History of fashion comenius museums in fashion


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Analisi sulla maschile e femminile del XIX° secolo presentata dagli allievi del Cattaneo-Deledda Indirizzo Moda in occasione del seminario svolto presso il Museo Civico d'Arte di Modena durante il I° meeting del progetto Comenius "Museums in Fashion".

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History of fashion comenius museums in fashion

  1. 1. Lifelong Learning Programme (LLP) COMENIUS “Museums in Fashion” Project Code : 2011-1-IT2-COM06-24836-1 History of Fashion 1800-1900 First Meeting – Modena 24-28 October 2011
  2. 2. Summary 1800 - 1814 RESTORATION 1814- 1850 1850 - 1875 1875- 1900 EMPIRE ROMANTICISM ECLETISM
  3. 3. Women’s day dress – The Empire Style Andrea Appiani , Ritratto della contessa Margherita Grimaldi Prati, 1801. Museo Civico , Treviso. Anonimo , Ritratto della contessa Maria Castelbarco Litta , 1810 ca. Quadreria dell’Ospedale Maggiore, Milano. During the Regency, the ladies wore a high-waisted, ankle- length dress. It had a slightly- flared hem with embroideries or decorations. Ribbon sashes were usually worn around the waist. The sleeves were short and puffed. The fabric was light. Gianbattista Bosio , Abito giornaliero di dama milanese , incisione di Luigi Prados in “Costumi di Milano e i suoi circondari”. 1807 , Milano
  4. 4. Women’s evening dress – Empire Style Gianbattista Bosio , Abito di gala di dama milanese , incisione di Francesco Belleno in “Costumi di Milano e i suoi circondari” , 1807 . Milano Underskirt Hair with ringlets and partially tied up Bonnet trimmed with ostrich feathers Fashionable accessory: the FAN Dress open at the front with train. White, elbow- length gloves
  5. 5. Women’s sleeves –Empire Style Anonimo , Ritratto di Paola Re Melzi , (particolare), 1818. Proprietà duca Lodovico Melzi D’Eril, Vaprio. Anonimo, Ritratto della contessa Maria Castelbarco Litta , (particolare), 1810 ca. Quadreria dell’Ospedale Maggiore, Milano. Gianbattista Bosio, Abito giornaliero di dama milanese (particolare), incisione di Luigi Prados in “Costumi di Milano e i suoi circondari” , 1807 . Milano. The sleeves are mainly short, puffed with some decorations or embroideries.
  6. 6. Women’s necklines–Empire Style The necklines were heart-shaped or square. Andrea Appiani – Ritratto della contessa Margherita Grimaldi Prati, (particolare), 1801. Museo Civico ,Treviso. Anonimo , Ritratto di Paola Re Melzi , (particolare), 1818. Proprietà duca Lodovico Melzi D’Eril, Vaprio.
  7. 7. Women’s Empire Hairstyle Greek hairstyle, called “ampux”, with ribbons trimmed with jewels Robert Lefèvre , Ritratto di Paolina Bonaparte ,1805 . Museo Versailles. Andrea Appiani , Ritratto della contessa Margherita Grimaldi Prati (particolare), 1811. Museo Civico Treviso Anonimo , Ritratto della principessa di Partanna, 1814 . Collezione privata, Palermo The hair is tied up with braids or ribbons and kept loose over the cheeks with curls and ringlets.Anonimo , Ritratto di Paola Re Melzi (particolare), 1818. Proprietà duca Lodovico Melzi D’Eril, Vaprio. Head gear was a fundamental part of Neo-classical fashion. The Princess is wearing a headdress following the Spanish fashion with short, turned-back wings, trimmed with ostrich feathers.
  8. 8. Men’s fashion -Empire Style Giuseppe Mazzola, Ritratto di Giuseppe Antonio Petrolini, 1806 . Quadreria dell’Ospedale Maggiore, Milano. He is wearing a beaver top hat The shoes are trimmed with buckles He is wearing a double- breasted jacket.it is cutaway in front with a long tail behind. The collar has revers. The trousers are short, tight and high-waisted There is a cravat wrapped around the neck to be tied in a small knot at the front.
