Введение
Мода и тенденции в британской культуре в викторианскую эпоху
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Викторианская мода включает в себя разнообразные стили и тенденции британской культуры, которые возникли и развивались в Соединенном Королевстве и Британской империи на протяжении всей викторианской эпохи, примерно с 1830-х по 1890-е годы. Этот период ознаменовался значительными изменениями в моде, включая эволюцию стилей, технологий производства одежды и методов распространения. Различные направления в архитектуре, литературе, декоративном и изобразительном искусстве, а также меняющееся восприятие гендерных ролей также оказывали влияние на моду. В период правления королевы Виктории Англия переживала период роста и технологического прогресса. Массовое производство швейных машин в 1850-х годах и изобретение синтетических красителей внесли существенные изменения в мир моды. Одежду стало возможно производить быстрее и дешевле. Развитие полиграфии и распространение модных журналов позволили широкой публике следить за развивающимися тенденциями высокой моды, открыв рынок массового потребления и рекламы. К 1905 году одежда все чаще производилась на фабриках и продавалась в крупных универмагах с фиксированными ценами, что стимулировало новую эру потребительства среди растущего среднего класса, извлекавшего выгоду из промышленной революции. В отличие от предыдущих столетий, когда женщины часто помогали мужьям и братьям в семейном бизнесе и труде, в XIX веке гендерные роли стали более четко определенными. После промышленной революции потребность в сельскохозяйственных рабочих снизилась, и женщины чаще занимались домашним хозяйством или, выйдя замуж, полностью отказывались от работы. Одежда отражала этот новый, все более малоподвижный образ жизни и не предназначалась для практического использования. Одежда рассматривалась как выражение социального статуса женщины и, следовательно, различалась в зависимости от социального класса. Женщины высшего класса, не нуждавшиеся в работе, часто носили плотно затянутый корсет поверх стана или рубашки, сочетая его с юбкой, украшенной многочисленными вышивками и отделкой, и несколькими слоями нижних юбок. Женщины среднего класса придерживались схожих стилей, однако украшения были менее экстравагантными. Многослойность одежды делала ее очень тяжелой. Корсеты были жесткими и сковывали движения. Несмотря на дискомфорт, многослойность и качество тканей служили символом богатства.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Вырез горловины: Берта – это вырез, открывающий плечи, который носили женщины в викторианскую эпоху. Он демонстрировал женские плечи и часто был отделан кружевной оборкой шириной от 7 до 15 см, либо лиф платья имел вырез, отделанный несколькими горизонтальными складками ткани. Однако, демонстрация выреза была доступна только женщинам высшего и среднего класса, женщинам рабочего класса в этот период не разрешалось так откровенно демонстрировать кожу. Стиль декольте сделал шали неотъемлемой частью туалета. Корсеты потеряли плечевые лямки, и стало принято изготавливать два лифа: один с закрытым вырезом для дневного времени и один с открытым вырезом для вечера.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Боннирование: Корсеты использовались в женских платьях для подчеркивания тонкой талии. Они служили нижним бельем, которое можно было регулировать, чтобы плотно облегать талию, формировать и утягивать ее, придавая фигуре модный силуэт. Также корсет предотвращал образование горизонтальных складок на лифе. С корсетом демонстрировалась очень маленькая, плотно прилегающая талия. Корсеты обвиняли в возникновении многих заболеваний из-за чрезмерного затягивания, однако эта практика была не столь распространена, как принято считать сегодня (Влияние чрезмерного затягивания корсета на организм).
