Fashion in the 19th century

While no garment, dress or court cloak worn by the Empress Josephine on the day of her coronation in 1804 remains, the shoes were able to be preserved. The differentiation of the right and left foot is not yet effective ; heels have been abandoned since the Revolution.

Pair of shoes worn by the Empress Joséphine on the day of her coronation (1804)

Embroidered with stars and bees, they give an idea of ​​the luxury on show during these events and of the strong symbolism associated with imperial outfits. Indeed, the bee is one of the emblems chosen by Napoleon 1st (1804-1815) to symbolise work but also for its reference to jewellery found in a Merovingian king's tomb, thus ensuring a filiation with the first dynasty of Kings of France.

While he was still only Consul (1799-1804), Bonaparte had promised the city of Lyon, whose textile activities were devastated by the fall of the « Former Régime », to revive and support production by public commissions. The tapestries and seat fittings of many imperial residences were renewed, while a new clothing label was imposed at the court.

The quest for political freedom at the time of the Revolution of 1789 found an echo in the liberation of the female form. This was expressed by the appearance, in 1795, of high-waist dresses falling vertically, vaguely interpreting antique clothes. These outfits are in radical rupture with the habits of the privileged social classes who value the expansion of skirt widths. Thus, after almost three centuries of use, women shed accessories that artificially modelled their outlines. However, bras supporting the breasts come to the rescue of the women. Over time, these become tighter and tighter with discreet boning. The liberation was therefore short lived !

Wedding dress (around 1805)

In summer as well as winter dresses are cut mostly in light white fabrics; cotton muslin or linen. While the embroideries were not frequent in the women's wardrobe of the « Former Régime », they make a timid appearance here, foreshadowing a return to luxury.
Short « balloon » sleeves replace long sleeves finishing in mittens while the square neck largely reveals the bust.

Dress (around 1810)

The cuts remain close to those initiated as early as 1795, however the trains give more of a sense of majesty.

« A la française » clothing (1804-1815)

For men, although more sober clothes such as embroidered frocks, frock-coats and trousers are worn in everyday life, clothes « à la française » from the Former Régime, reappear with little change.

Appearing at the end of the 17th century this type of men's clothing comprises three pieces. Bloomers that stop at the knees, the waistcoat (white in general), and the coat with a high officer collar worn on top that contrasts through its dark colour without being austere. The embroidery, with rich plant motifs punctuates all the borders and flaps.

The velvet from which it is cut reveals delicate, small woven patterns discreetly animating the surface.

As early as the 1820s, the romantic period was marked by a return to colour, volume, patterns and imposing embellishments in clothing, as well as in women's accessories.

Dress (1828-1829)

This dress has a much more traditional and outdated character compared to dresses with the radical and vertical modernity of the early 19th century.
While the Restoration policy was established (1815-1830), whale-boning was itself restored under the name of corset. The nostalgia of past styles is also confirmed by a reference to the « leg of lamb » sleeves and the bell skirts supported by a Renaissance farthingale.
Brightly coloured printed textiles contrast with the watered-down colours of the Empire. They find a counterpoint in the decorative overkill of jewellery, using various types of techniques in order to vary textures and shines.

The wealth of the women's wardrobe now contrasts with masculine austerity. If the divorce between city and court was consummated at the end of the 18th century, the bourgeoisie's precedence in economic life under Louis-Philippe (1830-1848) eliminates the pompous embroidered clothing and leads to a long eclipse of men's fashion. Idle aristocrats are no longer models to be imitated ! It is now only women who reflect the level of their social success by the size of their dress and the quality of their fabrics, accessories and jewellery.

Frock coat worn by Barbey d'Aurevilly (around 1840)

At the end of the Former Regime, a wave of anglomania resulted in the wool fitted coat derived from a riding coat appearing in France. For a time, this garment, symbolising the masculine elegance of the 19th century, timidly followed the increase in volume of the female skirt.

One would have imagined this frock coat, worn by the more eccentric dandy-writer Barbey d'Aurevilly, but as Baudelaire points out, recalling Barbey : Also, in his eyes, above all else, the perfection of clothing finds itself in absolute simplicity, which is indeed the best way to distinguish yourself !

Dress in two parts (around 1885)

On the other hand, the volume is new, as, from 1869, the bustle replaced the hoop skirt.

The dresses now form a pouf at the back, accentuated by draped over-skirt effects. Several more or less adjustable support accessories followed one another or competed. Ladders of ruffles armed with hair or crayfish tail made of half-hoops of superimposed metal or willow, descend almost to the ground, padded horsehair cushion, faux-cul, or fold-up-seats, accentuated the buttocks with their reduced height.

Visite (1870-1879)

Cashmere shawls, prized for a good part of the century, were neglected by the elegant in light of the upsurge of cheap printed versions. Some shawls were recycled, as here.
Symptomatic of the discomfort of feminine outfits, victims of fashion, this short jacket called a « visite », presents a constraining sleeve cut which, imprisoning the entire upper body, allows for only limited movements. It adapts to the raised shape of a skirt and shows a fondness for the « upholsterer » style.

The trousers and the top hat appear almost at the turn of the century. The frock coat, ever popular, was competing with the morning coat, which is shorter with rounded tails, and the jacket, also short, but less rounded. Long unmatched, the « suit » with three matching pieces, arrived around 1875.

Poster (1888)

The first signs of industrial innovation were seen at the beginning of the century. In the field of weaving, Jacquard looms allowed woven patterns to be created. Then, clothing assembly methods were overturned by the distribution of the sewing machine. The embroidery machine appeared while textile printing benefited from new techniques. Finally, the progress of chemistry enriched the range of textile dyes. Thanks to these innovations, sale prices fell ; a new form of tailoring was born. Indeed, production cycles were now distinguishable from sales channels. Anticipating customers' needs, temples dedicated to commerce were built using the new model of the department store. Advertising, affecting ever broader targets, contributed to economic development.