Gowns shows the short sleeves, lace flounce collar, and long pointed waist of the early 1840s. The tiny pleats that gather her skirt can be seen at the waistline. 1840–1844. Shoulders were narrow and sloping, waists became low and pointed, and sleeve detail migrated from the elbow to the wrists. Where pleated fabric panels had wrapped the bust and shoulders in the previous decade, they now formed a triangle from the shoulder to the waist of day dresses. Skirts evolved from a conical shape to a bell shape, aided by a new method of attaching the skirts to the
bodice using organ or cartridge pleats which cause the skirt to spring out from the waist. Full skirts were achieved mainly through layers of petticoats. The increasing weight and inconvenience of the layers of starched petticoats would lead to the development of the
crinoline of the second half of the 1850s. Sleeves were narrower and fullness dropped from just below the shoulder at the beginning of the decade to the lower arm, leading toward the flared pagoda sleeves of the
1850s and
1860s. Gowns were worn off the shoulder and featured wide flounces that reached to the elbow, often of lace. They were worn with sheer
shawls and
opera-length gloves. Other greatly worn hand accessories were a new kind of gloves, usually reaching the forearm in length. These gloves had a lace trim in sophisticated flower designs. Another accessory was a small bag. At home, bags were often white satin and embroidered or painted. Outdoor bags were often green or white and tasseled. There were also crocheted linen bags. Shoes were made from the same materials as handbags. There were slippers of crocheted linen and bright colored brocade satin slippers that tied around the ankle with silk ribbon.
Hairstyles and headgear The wide hairstyles of the previous decade gave way to fashions which kept the hair closer to the head, and the high bun or knot on the crown descended to the back of the head. Hair was still generally parted in the center. Isolated long curls dangling down towards the front (sometimes called "spaniel curls") were worn, often without much relationship to the way that the rest of the hair was styled. Alternately the side hair could be smoothed back over the ears or looped and braided, with the ends tucked into the bun at the back. Linen
caps with frills, lace, and ribbons were worn by married women indoors, especially for daywear. These could also be worn in the garden with a parasol.
Bonnets for street wear were smaller than in the previous decade, and were less heavily decorated. The decorations that did adorn bonnets included flowers on the inside brim or a veil that could be draped over the face. Married women wore their caps under their bonnets. The crown and brim of the bonnet created a horizontal line and when tied under the chin, the brim created a nice frame around the face. For evening, feathers, pearls, lace, or ribbons were worn in the hair. There was also a small brimless bonnet worn with the ribbon untied at the nape of the neck. The
pelerine was a popular name for wide, capelike collars that extended over the shoulders and covered the upper chest. Sometimes they had layers of tiered fabric, long front panels hanging down from center front, or were also belted at the natural waistline. The
mantlet was a general name for any small cape worn as outerwear.
Style gallery — 1840–1844 File:Rosalie Julie Freiin von Bonar.jpg|1 – c. 1840 File:Fashion1841.jpg|2 – 1841 File:Wiener Moden 1841 Damen.jpg|3 – 1841 File:Louise d'Orléans, reine des Belges.jpg|4 – 1841 File:1842-La-Mode-riding-habit-contrast.gif|5 – 1842 File:Fanny Hensel 1842.jpg|6 – 1842 File:LeMoniteur de laMode1844.jpg|7 – 1844 File:1844 fashion Plate.jpg|8 – 1844 File:Mrs. Juliann Jane Tillman, preacher of the A.M.E. Church - from life by A. Hoffy ; printed by P.S. Duval. LCCN96508292.jpg|9 – 1844 •
Rosalie Julie von Bonar, c. 1840. The fullness at the shoulder has moved down the arm, and although the dress is still belted in the 1830s manner, the fabric is gathered in to accentuate the V-shaped front rather than the breadth of the shoulders. This is an early image of hair worn in cascades of curls or ringlets. •
1841 fashion plate shows lower sleeve fullness, triangular or V-shaped emphasis in the bodice, and a sloping shoulder line. The indoor cap is trimmed with ribbon loops and frills. •
Viennese summer fashions for 1841 feature pleated panels at the breast and sloping shoulder over long sleeves. The waist is narrow and slightly pointed, and skirts are bell-shaped. •
Marie-Louise, Queen of the Belgians wears a red velvet gown with a pointed waist. Her hair is worn in a mass of sausage curls, 1841. •
A fashion plate from
La Mode which seems to play up the contrast between a menswear-influenced riding habit and more ordinary high fashion. •
Fanny Mendelssohn wears the V-neckline, sloped shoulder, and cascades of side curls fashionable in 1842. •
Fashion plate from
Le Moniteur de la Mode. Morning dress (left) with cape-collared jacket and evening gown (right). •
Dresses of August 1844 show detail on lower sleeves. The dress on the left is an evening style. • African-American preacher
Juliann Jane Tillman, 1844.
Style gallery — 1845–1849 File:Jean-Auguste-Dominique Ingres - Comtesse d'Haussonville - Google Art Project.jpg|1 – 1845 File:Stieler Gumppenberg.jpg|2 – c. 1845 File:BCKoekkoek Young Lady.jpg|3 – 1846 File:Riding Habit Fashion Plate c1847.jpg|4 – c. 1847 File:Johann Baptist Reiter, Betrachtung im Neglige.jpg|5 – 1847 File:Rothshield by ingres.jpg|6 – 1848 File:Maria Carolina Augusta di Borbone, Principessa delle Due Sicilie (1848).jpg|7 – 1848 File:Fashion Engraving 1849.jpg|8 – 1849 •
Countess d'Haussonville wears her hair parted in the center and smoothed over her ears. •
Friederike von Gumppenberg, with a central part, long sausage curls, and a bun on the back of the crown, is a fashionably romantic echo of
mid-seventeenth century styles. This style would remain popular into the next decade. German, c. 1845. •
Young lady of Holland wears a lace collar and ruffled chemise or chemisette with her dark dress. •
Fashion plate of a riding habit c. 1847 features a cutaway jacket over a contrasting waistcoat and shirt with a stiff turned-down collar. The lady wears a dashing plumed hat. •
Underwear of 1847: This woman is unlacing her corset, having stepped out of her petticoats. Her chemise is knee-length, with sleeves ending just above the elbow. •
Baroness Rothschild wears a pink satin gown with rows of ruching at the hem and lace frills at the collar and sleeves, all trimmed with ribbon bows. Her hair is smoothed over her ears and decorated with ostrich plumes, 1848. •
In Winterhalter's portrait of 1848,
Princess Maria Carolina Augusta of Bourbon-Two Sicilies wears her hair parted in the center and hanging in sausage curls. Her skirt is gathered with wide, flat pleats, and the pleating on her bodice is visible through the black lace. •
Fashion illustration of 1849. The lady on the left wears a low-waisted morning dress and an outdoor bonnet. The lady on the right wears a short jacket over her dress and a lacey indoor cap.
Dresses File:Evening Dress 1840-42 American.jpg|1 - 1842 File:Woman's Dress Ensemble LACMA M.2007.211.941a-e (11 of 13).jpg|2 - 1840 court dress File:Dress MET 1979.346.41 F.jpg|3- 1840 File:Dress MET 26.157 F.jpg|4 File:Dress MET 26.157 d.jpg|5 File:Dress MET CP821 front CP4.jpg|6 - 1840 File:Woman's Dress LACMA M.2007.211.746a-b (13 of 18).jpg|7 - 1840 •
1842 evening cream-colored dress •
1840 court dress •
1840 white dress •
Blue silk dress •
Dress fabric in detail •
1840 dress •
1840 dress New Orleans fashion ==Men's fashion==