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Рукава: В начале викторианской эпохи рукава плотно облегали руку. Это соответствовало общему силуэту с узкой талией, а линия шва рукава на плече была опущена, чтобы подчеркнуть прилегание рукава к руке. Это в конечном итоге ограничивало движения в рукавах. Однако, с развитием кринолинов рукава приобрели форму больших колоколов, придавая платью дополнительный объем. Под рукава надевали ангажанты, обычно из кружева, льна или батиста, с вышивкой ришелье и английской вышивкой. Их было легко снимать, стирать и пришивать обратно, чтобы они выполняли функцию съемных рукавов, которые прикреплялись к рукавам длиной до локтя. Они часто видны под колоколообразными рукавами дневных платьев.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Силуэт: Силуэт менялся со временем, отражая эволюцию нижнего белья. В ранние годы широкие юбки поддерживались тканями, такими как лен, в состав которого входила конская щетина. Кринолины использовались для придания юбкам формы улья, под юбкой носилось не менее шести нижних юбок, которые могли весить до семи килограммов. Позже был разработан каркасный кринолин. Женщины освободились от тяжелых нижних юбок и получили возможность свободно двигать ногами под каркасом. Силуэт позже начал подчеркивать наклон юбки к спине. Был представлен стиль "полинез", при котором объем собирался сзади юбки. Кринолины и каркасы также начали исчезать, поскольку они были опасны для женщин рабочего класса. Появились турнюры или бюстье.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Викторианская косметика обычно была минимальной, поскольку макияж ассоциировался с распущенностью. Многие косметические средства содержали токсичные или едкие ингредиенты, такие как свинец, ртуть, аммиак и мышьяк.
Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion. Under Queen Victoria's reign, England enjoyed a period of growth along with technological advancement. Mass production of sewing machines in the 1850s as well as the advent of synthetic dyes introduced major changes in fashion. Clothing could be made more quickly and cheaply. Advancement in printing and proliferation of fashion magazines allowed the masses to participate in the evolving trends of high fashion, opening the market of mass consumption and advertising. By 1905, clothing was increasingly factory made and often sold in large, fixed price department stores, spurring a new age of consumerism with the rising middle class who benefited from the industrial revolution. Unlike in earlier centuries when women would often help their husbands and brothers in family businesses and in labour, during the nineteenth century, gender roles became more defined. The requirement for farm labourers was no longer in such a high demand after the Industrial Revolution, and women were more likely to perform domestic work or, if married, give up work entirely. Dress reflected this new, increasingly sedentary lifestyle, and was not intended to be utilitarian. Clothes were seen as an expression of women's place in society, hence were differentiated in terms of social class. Upper class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth. Neck line: Bertha is the low shoulder neck line worn by women during the Victorian Era. The cut exposed a woman's shoulders and it sometimes was trimmed over with a three to six inch deep lace flounce, or the bodice has neckline draped with several horizontal bands of fabric pleats. However, the exposure of neck line was only restricted to the upper and middle class, working class women during the time period were not allowed to reveal so much flesh. The décolleté style made shawls to become an essential feature of dresses. Corsets lost their shoulder straps, and fashion was to produce two bodices, one closed décolletage for day and one décolleté for evening. Boning: Corsets were used in women's gowns for emphasizing the small waist of the female body. They function as an undergarment which can be adjusted to bind tightly around the waist, hold and train a person's waistline, so to slim and conform it to a fashionable silhouette. It also helped stop the bodice from horizontal creasing. With the corset, a very small tight fitting waist would be shown. Corsets have been blamed for causing many diseases because of tight lacing, but the practice was less commonplace than generally thought today (Effects of tightlacing on the body). Sleeves: Sleeves were tightly fit during the early Victorian era. It matched with the tight fit women's small waist in the design, and the shoulder sleeve seamline was drooped more to show a tighter fit on the arm. This eventually limited women's movements with the sleeves. However, as crinolines started to develop in fashion, sleeves turned to be like large bells which gave the dress a heavier volume. Engageantes, which were usually made of lace, linen, or lawn, with cambric and broderie anglaise, were worn under the sleeves. They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow length sleeves during the time. They commonly appear under the bell shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were supported by fabrics like linen which used horsehair in the weave. Crinolines were used to give skirts a beehive shape, with at least six layers petticoats worn under the skirt, which could weigh as much as fourteen pounds. Later, the cage crinoline was developed. Women were freed from the heavy petticoats, and were able to move their legs freely beneath the cage. Silhouette later began to emphasise a slope toward the back of the skirt. Polonaise style was introduced where fullness bunched up at the back of the skirt. Crinolines and cages also started to disappear with it being more dangerous to working class women. Tournures or bustles were developed. Victorian era cosmetics were typically minimal, as makeup was associated with promiscuity. Many cosmetics contained toxic or caustic ingredients like lead, mercury, ammonia, and arsenic.
