Clothing in Romantic Period

The Romantic Period 1825 - 1850 Description of an Engraved print - By Jyoti Meena, FD VI


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Introduction The romantic period began at the turn of 19th century. It started as a literary movement.

It praised imagination over reason, emotions over logic, and intuition over science thus the centre of attention shifted from real life to the world of fantasy based on medieval chivalry and fairy tales. The styles of the artists of the romantic period poets such as Keats and Wordsworth, musicians such as Mozart and Beethoven and painters such as Thomas Cole were all characterised by a deepened concern for the metaphysical problems of existence, death, eternity and individualistic expressions where people dwelt on old and beautiful things which sets the overall feel of this era. On the other hand Romanticism collides with age of enlightenment, both of which co existed.

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2 3 Paintings and literary works from Romantic Period

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6 5 Architecture examples of Romantic Period

The architecture also known as Neo gothic or Gothic revival started from 17th century and lasted till 19th century, it was like a fairytale setting with grand castles and extremely decorated towers based upon medieval cathedrals in more beautiful and fanciful way than Gothic style. The architecture of buildings showed eccentric natural expression and beauty, the bigger and more decorative the better. This style of architecture became popular with aristocrats of that time period as now they can show off their wealth in terms of architecture as well. One of the most popular example is Fonthill Abbey which collapsed on 21 December 1825.

1. Liberty leading the people, 1830.

4. Saint Clotilde Basilica, 1857.

2. Emily Dickinson literary works.

5. The Royal Pavilion in Brighton, England.

3. Hardanger gude, 1847.

6. Fonthill Abbey

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Costume - Womenswear The 19th century (Romantic era) was a period during which the shape of female costumes changed dramatically. The woman of this period was considered to be delicate.

Medieval plays suddenly came into fashion, and their medieval period costumes provided inspiration for the feminine shape, leading to features like the wide open décolleté (low neckline), gigot sleeves, the small waist, the bell shaped skirt that appeared in the fashion of this time period.

Soft thin silk was popular at the time. skirt hems were decorated with flounces and padding to provide sufficient weight and define the outline of the skirt. Details such as the shape of the thin neckline and the round shoulders drawn in soft contours were of precise elegance.

The high waistline was in fashion from the end of 18th century during neoclassical period but the waist returned to its natural position around mid 1820s, at the beginning of Romantic period.

During this time a thin waist became important thus the corset was once again in demand. From then on the thin waistline obsession escalated some women even went to the lengths of getting their ribs removed just to reach the 18 inch waist which was in Vogue at that time.

Fainting of women became a common site to be seen due to the lack of oxygen because of tight lacing of the corsets and such women were considered delicate.

Walking Dress, Summer 1830, English Fashion

Sleeves gradually gained volume from the 1820s and reached their maximum size in 1830s. They were called gigot sleeves because their shape looked similar to a leg of mutton.

During this time fichus and many types of capes such as pelerine were fashionable.

These emphasised the blown up gigot sleeves, and covered the décolleté with its see through effect. In 1840s the exaggerated gigot sleeve disappeared from the fashion scene.

Skirts became larger with layered petticoats. In early 1840s horsehair crinolines came which made it easier to expand women’s skirts without layering so many petticoats.

Towards the end of 1850s which is also the end of Romantic period an innovative cage crinoline came which takes the radius of skirts further into crinoline period.

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Now coming to the engraved fashion plate which is titled as Walking Dress, Summer 1830, England is one of many plates which were made in that time period to let people know about the latest fashions.

Here two women and a boy can be seen standing outside on a grassy lawn. The sloping shoulder line makes the waist look thinner of both women. The voluminous gigot sleeves and swelling bell shaped skirts creates an hourglass shape. Moreover the tiny waists are put in place by the corsets which have been tightly laced under the gown.

Fabrics used are quite plain, only form of decoration used is in horizontal and vertical bands of patterned material sewn at intervals from waist to hem.

The women on left is wearing an ankle length pink gown with floral white stripes. The print looks somewhat like Indian chintz known as indienne which had been highly appreciated in the 17th century, in 1830s dresses with such printed fabrics were a rage.

Her dress have a wide pelerine collar with a pink bow at centre front and double row of white ruffles above the bow. The skirt has a band of flounces near knee height with zigzagged edges. The fullness in the skirt is coming from the layers of petticoat which are worn under it since till this time horsehair was not introduced.

Other than that in terms of accessories she is wearing a wide brimmed hat with green and pink ribbons and bows and it is decorated with green leaves on top.

She is also wearing yellow gloves, gold bracelet and flat black shoes with white stocking which could be probably embroidered since they were popular back then to be worn with ankle length skirts.

As mentioned earlier since this age collides with the age of enlightenment she is also carrying an octagonal quizzing glass on a long chain round her neck as people who carried such accessories were considered intelligent.

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Her hair are parted off in the middle and scraped flat across the top of the head with the sides arranged in falling ringlets.

The other woman who is on right is wearing an ankle length yellow dress which have rows of bows in the centre front and on the tighter fitting side of the sleeve.

It seems like she is supporting a fichu pelerine collar, above which she have three rows of white ruffles surrounding her neck.

Just like the other lady she is also wearing wide brimmed pink hat decorated with light pink and red stripped ribbons, roses and leaves and has ties of transparent pink fabric.

She is wearing grey coloured gloves, during this time gloves were once again considered an essential of female attire. They came in different styles to suit the different type of gown sleeves. Wrist length gloves were worn with gigot sleeves, and elbow length gloves were worn with short puffed sleeves.

She also has golden tear drop earrings and yellow shoes which are covered from front. In terms of hairstyle she also have ringlets on both sides and a single ringlet in middle of the forehead.

A young boy is also with them who is wearing a blue frock coat with gigot sleeves having a wide black belt with large silver buckle in centre back. Below the coat he is wearing white bottoms. There are a lot of accessories such as fans both folding and rigid, parasols and muffs which were carried for more decorative reasons than practical, handbags of various styles, draw stings, with flaps and buckles which could not be mentioned here since these ladies are not carrying either but such was romantic period in terms costume and accessories taking extravagance to another level altogether.

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