-
pelerine (
tippet)''. on the fitted upper sleeves;
Victoria and Albert Museum.
Overview In the 1830s, fashionable women's clothing styles had distinctive large 'leg of mutton' or gigot
sleeves, above large full conical skirts, ideally with a narrow, low waist, achieved through a combination of
corsetry to restrict the waist and full sleeves and skirts that made the waist appear smaller by comparison. Heavy stiff fabrics such as
brocades were fashionable after the aesthetic simplicity of
fashion from 1795 to 1820, and many 18th-century gowns were cut up into new garments. There was an emphasis on sloping shoulders and large, full sleeves over much of the arm, with a small cuff at the wrist, which are distinctive to day dresses of the 1830s.
Pelerines,
tippets, or lace coverings draped over the shoulders, were popular (one of several garments, along with full upper-arm sleeves and wide necklines, to emphasize the shoulders and their width).
Gowns The fashionable feminine figure, with its sloping shoulders, rounded bust, narrow waist and full hips, was emphasized in various ways with the cut and trim of gowns. To about 1835, the small waist was accentuated with a wide belt (a fashion continuing from the 1820s). Later the waist and midriff were unbelted but cut close to the body, and the bodice began to taper to a small point at the front waist. The fashionable corset now had
gores to individually cup the breasts, and the
bodice was styled to emphasize this shape. Gowns had very wide necklines and short, puffed sleeves reaching to the elbow from a dropped shoulder, and were worn with mid-length
gloves. The width at the shoulder was often emphasized by gathered or pleated panels of fabric arranged horizontally over the bust and around the shoulders. Morning dresses generally had high necklines, and shoulder width was emphasized with tippets or wide collars that rested on the gigot sleeves. Summer afternoon dresses might have wide, low necklines similar to gowns, but with long sleeves. Skirts were pleated into the waistband of the bodice, and held out with starched
petticoats of linen or cotton. Prior to 1835, fashionable skirts could be worn at ankle-length, but as the decade continued this fell out of fashion.
Hairstyles and Headgear wears her hair in corkscrew curls on the sides. The back of her hair is braided and pinned to her head, 1831. Early 1830s hair was parted in the center and dressed in elaborate curls, loops and knots extending out to both sides and up from the crown of the head. Braids were fashionable, and were likewise looped over either ear and gathered into a topknot. Bonnets with wide semicircular brims framed the face for street wear, and were heavily decorated with trim, ribbons, and feathers. Married women wore a linen or cotton cap for daywear, trimmed with lace, ribbon, and frills, and tied under the chin. The cap was worn alone indoors and under the bonnet for street wear. For evening wear, hair ornaments including combs, ribbons, flowers, and jewels were worn; other options included
berets and
turbans. They were defined by their extravagant size, measuring up to in height and width at the height of their popularity. The use of the
peinetón was a local addition to the over-the-top fashion of the Romantic era that characterized Western fashion of the period.
Outerwear Riding habits consisted of a high-necked, tight-waisted jacket with the fashionable dropped shoulder and huge gigot sleeves, worn over a tall-collared shirt or
chemisette, with a long matching petticoat or skirt. Tall top hats with veils were worn.
Shawls were worn with short-sleeved evening gowns early in the decade, but they were not suited to the wide gigot sleeves of the mid-1830s. Full-length
mantles were worn to about 1836, when mantles became shorter. A
mantlet or
shawl-mantlet was a shaped garment like a cross between a shawl and a mantle, with points hanging down in front. The
burnous was a three-quarter length mantle with a hood, named after the similar garment of
Arabia. The
paletot was knee-length, with three cape-collars and slits for the arms, and the
pardessus was half or three-quarter length coat with a defined waist and sleeves. For evening, voluminous mantles of velvet or satin, with fur trim or fur linings in cold climates, were worn with the gown.
