Kovács Ferenc et al.: Fardagály és kámvás rokolya. Divat és illem a 19. században (Budapest, 2010)
Az öltözködés története 1840 - 1900
Az ÖLTÖZKÖDÉS TÖRTÉNETE 1840-1900 Divatkép, Modebild Pannonia, 1843. Fashion Plate. Modebild Pannonia, 1843 Az öltözködésre a biedermeier édeskés polgári-kispolgári világa és a nemzeti romantika szelleme egyaránt hatott. Napóleon bukása után Európa polgárai megvetően fordultak el mindattól, ami a „zsarnokra” emlékeztetett, tehát az empire stílustól is. A különböző nemzetek irányadó körei önérzetesen tiltakoztak a „francia cifraság” ellen, és a régi nemzeti viseletekhez nyúltak vissza. Magyarországon is ebben a korszakban jött újra divatba a magyaros öltözködés. A 16-18. századi jellegzetes magyar nemesi viseletét újították fel. A női ruha ennek jegyében több darabból állt. A bő, húzott szoknya fölött fűző segítségével karcsú derekat alakítottak ki, me-Apart from the spectacular, deliberate advances that manifest themselves in every field oflife, the period of Romanticism is also characterised by a return to the past. Artists, and often whole nations, look back with nostalgia primarily to their own national heritage. They search for national content in everything and rediscover their own ancient mythology and folk culture. The birth of citydwelling, bourgeois societies goes hand in hand with the development of the national identity. The verification of their solidarity based on language and culture was ever present and called on peoples to nurture an interest in their own past and history. This is how the various types ofNational Romanticism came into being. Fashion was affected both by the pretty, bourgeois, middle-class world of the Biedermeier and the spirit ofNational Romanticism. After the fall ofNapoleon, the citizens ofEurope scornfully turned away from everything that reminded them of “the tyrant”, including the Empire style. The leading circles of the various nations proudly protested against the “French gaudiness” and returned to their time-honoured, traditional cos-Fésű, réz,filigrános virágokkal, 1840-es évek, MNM Comb, copper with filigree flowers, 1840s, HNM tumes. It was also during this period that Hungarian-style costume came back into fashion. People revived the characteristic costume of the Hungarian nobility from the 16th-18th centuries. In adherence to this spirit, women’s costume was made up of several parts. A narrow waist was formed above the wide skirt with the help of a corset, and this was accentuated further by a puffy, short-sleeved blouse and a shoulder-yoke bound with laces. The shoulderyoke was richly gathered and usually reached down to the elbows, although tops with full-length arms were not unusual, with the arms narrowing from the elbow down. Lace pinafores were often worn over the skirt.