Стиль одежды 1830-х годов
В начале правления королевы Виктории в 1837 году идеалом викторианской женщины была стройная фигура с длинным туловищем и подчеркнутыми широкими бедрами. Чтобы добиться узкой талии, корсеты плотно шнуровались и охватывали живот, опускаясь к бедрам. Под корсетом обычно надевали сорочку с относительно глубоким вырезом, чтобы избежать нежелательного обнажения. Поверх корсета надевали облегающий лиф с заниженной талией. Вместе с лифом носили длинную юбку, состоящую из нескольких слоев конского волоса, расширяющуюся в области от локтя до запястья. Изначально лиф располагался ниже плеч, что ограничивало свободу движений рук. С 1847 года, с появлением конского волоса для кринолина, юбки становились длиннее и шире, превращаясь в символ достатка. Дополнительные оборки и нижние юбки еще больше подчеркивали пышность широких юбок. Для сохранения узкой талии юбки прикреплялись к лифу при помощи очень мелких, плотно заложенных складок, закрепленных в каждом изгибе.
Стиль одежды 1850-х годов
Аналогичный силуэт сохранялся в 1850-х годах, хотя некоторые элементы одежды претерпели изменения. Линия выреза дневных платьев опускалась еще ниже, приобретая V-образную форму, что потребовало прикрывать область груди с помощью химизетки. В отличие от этого, вечерние платья дополнялись бертой, полностью обнажавшей плечи. Лиф платья начал удлиняться, переходя на бедра, а рукава становились шире и объемнее. Объем и ширина юбки продолжали увеличиваться, особенно в 1853 году, когда к ней добавляли ярусы оборок. Однако в 1856 году юбки расширились еще больше, приобретая куполообразную форму благодаря изобретению первого искусственного кринолина-клетки. Целью кринолина было создание искусственного силуэта «песочные часы», подчеркивая бедра и создавая иллюзию тонкой талии – в сочетании с корсетом. Кринолин-клетка изготавливался путем соединения тонких металлических полос в круглую конструкцию, способную поддерживать большую ширину юбки. Это стало возможным благодаря технологиям, позволившим превращать железо в сталь, из которой затем вытягивали тонкую проволоку. По мере того как юбки стали дополняться шлейфами, форма кринолина становилась более плоской спереди и более объемной сзади, смещаясь к задней части. Лифы, напротив, заканчивались на естественной талии, имели широкие рукава-пагоды, а для дневных платьев были характерны высокие вырезы горловины и воротники, для вечерних – низкие. Однако к 1868 году женский силуэт стал более стройным, поскольку кринолин уступил место турнюру, а поддерживающие оборки взяли на себя функцию формирования силуэта. Ширина юбки уменьшилась еще больше, при этом объем и длина сохранялись в задней части. Чтобы подчеркнуть спину, шлейф собирался в мягкие складки и драпировки.
