, some society ladies rebelled against
French fashion by dressing as
majas, like
Doña Isabel de Porcel, 1805.
Overview In this period, fashionable women's clothing styles were based on a high, under the bust waistline, only called the
Empire silhouette in the 20th century — dresses were closely fitted to the torso just under the bust, falling loosely below. In different contexts, such styles are now commonly called "
Directoire style" (referring to the
Directory government of France during the second half of the 1790s), "
Empire style" (referring to Napoleon's 1804–1814/1815 empire, and often also to his 1800–1804 "consulate"), or "
Regency" (loosely used to refer to various periods between the 18th century and the Victorian).
Empire silhouette and
Directoire style were not used at the time these styles were worn. These 1795–1820 fashions were quite different from the styles prevalent during most of the 18th century and the rest of the 19th century when women's clothes were generally tight against the torso from the natural waist upwards, and heavily full-skirted below (often inflated by means of
hoop skirts,
crinolines,
panniers,
bustles, etc.). Women's fashion around this time started to follow classical ideals, inspired by the ancient Greek and Roman style with its gracious, loosely falling dresses that were gathered or just accentuated over the natural waist under the bust. For women, heavily boned stays gave way to a celebration of the natural form.
Gowns Inspired by neoclassical tastes, 'undress' was the style of the day, casual and informal. It was the type of gown a woman wore from morning until noon or later depending on her social engagements of the day. The short-waisted dresses sported soft, loose skirts and were often made of white, almost transparent
muslin, which was easily washed and draped loosely like the garments on Greek and Roman statues. Since the fabric clung to the body, revealing what was underneath, it made nudity
à la grecque a centerpiece of public spectacle. Satin was sometimes worn for evening wear. 'Half Dress' is thought of as how one would dress when going out during the day or meeting with guests.' Full Dress' was what a lady wore to formal events, day or night. 'Evening Dress' was only appropriate at evening affairs. Thus during the 1795–1820 period, it was often possible for middle- and upper-class women to wear clothes that were not very confining or cumbersome, and still be considered decently and fashionably dressed. Among middle- and upper-class women there was a basic distinction between morning dress (worn at home in the afternoons as well as mornings) and evening attire — generally, both men and women changed clothes in preparation for the evening meal and possible entertainments to follow. There were also further gradations such as afternoon dress, walking dress,
riding habits, traveling dress, dinner dress, etc. In the ''Mirror of Graces; or the English Lady's Costume'', published in London in 1811, the author ("a Lady of Distinction") advised: • Mourning dresses were worn to show the mourning of a loved one. They were high-necked and long-sleeved, covering throat and wrists, generally plain and black, and devoid of decoration. • Gowns (now restricted to formal occasions) were often extravagantly trimmed and decorated with lace, ribbons, and netting. They were cut low and sported short sleeves, baring bosoms. Bared arms were covered by
long white gloves. Our Lady of Distinction, however, cautions young women from displaying their bosoms beyond the boundaries of decency, saying, "The bosom and shoulders of a very young and fair girl may be displayed without exciting much displeasure or disgust." A Lady of Distinction also advised young ladies to wear softer shades of color, such as pinks, periwinkle blue, or lilacs. The mature matron could wear fuller colors, such as purple, black, crimson, deep blue, or yellow. Many women of this era remarked upon how being fully dressed meant the bosom and shoulders were bare, and yet being under-dressed would mean one's neckline went right up to one's chin.
