outside the home, a more traditionally Victorian, restrained, and modest style of dress dominated. However, during the 1870s and 80s, the Aesthetic Movement led to a shift in behavior, with some women using fashion as a method of defying traditional domesticity and claiming agency. At this time materials such as suede, leather, lace and metal were used to fashion the shoe and decorate it. Suede was new to the market in 1890 and was available in a few pale shades.

The shift toward functional fashion also affected women's athletic wear. Women in Paris began wearing bloomers when bicycling as early as 1893, while in England lower bicycle frames accommodated the dresses that women continued to wear for bicycling. Long floor length dresses gradually gave way to shorter hemlines and a more casual style of athletic clothing. Similarly, bathing suits also became shorter and less covered — yet another example of the beginnings of a shift in dress toward greater freedom and functionality.

The overall silhouette of the 1890s was long, lean, and athletic. Hair was generally worn short, often with a pointed beard and generous moustache.

By the 1890s, the sack coat (UK lounge coat) was fast replacing the frock coat for most informal and semi formal occasions. Three piece suits ("ditto suits") consisting of a sack coat with matching waistcoat (U. S. vest) and trousers were worn, as were matching coat and waistcoat with contrasting trousers. Contrasting waistcoats were popular, and could be made with or without collars and lapels. The usual style was single breasted. The blazer, a navy blue or brightly colored or striped flannel coat cut like a sack coat with patch pockets and brass buttons, was worn for sports, sailing, and other casual activities. The Norfolk jacket remained fashionable for shooting and rugged outdoor pursuits. It was made of sturdy tweed or similar fabric and featured paired box pleats over the chest and back, with a fabric belt. Worn with matching breeches (or U. S. knickerbockers), it became the Norfolk suit, suitable for bicycling or golf with knee length stockings and low shoes, or for hunting with sturdy boots or shoes with leather gaiters. The cutaway morning coat was still worn for formal day occasions in Europe and major cities elsewhere. The most formal evening wear remained a dark tail coat and trousers with a dark or light waistcoat. Evening wear was worn with a white bow tie and a shirt with a winged collar. The less formal dinner jacket or tuxedo, which featured a shawl collar with silk or satin facings, now generally had a single button. Dinner jackets were appropriate formal wear when "dressing for dinner" at home or at a men's club. The dinner jacket was worn with a white shirt and a dark tie. Knee length topcoats, often with contrasting velvet or fur collars, and calf length overcoats were worn in winter.

Shirt collars were turned over or pressed into "wings", and became taller through the decade. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions. The usual necktie was a four in hand or an Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin, but the 1890s also saw the return of the bow tie (in various proportions) for day dress.

As earlier in the century, top hats remained a requirement for upper class formal wear; bowlers and soft felt hats in a variety of shapes were worn for more casual occasions, and flat straw boaters were worn for yachting and at the seashore.

Filipino Ilustrados Jose Rizal, Marcelo H. del Pilar, and Mariano Ponce in frock coats, 1890. Painter John Singer Sargent in formal evening clothes, c. 1890. Another portrait of Sargent, in day dress: dark coat and waistcoat, dark red ascot, and tall collar, c. 1890. This picture shows the long, lean silhouette in fashion at this time. Oscar Wilde wears a frock coat with a pocket square, 1890s. Three men wearing three piece suits and bowlers, 1893. Frederick Law Olmsted wears a tan topcoat over a gray suit, 1895. George du Maurier wears a double breasted waistcoat with a shawl collar under his sack coat, with grey trousers. He wears square toed shoes with spats, 1896. Country clothes: James Tissot wears breeches and high boots with a reddish collared waistcoat and a brown coat. Even with this casual outdoor costume, he wears a tie, 1898. College fashion includes a straw boater. William Beveridge at Balliol, 1898.