Style gallery 1830–1835 File:Mercure des salons 1830-enh.jpg|1 – 1830 File:Winterhalter Markgraefin Sophie.jpg|2 – 1831 File:August Riedel Portrait Therese von Schenk.jpg|3 – 1831 File:Doña Lucia Carranza de RodrÍguez Orey - Charles Henri Pellegrini.jpg|4 - 1831 File:Señora Manuela Suárez Lastra de Garmendia.jpg|5 – 1830s File:Mrs. Edward Kellogg MET ap99.29.2.jpg|6 – 1831–32 File:1832-Wiener-Moden-fashion-plate.png|7 – 1832 File:Julie_von_Woyna_by_Friedrich_von_AmerlingFXD.jpg|8 – 1832 File:Stieler Arco-Steppberg.jpg|9 – 1834 File:Stieler holnstein.jpg|10 – 1834 File:1835-Wiener-Zeitschrift-fashion-plate.png|11 – 1835 File:Eugénia Teles da Gama, Duchess of Palmela (c. 1830s) - John Simpson (Fundação Casa de Bragança).png|12 – 1830s File:Isabella Colbran by Reiter.jpg|13 - 1835 File:Achille_Devéria_8_heures_du_soir.jpg|14 - ca 1835 •
Fashion plate from
Mercure des Salons •
Sophie Guillemette, Grand Duchess of Baden wears a white gown that just skims her ankles and a tawny-colored shawl. Her flat shoes have ribbon laces and square toes. 1831. •
Therese von Schenk wears long sheer oversleeves over short puffed sleeves and an elaborate fabric-covered hat with plumes, 1831. •
Lucia Carranza de Rodríguez Orey, elite woman from
Buenos Aires, wears a
peinetón and a pale dress with large sleeves, a small waist and a leather cord around her neck. •
Manuela Suárez Lastra de Garmendia, elite woman from
Buenos Aires, wears a gown with
gigot sleeves and a small waist, multiple jewelry and an elaborate hairstyle. •
Mrs. Edward Kellogg wears the frilled indoor day cap of a married woman with a wide ribbon bow tied under her chin. Her simple dark gown has gigot sleeves and a modestly broad neckline, filled in with a ruffed
chemisette. •
Fashion plate from
Wiener Moden, in which anatomical accuracy gives way to the desire to present a trendy fashion silhouette. The day dress has a wide, low neckline and long sleeves. •
Julie von Woyna wears a blue silk dress, with sheer sleeves and sheer lace trimmings . Her plaited hair is setup in an elaborate hairstyle. •
Marquise Irene of Pallavicini of 1834 with echoes of the
Renaissance: a wide-necked black gown features a tight belt at the raised waistline. Hair is worn in elaborate curls and knots. •
Caroline, Countess of Holnstein wears her hair severely parted in the center front and across the top of her head. Her long hair is braided, and the braids are looped over either ear and wound into a knot at the crown of her head. She wears a white gown with a wide belt and gathers at the front to emphasise the bust under a pink satin coat with a fur collar and fur trim. German, 1834. •
Fashion plate from
Wiener Zeitschrift shows the fashion for fabrics printed with combinations of stripes and floral designs. •
Eugénia, Duchess of Palmela wears a black gown with short, puffed sleeves and mid-length gloves. Her hair is dressed in elaborate curls and a looped braid is gathered into a topknot. •
Isabella Colbran, wife of
Gioachino Rossini wears a brown silk dress with puffed sleeves, and low square-toed slippers. •
Undergarments, corset, petticoat and dressing gown, ca 1835.
