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carlisle cathedral pitkin cathedral guideOur payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. Please try your request again later. In addition, the development of the railways spurred the spread of new goods, while the removal of the tax on papers in 1854 produced an abundance of fashion magazines at cheap prices, bringing news of the latest styles to the multitudes. The magnificent array of ladies' fashions that characterized the century are on display in this remarkably complete decade-by-decade overview. Drawing almost exclusively on contemporary sources — fashion magazines, newspapers, rare period photographs, memoirs, Victorian novels, periodicals, and other publications, as well as firsthand observation of actual garments — the author describes and explains the couture that evolved in response to changing social conditions, technological innovations, and cultural developments. Over 1,100 line and tone drawings and photographs depict hundreds of outfits ranging from lovely morning dresses and starkly attractive riding outfits to elegant carriage costumes, opulent evening dresses, and exquisite bridal gowns. Full-page plates also depict period millinery, footwear, underclothing, and other apparel, while three useful glossaries provide descriptions of materials, definitions of technical terms, and more. Museum curators, vintage clothes collectors, and fashion historians will find this carefully researched and well-written book an indispensable tool for dating, identifying, and authenticating vintage clothing. Not only are styles described and illustrated in detail for each year; all the small details of construction by which specimens can be dated are given wherever possible.http://1worldlanguage.com/1worldlanguage/userfiles/enviro-home-comfort-design-manual.xml
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Moreover, designers, illustrators, and fashion enthusiasts will be delighted by the superbly detailed illustrations, which painstakingly document the fashionable finery of the Victorian era. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Show details Hide details Choose items to buy together.To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Amazon Customer 5.0 out of 5 stars I wanted something that could teach me the silhouette of every decade in the 19 century and this definitely does it it also includes accessories. The only thing is it would’ve been better if the paper was glossy and if it was in color but even with regular paper and it being in black-and-white it’s still really good detail and if you’re interested in 19 century fashion this is definitely the book for you. It’s very comprehensive!It doesn't lump the years all together, but takes you to each year showing and telling how the fashion was different than the year before.A long read but well worth it. Good illustrations as well to let you see what the fashions looked like along the spectrum of day to evening.So much information on the hows and whys. Dover is always so handy at this.Also, it's a Dover reproduction (originally published in 1937).I prefer to make my own costumes and this book gives me lots of ideas. I want to make sure that my outfits are authentic and this book helped me a lot.Amazon is not legally responsible for the accuracy of the tags represented. If you are an author or publisher and would like to remove a tag associated with your title, please contact your vendor manager or publisher support team.http://atcotourismtravel.com/userfiles/enviro-heater-manual.xml Upload Language (EN) Scribd Perks Read for free FAQ and support Sign in Skip carousel Carousel Previous Carousel Next What is Scribd. In addition, the development of the railways spurred the spread of new goods, while the removal of the tax on papers in 1854 produced an abundance of fashion magazines at cheap prices, bringing news of the latest styles to the multitudes. Moreover, designers, illustrators, and fashion enthusiasts will be delighted by the superbly detailed illustrations, which painstakingly document the fashionable finery of the Victorian era. Book Preview English Women's Clothing in the Nineteenth Century - C. Willett Cunnington edition. CHAPTER I INTRODUCTION THE aim of this book is to describe and explain the clothing of the English Lady during the nineteenth century. But always it implied a special attitude of mind, of which correct conduct was the outward expression. This was largely symbolised by her costume, the study of which, therefore, becomes for us a guide to her mentality. It was a century in which this mental outlook changed more rapidly than in any other, but the rate of change was by no means uniform; the rate of change in fashions always corresponded. When, as in the ’40’s, feminine outlook seemed in a state of arrest the fashions followed suit; when, as in the ’60’s, the social horizon was first disturbed by the beginnings of feminine emancipation fashions changed with alarming rapidity. In fact, dissatisfaction with existing fashions has always implied a corresponding dissatisfaction with existing social conditions. The nineteenth century affords us the best materials for the study of the theory of fashions, partly because of such changes and partly because ample material still exists. Essentially it was the principle of disguising the shape of the body by clothing. Art evolved new shapes for woman, or revived those which had been forgotten by the generation accustomed to the classical revelations seen during the first twenty years of the century, and gradually from