The history of Dress and Customs.
A dress is a piece that not only serves to cover a body but is also a symbol of power for women, a piece that has gone through time undergoing several important modifications and from there comes the origin or history of the dress.
The history of the dress: a summary.
The 18th century
By the end of the 17th century, the development of European costume, in the true sense of the term, had reached its highest point. From this period onwards, the dimensions were smaller for a while. The wigs were not as tall, the cut in the various pieces was less liberal, the coat became the coat of the dress. Under Louis XVI, fashion emerged in directions that seemed new, but the changes were more in ornamentation than in general cut. Development in the sphere of clothing also seemed to be accelerating towards revolution. But this was preceded by another period which, from a purely artistic point of view, produced fashion of great charm, and of a variety hitherto unknown (1700 - 90). In the field of fashion, France's leadership was as unassailable as in the political sphere. Any new thing, it is true, has made its way, but slowly, and not always simultaneously in different places. The distance from Paris was decisive in this sense. The cities of the Rhine district were often years ahead of large cities such as Vienna or Berlin. It was the arrival of fashionable dishes that helped bring about faster diffusion. These began to appear from the year 1770 in Paris. Then, at regular intervals, from about 1786, articles such as the Journal des Luxus undder Moden, sent by Bertuch in Weimar, appeared.
Women's dress.
In the middle of the 18th century, women's clothing underwent even greater changes than men's. The way had been prepared for them in the reign of Louis XIV. Dresses were again supported by the farthingale, which had gone out of fashion a century earlier. This stood out around the user in the shape of a bell (Fig. 418). The fontange, or topknot, soon disappeared completely, and its place was taken by a simple but high coiffure of curls. The new farthingale, which was not very wide at first, was a structure of hoops made of cane, whalebone, or steel held together with ropes. Because of their resemblance to the baskets under which birds were kept in France, they were called paniers, or chicken baskets. Already in the time of Louis XIV, the farthingale had begun to ruffle more. It was widest around 1725, when the lower edges were often 5 or 6 meters in circumference and the highest 3 meters. On each side of the top hoop two semicircular pieces of steel were fixed to prevent the skirt from widening suddenly and to keep it in a semicircular shape. Although this was the usual style of the farthingale, there were several small modifications of it. The circumference varied; The farthingale was sometimes slightly compressed back. These modifications had different names, such as la culbute, le bout-en-train, le tatez-y, etc. All types were extremely inconvenient, and often brought their users into danger not only on the streets, but in carriages and when passing through doors. They took up the space of three or four people, and women had to twist and turn to avoid obstacles. Despite this, the fashion became popular so quickly that by the beginning of Louis XIV's reign, women in every country, from princesses to working women, wore this peculiar costume, and a woman without a farthingale was looked down upon. The coming of the farthingale caused at first no change in the dresses worn over it, but when it began to increase in girth the long, low dress, open at the front and gathered at the back, was no longer a proper dress. So the meeting at the back was omitted, the train was left aside, and the dress was, in various ways, strung up with strings.
The only changes to the underwear were a greater width and a more liberal cut. By the year 1700 a new style of adornment had been devised - namely, les falbalas - flounces or furbelows. They were strips of material, spiked or nailed, sewn horizontally around the skirt. They were not always made of the same material as the dress, where – like the wide ruffles that came around the same time – the fliers were always made of the same material as the clothing they used to adorn.
The bodice, le corsage, although remaining altogether as it had been, was now tied at the back instead of the front; The sewn skirt had a slit at the back. The change was due to the adoption of the English corset, which had lace at the back. It came into fashion shortly after the year 1700, and was quickly adopted. Like the French type (which was lace in the front), this corset was covered in pretty material and used instead of a bustier. etc...
Before the 1700s;
Prehistoric man wore animal skins under his body, without beauty or details that resembled a dress, in order to cover or protect his body.
The first dress was recorded around 1800 and having a beautiful dress at that time meant a symbol of wealth and power.
In 1860, dresses were given so-called crinalines, a type of frame to give volume to the dresses, but their colors were neutral and they were long. A historical moment in which this woman wore a very heavy and very uncomfortable dress as well. This dress had that attract attention in some way with its volume.
It was only after 1900 that the style of dress changed completely, that is, women now wore more frames or corsets under their dresses, a radical change in the history of the dress.
But for this to happen there had to be a triggering factor to change everything in a society: the industrial revolution in England.
In the Baroque period, women's attire was generally made up of three main pieces, the bodice fitted to the bust, the skirt and the bulge. The women dressed sumptuously, with lace and bows on their clothes. Between 1740 and 1770, in the middle of Rocaille's period, a softer dress appeared, with a bodice, skirt and the famous “Plis Watteau”, composed of folds of fabric that came loose at the back, suggesting a false cloak. In the middle of the century, the “French” dress used in large ceremonies had wide volumes on the sides, a cinched bodice and an open bulge in the front, forming a triangular opening that revealed the skirt.
Romantic style (1825 to 1865)
In the 19th century, in the era of industrialization, rapid technological advances emerged in various areas of production, to which the fashion industry was no stranger. In the 1950s, women's attire reached its maximum expression with the introduction of the crinoline. This internal frame gave great symmetrical volume to the skirts without adding weight. The corset reshaped the female bust. The preferred fabrics were silk and cotton muslin with patterns, flowers, stripes and stripes. The colors were simple and discreet, predominantly blue and green.
Men's fashion in the 1850s maintained the trends of previous decades. Black or sober-colored coats were also worn with trousers in the squares. During the evening, he wore a black coat with trousers and a vest of the same fabric, a shirt with a starched bib and a bow.
Romanticism
The publication of the poems Camões (1825) and D. Branca (1826) by Almeida Garrett marked the beginning of romanticism in Portugal, which would last 40 years.
Corsets and the waist
Women regained the use of corsets and the waist returned to its natural place, as fashion demanded delicate waists.
19th century
The second half of the 19th century was a time of great eclecticism, both in the arts and in fashion, with a clear influence of styles from other periods. Women wore two-piece dresses, comprising a bodice and skirt made of heavy fabrics.
Women's dress
The women's dress in this picture was made fashionably by designer Charles Worth.
Bulky Frame
The silhouette was provided by a voluminous internal structure called a “tournure” at the back of the skirt.
Corset and bodice
The corset under the bodice remained in fashion. The skirt was long, with a series of draperies, passementerie, baubles, ribbons, bows, pompoms and fringes.
Health Corsets
In 1890, women witnessed the emergence of so-called health corsets, which formed a wavy “S” silhouette.
turtledove breast
Women's busts were elevated and emphasized in such a way that it was called “dove breasts”. Long skirts suggested bell pots and often featured a small train.
National Costume Museum in Portugal
The National Museum of Costume and Fashion is located at Palácio Monteiro-Mor, in Lisbon, Portugal. It has a collection of 33,000 items, which mainly includes men's and women's costumes from the 18th and 19th centuries.
Main types of dresses.
And with the evolution of the dress, very famous types and icons of dresses emerged around the world. They are classic, eternal and highly desired by most women. Main types of dresses:
Strapless dress - this is a type of dress that does not have straps and also shows the breasts well;
Basic black dress;
Trapeze Dress;
Tube dress;
Flapper Dress;
Wrap Dress;
Ultrasuede dress.
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Information:
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