Silhouette Due to the importance of showing social status, the fashion industry was very much influenced by society during the Regency era. One's position was determined by the person's wealth, etiquette, family status, intelligence, and beauty. Women financially and socially relied on their husbands. The only socially-acceptable activities in which women could participate centered around social gatherings and fashion, the most important component of which was attending evening parties. These parties helped to build relationships and connection with others. As etiquette dictated different standards of attire for different events, afternoon dress, evening dress, evening full dress, ball dress, and different types of dresses were popular. Women's fashion in the Regency era started to change drastically. It popularized the empire silhouette, which featured a fitted bodice and high waist. This "new natural style" emphasized the beauty of the body's natural lines. Clothing became lighter and easier to care for than in the past. Women often wore several layers of clothing, typically undergarments, gowns, and outerwear. The chemise, the standard undergarment of the era, prevented the thin, gauzy dresses from being fully transparent. Outerwear, such as the spencer and the pelisse, were popular. The empire silhouette was created in the late 18th century to about the early 19th century and referred to the period of the First French Empire. This adoption had been linked with France's neoclassical taste for Greek principles. In fact, however, its genealogy is much more complex. It was first worn by the French queen, whose reference was Caribbean, not Greek. The style was often worn in white to denote as high social status. Josephine Bonaparte was one of the figureheads for the Empire waistline, with her elaborated and decorated Empire line dresses. Regency women followed the Empire style along with the same trend of raised waistlines as French styles, even when their countries were at war. Starting from the 1780s and early 1790s, women's silhouette became slimmer and the waistlines crept up. After 1795, waistlines rose dramatically and the skirt circumference was further reduced. A few years later, England and France started to show the focus of the high waist style and this led to the creation of Empire style. or similar wrap, or a short "Spencer" jacket, as the dresses were light and left much uncovered The style began as part of
Neoclassical fashion, reviving styles from
Greco-Roman art which showed women wearing loose-fitting rectangular
tunics known as
peplos which were belted under the bust, providing support for women and a cool, comfortable outfit especially in a warm climate. The empire silhouette was defined by the waistline, which was positioned directly under the bust. The Empire silhouette was the key style in women's clothing during the Regency era. The dresses were usually light, long, and fit loosely, they were usually in white and often sheer from the ankle to just below the bodice which strongly emphasized thin hem and tied around the body. A long rectangular shawl or wrap, very often plain red but with a decorated border in portraits, helped in colder weather and was apparently lain around the midriff when seated—for which sprawling semi-recumbent postures were favored. The dresses had a fitted bodice and it gave a high-waist appearance. The style had waxed and waned in fashion for hundreds of years. The shape of the dresses also helped to lengthen the body's appearance. The clothing can also be draped to maximize the bust. Lightweight fabrics were typically used to create a flowing effect. Also, ribbon, sash, and other decorative features were used to highlight the waistline. The empire gowns were often with a low neckline and short sleeves and women usually wore them as for formal occasions. On the other hand, day dresses had a higher neckline and long sleeves. The chemisette was a staple for fashionable ladies. Although there were now differences between dresses and gowns, the high waistline was not changed.
Hairstyles and headgear and her daughter Letizia, painted in 1807 by
Elisabeth Vigée-Lebrun. Madame Murat wears the formal red train of
court dress over her high-waisted gown. During this period, the classical influence extended to hairstyles. Often masses of curls were worn over the forehead and ears, with the longer back hair drawn up into loose buns or
Psyche knots influenced by Greek and Roman styles. By the later 1810s, front hair was parted in the center and worn in tight ringlets over the ears. In the
Mirror of Graces, a Lady of Distinction writes, Conservative married women continued to wear linen
mob caps, which now had wider brims at the sides to cover the ears. Fashionable women wore similar caps for morning (at home undress) wear. For the first time in centuries, respectable but daringly fashionable women would leave the house without a hat or
bonnet, previously something often associated with prostitutes. However, most women continued to wear something on their head outdoors, though they were beginning to cease to do so indoors during the day (as well as for evening wear). The antique head-dress, or Queen Mary