  9. 9. Women’s day dress – Restoration Pietro Ayres, La famiglia La Marmora nel 1828. Proprietà degli Alberti La Marmora, Biella. Ankle-length dresses are frilled or trimmed with bright decorations from knee to hem and, as the waist becomes tighter, they are enrcicled by belts. The sleeves can be either puffed at the shoulders, or enormous leg-of- mutton shape. Hats are very wide and trimmed with feathers and ribbons. Women carry a parasol as an accessory.
  10. 10. Women’s Riding Habit – Restoration Amazzone, Figurino dal “Corriere delle dame”, 5 maggio 1830. Milano. Long skirt with doubled train to cover completely the legs while riding The collar stands high against the cheeks and a cravat wraps the neck to be tied in a small knot at the front Leg-of-mutton shaped sleeves Top hat with a long waving veil The waist of the bodice becomes tighter White gloves
  11. 11. Women’s Undergarments -Restoration Busto figurino dal “Corriere delle dame”, 30 Marzo 1831. Milano. During the Restoration period the corset re-appears. The corset is defined as "... a must-have item for every style” in "Corriere delle Dame, 30 March 1831.“ The fashion of this era required women to wear the S-band corset.
  12. 12. Women’s necklines – Restoration The shoulders are covered by a huge bertha collar with a ruff following the Spanish fashion which recalls the Renaissance period. Wide off-the-shoulder neckline which emphasizes the graceful curve of women’s shoulders . ".. Dresses in the latest fashion leave so naked that they seem about to fall” from the “ Corriere delle Dame, September 29, 1827. Joseph Kriehuber, Ritratto di Maria Luigia Duchessa di Parma, 1830. Proprietà privata, Milano Carlo Boisfremont De Boulanger, Ritratto della Contessa Emilia Sommariva De Seillere, 1833. Galleria d’Arte Moderna, Milano
  13. 13. Women’s jackets -Restoration Michelangelo Grigoletti, Ritratto di signora, 1831. Galleria d’Arte Moderna, Roma. The low-cut dresses are decorated with "canezous“ which are nice jackets of light material worn over the dress; they were made of embroidered tulle as shown in this portrait. The sleeves are decorated with flounces..hem Giuseppe Tominz , Ritratto di Antonio e Lucia di Demetrio, (particolare), 1830. Proprietà Dimitri di Demetrio, Trieste
  14. 14. Women’s hairstyle –Restoration Giuseppe Tominz – ritratto di Antonio e Lucia di Demetrio, 1830. Proprietà Dimitri di Demetrio, Trieste. Bouffant hairstyle with the longer back hair drawn up into loose buns and with curled braids and pearls passing high over her forehead.
  15. 15. Women’s day dress -Romanticism Anonimo, Lady Maria Talbot Doria, 1852. Appartamento d’onore Palazzo Doria, Roma. The satin dress has a bodice, close fitting around the waist , deep-pointed sleeves , larger around the wrist. The full skirt is supported by a "crinoline" made of fabric which is flexible, resistant and light at the same time." The dress is decorated in the central part with lace, ribbons and jewels.
  16. 16. Domenico Induno, Ritratto di donna Augusta Piccinini –Rossari, 1843. Proprietà don Carlo Mazzone, Varese. The neckline was heart-shaped The sleeves were full with volants Hair parted in the middle “ in smooth bands" and gathered behind in a soft bun The multi-layered skirt was long, full and gathered at the waist Women’s Evening Gowns – Romanticism Wide heart-shaped neckline with a bodice decorated with a jewel brooch.
  17. 17. The undergarment is made up of a​​ narrow and unhealthy corset and of a wide and embroidered underskirt. The crinoline petticoat or crinoline is called this way after a type of cloth invented by Oudinot from Paris. The crinoline underskirt has a lot of flounces with fringed edges. Women’s Undergarments – Romanticism Busto, Figurino dal “Corriere delle Dame” 28 gennaio 1851. Milano.
  18. 18. Women’s day dress - Romanticism Paletot, Figurino dal “Corriere delle Dame”, 24 dicembre 1850. Milano. During the winter they wore different types of garments. The kazaweika is a short jacket of dark velvet tied at the waist with flounces divided into several layers The paletot comes from the men's style. It is a straight-cut coat which looks like a cloak with wide sleeves. Kazaweika, Figurino dal “Corriere delle Dame”, 28 maggio 1845. Milano.
