![]() Long coats were impractical with the very full skirts, and the common outer garments were square shawls folded on the diagonal to make a triangle and fitted or unfitted hip-length or knee-length jackets. It was not uncommon for fashion plates to appear in American women's magazines a year or more after they appeared in Paris or London. Waistlines rose briefly at the end of the decade.įashions were adopted more slowly in America than in Europe. Looped up overskirts revealed matching or contrasting underskirts, a look that would reach its ultimate expression the next two decades with the rise of the bustle. The bodices themselves were often triangular, and featured a two-piece front with a closure and a three-piece back construction.Īs the decade progressed, sleeves narrowed, and the circular hoops of the 1850s decreased in size at the front and sides and increased at the back. Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodices, one long-sleeved and high necked for afternoon wear and one short-sleeved and low-necked for evening. Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist this spelled the end of the brief fashion for border-printed dress fabrics. Large crinolines were probably reserved for special occasions. The use of hoops was not as common until 1856, prior supporting the skirts with layers of starched petticoats. The voluminous skirts were supported by hoops, petticoats, and or crinolines. Gowns had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts. High necklines with lace or tatted collars or chemisettes completed the demure daytime look. Small hats with ribbon streamers were very popular for young women in the mid-1860s.ĭay dresses featured wide pagoda sleeves worn over undersleeves or engageantes. Croquet players of 1864 loop their skirts up from floor-length over hooped petticoats. Even the clothes women would ride horses in received these sorts of embellishments. This massive construct of a dress required gauze lining to stiffen it, as well as multiple starched petticoats. Any part of the dress could also be embroidered in silver or gold. Lace again became popular and was used all over the dress. There could be so many flounces that the material of the skirt itself was hardly visible. ![]() Puffs and strips could cover much of the skirt. ![]() This large area was largely occupied by all manner of decoration. After about 1862 the silhouette of the crinoline changed and rather than being bell-shaped it was now flatter at the front and projected out more behind. Gowns īy the early 1860s, skirts had reached their ultimate width. Magenta was popularized in England by the Duchess of Sutherland after she was appealed to by the Spitalfields silk weavers. In 1860, two fashionable brilliant pink aniline dyes were named after battles in Italy's fight for independence: magenta, named after the Italian town of Magenta, Lombardy, and the similar solferino, named after Solferino. The first ones were mauve and bright purple. Mauveine Aniline dyes (first chemical dyes) were discovered in 1856 and were quickly utilized to make use of fashionable colors to fabrics. Women's fashions Colors A blue silk wedding dress from c. In men's fashion, the three-piece ditto suit of sack coat, waistcoat, and trousers in the same fabric emerged as a novelty. Auguste Toulmouche's Reluctant Bride of 1866 wears white satin, and her friend tries on her bridal wreath of orange blossoms.ġ860s fashion in European and European-influenced countries is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement. Costume and fashion of the 1860s Fashions of the 1860s include square paisley shawls folded on the diagonal and full skirts held out by crinolines.
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