coif, Chinese hat, Oriental-inspired turban, and Highland helmet were popular. As for bonnets, their crowns and brims were adorned with increasingly elaborate ornamentations, such as feathers and ribbons. In fact, ladies of the day embellished their hats frequently, replacing old decorations with new trims or feathers. File:1799-pinup-print-archers-Adam-Buck-unbound-hair.jpg|Two English girls practice archery, 1799 File:Rolinda-Sharples-selfportrait-ca1820.jpg|
The Artist and her Mother. Painter
Rolinda Sharples wears her hair in a mass of curls; her mother wears a sheer indoor cap, 1816. File:Madame-Seriziat Jacques-Louis-David 1795.jpg|Mme Seriziat wears a straw bonnet trimmed with green ribbon over a lace mob cap, 1795 (painting by
Jacques-Louis David) File:1819Journal desDamesII3a.jpg|Fashionable bonnet, Paris, 1818
Undergarments Fashionable women of the
Regency era wore several layers of
undergarments. The first was the
chemise, or shift, a thin garment with tight, short sleeves (and a low neckline if worn under evening wear), made of white cotton and finished with a plain hem that was shorter than the dress. These shifts were meant to protect the outer-clothes from perspiration and were washed more frequently than outer clothes. In fact, washerwomen of the time used coarse soap when scrubbing these garments, then plunged them in boiling water, hence the absence of color, lace, or other embellishments, which would have faded or damaged the fabric under such rough treatment. Chemises and shifts also prevented the transparent
muslin or silk dresses from being too revealing. The next layer was a pair of stays or
corset (more lightly boned). While high-waisted classical fashions required no corset for the slight of figure, most ordinary women still wore some kind of bust support, although the aim was to look as if they were not. The disappearance of the corset or stays has been much exaggerated by writers on the Regency period. There were some experiments to produce garments which would serve the same functions as a modern brassiere. (In the
Mirror of Graces, a "divorce" was described as an undergarment that served to separate a woman's breasts. Made of steel or iron that was covered by a type of padding, and shaped like a triangle, this device was placed in the center of the chest.) "Short stays" (corsets extending only a short distance below the breasts) were often worn over the shift or chemise (not directly next to the skin), and "long stays" (corsets extending down towards the natural waist) were worn by women trying to appear slimmer than they were or who needed more support. The English wore these more than the French, but even such long stays were not primarily intended to constrict the waist, in the manner of Victorian corsets. The final layer was the
petticoat, which was the name for any skirt worn under the gown and could be a skirt with a bodice, a skirt attached over the torso by tapes, or a separate skirt. These petticoats were often worn between the underwear and the outer dress and were considered part of the outer clothing, not underwear. The lower edge of the petticoat was intended to be seen since women would often lift their outer dresses to spare the relatively delicate material of the outer dress from mud or damp (so exposing only the coarser and cheaper fabric of the petticoat to risk). Often exposed to view, petticoats were decorated at the hem with rows of tucks or lace, or ruffles. "Drawers" (large, flowy 'shorts' with buttons at the crotch) were only occasionally worn at this time. Women had no underwear under their dresses. Stockings (
hosiery), made of silk or knitted cotton, were held up by
garters below the knee until
suspenders were introduced in the late 19th century and were often of a white or pale flesh color.
Outerwear and shoes '', 1806,
Jean Auguste Dominique Ingres,
Louvre. During this time period, women's clothing was much thinner than in the eighteenth century so warmer outerwear became important in fashion, especially in colder climates. Coat-like garments such as pelisses and redingotes were popular, as were shawls, mantles, mantelets, capes, and cloaks. The mantelet was a short cape that was eventually lengthened and made into a shawl. The redingote, another popular example, was a full-length garment resembling a man's riding coat (hence the name) in style, that could be made of different fabrics and patterns. as houses and the typical
English country house were generally draughty, and the sheer muslin and light silk dresses popular during this time provided less protection. Shawls were made of soft
cashmere or
silk or even
muslin for summer. Paisley patterns were extremely popular at the time. Short (high-waisted) jackets called
spencers (which were often sleeveless and reached down as far as the ankles). These outer garments were often made of double sarsnet, fine Merino cloth, or velvets, and trimmed with furs, such as swan's down, fox, chinchilla, or sable. On May 6, 1801, Jane Austen wrote her sister Cassandra, "Black gauze cloaks are worn as much as anything." Thin, flat fabric (silk or velvet), or leather slippers were generally worn (as opposed to the high-heeled shoes of much of the 18th century). Metal
pattens were strapped on shoes to protect them from rain or mud, raising the feet an inch or so off the ground.