having been a picture frame, the dress developed into a picture itself of which the human body was merely the invisible support. The dress and the wearer had, in a sense, exchanged functions. This conception of dress survived, more or less, for the rest of the century and indeed after. It had this obvious merit: it gave the dress-designer limitless scope for her imagination, seeing that she could assume her mannequin to have any shape she chose. When the body had almost no relation to the form of the dress physical imperfections were no great drawback. It was possible for a lady to buy as much beauty as she could afford, for she herself would be almost invisible. She was free to adopt any form that art or fancy could suggest; at one time the Great Pyramid was her model; at another, a camel, or a wasp. The only shape that was forbidden her was that of a woman. It became the outward symbol of social rank and the finer shades were closely observed. An elaborate ritual developed; a costume suitable for one moment of the day would be considered wholly unsuitable for another. The bonnet sufficiently gay for the Park would be flippant in church. Certain materials might be worn up to Easter, but not after; and at the close of the season there were special modes adapted for Cheltenham or Harrogate, for it seems one took the waters in subdued tones. On the other hand the sea-breezes of Brighton evoked a peculiar degree of exuberance. And always there was the haunting fear lest she should be slightly behind the fashion (and therefore dowdy) or in front of it (and therefore fast). An infinite sensitiveness was needed to preserve the balance. Always the dress must conform to the feelings considered correct at the moment; the art of expressing grief for departed relatives was closely studied. The finer shades of mourning were a test of the Perfect Lady, the depth of whose sorrow was a matter of measurement in inches of crepe. ? We may marvel at the labour involved in the ceremony of dressing like a lady; we may criticise the expenditure of time, thought, and money, and perhaps shudder a little at the discomfort. But at least we must grant her the essential quality of genius: an infinite capacity for taking—and tolerating—pains. The technical aspect of nineteenth century fashions has an interest of its own. There was, of course, the extraordinary progress made in manufactures with the advancing change from the hand-made to the ready-made article. As a result the lowering of price and the increasing output enabled women of only moderate means to follow the fashions of the day and become enmeshed by their fascination. The change from the hand-made to the machine-made article affected first the cotton industry in the ’30’s and then the woollen in the ’40’s. Australian wool began to be imported in 1835 and the jute industry started in the ’40’s. Silk weaving retained its hold in Spitalfields, Macclesfield, and Coventry (famous for its ribbons), but foreign silks were increasingly used in this country, especially after the lowered duties in 1826. Eastern muslin fabrics found a serious rival in the French transparent textiles such as barege, and printed designs copied from Indian and Persian fabrics provided a cheap substitute for the original woven article. The shoe industry, on the other hand, was not disturbed by machinery until the second half of the century. An influence which greatly affected feminine fashions from 1830 onwards was the development of railways, providing not only facilities for travel but also for the spread of new goods. The removal of the tax on papers in 1854 produced an ever-increasing number of fashion magazines at cheap prices bringing the latest modes to the knowledge of the multitude. Fashions have never been slow in utilising new social conveniences, and the progressive improvement in domestic lighting by gas in the ’40’s and electric light in the ’90’s had their effect on the use of colours in dress. The various innovations in textiles are described elsewhere in this book, together with such important inventions as chemical dyes and the sewing-machine. A feature of dress which may more easily escape notice is the various methods of fastenings. These are, in the main, by strings, hooks and eyes, and buttons. The first was the principal method used in the first quarter of the century; from then until the middle of the century hooks and eyes were relied upon; while the ’60’s and ’70’s formed the great button era. She practised the art of fine dressing with increasing difficulty until, finally, she became swamped by the rising tide of democracy. The change is fundamental; the modern woman clothes herself; the Victorian Lady dressed. The making of this book has entailed a good deal of research, revealing much conflicting evidence. Information has been obtained almost entirely from contemporary sources, a list of which is given; in particular from fashion magazines, books of the toilet, newspapers, illustrations and photographs, as well as memoirs and novels of the period; above all, of course, from examining actual specimens of contemporary clothing. I have been able to inspect over two thousand dresses, including some five hundred in my own collection, together with a large number of other articles of wearing apparel. It is unnecessary, perhaps, to say that the actual clothes reveal a mass of information which cannot be obtained from fashion books; especially is this the case with the early part of the century when such books were few and usually poorly illustrated. Moreover, fashion-plates, besides their exaggeration, have