's depiction of men and women travelling in an omnibus in the late Victorian era (1895) Middle-class women's leisure activities included traditional pastimes such as reading,
embroidery, music, and traditional handicrafts. Upper-class women donated handicrafts to
charity bazaars, which allowed these women to publicly display and sell their handicrafts. More modern pursuits were introduced to women's lives during the 19th century. Opportunities for leisure activities increased dramatically as real wages continued to grow and hours of work continued to decline. In urban areas, the nine-hour workday became increasingly the norm; the
1874 Factory Act limited the workweek to 56.5 hours, encouraging the movement toward an eventual
eight-hour day. Helped by the
Bank Holidays Act 1871, which created a number of fixed holidays, a system of routine annual vacations came into play, starting with
white-collar workers and moving into the working-class. Some 200 seaside resorts emerged thanks to cheap hotels and inexpensive railway fares, widespread banking holidays and the fading of many religious prohibitions against secular activities on Sundays. Middle-class Victorians used the train services to visit the seaside. Large numbers travelling to quiet fishing villages such as
Worthing,
Morecambe and
Scarborough began turning them into major tourist centres, and entrepreneurs led by
Thomas Cook saw tourism and overseas travel as viable By the late Victorian era, the
leisure industry had emerged in all cities with many women in attendance. It provided scheduled entertainment of suitable length at convenient locales at inexpensive prices. These included sporting events, music halls, and
popular theatre. Women were now excluded from participation in some sports, such as
archery,
tennis,
badminton and
gymnastics.
Physical activity In the early part of the nineteenth century, it was widely believed that physical activity was dangerous and inappropriate for women. Girls were taught to preserve their health for the purpose of birthing healthy children, and one of the considered benefits of the
corset was to restrict respiration. Furthermore, the physiological difference between the sexes helped to reinforce societal inequality between men and women. An anonymous female writer contended that women were not intended to fill male roles, because "women are, as a rule, physically smaller and weaker than men; their brain is much lighter; and they are in every way unfitted for the same amount of bodily or mental labour that men are able to undertake." Yet by the end of the century, medical understanding of the benefits of exercise created a significant expansion in physical culture for girls. By 1902, ''
The Girl's Empire magazine ran a series of articles on "How to Be Strong", proclaiming, "The old-fashioned fallacies regarding health, diet, exercise, dress, &c., have nearly all been exploded, and to-day women are discarding the old ideas and methods, and entering into the new régime'' with a zest and vigour which bodes well for the future." North Team in 1895] Girls' magazines, such as ''
The Girl's Own Paper and The Girl's Empire
frequently featured articles encouraging girls to take up daily exercises or learn how to play a sport. Popular sports for girls included hockey, golf, cycling, tennis, fencing, and swimming. Of course, many of these sports were limited to the middle and upper classes who could afford the necessary materials and free time needed to play. Nonetheless, the inclusion of girls in physical culture created a new space for girls to be visible outside of the home and to partake in activities previously open only to boys. Sports became central to the lives of many middle-class girls, to the point where social commentators worried it would overshadow other cultural concerns. For example, a 1902 Girl's Own Paper'' article on "Athletics for Girls" read, "To hear some modern schoolgirls, and even modern mothers, talk, one would suppose that hockey was the chief end of all education! The tone of the school—the intellectual training—these come in the second place. Tennis,
cricket, but above all, hockey!"
Equestrianism became popular as a leisure activity among the women of the growing middle classes. Many etiquette manuals for riding were published for this new market. For women, preserving
modesty while riding was crucial, as the controversy accompanying bicycle riding held a direct parallel to the splay of legs in riding a horse similarly to a man.
Breeches and riding trousers for women were introduced, for the practical reason of preventing chafing, yet these were still worn under the dress. Riding clothes for women were made at the same tailors that made men's riding apparel, rather than at a dressmaker, so female assistants were hired to help with fittings in order to preserve norms of women's modesty., 1880).The advent of
colonialism and world travel presented new obstacles for women. Travel on horseback (or on
donkeys, or even
camels) was often impossible to do
sidesaddle because the animal had not been trained for sidesaddle riding. Riding costumes for women were introduced that used breeches or
zouave trousers beneath long coats in some countries, while
jodhpurs breeches used by men in India were adopted by women. These concessions were made so that women could ride horses when necessary, but they were still exceptions to the rule of riding sidesaddle until after
World War I. Travel writer
Isabella Bird (1831–1904) was instrumental in challenging this taboo. At age 42, she travelled abroad on a doctor's recommendation. In
Hawaii, she determined that seeing the islands riding sidesaddle was impractical, and switched to riding astride. Women's physical activity was a cause of concern at the highest levels of academic research during the Victorian era. In Canada, physicians debated the appropriateness of women using bicycles: Nevertheless, older cultural conventions connecting girls to maternity and domesticity continued to influence girls' development. Thus, while girls had more freedom than ever before, much of the physical culture for girls was simultaneously justified in terms of motherhood: athletic, healthy girls would have healthier children, better able to improve the British race. For instance, an early article advising girls to exercise stresses the future role of girls as mothers to vindicate her argument: "If, then, the importance of duly training the body in conjunction with the mind is thus recognised in the cause of our boys, surely the future wives and mothers of England—for such is our girls' destiny—may lay claim to a no less share of attention in this respect." File:James Tissot - Croquet.jpg|
Croquet by
James Tissot.
