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“HE SEEKS TO DOUBLE HIMSELF BY WHAT HE LOVES” FROM THE ANTIQUE CHRISTINA ROSSETTI, 1896
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AS A MAN LOOKS
HE LOOKED AT HER
WITH DIFFICULTY
RECOGNIZING IN IT
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AT A FADED FLOWER
HE HAS GATHERED
THE BEAUTY FOR
WHICH HE PICKED AND RUINED IT.
ANNA KARENINA LEO TOLSTOY, 1878
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T hey even took to penning male names when publishing their written works. Women finally got the right to vote in 1928 but were still far from being viewed as equals to the “superior” sex. When it came to expressing their femininity, Victorian women were more often than not frowned upon, the intimacy of their female b o d i e s ke p t fo r o n l y t h e i r husbands once behind closed door s. Women belonged to men and were seen as their p r o p e r t y, e s p e c i a l l y o n c e married.
T
he idea for this “SEPERATE SPHERES” collection comes from 19th-centur y Victorian England and how, ultimately, women felt oppr essed and alienated. Victorian women wer e consider ed weaker physically than men and seen a s d e c o r a t i ve t r o p h i e s o r spiritual guardians of a man’s immortal soul. 10
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AND MAKE HIS DRINK
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MORE COSTLY BY OUR PEARLS AURORA LEIGH ELIZABETH BARRETT BROWNING, 1856
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silhouette over the victorian er a and tr ansfor med them into wearables for modern-day women. Juxtaposing the irony of how a woman should be delicate, the colours and textures within this collection are soft, muted and subtle.
h e t wo s exe s h a d ve r y different fundamental roles to play within their lifestyles therefore inhabiting separate spheres, coming together only at breakfast and dinner within the household. In this collection, I have taken inspiration from the evolution of the male
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“WOMEN WERE CONSIDERED WEAKER, PHYSICALLY
AND INTELLECTUALLY, TO MEN.”
GENDER IDEOLOGY & SEPERATE SPHERES IN THE 19TH CENTURY V&A, 2014
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“Aurora Leigh” Blouse & Trousers
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V
ictorians were often portrayed as dogmatic figures, and their clothing would reflect this. The lace (usually used in undergarments and never seen above dress) exposes skin in the negative space throughtout this collection. Both blouse and trousers are adorned with excessive embellishments and a variety of textures - proving that women can wear feminine clothing if they wish and still have rights (and that how they dress should not be governed by men). Women are nobody’s property.
This collection highlights a timeless elegance, with ruffles and sleeves accentuating and elongating the arms and neck. The crisp, white shirt draws attention to modest features of the Victorian era; ones that would usually be concealed. The colours are carefully chosen to retain class and purity, symbolic to the ideal woman of this time period - yet these added features give the collection a sense of rebellion and opportunity.
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The further complication of having to take these photos in lockdown due to the Corona Virus allowed the model to experience the lack of freedom of expression that a woman in the Victorian times may have faced. Segregated conjugal roles for the different sexes in this era left women oppressed and forced to take on domestic chores, subject to abuse and lack of control. This power struggle is shown in the divine
combination of innocence with a touch of curiosity in these pieces. The designer perfectly captures the image of an ideal woman in these times, while incorporating adornments that exaggerate the desperation for equality in the patriarchal society. In this collection, the women finally get to “wear the trousers”.
Review by photographer, Olivia James
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PHOTOGRAPHY BY
OLIVIA JAMES
MODELED AND MADE BY
ELLIE JAMES
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