the disadvantage of portraying costumes in the flat; it is essential to compare them with the actual dresses which should, if possible, be seen worn. I have been able to do this with most of the specimens in my collection, learning thereby that many styles which appear grotesque in a drawing are by no means so on the living model. I have also derived a good deal of information from my collection of contemporary photographs, amounting to many hundreds. These, of course, only cover the second half of the century. They help to show how the dresses actually appeared when worn, and an analysis reveals which styles were the more popular and which were favoured by particular classes. They are invaluable as a means of checking the statements of the fashion article. Unfortunately we have nothing to rival the photograph in accuracy for the first half of the century; the portrait painter’s habit of idealising and omitting inartistic details does not tend to accurate knowledge. As regards information, the early magazines are sparing of details and omit much that we need to know. The evidence of such witnesses therefore needs corroboration before it can be accepted as reliable, especially as many French fashions were by no means identical with English. A number, though advertised in the magazines, never, in fact, succeeded in crossing the Channel, while English variations certainly existed which do not appear in print. As regards the coloured fashion-plates, it must be noted that many were crudely coloured by hand, often inaccurately and from a limited palette, so that they cannot be accepted as reliable. On the other hand the dresses themselves show remarkably little fading, especially those of the first half of the century when only vegetable dyes were used; these are therefore much more accurate indications of the colours employed. It was not until the second half of the century that the magazines attempted to describe details of construction, such as can be learnt from the dresses themselves, or supply information as to underclothing. On the latter point, books of The Toilet prove useful. A certain number of dresses, etc., survive, of which the original date is known, and these are, of course, especially valuable, but curious tricks of memory may mislead the owners of ancestral costumes; even now there exist as cherished heirlooms more dresses said to have been worn at the Waterloo Ball than there were dancers on that historic occasion, and some are machine-sewn. Even museums are not infallible. We find that specimens made in provincial towns were often a couple of years behind the London fashions (especially in the days before railways), and homemade examples would carry on traditional features long after they had fallen into disuse by professional dressmakers. This book is intended to meet the requirements of those who wish to know what was the correct costume for a given date, and also of those who wish to ascertain the date of a particular specimen. For the former the ordinary styles are described and illustrated in detail for each year; for the latter, all those small details of construction by which specimens can be dated are given whenever accurate information is obtainable. It would burden the text to give every reference for such points, but I have endeavoured to avoid making assumptions on insufficient evidence. The subject of women’s clothing can be viewed from various aspects: the historic, the scientific, the aesthetic, and the technical. It is not very important, after all, that an author does—or does not—admire a particular style; it is unlikely that his opinion will govern the judgment of posterity. It is well, too, to remember that the taste of to-day is always condemned to-morrow, and this is specially true of feminine fashions. Our instinctive contempt for our parents seems to extend even to their clothes, while those of our more remote ancestors, who are too far off to inspire dislike, may be allowed to possess the charm of distance. It is more interesting to trace the causes of fashion, and in my book Feminine Attitudes in the Nineteenth Century I have discussed the psychology of the subject, giving reasons for regarding fashions in women’s dress as an unconscious expression of the prevailing mental attitude. Hence changes of fashion are consequential and not vicarious. They should therefore be capable of scientific classification as are other phenomena produced by ascertainable causes. That this is by no means a simple task is due to a variety of reasons. Contemporary descriptions lack precision; the fashion-writers with artistic—or at least commercial—enthusiasm, will invariably laud the oncoming and scorn the receding mode, than which nothing seems to them more contemptible. In their eagerness to proclaim the merits of a novelty they may overlook the fact that it is but a revival of some former vogue. Those writers of fashion articles in the nineteenth century invented a technical jargon—dressmaker’s French—which was apt to change its terms and their meanings every few years, so that a standard phrase-book would rapidly become obsolete. But it is the business of one who attempts to explore those forgotten regions to acquire at least a smattering of the dressmaking dialects of the day, and to render them intelligible to modern readers. On the other hand certain obsolete terms have a flavour of their own. Dress-designers (at least in the nineteenth century) seemed to have lacked not only precision, but even perception, for they would give two names to one thing or one name to two things, and forget to