Accessories Gloves were always worn by women outside the house. When worn inside, as when making a social call, or on formal occasions, such as a ball, they were removed when dining. About the length of the glove, A Lady of Distinction writes:
Longer gloves were worn rather loosely during this period, crumpling below the elbow. As described in the passage above, "garters" could fasten longer gloves.
Reticules held personal items, such as
vinaigrettes. The form-fitting dresses or frocks of the day had no pockets, thus these small drawstring handbags were essential. These handbags were often called buskins or balantines. They were rectangular in shape and was worn suspended by a woven band from a belt placed around the figure above the waist.
Parasols (as shown in the illustration) protected a lady's skin from the sun and were considered an important fashion accessory. Slender and light in weight, they came in a variety of shapes, colors, and sizes. Fashionable ladies (and gentlemen) used
fans to cool themselves and to enhance gestures and body language. Made of paper or silk on sticks of ivory and wood, and printed with oriental motifs or popular scenes of the era, these ubiquitous accessories featured a variety of shapes and styles, such as pleated or rigid. An information sheet from the
Cheltenham Museum describes fans and their use in body language and communication (click and scroll to page 4).
Directoire (1795–1799) n by
Elisabeth Vigée-Lebrun ca. 1790s. domestic scene By the mid-1790s, neoclassical clothing had come into fashion in France. Several influences had combined to bring about this simplification in women's clothing: aspects of Englishwomen's practical country outdoor-wear leaked up into French high fashion, and there was a reaction in revolutionary France against the stiffly boned corsets and brightly colored satins and other heavy fabrics that were in style in the Ancien Régime (see
1750–1795 in fashion). But ultimately,
Neo-classicism was adopted for its association with classical republican ideas [with reference to Greece, rather than republican Rome, which was now considered politically dangerous]. Along with the influences of the Pompeii and Herculaneum excavations, several other factors came together to popularize neoclassical dress. Starting in the early 1790s,
Emma Hamilton began her performances of attitudes, something that was considered by contemporaries as entirely new. These attitudes were based loosely on the ancient practice of pantomime, though Emma's performances lacked masks and musical accompaniment. As an aid to her performances of tragic mythological and historical figures, Emma wore the clothing á la grecque that would become popular in mainstream France in the coming years. A simple light-colored chemise made from thin, flowing material was worn and gathered with a narrow ribbon under the breasts. Simple cashmere shawls were used as headdresses or to give more fullness to the drapery of the chemise. They also helped to prevent broken lines in the performance so that the outstretched arms were always connected with the body, escalating the effect of fluid movement, and oftentimes, a cape or a cloak was worn to emphasize the lines of the body in certain poses. This highlighted the continuity of surface of line and form in the body of the performer to emphasize the unity, simplicity, and continuously flowing movement from one part of the body to the next. The hair was worn in a natural, loose, and flowing fashion. All of these properties blended together to allow an extensive play of light and shadow to reveal and accent certain parts of the body during the performance while covering others. Also, a simplification of the attire worn by preteen girls in the 1780s (who were no longer required to wear
miniature versions of adult stays and panniers) probably paved the way for the simplification of the attire worn by teenage girls and adult women in the 1790s. Waistlines became somewhat high by 1795, but skirts were still rather full, and neoclassical influences were not yet dominant. It was during the second half of the 1790s that fashionable women in France began to adopt a thoroughgoing Classical style, based on an idealized version of ancient Greek and Roman dress (or what was thought at the time to be ancient Greek and Roman dress), with narrow clinging skirts. Some of the extreme Parisian versions of the neoclassical style (such as narrow straps which bared the shoulders, and diaphanous dresses without sufficient stays, petticoats, or shifts worn beneath) were not widely adopted elsewhere, but many features of the late-1790s neoclassical style were broadly influential, surviving in successively modified forms in European fashions over the next two decades. With this Classical style came the willingness to expose the breast. With the new iconography of the Revolution as well as a change in emphasis on maternal breast-feeding, the chemise dress became a sign of the new egalitarian society. The style was simple and appropriate for the comfort of a pregnant or nursing woman as the breasts were emphasized and their availability was heightened. Maternity became fashionable and it was not uncommon for women to walk around with their breasts exposed. Some women took the "fashionable maternity" a step further and wore a "six-month pad" under their dress to appear pregnant. White was considered the most suitable color for neoclassical clothing (accessories were often in contrasting colors). Short
trains trailing behind were common in dresses of the late 1790s.