Стиль одежды 1870-х годов
Тенденция к широким юбкам медленно исчезла в 1870-х годах, поскольку женщины стали отдавать предпочтение еще более стройному силуэту. Линия талии корсетов оставалась на естественном уровне, вырезы горловины варьировались, а рукава начинались ниже линии плеч. Поверх корсета обычно надевали верхнюю юбку, закрепляя ее сзади большим бантом. Однако со временем верхняя юбка укоротилась, превратившись в отдельный баск, что привело к удлинению корсета до бедер. По мере удлинения корсетов в 1873 году в викторианскую моду вошел полонез. Полонез – это предмет одежды, сочетающий в себе верхнюю юбку и корсет. В то же время появился турнюр, который вместе с полонезом создавал иллюзию преувеличенного объема ягодиц. К 1874 году юбки начали сужаться спереди и украшались отделкой, а рукава облегали запястья. К 1875–1876 годам корсеты имели длинную, но еще более туго затянутую талию, которая сужалась к острой точке спереди. Турнюры удлинялись и опускались еще ниже, из-за чего юбка становилась менее пышной. Дополнительная ткань собиралась сзади в складки, образуя узкий, но длинный, многослойный, драпированный шлейф. Из-за длинных шлейфов под платье надевали нижние юбки, чтобы оно оставалось чистым. Однако к 1877 году платья стали более облегающими (юбка-колокольчик стала модным трендом вскоре после окончания викторианской эпохи). Огромные шляпы с широкими полями украшались сложными композициями из шелковых цветов, лент и, прежде всего, экзотических перьев; иногда шляпы украшали целыми чучелами экзотических птиц. Многие из этих перьев были получены от птиц, обитающих во Флоридских болотах, которые чуть не исчезли из-за чрезмерной охоты. К 1899 году первые защитники природы, такие как Аделина Кнапп, начали прилагать усилия для ограничения охоты на перья. К 1900 году ежегодно убивали более пяти миллионов птиц, и охотники за перьями уничтожили почти 95 процентов береговых птиц Флориды.
Обувь
Женские туфли раннего викторианского периода были узкими, без каблука, из черного или белого атласа. К 1850-м и 1860-м годам они стали немного шире, с низким каблуком, и изготавливались из кожи или ткани. Также популярными были ботинки на шнуровке или с пуговицами, доходящие до щиколотки. С 1870-х годов и до начала XX века каблуки становились выше, а носки – более заостренными. Для вечерних выходов носили туфли с небольшим вырезом. На протяжении большей части викторианской эпохи большинство мужчин носили довольно короткие волосы, которые часто дополнялись различными видами растительности на лице, включая усы, бакенбарды и полные бороды. Чисто выбритое лицо вновь вошло в моду лишь в конце 1880-х и начале 1890-х годов. Отличить то, что мужчины действительно носили, от того, что им предлагалось в периодических изданиях и рекламе, затруднительно, поскольку надежных исторических записей не существует.
Скорбящий черный
В Британии черный цвет традиционно ассоциируется с трауром об умерших. Обычаи и этикет, ожидаемые от мужчин, и особенно от женщин, были строгими на протяжении большей части викторианской эпохи. Ожидания зависели от сложной иерархии близкого или отдаленного родства с усопшим. Чем ближе было родство, тем дольше длился период траура и тем больше носили черного. Ношение полного траура называлось Первым трауром, который подразумевал определенный наряд, включая ткани, и длился от 4 до 18 месяцев. По окончании первоначального периода Первого траура скорбящий переходил ко Второму трауру – переходному периоду, когда носили меньше черного, за которым следовал Обычный траур, а затем Половина траура. Некоторые из этих этапов траура могли быть сокращены или пропущены вовсе, если родство скорбящего с усопшим было более дальним. Половина траура была переходным периодом, когда черный заменялся допустимыми цветами, такими как лавандовый и лиловый, которые, возможно, считались подходящими переходными цветами из-за традиции духовенства Англиканской (и католической) церкви носить лавандовые или лиловые столы во время похоронных служб, символизируя Страсти Христовы. Траурное платье, изображенное справа, носила королева Виктория, "оно демонстрирует традиционные элементы траурного наряда, который она носила со дня смерти своего мужа, принца Альберта (1819–1861), до самой своей смерти".