describe some integral matters at all, so that the student flees from their loose verbiage to a study of the dresses themselves; they at least are not misinforming. It seems appropriate, however, that fashion articles instructing women in the technique of sex-attraction should be written in a spirit of deadly playfulness, ranging from the arch to the inane. An attempt to reduce, for the first time, this welter to order cannot hope to be completely successful. Out of masses of models we have to decide which were, in fact, accepted at the time as fashionable, and this applies not only to illustrations, but to specimens in collections. And always we have to discriminate between fashions purely French and those which were accepted in this country. To make the subject intelligible to the modern reader a good deal of simplification is required so that the types and not the individuals shall stand out. He needs, therefore, some information about the less usual forms which occasionally crop up. Where there are contemporary descriptions of such extinct monsters I have quoted them textually, but where our ignorance is complete I have thought it best to say so. For those using the Annual Notes as a guide in identifying and dating specimens it may be well to emphasise that innumerable varieties of the conventional types abounded. After all, the taste of the wearer was an influencing factor, especially when every dress was made to measure. Thus, a specimen may appear to be a compromise between two nearly contemporary types as regards its details. The later of the two will give the approximate date. The world of underclothing, in the first half of the century, is for us almost a terra incognita; a certain number of specimens, fortunately marked with a date by their original owners, have come to light, and these in a measure help to fill the gaps. Our knowledge of these intimate matters may sometimes be enriched by the indiscretions of Gilray, Cruikshank, Heath and others, who drew in the days when artistic licence was a term liberally interpreted. And we owe a debt of gratitude to the advertisement columns of the ladies’ papers, for they will betray curious secrets of the toilet. The examples of prices included in the Annual Notes serve to illustrate not only the cost of clothes, but the materials in greatest demand. The most expensive are not usually proclaimed in such outspoken terms. When considering the prices quoted in the Annual Notes it is necessary, of course, to bear in mind the current purchasing power of money. For this purpose the following figures may be taken as a guide: The purchasing power of the.The first step in reducing the heterogeneous mass of material into order is to classify fashions. But what principle should we select for this purpose. If fashions were merely a series of accidental occurrences it would be impossible to do more than describe them seriatim as they chanced to appear, and any system of classification would be arbitrary and unreal. But inasmuch as fashions were symbolic expressions of the prevailing mentality of the nation (which in its turn was the outcome of ascertainable conditions, mainly economic) it is possible to subdivide the century into epochs, each characterised by a prevailing attitude of mind, and each expressing itself by a distinct mode of art. Thus we find that the first twenty-one years were characterised by an unsentimental attitude of mind, and a taste for classical modes of art, and the fashions showed a marked emphasis on vertical lines. For our purpose we may call this the Vertical Epoch. With a gradual return, from 1822 onwards, to the normal sentimentalism of the nation there was a return to Gothic forms of art, and in fashion an emphasis on angles and curves. From 1822 to 1864 the Gothic influence was undiluted, and angles prevailed; from 1865 until the end of the century the relation of the sexes was undergoing a profound readjustment, as women were being forced to discover other careers than marriage; the instinct of sex-attraction, being in a measure hampered by economic restrictions, showed itself unconsciously by a taste for curves in fashions. We have, then, three epochs: the Vertical, the pure Gothic (with angles), and the debased Gothic (with curves). The table at the end of this chapter shows how each epoch can be subdivided, and indicates the mental attitude prevailing in each. The psychological causes which I have discussed elsewhere may, of course, be disputed, but it can hardly be denied, as an historical fact, that fashions did fall into distinct epochs such as I have described and named. It cannot be disputed, for instance, that a vertical emphasis marked the fashions of the first twenty-one years, and that it then, as a universal style, vanished for nearly a century (until, in fact, after the next great war). It is impossible to suppose that this was due to chance or the vagaries of dress-designers. It cannot be a mere coincidence that whenever the nation grows prosperous there is always a revival of Gothic tastes in art generally and in women’s dress in particular. If it is correct that feminine fashions are unconscious reflections of the current mentality the study of the former becomes a scientific method of ascertaining the latter. Fashions, like fossils, reveal the habits of extinct beings. One could picture an archaeologist examining, say, a dress of the ’40’s and deducing from its structure that the creature who once inhabited it must have been almost incapable of movement; that she could not have got in or out of it unaided, and that therefore a lady’s