Directoire gallery File:1795-Frankland-sisters-by-Hoppnet.jpg|1 – 1795 File:1795-William-Blake-Naomi-entreating-Ruth-Orpah.jpg|2 – 1795 File:Fashion 1796-enh.jpg|3 – 1796 File:Gabrielle-Josephine-du-Pont-ca1978.jpg|4 – File:1798-balloon-henri.jpg|5 – 1798 File:1799-red-shawl.jpg|6 – 1799 File:1798-spencer-sketch.jpg|7 – 1798 File:Marie-Victoire Lemoine - A young woman leaning on the edge of a window (Une jeune femme appuyée sur le bord d’une croisée).jpg|8 – 1798 File:Gertrud_Hage,_nee_Heitmann,_by_Jens_Juel_-_Statens_Museum_for_Kunst_-_DSC08189.JPG|9 – 1799 File:1799 Riding Habit July LMM.jpg|10 – 1799 •
This portrait of the Frankland sisters by
John Hoppner gives an idea of the styles of 1795. •
"Ruth entreating Naomi and Orpah to return to the land of Moab" by William Blake.
Blake is not a typical neo-classicist, but this shows a somewhat similar idealization of antiquity (as well as predicting the future high fashions of the late 1790s). The particular image was composed in 1795 and is currently held by the
Fitzwilliam Museum. •
Leipzig fashion plate showing woman and girl wearing elegantly simple high-waisted styles, which are not strongly neoclassical, however. •
Portrait of Gabrielle Josephine du Pont. •
1798 picture, showing a lady who seems none too warmly attired for a balloon journey in her low-cut thin-looking Directoire dress. •
Fashion plate of white Directoire dress worn with contrasting red shawl with a Greek key border. •
A 1798 sketch of a day outfit with short "spencer" jacket (less neoclassical, though still following the empire silhouette). •
Marie-Denise Villers wears an almost transparent white dress. •
Gertrud Hage wears a white transparent dress over a white petticoat. •
Riding habits of 1799. The habit on the right features a short jacket with tails. The green habit on the left may be a
redingote rather than a jacket and petticoat.
Caricatures File:Toomuch-1556 Toolittle-1796 caricature-unc.png|1 – 1796 File:Tippies-of-1796-caricature.jpg|2 – 1796 File:The_gallery_of_fashion.png|3 – 1796 File:1799-Cruikshank-Paris-ladies-full-winter-dress-caricature.jpg|4 – 1799 File:Bodleian Libraries, A French invasion or- the fashionable dress of 1798.jpg|5 – 1798 File:%22Monstrosities%22_of_1799,-Scene,_Kesington_Gardens._(BM_1851,0901.987).jpg|6 – 1799.jpg •
"TOO MUCH and TOO LITTLE, or Summer Clothing of 1556 & 1796", a February 8, 1796, caricature engraved by
Isaac Cruikshank (father of
George) after a drawing by George M. Woodward. (In 1796, strongly neoclassically influenced styles were still very new in England.) Notice the single vertical feather springing from the hair of the 1796 woman. •
"Tippies of 1796", a highly stylized parody which caricatures women's feather headdresses and dandies' tight trousers, among other things. •
"The gallery of fashion" satirizes early neo-classical influenced fashions. •
"Parisian ladies in their full winter dress", an over-the-top caricature by Isaac Cruikshank of allegedly excessively diaphanous styles worn in late 1790s Paris. • "A French Invasion on the Fashionable Dress of 1798," British caricature, also showing tight trousers, wigs, and square neckline. •
"Monstrosities of 1799".