  19. 19. Women’s hairstyle –Romanticism The hairstyle “ à bandeaux" has the hair parted in the centre and drawn up in smooth buns or loose plaits over the ears. The hairstyle “à l’ Anglaises" has a central parting, the hair is tied back in "torsade" or plaits and is enriched with long curls worn over the cheeks. Francesco Hayez, Ritratto della principessa di Sant’Antimo, 1839. Museo Nazionale di San Martini, Napoli. Eliseo Sala, Ritratto di Vittoria Cima della Scala, 1852. Galleria d’Arte Moderna, Milano.
  20. 20. Giovanni Fattori, Due signore in giardino, 1868. Collezione Jucker, Milano. Vestito con il peplo, figurino da “ Il tesoro delle famiglie”, 1 marzo 1866, Milano. Women’s evening gowns – Romanticism The period from 1856 to 1867 can be called the period of the “farthingale” . In fact, women used to wear huge skirts supported by a metal cage which reproduced the whalebone hoops of the 18th century. The bodice is tight and very high –waisted.
  21. 21. Women’s evening gowns– Romanticism Da “A. Guadagni, I cerchi delle donne, Cortona, 1857.” Vestiti da ballo, Figurino dal “Corriere delle Dame”, 3 gennaio 1863. Milano. The evening gowns are characterized by tight bodices pointed at the waist and by large heart-shaped necklines, trimmed with a lace flounce . The skirt, supported by a crinoline made as a true cage​​ of steel wires, is trimmed with ruffles and flounces
  22. 22. Carlo Picozzi, Ritratto di Gio, Antonio Valtorta, 1847. Quadreria dell’Ospedale Maggiore di Milano. The FROCK COAT ".. In the morning, the fashionable gentlemen can wear either the redingote, also called frock coat, or the tailcoat " from the "Corriere delle Dame". The “redingote" is very short with wide rever lapels, and flaps that close in front with a single button. Men’s fashion – Romanticism
  23. 23. Anonimo, Ritratto del N.H. Luigi Grismondi, 1850. Proprietà di N.H. Luigi Antona Traversi Gismondi, Meda. The TAIL COAT It is an elegant suit both for day and evening. It is nearly always black, it has a collar with wide lapels on his chest and tight sleeves. The tails are large, at first square, then round and lined with silk. It is made of cashmere with satin lapels and silk buttons. The silk waistcoat is double-breasted, it is often striped or checked. The breeches are tight-fitting and long to cover the shoes, kept taut by a foot-strap. Men’s fashion – Romanticism
  24. 24. Conte Della Galda, «L’arte di mettere la propria cravatta in tutte le fogge conosciute e di uso», TAV. 4, 1827. Milano. Men’s fashion – Romanticism The tie is a long white double band. Knotting can vary a lot. Count Della Galda reported in his book 32 different ways of knotting.
  25. 25. Women’s day dress – Eclecticism - Period “Umbertino” Abiti da visita, figurino da “Il monitore della moda” , 6 agosto 1863. Milano. During the period called “Umbertino” fashion changed very quickly. The female silhouette becomes sinuous. The bodice is tight and the skirt is hugging, a thick drape stresses the volume of the bottom.
  26. 26. Tailleur figurino da” Margherita “, 15 Gennaio 1888, Milano. Women’s tailleurs – Eclecticism Period “Umbertino” THE TAILLEUR The word TAILLEUR appears in 1888 . It's a sport suit arrived in Italy from France; it is so called because it requires for its tailoring a man’s tailor (in French “tailleur”, in contrast with the “couturière, a woman’s dressmaker) It is made up of a mannish jacket and a "tournure“ skirt.
  27. 27. Women’s evening gowns – Eclecticism -Period “Umbertino” The dresses are low-necked in the Polonaise style. The under skirt is long, trained and heavily flounced like the overskirt, which is attached to the bodice and looped up at the sides and at the back. The short, puffed sleeves are decorated with lace frills and flowers. Tight corsets are worn to make the waist look thinner. The ladies are carrying fans. Abiti da sera, Figurino da” Giornali di moda“, 3 febbraio1879, Milano.
  28. 28. Women’s day dress – Eclecticism -Period “Umbertino” Around 1890 there’s a revival of the vertical silhouette. Slevees are puffed from the shoulder to the elbow. The skirt is close-fitting around the hips and it opens like a fan thanks to triangular gores. Abiti per le corse. , Figurino da” Margherita“. febbraio1895, Milano.