maid was a necessity, in which case domestics must have been abundant. The shape of the dress would prove that breathing had become an atrophied function, whence he would conclude that health and circulation were poor and the extremities always cold. She would be classified—at least by the scientist—as a degenerate variant of the female homo sapiens with acquired affinities to the Crustaceae. After all, he would not be more astray than the artist who, arguing on aesthetic grounds, exclaims that the being who wore such exquisite gowns, revealing a perfect knowledge of the laws of harmony in colour, must necessarily have possessed a polished mind, and have graced an epoch of high art. Whereas the only safe deduction to be made from those obsolete fashions is that they must have appealed to the man of their day. It is, indeed, the word applied to every new mode. It is designed to attract the male. So-that we learn from past fashions what were the features that attracted the man of that time, and get insight into man’s mentality from a study of women’s clothes. We discover, for example, that at one time he was allured by exhibitionism and at another repelled by it; that the doll-like and the dignified, the simple and the artificial, each have had their charm for him according to his scheme of life, for the average woman has always adapted herself to the standard demanded of her by man; we must suppose that a sex gifted with such elastic properties of mind and body can, in fact, have no absolute standard of taste. Even a definable shape is doubtful, and for that reason feminine fashions have always aroused man’s speculative imagination. During most of the nineteenth century he was perpetually allured by the unknown. As an expert in the art of sex-attraction the woman of last century was without rival. It was a period when good dressing was the practice not of a small section of the community only, as in former centuries, but of a very large one; to the woman of the upper and middle class the subject was of vital importance; her future largely depended on her powers of sex-attraction, for during most of the century marriage was the only career available to her. Most of us to-day owe our existence to her success. From the aesthetic point of view woman’s dress presents three principal features, each of which in the hands of fashion can be made to dominate the picture. These are form, texture and colour. FORM The distinctive feature in a woman’s shape is the disproportionate width of the hip-line, producing an inward slope to the legs, so that in the erect posture the outline of the body is wide at the middle and tapering towards the extremities. Such a shape imparts to the eye a sense of unbalance. Indeed, if the bias of sex-attraction could be set aside, such a shape would be unpleasing, because we have an instinctive dislike of objects that look top-heavy. Instinctively woman is conscious of this, and from the earliest times has attempted to conceal her hip-line. We are told that her first effort was by an apron of fig leaves, applied, no doubt, for that reason. Since then the main function of woman’s dress has been to conceal the bad proportions of her body. That such attempts are not merely a form of sexual protection is indicated by the methods used; in primitive states the apron-like covering is a disguise and not a protection; in civilisations where chastity has been despised, nevertheless, a garment was worn to conceal the breadth of the woman’s hips. From the same instinct a woman who is being photographed will unconsciously slew her body sideways or stand with tilted pelvis to reduce its apparent width. In European culture the methods used to conceal or disguise the breadth of the hip have been two. Whereas the shape of a woman’s body is composed entirely of curves, the form of her dress, from time immemorial, has been composed of a mixture of lines, angles and curves; and fashion has a way of picking out one or other of these three features and exaggerating it. In the nineteenth century during the first twenty-one years, approximately, woman’s dress was designed with a marked emphasis on vertical lines. During the rest of the century her dress emphasised angles and curves. These are the features of the Gothic style. These distinctive points were emphasised not only in the shape of the dress itself, but also in its accessories and the manner in which they were used. As the Gothic period was approached a mixture of styles appeared, evolving, in the later ’20’s, into definite angularity of form. At first the angular effect was indecisive and in a measure concealed by billowy materials; but essentially, the skirt was triangular; the wide shoulder line rendered the shape of the upper half of the body that of an inverted triangle; while the enormous width of the hat produced a similar result. In effect, in the dress of 1830, the outline, in spite of ballooned sleeves, was that of three superimposed triangles, the upper two being inverted. It would be difficult to select a geometrical figure less like that of a woman. It represented the climax of the Gothic impulse. With its gradual decline, which can be dated from the middle ’60’s, the angulation of dress became steadily modified by the introduction of curves. Curves were, so to say, a refreshing change from the uncompromising rigidity of angles, and in the early ’70’s they ran riot. Every corner was smoothed over; new curves were added to a body already amply endowed with them; existing curves were exploited until a woman of fashion resembled an enormous bundle of balloons.