Empire (1800–1815) has back gathers and long sleeves, and like the walking costume, has trim at the hemline and new detail at the upper sleeve. During the first two decades of the 19th century, fashions continued to follow the basic high-waisted
empire silhouette, but in other respects, neoclassical influences became progressively diluted. Dresses remained narrow in the front, but fullness at the raised back waist allowed room to walk. Colors other than white came into style, the fad for diaphanous outer fabrics faded (except in certain formal contexts), and some elements of obviously visible ornamentation came back into use in the design of the dress (as opposed to the elegant simplicity or subtle white-on-white embroidery of the dress of ca. 1800).
Empire gallery File:Dolley Madison.jpg|1 – 1804 File:Gérard, Marguerite - La mauvaise nouvelle - 1804.jpg|2 - 1804 File:Fashion in paris pg40 image.png|3 – 1804 File:Greenleaf mob cap.jpg|4 – File:Morning_dress_MET_1976.142.2_F.jpg |5 – File:Gilbert Stuart Mrs Harrison Gray Otis.jpg|6 – 1809 File:Dancing-Dress-1809.jpg|7 – 1809 File:1810-ball-dress-Ackermanns.png|8 – 1810 File:1810-Johann-Klein-dress.jpg|9 – 1810 File:Portrait-woman-Henri-Francois-Mulard-ca1810.jpg|10 – 1810 File:Fashion Plate (Court Dress) LACMA M.83.161.267.jpg|11 - 1810 File:Madame David by Jacques-Louis David, 1813, oil on canvas - National Gallery of Art, Washington - DSC09988.JPG|12 – 1813 •
Dolley Madison wears a short sleeved, light-pink dress with a high waistline. She also wears a thin, chain necklace, a golden-colored shawl, and her hair in a bun with loose waves; the simplicity, yet elegance, of her attire, is typical of the era. •
1804 French painting by
Marguerite Gérard showing two different dresses, one more elaborate than the other. Note the low neckline then in fashion. •
Paris Fashion of 1804. Note the even more generous neckline. •
Conservative fashion: Mob cap of c. 1805 is pleated in the front and has a narrow frilled brim that widens to cover the ears. America. •
Morning dress: Cotton Morning dress c. 1806. •
Mrs. Harrison Gray Otis wears a dress with a sheer top layer over a partial lining and a patterned shawl. She wears a gold armlet on her left arm. Her hair is styled in loose waves at the temples and over her ears. Massachusetts, 1809. •
1809 gown worn with
elbow-length gloves. •
1810 gown, shown with elbow-length gloves. •
1810 sketch of a woman in "
Schute" bonnet and blue-striped dress with flounces. •
Portrait of a woman by Henri Mulard, ca. 1810. •
Fashion plate of a
panniered English court gown, 1810. •
Marguerite-Charlotte David wears a simple white satin gown and the ubiquitous shawl. Her headdress is trimmed with ostrich plumes.
Caricatures File:1807-pseudo1740_Fashion-contrast_Bombazine-pun.jpg|1 – 1807 File:Gillray-Three-Graces-in-High-Wind.jpg|2 – 1810 File:Les_Invisibles_(The_Invisible_Ones)_MET_DP808224.jpg|3 – 1810 File:Almack's_Longitude_and_Latitude.jpg|4 – 1813 •
"The Fashions of the Day, or Time Past and Present", a caricature purporting to show the provocative and revealing character of 1807 fashions as compared to those of the 18th century (deliberately exaggerating the contrast). •
"Three Graces in a High Wind", 1810 caricature by
Gillray. A satire of clinging dresses worn with few layers of petticoats beneath. •
"The Invisible Ones", 1810 caricature of impractical hat styles. •
"Almack's Longitude and Latitude", 1813 caricature by
George Cruikshank.