Style gallery 1835–1839 Image:Riding habit 1830s.jpg|1 – 1830s Image:François Joseph Kinson - Portrait of Marie J. Lafont-Porcher - WGA12192.jpg|2 – 1835 Image:Kane Mrs Clench.jpg|3 – 1834–36 File:Ada Lovelace.jpg|4 – 1836 File:Mary Jones Lithogram crop.jpg|5 —1836 File:Dama de Montevideo 1836.jpg|6 — 1836 Image:1837FebruarLaMode.jpg|7 – 1837 Image:Jean-Baptiste-Camille Corot 038.jpg|8 -1837 Image:Eduard Magnus Portrait Mathilde Gräfin Lynar.jpg|9 – 1837 Image:Adélaide d'Orléans.jpg|10 – 1838 File:Waldmüller_-_Porträt_einer_Frau_als_Amazone,_mit_ihren_Windhund.jpg|11 – 1839 •
1830s Riding habits with fashionable full sleeves. •
Marie Lafont-Porcher's hair is styled in a high knot with wide side-curls; her gauzy gown has a neck ruff and a wide collar, and she wears a fur piece similar to that in the
Gazette des Salons fashion plate above, 1835. •
Conservative, middle-class fashion: Eliza Clarke Cory Clench wears a white cap with a large striped ribbon bow that contrasts with her bright green dress. Canada, 1834–36. •
Portrait of
Ada Lovelace in
British court dress. She wears a red
train over a white satin gown. Note her square-toed satin slippers, 1836. • African-American trans woman
Mary Jones, 1836. • Painting by Henri S. Benoit Darondeau depicting the typical evening wear of a woman from
Montevideo, including a pale blue dress with large, voluminous sleves and decorated with ribbons. She has the typical
peinetón on her head and covers her face with a
hand fan. •
Viennese fashion plate for February 1837 shows front and back views of the newly fashionable dangling clusters of curls on the sides worn with an ornate knot of hair at the crown. A headband is worn for evening. The waist is still defined by a wide belt, but it sits lower on the body. •
By 1837, fullness was dropping from just off the shoulder to the middle of the arm. The bonnet is smaller than those worn earlier in the decade, and black lace mitts (fingerless gloves) are worn with the white day dress. Hair is worn in wide clusters of short sausage curls. French. •
Mathilde, Gräfin Lynar wears a brown velvet gown with snug shoulders and lower sleeves, and fullness at the middle of the arm. The waist is darted to fit and comes to a small point in front. Hair is smoothed above the ears and wound into a braided crown. German, 1837. •
Adélaide d'Orléans wears a heavily decorated straw bonnet over a frilled cap, 1838. •
Young woman in
riding habit inspired by contemporary men's fashion, 1839.
Caricature gallery Image:Waist-and-Extravagance-ca-1830-fashion-satire-Heath.jpg|"Waist and Extravagance," c. 1830 fashion satire.
Dresses on display File:Summer Dress LACMA M.2007.211.740 (1 of 5).jpg |White summer dress, c. 1830. File:Woman's muslin dress and straw bonnet c. 1830.jpg |Woman's muslin dress, c. 1830. File:Dress_MET_1971.47.1ab_F.jpeg|Woman's silk dress, c. 1830. File:BLW Wedding Dress (1).jpg |Wedding dress, 1830–33. File:Dress_MET_DP102008.jpg|Silk dress, 1832–35. File:Dress 1832-1835 American.jpg |America cotton dress, 1832–35. File:Afternoon dress MET CI54.48ab F.jpg |Silk afternoon dress, c. 1835.
Fashion plates File:Magasin för konst, nyheter och moder 1830, illustration nr 4.jpg|1830 fashion plate File:La Mode, 1830, Pl. 89 Toilette de Spectacle, RP-P-2009-3026.jpg|La Mode 1830 File:1833 fashion plate.jpg|1833 fashion plate File:Magasin för konst, nyheter och moder 1833, illustration nr 4.jpg|1833 fashion plate File:La Lanterne Magique, mai 1835, Pl. 48 Coiffure par Mr Normandin (..), RP-P-2009-1594.jpg|1835 fashion File:Magasin för konst, nyheter och moder 1835, illustration nr 44.jpg|1835 fashion File:Magasin för konst, nyheter och moder 1836, illustration nr 48.jpg|1836 fashion File:The World of Fashion, 1837, RP-P-2009-2626.jpg|1837 fashion plate File:Magasin för konst, nyheter och moder 1839, illustration nr 44.jpg|1839 fashion
New Orleans Fashion File:Delphine LaLaurie.jpg|New Orleans followed western fashion. File:Painting of Mrs. Samuel Hermann.jpg|Mrs Samuel Hermann wearing a black dress with gold chain and white ruffle lace, 1830 New Orleans. File:Clara Mazureau by Amans.jpg|Young woman with a dress made of cotton, late 1830s New Orleans. File:Portrait of Mme Augustine Massicot Tanneret by Amans.jpg|Augustine Massicot Tanneret wearing a white dress, Louisiana c. 1835. ==German fashion==