Технологический прогресс
Технологический прогресс повлиял не только на экономику, но и кардинально изменил стиль одежды мужчин и женщин. Викторианская эпоха основывалась на принципах сословности, расы и класса. Значительный прогресс был на руку высшему классу, поскольку именно он мог позволить себе новейшие технологии и соответствующим образом менять свой стиль. В 1830-х годах появился кринолин из конского волоса, ставший символом статуса и богатства, доступным лишь женщинам из высшего общества. 1850-е годы ознаменовались новыми технологическими достижениями в моде, и их справедливо можно назвать революцией в викторианской индустрии. К таким достижениям относится изобретение искусственного кринолина, который придавал женщинам искусственный силуэт «песочные часы». Это означало, что женщинам больше не требовалось носить множество нижних юбок, чтобы создать иллюзию широких бедер, и это было более гигиенично. Появились также синтетические красители, добавившие в одежду новые яркие цвета. Эти технологические новшества даровали женщинам свободу и выбор. В 1855 году возникла высокая мода (от кутюр), а пошив на заказ становился все более распространенным в последующие годы. Чарльз Фредерик Уорт, выдающийся английский дизайнер, завоевал популярность среди высшего класса, хотя его городом успеха всегда был Париж. Высокая мода стала популярной одновременно с изобретением швейных машин. Развивались техники ручного шитья, отличавшиеся от старых методов. Принцесса Евгения Французская носила наряды английского портного Чарльза Фредерика Уорта, что мгновенно принесло ему славу во Франции, хотя он прибыл в Париж всего несколько лет назад. В 1855 году королева Виктория и принц Альберт Великобритании приняли Наполеона III и Евгению Французскую с официальным визитом в Англию. Евгения считалась иконой стиля во Франции. Она и королева Виктория быстро подружились. Королева Виктория, до этого бывшая законодательницей моды в Европе, вдохновлялась стилем и нарядами Евгении. Позже королева Виктория также назначила Чарльза Фредерика Уорта своим придворным портным, и он стал известным дизайнером среди европейской знати. Чарльза Фредерика Уорта называют отцом высокой моды, поскольку позже, в конце XIX века, появилась концепция брендов и пошива на заказ стал мейнстримом. К 1860-м годам, когда в Европе ценился индивидуальный пошив, кринолины стали считаться непрактичными. В 1870-х годах женщины предпочитали более стройные силуэты, поэтому лифы удлинились, а в моду вошел полонез – юбка и лиф, сшитые вместе. В 1870-х годах был изобретен кираса – корсет, напоминающий доспех, который закрывал туловище. К концу правления Виктории платья приобрели естественную расклешенность, поскольку кринолины были отвергнуты женщинами среднего класса. Против них выступали и такие дизайнеры, как Чарльз Фредерик Уорт. Все эти изобретения и изменения в моде способствовали освобождению женщин, поскольку сшитая по фигуре одежда улучшала осанку и была более практичной. Интерьер домов не всегда был вычурным или перегруженным мебелью. Однако те, кто мог позволить себе роскошные драпировки и дорогие украшения и хотел продемонстрировать свое богатство, часто это делали. Поскольку викторианская эпоха характеризовалась растущей социальной мобильностью, все больше нуворишей стремились выставить свое богатство напоказ. Предметы декора могли быть темнее и массивнее, чем современные, просто из соображений практичности. Лондон был шумным, а воздух загрязнен сажей от бесчисленных угольных печей. Поэтому те, кто мог себе это позволить, завешивали окна плотными шторами, поглощающими звук, и выбирали цвета, которые не так быстро пачкались сажей. Поскольку стирка производилась вручную, шторы стирали не так часто, как сегодня. Нет достоверных свидетельств того, что ножки у пианино считались непристойными. Пианино и столы часто накрывали шалями или тканями, но если шали что-то скрывали, то это была дешевизна мебели. Есть упоминания о том, что семьи среднего класса прикрывали свои сосновые столы, чтобы не показывать, что они не могут позволить себе красное дерево. История о ножке пианино, по-видимому, возникла в 1839 году в книге «Дневник в Америке», написанной капитаном Фредериком Марриатом, как сатирический комментарий к американской ханжественности. Викторианские манеры могли быть такими же строгими, как и представлялось – по крайней мере, на поверхности. Публично не говорили о сексе, родах и подобных вещах, по крайней мере, в приличном обществе. Однако, как известно, благопристойность покрывала множество грехов. Проституция процветала. Представители высшего класса вступали в тайные связи.