Regency (1815–1820) gallery This era signaled the loss of any lingering
neoclassical, pseudo-Grecian styles in women's dress. This decline was especially evident in France due to the Emperor
Napoleon's suppression of trade in the fabrics used in neoclassical dress. While waistlines were still high, they were beginning to drop slightly. Larger and more abundant decoration, especially near the hem and neckline foreshadowed greater extravagance in the coming years. More petticoats were being worn, and a stiffer, more cone-shaped skirt became popular. Stiffness could be supplemented by layers of ruffles and tucks on a hem, as well as corded or flounced petticoats. Sleeves began to be pulled, tied, and pinched in ways that were more influenced by
romantic and
gothic styles than neoclassical. Hats and hairstyles became more elaborate and trimmed, climbing higher to balance widening skirts. File:1815-walking-costume-Ackermanns.png|1 – 1815 Ingres_-_Portrait_of_Mrs._George_Vesey_and_Her_Daughter_Elizabeth_Vesey,_later_Lady_Colthurst,_1943.854.jpg|2 – 1815 File:Christoffer_Wilhelm_Eckersberg_-_Portrait_of_the_model_Maddalena_or_Anna_Maria_Uhden_-_Google_Art_Project.jpg|3 – 1815 File:David Vilain.jpg|4 – 1816 File:VogelvonVogelsteinJungeDamemitZeichengerät.JPG|5 – 1816 File:1817-walz-La-Belle-Assemblee.gif|6 – 1817 File:1817-walking-dress-La-Belle-Assemblee.jpg|7 – 1817 File:September-1818-Evening-Dress.png|8 – 1818 File:MaryLodge.jpg|9 – 1818 File:Dress_MET_1985.27.2_F.jpg|10 – 1818 File:1819-evening-dress-Ackermanns.png|11 – 1819 File:Morning-dress-Ackermanns-ca1820.png|12 – 1819 •
1815 walking costume •
1816 day dresses •
Italian woman with an ornate hat. 1816. •
Comtesse Vilain and her daughter wear their hair parted in the front center with tight ringlets over each ear; back hair is brushed back into a bun. 1816. •
Countess Thekla Ludolf wears a red dress over a white chemise. 1816. •
1817 dancing illustration, showing the beginning of the trend towards a conical silhouette. •
1817 walking costume is heavily trimmed and tasseled. •
1818 gown •
Mary Lodge wears the new fashion for rich color. Her crimson gown with frills at neck and sleeves is worn with an ivory shawl with a wide
paisley-patterned border, 1818. •
1818 gown •
1819 gown, with ornamentation near the hem. •
"Morning dress" (for staying inside the house during the mornings and early afternoons), 1819.
Caricature File:Monstrosities-of-1818-Cruikshank.jpg|1 – 1818 File:Le_Palais_Royal_de_Paris._A_peep_at_the_French_Monstrosities_(BM_1935,0522.7.91).jpg |2 – French fashion 1818 •
"Monstrosities of 1818", a satire by George Cruikshank of the female trend towards a conical silhouette, and male high cravats and dandyism. •
"A peep at the French Monstrosities", a French fashion satire by George Cruikshank.