Croquet was a popular lawn game in Britain beginning in the 1860s. File:Draper-Pot Pourri.jpg|
Pot Pourri by
Herbert James Draper (1895). A traditional pastime was making
pot pourri by dipping dried flowers in perfumed water. File:RAMM Frith - The Fair Toxophilites.jpg|
The Fair Toxophilites by
William Powell Frith (1872). Archery, or toxophily, became a popular leisure activity for upper-class women in Britain. File:Rossi - On the shores.jpg|
On the Shores of Bognor Regis by
Alexander Rossi (artist). Seaside picnics near resort villages in England became accessible to the middle classes later in the Victorian era. File:Horsemanship for Women 135.png|An illustration from the book
Horsemanship for Women by
Theodore Hoe Mead (1887). Women equestrians rode "side saddle", succeeding at challenging manoeuvres despite this sport handicap. File:SirJohnLaveryARally1885.jpg|
A Rally by
Sir John Lavery. Badminton and tennis were popular occasions for parties, with women playing "mixed doubles" alongside male players.
Victorian women's fashion The ideal Victorian woman was pure, chaste, refined, and modest. This ideal was supported by etiquette and manners. The etiquette extended to the pretension of never acknowledging the use of undergarments (sometimes generically referred to as "unmentionables"). The discussion of such a topic, it was feared, would gravitate towards unhealthy attention on anatomical details. As one Victorian lady expressed it: "[those] are not things, my dear, that we speak of; indeed, we try not even to think of them", in contrast to current norms. The pretence of avoiding acknowledgement of anatomical realities met with embarrassing failure on occasion. In 1859, the Hon. Eleanor Stanley wrote about an incident where the
Duchess of Manchester moved too quickly while manoeuvring over a
stile, tripping over her large
hoop skirt: However, despite the fact that Victorians considered the mention of women's undergarments in mixed company unacceptable, men's entertainment made great comedic material out of the topic of ladies'
bloomers, including men's magazines and music hall skits. Victorian women's clothing followed trends that emphasised elaborate dresses, skirts with wide volume created by the use of layered material such as
crinolines, hoop skirt frames, and heavy fabrics. Because of the impracticality and health impact of the era's fashions, a
dress reform movement began among women. The ideal silhouette of the time demanded a narrow waist, which was accomplished by constricting the abdomen with a laced
corset. While the silhouette was striking, and the dresses themselves were often exquisitely detailed creations, the fashions were cumbersome. At best, they restricted women's movements and at worst, they had a harmful effect on women's health. Physicians turned their attention to the use of corsets and determined that they caused several medical problems: compression of the thorax, restricted breathing, organ displacement, poor circulation, and prolapsed uterus.
Amelia Jenks Bloomer had encouraged the wearing of visible bloomers by feminists to assert their right to wear comfortable and practical clothing, but it was no more than a passing fashion itself among radical feminists. The movement to reform women's dress would persist and have long-term success, however; by the 1920s,
Coco Chanel was successful at selling a progressive, far less restrictive silhouette that abandoned the corset and raised hemlines. The new silhouette symbolised modernism for trendy young women and became the 20th century standard. Other Paris designers continued reintroducing pants for women and the trend was gradually adopted over the next century. Fashion trends, in one sense, travelled "full circle" over the course of the Victorian era. The popular women's styles during the
Georgian era, and at the very beginning of Victoria's reign, emphasized a simple style influenced by flowing gowns worn by women in
Ancient Greece and
Rome. The
Empire waist silhouette was replaced by a trend towards ornate styles and an artificial silhouette, with the restrictiveness of women's clothing reaching its low point during the mid-century passion for narrow corseted waists and hoop skirts. The iconic wide-brimmed women's hats of the later Victorian era also followed the trend towards ostentatious display. Hats began the Victorian era as simple
bonnets. By the 1880s, milliners were tested by the competition among women to top their outfits with the most creative (and extravagant) hats, designed with expensive materials such as silk flowers and exotic plumes such as ostrich and peacock. As the Victorian era drew to a close, however, fashions were showing indications of a popular backlash against excessive styles. Model, actress and socialite
Lillie Langtry took London by storm in the 1870s, attracting notice for wearing simple black dresses to social events. Combined with her natural beauty, the style appeared dramatic. Fashions followed her example (as well as Queen Victoria's wearing of mourning black later in her reign). According to
Harold Koda, the former Curator-in-chief of the
Metropolitan Museum of Art's Costume Institute, "The predominantly black palette of
mourning dramatizes the evolution of period silhouettes and the increasing absorption of fashion ideals into this most codified of etiquettes," said Koda, "The veiled widow could elicit sympathy as well as predatory male advances. As a woman of sexual experience without marital constraints, she was often imagined as a potential threat to the social order."
Evolution of Victorian women's fashion File:Fashion plate December 1844.jpg|Ladies' December Fashions (1844). Hand-coloured steel engraving from a women's magazine. File:Thegalleryofhmscalcutta james tissot 1876.jpg|
The Gallery of HMS Calcutta by
James Tissot (1876).
Bustles were fashionable in the 1870s and 1880s. File:Mrs lillie langtry george frederic watts 1880.jpg|
Mrs. Lillie Langtry by
George Frederic Watts (1880). File:Five-women-on-queenslander-steps-r.jpg|Fashionable women in
Queensland, Australia around 1900. ==Women subjects of the British Empire==