Kovács Ferenc et al.: Fardagály és kámvás rokolya. Divat és illem a 19. században (Budapest, 2010)
Az öltözködés története 1840 - 1900
Л HiSTODY or Costume 1840-1900 Divatkép, Illustrirte Frauen -Zeitung, 1896 Fashion Plate. Illustrierte Frauen-Zeitung, 1896 össze. A hosszú, csúcsosan elkeskenyedő felsőrész a nappali öltözékben mindig magasan záródik, és állógallér is kiegészíti. (Az idők során később blúzszerűvé vált.) A részekből szabott szoknya csípőnél keskeny, onnan erősen bővül. Az aljába lószőrt varrtak, hogy minél jobban kiálljon. Néha elérte a 6- 7 méteres kerületet is. A szoknya terjedelmességét és akkoriban divatos zörgését a selyemből készült, fodorberakásos szoknyabélés és alsóruha eredményezte. Az angolos kabátok testhezállóak, ujjaik szintén óriásiak Kedvelték a csípőt takaró, lefelé bővülő vállgallérokat, dróttal merevített Stuart-gallérral. Leggyakrabban fekete selyemből készült, csipkeborítással. Egyre inkább elterjed a kosztümviselés. A frizura egyre nagyobbodik A hölgyek - az akkoriban felfedezett japán hajviselet és művészet hatására - hátul kis kontyba fogják a hajukat, homlokuknál huncutkákat hagynak. baize (felt) making industry is able to produce materials of increasingly artistic perfection. Colour charts are forever gaining newer and newer shades. In 1890 the final steel bands and posterior cushions disappear from beneath the skirt. A balanced, pleasing form comes about as a result, which remains highly popular until the end of the century. The upper parts of dresses are smooth and high with no pleats. The waist is narrow and the sleeves are heavily puffed. Wide ribbon-belts are very popular. The skirt, which is tailored from several parts, is narrow and totally smooth at the front and follows the contour of the hips at the back, with only a few vertical pleats as a reminder of the bustle. Dresses generally reach right down to the ground, although for more sporting activities ankle-length is permitted, while evening dresses included a trail. Coats are usually tight fitting. Silk lace collars and neckerchiefs of various lengths are also very fashionable. They prefer embroidered, pressed velvet, softer materials and fine, matt fabrics. In the summer ladies wear chequered or striped cotton and linen fabrics. Bold colours disappear and less bright, more demure colours and decoration become typical. Hairstyles are small, with large fringes at the forehead. Hair is brushed into small buns on the top of the head, on them pointed or flat, widebrimmed hats. In previous decades the use of headscarves and even the cleaning and moisturising of the face was viewed as a waste of time. The ladies of the nineties were still wary of any form of visible make-up, but were already fans of natural skin care. Face massages came into fashion, which made the face look and feel fresh and young. The Hourglass Silhouette (1893-1898) In 1893 the hourglass silhouette of the Biedermeier period comes back into fashion. The image of ideal beauty is, however, no longer that of a naive little girl, but of a mature, determined woman. Her whole appearance - wide shoulders, bell-shaped, full skirt, and slim, corseted waist - resembles two cones meeting at their peak Frills further accentuate the wide shoulders; the sleeves are huge balloon, mace or ham sleeves, supported by a metal brace. They widen from the shoulders to the elbows. The flat waist is clasped with a wide belt. The long tapered tops of the dresses are always closed high up in the case of daywear and are complemented with a standing collar. (With time they eventually resembled a blouse). The skirt, tailored in sections, is narrow at the hips, then widens rapidly. Horsehair is sewn into the bottom ot the skirt to make it stand out to a greater extent. Its diameter often reaches 6-1 metres. The ruffled silk lining and underskirt provided for the bulk and the then fashionable rustle of the skirt. The English style coats are tight-fitting and also