Russian fashion File:Elisabeth Vigée-Lebrun Apraxine1.jpg|Russia, 1796 File:Natalia Kurakina by Vigée-Lebrun.jpg|Russia, 1797 File:Vigée Lebrun Portrait of Young Woman.jpg|Russia, 1797 File:Anna Beloselskaya-Belozerskaya by Vigée-Lebrun.jpg|Russia, 1798 File:Natalia Zakharovna Kolycheva (Khitrovo) by E.Vigee-Lebrun (1799).jpg|Russia, 1799 File:Borovik pt naryshkinoy 2.jpg|Russia, 1799 File:E.P. Dubovitskaya by Borovikovsky.jpg|Russia, 1809 File:Ivan Smirnovskiy 01.jpg|Russia, 1810 File:Ivan Smirnovskiy 05.jpg|Russia, 1819
Spanish fashion File:Condesa de chinchon.jpg|Spain, 1800 File:Joaquina Candado (Museo de Bellas Artes de Valencia).jpg|Spain, 1802 Francisco José de Goya y Lucientes (Francisco de Goya) (Spanish - Portrait of the Marquesa de Santiago - Google Art Project.jpg|Spain, 1804 File:Goya - Joven dama con mantilla y basquiña.jpg|Spain, 1805 File:Francisco de Goya y Lucientes - Portrait of Antonia Zárate - WGA10053.jpg|Spain, 1805 File:Gumersinda Goicoechea, Francisco de Goya.jpg|Spain, 1805 File:Senora Sabasa Garcia.jpg|Spain, 1806 File:Portrait of Narcisa Barañana de Goicoechea by Goya.jpg|Spain, 1810 File:Duchess of Abrantes by Goya.jpg|Spain, 1816
British fashion File:WLA amart Elizabeth Oliphant.jpg|England, 1795 File:Walter Robertson - Sarah McClean Bolton.jpg|England, 1796 File:Caroline, Princess of Wales, 1798 by Sir Thomas Lawrence.jpg|England, 1798 File:Unknown sitter by Sir Thomas Lawrence.jpg|England, 1800 File:Ramsay Richard Reinagle - Portrait of Mrs Alexander Allardyce H0046-L128673097.jpg|England, 1802 File:Anna Payne Cutts.jpg|England, 1804 File:Thomas Lawrence - Caroline Matilda Sotheron - Google Art Project.jpg|England, 1808 File:Lawrence Lady Thornton.JPG|England, 1810 File:Andrew Geddes (1783-1844) - The Artist's Sister, Anne Geddes (1785–1843) - NG 2156 - National Galleries of Scotland.jpg|England, 1812 File:James Lonsdale Lady Anne Hamilton 1815 VA.jpg|England, 1815 File:Augusta Sophia of the United Kingdom.jpg|England, 1819
German fashion File:Tischbein, Louise von Sachsen-Weimar@Weimar Schlossmuseum.JPG|German, 1795 File:1796 Graff Johanna Margarete Christine Gräfin von Brühl anagoria.JPG|German, 1796 File:Johann Friedrich August Tischbein - Christiane Amalie Erbprinzessin von Anhalt-Dessau.jpg|German, 1798 File:German School (18) - Bildnis einer Dame, 1800.jpg|German, 1800 File:Vigée-Lebrun-Luise von Preußen.jpg|German, 1802 File:Karoline Amalie of Hesse-Kassel.jpg|German, 1804 File:Catharina of Württemberg - Queen of Westphalia.jpg|German, 1808 File:Augusta of Bavaria, Duchess of Leuchtenberg.jpg|German, 1810 File:Luise von Mecklenburg-Strelitz painted by Karl Wilhelm Wach 1812.jpg|German, 1812 File:Johann Peter Krafft - Bildnis Florentina Troclet-Fautz - 11326 - Österreichische Galerie Belvedere.jpg|German, 1815 File:Amalie von Baden (1795-1869).jpg|German, 1819
French fashion File:Portrait de Madame Pasteur, née Madeleine Alexandre (1773-1841) d’Antoine-Jean, baron GROS.jpg|France, 1795 File:Adelaide-Binart-par-Marie-Genevieve-Bouliard.jpg|France, 1796 File:Gérard Laure de Bonneuil.jpg|France, 1798 File:Elisabeth Vigée-Lebrun - Self-Portrait - WGA25084.jpg|France, 1800 File:Adele Romany - Portrait de Mlle Thevenet de Montgarrel près d’un piano tenant un cahier de musique.jpg|France, 1802 File:Adele Romany - Portrait of a Young Woman, 1804 (Marmottan Monet inv 1042).jpg|France, 1804 File:Pauline Bonaparte princesse Borghese.jpg|France, 1808 File:Madame Coury, veuve Duhamel.jpg|France, 1810 File:Firmin Massot - Joséphine de France full.jpeg|France, 1812 File:Adele Romany - Portrait of Aglaé-Constance Boudard.jpg|France, 1815 File:Portrait of Zoé Duvidal de Montferrier (Portrait of a Young Woman) by Julie Duvidal de Montferrier.jpg|France, 1819 ==Men's fashion==